If you are ever in Carroll Gardens stop by Esposito & Sons. I lived in that neighborhood from 1996-2000 and was a regular at Esposito’s–their pickled eggplant alone is worth the trip. Plus, John and George are Yankee fans.
I was happy to see this:
[Photo Credit: RonG]
Check out this story at Slate by Jordan Weissmann on how Katz’s stays in business:
The newer generation of artisanal delicatessens that have risen up in recent years—restaurants like Brooklyn’s Mile End Deli and Washington, D.C.’s DGS Delicatessen—are fundamentally different. They serve their own excellent, obsessively sourced variations of house-cured and smoked pastrami (or Montreal-style “smoked meat,” in Mile End’s case). But volume isn’t really part of their equation. Instead, they emphasize profitable alcohol sales and have more varied menus with higher margin main dishes. And crucially, they can pack less meat onto the plate, which would be anathema at an old-school deli like Katz’s.
“Katz’s is super-special. It’s the only thing of its kind in the entire world,” Mile End’s founder, Noah Bernamoff, tells me.
The reason Katz’s was able to live on while its competitors disappeared largely boils down to real estate. As Sax writes in Save the Deli, New York’s delicatessens can basically be divided into two groups: those that rent their buildings and those that own. Famous renters, like the Stage Deli and 2nd Avenue Deli, have closed in the face of rent hikes. Famous owners, like Carnegie and Katz’s, have lived on. (And when 2nd Avenue Deli reopened, it bought a building … on New York’s 3rd Avenue). If Katz’s had to deal with a landlord, it would likely have disappeared or moved long ago.
[Photo Credit: Antonio Bonanno]
Last night I sat at one of the community tables at Red Farm on the Upper West Side. I had a view of Broadway between 76th and 77th Street, and looked at the west side of the block where Big Nick’s used to be. Thirty years ago my father started dating the woman who’d become my step mother; she lived a block away, so I’m familiar with the vicinity. Or was.
Around me, the restaurant was clean, bright and full. The service was efficient and helpful, the food expensive, the portions small, and the taste, delicious. The crowd was well-scrubbed–the Hamptons, Abercrombie and Fitch, nouveau riche set. I was reminded of something a friend of mine told me last week. This friend is about 15 years older than me and he grew up on the Upper West Side in the 1960s and ’70s. He hasn’t lived there for years but recently went on a first date at a spot on Amsterdam Avenue. He sat with the woman at an outdoor cafe and she remarked how lovely it was. Knowing what it had once been, disgusted at what it’s become, he told her it was like sitting in the front row of a farting contest.
They didn’t have a second date. At Red Farm, the crowd, prices, and portions might be enough to keep a sensible person away. But the food was damn tasty so I think I’ll go again.
[Photo Credit: The Daily Muse]
This ran over at Foodspin yesterday. Thought I’d share it with you guys.
A few years ago The Wife and I were introduced to L’Artusi, an Italian place down on West 10th street in the Village. We rarely have the chance to dine out, but we’ve been back to L’Artusi a dozen times since that introduction. We feel welcome there–it’s a place that makes us happy. The environment is elegant but not stuffy, the staff well-informed and attentive, and, oh yeah, best of all: The food is wonderful.
Owned by Executive Chef Gabe Thompson, his wife Katherine, and partners Joe Campanale and August Cardona (all of Epicurean Management and nearby favorite dell’Anima), L’Artusi executes seemingly simple dishes with delicate nuance; both the food and the hospitality are remarkably consistent. Many of its best dishes are the ones that seem simple, even plain at first: We’d made several visits before I tried the spaghetti with garlic and chilies but it quickly became my favorite pasta on the menu. Not many restaurants can make my wife weak in the knees with a side of crispy potatoes. And the olive oil cake, which is easy to pass over at first, is a revelation.
In mid-2012, Thompson stepped back from the L’Artusi Kitchen to concentrate on the development and opening of the group’s new restaurant in the East Village, L’Apicio. Chef de Cuisine Erin Shambura, has run the kitchen ever since. L’Artusi features an open kitchen and Shambura is a pleasure to watch in action; her work is efficient, orderly, and punctuated with obvious joy. She exudes a sense of pleasure in her work, and that transmits to those who work under her direction.
I recently had the chance to sit down with her for a chat and a demonstration of her Braised Boneless Short Ribs over Polenta. Here’s the recipe, followed by our conversation.
Ideally, this will be prepared a day ahead, as it tastes best after sitting, but it will be wonderfully delicious if cooked and eaten on the same day.
Braised short rib ingredients:
1¼ lbs. of boneless short ribs*
3–4 tablespoons of olive oil
1 cup yellow onion, chopped
1 cup red onion, chopped
1 cup of carrots, diced
1 cup of celery, diced
1 cup red wine**
2 35-oz. cans of puréed San Marzanno tomatoes
Chopped flat-leaf parsley for garnish
Kosher salt and freshly ground pepper***
And a few optional choices:
1 tablespoon chopped garlic
½ teaspoon red pepper flakes
Three sprigs of thyme and oregano can be added along with a couple of bay leaves. These should be added with the tomato. They can be tied into a sachet with cheese cloth for easier removal.
1 box instant polenta (follow directions on the box)
*I found it difficult to get a 1¼-lb. piece of short rib from my local butcher, so I used 3 boneless short ribs weighing about 1¼ lbs.; this worked just fine.
**Any medium-bodied red wine will do. It doesn’t need to be expensive, just something that the cook would enjoy drinking.
***1 tablespoon of salt and 2 teaspoons of ground black pepper for the meat; 2 teaspoons of salt and ½ teaspoon of ground black pepper for the vegetables
1. Preheat the oven to 350°.
2. Place a Dutch oven on the stove and turn the burner to medium-high for 1 minute. Add the olive oil and heat for another 2 minutes.
3. Sprinkle the meat with kosher salt and pepper. Add the meat to the Dutch oven and sear on all four sides. This should take about 5–8 minutes.
4. When caramelized on all 4 sides remove the meat to a plate.
5. Add the vegetables to the Dutch oven and season with salt and pepper. Cook for 5 minutes, on medium to high heat, until they begin to soften. If you are using garlic and/or hot pepper, add them during the final minute of this cooking time.
6. Return the meat to the pot and add the red wine. Reduce the heat to medium and allow the wine to reduce by half, about 3 or 4 minutes.
7. Add the tomatoes and, if using, the herbs, Bring to a simmer for 10 minutes, uncovered.
8. Cover and put in the oven for 2½ hours.
8. If the meat begins to tear when you lift it carefully from the braising liquid, it is done. This means the meat has been braised long enough. At this point, remove the entire pot from the oven and allow to cool. Remove the meat and hold separately until cool enough to remove any excess fat. This is when the meat can be portioned into individual pieces. The meat can then go back into the cooking liquid until ready to serve. You can cover the meat with foil, but just to tent it.
9. Skim the fat off the sauce. There is no need to strain the sauce, though you can put it through a fine mesh strainer if you want a touch more elegance. It’s likely more work than it’s worth but up to you. Be sure to remove the sachet of herbs.
10. Serve on top of polenta—any instant polenta will do—and garnish with some extra sauce and freshly chopped parsley.
Q: I’ve been thinking a lot about Italian cooking since Marcella Hazan passed away last year. Did her books have any kind of influence on you?
ES: Marcella’s books have been on my bookshelves for years, right beside Julia Child’s. The simplicity and clarity in her cooking has always appealed to me. She showed us sophisticated food doesn’t have to come from complicated cooking.
Q: She believed in simplicity but never let you forget that simplicity doesn’t mean easy.
ES: Executing simplicity takes discipline.
Q: In so many things, especially the arts and cooking, I’m fascinated by restraint.
ES: Sometimes less is a better. Focusing on a few flavors and making them come alive. I like the directness of Italian cooking. People understand it. They don’t know the process, but they get the flavors. As I said it takes skill to execute simplicity.
Q: When did you get into cooking?
ES: Midway through college. I cooked for my friends and it made them happy. Making them happy with something I cooked was really appealing and made me feel good, too.
Q: And did you know already that you wanted to go to culinary school?
ES: No. I intended to get a graduate degree and follow my parents into education. After a couple personal tragedies during my senior year, I did a major reevaluation of what was important and what I wanted to do with myself. Culinary school went from an idea I had toyed with to a serious option supported by friends and family. Everyone told me to go, so I went.
Q: And when did you get into Italian cooking?
ES: I entered the New York Restaurant School without a specific cuisine in mind. The curriculum was based on developing a foundation in French technique and when I graduated I naturally found myself in a French kitchen: Jean George’s The Mercer Kitchen. I stayed at Mercer for more than three years, and was promoted to Sous Chef before I left to take an entremetier position at Del Posto.
Q: And suddenly you’re at a four-star restaurant.
ES: Yes! It is an amazing kitchen to be a part of. My eyes were opened to proper Italian cooking. Up until that point my understanding of Italian food was limited. I learned so much about fine dining, and how to polish the rustic nature of Italian cuisine to its highest level.
Q: And after Del Posto?
ES: Lupa, where I fell in love with traditional Roman cooking. Lupa taught me the vital importance of quality ingredients in great Italian cooking—exceptional product is more fundamentally important than elaborate preparation. Del Posto and Lupa helped define my style and vision as a chef.
Q: Here at L’Artusi, you have success with a series of staple dishes on the menu. Where do you find your own voice in being able to introduce things that allow you to experiment?
ES: Every restaurant has staple menu items that provide a backbone, and L’Artusi is no exception. That being said, I rely heavily on seasonally available ingredients to craft the menu, and we innovate on a day-to-day basis. Specials or new menu items are never improvised, but tested and crafted in conjunction with my team of sous chefs and line cooks. A dish may start as a random thought while I’m out running, but pulling it together in the kitchen is a much bigger process and I value my team’s input.
Q: So you ask for their input?
ES: Absolutely. Sometimes you need a different perspective. Someone can taste a dish and say, “Oh, it needs a little acidity” and then we talk about what that should be—lemon or vinegar. I think it’s crucial to have a team dynamic. I want to create an atmosphere where the staff’s input is valued.
Q: That’s one thing I enjoy about your place, especially sitting near the kitchen and watching you work. But I’m always impressed by how efficient it all looks, and mostly, how there is no screaming or anyone bugging out.
ES: There isn’t screaming or yelling because that doesn’t get the end goal accomplished. Maintaining a balanced atmosphere is essential to a productive kitchen. We’re able to accomplish this because many of our cooks have been trained in multiple stations. This is a huge help during the busiest times because there is a second pair of hands to step in when needed. We have a really tight team right now and it makes my job easier.
Q: Do you ever run into attitude problems with younger cooks who are fresh out of culinary school who have a hard time with going through the ranks?
ES: I’ve seen some of that in the past, but not here. A lot of people go to culinary school and just expect to advance quickly from entry-level positions. Advancement isn’t just handed over, it has to be earned. In our industry you don’t have to go to culinary school to be a success story. I’m fortunate to work with several talented line cooks that started as dishwashers. Success in the restaurant business is based on the effort and time that you put into it. I believe that stems from promoting within. I like running a kitchen where the cooks know they can advance.
Q: Without knowing that, a positive energy does come across when we’re eating there. You know, I love the flexibility of Italian dishes. Especially because everyone is convinced that their version is the correct one. Take Bucatini all’Amatriciana. Marcella makes use of a neutral oil and butter; most recipes call for olive oil. If you use garlic, that’s fighting words in some quarters. Other people use it. Some recipes call for a little white wine for acidity.
ES: I don’t think that there are any real limitations to what can be done with Italian food. There are so many traditional dishes, but most chefs take liberties. We certainly do at L’Artusi. I never feel restricted by focusing on clarity and simplicity, it’s just how I prefer to cook. My focus is creating the best dining experience for our guests. Being adventurous with our selections hasn’t always worked in the past, but I continue to try new dishes. I want our food to be approachable and getting to know the tastes of our diners has led me to create dishes they want to eat. That’s why our patrons keep coming back. Their loyalty inspires me.