Which steel is best for kitchen knives?

When shopping for a new kitchen knives, the sheer number of steel types, each with its own pros and cons can make choosing a knife overwhelming.  We put together this quick guide with some basic info on the characteristics of the more popular steel types to help you make a decision. 

Photo @jakkonoise

Carbon vs. Stainless Steel

The first thing you should consider is whether or not you are comfortable with carbon steel.  Professional cooks love carbon steel knives because they are easy to sharpen and have the potential to get very sharp, but they require a bit more care and attention than stainless steel knives.  Carbon steel needs to be kept very dry and wiped regularly while in use.  This is especially true when cutting acidic foods.  If this is not something you can commit to doing, there are plenty of stainless steels available.

Preferred Chef Knife Steel for Beginners

The next factors to consider are budget and comfort with sharpening. For beginners and those looking to spend a bit less, there are still plenty of options for Japanese-made knives.  If you are looking for affordable, stain-resistant steel that is easy to sharpen we recommend looking at blades made from VG10,  Molybdenum or Inox steel.  These steels are not the hardest available, but they will consistently hold a good edge and can be sharpened without a high level of technical skill.  Some great examples of knives using these steels are Sakai Takayuki 33 LayerSakai Takayuki 45 LayerChubo Inox and Misono Molybdenum. 

High Carbon White Steel Kitchen Knife Blades

Once you have a higher level of comfort with sharpening and a bit more budget to spend, you might choose carbon blades made from White Steel.  White Steel is a pure steel favored by blacksmiths because it responds well to different types of forging, creating a great end product.    Popular White Steel options include Kagekiyo White #2 and Sakai TakayukiWhite Kurouchi.

Blue Steel and Aogami Super Kitchen Knife Blades

Moving on to blue steels, Blue #2 is a bit tougher, meaning it is less prone to edge damage and known for superior edge retention.  Aogami Super is a high-performance Blue Steel, that is a bit more stain resistant and offers the best edge retention of the group.  Examples of Aogami Super forging can be found in our Takeda and Shibata AS collections. 

Powdered Steel Kitchen Knife Blades

In recent years blacksmiths have developed new techniques for forging powdered steel blends that were first developed for use in industrial machinery. Powdered steels are some of the hardest available and offer the highest edge retention at the same hardness as Aogami or higher.  But with this high a level of hardness comes more challenges with sharpening.  Powdered steels are some of the best steels for kitchen knives, but it’s important that users have a solid undestanding of sharpening to maintain and get the best performance out of the blades.   For great options for powdered steel knives, check out our Kazan HAP40 and Takamura R2 lines.  

Please feel free to get in touch with any questions.

Christine Lau is the Executive Chef of Kimika Restaurant in Manhattan.

Find Christine on instagram @chefchristinelau. Photo: Evan Sung

Tell us a bit about where you grew up and how you got interested in food.

I grew up in the Bay Area.  My parents emigrated from Hong Kong to study at Berkeley.  My mother is the one who really loved restaurants and even though they never sent me to Chinese school on the weekends, she made sure I was able to order off a menu.  I guess I started cooking with my brother mostly as a way to feed ourselves when our parents worked late.  We watched a lot of cooking shows on PBS.

How did you start cooking professionally?  

I never imagined I would be a chef, but as luck would have it, I had to do 100 hours of wage free work for my Senior Project — to graduate. I really wanted to spin records, but I couldn’t find anyone reputable to supervise me. So I flipped through the Zagat Guide and naively walked into restaurants in the book and was like “can I work here?”. I ended up at One Market Restaurant in San Francisco. I don’t know what they expected but I showed up on day one expecting to file papers or wash dishes and they had me opening oysters and learning to brunoise shallots for mignonette. I ended up staying on and working through the summer and as much as I wanted to go to culinary school I was starting at UC Davis in August and had a spot on the soccer team. It didn’t feel like an option.

I continued to work in restaurants through school and even corporate internships I had.  I tried to do part-time like 3 days a week on the weekends, but going to school full-time there was no time to study and it was very difficult.  When I was around 24 or 25, I had the feeling that I would regret it when I was 80 if I didn’t give it a shot, and that’s when I jumped into restaurant life with both feet.

Kimika opened right in the middle of the pandemic.  I imagine that is an extremely challenging undertaking.  How has that experience been for you?

Of course it has its own set of challenges, but what I say to people, who ask what it’s like to open a restaurant in the middle of covid, the best way I can describe it — is that I feel blessed on all sorts of different levels.  I have so much appreciation for my staff who come out every day and work extraordinary hard under difficult circumstances. From the front of house to the back, rolling with all the new challenges of the day, like — what are the new regulations going to be this week.  It feels like we’ve opened seven or eight different renditions at this point in about 6 months.  

I feel blessed for everybody that’s come out to eat and the support from the people who live in the neighborhood, and our friends and family and colleagues who might have come out for their first dinner in a year or their first time seeing a friend in 6 months or 3 months.  The fact that they’ve decided to come here, I feel very blessed because there’s no reason they couldn’t pick somewhere else or order delivery or takeout or just cook at home.  So I think honestly that’s really the all encompassing way I see it —  we’ve been very fortunate to have had a lot of support in the press, we have a great team, we’ve been lucky to not have anyone very sick you know knock-on-wood, and to be able to have access to the vaccine early on. 

How did the concept for Kimika come about?

The concept for the restaurant is Ita-meshi cuisine — a mix of Japanese and Italian. I spent the first decade of my career working in Italian restaurants and then went to work with an amazing Japanese-American chef and later opened a Japanese Izakaya, so Kimika is definitely informed by those experiences.  We laid out the menu like an Italian restaurant.  There’s some snacks then small dishes, a fried pizza section, there’s pasta and rice, and then there’s larger plates but not composed entrees, there’s a side or contorni and then dessert. 

As far as the Asian element — it’s not a 50/50 share like 50% Italian or 50% Japanese it’s really trying to take dishes that we want to put on the menu and find some parallel lines between the two cultures. Some dishes tend to lean more one way or another and even different components within the dishes are more Mediterranean or Italian and Asian. Some things are more driven by Japanese techniques or ingredients.  But there is undeniably a Chinese influence on the menu.   I’m not by any means a classically trained Chinese Chef, the general knowledge that I have for Chinese food is honestly from my upbringing and I lived in Hong Kong for a year and spent a ton of time and pretty much any vacation I have going back there, but those flavor profiles are in my blood.  I’ve spent time trying to figure out how to make those flavor profiles, things that my mom made, luckily one of the partners here is a very talented Chinese Chef so l have access to that kind of expertise. 

So basically I would describe the food that we’re cooking here is is a mixture of Italian and Asian American food — this kind of hodge-podge of my upbringing and having traveled all over East Asia, having cooked in and run a Japanese Izakaya, having worked for a Japanese-American Chef and living, eating and working in New York.  It’s the result of sitting in restaurants late at night asking a million things about the food and learning through osmosis. 

Favorite Tools or Techniques?

Of course aside from knives I highly recommend moribashi (plating chopsticks) — the thin tip allows you to handle delicate products without damaging them, it’s essential for something like uni, for example.  Plus a small heatproof rubber spatula to scrape the sides of pots and pans so you’re not wasting anything.  Lastly, I use a benriner all the time. It’s lightweight, adjustable and easy to wash.  You can get a thinless that is hard to achieve even with a knife sometimes.

Are there any specific ingredients you are excited about using right now?

50Hertz makes a cold-pressed Szechuan Peppercorn Oil that I’m obsessed with right now.  At the restaurant I’m using it on a semolina crusted soft shell crab dish in an egg yolk sauce, but at home I put it on everything from eggs to Shin Ramyun.

I’m also digging spot prawns from Regalis. Living in Hong Kong made me obsessed with really good quality live shrimp and the sweetness of these ones from Santa Barbara are just amazing. I think these are probably the best ones available domestically and really what’s the point of eating shrimp that doesn’t come with the head and tail attached.

Any favorite restaurants we should know about?

My favorite noodle shop in the whole world is called MAK MAN KEE. It’s in Hong Hong and they specialize in wonton noodle soup.  They make the alkaline bamboo noodles with fresh duck eggs and the chew on that noodle is unlike any other. It encapsulates that perfect texture and tooth feel you are seeking with katamen for ramen or al dente with Italian pasta. 

More locally, Bo Ky on Bayard Street is a place I like any hour of the day.  It’s run by the Ngo family and  focuses on Teochew cuisine, a type of cooking that originated in Guangdong province.  Many Teochew people migrated to Hong Kong or throughout South East Asia to escape the Civil War in China and brought this cuisine with them, picking up influences from other places along the way.  Some of the first Vietnamese restaurants in the US were opened by Teochew people and their style of cooking has influenced the style of vietnamese food you can find here. Go there and eat the barbecued meats and don’t miss the fish skin dumplings.

So you want to have your knife engraved.

So you want to have your knife engraved?


Having a person or company’s name, date, inside joke or message in Japanese Kanji or English can make a knife purchase even more special.  It’s a thoughtful gesture that makes a knife unique and can keep it secure in a busy kitchen.  Learn more about how to order a knife with engraving below.

Which knife makers will engrave a knife?

Chubo, Glestain, Kazan, Kitaoka, Makoto, Masamoto, Matsubara, Misono, Sakai Takayuki, Shibata, Takamura, Yu Kurosaki 

How much does it cost? 

Costs start at $15

How can I do it?

Send an email info@chuboknives.com and we’ll get your order started.

How long does it take?

Allow an additional 1 week processing time.

*Please note that engraved knives are not eligible for return.

How to Choose a Sharpening Stone

One indisputable fact about using a knife is that at some point, it will need to be sharpened.  There are ways to prolong the life of your blade, like using the right knife for the job and avoiding hard cutting surfaces, but eventually all knives need to be sharpened. 

We recommend only using water stones for this purpose. If you’re new to knife care, committing yourself to sharpening your knives is the first step, but how do you choose a sharpening stone? There are several things to keep in mind when selecting the right stones. 

About Sharpening Stone Grit and Use 

Generally speaking, the first step in sharpening a knife is to use a medium stone, with a grit of #800-#1500.  This will take material off the edge in a controlled way and prepare the blade for the next step. 

Next you want to use a fine stone for the purpose of refining the edge.  Polishing stones have grits ranging from #2000-#6000.  The higher the grit, the more super polished the edge will be.  Natural stones, although impossible to grade can reach grits as high as #20,000. 

How high do you need to go on the polishing stone?  It’s really a matter of personal preferences and which knife you are sharpening and how it will be used.  Knives used in butchery, like a honesuki, can benefit from a bit of toothy grip achieved with a lower grit.  When cutting fish for crudo or sashimi, you will usually want a high polished edge to create thin slices with minimal cell damage to the ingredients. 

Rough stones with grits around #400 are very useful if you have a high level of sharpening knowledge.  Rough stones are essential for repairs and make quick work of sharpening very dull knives, but they can take a lot of metal off the knife and should be used with caution. 

Now that you  know how to choose a sharpening stone, learn more about the proper use and techniques involved in sharpening your knives. 

How to Order a Left-Handed Knife

Traditional / Singled Edged Knives

Traditional single-edged Japanese knives like yanajis, usubas and debas were previously only available for right-handed users.  Historically in Japan, left-handedness was discouraged in children and therefore everyone was essentially right-handed by adulthood.  Due to increasing requests from abroad most knifemakers will make left-handed knives by special order and some are produced regularly.  We currently stock left handed knives in our Kitaoka line and Sakai Takayuki Kasumitogi yanagis and debas will be coming shortly.

As you may know, left-handed knives are generally more expensive than the right-handed versions.  This is due to the fact that blacksmiths forge in batches and it’s more labor intensive and time consuming to deviate from their usual process.  The upcharge for left-handed knives starts at 30%, lead times vary by manufacturer.

Hybrid Knives

For knives that have a balance of 70/30 special orders for left-handed users are also available from the following manufacturers.  

Misono will produce a left-handed knife at the time of production for an additional $25. Lead times vary.

Left-handed Glestain Knives are available at the time of production for an additional 30%.  Lead times vary. 

Chubo Inox knives can be reprofiled for left-handed use for $25 and add two weeks to delivery time.

How to order

Send an email to info@chuboknives.com 

Payment is due at the time of order and special order knives are not returnable or refundable.

How to remove rust from a knife

Photo Courtesy of JunsKitchen

What’s the best way to remove rust from a carbon steel knife?  Of course the best method is to not let it develop in the first place, so we can’t stress enough the importance in taking care to keep your knives clean and dry.  We recommend wiping the blade between cuts, especially when working with acidic ingredients like citrus and tomatoes.   It’s also a good idea to coat the blades with a thin layer of neutral oil if you won’t be using them for a long time.  When storing your blades make sure they are completely dry and using a saya (wooden sheath) is a great way to protect your blades while ensuring that moisture is not trapped on the blade.

Even when all these steps are taken to keep your knives rust free, sometimes you will find some rust has developed.  There are several methods you can use to remove it.  Starting with light rust, you can use the scrubby side of a kitchen sponge.  Never use steel wool as this can destroy the knife.  Applying a small amount of an abrasive cleaner such as Bar Keeper’s Friend, Bon Ami, Ajax or Comet with a wine cork will take care of more substantial rust.  You can also soak the blade in vinegar and then the rust can easily be wiped away. For more heavy rust, we recommend using a tool called a rust remover, which can be applied wet or dry. 

To learn more about knife sharpening and maintenance check out our essential sharpening skills series or get in touch with us by email.

What Is the Best Way To Store Kitchen Knives?

One of the most important things you can do to keep your knife sharp is to store it properly.  As you might have guessed, the worst way to store your knives is unprotected in a drawer.   Not only are you likely to dull or damage the blade, but it’s dangerous for anyone reaching in the drawer.  With that said, what is the best way to store kitchen knives?

Sayas

We recommend keeping blades protected with sayas, a specific style of knife sheath.  Sayas are wood covers usually made out of magnolia wood, which is a great choice for this purpose since it wicks away any residual moisture from the blade and won’t dry out or crack.  If you don’t have room for a block or wall-mounted strip, sayas are a safe way to store knives in a drawer or on a counter. Sayas fit most standard sized blades. We recommend buying them at the same time as your knife whenever possible so they can be correctly fitted. Please check the product page of your knife for info on corresponding sayas.  For hand-forged and less standard shapes, there are a number of saya makers out there that can create a custom saya to fit your knife.  We are working on a new line of blade guards to fit some of the unique blade shapes so stay tuned!

Wall-Mounted Magnetic Strips

The second-best way to store kitchen knives is with a simple wall fixture. For easy access and because your knife collection looks pretty great, wall mounted magnetic strips are a great option.  As always, make sure the knife is very clean and dry before placing the knife on the rack, as moisture can get trapped between the blade and magnet and cause issues.    

Wooden Knife Stand

The standard storage solution for sushi chefs for generations is a simple counter knife stand.  Also made from magnolia wood, and available in both three and six knife sizes.  Traditionally the knives are placed blade side up, but for safety reasons, you can do the reverse without damaging your blade.

Travel Case

If you require a solution for travelling with your knives, hello chefs on the go — we have several made in Japan options in knife bags, knife cases or knife rolls.

One last point to remember about the best way to store kitchen knives — in addition to making sure your knives are clean and dry before putting them away, carbon knives can be treated with a thin layer of neutral oil to protect them from humidity in the air when they won’t be used frequently.  For more knife care, skills and sharpening tips visit our blog.

How to choose a gift knife for any level of cook.

Photo courtesy of Eduardo Castro

Knives are useful, beautiful tools that make great gifts. Most everyone needs a quality knife for cooking, but many people have accumulated knives that might be dulled from use or not so well made to begin with. For these reasons, most people are delighted to receive a beautiful knife as a gift. But since preferences can be personal, we’ve put together some questions to ask yourself when choosing a knife as a gift for someone else.

A knife you buy for someone brand new to cooking is likely different that a knife chosen for an experienced cook. For beginners with less than high quality knives, choose an all purpose knife like a gyutou. A chef’s knife (gyutou) 210mm (8.2”) is the most popular size and will work well for the majority of people. A utility knife (petty) is great for many tasks and 150mm (5.9”) petty will be ideal for cutting fruit, small vegetables and herbs.

More experienced cooks might already have all-purpose knives, so a knife made for a special purpose can be a great gift. For vegetable lovers, a nakiri (vegetable cleaver) is the perfect tool for breaking down hard ingredients like pumpkins, squash, potatoes and cabbage. A sujihiki (slicer) is a great option for those who barbecue or cook lots of meat. It is the perfect knife to carve roasts, slice cooked steaks and even slice raw fish thinly for sashimi or crudo.

Think about what they like to cook and what kind of knives they already have. For the cook that has a sizable knife collection already, you might want to choose something unique such as a hand-forged or handmade option. These special knives are made in smaller quantities by renowned blacksmiths and will not only make a useful gift, but a treasured heirloom for generations to come.

Most of us are familiar with the block of knives that sits on many kitchen counters. Although it might seem like a good idea to get all these knives at once, most of the knives in the set never get much use. We advocate for investing in smaller sets, with the knives that will get the most use. You can shop our sets of the most useful knives that make great gifts for milestones like weddings, graduations and retirements.

Right or left-handed? For many years, Japanese knives were known to be for right-handed use only. While this is the case for single-edged knives (left handed are available by special order), we offer many options of knives that are sharpened to a 50/50 bevel, appropriate for both right and left-handed use. You can use the filter found on the left hand side to include or exclude knives sharpened to 70/30 or single edged.

Lastly, the blade material is a key consideration when choosing a knife. A wide range of steels are used in making knives, but an important choice is made between stain resistant or a high carbon steel option. Carbon steel knives are popular with professional chefs thanks to their ability to get super sharp and hold an edge through heavy use, but they need to be kept very clean and dry especially when cutting acidic ingredients. If you suspect the recipient would not relish the extra attention and care carbon knives require, choose from one of the many stain resistant options. Furthermore, by choosing a high technology powdered steel option, the knife will remain stain resistant and require sharpening less frequently.

We hope this guide gives you the information you need to pick a great gift knife, as always, contact us with any questions and when all else fails, gift cards are available!

How to Choose a Chef’s Knife

Choosing a chef’s knife might seem overwhelming with all the options available, so we put together this handy guide to walk you through all the decisions required to help you choose the perfect knife for you.

Kazan HAP40 210mm Gyutou

Blade Angle

There is a lot of confusion about Japanese knives being either “right-handed or left-handed” based on the angle at which the blade is sharpened. While this is true for traditional single-edged Japanese knives in styles like deba, yanagi, and usuba, where the blacksmith produces right-handed knives (meaning the cutting edge is 100% on the side that works when used in your right hand), left-handed versions are available by special order. [We stock a few left-handed styles of deba in our Kitaoka collection. ]

When talking about chefs knives, or gyutou as they are called in Japanese, there is always some angle on both sides, generally 50/50 or 70/30.  The 50/50 is equally balanced and therefore great for both right- and left-handed use. You can find the bevel balance included in the specifications listed for each knife. You can also use our filter system on the left-hand side to include or exclude certain blade angles.

Knife Length

Chef’s knives or gyutous’ blades are usually between seven and nine inches long. The length that is right for you will be determined by two factors. First, how big your hand is, and second, what you are cutting most. The knife should be comfortable and easily controlled and more or less be able to cut your ingredient in one stroke. If you have small hands and mostly cut onions and carrots, a seven-inch gyutou might be right for you. The eight-inch is most popular and suitable for a wide range of users and ingredients. More experienced cooks might find that a choosing a chef’s knife with a nine-inch blade allows for quick work when dealing with large ingredients.

Weight

Overall, most people find Japanese knives considerably lighter than the German- or French-made knives they have used before. This will come down to personal preference, but some blades are exceptionally thin and light, such as our TakamuraTakeda, and Shibata lines.

The majority of knives will fall into medium weight, like those in the Sakai Takayuki and Chubo Inox lines. Lastly, some people are drawn to heftier knives where the natural weight of the knife can assist in cutting denser ingredients. For those situations, we recommend knives from Kazan and Glestain.

Steel Types

There are pros and cons to every type of steel, but the first consideration is choosing between a stain-resistant or a high carbon steel option. Carbon steel knives are popular with professional chefs, thanks to their ability to get super sharp and hold an edge through heavy use, but they need to be kept very clean and dry, especially when cutting acidic ingredients. Among the options for stainless blades, most every Japanese option will stay sharp longer than average. The options then come down to balancing different pros and cons like blade strength versus brittleness of sharpening.

Hardness

Generally speaking, a harder steel will hold an edge longer but can be more challenging to sharpen. Hardness (HRC) is judged on the Rockwell scale, with a higher rating corresponding to greater hardness. You can find the rating for each product under specifications, with most of our knives falling in the 59-66 range. We recommend people new to Japanese knives and sharpening to start with knives on the lower end of that range.

Handle Type

You may notice two major options for handles on Japanese knives. First, the Western style is attached to the blade with rivets like you would expect with any high-quality knife. Second is a wood handle, either round, D-shaped, or octagonal and attached with a ferrule usually crafted from horn. This is mostly a matter of personal preference, but many find the natural wood of the handle comfortable, stable to grip, and versatile for various tasks and angles. 

Price

Lastly, price is usually a key factor in choosing a chef’s knife. We have a wide range of chef’s knives for all budgets. At the introductory level, lines like Chubo Inox or Tojiro are a great value for a knife that is made with a lot of attention to detail and care. High-technology steels and more valuable handle materials lead to higher prices like you’ll find in our Takamura and Makoto Kurosaki lines. Lastly, hand-forged knives from master blacksmiths and those created entirely by hand will be priced according to the materials, skill, and amount of time that it takes to produce. Knives from makers like TakedaSaji Takeshi, and Kagekiyo are made in small quantities by true master craftsmen and are meant to last a lifetime, and the prices reflect that.

We hope this guide helps you narrow down your options when choosing a chef’s knife. As always, we are here to answer any questions you may have.

Craftsman Interview

Master Blacksmith Yoshio Yamashita and his apprentice, Ryosuke Shibata, craft our Sakai Takayuki Kasumi series. Learn more about their history and knife making process.

Tell us a little about how you became a blacksmith.

Yamashita: My father was a blacksmith and I always knew that I’d follow in his footsteps. I have been doing this for 52 years now, I started as my father’s apprentice when I was 18 years old. Now I’m 70 and still working as a blacksmith. 

Shibata: Back when I was in middle school, I used to go mountain climbing and fishing at the seaside. I used normal, store bought knives and couldn’t find much that was both designed well and cut well within my price range. One day while researching on the Internet I found out that yes, indeed, you can make knives yourself. It became my hobby and as I was getting better at it I became increasingly interested in the craft and finally decided to make it my job.  

What is the process for forging a single-edged blade? 

Yamashita: Here are the steps.

Forge Welding and Forging

To make our knives we use mild steel with next to no carbon in it for the cladding, and a high carbon steel called white steel for the cutting layer. The first step is to take a one-meter long bar of high carbon steel, hammer flat enough material for one knife at one end and cut it off. A chemical acting as an adhesive of sorts is then applied to help forge weld it to a bar of mild steel at a temperature of about 1050 degrees centigrade. After roughly hammering it into shape, the knife blank is cut off from the bar and a tang is formed from a bit of mild steel left over at the rear. The entire knife is hammered until it’s close to the desired measurements. After the forging process is complete the knife is annealed, meaning it’s cooled slowly to remove internal stress and strengthen it.

Shaping and Finishing

Once cool, the knife is again hammered to remove the oxide layer that formed on the surface of the knife during forging. Switching from hand to belt hammer, the knife is further shaped and thinned out without heating it. After this, the blank is cut into shape along a template using a hand operated shearing machine. Hammering the backside of the blank gives it its characteristic hollow shape. Any warping that may have occurred until now is hammered out and the blank straightened. Using a grinder and a buffer, the surfaces of the knife are smoothened as a final step. 

Heat treatment

Next, clay is applied to the surface of the knife and it is laid on top of the furnace to dry. This is to control the speed of the temperature changes that will occur during hardening and to protect the surface of the knife. Using a mixed coal and coke fire, the knife is heated to a temperature of about 780º centigrade and then quenched in water. After hardening is complete, the knife is tempered at about 180º centigrade. Using a small hammer, warp and distortion caused by hardening are corrected and the protective layer of clay is taken off, marking the end of the blacksmith’s work.   

What does a typical work day forging look like for you?

Yamashita:

After lighting a fire in the morning, I forge around ten to fifteen knives, after which I heat treat the ones that Shibata-san prepared and finished. 

Shibata:

I shape and finish the blanks my master forges. Working at the same pace as he does, I do about ten to fifteen knives a day.

Is there part of the process that is particularly challenging or satisfying for you?

Yamashita:

The forge welding of mild steel and carbon steel is hard but is also especially satisfying when everything goes well. What makes it hard is that you have to strike a balance between a multitude of factors such as the mixture of the borax and boric acid we use as an adhesive, the temperature of the coke fire and the timing and technique of your hammering. Heat treatment is also very important for bringing out the full potential and characteristics of the steel, so if that goes well, I’m just as happy.  

Shibata: 

Cold hammering the knife blanks with the belt hammer is hard, as you have to make minute, three dimensional adjustments to a blank which tapers both from heel to tip and from spine to edge. My work on this step also affects the following grinding and sharpening, so I’m especially careful. 

Favorite steel type to work with and why?

Yamashita:

I like to work with Yasuki White #3 Steel. Compared to White #2’s 1.1% of carbon, White #3 comes with 0.85% carbon, making it slightly softer.  On the other hand, its tougher and less brittle, making it less prone to chipping. Compared to White #2, there are also fewer problems with forge welding and heat treatment, making it easier to achieve consistent quality. 

How do you think Sakai can attract more young apprentices to keep the craft of forging alive?

Yamashita:

Working as a blacksmith means working in constant heat with your hands and getting your clothes dirty. While it’s demanding and not many young people today want to do this kind of work, making knives also gives you a sense of accomplishment. In a way, they are like our children we bring into this world. Thinking about how they get put to work and how they perform in many kitchens around the world makes me really happy.    

The job has its downsides, but I would like young people to see these positive aspects as well and get involved. 

The passing on of knowledge and techniques can’t all be done by putting it into words and writing a manual. Just like Shibata-san, who is training under me, you first watch and memorize the movements and repeat and refine them every day at work. Meanwhile I will gradually teach the basic techniques and movements and let the apprentice advance step by step. It’s important to gain experience as to which ways of doing it work well and which don’t. That’s why normally it takes about five to ten years to really know what you’re doing.  

Shibata:

When I was looking for a master to train with, the biggest problem was finding someone who would be willing take on an apprentice in general, as many blacksmiths who work on their own don’t have the means to pay an apprentice’s wage. Many places don’t pay any money or you even have to pay them to teach you. Now I’m employed regularly at Aoki Hamono, the wholesaler and knife maker behind Sakai Takayuki, and train under master Yamashita who works independently. That way I can make a living and focus on my training. 

This model of apprenticeship is extremely rare in Japan and I don’t know if it will catch on among knife makers and blacksmiths, but I do believe it could help with finding the next generation of craftspeople to carry on the tradition. 

In a few decades, when I’ll be ready to take on an apprentice of my own, I too will try to come up with a setup that allows for the apprentice to live a reasonably comfortable life while in training.  

Regarding the passing on of skills and techniques I agree with my master. It’s important to first watch and repeat and gradually get experience. 

I’m only in my first year of training but I want to continue giving my best learning something new every day. 

Any thoughts on why Japanese knives have become so popular overseas?

Yamashita:

Sushi and other Japanese food have been seeing a worldwide boom, while people around the world had a chance to to use Japanese knives. Through that, they learn about the special sharpness and feel of traditional single bevel knives. I also think that they are beautiful and have a mystique around them, a sacred feel even, linking them to the traditions of Japanese swords.

Shibata: 

Traditional Japanese knives are used and sharpened in unique ways. Now there may be people who feel that they’re a bit hard to use but a well sharpened single bevel knife actually allows for smooth cutting that’s easier on the ingredients than cutting with a normal knife. I believe traditional Japanese knives to be valued as tools that help bring out the best in beauty and taste of sophisticated cuisine. 

Merchandise to support the culinary industry, Recipes, Podcasts and more.

We’re back with our rundown of all the things keeping us going in these weird and challenging times!  Here’s what we’re tuning into for the week of April 20th. Have an idea that we should include in future post?  Please contact us.

Christopher Simpson for the New York Times

Recipe

Colu Henry of the fantastic Back Pocket Pasta has no shortage of fantastic bean-based recipes, so if you finally got your shipment from Rancho Gordo or miraculously stashed some white beans before this all began, do not sleep on this Roasted Tomato and White Bean Stew recipe.

Podcast

Since we are all staying put for the foreseeable future, we’re enjoying traveling vicariously through Monocle 24: The Menu.  While the show usually explores a global food neighborhood in each episode, the current focus goes on local locations and the favorite recipes of chefs. Check it out wherever you get your podcasts.

Reading

For over a decade, Spoon and Tamago has been a favorite blog for all things Japan design and illustration related.  Their COVID content is no exception. We love this recent humorous guide to social distancing. Because we should all do our part:  Let’s stay one tuna apart. 

Spice Source

Cooking three meals everyday has us digging deep into the pantry and these spices from Burlap & Barrel are giving us life!  Burlap & Barrel works directly with small farms to source spices that have never been exported before.  Purchases help improve the livelihoods of their partner farmers. Currently going into everything: Cinnamon Tree Leaves + New Harvest Turmeric.  

Design from artist @raakaraakaraaka

Support

Merch4relief is an online collection of custom designed merchandise created by affected restaurant workers, with 100% of the profits going to the restaurants.  The designs are super great and we can all use a brand new pasta hoodie or Four Horsemen wine tote. 

Staying sane, safe and fed.

New for these weird and sometimes scary times we’re living in, we’re starting a regular post of the things entertaining, distracting and keeping us sane, safe and fed.  We hope they work for you too! Have an idea that we should include in future post? Please contact us.

Podcast

Samin Nosrat from the fantastic Netflix Series and Book Salt Fat Acid Heat has a new podcast out on all topics of home cooking.  Episode one tackles dried beans, which if you are like us, we have a cabinet full of.  

Photo courtesy of TILIT NY

Masks

Our friends at TILIT, who are normally busy making aprons, workwear and accessories for chefs and culinary industry have just launched a facemask project.  Made from recycled hemp and organic cotton, for each mask sold they will donate one for a food service worker.

Recipe

If you are one of the lucky ones who has a supply of yeast and flour, might we recommend Pizza Camp, a really useful book from Joe Beddia of Philadelphia’s Pizzeria Beddia’s excellent book, Pizza Camp.  Truly, it’s the most successful pizza we’ve ever made at home. Pick up the book and check out Joe’s Rules for the best homemade pizza of your life!  

Photo by Anne Fishbein

Cooking Content

Star chefs around the world are hosting online cooking classes.  This week we were focussed on Italian. First osso buco with chef Massimo Bottura ~ He goes live daily at 20:00 Central European time, ( 2pm Eastern Time).  For pasta content, you can find this terrific tutorial from Evan Funke of Venice, California’s Felix and Food 52.  Evan teaches all the basics of rolling fresh pasta dough and then filling it into tortelloni.

Watch

In areas hard hit by COVID-19, the best thing we can do for our brave doctors and nurses on the frontline is stay at home!  Watch this collection of reminders from Italy’s mayors.

Support

ROAR [relief opportunities for all restaurants] is a New York based relief organization providing grants to individuals facing unprecedented hardship as a result of COVID-19.  Restaurants are the life-blood for our communities and taking care of the people that feed is more important now than ever.

Sharpen your knives

For many, knife sharpening is a routine part of their knife maintenance.  Others wish they had more time to do it. Everyone agrees what a pleasure a super sharp knife is!  Want to learn how to sharpen Japanese knives, but don’t know where to start? We have resources on our blog including a terrific eight part series from our friend, professional chef and expert sharpener Eduardo Castro.  We recommend it for all skill levels.

Maria Nguyen – Founder, The Art of Plating

Founded in 2013, The Art of Plating is an international media and events company devoted to the exhibition of gastronomy as a form of high art – utilizing form, texture and color to tell a story and evoke emotions. The Art of Plating provides some of today’s most acclaimed culinary innovators the platform to share their vision, passion, artistry, and life stories.

Onion at Esora © The Art of Plating

Tell us a bit about where you grew up and how you got interested in food.

My family is from Vietnam and food is such a big part in the Vietnamese culture so I would say it’s always been a part of my life. I would say I got more serious about food when I started living on my own at 18 years old because I was responsible for making my own food choices. I would try cooking simple recipes and then whatever bits of money I had leftover from my school loans I spent it on trying new restaurants.

Tell us a little about your career path and how The Art of Plating get started?

I was an Art Director and Designer prior to starting The Art of Plating. I’ve always had an eye for design early on and always knew my career path would be in in it. I never thought I would be in food though. During the time that I was an Art Director, I was working on a really difficult project and felt like I needed to pick up a different interest. I always loved cooking and the idea that you can escape into another culture through food. And at the time, I decided to work through Thomas Keller’s French Laundry cookbook. Every weekend I’d cook something new out of the book but realized my food wasn’t looking like the photos. I researched everywhere on how to plate but there wasn’t any magazines, cookbooks, or recipes talking about plating at the time. I figured if was interested in the topic, I knew other people would be. It was at that very moment, I decided to start The Art of Plating. I tried it out on social media and it instantaneously took off.

You now have 834K followers on Instagram.  Did you a specific approach or strategy for that kind of growth?  Or was it somewhat organic?

It was all organic. What we created was was so unique and different at the time that I think it just really resonated with a lot people. It also helped that I came from a design and branding background. I knew that building a community was key and that’s what I tried to focus on.

Slow Cooked Sea Bass by chef Daniel Humm © The Art of Plating

You’ve eaten at pretty much everywhere!  Is there a restaurant you’d like to visit that you haven’t yet?  And somewhere you’re dying to go back?

SingleThread! We did an incredible dinner with them last year in SF but I haven’t had the chance to make it to the restaurant yet.

I’d love to go back to Esora in Singapore. It was one of my favorite meals this year.

Favorite dish in the past year?At Esora they have this dessert which is which salted caramel ice cream and shaved truffles on a sweet potato cake dessert that is phenomenal.

We are excited to hear that you’ve launched The Art of Plating Rising Talent list later this year.  Can you tell us some more about that?

The Art of Plating Rising Talent list is a new award we’ve created to celebrate fearless talents pushing the envelope in the culinary and hospitality space. We really felt like there wasn’t an award that celebrated the entire industry and all its unique verticals and all the behind the scenes people who never get recognized.

Apple at El Cielo by Juan Manuel Barrientos © The Art of Plating 

Are there any ingredients that you hate eating or dread seeing on a menu?

Truffles. It’s funny because I just mentioned one of my favorite desserts which had truffles. I actually really love truffles and think they’re brilliant when used in unique and innovative ways. They’re just disappointing when it’s an afterthought or does nothing to enhance the dish.
Is there one trend you are tired of?I’m kind of tired of seeing the scaling technique in plating. It’s such a beautiful technique but I know how hard and time consuming it is to do it.

One trend that you love?

Incorporating herbs and edible flowers into everything!

Edible Flowers Crackers at Tartine Manufactory © Jennifer Latham

Do you like to cook at home and if so what?

I do! I cook everyday and prefer to most days of the week. I love vegetables in every form (raw, roasted, steamed, grilled, etc) and I usually just pick up whatever is in season. I also just recently got back from Singapore so I’ve been obsessed with perfecting my Chicken Rice!

Favorite places to eat in LA right now

Angler, Konbi, Nightshade, Auburn, Yours Truly, and Bon Temps.

Robynne Maii – Chef-Owner, Fête

Robynne Maii along with partner Chuck Bussler bring a combined 30+ years culinary experience to Fête, their warm and inviting Downtown Brasserie.  Taking inspiration from crave-able dishes of many cultures, Fête’s menu celebrates seasonality and culinary tradition in tandem.

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Could you tell us a little bit about where you grew up and your background?

I grew up in Honolulu. I was lucky enough to be raised in a family that cooked a lot. Not fancy food, since my parents were always on a budget we always had home cooked meals. Maybe we went out to a restaurant a couple times a year, so I grew up eating a lot of good food. Both my parents cooked.

What kind of food would you eat at home?

It’s interesting since both my parents lived on the mainland for a little bit, we grew up eating everything from local style food, like chili, and kalbi, and beef stew, but then we also had things like cacciatore, shish kabob, and lamb, lamb chops, stuff like that. Things that were definitely not in the normal local repertoire. Sweet and sour spare ribs, stuffed cabbage, very eastern European style. The rule at our house was we had to eat everything that my parents cooked. This idea of boycotting just because you didn’t like something, my parents were really strict. I had a smart mouth, so I’d say I’m gonna eat cereal then, and we weren’t even allowed to do that. It was either go hungry and sit at the table with us, or you’re gonna eat what I prepared.

All three of us, my siblings, we love food. We’re not picky eaters.

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What was your path to professional cooking?

My first memory of cooking was making eggs with my maternal grandmother. I just love the idea of making my own food. In college I started thinking about it more, but it was very taboo for a profession. Your asian parents, they want you to do something that makes you a lot of money, is super stable, so you can have a family, buy a house, and do all that. When I announced to my parents that I wanted to go to culinary school, they weren’t very pleased, but the deal was since they put us through college that I had to pay for my own culinary education. I quickly realized there was no way I was gonna be able to go to one of the fancier culinary schools, because I just couldn’t afford it, so I came home and went to KCC. [Kapiolani Community College]

Then you went straight into cooking professionally. Tell us a little bit about your background?

I did it in an untraditional way. I cooked for a little bit and thought I wanted to get out of the kitchen, and thought I wanted to do food writing, so I got my masters degree from NYU in food studies.  I got my dream job. I went to Gourmet Magazine and worked there for two years, but while I was there I got offered a job in culinary education to run a culinary program, and so I spent over 10 years in culinary education.

How did Fête come to be?

Outside of restaurants, I think people thought we were crazy, because as far as opening up a restaurant we were old, Chuck and I.  We were both in our forties, and we had been out of industry for a number of years.  We worked for some good people, but we didn’t have a continuous pedigree to woo people with, so it was really difficult.  But in that time frame we did a lot of cooking and we entertained a lot.  We went out to eat a lot too.  For us, Fête was born out of this idea of bringing people together, which is very common, but we saw this trend happening in restaurants where it was less and less fun to eat out.  I think that’s why we were driven to entertain more at home, because it was more relaxing.

We have this constant dialogue of having a place where the food is the foundation for the guest’s occasion. We don’t want the food to lord over the table. We want it to support everybody.

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Any ingredients that you’re excited about right now in Hawaii?

Right now Mahi is running, so we get that. Mahi was never a favorite of mine because it was from the supermarket and had this grayish color and my mother always prepared it the same way and I was just never really impressed with the fish.  Then we started buying fish from Local I’a, which is owned by Ashley Watts. She only sources from day boaters in Oahu waters.  It completely changed my mind about Mahi.  I think Mahi is one of the most glorious fishes you can have, and when we get it it is this beautiful cotton candy pink.  Super fresh.

I think we had a great Ahi dish on the menu last time we ate here.

Yes, Ahi, which is also caught from Oahu day boaters. A lot of people ask us what’s the grade of the Ahi. I don’t know a lot about how they grade, I just know because our Ahi doesn’t go to auction, it’s ungraded, but all of it is fresh. The grade has to do with the oil content, and its texture. It’s an opportunity for us to explain to the guests why it’s different. The color, sometimes it’s very, very red, pinkish, translucent, sometimes it’s very dark and ruby. They’re really captivated. They like it.

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Any favorite tools or techniques?

Favorite tools? Chubo knives! Come on.

That’s very kind of you to say that. Other than knives are there any other tools you’re using in the kitchen right now or techniques that you guys like to use?

Emily Iguchi who is our chef de cuisine and I, I like to think of ourselves not as simple cooks.  That doesn’t explain it. — We like cooking, so we tend to stay away from gadgets.  There’s a lot of knife work in this kitchen.  It’s very labor intensive.  You can see Louis toiling over here with some knife work.  Our food is rooted in very traditional methods, with a strong French and Italian grounding, and Emily is Japanese.  There’s a lot going on in the food.  We like to reduce things.  We like to strain things.  We like to make things extra nice for everyone.  In the end it has to be tasty.  Really sharp knives and a good pair of scissors. 

Do you cook at home? When you have time.

Yes, I do cook at home.  The cooking is much simpler.  On Sundays, Chuck and I are off, and it usually involves roasting something, or putting something in the oven, we have the veggies, a one pan sort of affair.  We miss entertaining at home, and Chuck says, “yeah but we entertain every single night,” but it’s different.  We love that people come in, but we miss sitting and breaking bread and drinking wine with our dear friends.

Favorite places to eat in Honolulu or anywhere in the world?

Right now, if it’s a special occasion we like Gaku Sushi. It’s pricey and worth every penny. We have such little time off these days that we don’t go out to eat as much as we’d like. We love Senia. They’re very good friends of ours.

Helena’s Hawaiian food is a favorite on the island. In the world, in New York City, I love Prune.  It’s one of my favorites.  I love Pearl Oyster Bar, because it is still fantastic.  Yeah. I always go back there, those two places.  

Ashley Rath – Chef de Cuisine, The Grill

Ashley Rath is the Chef de Cuisine at The Grill.

Can you tell us a bit about where you grew up and how you got interesting in cooking.

 I was born in New Jersey but grew up in Syracuse, New York. My first cooking memory is of my dad teaching me how to make scrambled eggs. My parents were adamant that I learn how to cook, and as I got older and they began to be more comfortable working later, I started cooking for all of us.

My parents travelled a lot for work, and I was fortunate enough to go to Spain, France, Argentina, England and China all before I graduated high school. For me, each trip centered around what I would eat.

I wanted to go to the CIA but my family was adamant that a college education would be best, so I ended up going to University of St. Andrews in Scotland.

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 I know you studied at St. Andrews, what was the transition from intense scholarship to cooking like?

 At St. Andrews, I wrote my dissertation on the relationship between food and conflict. I won an award from it and ended up with a job offer from a food sovereignty rights’ NGO in New Delhi. I moved to NYC as I waited for my visa to come through. I did not want to move back to Syracuse, so I found a sublet in NYC. I quickly realized I needed an income and I also wanted to make sure I was not giving up on a dream of mine, so I started trailing in kitchens. Turns out I would have been giving up on a dream if I moved to India.

The transition however was hard – I went from 14 hours a day in a library to 14 hours a day in a kitchen. I screwed up, a lot, but I loved it and decided I’d work as many hours as possible to make a living cooking and build a culinary skill set. To say it was hard would be an understatement.

Tell us a little about your career history.

The first restaurant I worked in is actually two blocks away from where I work now. The chef at the time shouldn’t have hired me; I showed up without proper shoes or knives. But as he put it, I was educated and could speak English. I ended up only working there for a few months, but I learned that kitchens were where I wanted to be.

Eric Korsch, the newly appointed chef at The Waverly Inn at the time, decided to take a chance on me next. It was here that he and then sous chef Ted Rozzi gave me the culinary education I desperately needed and introduced me to the stamina I would need in the industry.

I next followed Ted Rozzi to Crown on the Upper East Side for my first opening. Later a captain at Crown introduced me to Matt Lightner and after trailing 4 times he decided to take a chance on me next. He hired me as a prep cook for his soon to open restaurant, Atera. I felt like I had made it. The kitchen, all the chefs and staff at Atera; it was like nothing I had seen before. The discipline I learned there I carry with me daily.

I next went to Gramercy Tavern where I would spend two years. Through the guidance of Michael Anthony I was able to round out all of the skills I had learned and find my voice as a cook.

I went to California after that and trailed at some incredible restaurants but ended the trip realizing I only wanted to cook in NYC. I helped a friend of mine open a biscuit shop called Empire Biscuit before I found a sous chef opportunity with Major Food Group at Santina. I was sent to open Dirty French first, as Santina’s opening was delayed. I then worked at Santina for almost two years, before I was asked to work on the opening of The Grill, as executive sous chef.

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What is your food philosophy

Never drop your standards because of time, pace, space or the people around you. Be as proud of a biscuit you make as an almost impossible razor clam dish. Ignore others that would criticize you for who you work for or where you have worked. As long as you care, put out correct and delicious food, and always work hard, you’re doing it right.

And don’t be scared to screw up, don’t bow out or give excuses. I’ve learned the most through my errors. Just don’t repeat them.

Between Dirty French, Santina and now the Grill you’ve had a pretty intense restaurant opening schedule.  What do you love and hate about opening restaurants?

I love the pace and intense drive almost every person involved in an opening has. I love that you set the systems for the kitchen and because of that, you leave a lasting impact. I love that you learn through error, and fix it. I love the lack of sleep and testing of physical limits. I also tire of it at some point but the initial drive is something special. I love cooking new cuisines and dishes. I love openings, but I think that shows.

Are there lessons you’ve learned in the kitchen that you feel apply outside of work?

I believe everything I said in my philosophy applies to outside of a kitchen. I was a shy and unconfident person, particularly in relationship to my body. Kitchens changed that. Be true to yourself, help others, work harder than the person next to you, and most things work out. A bit hippie dippy, but… tough.

Do you sense changes in attitudes about women in the kitchen from the beginning of your career until now?

I’ve been lucky to never have my gender be a real issue in my work life, but again, I think my philosophy speaks to why that has been the case. If you work hard and give it your all, it’s hard for people to judge you because of something like your sex. I won’t say it’s been without bumps in the road, but I try not to dwell on that. I can happily say as the CDC of a huge restaurant with a very big staff, my gender is something that rarely comes up, if anything it is from guests surprised I’m the CDC. I do wish I could find more female line cooks, but I have four on my AM staff which makes me very happy.

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Do you cook at home? If so what? 

I like cooking pasta at home, fresh or dried. Pasta holds a special place in my heart. My go to is Martelli spaghetti for cacio e pepe. Besides that, it’s normally scrambled eggs and toast or peanut butter and jelly. My boyfriend cooks a fair amount for me when I get home, which is always greatly appreciated. I also have a soft spot for Mighty Quinn’s take out.

 Favorite Tools and Techniques

My favorite tools are: my nenox 210 mm gyutou and my neon blue fish spat that most people hate but survived me a year on Gramercy Tavern fish roast.

My favorite cooking technique is cooking over open fire. I worked on the grill station at Gramercy Tavern, where you build and maintain your own fire, and it was a life changer. We cook over wood at The Grill, and it was a huge part of why I was so excited about being a part of that opening, second to the menu. 

Are there ingredients you are excited about right now? 

I’ve been really excited about the different game birds we have worked with at The Grill. I became very interested in hunting and game when I lived in Scotland, so it has been fun to work with similar products again.

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Favorite? places to eat in NY and elsewhere.

I’ve been told I have a lot of favorites, so here’s a short list:

Estella, I’ve eaten there over 35 times

Momofuku Ssam Bar

Buvette

Al Pastor

Runner and Stone

BLT Prime, for their chopped salad and pop overs

Corner Bistro, for a burger

Le Coq Rico, for the Ile flottante

Outside of NYC:

North, in Providence RI

Abac, in Spain

St Johns, in London

The Savoy, in London

High Street on Market, in Philadelphia

 

 

 

 

Joe Anthony – Chef de Cuisine, Gabriel Kreuther

Photography courtesy of Evan Sung.

Joe Anthony is the Chef de Cuisine at Gabriel Kreuther restaurant.

 

Can you tell us a bit about where you grew up and how you got interesting in cooking?

I grew up in an active surf and skate community down in south-east Florida. The weather is pretty consistent year around, so I spent a good amount of time outdoors and playing sports. Lots of young people means lots of partying, and my youth had no shortage of that. Hanging with friends and playing music was the norm. I was never a “rise and shine” kind of person, so in retrospect the restaurant industry fit well. However, my career really started out like any other kid trying to make some spending cash. I took the job as a busboy at this local restaurant called 32East in Delray Beach. I remember seeing the intensity and drive the kitchen team had and it was very contagious. It became inspiring to see the level of execution and pride that came with each nightly service. I loved the controlled chaos and the formality of how much a team sport it was. The kitchen took notice that I was intrigued and started giving me bits and pieces of the menu to taste. The menu changed daily, and I became hooked on the sheer creativeness and ever evolving products. This was not a stagnant restaurant and it didn’t have stagnant chefs. I made the decision at 19 that this is what I wanted to do. I was thrown in the fire, but was fortunate enough to have the kitchen boys show me the ropes. I’ve never looked back and have never had another job outside of the restaurant industry.

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Painted Hills Beef Tenderloin with Roasted Salsify, Potato Dumplings and Juniper Jus

What led you to come cook in New York?

I spent eight years cooking in south Florida all while staying in the Delray area. I worked for the same group in various positions between the two restaurants they had. At the time, it felt like Florida had a limit on how far you could learn and grow. I knew the next step naturally would be to go and experience life in a big food city. My chef was very supportive and made a few calls for me to trail at some high-end establishments in New York City. I spent the next few years working at Restaurant Daniel and Union Square Café before ultimately joining the Modern and meeting chef Gabriel.

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Smoked Eel Velouté, Seven Grain Tuille, Saffron Tapioca, Black Truffle Coulis

How would you describe your food philosophy?

I believe that everything is and needs to be evolving, so therefore my philosophy will change too… but at the end of the day I try to create dishes the way that I want to eat them.

You cooked with Chef Kreuther at the Modern, how is the approach to your menu for Gabriel Kreuther different?

I wouldn’t say our approach is necessarily different, just evolving. The Modern was well established and successful long before I worked there, so it had its style already. A lot has already changed here from the opening to present. However, chef Gabriel’s food in my opinion always has a soul to it and feels somewhat familiar even if you’ve never had it. That’s something I keep in the back of my head and never want to lose with our approach.

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You recently returned from cooking in Japan.  Can you tell us about that experience and any take aways or eye openers learned there?

I am very fortunate and humbled to be able to experience Japan the way I did. It was part of a cultural exchange program provided by the Gohan Society.   It’s a beautiful program they put together every year and I really must express my gratitude.

We spent nine days traveling through Ishikawa, Kanazawa and ultimately ending in Tokyo. It was a great mix of cultural activities such as sake brewing, miso processing, traditional pottery making and staging in restaurants. The first thing they taught me was how to make a classic dashi. It’s something that I always enjoyed, but now have a completely different understanding and respect for. That could pretty much sum up how I feel about the whole experience.

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Do you cook at home?

I cook every almost every Sunday at my apartment for my fiancé Nancy.  Mostly stew and food that can be reheated all week while I’m at work.

What are you favorite kitchen tools?

I guess my favorite tool has to be my knives. I mean I have one in my hand pretty much every day.

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Charcoal Grilled Maine Lobster with Baby Carrots, Toasted Cashew and Jamon Nage

Ingredients you are excited about right this moment?  

We use this farmer named Dan Lieber who has become like an ambassador for a lot of the local farms in Pennsylvania. He owns and runs Stardust Farms which produces amazing squab, but he also delivers for a lot of great local produce, grains, and dairy farms within the area. Greenwalk Trout Hatchery has to be one of my favorite new producers to work with. You can tell all the hard work and care that goes into raising the different varieties of trout.

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Fluke Tartare with Meyer Lemon Custard, Maine Uni, Yuzu, Wasabi, Finger Lime and Green Apple

Can you share some favorite places to eat in New York and elsewhere?

I recently had a great meal at Shuko and would recommend for sure. Del Posto, Per Se and Olmsted are always solid choices for me. Sometimes there’s nothing better than a drunken night that ends up in K-town though! Outside of NYC I’ll def go with Alinea. Those guys push so hard and are constantly evolving. I have much respect and admiration for the chefs there.

 

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Justin Wills – Chef Owner of Restaurant Beck + Sorella

Photographs courtesy of Jannie Huang and the Whale Cove Inn.

Tell us a bit about your career history and how you ended up in Oregon?

I knew by age 12 that I wanted to be a chef, but at the time growing up in Iowa the culinary scene wasn’t what it is now. I worked at one restaurant there for a bit, then went to The Culinary Institute of America in Hyde Park, NY graduating in 1997.  From there I worked in Mendocino, CA, Park City, UT, Dallas, TX, Denver, CO, Bend, OR, Portland, OR and now I currently own two restaurants on the Oregon Coast: Restaurant Beck and Sorella.

Who are some chefs you consider mentors?

I would say my first chef, the one who showed me the ropes as a very very green cook would be Mark Dym.  The other would be Scott Neuman with whom I worked with at Oba Restaurante in Portland, OR, he is now the chef of Jaspers in Houston. He taught be a great deal on the day to day operations of the restaurant business. As far as Chefs that I would consider to be a mentor, even though, I have never worked for him would be Charlie Trotter, his books for me, when I was a very young age was eye opening for come coming from Iowa.

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How did you partnership with Whale Cove Inn develop?  

Stormee, my wife and co-owner, and I were approached by the GM of the Whale Cove Inn in April of 2009. After a month or so of conversations we came to an agreement. We opened Restaurant Beck, named after my son, Becker in June of 2009.

How would you describe the food you’re doing there?

You know, my personal answer would be progressive local. Progressive, meaning we cross paths between modern cooking techniques and modern classic French techniques.  Local, being that we buy probably 90% of the ingredients we use from Lincoln County.

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What is the best part of running a destination restaurant.

I would say running a destination restaurant is very hard under that title.  The cool thing is though once season gets up and running we get to see our die hard fans who show up during the months of April and October

What are the challenges?

Having 65% of our sales be during our season and being a destination restaurant. Also, there are challenges when you own, operate, raise a family, etc with your spouse. Our love is strong…but honestly it can be frustrating for both us.

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Last summer you opened Sorella, a more casual restaurant.  How’s that experience been different?

This experience has been great.  It’s faster paced and much less expensive, focusing on handmade Italian Cuisine.  Sorella is a much larger restaurant, 75 seats compared to 30 at Beck. I love our bar down there, it has proved a very creative avenue for our bartenders to  really work their craft. We definitely do things team driven down there. Stormee and I may be at the top on paper, but we have some of the best employees on the coast and it allows the select few to be creative.  It’s refreshing….when I am not replacing a water heater! 

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Can you tell us about a dish you are excited about right now?

With spring in full swing right now we are seeing a lot of wild greens foraged locally… so an upcoming dish will be called “Gazpacho” it consists of cucumber water combined with juiced wild watercress, seasoned with wild herbs of oxalis and miners lettuce. We finish the whole thing off with house made kefer, puffed black rice, compressed rhubarb and peach, Oregon extra virgin olive oil….and this dish is a sign that more wild herbs are on their way and it will eventually become a dish called “seeds and shoots”….that’s a whole other paragraph.

Any favorite ingredients or purveyors you are working with right now?

Right now anything from the forest.  Purveyor wise: Forest Foragers, Newell Seafoods, and Amazon is great being in a rural area.

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Essential kitchen tools?

My Takamura R2 is awesome. Then the ‘Luna’ Spoon from World Market…perfect for saucing, quenelles, and rocher.

Can you share some recommendations for dining in Oregon and elsewhere?

For Sushi: Zilla in PDX, For overall experience: Departure, For meat, meat and more meat: OX. Mexican: La Roca in Lincoln City. Cafe Boulud in NYC…and that’s about it…I don’t get out much…business and family keep us very busy!

 

Jesus Perea – Pastry Chef Cosme

Jesus Perea has created desserts at some of New York’s finest Italian, French, Scandinavian and modern American kitchens.  He is now the pastry chef at Cosme, Enrique Olvera’s first restaurant outside of Mexico City, where he has created the most talked about and instragrammed dessert of  the year.

 

Can you tell us a little about where you grew up and how you got interested in food?

I grew up in the Bronx (New York) and I first started cooking at home. My mother worked and wanted to make sure we were fed well, so she started teaching me to make tortillas and kept going from there.  

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Where did you get started?

My first job was at Rosa Mexicano, then I went to Le Cirque, Aquavit, Le Bernardin, Del Posto, The Elm then to Pujol in Mexico City and then came back to New York when we opened Cosme.

Have you always been a pastry chef?   

No, I started in the kitchen, but got interested in pastry because I loved the science behind it.

Who do you consider a mentor?

Working with Michael Laiskonis at Le Bernardin taught me a lot about how I want to work.  He touches everything and every night, he stayed until the last plate went out.  I really respected his dedication.

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Enrique Olvera really seems like a benevolent Father to the team here.  What’s your experience been like working with him both in Mexico City and here?

The kitchen at Pujol and the kitchen here are totally different.  I mean we have fun at both, but things are much more organized here.  

It’s been said that Enrique is against using sugar and wants to take dessert off the menu at Pujol.  Is he serious and how do you feel about that?

It’s true, Enrique doesn’t like sugar, but Mexicans like sweets and people order a lot of dessert, especially at Pujol.  It’s way more than they do in New York. .

Cosme is certainly the only Mexican restaurant of it’s kind in New York – What do you think the the rest of the world should understand about Mexican cuisine?   

Mexican food is all about slow cooking and flavors.  When you make something like mole, there are many ingredients, but you should be able to taste each one.  That’s hard to do and really hard to find outside of Mexico.

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Any new dishes on the menu that you’re excited about right now?

Right now I’m making a chocolate covered marshmallow – called Bubulubu – Instead of the usual almond sablé base, we do chocolate and are using cherries.  Because they are perfect right now.

Your Corn Husk Meringue is was one of the most talked about dishes since the restaurant’s opening and probably the most photographed dessert of the year.   How did the idea come about?

It was a few things, La Gran Via is a bakery in Mexico City, famous for meringues. Enrique and Daniela (Soto-Innes, Chef de cuisine) grew up with that.  We used that idea as a starting point.  Also, we knew we wanted to use corn, and make it not too sweet.  And  Enrique hates waste, so I thought, what could I do with this corn husk?  So I charred it and added little by little and it took a really long time, until we were happy with it.

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Photography courtesy of Evan Sung

 

Evan Sung – Photographer

Evan Sung is an accomplished food, lifestyle and travel photographer.  He is also a great friend of ours and when we realized that many of the photographs used on this blog were his work, we thought it was high time he had a feature of his own.  You can see more of his work at www.evansung.com

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Can you tell us a little about where you grew up?

I grew up here in New York City, I was born on the Upper West Side and grew up on the Upper East and Upper West Sides as a kid.  But I have lived in Park Slope, Brooklyn for the last 10 years.

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How did you get interested in food and photography?

I think I’ve always enjoyed food, but food as a professional pursuit didn’t really happen until after college.  I picked up photography late, right at the end of college, just as a hobby that a friend introduced me to.  When I got into it more seriously, I studio-managed and assisted at a stock photo agency (Comstock) for a few years.  In 2003, I moved to Paris and found work with a photographer, Giacomo Bretzel. He did a lot of travel, food, and lifestyle stuff – we’d go to shoot stories in Italy, Germany, Spain, Monte Carlo, all over – stories about Iberico ham or Italian Olive oil production. That’s where I really started to appreciate food and culture and travel in a way that related to the work of photography.   We always got to eat well and travel and meet people exploring the culture of food production and I loved it.

When I came back to NY in late 2004 and started shooting restaurant reviews, first at The New York Sun newspaper, and very soon after, for The New York Times, and I just started to learn a lot more about the food scene, and the food scene was really changing dramatically around that time.  I don’t think I had a huge food culture background, although growing up Asian American, you’re eating tripe and snails and all this stuff growing up.

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How did you first get started?

So I didn’t really touch a camera at all until the end of college, when I met an artist. His name is Shelton Walsmith, who is a painter and draftsman, photographer. Really  multidisciplinary.  And we became good friends working at Shakespeare and Company.  He and his girlfriend and I all became very close.  He was the first person to put a camera in my hands.  It was an old twin lens reflex camera, a Yashicamat 124G.  Kind of like a Rolleiflex – you look down into the glass and the world is reflected backwards at you.  It always looked very cinematic to me looking down into that piece of ground glass.  I asked him how it worked and he started teaching me the fundamentals of photography.  We would go out on the weekends just taking photos.  They had a darkroom, I would sleep over at their place and we’d print late into the night.  Sometimes, I’d be printing so late, I would just fall asleep among the chemicals!  That was how I first got exposed to photography.  Then there’s a whole side story about pursuing an advanced degree in comparative literature.  I started down that road, but it just didn’t feel right.  In 2000,  I decided to leave my graduate program and immediately started working for a stock agency called Comstock, as a studio manager and photo assistant.  I did that for 3 years then moved to Paris for two years.  When I came back to New York I was shooting anything and everything for a while.  But in 2005 started shooting for the New York Sun Newspaper and the very first thing they assigned me was a restaurant review.  I’m pretty sure it was the original [Momofuku] Noodle Bar.

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You came of age at in the food photography at a fortuitous time!

I think people have written about it already, but that 2004/2005 year was when so much changed.  Both in the food scene in New York and food media in general.  With Eater and the idea of food photography changed a lot because people were blogging, and there was this whole niche that opened up, whereas before, food photography was a very specific discipline with only a handful of people shooting cookbooks and stuff like that.

Do you have to approach food photography different from travel or fashion?

I haven’t done a ton of fashion since I got married, I took that season off and cook books were starting to become a bigger part of what I was doing and food was always the world I felt most comfortable in.  So I’ve take a pretty long hiatus from that.  Although there were parts of it that I really did love.  It was meeting and photographing creative people.  But the fashion world was not really my natural environment although they all love to talk about food, like most people!

People ask me what my style is and in a way I try to be very responsive to what the situation is. If i’m shooting something that is very architectural and sophisticated in its plating, then I’ll treat it more like a graphic kind of still life.  But for traveling in Senegal and people are just sort of have these bubbling vats of stew then that’s something that’s very rustic and I approach it from a looser, more documentary point of view.  For me it’s dictated by the environment and the situation and not necessarily trying to impose a particular style on any given situation.

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Getting back to restaurant reviews, what do you know about it before you go in to shoot?

I wish I had a more exciting answer, but they definitely do a good job of keeping the editorial and art sides separate.  At the Times for example, any photographer who shoots those reviews gets a call the week before the review is scheduled to run.  Usually the day of, they’ll ask if you can you shoot that night.  Sometimes a night in advance, but usually it’s a pretty last minute thing.  And that’s it.  That’s about all the advance notice that I get.  Then you never know what the review is going to say.  You get a list of the dishes that the reviewer wants shot and any particular details that they think are interesting, but you definitely don’t know the end result of the review.

Now you’ve shot for the New York Times for reviewers Frank Bruni, Sam Sifton and Pete Wells.  Is there a difference between shooting for one versus another?

When I started at the Times in those Bruni years, in the beginning it was always one photo.  Usually of the interior space in service.  This is all about how food media, and really, the internet, has changed and evolved.  I remember they starting ask for more photos – and they started with these audio slideshows with Pete Wells interviewing Bruni about his reviews.  That was something that kind of started while I was shooting.  But that definitely evolved over time.  It really started with just hanging out trying to get that one good photo.  Now you can be there for a while.  For a Times review I’ll hang out longer than people might expect.

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Traveling around the world with a roster of great chefs is many people’s idea of a dream job.   What’s your favorite aspect of what you do?

Definitely working with creative people is fun.  I always learn something from the people I work with.  I’ve been lucky to work with people who have very distinct ideas about their own creativity.  I like responding to that, I like collaborating with them around that, and helping to make what they have in their head look as good as possible.  Every time I shoot a book or work with a chef on a project like that, my first question at the end is always, “Does that feel like you, like what you had in your head or how you envision yourself?”.  For me it’s very much about trying to respond to what my collaborator has in mind and then if it does feel like them, I feel that’s successful.

Lately the projects that I have been lucky enough to travel for have been great.  Traveling with Michael White in Italy was amazing. He is so immersed in that culture, having cooked there, grown up there, learned there.  It is really like being with an Italian person.  Mexico with [Alex] Stupak or Spain with Katie Button and Félix Meana, all these chefs are taking what they learned in their life experience and have brought it to the US and tried to express their version of it.  Whatever it is that they are trying to recreate in a way and for me to be able to accompany them and see that and live that with them a little bit gives me a new perspective on them and a different perspective on the food and culture itself. Traveling with a person from that country or really steeped in that culture is so much different and more rewarding than traveling as purely a tourist.  Just to be able to be with someone who knows the ins and outs of it, you just learn so much more. The travel aspect is really important to me and I try to find those projects as much as possible.

And I think I just like the world of restaurant people.  The world of chefs is so hospitable.  I like the little network of people that just springs up from knowing a handful of people, you get connected to other people and I’ve definitely experienced it first hand where people are really just so generous in their extending a welcome to you even if you’re just a friend of a friend.  It can feel really genuine and heartfelt, so that’s nice.

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It’s so true.  Is there a recurring frustration or challenge you find in your work?

There are challenges, but they feel like challenges that are so specific to a photographer, budget can be an issue sometimes and people’s expectation of where you can conduct a photoshoot.  Shooting a cookbook, I think there are so many things that are important in addition to the food.  The propping and the styling and using all those other elements to tell the story of whatever the chef is trying to express.  I think chefs in general look a lot at cookbooks and see just the food.  They are looking at how it’s presented and they don’t necessarily look at the plate, or what the plate is sitting on.  Sometimes it’s a challenge to express that to a chef.  It’s not just a photo of this beautiful food that I want to take, but I want to make a beautiful image that has some depth and texture to it.  It’s not just your food on a white plate on a stainless steel pass.  There have definitely been cases where chefs really get it.  Like oh, let’s have more variety of surfaces, more interesting plates, then there are other chefs, not that they don’t want it, but they don’t think about it.  Only through the doing of it, by bringing a prop stylist on board, they slowly start to realize that the food is working with that whole environment to add something more.  That’s maybe one thing that I’ve seen come up with cookbooks in the conversation stage, explaining to some chefs why paying for a prop or food stylist can really be beneficial.

How often do you use a food stylist?

For chef-driven projects not so often, usually I trust the chef to present the food the way they want to.  I have enough experience that I can tell them if something feels off balance or needs to be replated in someway.  But generally, on chef books, the chef has their own team and distinct ideas on what it should look like.  From there we collaborate in terms of tweaking things.  It’s pretty rare that I’d have a real food stylist involved in that part.  I do put a lot of value on the contribution of prop stylists.  I think that’s pretty huge.

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Any upcoming book releases you want to tell us about?

I’m very excited about Chef Alex Stupak (of Empellon)’s book. [Due out October 20th] That was really a good challenge because it was all tacos.  Chef Stupak has a whole dialogue about what a taco means to people:  What people think it’s worth and what one can do with it.  When the project came up to me, I think as a photographer you worry about a taco book that it will all be crushed up limes, and a Corona, and colorful Mexican textiles – just “Mexican” in that cliched sense.  But of course, that didn’t feel right for Alex – his background and his intellectual thinking about the food – so I looked to do something more unique.  I wanted to think about the tortilla as a canvas and Alex and his team would treat the taco like that.  I think it’s a really delicious-looking book, but it also reflects Alex’s thinking about Mexican food and treats it in a way that is respectful of the complexities that Alex is trying to tease out of it. Jordana Rothman wrote it and she’s a wonderful writer and they’re great friends, so I think they will have a unique take on it from a writerly perspective. That project was fun and we had a lot of creative freedom on it and Alex is just so smart, so I’m excited to see it come together.

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Any favorite restaurants in New York?

Im pretty open to a diversity of experiences.  Chef Paul Liebrandt’s Corton was always such a great, exciting restaurant, I still regret that that’s gone.  But the places that I’m a regular at and always satisfy would be Khe-Yo, or Bar Chuko, or a place in my neighborhood that I go to all the time Sushi Katsuei .  Or the Breslin , just to go have a beer and a lamb burger. Robertas, Spicy Village , Upland …. I don’t know… The list never ends…

 

 

Ryan Roadhouse – Chef Owner of Nodoguro

Ryan Roadhouse, chef owner of Portland’s Nodoguro restaurant was recently named Rising Star Chef by Portland Monthly Magazine.

How did you first get interested in food?

I have always loved eating good food. I was born to very young parents, which allowed me to spend ample time with my food obsessed grandfather. His days seemed centered around making sure dinner was a memorable event. One of my first elementary writing assignments turned into an explanation of the perfect ham and cheese sandwich.

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How did you first get involved in Japanese Cooking?

As a teenager. I loved the idea of working in a restaurant. The first restaurant I worked in was a Japanese restaurant. My first day as dishwasher/busboy ended with one of the kitchen guys pouring me a beer, eating Japanese curry for staff meal, and a server handing me 20 bucks. I was pretty impressed.

What was your experience like living and working in Japan?

Sleepless and amazing. The experience began so completely foreign, but quickly became comfortable and familiar. I am still inspired everyday by the experience of being in Japan. The culture, the food, and the people have changed me forever.

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How did Nodoguro come about?

It came about out of necessity. I had a particular vision for the type of food and experience I wanted to share with people, but making it a reality was difficult. Most conversations with investors led to the instantaneous compromise of my concept. It became clear that in order to avoid stagnation and continue to grow as a person and a chef I would need to go at it alone. It began with making a seed plan with a local farmer and made Nodoguro a reality as a pop-up restaurant.

What were the greatest benefits and disadvantages to the pop up format?

The advantage of popping up is that you can take risks and test an otherwise untested idea with minimal risk. The downside is that it’s a pain in the ass! Cold storage problems, commissary kitchens, sourcing issues, having no designated space. Unpacking your “restaurant” on the day of service, packing it back up after service, and probably many other disadvantages that I have forgotten already.

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How would you describe the food you’re creating at Nodoguro?

Kind of like Kappo cuisine with no rules and lots of surprises

How do you approach dish development and choosing the themes for your menus?

Themes are now crowd sourced (for the most part). I find that it keeps me honest and makes creativity a necessary component of my daily life. I always have a general format in mind for each menu. Everything else is detail shaped by limitations.

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Although your cuisine is rooted in Japanese techniques and ingredients, it seems uniquely Portland.  Can you tell us about some of the more exciting ingredients you’re working with right now?

Right now the farm is in a stage of seasonal rebirth. Lots of the Japanese herbs are naturalized now and begin to reassert themselves. We have a variety of plants that are being utilized in in the flowering or seed pod stages. We have naturalized benitade, shimonita negi buds, tender nira, karaine seed pods and flowers, komatsuna raab, fresh calendula, Japanese frill mustard flowers, wild currant flowers with things like local salmon, sablefish, and super tender beef tongue.

Essential kitchen tools?

Being a pop up chef has made me a lot better and more resourceful. A sharp knife is the only thing I can’t do without.

 

Mike Thelin – Co-Founder of FEAST Portland

Photography Courtesy of FEAST Portland.

Mike Thelin is the Co-Founder of FEAST Portland and principal of Bolted Services, where he consults for food and tourism-related promotions, projects, events and initiatives nationally. He also appears on the popular Cooking Channel show Unique Eats.

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Can you tell us a little bit about where you grew up and how you got interested in food?
I grew up in Scappoose, Oregon, which is a suburb to a suburb to a suburb, a tiny town in rural Oregon, 30 minutes, but literally 20 years outside Portland.  Very rural community, country music, the word hay is a verb.  It’s not what you think of Oregon, but most of Oregon is like that.  My family was really multi-ethnic.  My dad had 4 daughters from his first wife that were older.  One married a Mexican guy, one a Japanese, and my sister Carol’s daughter married a guy from Vietnam.  So our normal family get-togethers featured whole roasted goats with the heads on and really smelly condiments.  The first time you smell fish sauce, you think it’s disgusting and then you taste it and say, “Where have you been all my life?”

Tacos, sushi, spaetzle.  My family just really loved food.  People think suburban America doesn’t have a lot of food culture, but I think that is just not how I grew up.  It was always a part of life, there was no ‘aha moment’.

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Career-wise, what was your first foray into the food world?
I worked in restaurants in my 20s and got a degree in journalism.  I tried to do office jobs, but wasn’t good at it.  I was so bored, but loved to be around food people, because they were much cooler, in general!” (laughs) I kept going back to restaurants, but I was also interested in business and liked making things happen.  I didn’t really figure out how to reconcile those two, but almost 10 years ago, I quit my job and sold my house and moved to Spain for a year.  And then when I came back, I knew I had to do something that was in line with my passions. I dedicated myself to food writing and became the food critic for a local paper, Willamette Week in Portland.  Then pretty soon there after, I started consulting on events as a way to do something else I liked.  I had the aptitude for the events side and really understood how to make them work and how to not bleed money.  How to make the chefs happy and the guests happy and how to make sponsors happy was something I was naturally really good at.  So that was 2008, I worked on an event called the Indie Wine Festival and it sparked my interest and opened up a door.  After that people started coming to me. I had found my calling.

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How did FEAST come to be?
At the time I was working on a number of national initiatives.  I was the host city chair for IACP (International  Association of Culinary Professionals) in Portland in 2010.  We really turned that into almost a food festival.  We did all these fun things and then it left and we were all sort of left holding the ball wondering why can’t we do this again. I looked into different opportunities with different people and nothing ever really meshed.  I wanted to do a destination festival.  I started working on another festival in Austin, TX so there was all these things we were trying to do, but I wasn’t finding the right people.  Then I met Carrie (Welch), my partner who had just moved out from New York, and she was new in town and because of that she was just crazy enough to want to do something like this.  Plus she had the time and she also had the experience because she worked on New York Wine and Food.  So immediately, without knowing each other, we knew we wanted to do a food festival together and we did.  That was almost 4 years ago.

How do you go about selecting the Chefs that you invite to FEAST?
First of all, when a lot of people think, who do we want to come to our events, they think who’s hot in the magazines and who’s hot on TV. For us, there are people on our core team, like Emily (Crowley), Carrie (Welch), Jannie (Huang) who just know the food world.  We talk about who we think is doing exciting things in the food world.  If you look at our lineup it’s a little eclectic.  You might see people who are from TV and you might see people who are more random and you might not have heard of, but the undercurrent is, we ask “Is this person doing something really interesting or relevant, regardless of their level of fame?”  And, would they be fun to work with, that’s the arbiter there.

We end up with an across the board interesting line up and also about 70% our chefs and everyone involved is local.  So we really try to do our best to showcase locality.

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New York and Portland keep trading culinary talent such as Matt Lightner, Andy Ricker, Gregory Gourdet and Jim Meehan.  What do you think is drawing New Yorkers to Portland and vice versa?  
Well one thing I know about New York, now that I live here most of the time, is that New York and Portland are vastly different but at the core they share some values. They are different in that, NY operates in a speed and pace and level that no place else does.  But NY is all about the idea and the originality.  In food, hype really doesn’t get you that far in NY—at least not for long.  Of course, there are exceptions, but Portland is like that too. External validation doesn’t get you that far for that long.  At the end of the day, your restaurant is going to survive in Portland because it’s good, not because it’s on TV.  I feel like NY is kind of the same way.  You can’t fool New Yorkers and you can’t fool Portlanders. That’s one aspect the two cities have in common.

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Then what is the biggest difference between NY and Portland relating to food?

In NY at the high end, you have a tremendous amount of phenomenal options.  Cities like New York, Chicago or LA, have options that other cities, period, don’t have.  I have really enjoyed going to places like Del Posto, or Atera  or Brooklyn Fare.  There are so many places on another level.  Like part of a conversation that’s more global.  Portland doesn’t have that as much.  The other thing you have in NY that’s phenomenal is the borough of Queens, which is a place I’ve come to love.  It’s sort of like what the rest of the country is trying to become.  You talk about the newest food hall or the newest food neighborhood.  You talk about places like Brooklyn, or the West Village, East Village and it’s all very interesting. But you go to a place like Flushing or Jackson Heights and it’s already that in a different way.  The mix of ethnicities and cultures is really what makes New York so fascinating.  You cannot run out of places to eat.  There are so many.

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Is there one thing you miss the most about Portland?
I’m still in Portland quite a bit—so I still get to enjoy the scene there. That said, what makes Portland so special is that really high quality food is just not that expensive.  The farmers markets aren’t that expensive.  It has a lot to do with proximity to ingredients.  The ocean is an hour away.  Eastern Oregon, wine regions, produce grows year round.  That’s one thing I miss, those incredible farmers markets.  Our farmers market in downtown Portland draws as many people to the area on a Saturday as an NBA game. 20,000 people come to this thing and it’s just a beautiful sight to behold.  Also you hear people talking about food and sourcing, in Portland, everyone does that.  It’s not a talking point, it’s just expected.  You go to your neighborhood bar and the meat that they use on their burger is going to be eastern Oregon naturally raised grass-fed beef.  The bun will come from some local baker and that’s at a dive bar.  So the accessibility of good food that was mindfully created and prepared, I’ve never been in a place that compares to Portland in that regard.

And those breakfast burritos.  Why do you think they haven’t caught on here!?
It’s a good question.  Stoner food.  I think that’s probably what it is. (Laughs)  But the mantra of Portland is really people like food that tastes good.  It’s a place where people really celebrate the act of joyful eating.  There are places that are more thoughtful and experimental elsewhere, but the average meal in Portland, the quality is really high.

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How did food carts get to be such a thing?  
Food carts are all over the city.  There used to be a time when traditional restaurants didn’t like the food carts there because they viewed them as competition that didn’t have to invest in the same infrastructure but could still serve food. There were a lot of people who really criticized that, but now the city really sees these for what they are – not only do they activate the streetscape, because let’s be honest, where all those trucks are in downtown Portland, if they weren’t there it would be just an ugly parking lot with nothing happening.  They’ve also proven to be great business incubators.  If you look at Nong’s Khao Man Gai, that started as a food truck and Lardo sandwich shop has 5 locations and a bakery and a pasta place called Grassa  – they started 5 years ago as a food truck, for people who want to take the chance and say, “Hey, I really want to do food, maybe I don’t want to spend half a million dollars at least to build out a restaurant, maybe I just want to spend 25,000 to see if this is something I want to do.  Food trucks have really created an option that didn’t exist.

Who are your ‘ones to watch’ in Portland?  
I think Earl Nimson, of  Langbaan, he’s not so under the radar, but he has a tasting menu in the back of his Thai restaurant in Portland.  There’s also there’s a place called the People’s Pig, porchetta sandwich, they just moved into a brick and mortar location.  I always tell people to check that out.  Then there’s Ryan Roadhouse who has a place called Nodoguro, he’s doing interesting things.

I think one of the most interesting things about Portland, is that from the media, you expect it to be a facsimile of Brooklyn, but in reality Portland feels pretty authentic.  
A lot of things people did in Oregon, like canning, pickling, preserving, fishing, hunting, that’s Northwest life.  Wearing a beard and flannel, it’s because it’s cold.  People are into coffee because during the wintertime it can be dark.  So we drink a lot of coffee. A lot of those things that you see in Portland are authentic things there—not trends.  And I’ve heard people say that Portland is copying Brooklyn, but most Portlanders aren’t even aware of place called Brooklyn, they just do their own thing and don’t think of the rest of the country.

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Are there aspects of Portland that you’re relieved to be away from?
I think every place’s greatest strength is its greatest weakness and Portland being inward looking has fostered a really great community, because of that it’s doesn’t look externally for inspiration.  Like any movement or scene, any time you have a community of people that draw off each other’s ideas, that’s the basis of true creativity.  Whether you’re talking about the great farm to table chefs in California in the 1970s or abstract expressionists in New York’s art scene – I think it can also create a degree of provinciality. But  I think it’s changing and Portland is becoming more a part of the national conversation, and chefs like Andy, Matt and others have made such a name for themselves.

Any details you can share for FEAST 2015?
We’re looking at changing a few things, maybe adding a new big signature event. We’re working on bringing more international chefs from northern Europe and possibly Japan, the year after, to do some collaborative dinners.  For us, we just want to continue to be on the edge and do interesting things.  More and more we’re interested in looking at what’s happening in the neighborhoods and cities around the country, and finding what we’re inspired by, then saying, how can we bring that to Portland for 4 days every September.

 

Peter Endriss – Co-Owner + Head Baker – Runner & Stone, Brooklyn, NY

Photography courtesy of Runner & Stone, Mayumi Kasuga, Ho Kyung Lee and Karen Wise.

Can you tell us a little bit about where you grew up and how you got interested in food?
I’m from Long Island originally and I think I was always interested in food, I used to hang out in the kitchen a lot as a kid and try and cook. From the age of 16, I was a busboy in a restaurant and worked in food service throughout college. Then I got diverted. My undergraduate degree is in natural resource management – environmental science. Halfway through, I realized that was not going to be my future, so I switched to engineering. After working in engineering for a few years, I realized that was not the route either. The whole time being involved in restaurants in one way or another.

Were you always drawn to bread baking?
No, that was the last stage of it. It was always cooking and front of house. After engineering, when I got back to the kitchen I started from the bottom and worked all stations and realized maybe the hot line wasn’t for me, so I went into pastry and started bread when there was a lag in pastry opportunities and really fell in love with bread baking the best.

How has where you started with bread evolved into what you’re doing now?
The first and most formative, as far as learning the basics, was as an overnight baker at Amy’s Bread. Around 2002, Amy’s Bread was one of the big names in town and their product is really great and they do a huge variety. The overnight shift was a lot of production, so it was a good place to learn. I was lucky to work with really talented bakers that showed me the ropes.

Then my time at Per Se was really great for broadening my ideas on different flavors of bread without only using spices, fruits and nuts, because we couldn’t. At Per Se, the bread had to go with all courses. There couldn’t be flavor conflicts, so the focus is more on different flours and different pre-ferments for changing flavor profiles of bread. Not just adding stuff that tastes good. It was also great for refining fermentation and shaping, because the bread had to be at the same level all the time, and beautiful as well as delicious.

At various points, I did stages, including one in France and one in my dad’s hometown in Germany. Those were both really inspirational and helped shape my ideas on bread. I think all those experiences come together in the style we have now at Runner & Stone, which I would describe as a European-style, maybe a little rustic, but with certain refined aspects and techniques present, even if they aren’t outwardly apparent in the bread.

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What was your biggest take away from your time working in Germany?
Pretzels. I grew up eating these pretzels, so I went to work in the bakery in my father’s home town. It’s a two minute walk from my Aunt’s house. To work there was cool from a personal point of view. They made other bread too, but I can’t say any were revelations. They were all good ryes, and that was all interesting to see, but the takeaway was really the pretzels, pretzels and more pretzels.

And in France?
In France I worked in a bakery called L’Etoile de Berger, which is just outside of Paris proper, with three outlets in suburbs and they have a central viennoiserie and pastry kitchen that I also worked at. That was after Per Se and it was really great to be exposed to some really wonderful product and a more traditional French style, while working with bakers that approached things in a way that’s totally different from the way American bakers do.

How so?
The oldest person there was probably twenty years old, but they’ve all been baking for ten years and so they have a really different relationship with the job and with bread. After having come from fine dining that was really fun to experience, a different aesthetic and approach to food. The owner, Franck Debieu was really great, even though I spoke very little French and our conversations were often him speaking and me nodding and not understanding what was really happening. He was really great about getting me involved in all aspects of the bakery, from the pastry to the viennoiserie to the daily bread baking and every time he saw me, he was always checking in to make sure I saw everything. All the people there were really supportive of me and my lack of French!

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Can you tell more about your experience at Per Se?
It’s probably the hardest job I’ve had, and I think anyone who works at Per Se would probably say that, just because there is so much pressure to try and achieve a certain level, every single day, that no detail can be forgotten. It’s not acceptable to run out of a product and you’re creating an experience and even with the bread, you’re part of it. It’s super challenging, but as a result, I think I left feeling much better suited to own my own business and to tackle any product I had in mind, because I’ve been exposed to all the variables and what could go wrong and how to fix it and still maintain a certain level. As with any job the more challenging it is, the more rewarding it is and that stood true for my time at Per Se.

Also, it was really great working with professionals. Every single person there, from the general manager to the director of operations to the dishwasher was serious about his or her job and so there is a level of commitment and seriousness about food that was really inspirational. It never felt contrived or ridiculous or what was being asked of you was too much, because everyone was committed to the same goals. The group dynamic carried the whole process, it was really a special experience and one that I’m super grateful for.

Then how did Runner and Stone come about?
I always wanted to own my own business and I wanted to do a retail vs. a wholesale bakery, but a retail bakery in New York is not really a moneymaker, just because I don’t think New York can have a bread culture the way Europeans do, where they buy bread sometimes multiple times a day, but each day at the very least. So in order to open a retail location knowing that the revenue from bread sales is going to be a lot less than with a wholesale bakery, we decided to pair it with a restaurant. I’ve known [Chef] Chris Pizzulli for almost twenty years and he was looking to do his own thing too and we just decided it would be a great partnership. He’s my husband’s cousin, so we’ve traveled and spent holidays together, always talking about food and developed a relationship around food that continues.

When we lived in Italy, Chris came to visit and we cooked with his cousins in Puglia, we traveled around and ate all different kinds of food and realized we were on the same page when it came to hospitality, what’s important and not important both in managing people and food service. So that’s how the idea for the bakery and restaurant combined came about. The rest was just us answering questions and solving problems as they came up.

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You started selling bread before the restaurant came to be?
As soon as I got back from Italy, we basically had a business plan and started to pursue financing as well as looking for spaces, but that process ended up taking a over a year, so just to keep going and to keep me busy (Chris was still working at Blue Ribbon full-time). We started selling bread and pastries at markets. The first market we did was New Amsterdam Market, (may it rest in peace – for now), and then we got into the Brooklyn Flea Markets including Smorgasburg in Williamsburg.

At that time I was working with Hot Bread Kitchen (http://hotbreadkitchen.org/) helping with their production and Jessamyn Rodriguez was kind enough to let me use their kitchen overnight when they weren’t using it. So we did production for markets there and that wound up being a great way to fine-tune our recipes and our aesthetic and decide what products we were going to move forward with. At the same time, it kept us busy and got some press attention out there in anticipation of the opening.

Are there any products that failed or were not received as you had imagined?
I’d say any failures we had were the first iterations of our recipes. Our original croissant dough and baguette were different than the ones we opened Runner and Stone with. I’d say they were less good.

Then we changed the format of some things, like we used to make our brioche in a 2 kilo batard, that we would cut to order, something I’d seen in France and loved the idea of. People didn’t really get that. They still have trouble with our large format miche. The idea that you’re only getting a quarter of it seems weird to people. Little things like that.

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For the most part, it was a way for me to test things, and see what sold in the market. If something disappeared the following week, no one was crazed, not like when you’re picking up the same thing everyday Monday through Friday on your commute to work. So it was a good chance to find out what people were buying and not buying.

One of our biggest sellers has always been our white baguette, which I think is really great, but some of our whole grain products are certainly more interesting. I think people shy away from it because they are buying bread for sandwiches specifically, not to eat with dinner or for cheese, which would be where you could get a more flavorful whole grain bread. At the market, people are asking what bread keeps for a long time and what works well with sandwiches. The crustier breads are a tougher sell. I wish people ate bread differently in some respects. Fresh bread is a revelation that a lot of people don’t have. I also get that in New York people work 50-60 hour weeks and don’t have time to shop for bread every morning.

How do you go about sourcing your flour?
When I got back from Italy, I went to a seminar about the local grain economy that was emerging in the early 2000s and I met June Russell from Greenmarkets who was really spearheading the development of that. I was working with Hot Bread Kitchen who were and are still using mostly local grains, and they were one of the first bakeries in Greenmarkets to meet the new regulations for local grains, which I think was 10-15% of your flour has to be local. Some of the other bakers were grandfathered in and have since increased their usage to where the average is now more than 50% local grains among all the bakeries.

Aside from June, I also met Elizabeth Dyck from OGRIN (Organic Growers and Research and information Sharing Network), who is a plant scientist and does a lot of work with testing different wheats and I got involved with their process. Together we worked on taste tests with different wheats. The local flours are really flavorful, but it appealed to me from an environmental science aspect as well. The buckwheat in the bread makes it look really beautiful and it tastes different and it’s also just a nice challenge. I think there are thousands of breads we could make, but as part of the creative process, it’s interesting to start with a set of ingredients that know you have to work around. That helps focus me on recipe development. I start by knowing I want to use this flour.

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Did you explore bread at all during your time living in Italy?
The only work I did relating to bread was teaching for Slow Food Milan, who had organized a few classes on a farm outside Milan. That was really cool, just 30 people in a farm-house, hand mixing bread and we had one little convection oven that we’d process all the bread through, while everyone sat around and talked and drank wine. It was a particularly Italian experience.

In Italy I was working in a pasta shop for a year, which helped with the fresh pasta aspect at Runner & Stone. That was a wonderful experience with a group of people who were so open and willing to share. Then I worked on dairy farm that made it’s own cheese and spent a little bit of time with other cheese and sausage makers.

Outside of panettone, I didn’t find any bread that I particularly wanted to learn, but there’s no breaking into a panettone bakery. It just doesn’t happen. No one wants to share that with you.

Can you tell us about the process of developing pasta for Runner & Stone?
The bakery and kitchen develop the pastas together, or the kitchen will tell us what they need and we’ll work on different shapes and flavors, but then once it’s in production they help with it. We have a pasta extruder, so once we have the recipe, the kitchen handles that. The hand shaped pastas like the orecchiette, almost everyone who works here knows how to make them. The ravioli and sheeted pastas get done in the bakery.

How did you decide on Gowanus as the location?
Gowanus just kind of happened. We were looking everywhere, Lower East Side, East Village, Ditmas Park and all different neighborhoods of Brooklyn and Lower Manhattan. This was a neighborhood Chris knew, because he’s worked at Blue Ribbon Brooklyn, which is two blocks away and he knew that it was changing and more and more things were opening. We were bidding on the space across the street, which became The Pines while in negotiations for that space, we saw a For Sale sign on this building. We called the realtor, not with hopes of buying the building but to find out if it was purchased yet and who was going into the retail space. The realtor put us in touch with our current landlords. We had a phone conversation, which what we thought would take 10 minutes, but turned into an hour-long conversation about what we like and don’t like about social spaces and our ideas on food and hospitality and realized it was a perfect relationship.

Everyone told us we’d know the right space, we’d feel it in our gut, which I thought was BS, but I really felt as soon as we did a walk through with the owners it seemed like the only choice for us. Then the neighborhood started picking up and everything seemed to align.

The space has received much praise and attention in the design world. How did you approach the design of the space?
Our landlords are both architects, their firm is called Latent Productions  in TriBeca, but they bought it with plans to redevelop the whole building. So Chris and I didn’t really have any ideas on design, we just knew we needed a bakery and a kitchen and that we wanted it to be kind of casual, but nice, so the fact that the space came with designers was just an added bonus. Sal and Karla, our landlords and the principles of Latent, had some pretty strong ideas about what they wanted for the space and I think they enjoyed the challenge of incorporating two kitchens and the transformation of the space from a morning to an evening destination and how light plays into that. That was just serendipitous that they were so excited about this project and we were so excited about having someone that was so excited about the project. We just got lucky with that coming together.

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How did the famous building blocks that resemble flour sacks come about?
That was Karla’s idea. She had mentioned it to me early on in our conversation. We are thinking of doing this, could you get me a few flour bags? We were doing market production at the time so we brought her different sizes from different companies and she picked one that worked out well and they developed these blocks. Then they became a real central part of the design. Then we went on to continue collecting flour bags from my production, Hot Bread Kitchen’s production, Daniel’s commissary kitchen’s production. There was definitely a few months of me trekking all around Manhattan with a granny-cart full of empty flour bags.

Did you get to see how this went down?
They were building them in the basement so they had a set up where they’d do 40 at a time. There’s over a thousand blocks in use. The bag would fit into this framework and they’d line the bag with plastic so it wouldn’t stick to the concrete. Then the framework allowed them to bulge, but stay within their specifications so they could be used to build with. So they would set the mold and then a day or two later break down the framework and take out the bags and start over again. It was definitely exciting when the first ones came out because I didn’t really have a picture in my mind what it was going to be like. Until that first wall went up, it was a just a pile of weird looking blocks in the back yard.

Runner and Stone is getting ready to celebrate its second anniversary, which is certainly an achievement in New York’s difficult restaurant climate. What do you hope for your team to accomplish in the upcoming year?
What I would love to see for Runner & Stone in the upcoming year is continued growth without compromising our current standards for ingredient sourcing, traditional, slow production techniques, and the strong, personal relationships we’ve built and continue to build with our customers.

Gaku Shibata – Owner of Yopparai and Azasu, New York

Photos courtesy of Gaku Shibata and Evan Sung.

Gaku Shibata, along with his wife Christy, owns Yopparai and Azasu in New York’s Lower East Side.

Can you tell us a little about where you’re from and how you got involved in the food world?

I was born in Tokyo, but I left Japan when I was 20.  After highschool – I didn’t know what I wanted to do, and had little motivation so I did many part time jobs, but I knew I wanted to study abroad, especially in the U.S. – so I tried to save money for tuition, but after two years, it wasn’t enough.  My mother found out tuition in China was less than half of Japan or the U.S. – so I decided on that and went to Beijing Foreign Studies University.  I didn’t have any interest in China, but I tried to like.  After getting there I really tried to like it.

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What was your first impression?

Twenty years ago China was really different. I was the first Japanese student after Tianamen.  You know – June 1st – since then, China wasn’t expecting any foreign students and foreigners over all were much less than now, but I had a really great time.  I stayed four years and studied English and Chinese and International Relations, really I didn’t study anything, but got experience on how businesses could operate in China.  At that time I met my wife, Christy who was there on a short program from Pennsylvania and we wrote each other for 10 years and then got married.

After leaving China – I worked for several companies, but I learned I’m not good at working for somebody else, it’s kind of an embarrassing thing, but I can not fit in with Japanese conservative companies, so I would feel really uncomfortable and quit after two months and then I started to have lots of part time jobs, as a waiter or bartending at the American Club in Roppongi.  I starting thinking about starting a business.

First, I started a Chinese Mandarin school in Tokyo – at the time everyone wanted to start a business in China – so it was good timing.  Then I was importing hot dog pushcarts from New Jersey to Japan, and also importing Oscar Meyer hot dogs.  We sold a lot.  We had a pushcart at Tokyo Dome – a major baseball stadium, and horse racing and around Roppongi area.  We called it NY Hot Dog  – NYHD in Japanese it sounds like NYPD – and the uniform looked like New York City’s Police.  We did that for about 2 and half years, and then I worked importing other things, but at that time it was the bubble, so the economy was slowing down, so I started to cash out all my businesses. My wife was offered a job in New York, so we decided to come here.

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My English was not really good enough for business, so I thought my only chance was to do something related to a restaurant.  My wife is American and I took her everyplace in Tokyo and she really liked it, so I saw the potential to have authentic Japanese food in New York City.  We came a couple times for sightseeing, but I never felt satisfied as a Japanese with the Japanese food here.

I started working for a restaurant in Japan, Aburaya. My head chef at Yopparai, Junya Miura, it’s his father’s place.  A thirty  year old historic Izakaya in Roppongi.  I was a regular there and I told his father  – I’m moving to the U.S. and want to start a Japanese food business.  I was over 30 years old – so to be an apprentice at that age is kind of crazy.  He thought I was not serious, so he said “I don’t think so”, but the next day I shaved my head, same as my master.  I wanted to show him I was serious.  So we talked again, and I said,  “I really want to study.  I don’t need money”.  And then he gave me a chance.  It was a great experience. Working five days a week, he showed me how to use knives, ingredients, recipes and management also.  I really respect him and appreciate him a lot for that.

I told Junya – I’m going to start a business in New York sometime soon, so please get ready.  I have permission from your father to take you with me.  But when I got to New York it was really hard, no friends, no experience.  I have some English difficulty – so the first year was really hard.   It was 2006, and I started working as a prep cook at Japanese restaurants, working in the basement, coming in really early to chop vegetables and open oysters.  It was really tough, but because I had a dream and stuff, I was able to bear it.

At that time my wife got a job offer in LA – so we moved again.  I was doing a really low level job, but my wife is an executive, so it’s tough with man’s pride – but we spent that time focusing on her career.  That was the hardest time.  I didn’t like LA, the vibe is so different from New York.  I grew up in Tokyo – where the vibe is more similar.  LA is a nice place with great weather and people are nicer than New Yorkers, but you know, I never felt comfortable… but I stayed and worked in a sushi bar.  And then after two years, we had the chance to come back to New York.  And I got more obsessed about starting a business.  I’d been in the states for five years now and really needed something for myself, so I brought Junya over from Japan and we started to open Yopparai.

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In our opinion, Yopparai is one of the most beautiful spaces in New York.  Where did the design inspiration come from?

I didn’t want to have too much of a typical authentic interior, because this is New York.  The concept is authentic Japanese food, but the feel should be New York.  I had a friend who’s an architect, and he helped me visualize my idea.

I have a sake sommelier license, but I’m not into talking about sake and the process.  I’m more of a drinking sommelier.  I just like to drink and get drunk.  I shouldn’t say, I don’t care about the details of a sake but for me it depends more on the weather, who are you drinking with, what are you eating?  It’s really complicated, all these factors together.  Ultimately, I want to have a good time with sake at my place.  I’m not here to give a lecture.  If people want me to warm up daiginjo.. if they like it and are happy – I’m happy too.  I’m gonna tell them, I don’t recommend it, but if you really want to I’ll do it.  I’m easy going.  My concept at Yopparai is that I want every customer to have a smile and good buzz.

Judging from personal experience, it seems you’re very effective in that goal!  

Eating is the pleasure of life.  It’s not about what degree the sake is at.  I want to create a good condition to enjoy sake.

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How did you collect all the different and beautiful sake cups?

I spent 10 years building my own collection, each time I went back to Japan, so that’s every sake cup on the shelf.  When people order high-end sake – or when my favorite customers come in, I like to use my personal collection.

Do you have to approach Japanese food differently in NY?  

Having a restaurant is really hard, because what New York needs and what I want to provide is sometimes different.  I’ve spent six years in the US, I know what New Yorkers want, so we decided to make the food really authentic, we don’t want to use avocado or truffles, I know it’s good and I understand that, but at that time there was a boom of big box restaurants, Nobu, Megu, Buddakan, Tao – fusion restaurants, so I decided that I don’t want to chase anyone.  I don’t want to do ramen or sushi.  There’s enough in New York City.  There were great sake places in New York – Sakagura, Decibel.  I respect them, but I wanted to do something different.  I wanted to sell something made in Japan.

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Tell us about your new restaurant Azasu.

I liked the Lower East Side, I had a lot of ideas that I couldn’t do, because Yopparai is high end.  Lots of customers wanted shochu or beer and it’s hard to say no.  So I had the idea for a casual place.  I wanted younger customers and people to come in and enjoy ‘cup sake’ here, thinking in a few years, they can graduate to Yopparai.  I thought of it as a ‘Gateway Japanese Booze’ restaurant.  That’s the idea with everything from Japan – whiskey, beer, shochu.

These are two interesting restaurant names, if you speak Japanese, Yopparai meaning “Drunkard” and a Azasu, a kind of slangy way to say “Thanks very much much”  Where did the idea for these come from?  

I thought it needs to sound good, With ‘Yopparai’ – P is like Sapporo, Azasu the sound was most important.  It could be Spanish, Russian or African, it could be anything, but I wanted something catchy.

Can you tell us about this freezing drink machine.

We serve Hoppy – which is a non alcoholic hop drink [for mixed drinks].  We’re the first official restaurant, but Hoppy’s president gave me 3 conditions.  1 – Hoppy must be really cold.  2 – We have to freeze the shochu and 3 – We had to freeze the mug.  So we have this 24 degree shochu [on tap], and this is NY so I want something catchy – so I was looking on the web and found this magic froster – it’s from Spain, so this is the first one in NY.  People like it, some complain it’s too noisy, but most people like it.

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Any favorite places to Eat in New York?

I love Cagen, I respect the chef a lot.  The sushi and soba is amazing.  I can say it’s the best soba in New York.  It’s three bites, but really great.  That’s it for going out, because lately I’m really busy.

FEAST Portland 2014

This past September, Chubo had the great pleasure to take part in FEAST Portland, a phenomenal food festival celebrating the Pacific Northwest’s wealth of local craftsman, food products and culinary talent. Now in its third year, FEAST hosts a stellar line-up of internationally recognized chefs and culinary industry leaders to showcase the very best that the region has to offer. With the net proceeds going towards ending childhood hunger in Oregon and around the country through Partners for a Hunger-Free Oregon and Share Our Strength, it’s a ton of fun for a very worthy cause.

We came to take part in the festival’s Grand Tasting event, which hosted 15 local breweries, 33 wineries and 17 artisan food makers along with a main stage for demos by top culinary talent. For the Chubo Booth we brought along a wide selection of knives for guests to try out. We were super excited about the response from our visitors and made lots of new friends. The list of restaurants and wineries we’re dying to try around the country keeps growing!

On Friday our friend Chef Hugh Acheson from Empire State South, The National, Five and Ten and The Florence stopped by to demo some of our knives by breaking down a beautiful whole salmon from Foods in Season. Other highlights included his mango ‘porcupine’ and some nice fine julienne work.

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On Saturday we got to hang out with Portland’s own, Nodoguro. Chef Ryan Roadhouse who impressed everyone with his fierce Japanese knife skills by demoing katsuramuki on daikon with our usubas and also breaking down a king salmon using the Japanese method.

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We made the rounds at the festival events and parties and ate our share of crazy delicious things.

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At the USA Pears Night Market, it was great to see our hometown New York City represented well with Public Chef, Brad Farmerie’s Laksa and Anisa Chef Anita Lo’s grilled quail. The line for Departure Chef Gregory Gourdet’s carmelized pork looped all over the Night Market, but was well worth the wait. Lucky Peach Editor in Chief Chris Ying summed it up pretty well when he said, “I just want to stand here and eat pears”. They were truly exceptional.

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The festival wrapped up in a most perfect fashion with a Brunch Village hosted by Tillamook. Like most of the FEAST events, the country’s most buzzy dishes are all on offer in one location. Our weeklong craving for an Asian breakfast was delightfully satisfied with Alvin Cailan of LA’s Eggslut’s take on kimchi fried rice. The fact that we frequent their shop in New York didn’t stop us from bee-lining to Black Seed Bagel’s booth for the perfect Montreal style bagel (which we heard was baked all night in Roman Candle Baking Company’s oven) and of course we braved the monumental line for Aaron Franklin’s brisket taco.

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We spent the last day in Oregon driving through the Colombia River’s Gorge to Hood River, where we visited The Kiyokawa family’s orchard. We gladly paid the over charge fee on our suitcase filled with their tarragon pickled cherries and huckleberry jam and some last summer peaches for the road. We made a brief wine stop at Hood River Winery for some of their fantastic Pinot Noir. We drank in the view and picked up a bottle for our Tokyo Staff.

Lastly we had one of the most incredible and memorable dinners of the past year at OX. Greg and Gabi Denton and their fantastic team are putting out some incredibly delicious and soulful takes on Argentinian inspired Portland food. Their Fresh Clam Chowder with Smoked Marrow Bone and Jalapeno is one of the most inventive and delicious bowls of food you can imagine. It’s truly a stunner and we’d recommend a trip to Portland for that dish alone, not to mention every other fire grilled thing on the menu.

Thanks to the whole team at FEAST who worked tremendously hard to pull off an epic event. And to the nice people at Will Leather Goods for the gift bag which is getting a lot of use at the farmers market both in NYC and Tokyo. Hope to see you all next year!

Keith Kreeger – Founder, Keith Kreeger Studios

Keith Kreeger is a designer artist and maker whose work graces the tables of some of the countries best restaurants.  You can find more of his work here.

Tell us a little about where you grew up?

I grew up just outside of New York City in Westchester County. Most of my family is still in New York and I go back for work often. Even though I’m living in Texas, New York is still a big part of my life.

How did you first get interested in pottery?

I took my first class when I was in high school but it was at Skidmore College when I really became serious about working with clay. I took a class during a summer session after my sophomore year, which was a big switch from the previous summer when I had interned on Capitol Hill. About 1 week into that first clay session I was working in the studio 10 hours a day and couldn’t wait to get back in there. About halfway through that session I met Toshiko Takaezu who came to Skidmore every summer to make some work. Next thing I knew I was pulling an all-nighter with Toshiko, her apprentice and a couple of other students as Toshiko made a 6 foot tall thrown form. That level of effort and concentration was amazing to me. I spent the rest of my time in college figuring out how to spend the most amount of time in the studio.
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What is the most satisfying/challenging aspect of your work?

Working in the studio is obviously a process driven endeavor. Because of that it’s incredibly rewarding to see the work flow from start to finish on a daily basis. There aren’t too many jobs that allow a person to see the results of their effort every day. It’s very similar to cooking in that sense. In the studio there are steps to follow and you’re constantly reacting to the materials at each stage of the process. Each moment in each round of work becomes information and part of a library of ideas to pull from for future work. I absolutely love revisiting an idea or form with skills and techniques that have evolved through the years.

As for challenges, working in the studio is physical work and certain tasks can be arduous and some are even tedious…but each of those steps is necessary to get the quality of finished work that I’m after. I often joke that as soon as we solve a problem in the studio within a process we’ll add another step or complication. I think the biggest issue in the studio right now is editing down the collections…finding the pieces that work best and the designs that succeed as part of a larger conversation. We are constantly tweaking ideas and trying new things.

In 2009 you moved your studio from Cape Cod Massachusetts to Austin, Texas. What prompted the move and how has the relocation influenced your work?

I loved living on the Cape and I built my first studio there long before I was ready to take on that endeavor. That turned out to be a good thing because I learned a lot about the process and a lot about myself that way. The Cape was so busy for the 4 months a year but in those long winters I often found myself in the studio at odd hours trying as many different things as possible. In 2009 my wife and I decided to move because we were ready for a city again. It turned out to be a good time to move and it definitely brought new inspiration to my work. I have been greatly inspired by the creative community in Austin. It’s a vibrant city that pulls its energy from so many sources…artists, tech companies, musicians, start-ups and the food community are all intertwined and are helping the city grow. I like to say that even my friends with boring jobs are doing interesting things. Without rambling further…I think my work has become cleaner and more contemporary since moving to Austin.
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Your work is the canvas for some of the country’s top chefs. Can you tell us a little about the collaboration process when working with chefs?

It’s very exciting to be working with chefs and I love seeing how each of their ideas show up on my work. I’ve always loved working with other creative groups and this collaboration just makes so much sense since so much of my work is made to serve food. The use of handmade wares in restaurants is obviously a trend at this point. What I find most important is that we communicate and educate each other so we keep the quality as high as possible. Just because something is handmade doesn’t give it an inherent good that warrants use. If you look around the tabletop world you even have commercial dinnerware manufacturers coming out with “craft” collections. I’m very deliberate with each piece that leaves my studio and am always thinking of how my work will be used. It’s incredibly humbling for me to know that on a given night around the country that so many people are using my work.

My process of working with chefs has a few options. One version is simply a chef choosing our standard collections for their spaces. Another way to work together is to come up with custom wares for the space. It could be as simple as a variation of one of my collections, which is what we’re doing for Tim Maslow at Ribelle. I just finished working on a series of carafes for another client’s water service. We’re definitely not a fabricating studio, but I’ve been lucky to have gotten calls from chefs who have an idea and give me the creative freedom to run with their ideas. Basically, I can make an entire line of tableware for a space or my work can be used to highlight a part of the service or decor within the greater setting of the restaurant.

As Paul Qui gets ready to open his tasting room I’ve been working on an exclusive line for him. The components are very geometric and modular for kitchen to work with. Paul recently texted me a photo of an egg with a cracked shell asking if we could make it out of porcelain. That’s not something I normally would have tried but we made some porcelain eggs and I think it’s going to be a pretty special part of the experience in the tasting room.
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We really enjoyed following your recent trip to Japan on Instagram. Was it your first time there? Can you share what surprised/delighted you, culinarily and or related to Japanese ceramics?

My wife and I were lucky enough to travel to Japan last fall for my brother-in-law’s wedding. The wedding was beautiful, in a Shinto shrine in Tokyo. The history of ceramics in Japan is amazing and I would love to go back for a more pottery-focused trip. We traveled through Tokyo and Kyoto but didn’t make it to any of the outlying pottery villages. We had some amazing meals and since my sister-in-law is from Tokyo we had a great guide for information. The best piece of advice from her was that instead of looking for a restaurant, decide on the type of food you want and go to the neighborhood that specializes in that. Under the train tracks in a smoke filled alley in Ginza we had incredible Yakitori. We had some great meals as part of the wedding group. My wife was a little worried about food so ramen became our safe meal and was our go to food throughout the trip. We also had one splurge meal on our last night in Japan at Ryugin. It was an amazing experience from start to finish. And, as a pottery nerd I was blown away by the level of ceramics used in the restaurant. There was an abalone served with an abalone broth. That broth came in a little cup from a kiln in Shigaraki. I’m sure that the cup was worth at least $1500. The object and its importance to the experience was incredibly inspiring to see.

By far our favorite experience was also the “worst” food of the entire trip. We were in Kyoto and wanted the most un-touristy experience we could have. We kept peeking in restaurants looking for a lack of foreigners and we finally found one. We sat at the counter surrounded by 70 year old Japanese men and ordered the set menu. The 80 year old woman who owned the restaurant tried to communicate to us to make sure that’s what we wanted. It was a meal full of awkward smiles and lots of pointing to explain what everything was. The food was so purely old school Japanese, full of textures and flavors that our western palates couldn’t really handle. But, by the end of the evening one man had finally asked laughingly why we were eating there. Another diner was pouring us shochu from the bottle he brought with him. My wife had about 12 plates of unfinished food in front of her since they wouldn’t clear a dish until all of the food was gone. We took pictures with the owner, her son who helped in the kitchen and her daughter who was serving. They walked us out and we all smiled and laughed and waved. We were going to circle back to get a picture of the restaurant but they were still outside laughing and waving when we were halfway down the block. It was the exact experience we were looking for…welcomed into another culture through food and hospitality.
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What are your go to restaurant recommendations in Austin?

The restaurant scene in Austin has just blown up since 2009 and there are so many fantastic choices now. Start any evening with a cocktail at either Whisler’s or Weather Up.

Obviously, I’m going to suggest Qui so you can eat off my so many of my plates. Enjoy the ride that Paul and his crew take you on. One of my favorite restaurants in town is Justine’s Brasserie. It’s like walking into another world and I love what Chef Casey Wilcox is cooking. The pork chop is incredible and the potato gratin is insanely delicious. Make sure you order from his daily menu where he gets super creative and pulls from an array of influences that all work within the brasserie setting. It’s also a great late night choice as the kitchen serves until 1am. I never thought that I’d move to Austin find my favorite sushi restaurant but get to Uchi and enjoy as much as the menu as you can. You’re going to have to get tacos while you’re here and I love the Veracruz All Natural trailer…go for the migas breakfast tacos. Ramen Tatsu-Ya is a must as well. The tonkotsu broth is amazing and the marinated soft-boiled egg is as perfect as it gets.

In Boston get to Ribelle and check out what Tim Maslow is cooking…easily one of the best meals I have had all year. Also, Coppa is fantastic and the lobster rolls at Neptune Oyster are the absolute best I’ve ever had. In NYC I love Sushi Zen for straight up old school sushi. I have had a couple of really great meals at Toro recently. I want Pearl and Ash to open in Austin…great food at a great price and a wine list that satisfies everybody. I’m dreaming of their octopus dish right now. Twice a year I bring a new collection to the market at the Javits. As soon as I finish packing up the show I head directly to Esca for oysters, crudo and one of the daily pastas…it’s a great way to finish the trip…I’m a big fan of rituals.