caesar salad -...

8 Pro-Success

T he Caesar Salad is a classicitem in a restaurant that always sells,but is departing from its tradition.

Very few establishments still do the Caesar Saladtableside, and some of those often cut corners to reducethe preparation time. For example, it is common for thegarlic and anchovies to be made into a paste in the pres-ence of the guests, followed by the waiter pouring a kitchen-made emulsion of theegg yolks, mustard, and olive/vegetable oils into the bowl, avoiding having tomake the emulsion at the table.

We wish to present you with a technique of preparation fairly close to theoriginal and well adapted to the taste of the American clientele. This is one ofmany, for each establishment has its own "secret recipe." This preparationserves two, but quantities may be adjusted to suit the tastes of the clientele.

This preparation will be demonstrated on a Guéridon, but we have seenpeople working directly from a tray on a tray stand with a second tray holdingall the ingredients, as well as sometimes on a fixed table in the center of thedining room.

CAESAR SALAD

GFE

A

D

O

I

BP

H

L

K

N

J

M

In this preparation we will use: pepper mill (D), salt shaker (E), Balsamic vinegar (F, optional

and omitted from this recipe), olive oil (G), vegetable oil (H), peeled garlic (I), Romaine

lettuce wrapped in a moist napkin (A), wooden bowl (B), napkin and a couple of cold plates

(O), whole egg (L), anchovies (J), Dijon mustard (M), lemon (K), shredded Parmesan

cheese (N), and croutons (P).

Stab the clove of garlic with a fork

and split it a few times, making it

easier to mash against the bottom

of the bowl.

(Above, left to right): Once the garlic has been split a few times, mash it as fine as possible, still using the fork to break the fiber of the

garlic. Add the salt, it will help dissolve the fiber of the garlic so you can easily reduce it down to a cream. Once the garlic has really

melted, switch to using a spoon to smother the garlic around the inside of the bowl until it almost disappears.

52 4

1

3

CAESAR SALADfor TWO1 anchovy

1 garlic clove1 egg

½ tsp Dijon mustard½ lemon

1 Tbs shredded Parmesan cheese¾ cup croutons¼ cup olive oil

¼ cup vegetable oil¼ tsp salt

pinch of cracked pepperRomaine lettuce

Summer 2001 13

Steak Tartarby Bernard Martinage

Steak Tartar is probably one of the very few

dishes we will never again see served in an

American restaurant.

Steak Tartar is made from raw beef and raw

eggs—things with which you will get a big ticket

from the health department, or be pointed out as

an assassin or a Barbarian by vegetarians, take

your pick. I don’t really understand the animosity

because I don’t see the difference between eating

raw fish and raw beef. Even though I am certified

by the International Food

Safety Council

and am very

conscien-

tious

when it

comes to

food handling, I

still eat raw eggs and raw beef

and I have yet to become ill from these

ingredients. Maybe one day we will find a way to

sterilize meat and eggs without cooking, and

treats such as Steak Tartar will make a comeback

with American palates. Until then, you can still find

this item on many European menus.

The Classic Steak Tartar has a history that

some judge as “gross,” while others regard it as a

great demonstration of human adaptation to

needs (see next page.) There are a number of

different versions of the preparation, none of

which can be defined as the “correct one” since

the original preparation can no

longer be duplicated. Today,

different versions and

adjustments with

seasonings is a matter of

personal preference. There is

one thing that all Culinarians can

agree on—and that is the historical fact that

Steak Tartar was originally prepared with

horsemeat.

You could still find horsemeat Steak Tartar

served in Europe until the mid-1980’s. A Captain

usually prepared it tableside, exactly to your taste.

Europe still maintains horse butcher shops that

are different butchers from the ones dealing with

beef and other animal products. The reason origi-

nates with the health department, which considers

a horse butcher a specialty requiring special train-

ing. Horsemeat is richer meat than beef, and, as

such, develops toxins at a faster rate—thereby re-

quiring very special care. For this reason, regular

A

C

B

ED

O

NM

L

K

F G

JI

H

* Various recipes suggest filet, rump,round and other cuts, freshly chopped, scraped or

ground in the kitchen. The skilled presenter can do thistableside, with appropriate flair.

INGREDIENTS FOR STEAK TATARE

A) Pepper millB) Salt shakerC) Louisiana Crystal

Hot SauceD) Worcestershire sauceE) Vegetable oilF) Raw eggG) CapersH) Finely chopped parsley

I) Dijon mustardJ) Chopped shallotsK) KetchupL) Ground beef *M) Salad bowlN) Cold serving plateO) 5 teaspoons,

2 service spoons,and a dinner fork

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butchers are not allowed to handle both beef and

horsemeat in the same shop, and many countries

(including France) ban restaurants from doing this

too. Even though horse butchers have been mak-

ing a comeback in Europe (as consumers turn to a

substitute for beef in the wake of mad-cow dis-

ease), for the past 20-odd years restaurants that

still serve Steak Tartar have had to substitute beef

for horsemeat.

We are now proud to introduce to you a

contemporary version of the Steak Tartar, as it is

prepared in most establishments in Europe.

Various popular variations include onion instead

of shallots (or both), and slight variations in the

choice of spices and oils. Cayenne pepper can be

found in more “select” establishments as well as a

choice of oils offered to the guests.

Gastronomy of the Tatar Warriorhere existed in the Middle Ages one of the greatest empires of indefinite extentthroughout Asia and Eastern Europe, dominated by a group of tribes

collectively known as the Tatar. Great conquerors of the time, the Tatar had left theplains of Oural (now part of Russia) in the 5th century and wandered for severalhundred years to eventually settle in an area that today spreads from Hungary toMongolia.

The great power of the Tatar rested with their ability to move their great armyquickly and effectively. Just as with modern armies, one of the main concerns of anymilitia is how best to feed the soldiers. Failure to do so efficiently almost guaranteesdefeat. Throughout the centuries many techniques have been used. One suchtechnique is to have a herd of cattle follow the troops. This, however,requires great planning as to the seasons for army advancement, sothe herd would have enough grazing locations. Cattle are alsoslow and drastically handicap army progress, especially thecavalry, which was the main source of power of any army inthe Middle Ages.

Tatar warriors found the perfect solution to these problems.They simply exchanged the cattle for horses. This allowed them tomove their entire army and supplies very fast, to ride for days at atime, trading their tired horses for fresher ones. And when thesoldiers needed a meal, they simply ate the spare horses. As theTatar army was very often on the move or was not able to make fire(to do so would give away their position to the enemy,) they would cut long steaksfrom the slaughtered horse and tie them under their saddle right against the riddenhorse’s skin. The result? A piece of meat cooked by the salt of the ridden horse’s sweat,much like a lemon does for fish, tenderized by the constant pounding of the rider.There was no need to stop and no need for fire. The rider would simply rip off stringsof meat from under his saddle, rub it with whatever spice he was carrying in the smallpurses attached to his belt and eat it on the go.

Now that is Middle Age ingenuity at its gastronomic best!�

Bon Appetit!g

Summer 2001 15

Separate the yolk from the white. A ramekin or

glass cup filled halfway with water allows the egg to

be carried without breakage. Also, the ramekin can

be used to easily retrieve the yolk should it fall

during separation.

After dropping the yolk in the bowl, add a half-

teaspoon of Dijon mustard and pour the vegetable

oil slowly into the mixture as you whip it with the

fork. This is a cold emulsion, just like mayonnaise.

Add the shallots and crush them as you did the

capers. The use of onion instead of shallots, or

even both, is common.

As the capers yield a decent amount of juice, stir

the emulsion to keep it smooth and avoid breaking

the sauce.

Once the emulsion is smooth, add the capers,

separating them from the packing liquid using a

fork. Use a second fork to crush the capers, thus

extracting fresh juice for the emulsion.

Whip the parsley into the emulsion, saving some for

the presentation at the end. Parsley does not need

to be crushed.

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Worcestershire Sauce, hot sauce and salt and

pepper follow. Carefully control the amount of each

ingredient added, as a common result of too much

oil, along with other liquids, is enough sauce for four

instead of two.

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Ketchup is the most common addition whipped into

the emulsion, but there are many variations and/or

spice substitutions possible in this step.

Verify the seasoning level with the double-spoon

method; that is, pour sauce from the service spoon

into a teaspoon. To avoid contamination, ensure

that there is no spoon contact, then taste from the

teaspoon.

Continue whipping, keeping all ingredients and

spices together in a smooth emulsion. This action

will affect both the taste and the presentation.

Finally, add the meat and divide into small chunks,

using both forks.

Adjust the seasoning, if necessary, and taste with

the double-spoon method. The guest may also

taste at this time.

Summer 2001 17

Use the forks to scoop the meat gently around the

bowl, thus saving the fiber of the meat and avoiding

a custard texture.

Once the meat has been mixed correctly with the

sauce, bring it up to a side of the bowl and shape it

against the rim in preparation of the move to the

service plate.

To complete the presentation, sprinkle some parsley on the top of the meat. Additional presentations include

using the pepper mill to “spray” the bottom of the plate between the meat and the rim, and placing raw onion

rings dipped in parsley on top of the steak. Classically, the steak is served with either French fries (frittes), or

lettuce leaves, seasoned with vinaigrette. Most establishments that feature Steak Tartar on their menus

require that the guest choose the garnish; the timing of the preparation will vary with the garnish selected.

After placement on the plate (which can be tricky if there is too much sauce), create a round shape by lifting the

sides using the fork tines (center picture.) Finally, stripe the top of the meat after it has reached the desired

shape (right picture.) Shapes such as a heart on Valentine’s Day add creativity to this dish.

P R O - S U C C E S S

35

Oscar Salad & MayonnaiseTable s ide Clas s i c s

Mayonnaise Ingredients

T a b l e s i d e

Leaves of crisp lettuceOne green appleOne red appleCoarsely diced celery

One raw eggMustard (hot but not spicy)Vegetable oilSalt and pepper to taste

Mayonnaise (1/2 cup)One-half lemon Coarsely choppedwalnuts

David Swanson, CPTFDRP Recipe Executive

Summer is here, which is the perfect time toenjoy one of the simplest preparations there is:The Oscar Salad. Invented by Oscar, theMaître'D of the Waldorf Astoria Hotel in NewYork City in late 19th Century, it is light fare for

those hot summer days. As with all recipes, theOscar Salad has an original composition, whichwe are going to represent accurately, as well as anumbers of variations.

In the interest of brevity, this presentation is lim-ited to the original recipe and one extension ofthe preparation, which will include the makingof a mayonnaise. Mayonnaise is the sole season-ing ingredient of this preparation, and thus it isnice have to have a more succulent option thanmerely opening a jar of Hellmann's. Not thatHellmann's is bad, but there is about as muchdifference between Hellmann's mayonnaise and ahome-made mayonnaise, as there is betweenmargarine and butter.

As a side note, mayonnaise, with a few twists, isthe base other sauces use to accommodate andspice up their preparations. Keeping a jar inyour refrigerator is a great way to enhance otherdishes. So now on to the salad; enjoy!

Oscar Salad Ingredients

36

S U M M E R 2 0 0 4

Table s ide Clas s i c sOscar Salad & Mayonnaise

Apples should be washed thoroughly to strip them of their wax. Although there is some debatearound the proper type(s) of apple to use, we adopted a selection that is commonly found in theUnited States and also enhances the look of the salad by adding color: a Red Delicious and aGranny Smith. The Red Delicious brings some sweetness to the preparation while the bitternessof the Granny Smith "awakens" the tone of the salad. Stand the first apple on its stable side, hold-ing it up firmly with the fork (Figure 1). Cut one side off, as shown in Figure 2. Slide the sectionfar enough away from the center in order to cut only the flesh.

Figure 1 Figure 2

Repeat the operation with the other three sides and discard the apple's core onto a separate plate(Insert in Figure 3). Proceed to slice all four sides of the apple into one-half inch pieces (Figure3). Then turn the pieces perpendicular to your cutting angle and cut through all the sides again,keeping them all approximately the same width (Figure 4). This should result in small squares.

Figure 3 Figure 4

37


Using the side of your knife's blade, slide the entire cut side of the apple (Figure 5) and deposit itin a soup bowl. The soup bowl will make it easier later to mix in the mayonnaise, as shown inFigure 6. Repeat this operation with the three other sides and then proceed with the second applein the same manner (Figure 7). When complete, all chunks are placed in the soup bowl, Figure 8.

Figure 5 Figure 6 Figure 7 Figure 8

Place the one-half lemon into a clean napkin, with the face of the lemon flat at the center as inFigure 9. Wrap the lemon entirely, twisting the napkin around the lemon and squeezing the juiceover the apple chunks, seen in Figure 10. The lemon has two effects: 1) Apples will not turn brown(which is more critical if preparing the mayonnaise tableside, too) and 2) The sweetness that is inthe oil of the mayonnaise, is reduced.

Figure 9 Figure 10


38

S U M M E R 2 0 0 4

FlambéedOscar Salad & Mayonnaise

Mix the apples with the lemon. This task is done more effectively by sliding the fork and thespoon down the sides of the bowl, all the way to the center, lifting up the contents from the cen-ter of the bowl. Once this preparation is well mixed, add about one-half as much celery as youhave apples (Figure 12).

Figure 11 Figure 12

Scoop approximately one-half a cup of mayonnaise onto the preparation (Figure 13) and mix allingredients in the same manner as you mixed the apples with the lemon juice (Figure 14).

Figure 13 Figure 14


39

Scoop the preparation onto the lettuce that is waiting on the side (Figure 15). Adding more ingre-dients at this point (Figure 16) is up to your inspiration and mood, but to do so would be consid-ered a deviation from the classic recipe.

Figure 15 Figure 16

To finish the "classic" version, add the coarsely chopped walnuts, as shown in Figures 17 and 18.Many establishments add other ingredients, including dried cherries, sprinkled with parsley andsometimes even pineapple. I have also seen the mayonnaise mixed with different flavored oils, andone can only imagine how far you can go with that. When considering new flavors, however, it isimportant to limit the mix of additions as to allow appreciation of the staple ingredients.

Figure 17 Figure 18


40

S U M M E R 2 0 0 4


Mayonnaise belongs to the sauce category of "Emulsions" and more specifically "ColdEmulsions." As defined in The FDRP Professional Service Guide, an emulsion is "created whenfat is suspended in water." Furthermore, a Cold Emulsion is "done by slowly drizzling the fat intothe liquid while mixing rapidly, resulting in a rich, satiny texture. To stabilize an emulsion, add anemulsifier, such as mustard in vinaigrette or egg yolk in mayonnaise." So here is how to accom-plish that task. Break an egg open and separate the yolk from its white, as shown in Figure 1. Pourthe egg yolk into a mixing bowl (Figure 2) and add one-half a teaspoon of mustard (Figure 3).

Figure 1 Figure 2 Figure 3

Whip the egg yolk and mustard together and then SLOWLY drizzle in the vegetable oil. It isimportant to keep the 'boil' by continuing to mix while pouring. It is a good practice, especiallythe first few times you make mayonnaise, to pour only a couple of teaspoons of oil at a time andwhip the ingredients until the texture firms (Figure 5). Drizzle a bit more oil only after the firmtexture is assured, having absorbed all the oil. Until you get the hang of it, the process is: drizzle,whip, drizzle, and whip.

Figure 4 Figure 5

41


Continue to drizzle oil into the bowl, whipping consistently. You will notice that the more oil youadd the thicker the texture gets and the lighter the color becomes. This is due to the ratio changeof egg yolk, mustard and oil (Figure 6). Should you to pour too much oil into the mixture and losecontrol of the texture (the sign is that the oil separates from the other elements) just add one-halfa teaspoon of mustard on the inside wall of the bowl ABOVE the level of what has become liq-uid. Then whip in the mustard while gently reincorporating the liquid. In short, "re-emulsify" themix. As you progress, the mayonnaise will reach a consistency as perfect as any jar of store-boughtmayonnaise and a taste that can only be found in fresh, home-made mayonnaise (Figure 7).

Figure 6 Figure 7

Once you have made enough (you can store for future use), add salt and pepper to taste (seen inFigures 8 and 9). Note that, technically, white pepper should be used instead of black pepper(which we unfortunately did not use). This is so the seasoning is not visible in the preparation(black speckles in the white sauce). Purists are right in requiring that white pepper should be usedin white sauces, and black pepper in dark sauces.

Many sauces are made from this basic recipe with just enough variations to make them different.For example, the Sauce Rouille, which accompanies toast and cheese served with the classic fishsoup, is simply a mayonnaise made with olive oil, garlic and saffron. Some will argue that the sauceRouille includes mashed potatoes in the mix, but they are confusing this sauce with the Aioli sauce,which actually also calls for Dorade (or Daurade) fish liver. (You can make some money here witha few bets). Also, the Caesar Salad is a mayonnaise with garlic, anchovies and olive oil. I evenknew a restaurateur who was making his "secret" Caesar dressing straight from jars of home-mademayonnaise by simply adding cream and seasoning to it to give it the proper texture and taste. Hewas making it early on the morning before anybody arrived and sold it by the bottle to customersasked for it.

On a final note, adding a flavorful mayonnaise to your Oscar Salad will give it a unique zip andfreshness all your own.


10

W I N T E R 2 0 0 2

Cigar service has increased in popularity even though smoking laws have become more andmore restrictive, to the point that even privately owned establishments have been forced to decidewhat style and kind of comfort they wish to create in their dining rooms.

Preparing and lighting a customer’s cigar is a classic service to provide, and the proper techniqueis demonstrated here.

Figure 10-358 Figure 10-359

Cigars are kept in a special box, called a humidor. Although a few purists maintain that cigarboxes were traditionally and exclusively made from the roots of certain trees, of which the fiber densityis very tight and ideal for the protection of cigars, most humidors found on the market today contain anumber of different woods. The boxes are compartmentalized (seen in Figure 10-358) with adjustablewooden slates, to create different slot sizes. Humidors should be equipped with a humidifier, seen in thebottom of Figure 10-359 as the rectangular black box. A humidifier acts like a hard sponge, which is keptdamp in order to maintain the box’s humidity level and freshness. The cigar box should also be equippedwith a guage (pictured in Figure 10-359, top instrument,) which monitors the humidity level. The opti-mum range for cigars is between 72-78% humidity, although this can be altered to accommodate indi-vidual opinion or taste.

CigarService

11


Figure 10-360

The following types of utensils are common-ly used by a cigar smoker, seen in Figure 10-360:

A) Cigar Cutter, which is used to cut the closed endof the cigar.

B) Cigar Ashtray, which offers a long groove tosecurely hold the cigar.

C) Cigar Case for a smoker to travel with cigars. D)Cigar Matches that are made of scent-free wood

and are longer and thicker than average, to holda steady flame.


The first step is to prepare the cigar for lighting and includes the cutting of the cigar. Depending on howthe end of the cigar is designed, there are different options for cutting it. Which option is chosen candrastically alter the cigar’s taste. For example, the cigar shown in Figures 10-361 and 10-362, is com-monly referred to as Torpedo made by Monte Christo in Cuba, and has a point on one end. This cigarcan be cut with either a wide opening (as in Figure 10-361) or a narrow one, seen in Figure 10-362. Thewider the cut, the heavier and cooler the smoke. The narrower the cut, the lighter and hotter the smoke.The cut shown in Figure 10-363 will provide a medium smoke.

12

W I N T E R 2 0 0 2

Figure 10-364Figure 10-363

The second step is to choose and inspect the matches that will be used to light the cigar. If working in anenvironment that is free of drafts and has a minimum amount of traffic, a cigar can be lit with one or twomatches, depending on its size and freshness. A dry cigar will light very easily, while a fresh cigar will takeslightly longer. Matches are not always perfect, and, when lighting a guest’s cigar, it is recommended to pullout several extra matches to ensure that they are not split or defective (Figure 10-364.) This avoids strugglingfor a match with a half-lit cigar in hand.


Be very careful when striking the match. Do so in a safe direction. After igniting the match let it burn a fewseconds away from the table, to minimize the smell of sulfur at the table. Hold the cigar with three fingers anda thumb with light, but secure, pressure, demonstrated in Figure 10-365). Holding the cigar in this mannerpermits easy rotation of the cigar. The flame should be held about one inch below the end of the cigar.

Classically, a cigar should never be in direct contact with the flame. This is to avoid cross-contamination ofsmells of the match wood or whatever gas is used to create the flame with the cigar. Purists consider lighting acigar with a lighter to be inappropriate. There are individuals who can taste the difference between a cigar thatwas lit traditionally, and one that was not. Traditionally, the cigar should be lit with the heat from the flameonly. The inappropriate way to light is shown in Figure 10-366.




Once the correct flame distance is maintained under the cigar, begin rotating the cigar slowly in order tolight a ring around the cigar’s head. Once there is a perfect ring (Figure 10-367) extinguish the matchand wave the cigar in a slow and constant movement (Figure 10-368.)

Waving the cigar makes the ring get tighter and tighter until it finally reaches the center of the cigar (Figure10-369.) This takes from one to two minutes, depending on the age and freshness of the cigar. Present theperfectly lit cigar to the guest laterally, holding it as demonstrated in Figure 10-370.

The reason for holding a cigar with three fingers is because two fingers do not provide for adequate control offinger pressure, and it is easy to squeeze the cigar too hard. When using three fingers, the third one relegatesthe position and pressure of the other two.

The reason why this method of lighting a cigar is preferable to dragging on it, is that in order to light a cigar,a person usually draws hard on the cigar to light it quickly. This can actually end up catching the end of thecigar on fire for a short time. The effect on the cigar is that a rush of smoke through the body of the cigar driesit out instantly. The humidity so meticulously maintained via the humidor is lost in one or two drags. It iscommon that people who light their cigar in this manner (high and hot) almost never smoke them past thetwo thirds mark. A well-lit cigar can be smoked comfortably until its very tip.

Never relight a cigar after it has been extinguished and gone cold. The smoke that had accumulated in theleaves turns to oil. This oil, should it be relit, will not turn back into smoke, but simply burn and taste bitter.Thus, to smoke half a cigar and cut the other half to save it for later is like drinking half a glass of beer left onthe counter from last night’s party.

Along the same lines, to dip a cigar into a brandy or other alcohol is like pouring peach schnapps into a glassof champagne, or ice cubes in a glass of opus one--it destroys all the finesse of the original ingredient.

13


17

There are two main techniques to carve a rack of lamb: the Classic Cutand the Medallion Cut. The Classic Cut is very simple and can be used regardlessof the preparation and presentation of the rack, that is: roasted, breaded orwrapped in a crust. A more modern way, the Medallion Cut, is more elaborateand presents a final cut in the shape of medallions. This cut, however, cannotbe done if the rack is roasted in a pastry dough, as is the case with theWellington preparation, which was adapted from the Filet of Beef Wellington tothe rack of lamb. This last style of carving is considered by many as a violationof the tradition. Due to many customer’s concern for their health however, it haswidely spread across restaurants for the simple reason that it presents the guestswith a rack of lamb almost entirely trimed of fat. Even though culinarians con-sider fat the butter of the meat, it still is a nice option to offer guests.

Rack of LambCarving

As most items that are carved tableside, presentation is first made to the guests and thenmoved to either a gueridon or side table where the work is performed. Although a num-ber of establishments serve the entire “Train” of chops (eight chops), the technique ofcarving is almost identical whether there are four or eight chops.

Figure 1 Figure 2

Classic Cut

18

S U M M E R 2 0 0 2

Rack of Lamb

Lay the rack on its side, the bones against the board. Pick the rack with the fork inbetween the two first chops, stabilizing it in the manner shown in Figure 3. Attentionmust be paid during the handling of the rack to avoid scratching or scraping the breadingor marinade (if any). This preserves the original feel and texture of the crust. Roll therack until the bones are pointing upward and insert the blade in between the first and sec-ond chops furthest way from the fork, as in Figure 4. To try carving from the closest chopto the fork would oblige the server to re-pick and re-stabilize the rack between each slice.

Figure 3 Figure 4

Slide the blade completely through the meat, as in Figure 5, keeping the number of knifestrokes to a minimum (one or two maximum). This helps keep the appearance of themeat neat. Move the separated chop slightly to the side and cut the next one in the samemanner. The chops should be kept in order on the board until plating.

Figure 5 Figure 6

19


When separating the last two chops, slide the blade against the side of the fork and pro-ceed to cut through the meat, as demonstrated in Figure 7. Place the individual chops ona serving plate. When handling the chops it is not appropriate to pick the meat with afork. Handle the chops by either using the Pince technique, as in Figure 2, or lift each chopwith the flat part of the blade, holding it with the round part of the fork. As the serviceof the sauce and the garnsih is concerned, please report to the end of the followingmethod’s presentation.

Figure 7 Figure 8

Now here is the “low fat”carving option of the rack of lamb.Adjust the rack on the board so the bones are against it. Pick the rack with the fork closeto the bones, to stabilize it. Adjust the blade of the knife almost flat against the top ofthe rack, as shown in Figure 9. Feel the meat with the blade in order to determine wherethe layer of fat is on the outside of the loin and insert the blade under the layer of fat, asshown in Figure 10.

Figure 9 Figure 10

Medallion Cut

Rack of Lamb

20

S U M M E R 2 0 0 2

Rack of Lamb

Remove the layer of fat by separating it from the loin, slicing through the membrane thatholds the two together (Figure 11). Move the layer away on the carving board and thenremove any other fat that would have stuck to the loin. This step must be performed verygently since it does not take much to remove meat off the loin, which in lamb is alreadyfairly small.

Figure 11 Figure 12

Stand the rack upright and place the blade against the bones, as in Figure 13, adjusting theblade flush against the bones. Proceed to cut through the meat, following the bones asclosely as possible. This separates the loin from the bones.

Figure 13 Figure 14

Move the bones aside. Hold the loin down using thecurved part of the fork (without picking the meat) andslice the loin smoothly, as in Figure 17, preferably withonly one stroke of the blade for each medallion. Theentire loin can be cut in multiple medallions dependingon its length (Figure 18). To end, present the medallionson a plate as shown in Figure 19, with the bones groupedtogether above the medallions. The sauce (if any) ispoured around the plates but never on the meat itself as itis the custom for white meat. The garnish can be served on the plate (above the meat)or on a separate plate, bouquetiere style. It is also possible, with this specific carving style,to present the bones on a separate plate to not crowd the presentation, or even to simplyask the guests if they desire to be presented with them at all.

Move the loin aside, and lay the bones down. Separate each bone as shown in Figures 15and 16. There are two main ways the bones can be separated, as described below. SomeCaptains only partially separate the bones from one another in order to make a smootherpresentation leaving the bones standing against the garnish; while some Captains separatethe bones entirely to allow the guest to handle them individually. (Figure 16).


21

Figure 15 Figure 16

Figure 17 Figure 18

Figure 19

Lobster tableside? Now that’s a tough one! At least it seems like it is—but in actuality, lobster is easier todo than a Pressed Duck, which will be presented in the fall.

Preparing lobster tableside, however, is definitely time consuming. There are a number of things to under-stand about the concept of preparing this dish:

The lobster must have been cooked “A la Nage” (swimming) which means poached in a broth withleeks, onion, carrots and seasoning. It can also be boiled or steamed, or any other way that willleave the lobster in one piece and presentable on a carving board.

The shell must have been left intact, for a cracked shell is harder to work on as it does not protectthe meat during the operation.

It requires the use of either cloches (domes meant to cover the plate and keep the food warm withreflecting heat) or a warmer that keeps the plates warm as well as the food placed on them.

The maximum number of lobsters to do tableside at a time is two. This is due to the elongatedpreparation time that will impact the texture of the first lobster’s meat the longer it waits prior tobeing served. The customary way to serve three or more lobsters for the same table is to pre-pare one tableside for the guests to view while the other dishes are prepared in the kitchen. Thisallows all the lobsters to be served hot simultaneously.

Because this preparation includes many different moves and details, you will find that it has taken us twelvepages to fully present the sequence. Please do not let this discourage you from trying it! Get yourself a lob-ster from the store, boil it and give it a try. It is a rewarding presentation, a nice showoff technique, andworth two bonus points for those who decide to make it for their service practical examination.

9


T a b l e s i d e L o b s t e r

Present the lobster in its shell to the guest, seen in Figure 1. Pick up the lobster with a fork directly under thebody shell, and move it to the cutting board (Figure 2).

Figure 1 Figure 2

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S P R I N G 2 0 0 2

Insert the fork and the spoon between the joint of the claw and the body, as demonstrated in Figure 3. Applydownward pressure on the joint by pressing the fork and the spoon against each other to separate the claw fromthe body, as in Figure 4.

Figure 3 Figure 4

Repeat the same operation to separate the other claw from the body (Figure 5). Place both claws back on theplatter (Figure 6) to keep them warm.

Figure 5 Figure 6

Pick the fans of the tail with the fork (Figure 7) and extend the tail against the board, as shown in Figure 8.

Figure 7 Figure 8

11


Place the point of the chef's knife at the center of the head (Figure 9) and in one quick move push the knifestraight down until it hits the board (Figure 10).

Figure 9 Figure 10

Cut the lobster down the center completely to the tail (Figure 11). Split the tail wide apart to ensure that the cutis clean, as seen in Figure 12.

Figure 11 Figure 12

Extend the cut upward to separate the head (Figure 13) and then split the lobster into two halves (Figure 14).

Figure 13 Figure 14

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Insert the tip of the knife in between the tail meat and the shell (Figure 15), and pick the meat up with the fork.Pull the tail meat out of its shell, as in Figure 16.

Figure 15 Figure 16

Place the tail meat half onto the serving plate (Figure 17) and repeat the same procedure for the second half ofthe tail (Figure 18).

Figure 17 Figure 18

Cover the tails (Figure 19) and proceed to cut the empty tail shells off of the body, shown in Figure 20. Discardthe shells in a separate plate.

Figure 19 Figure 20


Remove the outside shell from the rest of the body (both sides) as in Figure 21 and Figure 22.

Figure 21 Figure 22

Scrape the lungs off the inside shell that contains the legs (Figure 23) and discard to one side. Cut in-betweeneach leg to separate them (Figure 24).

Figure 23 Figure 24

After all the legs are separated, place them on the plate as in Figure 25. Using the plate containing the shell dis-posed of earlier, clear the cutting board from excess pieces of shell and carving scrapes (Figure 26).

Continued on page 26

Figure 25 Figure 26

13

Place the first claw back on the cutting board. Stab it with the fork directly into the soft membrane that makes upthe crease between the claw and the arm, seen in Figure 27. Place the spoon against the fork to use it as a leverto crack the joint open (Figure 28).

Figure 27 Figure 28

Grab the claw using the Pince technique and place it in a napkin (Figure 29). Using the Pince, open the claw,demonstrated in Figure 30.

Figure 29 Figure 30

Continue opening the claw until it snaps, as seen in Figure 31. This can require a fair amount of hand strength,but can also be easily done by leaning the open part of the claw against the board and gently pushing it open. Ifdone properly and the lobster is freshly cooked, the claw should remain attached to the main part of the claw.Place the open side of the claw against the board, as shown in Figure 32, and put the back side of the knife's bladeagainst the claw.

Figure 31 Figure 32

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S P R I N G 2 0 0 2(Continued from page 13)

Figure 33 Figure 34

Once the blade is embedded in the claw, tilt the blade gently from side to side. This will crack the shell open(Figure 35). Separate the two halves of the claw shell, as shown in Figure 36.

Figure 35 Figure 36

Pull the claw meat out of its shell, as in Figure 37. Apply the same techniques to the other claw, and then put bothclaws on the plate where the half tails are located, as demonstrated in Figure 38. Notice that the plate used in thatpicture is actually too small for this size lobster. The claws extend past the inside rim of the plate, which is tech-nically not acceptable to serve to the guest.

Figure 37 Figure 38

27


With a strong stroke, strike the shell of the claw (Figure 33) hard enough so the blade penetrates the shell ¼ to½ of its total height (Figure 34). To better prepare for this movement, it is a good idea to rehearse the move byraising the blade and putting it back on the shell a few times. It is important to hit the shell at the right place withthe right strength because hitting the shell a few times will crush it and reduce the chances of creating a clean cut.A clean cut is very desirable to crack open the two halves.

Use the main shell to cover the top of the legs (shown in Figure 39) and cover the plate or keep it on a warmer.The last meat to shell is contained in the claw arms. Take the first arm and stab it at the first joint with a fork andlock the spoon against it (as seen in Figure 40).

Figure 39 Figure 40

Snap the joint open (Figure 41). Grab the shorter, rounder segment of the two and lock hold it with a napkin, asshown in Figure 42.

Figure 41 Figure 42

Place the segment's flattest side against the board and hold it down with the napkin. Strike it with the backof the blade, in order to crack the shell (Figure 43). Extract the meat from this segment using the tip theblade (Figure 44).

Figure 43 Figure 44

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S P R I N G 2 0 0 2


29

Place the other segment of the first arm (the longer, flatter one) that has the more tender shell and hold it downwith the fork. Slice through the shell with the knife to open it and expose the meat (Figure 45). Using the tip andside of the blade, pull out the joint meat, as in Figure 46.

Figure 45 Figure 46

Place the meat from the claw arms in between the claws, as shown in Figure 47. Lobster prepared tableside is gen-erally done so for two people. The presentation then is divided into two plates. Because of the time that it takesto break down the lobster entirely, good equipment is required to maintain the meat's temperature. In mostinstances, plate warmers are used as well as covers for the plates.

Figure 47 Figure 48

AB

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KLC

MM aa dd aa gg aa ss cc aa rrIt is one of my favorite table-side preparation! It is really good, really easy, reallyspectacular, and even though it takes a little more time to make than it does cer-tain other flambees, I personally believe it is worth the time.

As most of you have already noticed, when we presente table side recipes, weusually recomend to offer them for a minimum of two persons, to enhance theprofitability of the labor. As much as the Shrimp Madagascar justifies suh state-gy as well, in every intances I offered this dish on a menu, I listed it for one person.However It is a fact that most parties would order more than one at a time. One rea-son I justifies to do so is that the Shrimp Madagascar generally is listed with the appe-tizers (even though it could easily be considered as a main course if served with a garnish) andfor an establishment that prides itself in serving table-side, considering how shrimp generally sells well, it starts the dining-room-show earlier in the service which, definitely influences more guests in ordering table side items as they walk in a din-ing room already “en fete” with flambees everywhere.

As the origin of the recipe is concerned, I can share with you where I learned it, as well as where the one who taught it tome learned it from, but it will not go any further than that--sorry. I searched a few books to find something aboutMadagascar which we all know is a big island (about the size of the state of California) located on the south-east coast ofAfrica, facing the coast of Mozanbique; but I did not find anything conclusive relating to Shrimp Madagascar. The recipewas introduced to me by my Chef Paul Miro when we both were running the Renaissance restaurant in New York. Paulis a graduate from The Culinary Insitute of America, where I found out that it was taught for about twenty years by aLecturing Maitre D’ named Hans Holtman, originally from Germany. Here is the recipe as it was introduced to me and towhich I have not changed a thing.

Ingerdients: (A) 6 raw fresh shrimp (size and number depends onavail-ability and portioning). (B) Olive oil (preferably extra virgin) (C) finelychopped shallots (D) finely choped parsley (E) Capers (F) Heavy cream(G) Pepper mill filled with black pepper (H) Sal shaker (the recipe can beimproved by using Fleur de Sel de Guerande) (I) Ricard which is basical-ly an anis liquor. Other anis liquor can be subtituted to Ricard such asPernod, or Pastis, or Ouzo, as long as they match in flavor and alcohol(J) A B&B plate with apair of Service Flatware (K) a set of tea spoon forhandling the different ingredients, which allow not to mix the ingredientsfrom one cup to the next and to use them for more than one preparation(L) a serving plate, of course warm and preferably brought out of thekitchen at the last minutes before serving.

Something I realized we did not mention inthe previous recipe implying the use of apan, is that the pan should be wipped infront of the guest before anything else isdone (Picture 2). Of course all the ingredi-ents and utensils should be in place (butfor the warm plate used to present thedish) on the table or the gueridon beforeapproaching the table or begining thepreparation

1 2

First of all pour some olive oil into the pan (Picture 3). The amount of oil used should be minimum for that if too much fatis used it will come floating on the top as the cream reduces. The principle of cooking the shrimp is called “Sautéed” or“Sautéing”, for which we would like to give you the definition that is presented in the Federation’s certification manual: “Thismethod cooks food rapidly in a small amount of fat over high heat. The item must be naturally tender and cut into a rela-tively small size. The quick browning leaves a “fond” on the bottomof the pan which is typically made into a sauce”. Plainand simple. So the next step is to turn the flame on high-heat under the pan with the oil (Picture 3).

It is critical to wait until the pan and the oil are very hot (but not to the burning point) before throwing the shrimp in the pan(Picture 5). That is the essence of Sautéing. One way to help evaluate the temparature of the oil is to put in the oil onecaper. And as you see it starts to generate bubble, you wait another minute or two and then can proceed with the shrimp.Another method that is used to evaluate the temparature of the oil, but somewhat dangerous, is to put a drop of water inthe oil; and once the water starts to make loud fire-cracker noise and splash hard, then the oil is hot enough. But obvi-ously it only is an old kitchen practice, not safe and not recomended. Once all the shrimp are in the pan, lift them up gen-tly one at a time, and move them around the pan to ensure that they do not stick to the bottom (Picture 6).

Once you ensured that the shrimp did not stick to the bottom of the pan, add 2/3rd of a teaspoon of caper to the pan(Picture 7). It is preferable to avoid the cappers’ juice from going into the preparation. You can do so by slightly squizingthe capers up-side-down in the spoon with the help of the service fork. Next, add a full teaspoon of parsley into the pan(Picture 8).

3 4

5 6

7 8

Add a full teaspoon of shallots (Picture 9) and be attentive to the temperature of the oil. it should be hot but not to the pointthat it burns or fry the shallots. If you notice that the oil is too hot, turn it down slightly. Stir the ingredients in the pan inorder to spread their flavor around the pan and all over the shrimp. At that point the shrimp, which were put in the panalmost a couple of minutes earlier, should be about ready. Lift them up to check the color which should be a bright orangegoing a third into the thichkeness of the shrimp. If so flip the shrimp over as shown on picture 10.

Always controling the heat so it does not burn the shallots, keep stiring the shrimp (Picture 11) until the side that is againstthe pan has reached a bright orange color and is cooked a third into the thickness of the shrimp. Once done, open thebottle of Ricard and move the pan off the fire, well away from the flame (Picture 12).

Pour about a ounce of Ricard into the pan (amount should be adjusted to taste) as shown on figure 13 and let some of thealcohol steam off to moderate the size of the flame. The fact is that Ricard is fairly high in alcohol content, but burnextremely well, of rich and thick flames due to the sugar content, so it is to be handle very carrefully. Once the steam hasreduce enough, return the pan to the fire, tilting it in such a way that the flame ignites the steam. Let the alcohol burn(Picture 14) until the flame is extinguishible by stiring the ingredients in the pan.

9 10

11 12

13 14

Once the flame is off, pour about three ounces of heavy cream into the pan (Picture 15) and then reduce the flame to medi-um (Picture 16) in order to finish cook the shrimp through slowly.

Slowly keep stiring the cream and the shrimp, making sure that a crust does not form on the bottom of the pan (Picture17). Regularly check on the texture of the cream by scooping it off the pan and covering the shrimp with it (Picture 18). Itshould reach a level of thickness that is such that when covering the shrimp with it the color of the shrimp should desa-pear under the sauce.

15 16

17 18

Once the sauce has reached the texture described before, add pepper (Picture 19) and then salt (Picture 20). Verify theseasoning level with the double spoon method; that is, pour sauce from the service spoon into a teaspoon. To avoid con-tamination, ensure that there is no spoon contact (Picture 21), then taste from the teaspoon (Picture 22).

19 20

21

22

Only after all the shrimp are in the plate, scoop the sauce on the top of it (Picture 25); and finaly spread some parsley onthe top of the shrimp (Picture 26). The parsley added at the end bring some color to the plate and also add a light smellof fresh parsley that pairs very well with the scent of the anis.

25 26

Once the seasoning is properly adjusted, move the pan off the fire and turn the flame off (Picture 19). Then gently scoopthe shrimp out of the pan into the plate (Picture 24), placing them in a circle or any desired presentation. The plate shouldbe warm in order avoid the preparation to cool down too fast once removed from its heat source. If the dish was to beserved as a main course, the plate would them come out of the kitchen with the garnish already on it, to guarantee freshand hot service of both, the shrimp and the garnish.

23 24

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Escargot Paul MiroFlambéed

T a b l e s i d e

Ingredients: Anis liquor (Ricard, Ouzo or any similar liquor)Heavy cream reduced by half with herbs of

your likingProfiterole stuffed with goat cheese

Large Escargot (canned)Olive oilCondiments

David Swanson, CPTFDRP Recipe Executive

Many a restaurateur has struggled with naming a“snails” dish on the menu, as some customers findthat naming it with its English equivalent is slightly unappealing. We, too, debated whether totitle this technical article "Snails Paul Miro" or"Escargot Paul Miro." The chef, Paul Miro, whocreated this signature dish is American, but therestaurant where he cooked up this delicacyserved French cuisine. Therefore, the dish waslisted on his menu as "Escargot" and we thought it appropriate to keep the same name.

Quick and simple to prepare, Escargot Paul Mirostarts by lightly sautéing snails in olive oil andflambéing them with Anis liquor. These deliciousmorsels are then served in a reduced herb creamsauce with a goat cheese profiterole. Chef Miro'sescargot preparation was frequently customers'favorite and was even occasionally prepared tableside.

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FlambéedEscargot Paul Miro

Start with a cold pan. Pour some olive oil into the pan, as shown in Figure 1, and turn theRéchaud "On" medium. As a best practice, always keep the pan off the fire when adjusting the flame to ensure that either ignition or extinction is successful.

Figure 1 Figure 2

Gently place the snails into the pan and let the oil temperature rise slowly. Adjust theflame, if necessary, to maintain the oil at a low and gentle bubble (Figure 4). Move thesnails tenderly so that they do not stick to the bottom of the pan. Cook the snails evenlyon all sides until their texture turns from somewhat rubbery to a softer consistency.

Figure 3 Figure 4

13


One the snails have reached the desired state, move them softly to the 6 o'clock positionand pull the pan halfway off the fire. This allows you to heat the pan's tip, as shown inFigure 5. Once the tip is hot enough that you can feel the heat radiating as you wave theback of your hand above it, move the pan completely off the flame, pour a one-half ounceof Anis liquor onto the hot spot and let it steam for a few seconds (Figure 6).

Figure 5 Figure 6

Once the steam reduces by one-half, return the pan to the fire and ignite the steam by tilting the pan towards the flame, as seen in Figure 7. Once lit, rest the entire pan cen-tered over the fire and let the burning liquor spread over the snails (Figure 8).

Figure 7 Figure 8


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FlambéedEscargot Paul Miro

Let the flame extinguish itself naturally. Once out, lightly stir the snails into the mixturecreated from the liquor and cooking oil (Figure 9). Pour one-half cup of the herb-reducedcream onto the preparation (Figure 10).

Figure 9 Figure 10

Stir all the ingredients smoothly together, as shown in Figure 11. Once mixed, bring thetemperature of the entire preparation up to a low boil (Figure 12). This helps all the ingredients blend together well.

Note: At this point the snails are very fragile and should be handled carefully so as to notbreak them.

Figure 11 Figure 12

15


The dish now needs to reduce. If necessary, lower the flame to low (Figure 13) in orderto reduce the preparation without burning it. As the sauce thickens, test its textureregularly. This can be done by smothering the back of the serving spoon with the sauceand then scratching it with the fork, as in Figure 14. The ideal texture is achieved whenthe sauce is thick enough to leave a clear mark when scratched with the side of the fork,as demonstrated in Figure 14.

Figure 13 Figure 14

Turn the Réchaud 'Off' (Figure 15) and season the preparation with salt and pepper. Werecommend the use of a peppermill set on the 'fine' setting to dispense fresh cracked pepper.



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Escargot Paul Miro

Once the seasoning is correct, tenderlyscoop the snails onto the serving platessurrounding each profiterole (Figure 20).It is preferable that the plates with theprofiteroles are brought in from thekitchen at the last minute. This practiceensures they stay warm and will not coolthe preparation. Lastly, scoop the escargot sauce onto the escargots, asshown in Figure 21, and serve.Bon appetit!

Figure 20 Figure 21

Figure 22

Flambéed

Taste the preparation by using the double-spoon method. This method consists of scoop-ing a small amount of sauce using the service spoon and placing the sauce into a tastingspoon (Figure 18). Tasting in this manner allows you to test the seasoning without contaminating the serving spoon. Great attention should be paid so that both spoonsnever directly contact each other. If this should happen, simply replace both spoons andcontinue. If the preparation needs additional seasoning, perform the adjustment and re-taste, using the same method.

Figure 18 Figure 19

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Just as other recipes allow for variations, thisrecipe can be prepared either from working withcalf or pork kidneys. The preparation can also besimplified along the same lines as the Au PoivreFilet by suppressing the deglazing with Port wineand going directly from flambéing with theArmagnac to the addition of the cream anddemiglace.

But no matter how this dish is finished, the recipemust start with raw kidneys. Pre-cooking themwould most likely result in over-cooking them,rendering the kidneys rubbery.

The following presentation uses pork kidneys.

Armagnac KidneyFlambéed

T a b l e s i d e

Ingredients: Demi glace (or a heavy reduction of veal stock)Kidney (portion depending on size)SaltBlack pepper (preferably from a pepper mill)

Port wineArmagnacButter (unsalted)Heavy cream

17


FlambéedArmagnac Kidney

As with all tableside that involves the use of a pan, the first and systematic thing to do isto wipe the pan with a fresh napkin. Then move the pan off the fire and turn the Réchaudon, as shown in Figure 1. Scoop one-half a soup spoon of butter into the pan (Figure 2insert). Increase the quantity of butter to one full spoon for two (2) orders and one-and-a-half maximum for three or four orders. Spread the butter to melt, as in Figure 2.

Figure 1 Figure 2

Once the butter starts to bubble, gently place the kidneys in the pan smooth side up so asnot to splash the butter over the rim (Figure 3). Gently move the meat in a circular man-ner to ensure that there is a layer of butter between the meat and the bottom of the pan.Particular attention should be paid not to pick the meat with the fork to avoid losing itsblood. Move the pan off the fire and reduce the flame by one-third. The intent is to slowcook so that the temperature rises at the meat’s center without over cooking the outerlayer, thus hardening the meat. Kidneys, particularly pork kidneys, tend to get chewy whenovercooked.

Figure 3 Figure 4

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Season the meat with salt and pepper as shown in Figure 5. One might wonder why themeat is not seasoned in the kitchen prior being sent out to the dining room. This is toavoid allowing the salt to melt into the meat. The ideal is to have the salt remain on as theouter crust. Once the kidneys are seasoned on the top, flip them over (Figure 6). Again,attention should be paid not to pick the meat with the fork.

Figure 5 Figure 6

Season this side of the kidneys and them let them cook. Ensure that they do not stick tothe bottom of the pan. The cooking time is approximately two to three minutes on eachside, just enough to give the kidney a light brown color.

Figure 7 Figure 8



19

Armagnac Kidney

Once the meat has reached the desired light brown color, move the pan off the fire andpour one (1) ounce of Armagnac into the pan (Figure 9). Although in most flambéedrecipes we generally need to let the alcohol steam off before returning the pan to the fire,it is unlikely in this recipe that there will be much steam, since the kidneys are cooked overmedium heat. Therefore, go ahead and return the pan to the fire at once, tilting it slightlyso the evaporation from the alcohol comes in contact with the flame for ignition, as seenin Figure 10.

Figure 9 Figure 10

Let the flames extinguish by themselves. In the process, smother the kidneys into theArmagnac and flip them on to their other side (Figure 11). The flames should extinguishby themselves fairly fast, but if they don't, turn the Réchaud’s flame off and then back on.Once the kidneys are well smothered with the flavor of the alcohol, move them onto awarm plate (Figure 12).

Figure 11 Figure 12

Flambéed

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Cover the kidneys with a cloche, a simple plate cover or even a soup bowl placed up-side-down. This is to keep the kidneys from cooling down too quickly. Deglaze the pan withabout three ounces of Port wine (Figure 13) and mix the port wine with the juice of themeat and what is left of the Armagnac. If you feel that a crust has formed on the bot-tom of the pan, use this opportunity to scratch it off (Figure 14) before it burns and altersthe preparation’s taste.

Figure 13 Figure 14

Adjust the flame to the maximum (Figure 15). This is necessary so that the juice and thePort wine quickly reduce while you slice the kidneys. Slice the kidney in a plate into abouta one-half inch slices (Figure 16). Again, avoid picking the meat with the fork and keepthe kidneys together on the plate.

Figure 15 Figure 16


21


Armagnac Kidney

Add the Demi-glace or veal stock reduction in the same proportion size as the heavycream as shown in Figure 19 (four soup spoons per serving) and stir all the ingredientstogether (Figure 20). For the details of how to make Demi-glace or reduced veal stock ,please refer to FDRP’s The Professional Service Guide.

Figure 19 Figure 20

Flambéed

Re-cover the kidneys and immediately move the pan off the fire. Adjust the flame downto two-thirds of its power (Figure 17). Add four (4) soup spoons of heavy cream perserving (Figure 18). The original recipe calls for Crème Fraîche, which can be found inspecialty stores, or homemade. However, heavy cream is an adequate substitute for CrèmeFraîche.

Figure 17 Figure 18

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W i n t e r 2 0 0 2 - 0 3

Smother the kidneys with sauce, lifting each medaillon sothe sauce seeps between each piece (Figure 23). Cook thekidneys in this way for a few minutes--or until the pink atthe center of the medaillon is the size of a nickel, unless theguest wants it well done. Once you’ve reached the desiredserving temperature, turn the Réchaud off, scoop sauce ontop of the kidneys (Figure 24) one last time and place themon to the serving plates (Figure 25).If this dish is served as an appetizer, serve it as is. Otherwise, serve the garnish either asa Bouquetiere separately or directly onto the plate.

Gently place the kidneys back into the pan, ensuring the kidneys are reconstituted just asthey appeared in the plate (Figure 21). Scoop the blood that is on the plate into the pan(Figure 22). From this point on great attention should be paid to the preparation, for ifthe sauce should boil the blood would coagulate and spoil the sauce.

Figure 21 Figure 22

Figure 23 Figure 24

Figure 25


15


Due to the bad publicity generated by animalrights groups in regard to the way veal israised, the veal chop has come be a controver-sial item in many restaurants, as have all vealitems. However it is still a popular item inmany places, particularly in Italian restaurants.

The following recipe is relatively time con-suming, for that it starts from raw meat.Therefore, we would not recommend preparingit for less than two guests at a time.

Also, as for all recipes, it is possible to speedup the tableside preparation by starting frompre-cooked veal chops and suppressing thedeglazing step.

The preparation time of the complete recipe is,however, still close to 10 minutes.

Veal Chop CalvadosFlambéed

T a b l e s i d e

Ingredients: Demi glace (or a heavy reduction of veal stock)Veal chop(s) (portion depending on size)SaltBlack pepper (preferably from a pepper mill)Chopped scallions

Raspberry vinegarCalvados (apple brandy)Olive oilReduced Heavy cream

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S P R I N G 2 0 0 3

FlambéedVeal Chop Calvados

As with all tableside items that involve the use of a pan, the first and systematic thing todo is to wipe the pan with a fresh napkin. Then move the pan off the fire and turn theRéchaud on, as shown in Figure 1. Pour a soup spoon of olive oil into the pan (for twoveal chops). Reduce or increase the quantity of oil to one half of a full spoon for one (1)order and one-and-a-half spoons maximum for three or four orders.

Figure 1 Figure 2

Check for the rising of the oil temperature in the pan carefully. This can be done in anumber of ways, such as holding the back of your hand above the pan (Figure 3) or byplacing slices of scallions in the pan and waiting until the oil starts to bubble. Then, gen-tly place the chops in the pan so as not to splash the oil over the rim (Figure 4). Gentlymove the meat in a circular manner to ensure that there is a layer of oil between the meatand the bottom of the pan. Particular attention should be paid to not pick the meat withthe fork to avoid losing blood.

Figure 3 Figure 4

17


Season the meat with salt and pepper, as shown in Figure 5. One might wonder why themeat is not seasoned in the kitchen prior to being sent out to the dining room. This is toavoid allowing the salt to melt into the meat. Ideally, the salt should remain on the chop’souter crust. Once the chops are seasoned on the top, flip them over (Figure 6). Again,attention should be paid to not pick the meat with the fork.

Figure 5 Figure 6

Season the other side of the chops with salt and pepper, as shown in Figure 7. Seasonthis side of the chops and then let them cook. Ensure that they do not stick to the bot-tom of the pan. The cooking time is approximately two to three minutes on each side,just enough to give the chops a light brown color as shown in Figure 8.

Figure 7 Figure 8


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S P R I N G 2 0 0 3

Veal Chop Calvados

Once the meat has reached the desired light brown color, slide the chopped scallions intothe pan (Figure 9). Gently lift the chops up and help the scallions to smother the meat onboth sides, as shown in Figure 10. At that point, the temperature of the pan should bemonitored carefully as to avoid burning the scallions. In short, if the scallions quickly turndark and crispy, the pan is too hot and you must reduce the flame. You should cook thescallions until they turn to a light translucent amber color.

Figure 9 Figure 10

Once the scallions have reached the desired color, move the pan off the fire and pour one(1) ounce of Calvados into the pan (Figure 11). Let the alcohol steam off before return-ing the pan to the fire. Return the pan to the fire, tilting it slightly so the evaporated alco-hol comes in contact with the flame for ignition, as seen in Figure 12, then let the flamesextinguish by themselves.

Figure 11 Figure 12

Flambéed


19

As the flames extinguish, smother the chops into the Calvados and flip the chops ontotheir other side (Figure 13). The flames should extinguish by themselves fairly fast, but ifthey don't, turn the Réchaud’s flame off and then back on. Once the chops are wellsmothered with the flavor of the alcohol, move them onto a warmed plate (Figure 14).Cover the chops with a cloche, a simple plate cover or even a soup bowl placed up-side-down. This is to keep the chops from cooling down too quickly.

Figure 13 Figure 14

Deglaze the pan with about half an ounce of raspberry vinegar (Figure 15) and mix thevinegar with the juice of the meat and what is left of the Calvados. If you feel that a crusthas formed on the bottom of the pan, use this opportunity to scratch it off (Figure 16)before it burns and alters the preparation’s taste. The ensemble of these ingredients inthe pan with the juice of the cooked meat constitutes a “Fond”.

Figure 15 Figure 16


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S P R I N G 2 0 0 3

Veal Chop Calvados

Once the ingredients are well mixed and make one uniform color, move the pan off ofthe fire and reduce the flame by half (Figure 19). Then, gently place the veal chops backinto the pan.

Figure 19 Figure 20

Flambéed

Add four (4) soup spoons of heavy cream per serving and Demi-glace or veal stock reduc-tion in the same proportion size as the heavy cream, seen in Figure 17. Stir all the ingre-dients together (Figure 18). Although the original recipe calls for Crème Fraîche, whichcan be found in specialty stores, or homemade, reduced heavy cream is an acceptable sub-stitute. For the details of how to make Demi-glace or reduced veal stock , please refer toFDRP’s The Professional Service Guide.

Figure 17 Figure 18

21


Let the chops heat up in the sauce for a couple of minutes and then place them onto theirrespective serving plate, as shown in Figure 23. Scoop the sauce onto each plate aroundthe meat. CAUTION! As a general culinary rule, white meat is never covered with thesauce. As the garnish is concerned, it can be either: a) Served separately as a Bouquetiere--placed in a side plate brought separately from the kitchen, or b) Served on the servingplates prior to placement of the chops. Overall, it is a very easy, impressive and deliciouspreparation. On a side note, if guests order different temperatures of meat, place thechops in the pan in a strategic and consistant order so that you can remember whichchop(s) is cooked more thoroughly.

Add half an ounce of Calvados into the sauce, as shown in Figure 21. This is to reinforcethe apple flavor into the sauce itself, for the flambéeing had flavored the meat, but thedeglazing of the pan with the raspberry vinegar considerably reduced the apple taste fromthe “fond” from which the sauce is made. Smother the chops with sauce on the bottomside only, lifting each chop so the sauce seeps between each piece (Figure 22).

Figure 21 Figure 22

Figure 23 Figure 24

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As with many other recipes, there are more than onevariation. In this issue we present you with the two mostcommon and popular recipes to prepare the Au PoivreFilet (pepper steak). The difference between the twovariations is not only in the time that it takes to prepare,but also in the flavor of the end dish.

The first variation which we have labeled TraditionalMethod is what is considered the most classic recipe. Itstarts with raw meat, which is entirely cooked tableside,while the Simplified Method (which can also be referredto as the Modern Method) starts with meat precooked inthe kitchen.

Ingredients: Demi glace (or a heavy reduction of veal stock)Tenderloin smothered with coarse black peppercornSaltBlack pepper (preferably used from a pepper mill)

Port wineCognacButter (unsalted)Heavy cream

Filet Au PoivreFlambé

As with all tableside that involves the use of a pan, the first and systematic thing to do isto wipe the pan with a fresh napkin. Then move the pan off the fire and turn the Réchaudon as shown in Figure 1. For one (1) filet, scoop half a soupsoon of butter into the pan(Figure 2). Increase the quantity of butter to one full spoon for two (2) filets and one-and-a-half maximum for three or four filets. Spread the butter to melt, as in Figure 3.


Traditional Method


33

Filet Au Poivre

Once the butter starts to bubble, place the meat in the pan gently so as not to splash thebutter over the rim (Figure 4). Gently move the meat in a circular manner to ensure thatthere is a layer of butter between the meat and the bottom of the pan. Particular atten-tion should be paid not to pick the meat with the fork to avoid loosing its blood. Thisparticular method of cooking (item cooked in hot fat at high temperature) is called Sauté.It is mostly used for the cooking of certain meats and has the effect of searing the out-side of the meat and burning the juice, which creates a crust that helps keep the item'sinside moisture, tenderness and flavor. See The Professional Service Guide for details.

Figure 4 Figure 5

Once the meat has formed a solid crust on the pan side, flip the filet onto its other side(Figure 6). Cook the other side in the same way as the first one. Then move the pan offthe fire and pour one (1) ounce of Cognac into the pan and let the alcohol steam off tohalf its original amount before returning it to the fire. Returning the pan to the fire atonce, or pouring the alcohol straight into the pan while on the fire would immediatelyignite the steam when it is at full strength, which would generate too large a flame.

Figure 6 Figure 7

34

F A L L 2 0 0 2

Filet Au Poivre

Return the pan to the fire so it ignites the steam (Figure 8) and let the flames extinguishby themselves. In the process, smother the meat into the Cognac and flip it onto its otherside. The flames should extinguish by themselves fairly fast, but if they don't turn theflame off and then back on.

Figure 8 Figure 9

Move the filet(s) off the pan onto a plate and cover it with a cloche to keep it from cool-ing down too fast. If your establishment does not carry cloches, simply cover the plateusing a soup bowl turned up-side-down. Deglaze the pan with Port wine -- about twoounces.

Figure 10 Figure 11


35

Filet Au Poivre

Stir the port wine with the juice of the meat that has coagulated and what is left of thecognac. If you feel that a crust has formed on the bottom of the pan, use this opportu-nity to scratch it off before it burns and alters the taste of the preparation (Figure 12).Add four soupspoons of heavy cream per filet. The original recipe calls for CrèmeFraîche, which can be found in specialty stores or homemade. However, heavy cream isan adequate substitute for Crème Fraîche.

Figure 12 Figure 13

Add the Demi-glace or reduction of veal stock in the same proportion as the heavy cream(four soupspoons per filet) and stir all the ingredients together. For the detail of Demi-glace or reduced veal stock see The Professional Service Guide.

Figure 14 Figure 15

36

F A L L 2 0 0 2

Filet Au Poivre

Once the texture is smooth, taste the seasoning using the double-spoon-method seen inFigure 16 through 18. It consists of scooping some of the sauce into a teaspoon, makingsure that there is no contact between the two spoons. This allows the taster to taste again,if necessary, from the same spoon without contaminating the content of the pan.Adjust the seasoning as necessary and taste again if in doubt.


Place the filet(s) gently back into the pan (Figure 19) and smother them with the sauce onboth sides as shown in Figure 20. Again, attention should be paid not to pick the meat.

Figure 19 Figure 20

37


Move the filet off the pan onto the serving plate. Turn the Réchaud off and scoop thesauce onto the meat. The service of the garnish can be done either by actually placingthe meat onto a plate that already has the vegetables on it or by serving the vegetables ona separate plate in the traditional manner, called Bouquetière. The result of this prepara-tion is a very smooth sauce with a sweet aftertaste due to the Port wine reduction, whichsoftens the recipe.

The simplified version presents a finished product, which has a stronger alcohol flavor.

Figure 21 Figure 22

In contrast to the first recipe, the Simplified recipe does not include Port-wine and is start-ed from filets that are already precooked to one temperature below the desired tempera-ture ordered by the customer. The recipe calls for: Cognac, Heavy cream (or CrèmeFraîche), Demi-glace or a heavy reduction of veal stock and seasoning.

Simplified Method

Filet Au Poivre

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F A L L 2 0 0 2

Filet Au Poivre

Move the pan off the fire and turn the Réchaud on. Move the filet(s) to the six o’clockposition of the pan (near the handle) and heat up the twelve o’clock spot (tip of the panas seen in Figure 26). This is in order to create a hot spot on which to pour the alcoholfor flambé without heating the entire pan, which would make the flame more difficultto control.

Figure 25 Figure 26

Move the pan off the fire and pour one (1) ounce of Cognac and let the alcohol steam offto half its original amount before returning the pan to the fire (Figure 27). Returning thepan to the fire at full steam, or pouring the alcohol straight into the pan while still on thefire would immediately ignite the steam, which would generate too large a flame. Returnthe pan to the fire so it ignites the steam (Figure 28).

Figure 27 Figure 28

39


Filet Au Poivre

Let the flames extinguish by themselves. In the process smother the meat into the Cognacand flip it onto its other side. The flames should extinguish by themselves fairly fast, butif they don't turn the flame off and then back on. Move the filet(s) off the pan onto aplate and cover with a cloche to keep from cooling down too fast. If your establishmentdoes not carry cloches, simply cover the plate using an soup bowl turned up-side-down.

Figure 29 Figure 30

Add the Demi-glace or reduction of veal stock (four soupspoons per filet) as shown inFigure 31. Add heavy cream to the pan, in the same proportion as the Demi-glace. Theoriginal recipe calls for Crème Fraîche, which can be found in specialty stores or home-made. However, heavy cream is an adequate substitute to Crème Fraîche. For the detailof Demi-glace or reduced veal stock see The Professional Service Guide.

Figure 31 Figure 32

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F A L L 2 0 0 2

Filet Au Poivre

Stir the preparation as shown in Figure 33 and let reduce to an appropriate consistency.The ideal consistency is measured by dipping the back of the service spoon into the sauceand scratching it with a fork. When the sauce reaches the appropriate consistency thesauce should stick to the spoon in such a manner that the scratch should remain and notbe covered over by dripping sauce (Figure 34). If the sauce drips over the scratch, youshould reduce the sauce further and try again. This operation is not required with the tra-ditional recipe because the deglazing with the Port wine and the fact that the meat startedout uncooked created a base for a naturally more stable and consistent sauce.

Figure 33 Figure 34

Once the texture is smooth, taste the seasoning using the double-spoon-method, whichconsists of scooping some of the sauce into a teaspoon, making sure that there is no con-tact between the two spoons. This allows the taster to taste again, if necessary, from thesame spoon without contaminating the content of the pan.

Figure 35 Figure 36

41


Adjust the seasoning as necessary and taste again if in doubt. Turn the Réchaud off and scoop the sauceonto the meat. Service of the garnish can be done either by actually placing the meat onto a plate thatalready has the vegetables on it or by serving the vegetables on a separate plate in the traditional manner,called Bouquetière. The result of this preparation is to present a finished product which has a strongeralcohol flavor than the Traditional Method. The seasoning must be adjusted very carefully because thesmoothness of the Port and the juices of the raw meat are not there to smooth out over-seasoning andany texture irregularities.

Figure 37 Figure 38

Filet Au Poivre

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W I N T E R 2 0 0 2

C h e r r i e s J u b i l e e

Just as with the majority of other flambé dishes, there are a number of different recipe versions in use forflambéed cherries. One of the most traditional recipes is the Cerises Flambées a la Bourguignonne, which direct-ly translates to Burgundy’s Flambéed Cherries. Although the steps in the recipe presented below are very similarto the process in the Burgundy’s Flambéed Cherries, the cherries are flambéed using different liqueur. TheBurgundy recipe uses The Burgundy Marc, which is simply a Burgundy Grappa, instead of Kirsch.

Kirsch originated from a region that encompasses Germany, the region of Alsace in France (which bor-ders Germany) and the German-speaking part of Switzerland. The original Kirsch is an alcohol made of big darkcherries. Fermented in barrels and then distilled, it is consumed as an after-dinner drink. There are, however, acouple of popular variations of the alcohol referred to as: Commercial or Pastry Kirsch, and the Fantasy Kirsch. ThePastry Kirsch is simply a mix of kirsch and a neutral alcohol, and is used mainly for the preparation and flavor-ing of pastries and other food items. Fantasy Kirsch is a neutral alcohol flavored with kirsch and essence ofalmonds. Fantasy Kirsch exhibits a very distinctive nutty flavor, which complements the Cherries Jubilee prepa-ration very well. Although all three types of Kirsch can be used in food preparations or consumed as is, peoplewho drink Kirsch as an after-dinner drink generally prefer the original Kirsch to the other two.

Another difference between the two recipes is that the Burgundy’s recipe calls for the cherries to be cookedin their own syrup along with some added red currant jelly, instead of the Heering Cherry liqueur used here.

The final difference is that the Burgundy’s recipe serves the cherries alone, rather than with ice cream.Cherries Jubilee, regardless of the variation, is generally served over vanilla ice cream, which is a great way to com-plete this refreshing ingredient in the winter months. Enjoy!

(Serves two)

Figure 10-72

Ingredients:20 dark sweet cherries (pitted) in syrupTwo medium-sized scoops of vanilla ice creamGranulated sugarSemi-soft unsalted butterKirsch, preferably the Fantaisie type, which has an almond flavorHEERING Cherry liqueur



Scoop a couple of teaspoons of sugar into a pan (Figure 10-73.) Gently rotate the pan in order to spread the sugarevenly around the bottom of the pan (Figure 10-74). This procedure is quite important since the next step willconsist of melting the sugar evenly without burning it.


Turn on the Réchaud as seen in Figure 10-75, moving the pan out of the way. This procedure allows the serverto verify that the flame is on without having to bend over to look under the pan. Place the pan so the heat sourceis in the center of the pan, as in Figure 10-76. From this point on, the pan should be handled carefully. As theportion of sugar directly above the flame melts, moving the pan about will make the sugar in the rest of the panuneven and cause it to stick to the melted section.


Sugar often does not melt evenly in the pan. Notice in Figure 10-77 how the center of the pan is melting, butthe sugar is not melting in the portion of the pan closer to the handle. It is very hard to always adjust the heatperfectly at the center of the pan. A simple breeze on one side, due to an open window or door, can unbalancethe flame enough to cause uneven melting. To compensate for this, move the pan slowly and gently to adjust theheat to the portion of the pan where the sugar is still crystallized (Figure 10-78). Be careful to avoid burning thesugar already melted.

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W I N T E R 2 0 0 2



Often it is necessary to finish melting the few spots of sugar by moving the pan literally way off the flame, asshown in Figure 10-79. Once all the sugar has melted, rapidly cut and slide two tablespoons of butter into thepan (Figure 10-80).

Gently move the butter around the pan with a fork until it is completely melted, as in Figure 10-81. Once allthe butter is mixed in with the sugar, move the pan off the heat source and turn the flame down to one-half,as shown in Figure 10-82.


Avoid splashing the hot butter out of the pan (Figure 10-83) by cautiously adding the cherries. Pour the syrup inwhich the cherries were kept into the pan last. Gently lift the cherries (as shown in Figure 10-84), moving themaround in the pan. Avoid contacting the spoon with the caramel that has formed in the bottom of the pan. Sincethe spoon is probably a much lower temperature, the hot caramel would harden and stick to the spoon, makingthe handling of the preparation much more difficult.


23



Reduce the preparation slowly, constantly stirring the cherries and the sauce so they do not stick to the pan. Thepreparation should be reduced until it reaches the consistency of a firm napé. This level of consistency can be eval-uated by dipping the back of the service spoon into the sauce and then scratching it with the side of the fork asshown in Figures 10-87 and 10-88. If the scratch does not leave a clean path on the back of the spoon and syrupdrips easily, as in Figure 10-87, the consistency is too light. The perfect texture is when the scratch leaves a cleanpath on the back of the spoon, without dripping the syrup, as shown in Figure 10-88.

Figure 10-89 Figure 10-90Move the pan off the heat source and slide the cherries toward the handle of the pan. This clears a spot at the twelveo’clock position of the pan (Figure 10-89). Add two ounces of Kirsch directly onto the spot just cleared of cherries.Notice that, contrary to most flambé recipes, adding liqueur to the pan will not generate much steam. This is dueto the absence of a hot spot created at twelve o’clock. The reason behind this procedure is to keep more alcohol inthe preparation, by limiting its burn. Thus, the pan should be returned immediately to the fire for ignition ratherthan allowing the alcohol to steam off.

Add two ounces of HEERING liqueur to the preparation (Figure 10-85) and mix the liqueur with the cher-ries (Figure 10-86). The caramel should now soften and melt into the preparation.

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W I N T E R 2 0 0 2


Ignite the alcohol by tilting the pan in such a waythat the small amount of steam comes in contactwith the flame from the Réchaud (Figure 10-91).Let the flame extinguish itself by gently rotating thepan in a circular movement, mixing the cherriesand the syrup with the alcohol, as in Figure 10-92.Ignite the alcohol by tilting the pan in such away that the small amount of steam comes in con-tact with the flame from the Réchaud (Figure 10-91). Let the flame extinguish itself by gently rotat-ing the pan in a circular movement, mixing thecherries and the syrup with the alcohol, as in Figure10-92.

Figure 10-93


Figure 10-95

25

Figure 10-94

Typically, ice cream is brought out of the kitchen at thelast minute to avoid having it melt during the elapsedtime necessary to cook the preparation. The preparationshould be fairly soft, but not soupy. The cherries and thesyrup should cover the ice cream, as seen in Figure 10-95.

Bon Appetit!

Move the pan off the heat source and turn the flame off(Figure 10-93). Gently scoop the cherries onto the icecream, which is already in the bowl (Figure 10-94).

9


The Banana Foster is not only one of the few table-side recipes that orignited in the United States but itis also one of the very few recipes in the world thatbears the name of a guest that enjoyed it rather thanthe name of its creator.

It was invented by the famous Brennan Family whoopened the original “Brennan’s” on Royal street inthe French Quarter in New Orleans and latter oncreated Commander’s Palace and number of otherrestaurants from New Orleans to Houston to LasVegas to Anaheim, California.

It originally was a dessert they would strickly prepare for themselves at home. Living in a beautifulcolonial house in the Garden district in New Orleans, they would entertain friends and familly in theirhouse quite often. One of their regular guest at home was Mr. Foster, a neighbor and friend who alsohapened to be a regular guest at their restaurant where he would host a lot of business. Came a timewhen he started to ask the Brennan if they would prepare for him and his guests the banana he wasenjoying in their house. Then, just as today, regular guests were refered to by their name rather thantheir table number. So waiter would ask the chef for bananas for M. Foster. As other guests witnessedthe preparation they asked for it too, and there the dessert started to be refered to as Banana Foster.

B a n a n a F o s t e rFlambéed

T a b l e s i d e

Ingredients:Quartered banana(s). It is possible to either serveone whole or one half banana per serving.Brown SugarCinnamonUnsalted Butter

Dark Rum (note that the originalrecipe calls for “Rum 151” but that“Captain Morgan” rum will be used.Banana Liquor.Vanilla ice cream

10

W I N T E R 2 0 0 3 - 0 4

FlambéedB a n a n a F o s t e r

Put two heaping tablespoons of brown sugar into the pan (Figure 1) with two tablespoonsof unsalted butter (Figure 2). The Réchaud should be off at this time, so that the sugarwill not harden before the other ingredients are placed in the pan.

Figure 1 Figure 2

Add three ounces of banana liqueur (Figure 3) in the pan and turn the Réchaud on. It isrecommended when turning the Réchaud either on or off, the pan should be moved awayfrom the burner, as seen in Figure 4. This procedure allows a server to easily assess theflame's proper mode (lit or extinguished). Untrained servers have a tendency to leave thepan on top of the burner and bend over to check the flame under the pan. This increas-es the risk to the server, should there be a burst of syrup.

Figure 3 Figure 4

11


With the Rechaud now on, mix the ingredients together to obtain a nice smooth cream,as in Figure 5, and add the banana(s) cut into quarters. Place the banana(s) carefully in thepan so the hot syrup does not splash. This is best done by taking one quarter at a timefrom the plate to the pan, using the Pince technique (Figure 6).

Figure 5 Figure 6

Using a fork, pick each banana quarter all the way through three or four times, as demon-strated in Figure 7. This technique allows steam to flow through the banana, cookingeach quarter evenly all the way through. Once all the quarters are perforated add one-halfa teaspoon of cinnamon (Figure 8).

Figure 7 Figure 8


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W I N T E R 2 0 0 3 - 0 4

FlambéedB a n a n a F o s t e r

Flip the banana quarters, cooking them on both sides (Figure 9). The banana is readywhen it reaches a fairly pronounced brown color (Figure 10) and has softened, but is notmushy. Check for doneness by lifting each quarter by its center, with the help of the serv-ice fork. If the quarters bend under their own weight, then they are cooked.

Figure 9 Figure 10

Move the banana(s) and the syrup to the six o'clock position of the pan (Figure 11) andmove the pan in such a way as to heat up the twelve o'clock position, seen in Figure 12.

Figure 11 Figure 12

13


Once the twelve o'clock spot is so hot that the syrup located there is about to smoke, movethe pan completely off the fire (Figure 13). Pour two ounces of rum directly on the pan'shot spot, as in Figure 14.

Note: The traditional recipe calls for rum that is 151 percent alcohol.

Figure 13 Figure 14

Let the alcohol steam off slightly, as pictured in Figure 15. Return the pan to the Réchaud,and ignite the steam by tipping the pan far enough so that the steam catches fire, as seenin Figure 16.

Figure 15 Figure 16


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W I N T E R 2 0 0 3 - 0 4

Stir the ingredients to extinguish all the flames (Figure 17) and then turn the Réchaud off.Ensure that the flame is completely extinguished, as demonstrated in Figure 18.

Figure 17 Figure 18

Retrieve the ice cream from its storage area and proceed to scoop thebanana quarters onto the ice cream (Figure 19). Finish the dish by pour-ing the syrup (Figure 20) over the banana quarters and ice cream.

The number of quarters served per guest varies from one establishmentto the next. Some serve two quarters per guest, while others serve fourquarters per guest. The decision often depends on the style of chinawarethe restaurant uses for the service.

Figure 19 Figure 20


4 Pro-Success

CRÊPES FLAMBÉED:~ serves two ~

(A) Six small, thin crêpes(B) Two oranges(C) One lemon(D) Soft butter (room temperature)(E) Crystallized sugar(F) Triple Sec (or Grand Marnier)(G) Brandy (or Armagnac)

CRÊPES “SUZETTES” OR CRÊPES

“Flambéed?” This question has been

hotly debated between professionals

of different origins and customers. It seems

that everyone pretends to possess the origi-

nal recipe from the creator. I even once heard

a Captain lay claim to it when I worked in New

Orleans.

One such story originates from a Mr.

Charpentier, who at the turn of the last century

was working in the French Riviera at a restaurant

called the Café de Paris, which was located under

the Grand Hotel in Monaco. Mr. Charpentier later

immigrated to the United States where he was the

Butler of the Rockefeller family for about twenty

years. Mr. Charpentier claims he created the

Crêpes Suzettes during his tenure as a Captain at

Café de Paris and that he had named the dish af-

ter the Prince of Monaco’s girlfriend. Only later

was it discovered that during Mr. Charpentier’s

time at the Café de Paris he was too young to be a

Captain and did not work there long enough to be

allowed to even approach the Prince’s table.

After much research, it is generally accepted

that this delicious dessert did, indeed, originate at

the Café de Paris at the beginning of the century,

but the identity of its original creator still remains a

mystery.

So, what is the difference between the

famous “Suzette” and the modern show, mostly

made of flames? The “original“ recipe, or what is

considered the classic Suzette, is actually

mandarine-based, very unlike most orange-based

preparations we know, and does not include

liqueur. I have seen a few “improved” versions

(with flame) where one tries to remain as close as

possible to the original flavor by using a liquor

called Mandarine Imperial, (mandarine-based,

made in France and hard to obtain in the United

States). Since the original recipe does not include

any liqueur, it does not offer the show most

customers have come to expect. However the

recipe is outstanding and, in my opinion, exhibits

a subtle and delicate flavor that makes it

worthwhile to forego the show.

Throughout my career I have been frustrated

by the tendency of people to call things by names

that do not correspond to them. As my role is par-

tially one of entertainer, I try not to bore customers

by attempting to teach them, but simply enjoy

serving them. However, given the opportunity I

ensure that menus would reflex the correct de-

scription of this flaming dessert as Crêpes

Flambéed, rather than Suzette. In order to help my

students distinguish the difference, my course

guide for the Formal Service class I taught con-

tained both recipes.

The crêpes with the

FLAMES

FB

D EG

A

by Bernard Martinage

C

Winter 2001 5

There now exists a multitude of recipes for Crêpes Flambéed, often wrongly called Suzette, one asgood as another. Here we present to you a version which is my very favorite, followed by theoriginal recipe of the famous Suzette. ENJOY!

Even though a number of professionals start this preparation with the Rechaud (burner) on, we recommend startingwith the flame off; if the sugar starts to caramelize before you add the lemon to the preparation, the caramel will notform in the desired manner. The portions of butter and sugar are a matter of taste, as long as there is more sugar thanbutter in the pan. If not, once the caramel reaches the burning temperature of butter, the caramel will separate and youwill have to start all over.

Turn the Rechaud on high and IMMEDIATLY squeeze the juice of the lemon into the pan. The inset picture shows thetraditional way to squeeze fruits tableside. This procedure consists of wrapping the fruit (lemon in this case) in a napkinand press as shown. The napkin restricts any seeds from falling into the preparation as well as offering the server abetter grip. The reason for adding lemon at this point is that 1) it will cut down on the sweetness of the preparation, and2) the caramel will develop with a foamy texture rather than liquid (almost like a sabayon texture). This is critical to therecipe.

Actively mix the lemon, sugar and butter together so they become smooth. Then remove the seeds of the lemon (if any).Continue stirring gently in a way that the temperature stays even in the pan instead of burning the center.

6 Pro-Success

Depending on your knife skills, which makes a difference in the length of time it will take to carve the zest of the edges offour halves of oranges, it is recommended that the flame of the Rechaud be placed on low. The objective is to carve thesezests down into the pan so they become Comfit into the caramel as it forms, almost like candied fruit. Stir theingredients occasionally to ensure that the caramel will not burn in the center of the pan. Note: avoid cutting too deeplyinto the orange skin when carving the zest, as the white part of the skin tends to be bitter and will disturb the flavor ofthe caramel.

Creating the correct caramel coloring is one of the most sensitive steps and is where it is easiest to fail. If you have morebutter than sugar to start with, this can cause the mixture to separate and the oil of the butter will seem to float on top.This is a result of either too high a temperature setting or too much butter in the pan. In either case, you must startover. But, assuming this doesn’t happen, turn the Rechaud off as soon as the color is a nice dark brown without beingburned.

IMMEDIATLY after turning off the Rechaud, squeeze the oranges into the caramel. At this point, the lemon you addedat the beginning of the preparation plays a key role. The caramel does not harden as the orange juice drips into it, butinstead stays soft and smooth. If it was not for this sabayon-like texture, it would harden and it would take a long timeto get it liquid again; this longer cooking time would also result in a reduction of the syrup. You would then have to addmore liquid to the mixture (orange juice or more liqueur). Now is the time to remove the seeds of the oranges (if any).

Winter 2001 7

Once all the crêpes are folded in the pan and are spread evenly around the pan, let the syrup reduce slowly and flip thecrêpes over once or twice during the reducing, allowing them to soak well on both sides. Once the syrup has thickened,move the crêpes towards the handle (at the 6:00 position) as shown above, and move the pan slightly off the fire to createa hot spot on the opposite side of the handle (at the 12:00 position). Tip the pan slightly to reduce the amount of syrupon the hot spot.

Pick the crêpes up individually and dip each side in the syrup. Fold them into quarters as shown above. Notice the waythe crêpe is handled: the spoon always remains under the crêpe, and the fork is turned and used to lock the crêpe inplace. This is the best way to avoid perforating the crêpe with the tines of the fork.

Once the preparation has reached a smooth consistency and the orange seeds are removed, add the Triple Sec. An ounceand a half per person seems to be the best balance; this can be adjusted to the guest’s preference. (The preparation can be‘upgraded’ by substituting brands such as Grand Marnier for the Triple Sec, but the cost of the dessert would be raisedconsiderably.) Next, stir the liqueur into the caramel syrup and turn the Rechaud back on. It is preferable when turningthe flame on and off to move the pan off the fire to verify that the Rechaud is functioning properly.

8 Pro-Success

The tip of the pan is hot enough when you see the bubbling of the syrup. Remove the pan from the fire and add thebrandy right on the hot spot. (Again, the recipe can be upgraded by using a more prestigious alcohol such as Armagnac.If upgrading is desired, Armagnac is preferable to Cognac, as Armagnac is made from a single distillation rather thandouble distillation and, therefore, keeps a better flavor even after the alcohol has flamed out.) After adding the liqueur,avoid putting the pan back on the flame in full steam. Let the steam reduce by half to avoid making too large a flame.When ready, return the pan to the fire and ignite.

Place the crêpes individually and gently in the plate, starting the point of the first one against the rim of the plate.Scoop the syrup from the pan on the top of the crêpes, including the orange zests, which were comfit in the caramel.Serve immediately.The overall preparation time for two persons is between 10 and 15 minutes, depending on the kind of Rechaud used.Modern butane Rechauds are safer, more reliable, less expensive, more powerful and easier to operate and maintainthan the Sterno or wick ones.

Let the alcohol burn and once the flame starts to reduce, stir to extinguish. To finish, turn the Rechaud off and move thepan off the fire to verify that the flame is extinguished.

Winter 2001 9

The first part of the preparation, and also the most annoying (which is why many choose to do it in the kitchen) consistsof scratching the oil off the mandarines, using the edges of the sugar cubes. There is more flavor in the oil of the skin ofcitrus fruits that there is in the juice itself. Also, using this procedure to extract the flavor from the fruit makes it almostimpossible to add any of the bitterness of the rhine, which would spoil the taste. Count 15 small sugar cubes for twopeople and scratch them on four or five of their edges. Then add three heavy tablespoon of soft butter (roomtemperature.)

Here They Are!!!The famous Crêpes Suzette—simple and delicate,

flavorful and subtle at the same time.

This is a very seasonal recipe as it is not easy to find mandarines (mandarin oranges)

off-season. I have occasionally cheated by using oranges instead, and even though it is

good, it truly is from another world when made with mandarines. As with the Crêpes

Flambées, we are using a Rechaud, a couple of plates for service (preferably warm), a soup bowl or

bowl for the preparation of the Suzette Butter, a couple of napkins, a B&B plate and a pair of service

silverware.

In theory, the preparation of the Suzette Butter is done in the kitchen by the service staff prior the ser-

vice. A runner from the kitchen will pick up the fresh ingredients after a customer order. The Front-waiter

will gather spices, condiments and liquors from the waiter station and will get the gueridon ready for the

Captain to do the preparation. As the preparation is about ready, the Back-waiter will go to the kitchen to

get warm or cold plates for the service, depending on the requirement of the preparation.

To maintain continuity in the presentation of the following recipe, we have prepared the Suzette But-

ter tableside. As mentioned earlier in this column, this preparation is not as showy as the previous one,

but taste-wise, it sure is worth the effort!

CRÊPES SUZETTE~ serves two ~

(A) six small, thin crêpes(B) two mandarines(C) one lemon(D) soft butter

(room temperature)(E) sugar cubesA

BC D E

10 Pro-Success

Squeeze one-half of a lemon into the butter and the sugar. There are several ways to squeeze citrus table side: theclassical way, which consists of wrapping the fruit face down into a linen and then squeezing the juice through the linen(above, left) and the most common way (above, right), which requires the server to go fishing for the seeds.Next, mix everything together to a smooth cream. You have now created Suzette Butter.

If working the butter tableside for the presentation, shape the butter into a dome or anything that the inspiration of themoment dictates. Turn the Rechaud on at a medium/medium-high flame and heat the pan for a few seconds, moving itin a circular manner to even out the heat. Notice that when turning the Rechaud on or off it is preferable to remove thepan from the Rechaud to ensure the Rechaud is functioning properly. It is NOT a good idea to bend over to look underthe pan, it is dangerous and it looks funny.

Scoop a generous spoon of Suzette Butter into the pan and smother it on the bottom in order to form a film that willprotect the crêpes from sticking to the bottom.

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Once all the crêpes are arranged in the plates, quickly turn the heat up to high and add enough Suzette Butter to coverthe crêpes on the plate. The amount of butter you have to add varies depending on how much butter that was originallyin the pan was sponged by the crêpes. Use your judgment to determine what is REALLY needed. More butter doesNOT make the crêpes taste better. Cook the butter until a light brown color, spoon the butter onto the crêpes, and youare now ready to serve. The over all preparation (including the making of the Suzette Butter) takes about 15/20minutes; making the butter ahead of time shortens the tableside preparation to approximately 5 minutes.

Flip the crêpes over, one by one, making sure there is sufficient butter underneath before you lay them on the other side.The objective here is to smother the crêpes generously on both sides. Then place the crêpes on the plates, as shown in thepicture above, and in the geometry that the inspiration of the moment dictates. Shown below is a different way toarrange the crêpes on the plate than in the Flambéed recipe.

Put the crêpes into the pan, one at a time, folding them into quarters in the same manner demonstrated in the previousrecipe. If you feel that the pan is a bit too dry while still folding the crêpes, do not hesitate to add some of the SuzetteButter. Once all the crêpes are folded, add another generous spoon of the same butter to the center of the pan. Let thebutter melt slowly and gently lift up the crêpes, one at a time, to let the butter seep underneath.


Not to be confused with the Peach Melba creat-ed in 1892 by the father of modern cuisine,August Escoffier, the Peach Flambéed we pres-ent you with in this issue remains a prepara-tion originated from the Melba.

It is a very easy, fast recipe to prepare, whichcan be served throughout the year for the sim-ple reason that the peach used for the prepa-ration are poached in syrup, making irrelevantthe freshness of the peach. We thought, how-ever, that presenting it right before the peachseason would be most appropriate (You’ll stillhave to poach them though).

The recipe presented below is prepared for three servings but could as well be done for oneor two servings at a time.

Peach FlambeedTable s ide

Ingredients: Amaretto syrup Lemon juiceCointreau Liquor Peach halves poached in syrupGranulated sugar Vanilla ice creamSemi-soft unsalted butter

Figure 1

tableside

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Peach Flambeed

As with all tableside items that involve the use of a pan, the first and systematic thing todo is to wipe the pan with a fresh napkin. Then move the pan off the fire and turn theRéchaud on, as shown in Figure 2. Spread the sugar on the bottom of the pan (Figure 3).Note, if you are not experienced in the preparation of hot tableside items, we recommendthat you only turn the flame on after the first three ingredients are in the pan. This is toprevent the sugar from caramelizing before you add the lemon to the preparation.Otherwise, the caramel will not foam in the desired manner.

Figure 2 Figure 3

Add butter to the pan immediately, as shown in Figure 4, quickly followed by the lemonjuice. The proportions of butter and sugar are a matter of taste, as long as there is moresugar than butter in the pan. If not, once the caramel approaches the burning tempera-ture of butter, the caramel will separate and you will have to start all over.

Figure 4 Figure 5

Table s ide


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Actively mix the lemon, sugar and butter together so they become smooth. It is importantto continually, but gently, stir the ingredients in a manner that will allow the temperature tostay even in the pan instead of burning in the center. The reason for adding lemon at thispoint is that 1) it will cut down on the sweetness of the preparation, and 2) the caramel willdevelop with a foamy texture rather than a liquid one (almost like a Sabayon texture). Thisis important to the recipe.

Figure 6 Figure 7

Creating the correct caramel coloring is a sensitive step of this preparation because it willdetermine the strengh of the sauce. Too dark and it will be too strong, and could poten-tially burn while heating the peaches. Too light and it will taste sugary rather than caramel-like. Another way to help control the darkening is to tilt the pan at an angle, and scoop thecaramel foam up towards the handle. Then let the mixture run down to the other side ofthe pan taking in the heat, as seen in Figures 8 and 9.

Figure 8 Figure 9


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Peach Flambeed

Once the caramel has reached the appropriate color (insert in Figure 10) pour two ouncesof Amaretto syrup into the center of the pan (Figure 10). Start working the syrup into thecaramel in a circular manner as shown in Figure 11. You must pour slowly, so the syrupheats up progressively when coming in contact with the caramel. If you pour too fast thecaramel might harden. If that happens, you will have to wait for it to melt, which will addto its reduction and can cause the carmel to get too dark before adding the peaches.

Figure 10 Figure 11

Once you worked in the syrup, gently deposit the peach halves into the pan face down--so the round part is up (Figure 12). Turn down the flame of the Réchaud to medium orless (Figure 13). The objective at this point is to slowly heat up the peaches in the caramelso its aroma, infused with the almond taste from the Amaretto syrup, flavors the peaches.

Figure 12 Figure 13

Table s ide

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Continually scoop the sauce on to the top of the peaches. After a couple of minutes, flipthe peaches over to smother the other side as shown in Figure 14. Once the peaches reachan appropriate serving temperature (hot enough not to cool down too fast when they willbe placed over cold ice cream,) turn the Réchaud back on high. Notice how, each timethat the flame is being modified, the pan is moved off the fire in order to visually checkthe flame.

Figure 14 Figure 15

Move the peaches toward the six o’clock position in the pan, and place the twelve o’clockspot to be right above the flame, in order to create a hot spot (Figure 16). This is done inorder to help the alcohol steam off without heating the entire pan, and/or burning theingredients. It also makes it easier to control the flame, since there is a cool spot to lessenthe temperature and help shut the flame down after the flambé. Next, move the pan awayfrom the fire and pour two ounces of Cointreau Liquor (Figure 17).

Figure 16 Figure 17


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scoop the peaches and the syrup over the topof the vanilla ice cream. It is a good idea tobring the ice cream cups on a tray, thenscoop the preparation over the ice cream, andonly then place the cups on their underliner.This will eliminate the risk of dripping somesauce onto the rims of the saucers. Caramelis hard to wipe, especially when the customeris looking at you and their preaparation get-ting cold.

Let the alcohol steam off for a couple of seconds to avoid creating too big a flame.Then return the pan to the fire, igniting the alcohol by letting the steam come in contactwith the Réchaud’s flame (Figure 18). Gently move the pan in a circular manner to mixall the elements in the pan. If the flame persists, you can help turn the flame off by scoop-ing the syrup until the flame is extinguished. Move the pan off the fire and turn theRéchaud off. By now, your able assistant should be there with the ice cream. To finish,

Figure 18 Figure 19

Bon Appetit!!!

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