I’ve always been wary of unitaskers in the kitchen, those one-trick pony gadgets that get used for a few short weeks or months before falling into back-of-cupboard oblivion. But after watching a demo video on America’s Test Kitchen, it was clear a sous vide machine could offer big multitasker potential.
If you’re not already familiar, sous vide machines (aka immersion circulators) are devices that warm up water to a set temperature, and hold it steadily for a slow, precisely-controlled cook. The latest generation of machines are small–about the size of a stick blender. You can use them with any large container you have on hand to hold the water bath (dutch ovens are a go-to choice). Depending on the recipe, the food goes into a waterproof (plastic or silicone) bag or a jar.
Because they maintain such a reliably precise temperature, they’re easy to use. No stirring or flipping necessary. And no scorching or overcooking. Just preheat the water, set the timer, and the machine does the rest.
Right out of the box, Chester dove in and was soon making perfectly cooked shrimp for shrimp cocktails, poached eggs simmered right in their shells, and dried beans cooked so gently their skins stayed intact. The only dish that got mixed reviews was salmon: Chester loved it for its lightly cooked tenderness, but I found myself craving something crisper-edged and more well-done.
I’d been meaning to try my hand at homemade yogurt for a long time, but didn’t have a dedicated yogurt maker (unitasker), and hadn’t gotten around to investigating work-arounds like thermoses, heating pads, pre-heated ovens and the like. But the sous vide machine made my first attempt easy.
The only ingredients you need for yogurt are milk and a few tablespoons of plain yogurt with live cultures.
For the milk, I chose whole, non-homogenized, but lowfat would work well too. For the yogurt, I looked for something without additives (many brands add thickening agents), containing just whole milk and bacterial cultures.
The basic steps are simple: preheat the sous vide, warm the milk, cool the milk, whisk in the yogurt, place the mixture in jars in the sous vide bath, set the timer and wait.
I checked on my yogurt-in-progress a couple of times as it sat in its warm bath, and was amazed at how quickly the bacterial cultures got down to business. The milky mixture began to show signs of setting within the first hour. By the time I checked again, 8 hours in, it was definitely yogurt. I tasted a little and it had a familiar creamy texture, but was still a little bland. I let it go another few hours until it took on that classic tangy flavor.
Sous Vide Yogurt
1 quart milk
3 tablespoons plain, full fat yogurt
Fill a large dutch oven or other large, flat-bottomed container with water until it reaches the level of the sous vide jet. Preheat to 110F.
Gently heat the milk in a saucepan, stirring constantly until it reaches 180F. Turn off heat and immerse the saucepan in an ice bath until the temperature of the milk drops to 110F. Whisk in yogurt. Pour mixture into jars (I used two 32-ounce wide-mouth mason jars, filling each half way, level with the water line, then combined them into a single jar when the yogurt was ready). Screw lids on jars, securely, but not too tight. Set timer for 12 hours. Remove from water bath and stir. Chill in refrigerator.
How early do you have to arrive to be the first in line at the Village Vanguard? I found out last weekend, two nights in a row. The first set at the Vanguard starts at 8:30, and the doors open at 7:30. On Saturday night, we gambled that 6:45 would be early enough. And it was, but just barely, because the line began forming behind us within a few minutes. We always run into nice people on line at the Vanguard. We met Dan, who had flown in from Detroit just to catch Barry Harris. Dan is a Barry Harris superfan, but not a musician himself.
Dan flew in from Detroit just to see Barry Harris at the
Vanguard. The first time I saw Barry, the chap sitting next to me had flown in
from Dallas, and was catching every set that week. On a later date, the person
in front of us on line had flown in Toronto. We had a nice chat and it turned
out he was Elvis Costello’s guitar technician. Ok, so why are people flying in
all over to hear a pianist in his late 80s?
In order to understand that, you need to know a couple of
things, one is Barry’s place in jazz history, and the other is his role as an
educator. History first. Barry was born in Detroit in 1929, and based there
through the end of the 50s. While in Detroit, Barry served as a mentor and
music teacher to all the young players who were around the scene at the time,
including Paul Chambers—much like Monk had been doing in New York in earlier
years. Barry moved to New York in 1960, and his recording career began in
earnest. Since then, he’s recorded twenty-five records as a leader, and appeared
with a long list of greats, including Cannonball Adderley, Donald Byrd, Benny
Golson, Dexter Gordon, Coleman Hawkins, Sam Jones, Hank Mobley, Lee Morgan, and
Sonny Stitt. Odds are, you have at least heard him play on Lee Morgan’s hit, The
Stylistically, Barry has strong links with two other pianists, Bud Powell and Thelonious Monk. Of the two, Barry’s playing is closest to Powell’s in harmonic approach and melodic approach. Powell’s melodic language is classic bebop; if you could imagine Charlie Parker playing the piano, you would wind up with Bud Powell. Monk’s own style was of course unique, but he and Powell were friends and certainly admired and influenced each other. But Barry had a much closer personal connection with Monk—they lived together in Baroness Pannonica de Koenigswarter’s house in Weehawken in the 1970s until Monk’s death in 1982. (Nica was a patron of jazz, and bebop in particular, perhaps most famous for her relationship with Charlie Parker. When Bird died on March 12, 1955, it was in Nica’s apartment at the Stanhope, across the street from the Metropolitan Museum of Art.) Barry still lives in that house in Weehawken.
So Barry had already been a teacher and a mentor in Detroit in the 1950s. In the 1970s, he started teaching workshops in New York. From 1982-87, he taught at the Jazz Cultural Workshop, which he co-founded. Since then, he has maintained his own weekly workshops in New York. I first started attending them off and on about five years ago. They take place every Tuesday night when Barry is in town, from six until midnight, divided into sessions for pianists, singers, and then at ten, improvisers on all instruments. The only reason I don’t go every week is that I already have enough of Barry’s materials to work on for the next few decades. When Barry is on tour internationally, he conducts workshops there too. Through that process, he has developed a couple of generations’ worth of acolytes. One of the most prominent of the younger generation is the brilliant Italian guitarist Pasquale Grasso, who has standing set at Mezzrow every Monday night. If Bud Powell is like Charlie Parker playing the piano, Pasquale is like Bud Powell playing the guitar.
We settled in for the first set on Saturday night. Having arrived first, I was able to grab the seat directly to Barry’s left, maybe two feet away from him. Barry came on with his trio of many years, with Ray Drummond on bass, and Leroy Willams on drums. Barry began his banter. It had been a tragic couple of weeks for master jazz pianists. Harold Mabern had died on September 17, Richard Wyands died on September 25, and Larry Willis died on September 29. Barry sang a tune dedicated to all three. For the rest of the set, Barry narrated an improvised story that he used to introduce each tune. “You are walking down the street, and you see someone who looks really fine, and you think to yourself, ‘I Want To Be Happy.’” Hit it. Later on, Barry played Blue Monk, and I still have goosebumps thinking about it. The set wrapped up with one of Barry’s audience participation numbers, which he referred to as “jazz karaoke.” “Ok, we need a number from one to eight.” Someone calls out, “eight!” and we all feel bad for that guy. “No, man,” Barry laughs, “something better than that!” Barry is asking for musical intervals, out of which he will improvise a new tune. I think that night the pattern was “two-four-five-three.” A few members of Barry’s choir were in the audience, and they sang along. I sang along too. I always look forward to Barry’s tune Nascimento, which will often end a set and is another tune that the audience sings and claps to, but he ran out of time.
The set ended too quickly, and we only had tickets for the
first one. I arranged to meet Dan for the first set Sunday night. I only had a
ticket for the second set, Dan was gracious enough to gift me the extra ticket
he had. How early to arrive Sunday night? I really wanted to make sure I got
there early enough, so this time I arrived at 6:15. Again, I was first in line.
But this time, I was joined even more quickly, and then more and more people arrived.
Several people from the workshop, including some of the choir members. Dan
arrived. It started raining lightly, and the person working the door told us we
could stand under the awning, but only up to “this line,” gesturing to a crack
in the sidewalk. A woman from Germany came over and asked if she could share
the awning. She wasn’t trying to sneak in, honest, just keep dry. She was
dressed for an evening out, and wearing Chanel No. 5. Her husband stayed back
in line in the drizzle, it was OK, he had a hat on.
7:30, time to sit down. Dan and I grabbed table one, right at the stage. Barry seemed a little happier and a little more relaxed on this night. Through two sets, he brought out several guests, a couple of his piano students, a trumpet player, a singer. I had an extra ticket for the second set, and I was able to pay it forward to a gent sitting in the back who needed one. He was, our server told us, another Barry superfan. Ethan Iverson came in and sat down at the table to our left. Towards the end of the second set, the gentleman who had been second in line hopped up on stage and did a beautiful modern jazz dance to one of the tunes. As always, the second set of the last night featured the choir for most of the numbers. It’s such a sweet, glorious sound, evocative of the choral jazz of the 1960s.
The set was over, the week-long stint was over. Barry and the band milled about the stage and Barry kept on joking around with the audience. He finally ended his patter with, “We’ll be black…” And then, “we’ll be white… black.”
Welcome to the inaugural post in cultured nyc’s weekly cocktail column, Friday at five. It’s autumn in New York–our favorite time of the year. Even though we haven’t had much sweater weather yet, it’s time to start thinking about warming up with some whiskey. Not only that, but today is Rye Day at the Union Square Greenmarket. Frye-day, if you will, kicking off a week-long celebration of New York state rye. We had the chance to sample rye whiskeys from Breukelen Distilling, Nahmias et Fils, and New York Distilling Company. We were taken with all of these, and will be featuring these whiskies in coming weeks.
For today, we will showcase New York Distilling Company’s Ragtime Rye American Straight Whiskey. This is a classic rye; 100% New York rye, aged for three years and bottled at 90.4 proof. On its own, it’s spicy, clean, well integrated. I had a feeling it would do well in a cocktail too.
The cultured nyc reference library has a pretty deep
cocktail section, so where to turn for our first post? How about Dave Wondrich’s
Imbibe? We’re starting off old school here, and this book is all about the old
school. The Manhattan Formula #3 (New Standard) comes courtesy of William “The
Only William” Schmidt in The Flowing Bowl, 1892.
Half a tumblerful of cracked ice
2 dashes (1/2 Tsp) of gum
2 dashes of absinthe
2/3 drink (2 oz) of whiskey
1/3 drink (1 oz) of vino vermouth
(a little maraschino may be added)
This is close to the Manhattan we always make here at cultured nyc, maybe a touch sweeter on the vermouth. Per Dave’s recommendation, we left out the simple syrup. We also left out the maraschino, but did add one of Nora’s very fine house-made maraschino cherries. I was, however, very curious about the absinthe. A tiny bit of absinthe can completely transform a drink. I was worried that this would turn into some sort of weird Sazerac. But it didn’t! Not quite anyway; it added a green ‘undertaste’. I don’t think I’ll turn this into my new standard, but I certainly enjoyed it.
Smalls lives up to its name, and Mezzrow is even smaller. The Bar Next Door is even more intimate than either. When you’re sitting at the tables directly in front of the musicians, you’re almost close enough to boop them on the nose while they play. We settled into one of those tables to catch Dave Stryker and his trio Thursday night. The Bar Next Door, is “next door” to, or more accurately, in the basement of La Lanterna, a nice Italian caffe and wine bar on Macdougal in the heart of the Village. The pizzas are good, the wine list is big, and there’s not a bad seat in the house, so it’s usually a good place to listen.
I first met Dave at the Jamey Aebersold summer jazz workshop in 2014, and since then I’ve been doing workshops, masterclasses, and online lessons with him, in addition to working through his books. He maintains an active teaching schedule, teaching at Indiana University and Montclair State. That’s on top of a very busy touring and recording schedule. I’ve learned a lot from him over the last five years, but more than that, I’m just a huge fan of his playing.
Originally from Omaha, Dave moved to New York in 1980 and had his first big break touring with Brother Jack McDuff in 1984-85. McDuff’s groups had included Grant Green, Kenny Burrell, George Benson, and Pat Martino. As Dave likes to tell the story, when he joined up, McDuff was luckily to have finally landed a “good guitarist!” From there, Dave spent a decade working with Stanley Turrentine. He’s firmly rooted in the hard bop tradition, and all the organ quartet and soul jazz pedigree infuse even his more abstract work with a down home groove.
The group launch into their first set. Jared Gold is on organ, and McClenty Hunter is on drums. I’ve seen this combo a few times and they gel together from the first downbeat. Gold has been playing with Dave since 2004 and the trio has been the foundation of Stryker’s records since 2013’s Blue To The Bone IV and 2014’s Eight Track. That last record launched a terrific series, with Eight Track II coming out in 2016 and this year’s Eight Track III and Eight Track Christmas. The concept is to treat the pop songs of the 1970s (Superfly, Wichita Lineman, We’ve Only Just Begun) as new additions to the great American songbook and work them into jazz numbers. The more I hear this approach, the more I think it’s a good idea, and I think it’s especially welcoming for younger people who don’t know dozens of the old tunes.
The band starts playing. A typical Stryker set will include originals, standards, bebop and blues. They play Autumn in New York. A woman and her parents walk in, sit down, and begin talking loudly in Italian. Dave calls the tune, “Too High,” insisting that it doesn’t describe the band. He’s trying to draw the Italians in, but the woman says it’s no use since her parents don’t speak a word of English. At the end of the tune, I helpfully call out to translate, “Troppo Alto”–maybe they thought I was shushing them, because they did quiet down for a few minutes after that.
The band is really cooking for the second set. I saw McClenty looking a bit tired in the break, but he really caught fire now. The set features a couple of blistering bebop tunes, including a super high energy take on Donna Lee. In honor of Thelonious Monk’s 102nd birthday, Dave does a lovely solo rendition of Ask Me Now. The set wraps up and we all go off into the New York Autumn night.
We are now in an era of jazz centenaries. Thelonious Monk, Dizzy Gillespie, and Ella Fitzgerald had theirs in 2017. Charlie Parker will have his next year. Barry Harris is just shy of ten years away from his. On October 11 2019, the honor goes to Art Blakey. Several events in New York this week will serve to commemorate. I caught One For All at Dizzy’s on Tuesday night. This supergroup sextet features Eric Alexander, Jim Rotundi, Steve “Stevie D!” Davis, David Hazeltine, and Joe Farnsworth. Eric had just flown in from Vancouver early that morning, and Jim had just flown in from Vienna.
I know Eric, Jim, and Steve from the Jamey Aebersold summer jazz workshops. I’ve played in combos supervised by Eric and Steve, and to put my cards on the table, they are both heroes of mine. I’ve been a fan of Eric’s ever since I first heard him play at Smoke in 2005 with the Mike LeDonne quartet (and which I wrote about at the time).
Steve had the honor of getting picked by Blakey to join the
Jazz Messengers right out of college. Steve played on the last two Messengers
albums, his tune, One For All, became the title track of the group’s final
record. There’s a story that Steve likes to tell about his early days with
Blakey. Art took Steve aside, put his arm around him and said, “Listen, when
you solo, you make statement, you build to a climax, then you get the fuck out!”
“You got that?” Steve: “Yes.” Art: “Then fucking do it!” Truer words were never
One For All first got together for a gig at Smalls in 1997. Since then, they have recorded sixteen albums together. I have to admit not knowing those albums previously, but I am looking forward to digging into them.
Through the course of two sets, the group ripped through a bunch of Blakey favorites, including Benny Golson’s Along Came Betty, and Blues March. During Manteca, it was all I could do to stop from shouting out the tune’s name, just like Dizzy and Chano Pozo did. Joe Farnsworth acted as MC for most of the night, and this night being about a great drummer, took several extended and thrilling solos.