Michelin Comes to Miami

The fat man’s coming to Miami. After various state and local tourism agencies paid the Michelin Guide undisclosed amounts which could exceed a million dollars, the star system will start coverage of Florida, with a big announcement of its ratings scheduled for June 9 in Orlando. So of course inquiring minds want to know: which restaurants will get the coveted recognition?

In theory, the Michelin Guide claims to rate restaurants based on five criteria: “quality of the ingredients used, mastery of flavor and cooking techniques, the personality of the chef in his cuisine, value for money and consistency between visits.” In practice, the Michelin Guide has long championed a certain type of restaurant: Euro-centric, fussy and expensive. While the focus is understandable given the guide’s origins – a traveling companion published by a tire company as a marketing tool to get people to drive their cars around Europe – it is not necessarily representative of the best that any particular region has to offer these days, especially outside of Europe. But if you look at the U.S. restaurants that have received multiple stars,^[1] they fit a certain profile: they are almost universally high-end, tasting-menu venues. They are also overwhelmingly of the “Contemporary American” genre, with some French, Italian and Scandinavian thrown in the mix. Of 49 restaurants in the U.S. that have received 2 or 3 stars, there are less than ten that stray from these genres.^[2]

So I’m not at all sure Michelin is going to find what it’s typically looking for in Miami. Theirs is not a style that has had much traction in South Florida for the past several decades.^[3] We may like flashy, but we don’t particularly like stuffy. And IMO, the best dining in Miami these days is not necessarily at the highest end venues, but rather at places that are putting out great, inspired food without a lot of pomp and circumstance.

My predictions?

(1) No Florida restaurant will receive three Michelin stars.

Michelin currently has a three-star rating for at least one restaurant in every region it covers. (There are six in California, five in New York, one each in Chicago and DC). That streak will end in Florida, where as much as I am a champion of the local scene, I can’t think of any place that fits the Michelin Man’s vision of a three-star restaurant.

(2) There will be no more than three two-star restaurants and possibly none.

Chicago had only four restaurants receive two Michelin stars. DC managed only three. My guess is that Florida gets three at most, and that’s a stretch. The most likely Miami candidates, IMO (I know nothing about Orlando or Tampa, which appear to be the other Florida cities Michelin has focused on): L’Atelier de Joel Robuchon, Ariete, and Naoe. Wild card: Ghee. L’Atelier seems like the most viable candidate, since five Ateliers in other cities have already received two or more stars.^[4] If the inspectors pay attention to the more ambitious facets of Ariete’s menu (the Versos Diarios tasting menu, the Canard a la Presse), they may well find what they’re looking for. I think Naoe is possibly in contention, but I also think that Michelin has devalued many outstanding Japanese restaurants in the U.S. The only ones to crack the one-star ceiling are Masa in NY (3*), and Hayato, n/naka and Sushi Ginza Onodera in LA (2*), which is kind of crazy given the options available in LA and NY these days. Niven Patel’s wonderful restaurant, Ghee, nails every single one of the Michelin guide’s criteria, but I have little faith that they’ll give two stars to an Indian restaurant in Kendall using local ingredients from Homestead farms.

(3) There will be 15-20 one-star restaurants from this list:

The “shoo-ins”:

These are places which I’m almost certain will get a star because other locations have already received stars. So, yes, I’m cheating to make my predictions by checking the answers from elsewhere.

Carbone (1* NY)

Cote (1* NY)

El Cielo (1* DC)

Fiola (1* DC)

L’Atelier de Joel Robuchon (3* Hong Kong; 2* Tokyo, Shanghai, Taipei, New York, 1* Paris)

Le Jardinier (1* NY)

Surf Club (3* French Laundry CA, 3* Per Se NY).^[5]

The “better be there or I’m slashing your tires”:

These are places that are unquestionably deserving of recognition IMO, and if you miss them your credibility is shot, Roly-Poly Tire Dude.

Ariete

Boia De

Ghee

Itamae

Macchialina

Naoe

The “pretty sure they’ll make it”:

These are places that I could easily see picking up a star.

Den at Azabu

Hiden

Hiyakawa

Kyu

Los Fuegos

Makoto

Pao

Stubborn Seed

The “on the cusp” candidates”:

Some of these I have “on the cusp” because they may be too casual for Michelin’s tastes (MGFD, Amara), or too new (Orno, Luca, Kojin). Others are parts of restaurant groups that Michelin appears disinclined to recognize with stars (Bazaar, Bourbon Steak, La Mar).^[6] I’m not saying these are any worse (or better) than others listed above – or that all of these are any better (or worse) than other local restaurants I’ve not listed at all – only that I have less confidence they’re going to make it into the little red book.^[7]

Amara at Paraiso

Bazaar

Bourbon Steak

Byblos

Kojin

La Mar

Leku

Luca Osteria

Michael’s Genuine

Orno

Uchi

Let’s see how my predictions fare on June 9. But more importantly, let’s not lose sight of the fact that Michelin really doesn’t know bupkis about what makes dining in Miami unique, special and great.

^[1] Michelin currently publishes guides for New York, California, Chicago and Washington DC. If you're keeping score at home, I've made a chart with all the U.S. restaurants to receive Michelin stars.

^[2] There are four Japanese restaurants (Hayato, Sushi Ginza Onodera, and n/naka in LA, Masa in NY); two Korean (Atomix, Jungsik, both in NY); one each for Chinese (Benu, SF), Mexican (Californios, SF), and Indian (Campton Place, SF). My "genrefication" of many of these places is both reductive on my part (most are not strictly bound to a particular regional cuisine), and also symptomatic of Michelin's biases (even those places with Asian or Latin American inspiration that make their way into the guide generally are reflecting it through a "Contemporary American" tasting menu prism).

^[3] Ironically, the chef who was most likely to have earned the Michelin inspectors’ attention no longer has a restaurant open to the public. Brad Kilgore’s Alter both was the kind of place and was executing at the kind of high level that could have picked up two stars. But sadly Alter was a pandemic casualty, and Kilgore is currently running Verge at the Concours Club, a members-only restaurant within an automotive club for people with very expensive cars who want to drive them very fast and find other ways to flaunt their wealth. I'm very glad Brad is relieving them of some of their cash, particularly since he just became a proud new papa (Congrats!). Selfishly, I hope he makes a return to the public restaurant world someday.

^[4] 3* for Hong Kong, 2* for Tokyo, Shanghai, Taipei and New York, though curiously, none of the Paris locations have received more than 1*. Since it’s hard to believe that the satellite Ateliers in the far-flung quarters of China, Taiwan, Japan and New York are better than the home offices in Paris, I take this to mean at least one of two things (likely both): (1) Michelin is grading these other regions on a curve; and/or (2) Michelin’s ratings bely a Euro-centric chauvinism that favors French restaurants even in Asian countries, i.e., “Our scout team is better than your starting roster.”

^[5] Keller has 3* on each coast with French Laundry and Per Se, but Surf Club is far less ambitious, and its parallel in NY, TAK Room, was not recognized by Michelin, though it may have closed before it could make it into a guide.

^[6] Jose Andres’ minibar in DC has 2* and Somni in LA had 2*, but Bazaar in LA was not starred, so I don’t put Bazaar Miami in the “shoo-in” category. Michael Mina (Bourbon Steak) had 1* for his namesake SF restaurant, but not for any of his other restaurants.

^[7]Edited to add: I forgot that Michael White, who earned 1* at Marea and Ai Fiori in NY,  is now at Lido at the Surf Club, which could certainly be in contention. And consistent with my general blind spot for expensive Italian restaurants, I also left out Forte dei Marmi and Casa Tua, which for all I know could be in the mix (I've never been to either).

What's Next?

I was very grateful to have been asked to participate in a Facebook Live discussion on “Check Please! South Florida” earlier this week with host Michelle Bernstein, Palm Beach chef Lindsay Autry, and Fort Lauderdale food writer Mike Mayo, to talk about the future of the South Florida restaurant industry in light of the COVID-19 pandemic. Thanks to all who joined us live; if you missed it and want to watch, I've embedded it above and you can find it here: “Check Please! Conversation with Michelle Bernstein."^[1]

I wrote down a lot of notes in preparation for the talk, and thought it would be worth sharing and expanding on some of those here. Many of these thoughts will not be anything new if you've been following the effect of this crisis on the restaurant world and food supply chains. But as we reach an inflection point – this week Miami-Dade County began the process of lifting “shelter in place” orders and authorized restaurants to reopen with limited capacity – it seemed a good time to think about where we’ve been and what’s to come.

THE RESILIENCE AND COMMUNITY MINDEDNESS OF THE RESTAURANT INDUSTRY:

Let me start by saying how much I admire the resilience, the resourcefulness, the perseverance, and the care for their employees, their customers, and the community at large displayed by so many chefs and restaurant operators. When this crisis and shutdown hit, the immediate reaction from so many of the folks I know was to help: to try to take care of the employees they had to lay off as best they could, and then to provide meals and groceries for first responders, laid off workers, and anyone in the community who might be struggling to find a meal.

I do business bankruptcies for a living, and in my career have never seen a greater challenge – not just because of the shutdown, but because of the uncertainty of what comes next. To be looking to help others, while the businesses they’ve spent years of hard work and money building are facing a genuinely existential threat, is a truly remarkable response, but one that seems to come naturally to so many who have chosen this path.

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deep thoughts: Silverlake Bistro | Normandy Isles (Miami Beach)

The restaurant review is having a midlife crisis. So says this guy, anyway. While there's a kernel of truth in his identification of the symptoms, I'm far less convinced of his diagnosis as to the cause. At its heart, his claim is that the problem is the restaurant review format itself:

I just want to deal with one of the genre’s challenges — namely, its form. ... To be blunt, the traditional review is a terrible vessel for inventive prose, contrarian opinions, and nuanced arguments about the mystery and meaning of food.

Well, on that point, I must beg to differ. Good writing transcends genre. Restaurant reviews are as useful a format as any to paint a portrait of of a city, as Jonathan Gold did so beautifully for Los Angeles, to explore social and cultural issues, as Soleil Ho does at the San Francisco Chronicle, to craft poetry like Ligaya Mishan does at the New York Times, to entertain and enlighten with wit and snark, like Jay Rayner does at The Guardian. The problem isn't the vessel; it's all about what you're putting inside.

Also: there's a whole universe of food writing that isn't restaurant reviews. That's not to say I believe reviews should be devoid of any discussion of broader issues – if you've been reading here at all, you know I'm prone to plenty of digressions – but rather, that there are lots of ways to talk about culture through the lens of food, reviews being just one of them.

Also, also: I am perhaps one of a dying breed who believe that the underlying purpose of a restaurant review – to help answer the question, "Where should I want to eat?" – while not as noble or important as curing cancer, is still itself a worthwhile and valuable endeavor.^[1]

Having said that, it does seem that the restaurant review industry, in some quarters anyway, is in the doldrums. I don't think the problem is the format, though no doubt it is kind of a bore to read reviews that just grind through the "here's the apps, here's the mains, here's the desserts" routine by rote. To my mind, it's more a combination of the decline of media outlets that provide the budgetary, editorial and promotional support for restaurant criticism, and the rise of crowd-sourced opinions a la Yelp. Combine that with a lack of diversity and community representation in the voices that still get heard. Throw a little "death of the blog at the hands of Twitter and then Instagram" into the mix too. Sprinkle some "influencers doing it for the freebies" over the top like finishing salt. And what you have is a dearth of credible, reliable voices motivated and able to write thoughtfully and critically about restaurants.

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Miami's restaurants that defined the decade

It's nearly the end of the year – the end of a decade on top of that – which means it's a time for taking stock, for somber reflection ... and for posting lists. Yes, everyone hates lists, but here's the thing: everyone actually loves lists. A good list, anyway. Not the clickbait-y ones posted by uninformed bozos of places they haven't even visited and only read about on Yelp. But one that gathers a year, or a decade, of actual personal experience and tries to put it all in some kind of context? That could be a good list. And personally, anyway, I find these end of year rituals give me an opportunity to think about and say some things that I never found the time for over the past year.

This one, in particular, was inspired by a twitter post from Paolo Lucchesi, currently editorial director at Resy and before that the Food and Wine Editor of the San Francisco Chronicle, which in turn was inspired by one from Jeff Gordiner (Food and Drinks Editor at Esquire):

This is a fun thought exercise/bar argument.

What about the Bay Area? What are the (12?) restaurants that opened since 2010 that defined this decade of eating in the Bay Area? https://t.co/X1StDbFTAh

— Paolo Lucchesi (@lucchesi) December 6, 2019

So: what about Miami? (hat tip to Charlie Crespo, who asked that exact question).

When I started considering the answer to that question, one of the first things I realized was what an incredibly fruitful time the years immediately before 2010 were for the Miami restaurant world. Michelle Bernstein won a Beard Award in 2008 for her work at Michy's, which had opened two years earlier in the Upper East Side / MiMo District back when it was still a hotbed for motels-by-the-hour and those who patronize them. She also opened Sra. Martinez in 2008, providing a showcase for cocktail maestro Julio Cabrera as well as a bunch of dishes I still miss (R.I.P. uni panini, crispy artichokes, eggplant and honey, white bean and butifarra stew). Michael Schwartz opened Michael's Genuine in 2007 in the then very sleepy Design District, and picked up his own Beard Award two years after Michelle. Kris Wessel opened the wonderful, quirky Red Light back in 2008, where my family spent countless evenings at the counter (R.I.P. barbecue shrimp, oyster pie, roast quail). Kevin Cory opened the original Sunny Isles location of NAOE in 2009 and blew my my mind open with a bento box that was like a kaiseki dinner in miniature for $26, followed by the best sushi Miami had ever seen. Richard Hales opened Sakaya Kitchen in 2009, an early harbinger of the recent trend of chefs with high-end backgrounds doing the fast-casual thing. Add Bourbon Steak (2008), Scarpetta (2008) and Hakkasan (2009) to that list, among others I'm surely forgetting, and the end of the last decade was a pretty good era for Miami dining.

The next thing I realized was that I was going to need a bigger list. While I instinctively had some thoughts as to which restaurants "defined the decade" of dining in Miami, I needed to reconstruct the timeline to figure out which of those opened 2010 or after, and also see if there were others that I'd overlooked. After consulting the archives, there was a long list of more than forty potential candidates, from which I chose the dozen that to my mind best fit the bill. That selection process is pretty arbitrary, but includes consideration of how much that restaurant reflected or predicted local and national dining trends, as well as popularity and staying power.^[1]

So, in chronological order below is my list of the twelve restaurants that opened since 2010 that defined Miami dining over the past decade, with brief explanations. I've also included other notable openings year by year, for the sake of posterity and context, with some occasional additional notes as well.^[2]

1. Sugarcane Raw Bar Grill (2010)

Small plates? Check. "Dishes will come out as they're ready"? Check. Sushi, a globally inspired mix of tapas, and a French bistro style roasted chicken, all on the same menu? Check. Sugarcane, which opened in January 2010, embodied much of the experience of dining in Miami over the past decade. For better or worse, some might say, but I will say this: while Sugarcane has evolved into more of a "crowd-pleaser" over the years,^[3] when it first opened chef Timon Balloo was doing some fun, delicious exciting stuff – I still crave that crispy tripe with Brussels sprout kimchi. The kicker: Timon is closing out 2019 with the opening of a small, intimate space that features a deeply personal menu at Balloo: Modern Home Cooking. It's the kind of food I always wished he would do, and a place I hope we're talking about through the next decade. (Here are my thoughts on Sugarcane from back in the day).

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deep thoughts: Boia De | Buena Vista (Miami)

Earlier this week, I got to speak to a seventh grade class at North Broward Preparatory School about food blogging. A food theme runs through their entire curriculum for the year, so while they are writing their own food blogs for English class, they are also learning about food in science class, and tending an on-campus edible garden. It was a lot of fun to pass on a few nuggets of "wisdom" from my own experiences, but what was really great was hearing from the students about their own interests, projects and questions.

Of course, one of them asked "What is your favorite restaurant?" And invariably, this is the question everyone asks every food blogger. It's also a question I always have trouble answering. Because I have lots of favorites! Even if you narrowed it by category I'd still struggle, because so many different restaurants satisfy so many different cravings and moods. (I am voracious, I eat multitudes).

Having said that, I actually do have a favorite right now. And by favorite right now, I mean, if you asked me pretty much any day the past few months, "Where do you want to eat tonight?" the answer would likely be "Well, we could go to Boia De." This is a conversation that occurs frequently in our household. And frequently ends in the same place.

So what is Boia De? Maybe we should start with a related question: "What does "boia de" mean? Somehow, I got it in my head that it's an Italian expression that means "How cool!" But that translation exists only in my imagination. According to chef/owners Luciana Giangrande and Alex Meyer, it loosely translates as "Oh my!" which is much nicer than what turns up on Google Translate, which says something about an executioner?

It's perhaps appropriate that the name "Boia De" is a bit ambiguous, because the restaurant "Boia De" is itself delightfully difficult to typecast by genre. If I were to call it anything, I might go with "Italian-American," but I mean something almost the exact opposite of the checkered-tablecloth, red-sauce and mozz stereotype that phrase typically invokes. Alex and Luci mine Italian cuisine for ideas and ingredients – pastas and polenta and 'nduja and tonnato sauce – but those rub shoulders with green goddess and ranch dressing and and miso and mango. In lesser hands, this would be a recipe for disaster. But Alex and Luci know what they're doing.

(You can see all my pictures in this Boia De flickr set - over multiple visits I've now covered about 90% of the menu, though several items like the pastas change regularly).

Start, for instance, with the baked clams: tender littlenecks tucked under a blanket of spicy, smoky 'nduja sausage and breadcrumbs, torched til they're brown and bubbly, then finished with a squeeze of fresh lemon. They make for a delightful little one-bite surf-n-turf experience.

Or maybe instead a crudo? The hamachi is rich and buttery but delightfully clean and fresh, with splashes of yuzu salsa verde, ringlets of fresno chile, and briny fried capers to cut through the fattiness of the fish. It still feels kind of Italian even though nonna might disagree. Alternatively, you could go with the tuna crudo, which gets matched up in equally unorthodox fashion with a Sicilian pesto and smoky miso eggplant.

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Chez Panisse | Berkeley, California

Some places aren't just restaurants; they're institutions. Chez Panisse certainly falls in that category. Its founder, Alice Waters, is widely regarded as the patron saint of the "farm-to-table" movement: the restaurant, which she opened in 1971, made the sourcing of local ingredients a cornerstone long before that term was commonly used, much less beaten to death.^[1] And generations of restaurants since have followed suit.

My last visit to Chez Panisse must have been about twenty years ago.^[2] It doesn't seem to have changed much at all, even though the two-story Arts and Crafts style space got a major facelift about five years ago after a fire. (No doubt it helped that the architect who first designed the restaurant, Kip Mesirow, was responsible for the renovation as well.) Downstairs is the original "restaurant," which still serves a three- or four-course prix fixe menu in a sort of country French idiom that changes on a daily basis. Upstairs is the "café," opened in 1980, which offers an à la carte menu and a somewhat more casual feel. Maybe the biggest change is that both upstairs and downstairs now have open kitchens, whose wood cabinets and shelves blend so seamlessly into the rest of the space that it really does feel a bit like eating in someone's home.

(You can see all my pictures in this Chez Panisse flickr set.)

Remarkably for a restaurant that's been around for nearly half a century, Chez Panisse doesn't feel particularly dated. Indeed, aside from the farm-to-table thing, there are at least a couple other facets of contemporary dining culture where I think Chez Panisse was way ahead of the game, including those daily changing menus, and the combination of high-end food in a more informal setting. If I told you that a rustic-looking place, with a charcoal grill and wood burning oven, serving food straight from the farms, fields and docks had just opened in the East Bay, you'd probably think it was right on trend. It's a testament to the restaurant's outsize influence; and, I suppose some would say, to the stagnancy of what's come to be known as "California Cuisine."^[3]

There's a reason for the genre's staying power, though: when it's done right, it's still very good, especially in Northern California, which produces some of the greatest raw ingredients on the planet. And Chez Panisse is still doing it right.

We opted for the café over the restaurant. Although it may lack the dinner party vibe downstairs, the food still captures that "of the moment" feel: while the format of the à la carte menu stays largely the same, the particular pieces change from day to day, and sometimes even from lunch service to dinner.

Some of the highlights from our visit:

A simple salad of crisp, perky gem lettuce, dotted with juicy, sweet sungold tomatoes, napped with an assertively salty, funky anchovy dressing.

A crudo of wild California king salmon with cucumbers and green coriander, accompanied by a wispy salad of greens, herbs and slivered radishes.

A pizzetta cooked in the wood oven, topped with pancetta, hot peppers, capers and fresh rosemary – great to order as an appetizer "for the table."

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Wabi Sabi by Shuji | Upper East Side (Miami)

My first taste of chef Shuji Hiyakawa's food came at an event last spring hosted by the Japanese Consulate in Miami, described as "Culinary Secrets of Traditional Washoku." "Washoku" literally means "Japanese food," but more specifically, the traditional cuisine of Japan (here's a good primer). After breaking down a whole tuna loin and making sushi of it, Chef Shuji also served a variety of other less heralded Japanese items: a seasonal dish of hotaru ika (firefly squid) with fresh bamboo shoots, yu choy in dashi broth with bonito flakes, sweet soy-braised root vegetables.

At the time, Chef Shuji, who made his way from Fukuoka, Japan to Miami by way of Philadelphia, where he had worked for several years as executive sushi chef for Morimoto, was weeks away from opening his own restaurant, Dashi. I went to Dashi shortly after it opened (you can read my first thoughts) and came away pretty impressed, albeit dismayed by the absence of a conventional sushi bar. But Dashi closed only a few months later after Hurricane Irma caused extensive damage to the River Yacht Club, where the restaurant was situated.

Fortunately, Chef Shuji had a back-up plan. Turns out he was already at work on another concept in a different space – and even better (for me, anyway), it was right along the path of my daily commute, in Miami's "Upper East Side" on N.E. 79th Street just over the Causeway from Miami Beach. In early January, Wabi Sabi by Shuji opened.

(You can see all my pictures in this Wabi Sabi by Shuji flickr set).

It's a simple but striking space, built out and decorated almost entirely by Chef Shuji himself. Across one wall sprawls a flock of multi-colored origami cranes. A table underneath is laid out with enough beautiful Japanese ceramics to serve a feast for about ten people (more on that later). Hanging from the ceiling and resting on counters are an abundance of kokedama moss ball planters. A few rough wood tables provide seating for maybe a dozen diners. At the back, there's a small kitchen island where you'll find Chef Shuji and assistant chef Maggie Hyams working away, and on some days, marketing and event coordinator Koko Makoto working the register, serving as hostess, and doing everything else that needs doing with grace and charm.

There's still no sushi bar. Rather, the idea of Wabi Sabi combines some Japanese tradition with the latest in American fast-casual trends: food in bowls. We all love food in bowls these days. Buddha bowls, poke bowls, power bowls, acai bowls – seems we'll eat anything if you put it in a bowl.^[1] While some food trends are just plain stupid, this is one I can get behind: it's convenient, it's right-sized portioning, and when you put nice things in the bowl, it can be both delicious and aesthetically pleasing.

Which are also some of the things I love about Wabi Sabi. The menu at Wabi Sabi is straightforward: a choice of four different combinations of raw fish and accompaniments, over a choice of four different bases (sushi rice, a multigrain mixture, green tea soba noodles, or salad greens), with a choice of four different sauces – served in a bowl.^[2] Any of the basic configurations will run you between $11 (for a vegetarian version which includes cucumber, avocado, scallion, seaweed salad, soy-marinated shiitake mushrooms, carrots and radishes) and $18 (for a fully decked out version with tuna, salmon, lump crab, tobiko, and an assortment of vegetables).

Or, for the ballers out there, there's also an "omakase" bowl, which features an ever-changing assortment of fish and seafood, much of it flown in straight from Tsukiji Market in Japan, served chirashi style over seasoned rice. That may mean blocks of fatty hamachi (yellotwail), ribbons of silky, clean kinmedai (golden-eye snapper), shimmering sayori (half-beak), creamy uni (sea urchin), silver-skinned aji (horse mackerel), house-cured iwashi (sardine) or kohada (gizzard shad), baubles of ikura (salmon roe), or any number of other possibilities, served over a bowl of seasoned rice, with seaweed salad, maybe some sprouts, maybe some soy-cured shiitake mushrooms, and a scatter of shredded nori batons.

Unlike the standard menu options, the omakase bowl is not cheap – pricing usually runs between $35 and $40, depending on what ingredients are featured that particular day. But if you add up what you would pay for a comparable sashimi or sushi order at any good sushi-ya – and the quality of the ingredients at Wabi Sabi is on par with what you'll find at the few places in Miami that fit that description – I think you'll find it to be roughly equivalent. It is also probably the easiest, most convenient way to eat some great sushi that you'll find in Miami, one that you can even take home and eat in front of the TV if you wish.

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é by José Andrés | Las Vegas

There's a phenomenon on social media lately that whenever a celebrity chef expresses an opinion on political or social issues, a chorus of those whose sensibilities diverge insist that the chef should "stay in their lane." In other words, talk about food all you want, but keep your politics to yourself. The reaction seems inherently ridiculous to me – if you don't like it, the "unfollow" button is a simple, elegant solution – and hypocritical. Unless, that is, all these "stay in your lane" folks are actually career political scientists themselves, or perhaps professional life coaches.

I bring this up here because Chef José Andrés is a powerful retort to that kind of nonsense, someone whose talk has been backed up by meaningful, thoughtful action. The day after Hurricane Harvey cleared Texas, he was in Houston feeding people. A month later when Hurricane Maria decimated Puerto Rico, he was there within days serving meals. Over the past weeks, he's mobilized a brigade of food trucks and canteen kitchens to serve 100,000 meals a day, while getting minimal support from the federal government, in a territory with an almost entirely broken infrastructure.^[1]

But this shouldn't come as a surprise. His charity work is not simply a reaction to recent events, but a commitment that dates back to at least 2010, when he founded a non-profit, World Central Kitchen, as a response to a devastating earthquake in Haiti. When, in mid-2016, then-candidate Trump described Mexicans as criminals and rapists, Andrés – an immigrant and naturalized U.S. citizen himself – didn't just gripe about it on Twitter. He pulled out of a multi-million dollar restaurant deal at a Trump property in DC, risking the inevitable lawsuit from the litigation-happy candidate. (Andrés countersued, and the case settled in April on undisclosed terms.)

All of which is to say: José Andrés can cruise in any lane he wants, as far as I'm concerned.

While the work he's doing now in Puerto Rico is infinitely more important, those lanes do actually include chef and restaurateur as well. Andrés' restaurants include the Michelin two-star Minibar, along with a mini-empire of places in DC, LA, Miami, and Las Vegas, the last of which I visited recently for a conference.^[2] While there, I squeezed in a dinner at é by José Andrés, an 8-seat "restaurant within a restaurant" inside Jaleo at the Cosmopolitan.

(You can see all my pictures in this é by José Andrés - Las Vegas flickr set).

The format of é is patterned after the original iteration of Minibar in DC with a dollop of Vegas glitz. Its roughly 20-course tasting menu is unabashedly inspired by the creations of Andrés' mentor, Ferran Adrià, with whom Andrés worked at El Bulli in Spain before going on to tremendous success in the U.S. I'd visited é once before, though I hadn't realized how long ago it had been – nearly six years. The room, centered by a polished metal chef's counter surrounded by walls lined with tiny drawers and odd tchotchkes, hasn't changed much. One of the chefs said it was meant to make you feel like "You're inside Chef Andrés' head." (It kind of does.) The menu was almost entirely different, though there were some echoes of prior meals.

Guests are corralled at a table in Jaleo and offered a drink before the dinner at é starts. After a few minutes, the hostess divulges that the centerpiece on the table is also the first course: a cracker flavored with black olive, stuck with edible flowers.

Then upon entering the cloistered dining room, a cocktail: sangria, frozen and powdered to a slushie-like consistency, with compressed melon, sour cherry pearls, and fresh mint leaves.^[3]

A cheese course of sorts: a soft-frozen manchego and beet rose topping a walnut cracker, "stones" of idiazabal cheese with a jamón and rosemary glaze nestled atop a bowl of river stones; and a "pizza" of San Simon cheese topped with oregano cream, dried tomato, and fresh shaved truffle.

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The Clove Club | London

We only had three nights in London on this last trip, our first visit in a decade, but I think our dinner choices – Rules, St. John, and on our final night, The Clove Club – successfully captured a meaningful cross-section. Each of these places might seem quite different on the surface – the red velvet banquettes and gold-framed portraits of Rules are entirely unlike the abbatoir-like black-and-white starkness of St. John, which is equally unlike the cool modernism of the Clove Club. Though the spare, contemporary plates at Clove Club might appear to be from a different world than the straightforward, traditional dishes at Rules, there's a thread which runs through them: a deeply ingrained dedication to British ingredients.

The Clove Club, which started as a living room supper club run by chef Isaac McHale, has made itself a home in a 150-year old building that used to be the Shoreditch Town Hall. Now, you enter into a smart, cozy bar – where, it should be noted, several smaller dishes from the tasting menu are available on an a la carte basis, something I'll be keeping in mind the next time in town. You pass from the bar into an equally smart dining room, the centerpiece of which is a shiny open kitchen. Sometimes these layouts feel like a stage, where the diners are meant to gaze in rapt wonder upon the chefs. This one feels more like the loft of your tasteful London friend, the one with a fetish for blue subway tile and 1960's Scandinavian furniture. It's elegant, in an understated way; but more important, it's comfortable – it still feels like it could be a living room supper club, though in a pretty fancy living room.

Dinner can be either a five-course affair, currently priced at £75, or a more elaborate tasting menu for £110, which was the route we chose.

(You can see all my pictures in this The Clove Club - London flickr set; these are from a meal in February 2017).

The meal starts with a series of snacks, the first of which is something of a signature dish: buttermilk-marinated fried chicken, dusted with pine salt, and presented nestled in a woven basket filled with pine branches. It is like the platonic ideal of a chicken nugget. A glass of Gusbourne Blanc de Blanc accompanies the snacks, and I'm pleasantly surprised to discover that very respectable sparkling wine is coming from this side of the English Channel, in West Sussex.

McHale turns his sights to his native Scotland next with a warm haggis bun, the funk of offal tempered by warm spices and a dusting of vinegar powder. Local ingredients take a Japanese turn with a rectangular laver (seaweed)^[1] crisp that serves as the vehicle for a rich, oily mackerel tartare.

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Rules Restaurant | London

Fergus Henderson may have helped convince the world that British food was worthy of attention with his restaurant, St. John (some more thoughts on St. John here). But at Rules, they were never in any doubt.

Rules bills itself as the oldest restaurant in London. Over the past two centuries, it's been owned by only three families: Thomas Rule opened it in 1798; just before World War I, one of his descendants decided to move to France, and arranged a swap with a Brit running a restaurant in Paris named Tom Bell; and then in 1984, Bell's daughter sold the restaurant to its current owner John Mayhew.

The dining room, with its red velvet-wrapped, gold-piped banquettes, polished wood dividers, oil portraits and old cartoons on the walls,^[1] the occasional marble bust here and there, looks every bit the part. If not for the bona fides of its history, the stereotypically posh decorations would seem almost laughable. I adore the place.

We first came here on a family trip to London more than ten years ago. Our daughter was about six years old at the time; she did not adjust well to the jet lag, and within an hour she was sliding under the table.^[2] This time around, I was the one who wanted to throw a fit when I learned that we had just missed game season. Through the present owner's inheritance of the Lartington Estate in northern England and relationships with local game dealers, Rules sometimes has a glorious assortment of wild things on the menu – its "famous grouse," but also woodcock, pheasant, partridge, wild duck, hare and more. Alas, not on this visit.

(You can see all my pictures in this Rules - London flickr set).

Before getting to the food, I highly recommend a visit upstairs to the Edward VII Room, a/k/a the cocktail bar, a snug spot with a carved wooden bar counter, a few tables and couches, and a fine assortment of hunting murals and trophies adorning the walls. The bar program is run by Mike Cook, and his crew can handily make the classics like a pitch-perfect Negroni. But they also have their own creations, like the intensely aromatic Lucia Sciarra, named after a character from the last James Bond film, Spectre.^[3]

Once I'd recovered from having missed game season (my recovery aided by a pleasant cocktail), I focused my attention on the menu, which also helped ease my disappointment. You get the sense it could have been written a hundred years ago. Chef David Stafford shows occasional flashes of whimsy, like a duck leg "pastilla" paired with a spiced duck breast, but for the most part he proudly and lovingly cooks traditional British dishes. And this he does exceedingly well.

So there's potted shrimps, a mound of tiny, tender brown crustaceans caught in Morecambe Bay, preserved in butter and spices in the way it's been done for hundreds of years. There's Middlewhite pork terrine, which makes use of a rare heritage breed of pig that originated in Yorkshire, served simply with picallili and cornichons. The shrimp taste of shrimp, the pork tastes of pork, and I couldn't possibly be happier.

For her main, Mrs. F chooses the Uig Lodge smoked salmon, sourced from a smokery on the far northern reaches of the Outer Hebrides. The salmon is served with fat slabs of brown bread and offered either with or without scrambled eggs, but surely this is a rhetorical question? The salt and smoke on the fish whisper rather than shout, and its texture is all silk, matched by the soft, creamy eggs.

For me, a real taste of tradition: a steamed suet pudding. It arrives at the table completely unadorned, looking like a doorstop from a giant's castle. Cut it open, and beneath a layer of dense, chewy suet pastry, a stew of venison, red wine and chestnut mushrooms issues forth. There's nothing light or delicate here, but it has a brawny beauty all its own; it's rich, and hearty, and sticky, and satisfying, and I love that such things still exist in this world.

Along with our mains, we have some bronze-crested, buttery-interiored potatoes Anna, as well as a perky salad with sprightly pale sprigs of frisée, crispy bacon lardons, toasty croutons and a bracing shallot vinaigrette.^[4]

We always enjoy ending a meal with some good cheeses, but Mrs. F is not so much a fan of the blue-veined varieties. So I'm pleased to hear that the cheese plate, which features a few English cheeses served with biscuits and a sweet shallot jam, can be supplemented with a portion of the Cropwell Bishop Stilton. The entire wheel is brought to the table, from which they will scoop the paste onto your plate until you say "enough!" Made by a third-generation creamery in Nottingham, it's more creamy than crumbly, tangy enough to balance the fat but not so much to blow out your sinuses, and just lovely stuff.

There's a certain danger in a place like this getting weighed down by its historical baggage, but Rules manages to avoid that. It doesn't feel, or taste, like a museum piece, but rather like a living, breathing restaurant that just happens to be from another century. But good food is timeless; I hope Rules remains so as well.

Rules Restaurant
35 Maiden Lane, Covent Garden, London, England
+44 0 20 7836 5314

^[1] There's also a massive mural on one wall of a stern-faced Margaret Thatcher looking as if she belongs on the prow of a ship.

^[2] She didn't actively misbehave. She just sort of ran out of steam, started to fade and get a little teary-eyed, and quietly mewled "I'm broken." We still say this when it gets a little too late in the evening for any of us.

^[3] The concoction includes Star of Bombay Gin, Lillet Blanc, Benedictine, Gammel Dansk Bitter Dram, and a lemon twist. You can see Cook making one here. Delicious. You can also see Rules make a cameo appearance in a scene from Spectre which was shot at the restaurant. Rules has made many other literary appearances, including in novels by Evelyn Waugh and Graham Greene, among others. Speaking of things literary, I think it's just wonderful that the restaurant proudly republishes an absolutely scathing review by Kingsley Amis entitled "Where Disaster Rules," written sometime in the 1970's, on their website ("There are cheaper eating-places than Rules where the atmosphere and service are so pleasant that they drive out other impressions. Far from the case here; but then I find it hard to imagine an establishment Elysian enough to dispel the memory of two of the most disgusting full-dress meals I have ever tried to eat in my life.")

^[4] We also drink a really nice wine, the 2010 Rossignol-Fevrier "Robardelle," a premier cru vineyard in Volnay from a producer which I don't think gets distributed in the U.S. Happily, the wine list at Rules mostly shares my predilections for Burgundies, Rhones, and sub-$100 wines.

St. John Bread and Wine | London

Until recently, British food has been saddled with a terrible reputation. I'm reminded of the old George Carlin joke about heaven and hell:

"In heaven, the Italians are the lovers, the French cook the food, the Swiss run the hotels, the Germans are the mechanics, and the English are the police. In hell, the Swiss are the lovers, the English cook the food, the French run the hotels, the Italians are the mechanics, and the Germans are the police."

That reputation, I've always thought, has been undeserved. Even thirty years ago, when I spent a summer in Oxford "studying," I ate very well. Ploughman's lunches with good cheese and bread, rich steak and kidney pies, crisp, steamy fish and chips wrapped in newspaper, fiery Indian and Jamaican food – what's not to like?

Over the past couple decades, general sentiment seems to have shifted, and now London is regarded as one of the world's top dining destinations. Partly that's been driven by international attention for this very moneyed, lucrative market; one of the odd things about planning a recent brief visit to both London and Paris (three days in each) was realizing that many of Paris' top chefs have opened outlets in London so that, in Epcot-like fashion, you could arguably taste some of the best of Paris without ever crossing the Channel. But even more so, it's been driven by English chefs' internal reflection: recognizing, and promoting, great British cookery.

One of the individuals who was formative in that shift was Fergus Henderson. His restaurant, St. John, which opened in 1995, and his cookbook, first published in 1999 as "Nose to Tail Eating: A Kind of British Cooking" (released in the U.S. in 2004 as "The Whole Beast: Nose to Tail Eating") are mostly recognized for being a manifesto on the joys of offal and whole-animal utilization. They are most definitely that, but they also are an ode to traditional British dishes – things like cock-a-leekie soup and bath chaps and game birds and Eccles cakes – and the value of native ingredients.

I'd never been. So it was the first dinner reservation I made for this trip.

We actually booked at St. John Bread and Wine, a sibling to the original St. John around the corner from Smithfield Market. Bread and Wine, originally intended to be a bakery and wine shop (thus the name), makes its home across from the Spitalfields Market,^[1] and is slightly more casual than the mothership. More of the menu is offered as small plates, and they ascribe to the "dishes come out as they're ready and are meant for sharing" school of service. Since this gave us an opportunity to sample broadly, it was perfect.

(You can see all my pictures in this St. John Bread and Wine flickr set).

Of course, you have to start with the roasted marrow bones – Henderson's most famous dish, one that has been lovingly duplicated countless times in countless restaurants around the world, one that Anthony Bourdain declared his "always and forever choice" for his Death Row meal. The formula is now well-known: roasted femur bones; toasted bread; a pile of parsley salad; a mound of coarse sea salt. Scoop the oozy marrow from the bone, spread on to the toast, dress with a sprinkle of salt and a pinch of the salad, and enjoy. I've had it dozens of times, but never until now the original. And yes, it's the best: the marrow at the magic borderline between solid and liquid, the acid and salt and herbaceous bite of the salad right on the edge of too aggressive without crossing the line, with just the right punch of caper and shallot. I can't say it better than Fergus himself:

"Do you recall eating Raisin Bran for breakfast? The raisin-to-bran-flake ratio was always a huge anxiety, to a point, sometimes, that one was tempted to add extra raisins, which inevitably resulted in too many raisins, and one lost that pleasure of discovering the occasional sweet chewiness in contrast to the branny crunch. When administering such things as capers, it is very good to remember Raisin Bran."

Though not as famous, the other dishes we tried exhibited the same winning combination of good, honest ingredients, intense, robust flavors, and attentive execution.

I loved these tender curls of lamb's tongues wrapped around cubes of bread, all enrobed in a bright, verdant green sauce, like a meaty panzanella salad. Picking at a smoked fish nearly always brings me joy, and the minimalist approach here – the unadorned back end of a smoked mackerel, served simply on a plate with a potato salad given a sinus-clearing blast of mustard dressing – is my kind of happy meal.

Another testament to the joy of simplicity: slabs of toast spackled with a rich, intense mousse of duck livers and foie gras. It's just nearly too much; then you take a bite of cornichon, your appetite is restored, and you go back for more. The smoked cod's roe is like salt, smoke and sea wrapped in silk, but maybe the best part are the crispy batons fashioned from thin layers of potato perched on top. We finished with deviled kidneys: chewy, soft, springy, and ferrous, served over toast drenched with cooking juices spiked with mustard powder and Worcestershire sauce.^[2]

We ordered dessert whilst draining the last of a bottle of Beaujolais, starting first with St. John's version of a classic – Eccles cake. There are whole families of traditional British desserts of which I know nothing, this being a good example. Every time I'd peruse the online menu at St. John I'd see it, and so of course I had to order it. The sweetness of the "cake" – a flaky pastry wrapped around a filling of sticky currants – is balanced by an accompanying slab of fresh, crumbly, sharp, faintly salty Lancashire cheese. Then a few minutes later, a batch of warm, airy madeleines, fresh from the oven. We trusted our server for something to drink with these, and our trust was rewarded with a glass of Pineau de Charentes.

Honestly, I wondered if St. John would live up to its nearly mythical reputation. Bourdain, in his foreword to the U.S. release of Nose to Tail, acknowledges, "My enthusiastic rant in my book A Cook's Tour made him sound like George Washington, Ho Chi Minh, Lord Nelson, Orson Welles, Pablo Picasso, and Abbie Hoffman – all rolled into one." And Henderson, both in interviews and on the page, evinces such unbridled enthusiasm, humble charm, and subtle wit that it's hard to imagine not liking his food. This is a man who can make curly parsley sound good!^[3]

But this was just a joyous meal: great ingredients; straightforward, bold, intense flavors; presented without any fanfare but prepared with subtle finesse. In my version of heaven, Fergus is welcome to cook the food.

St. John Bread and Wine
94-96 Commercial Street, London
020 7251 0848

^[1] While Smithfield is still a functioning meat market, Spitalfields has been refurbished into a shopping mall.

^[2] I rarely get to eat kidneys, and even more rarely get to eat properly prepared kidneys, but even so, their sort of crumbly, bouncy texture still puts them fairly low on my Favorite Offal list. Tripe, or livers, or sweetbreads, or hearts, would all rank before kidneys in my book.

^[3] "As the swish, swish, swish of bunches of flat Italian parsley is to be heard in kitchens across the land, it seems time to celebrate the strength and character of the indigenous curly parsley. Its expression of chlorophyll and well being, strong flavor, slightly prickly texture, and its structural abilities enable such things as Parsley Sauce."

deep thoughts: Proof Pizza and Pasta | Midtown MIami

Someone asked me recently^[1] "So, when you are going to write an actual review of a Miami restaurant again? You know, like you used to?" Fair question. Like the food writers I used to berate, I'm probably more than a little guilty of the Magpie Phenomenon – being constantly distracted by the latest shiny object. I try to keep relatively current on Miami dining with the "best thing I ate last week"  and "first thoughts" posts, and I report on our roughly monthly Cobaya dinners; but then the bulk of my more expansive writing lately seems dedicated to "travelogues" or other recaps from "further afield," rather than locally focused.^[2] Mission creep has taken hold.

So let's fix that. And let's start with a place that may not be among the most talked-about restaurants in Miami, but one which I think deserves more attention for what it does: Proof. Chef Justin Flit^[3] opened "Proof Pizza & Pasta" almost exactly two years ago just up Miami Avenue from Wynwood, across from the Midtown shopping center. The name was modest and the spot was too: a basic box with exposed ventilation and simple tables and chairs, not so much "industrial chic" as just plain old "utilitarian."

(You can see all my pictures from Proof in this Proof Pizza & Pasta flickr set).

But while it might have sounded and looked like a utility slice joint, Proof was actually serving gorgeous Neapolitan style pies with toppings like soppressata, n'duja and broccoli rabe, or braised oxtail with black garlic and caramelized onions.

And its pastas – all made in-house – were some of the best in town. The lineup would change often, but has included delicate pillows stuffed with butternut squash, awash in brown butter and sage and dusted with crumbled amaretti cookies, and the fantastic angel hair with crab, Calabrian chiles and lemon breadcrumbs. This latter is a mainstay, too good to take off the menu (I wrote a bit more about it in this "best thing I ate last week" from last year).

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In Situ - San Francisco

In Situ, the new restaurant in the recently refurbished and reopened San Francisco Museum of Modern Art, is a bundle of contradictions. The chef is Corey Lee, whose tasting-menu flagship, Benu, just retained the three Michelin stars it was first awarded in 2014. But the highly regarded chef didn't create a single recipe for the restaurant. Rather, the menu consists of a rotating selection of other chefs' dishes from all around the world, which the In Situ kitchen sets out to faithfully recreate. In other words, it's a restaurant in the model of an art exhibition, with Lee as the curator.

In this and other ways, including the exhibition catalog-style menu, In Situ clearly advances the notion of chef as artist. But the manner by which it is implemented – with Lee and his crew duplicating the "artists'" creations – undermines the very notions of authorship and uniqueness that are generally thought of as essential to the distinction between "art" and "craft." While Lee is ostensibly in the role of curator and not creator, the lines become blurred: when was the last time you saw a museum curator break out his brushes and hang up his own canvas on the museum wall as the "Mona Lisa"?^[1] What you will get here is at best a copy, though it may be a very good one.

Indeed, the very name is a contradiction: "in situ" refers to a site-specific artwork, one that is created for the location. Yet each of the dishes served at In Situ was created for and is usually served in some other restaurant.

All of which is to say this: In Situ is possibly the most thought-provoking restaurant experience I've had in years. But unlike many restaurant experiences that aim to be thought-provoking, this one was also a lot of fun and mostly really delicious.

(You can see all my pictures in this In Situ - San Francisco flick set).

A big part of the fun at In Situ is that the restaurant acts as both Star Trek transporter and Dr. Who time travel TARDIS telephone booth. Here, in one meal, you can sample dishes from thousands of miles away, and even from decades past – some of which may no longer even be available anywhere else.^[2]

For instance, the lead-off item on the menu^[3] during our visit comes from chef Wylie Dufresne. His restaurant in New York's Lower East Side, wd~50, was a mid-aughts "molecular gastronomy"^[4] trendsetter. But I never managed to get there before it closed in 2014.

Yet here are Dufresne's "shrimp grits," a dish which subverts the classic Southern pairing, turning the shrimp themselves into the grits by chopping, cooking, finely grinding, and finally re-warming them with powdered freeze-dried corn, then garnishing with pickled jalapeños and a bright orange shrimp shell oil.

If I'm to be honest, one of the reasons I never ate at wd~50 is that I wasn't convinced I would have enjoyed an entire meal there: the place often gave me the impression that form was being elevated over substance, creativity over flavor. But that's another of the interesting things about In Situ: it's a chance to sample a chef's cooking (at least vicariously through the medium of Lee and crew), without the commitment of a full meal. Turns out, this dish was excellent: intense crustacean flavor, combined with a nostalgic creamy, nubby grits texture. Perhaps I misjudged. But In Situ offers a taste of what I missed.

We were in Kyoto a couple years ago, but did not go to Gion Sasaki, a kaiseki style restaurant that is a notoriously difficult reservation. So here is another "missed opportunity" dish. Tender, meaty chicken thighs are glazed with a delicate teriyaki sauce (not the gloppy syrupy stuff we get here, but a fine calibration of salty, tangy and sweet); concealed beneath them is a wobbly "onsen" egg (probably cooked in an immersion circulator rather than the traditional hot spring), mounted in a bed of crunchy lettuce, and dusted with tingly sansho pepper. It's Sasaki's version of "oyako," i.e. "parent and child" (chicken and egg), and it's superficially simple but elegantly balanced.

One of the challenges In Situ faces is finding dishes that can be replicated without access to all of the ingredients used by chefs whose restaurants may be thousands of miles away. Virgilio Martinez's cooking at Central in Lima, Peru is indelibly tied to indigenous products, many of which are found nowhere else in the world. So when he chose a dish for the In Situ menu, he had to do something that would "travel well." (More interesting tidbits in this conversation between Martinez and Lee captured by Lucky Peach).

His "Octopus and the Coral" is the result: plump octopus tentacles basted in a spicy rocoto chile paste, hidden beneath shards of silver savory meringues, dark grey rice crackers, and tufts of red seaweed, meant to appear like an octopus crouching within a coral-covered rock beneath the sea. It was a good dish, though not nearly as interesting as several dishes Martinez prepared for a dinner at Alter restaurant in Miami earlier this year.

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