Thursday, March 26, 2009

Zen and the Art of Knife Sharpening


I was thinking recently of how modern man has changed so much from his forbears. The sheer amount of "on" time we have to deal with is astounding. Information flows at hyperspeeds, work hours are longer and longer, and even home time is filled with kids "playdates" (a byproduct of the modern age if ever there was one), homework, chores, and other various and sundry things. If you think about it, there is just so little downtime that we have to think and reflect. I find my soul craves that stillness so badly. Literally the only time I have during the day is about 10 minutes in the morning, sitting with my coffee, looking out the window, and getting ready to hop in the shower and go to work. No one is up besides me, there are no sounds besides the bubbling of my aquarium, and I am alone with my thoughts. Kind of sad....

Given all this, people tend to find unusual ways to find this stillness. Some people fix their cars, others stare blindly at the television, and some.... sharpen knives.

I am a fairly serious home cook, and as is often the case, I have acquired many tools of the trade. There is nothing more important to a cook then a good set of knives. Until fairly recently, I was content with the usual spate of European knives - the Henckels, Wustofs, etc. Then a friend introduced me to the glory that is Japanese cutlery, and there was no looking back.

Given the extreme hardness (and accompanying brittleness) of good steel, one must maintain the edges of your knives with some sort of sharpening media, generally waterstones. Doing this sharpening freehand presents many challenges since you must maintain the proper angles of each part of the bevel, the correct amount of pressure, etc. As you become more practiced, the repetitive motion, feel, and sound of sharpening can become quite, well, soothing.

I find myself setting time aside every now and then to work my knives on the stones. That time, that concentration, has become golden. Other thoughts drift away, and it becomes just the motion of the knife against the stone. It didn't really strike me until recently how much I value this time. There is the added bonus, of course, of achieving something difficult - insanely sharp instruments that simply can't be matched by most techniques. That actual building of something, something done with the hands, is important, and something that a lot us simply don't have anymore.

A couple of days I headed to Korin in Manhattan, and had a chance to watch a true master sharpener at work (see picture above). His movements were so economical, so quick, so effortless and graceful, that it was fascinating to watch. Also on display was the Japanese penchant for making task-specific tools; knives specifically for cutting octopus, for slicing sushi, and dispatching fish. I couldn't resist adding another knife to my arsenal, in this case a yanagi that doesn't fit well in this picture due to its length.

Roasting coffee, brewing excellent tea, sharpening knives, whatever - we all need to find that place where we can take a moment to relax and ponder the imponderables.

Saturday, March 21, 2009

2008 Mengku Shuangjiang Bingdao Spring Cake

Here is a chubby cake of pu'er tea:

I am a fan of this factory's teas. This Bingdao cake is a refined affair; beautiful leaves and just the perfect amount of compression.



This is actually my first taste of this particular cake, as it has been sitting in my tea cabinet patiently for a few months. I had samples of it previously, so I was finishing those up before digging into the cake itself. I sampled this today with about 6 grams of leaf in my favorite 100mL Yixing pot. I rinsed the leaves twice before ingesting anything.

1st infusion: very light. Grainy aroma, no bitterness. Sweet, but clearly the leaves haven't given up much.

2nd infusion: malted barley aroma, grassy. A hint of bitterness at the end. More complexity and sweetness.

3rd infusion: Now we are talking. Shiitake mushrooms, grains. Still a light tea, but a lot of subtlety here. Bitterness is picking up, but it is a caress, not a slap. I feel the energy in waves.

4th infusion: More of the same goodness. Long, long huigan. Some cooling sensation in the mouth, but it is light. My head is throbbing - a good sensation.

It soldiers on until I give in, but there is plenty more to be had. I like this tea, though it is quite light. I think it is a good example of a "one step up tea" compared to the plantation teas that are out there. It is refined and honest, with no tweaking to the soup; its charms are one to savor slowly while watching the world go by. Looking at the leaves, it is largely buds and small leaf/bud sets.

Monday, March 16, 2009

Espresso Blends #4 - #6

This espresso blending thing is a lot more complicated than I originally thought. I am finding that even subtle changes can have a large effect on the shot. Iteration #3 was the best yet. As a reminder, it was the following:

50% Uganda Bugisu AA
25% Panama Lerida Estate "Miel"
10% Aged Sumatra
15% Ethiopia Idido Misty Valley '07

For the next variation, I decided to replace the Uganda base with some Brazilian coffee, in this case the Fazenda Barreiro that I did not care for as a single origin espresso. All other coffees and percentages were the same.

Net: yuck. I had low expectations, but this was terrible. I just hate that particular Brazil coffee. It just goes to show that you should take other people's recommendations with a grain of salt. This blend was 1-dimensional, woody dreck.

For blend #5, I decided to return to the successful #3 and try for a fruitier coffee. I upped the Ethiopia amount, and lost the aged Sumatra:

50% Uganda Bugisu AA
25% Panama Lerida Estate "Miel"
25% Ethiopia Idido Misty Valley '07

I also went a tad lighter in this roast, stopping at the onset of second crack. This was actually quite a nice blend. There was a lot of fruitiness in there, and the corresponding acidity level was increased as well. Shots of Misty Valley by itself remind me of the cherry liquor-filled chocolates that you can find, but in this blend it was tamed by the gentle earthiness of the other coffees. This blend rates as "very good", though it might be a bit intense for some people. Cappuccinos were interesting, coming out like strawberry milkshakes.

The last experiment was to swap out the Panama "miel" coffee for another coffee. I had some Costa Rica El Puente Caturra "Miel" hanging around, so I gave it a try in the "#3" blend:

50% Uganda Bugisu AA
25% Costa Rica El Puente Caturra "Miel"
10% Aged Sumatra
15% Ethiopia Idido Misty Valley '07

This again proved that if you don't like a coffee by itself, like the El Puente, don't waste your time blending it. This variation was flat, with some weird "off" notes to it.

I have blend #7 queued up at the moment. Stay tuned.