If you think food is food is food – think again

Utterly divine Yorkies and filling

It’s a fairly familiar moan of mine that here in the UK, far too few people really rate food highly and instead, treat it essentially as straightforward fuel, rather than one of life’s great pleasures.

A pleasure, incidentally, that taken with a dose of seriousness, would almost certainly be healthier for you than the food-as-fuel attitude that drives the punters in their millions into the supermarket ready-meal aisles for supplies of ping food.

And the same attitude reveals itself in other ways too: for instance, when people suggest that there’s no point in paying the kind of money a top-quality restaurant will charge, because, after all, ‘food is just food’.

Well no, it really isn’t.

On Friday night, with a trip to the theatre in the offing, we needed food first.

Now The Other Half and I generally like to avoid chains and franchises, and most certainly what would be called fast food joints.

When you’ve got two hours to fill, you might as well sit down and enjoy something decent.

Since we were heading to Shaftsbury Avenue, I had been considering where to eat in that vicinity. But I was struggling.

We thought about a Chinese – how about the legendary Poons, for instance?

It was agreed that that sounded like a good idea, but then I discovered that that establishment has gone the way of all flesh.

Soho is not what it once was – changing as developers move in: and for the worse, in my opinion.

We ummed and ahhed, and I trawled the internet looking for anything with consistently decent reviews, but all without finding anything remotely inspiring.

In the end, I tried out a rather different idea on The Other Half: what about an early dinner down the road at The Gilbert Scott, and a cab to the theatre after?

He readily agreed – which pleased me, since I’ve been dying for a chance to return since my own first visit 15 months ago for the set lunch, and also wanted to introduce him to this rather special place.

It would, rather obviously, be more expensive than we’d expect to pay if we’d stuck with the idea of dining nearer the theatre.

So what do you get for spending all that extra filthy lucre?

Well, you get a very great deal.

To start with, though, it’s worth pointing out that most middle-range restaurants are not cheap.

Yet what you will frequently find is that, if one course is good, the others won’t match it for standard.

What you get at top restaurants is, in essence, simple: flawless cooking all the way through.

The Gilbert Scott is no exception.

Arriving a little early on Friday, as the team was still having its pre-service meeting, we sat in the bar for cocktails – a wonderful, refreshing rhubarb and ginger sour (with vodka) for me – and popcorn.

Now popcorn is ‘in’ at the moment. And popcorn is also not something that The Other Half likes. But this was just wonderful – and I was far from being alone in chucking it into my mouth.

Not that this was just any old popcorn, mind, but very carefully flavoured. I couldn’t quite work out what the subtle smokiness was – fortunately, chef Nick Ward later explained to me that they cook it with smoked butter from their salmon supplier.

So, what was first up for dinner itself?

In an exception to any previous experience, we both had the same.

To start with, a Yorkshire fishcake with lavabread mayonnaise, and topped with a divine little sprig of ever-so-fresh herbs (chervil, dill and chives) that was far more than a careless garnish, but added a glorious bitterness to the gentle sweetness of the fishcake itself.

For our mains, it was wild pigeon, roasted with tiny onions and mushrooms, and lardons, in a truly voluptuous gravy, and poured into individual Yorkshire puddings at the table.

Now that’s great restaurant threatre, of course, but it also ensures that the pudding is as crisp as possible when it reaches the diner.

Did I say “crisp”?

Now I don't consider myself bad at Yorkies, but I have never tasted one so good – and nor had that thoroughbred Tyke himself, The Other Half. Neither, should it be added, had I ever tasted such tender pigeon.

On the side, we opted for white tenderstem broccoli and carrots cooked in tarragon and star anise.

Both were cooked to perfection – none of that ‘al dente’ means almost-raw nonsense, while the carrots were perfectly complimented by the tarragon and the warmth of the star anise.

We didn’t have the time to sit and digest, and then order a dessert – but I know that we’d both have opted for Yorkshire rhubarb posset, if we had had that time.

The Other Half could see a regional theme here that he rather liked.

In the last year or so, we’ve finally sussed that, in really good restaurants, ordering a glass of wine doesn't simply translate as the house white or red, so we picked a good white for the fishcakes and a good red for the pigeon.

The former was a Riesling ‘Brauneberger Juffer’, Kabinett, Paulinshof, from Germany’s Mosel, while the latter was a Côte du Rhône, Domaine Charvin, from France.

The Riesling in particular was superb – great bouquet, great length, great taste. It’s the same wine I’d enjoyed on my previous visit, and it was most gratifying to find that The Other Half was really impressed with it too.

The service was exemplary: friendly, attentive but never intrusive.

The dining room is a pleasure in itself.

It probably doesn’t need pointing out that we will be returning – and recommending it highly to all and sundry.

Next time, I want longer – not least because the menu itself is worth browsing over at leisure before you even get down to eating.

The food, as you’ll probably have gathered, is not the kind of obviously French-influenced cuisine that has blossomed in high-end British restaurants under the tutelage and influence of the Rouxs and Raymond Blanc, and which has massively improved at least some of the country’s restaurant scene.

But then again, Marcus Wareing, who designed the menus for the Gilbert Scott, is himself immersed in what Michel Roux Jr would call “The Classics”.

It is a menu, though, that makes you aware and proud of our British food heritage – and when such food is done like this, it is as good as anything else.

It will equally need little pointing out that it was all rather more expensive than it would have been if we had trawled around the Shaftsbury Avenue area and simply found somewhere – anywhere! – to eat.

But I hope that what I’ve done here is to illustrate exactly why, in food terms, you really do get what you pay for.

I still remember – without needing to look it up – what I ate on that first visit to the Gilbert Scott, over a year ago. I cannot recall what I ate at a small restaurant near Charing Cross just two months ago on our last visit to the theatre.

I rather doubt that either us of will find this meal to have been instantly forgettable.

And that really should tell you something.

Something for the weekend – or midweek

A classic veal blanquette (not mine)

Veal is making a long overdue comeback, now that people realise that it’s not all raised in crates and that, if you use dairy, then it is an inevitable byproduct of farming that would otherwise be wasted – and the calf have no life at all.

So it’s the perfect opportunity to explore ways of cooking this delicate but tasty meat – and in ways other than as a wiener schnitzel.

Perfectly fitted for such a culinary experiment is the veal blanquette, a classic French ‘white stew’, where neither the meat nor the butter that it is sealed in are browned.

“Because this is a classic ‘white stew’ there is a prejudice to serving it with any items that would add color (ie carrots or peas),” claims Wikipedia.

Which is somewhat erroneous, given the recipes that exist by some exceptional chefs who presumably know.

In French Country Cooking, for instance, those culinary slouches, the Roux brothers, include quite a lot of vegetables. As does Joël Robuchon in The Complete Robuchon. And so too does Bruno Loubet, in the recently-published Mange Tout.

For Loubet in particular, there are carrots and lots of celery, together with the green part of a leek or two, plus chervil.

So even if you say that the traditional onion and button mushrooms are entirely in keeping with the whiteness, there’s still colour to be seen, and to be seen rather clearly.

It was Bruno’s book that inspired me to finally try a blanquette and indeed, this is not a fine dining restaurant dish for him, but something that his grandmother used to cook, while for the Rouxs, it’s packed with memories of their grandmother.

Not that it won’t have been served in some rarified culinary environs: Escoffier, somewhat predictably, provides more than a single recipe, while a look at Larousse Gastronomique reveals that there are several other blanquettes, including lamb and monkfish.

I used Bruno’s recipe to guide me, but I’m not going to detail that here, beyond saying that he uses lots of celery, because his grandmother did, and that if you can’t find chervil, flat-leaf parsley makes an entirely acceptable substitute.

I’ll say it now – if you’re looking to buy a cookbook for Christmas, I really do recommend Bruno’s book.

The monkfish version is much quicker, but as I’m not a believer in undercooking vegetables, this really means that you need to do it in two parts.

So, for my version of a monkfish blanquette …

Heat some butter gently in a pan, and add chopped carrot, onion, garlic and celery, and let it all cook gently until the vegetables are softened, but without colouring.

Sprinkle a little plain flour over and stir to cook for about a minute, before starting to add chicken, fish or vegetable stock, little by little, until the sauce has stopped thickening quickly.

Pop a lid on and leave to gently cook for about 20 minutes or so, until the carrot is starting to get tender.

In the meantime, heat some more butter in another pan and seal your monkfish, which has been cut into pieces, but remembering not to colour.

When the carrot is starting to get tender, add the fish and some button mushrooms, pop the lid back on and give it around 12-15 minutes.

Check the fish is cooked. Check the seasoning and adjust if you need to.

Take it off the heat and stir in some really thick cream. Pop it back on the heat and allow everything to warm through thoroughly, before giving a squeeze of fresh lemon juice to just add a little edge.

Serve with plain or basmati rice to keep the white theme going – and to mop up the juices – and a garnish of chopped parsley if it takes your fancy.

And there you have it – a very simple blanquette that could also be done with any meaty piece of white fish, and which makes a hearty and healthy midweek dinner.

Cometh the hour, cometh the cassoulet

It was July. The weather had been mixed as we had trundled from Bordeaux to Carcassonne by train. It was late afternoon when we disembarked, with no obvious method of getting to the hotel other than Shanks's Pony, so we walked, using iPhone 'sat-nav' to guide us.

After checking in, we'd walked over the bridge to the village that lies beneath the plug of rock that bears La Cité itself. Everything was shut. Reluctantly, we adjourned to the hotel restaurant and, expecting nothing to match the view as night descended on the ancient city, ordered cassoulet.

It went way beyond our expectations. We'd had the tinned stuff before, but this was a first 'proper' taste of a treasure of French regional and national cuisine.

Two days later, when we boarded a train for the mountains, we took with us a carefully wrapped cassole, the traditional earthenware cooking pot for the cassoulet.

Back home, in the autumn, I laid in duck confit, but the haricot bean - at the heart of this hearty dish - proved elusive. And then, just as the weather started its dip to the sort of temperatures one could expect in January in northern Europe, I found some.

The moment had arrived.

Cassoulet was, the great cook Prosper Montagné declared, "the god of south-western food" in France.

Initially, it would have been made with fresh broad beans, until white beans arrived from across the border in Spain in the 16th century. And the haricot had since become the established bean for the dish. It remains arguably one of remarkably few absolutely crucial ingredients.

This culinary adventure began in seemingly sensible manner - checking recipes in my own library.

I turned first to the version in Hot Sun Cool Shadow by Angela Murrills; then to one in Goose Fat & Garlic by Jeanne Strang and yet another in Paula Wolfert's The Cooking of South-West France.

Stephanie Alexander had produced her own version in Cooking & Travelling in South-West France, which was the last of my collection of books dedicated to that area - and, as far as I know, the only ones published in English.

If I was getting a little dizzy by now, it was but the start.

In French Country Cooking, the Roux brothers used pork and lamb and no confit. Joël Robuchon's version includes lamb shoulder and lamb neck, and involves topping the final dish with crushed melba toast mixed with parsley, which sounds close to heresy, if you ask me.

Bruno Loubet presents a simplified version in Cooking from l'Odeon, to be cooked not in a traditional earthenware pot, but in something like Le Creuset and presented at table in exactly that.

In The Complete Guide to the Art of Modern Cookery, Auguste Escoffier gives instructions for a cassoulet dominated by mutton and with the option of "goose or chicken".

In European Peasant Cookery, Elisabeth Luard's version is informed by her year living in the Languedoc and the instruction of her neighbour there.

And of course, we cannot forget the divine Mrs David, whose French Provincial Cooking goes into some detail about the history of the dish, as well as providing relatively straightforward instructions from a period when Toulouse sausage was something you could only hope to find in a very limited number of shops.

Culinaria France crams it all into a very terse recipe, while The Food of France, like Murrills, simplifies.

Larousse Gastronomique prefers far more detail, and quotes Montagné as having said that cassoulet could be divided into three types - a 'Trinity'.

The 'Father' came from Castelnaudary. The oldest version, it included pork - loin, ham, leg, sausages and fresh rinds - with "perhaps some fresh goose".

The 'Son' of Carcassonne used leg of mutton and, in the shooting season, partridge.

The 'Holy Ghost' of Toulouse uses the same ingredients as in Carcassonne, but in smaller quantities and with the addition of "fresh lard, Toulouse sausage, mutton and duck or goose".

These are the main versions, but as Larousse makes clear, it is far from being a finite list. There is even a salt cod version, with the fish replacing the duck or goose.

But while this so clearly reveals its peasant roots, the French being the French, there has had to be some formalising of what was already a classic - well beyond its home region - into an institution.

In 1966, the États Généraux de la Gastronomie française decreed that a cassoulet had to be made up of at least 30% pork (which could include sausage), mutton or preserved goose, together with 70% haricot beans and stock, fresh rinds, herbs and flavourings.

All of which still leaves things about as clear as mud for the beginner.

So, which path did I follow?

In the end, it was largely Luard, with hints from Robuchon and David.

Prep had started yesterday with the beans. I usually use tinned ones, so I was grateful to read on the packet that 40g of dried haricot would turn into 80g of cooked pulses, which is generally regarded as a 'portion'. Seeing 80g weighed out, I decided to add another 20g for good measure. These was then decanted into a bowl with plenty of cold water and left overnight.

And so to this afternoon.

The pulses were rinsed, drained and popped into a large pan with plenty of cold water, a peeled and sliced carrot, a stick of sliced celery, an onion studded with two cloves, a sachet of bouquet garni, six crushed garlic cloves and the small amount of pork fat Matthew had been able to give me yesterday.

It's heated quickly and then, just before it starts to boil, the temperature is reduced to leave it barely simmering. And so it stays for an hour.

In the meantime, the meats are prepared. Now, this was dinner for two people with smallish appetites, so I'd got a small piece of lean pork, which I diced, plus two Toulouse sausages.

One of the confited duck legs was placed, dripping, into a frying pan, where it gave off all of it's coating of creamy fat, before being removed to a plate. Then the pork and the sausages were fried in this fat, together with another four crushed garlic cloves.

The duck leg was stepped of its flaking meat; the sausages were sliced thickly. A diced onion was cooked in the fat after the meats had all been removed.

Don't throw the fat away - you need it later.

Next up, skin, deseed and chop a large, beefy tomato.

Heat your oven to 120˚C.

When the beans are ready, strain. Get rid of the vegetables and bouquet garni. Keep the pork fat.

Take your pot/casserole and put the fat in the bottom, fat side down. The theory is that, starting with some beans, you layer the ingredients. For just two of us, that meant a layer of beans, then everything else forming on thick layer, to be topped with more beans.

Oops. A problem. There were nowhere near enough haricot to top the dish. It was rather too late to contemplate a minimum four-hour soak for more beans, followed by an hour simmering.

I cheated in the only way possible, rinsing of a tin of cannellini beans and using them to fill in the gaps.

The dish is covered (with foil, if you don't have a lid) and placed in the oven for two hours. Check a couple of times and, if the beans look a little too dry, add a little boiling water.

After two hours, remove from the oven and turn up the heat to 160˚C. Spread a layer of breadcrumbs over the top and drizzle with the melted goose/duck fat from the duck confit that you'd reserved.

Leave the lid off and pop back in the oven. Give it 30 minutes, by which time it should have a nice, golden crust, then remove and stir the breadcrumbs gently into the beans. Back in the oven it goes for at least another half an hour.

The key here is patience. But every 10 to 15 minutes, give it another stir.

This breaking the crust is considered to be really authentique: they do it seven times in Castelnaudary and eight in Toulouse. It's now been set at three times in Hackney.

Remove, serve and eat.

For a first effort, I was very pleased. It wasn't perfect - the shortage of haricot being an obvious point. But I'd also be inclined to increase the initial bean cooking time by 30 minutes, as suggested in at least one recipe, to ensure they're just a little softer.

And the pork and sausages need to be cooked initially for a shorter time but at a higher heat.

But that apart, I was chuffed. My first effort was no insult to the lovely, half-glazed dish that has graced the kitchen since our return last August. And it certainly won't be long before I give it another go.