Tamari Takes Food Preparation to An Art Form

Tamari  Takes Food Preparation to An Art Form

by

James Loevner

Lawrenceville's award-winning Tamari brings Chino-Latino fusion cuisine to new heights, providing Pittsburghers with a glorious global flavor mix.  The chic room glistens with its crinkled copper-sheet back bar, dark woods and flattering lighting while service is attentive and friendly, never fawning.  An upstairs lounge provides a secondary seating area to the tidy ground floor dining space.  You're quickly made to feel like an old friend at this elegant bistro where chef Roger Li and owner Allen Chen have assembled a menu of small-plate tapas, entrees and creative sushi selections emphasizing ingredients and techniques from disparate continents.  Tamari's open-grill concept provides charming theater, bringing exciting sound and scent to the room's enthusiastic diners. 

We chose a flight of tapas, beginning with the decadently lush chipotle tuna tartar.  A disk of silken fish cubes subtly commingled with smoky, sweet pepper puree was topped by a layer of creme fraiche infused with citrus yuzu, finally surmounted by a crown of wasabi-gilded tobiko roe -- sparkling green jewels.  

This stunning color and texture mix was bested only by the delirious blend of flavors: rich flesh, cool dairy and the bright pop of tiny, briny fish eggs.  Spectacular and a must-have. 

Next came a mushroom salad, composed of a masterful blend of low and high palate notes.  Warm bass provided by sauteed shiitake and oyster mushrooms, mid-tones of thin-sliced raw fennel and the pleasantly bitter high of watercress all fused to create harmonious melody.  Marrying the vegetables was a salty, protein-inflected dressing with a kiss of sweet while the lengthy tendrils of watercress provided pretty visual counterpoint to the chunky nubbins of fungi.

For our third tapa, we enjoyed the oxtail tortellini with sweetbreads.  Here, four deep-fried pasta packets filled with shreds of meltingly tender oxtail share space with a like number of half dollar-sized sauteed rounds of lightly breaded veal sweetbreads.  Underneath, a thin pool of coral-colored lobster emulsion holds center of the plate with twin dabs of transparent green-tinged cilantro oil abutting left and right.  Sublime hues and a delight of texture -- the crunch of each protein's shell played against their tender fillings, both sauces roundly embracing all.

We followed our tapas with a shared entree of osso bucco, uniquely presented with a sublime vegetable trio.  The unctuous, unassailably tender veal saw its upright bone gilded with twin smears of roasted red pepper coulis.  To either side of the adequate if not generously portioned shank were the every-bit-equal stars of this dish -- a veritable veggie trifecta of braised kale, caramelized fennel and shatteringly crisp straws of gossamer fried leek.  The kitchen shows their mastery here of all things from the ground as each vegetable had every bit of flavor nuance coaxed from within, the mix providing proud company to the meat.

As our schedule did not allow for dessert, we vowed to sample the kitchen's ways with the sweet on a return visit, which there will surely be.  Warm weather soon upon us, the restaurant's outdoor patio will again be open and this stalwart of the Lawrenceville scene rolls into yet another season of providing ingenious fare via its compelling blend of culinary cultural reference.  Evoking its condiment namesake, four-year old Tamari continues to build its dishes upon a solid conceptual foundation; we can hardly wait to see what delights this always evolving menu will bring next.

Tamari

 3519 Butler Street

Pittsburgh, PA 15201-1368
(412) 325-3435

********

 

 "Designer and writer Jim Loevner's vintage-themed greeting card line kardiac (www.kardiac.net) can be found in the best retailers and museum shops coast-to coast and abroad."   

Bravo Riverdance!

RIVER BRAVO! Review "RIVERDANCE"

by

LP Russell

Spellbinding, empyrean, frolicsome, whimsical, ethereal, mesmerizing and on and on. Riverdance, the Phenomenon, is all of this, and more.

A true test of a work of art is it’s longevity. Created over 17 years ago in the UK, Riverdance is still thrilling audiences around the world as it did at the Benedum Theater last weekend.

The first scene, Reel Around The Sun, prepares our emotions for the undulating journey to follow. The melancholy strains of a solo woodwind are soon interrupted by the first pass of lead dancer, Alan Scariff, as he emerges from the darkness and almost soars across the stage, setting the tone for the rest of the adventure.  The rhythms build to the point where the crowd cannot help but participate with hands clapping to the tempo of the music and the emotion of the dance. This feeling builds and builds, climaxing with the Riverdance Finale, where the entire cast awes the crowd with the power of an incredible ensemble dance… Irish style!

If you had the opportunity to watch the documentary of the making of Riverdance, you would assume that Moya Doherty, the producer and original catalyst in the creation of Riverdance, would ensure the overall excellence of the dancers and musicians. And she certainly has. But, along with that, there were two things that were exceptionally impressive to this fan.

First, the show has stayed true to what it was when if first began. If I were to go see CSN&Y in concert, I would be disappointed if the did not play their classic hits, like Suite Judy Blue Eyes and Wooden Ships. Riverdance did not disappoint. Most of the scenes held true to the original choreography created by the fist notable dancers, Michael Flatley, Colin Dunne and Jean Butler. But, this time I got to enjoy them live and to feel the power of their performance.

Then, there is the underlying theme of exploring the different, but similar, styles of, shall I say, Foot Dancing… Tap, Flamenco and Irish.  The street challenge between the Irish dancers and the Tap Boys from the ‘City’,  DeWitt Fleming Jr. and Michael E. Wood, exemplifies this perfectly. Facing-off against each other. Trading licks. One outdoing the last. Both styles utilize the same basic techniques. But, when compared side-by-side, the differences created a scene that is memorable and so enjoyable to watch. Yes… It ended as a tie!

Flamenco is similar in our comparison. But, this performance was uncommonly exquisite, astonishingly seductive, strikingly sensual. Marita Martinez-Rey creates what might best be described as Art in Motion… Beautiful.  Again, a stroke of genius that has made Riverdance such an enduring and unique entity, the combining of different disciplines of dance that find their first steps in the same textbook.

Riverdance… A terrific evening! The show was terrific. The theater was terrific. The company was terrific. Yes, the wine was terrific!

Only one thing left to do...I wonder if my old tap shoes are still hiding in the garage?


(c) Joanne Quinn-Smith and PositivelyPittsburghLive Talkcast, 2011 All Rights Reserved.

L.P. Russell   

Son of a Rocket Scientist...
Product of Private Schools...
Left college to play music across the western US...
Ended up in the Casino Poker business...
Became one of the most well known Poker Tournament Directors (like you see on TV... Knew many of those folks)  Dropped everything to come to .... Wait for it.... Pittsburgh!!!! Yikes....
After a 25 year hiatus....returning to the music business.  Here is where you can find his songs.
www.Larrysongs.com..Larry's  book about casino gambling `is there, too. You may download it. And ... Remember to Crank It Up when you listen to the music, it's good stuff.

Roving Pittsburgher Report, Techno Granny Funks out with Maceo Parker

Maceo Parker, best known as the saxophone soul of James Brown's band managed to pump up an otherwise ordinary Sunday evening at the Byham Theatre on Sunday, January 16, 2011.  This 67 year old featured his own band with funkadyllic music that had everyone bobbing in the seats to the music. The audience could probably best be described as a sea of rhythm and blues bobble heads, keeping time to this “happy” music with various parts of their bodies. Before the concert started I commented to the stranger sitting next to me that the hardest thing about the concert was going to be staying seated and that proved to be true.

Parker started working in 1964 with the Godfather of Soul, adding a major part to that band's style. In the 1970s, he also worked with Bootsy Collins, George Clinton and various incarnations of Parliament Funkadelic. Every performer is a conglomerate of all of his past influences.  It’s easy to see all of these rolled into the unique funky style of this 67 year old marathon entertainer.  He never took a break in over two and a half hours, the band did and Maceo walked off the stage for about 60 seconds nearing the end of the concert.

Catching one of the alto sax maestro's marathon three-hour shows is a truly soul and sound feeding experience.   No matter if you are a fan of funk, jazz, hip-hop, R&B or soul, his performances are will surprise and elevate your mood to the transcendent and you will have a funky good time.

His show on Sunday had Two themes:  “We Gonna Make it Funky” and “We Love You.”

I must admit I did not hide a sigh when he broke out with the Maceo Parker version of - “My Love Does It Good” by Paul Mc Cartney and was wishing I had brought a real date instead of just a male friend.  Heads went down on shoulders all over the theatre and there was some serious cuddling happening.

Fortunately for this single gal, he got back to some serious funk immediately after that.  I could not keep up with watching all of the musicians and singers all first class and just can’t mention them all.  My personal fans:   Maceo’s James Brown Diva belting out half gospel, half R & B and his hip hop singer.  For anyone who loves the brassy sound of R &B, you will not be disappointed.  Trombonist Dennis Rollins from London, England sounds and looks like he’s  ready to break out with a musical epiphany  at any minute even when he was just doing his choreographed moves to the music.  No denouement to this concert, there were so many surprises at the end.

After an hour and a half, audience could not stay in their seats and migrated to the front of the stage and the aisles to dance.  But Maceo was not done on this funky entertainment roller coaster ride.  He serenaded the audience with his Western concert flute, his nephew Maceo Parker played drums blindfolded.

Also a surprise to this fan was the transcendence of generation with college students, gen-xers and baby boomers all funking out at the same time in the Byham.  The audience left in a flurry of conversations with the strangers next to you and a feeling that this performer is truly a musical diplomat.  Maceo Parker spreads not just funk music  but inner peace and love.

Roving Pittsburgher Report by Joanne Quinn-Smith aka, the TechnoGranny, publisher of PositivelyPittsburghLiveMagazine.com

She is the host of PositivelyPittsburghLive, a syndicated Pittsburgh Internet Radio Show, every Monday on the Internet from 7 to 8 PM EDT.  She also hosts the TechnoGrannyShow, Mondays from 10 AM to 10:30 AM EDT and is the Creative Energy Officer of Dreamweaver Marketing Associates.  Find all of her shows including RovingPittsburgher TV at: http://positivleypittsburghliveMagazine.com

Pittsburgh Roger's and Hammerstein's South Pacific, Historically and Artisticly--Smash Success

ROGERS & HAMMERSTEIN’S
SOUTH PACIFIC
Presented at the Benedum Theatre, Pittsburgh, Pa.
November 2-6, 2010



I’d like to know where they got that audio of a twin-row Pratt & Whitney Wasp bolted to what must have been an F6 Hellcat or TBF Avenger thundering unseen across the stage about twenty feet up in the rafters. The first time I ducked; the second time I grinned. A big grin.

And who built that incredibly accurate stage prop of a Douglas TBD Devastator torpedo bomber? The story takes place during the 1942 US invasion of Guadalcanal Island. We were losing the war. Marines were clinging to the island’s airfield and the Navy was getting the pounding of its life by Japanese warships sneaking in at night. Coastwatchers like le Becque were critical in spotting these enemy ships and alerting our forces. The TBD, once the most modern torpedo bomber in the world, had by this stage in the War slid down to an obsolescent old deathtrap, too weak to fight and too slow to run away. But it was all we had, so our pilots went up again and again and once in a while some even came back.

The partial model on stage is absolutely authentic and compellingly accurate right down to its rivets, its folding wing, the small panes of its canopy used because in 1935 when the aircraft was first built we didn’t have the technology to mold large, clear bubbles, and its correct wing star markings for that period of the war. Somebody besides this writer knows their World War II Navy aircraft and no mistake about that.

And this is as it should be. Lt. James Michener , USN, author of Tales of the South Pacific from which the musical emerged, was a meticulous researcher. As a naval historian, he was sent to the South Pacific to make the Navy’s record of events. Michener usually got around pretty well because his last name, pronounced with two syllables, was often mistaken for the son of Navy Admiral Marc Mitscher. Well, whatever works, works. The accuracy and detail in these sets and sound effects do great honor to the name of a major American writer and father of the play itself.

Like every Harley Davidson motorcycle built in the last generation, the musical production South Pacific has become a pleasing hostage to its own idiom, a household fixture in American culture. You don’t tug on Superman’s cape, and you don’t mess with the original 1949 casting. Nobody would cast Knucklehead Nelly as a buxom brunette, or Emil de Becque as a twentysomething tenor. Nelly has got to be Mary Martin, Emile must be Ezio Pinza or pretty damned close.

Close enough, at least, so when we walk out of this Bartlett Sher performance, our footsteps wafting several inches above the pavement from the power and beauty to which we have just been treated, Pittsinger’s de Becque and Pinza’s can mesh in our souls to nine decimals. And they do.

Cusack’s Nelly, which is to say Cusack’s Mary Martin, is a flawless powerful amalgam of tough Navy officer and ineffably sweet little Arkansas runaway. Hard to miss in her performance is the quintessential American woman balancing her femininity between soul searching prejudice and glorious loving fulfillment. As, over time, must we all.

In fact, the plot was originally designed to turn on prejudice, moved along by Nelly’s aversion to de Becque’s black children from a previous relationship, and Cable’s reluctance to expose Liat to the prejudice he knew she will encounter in upscale Philadelphia. And therein lies my single criticism.

What was timely and even advanced thinking six decades ago simply doesn’t play today. Nobody cares whether kids are black or white or red with little green spots. They’re just kids and we love them. Actually, a more believable motivation for modern audiences would be Nelly rejecting de Becque not because of his black kids but because he’s French. Works for me.

Moreover, in today’s world, the transplanting of a lovely south seas beauty from the lush tropics to dank, noisome Philadelphia might cause some tongues to drag on the ground but not to wag with gossip. Yes, Virginia, you can bring home just about anybody you want nowadays and if they have a Green Card and no parole officer they’re likely to be welcomed.

I point this out, not to carp, but to praise. Hammerstein and Josh Logan’s book and Rogers tunes are so powerful and flow together so seamlessly that they completely overshadow what today might otherwise be a serious flaw in the story line. The musical is simply so good that who cares about a bunch of plot stuff anyway? Just listen to Cusack and the girls belting out Honey Bun, my personal favorite, or Pittsinger taking the audience’s chin in his hands and gazing into our eyes with his This Nearly Was Mine…and then tell me what you don’t like about the plot.

In other words, the reviewer loved this thing to pieces, at Pittsinger’s Some Enchanted Evening wept along with the rest, and would have hidden himself away in the theatre to sneak into the next night’s performance if he’d had the foresight to bring a couple of sandwiches to sustain him through the night.

Bravo, you guys; you did good.

reviewed by

Dr. Robert Beeman
author of No More Time for Sorrow
http://drrobertbeeman.com

This blog post may be produced in its entirety with the following information
(c) PositivelyPittsburghLive 2010
http://positivelyPittsburghLivemagazine.com or http://pplmag.com
Publisher: Joanne Quinn-Smith 412-628-5048

Positively Pittsburgh Live, Pittsburgh Holiday Cultural Happenings

Pittsburgh Holiday Cultural Happenings, December 7, 2009 Episode Positively Pittsburgh Live

Positively Pittsburgh Live Host, Joanne Quinn-Smith

Listen to Archived Episodes at http://pplmag.com/


Guests

Pittsburgh Symphony
Shelly Fuerte

Artistic Administrator

Pittsburgh Symphony

412-392-3192
Talking points
Upcoming productions at Heinz Hall for the holidays:
Highmark Family Holiday Pops led by Assistant Conductor Thomas Hong


Saturday, December 12 at 11:15 a.m.

It's an hour long and does not have an intermission

Same holiday favorites as Highmark Holiday Pops, but geared towards the whole family
Messiah Sing-a-long

Saturday, December 12 at 3 p.m.

Conducted by Robert Page

This is the traditional Messiah, but the audience is the chorus. Scores will be sold in the Heinz Hall lobby beforehand, and the seating is general admission.
Messiah

Saturday, December 12 at 8 p.m.

Conducted by Robert Page

This is the traditional Messiah performance
Highmark Holiday Special with Chris Botti

Trumpeter Chris Botti performs holiday hits!

There are two performances - 2:30 and 7:30 p.m.
Holiday Pops led by Principal Pops Conductor Marvin Hamlisch

December 17-20

Featuring Mendelssohn Choir, Jonathan Ansell, Rosanna and Rocky Paterra (Pittsburgh natives), Betsy Lawrence (also a Pittsburgher) and students from the CLO Academy of Musical Theater
The Pittsburgh Symphony Orchestra has been a vital part of the City of Pittsburgh’s heritage for more than 100 years. With its noble history of the finest conductors and musicians and its strong commitment to artistic quality and excellence, audiences around the world have claimed the PSO as their orchestra of choice. In September 2008, the PSO welcomed its ninth Music Director Manfred Honeck. Beginning in the early 1900s with frequent performances in Canada, the PSO confirmed its ranking as a world-class orchestra, earning critical acclaim for each tour abroad. Its 34 international tours include 18 European tours, eight trips to the Far East and two to South America. In January 2004, the PSO became the first American orchestra to perform at the Vatican for Pope John Paul II, as part of the Pontiff’s Silver Jubilee celebration.

Pittsburgh Cultural Trust

Kathryn Heidemann, Director of First Night, will be joining you this evening.
For some advance information about First Night, you can visit: http://www.firstnightpgh.org/programs.aspx
Also, Kathryn is the senior manager of the Education and Community Engagement Department, so she can discuss activities in the Trust’s new Arts Education Center, Gallery Crawls and other student workshops and events.

Put on your dancing shoes and stop by the Arthur Murray Dance Studio to learn a few moves. The ballroom dance lesson schedule for the evening is: 7:30 Foxtrot 8:00 Rumba 8:30 Cha Cha 9:00 Salsa 9:30 Tango 10:00 Swing 10:30 Instructor's Choice
A First Night Button is your passport to all of the wonderful things this night has to offer. Buttons are available for $8 at the Box Office at Theater Square (655 Penn Avenue), online at pgharts.org, and at participating Giant Eagle stores. Kids 5 and under are admitted free.
For information, please call 412-456-6666.

The Pittsburgh Cultural Trust brings an incredible selection of world-class art and entertainment to the Cultural District every year. Browse the online calendar or choose one of these selections to give the gift of performance this holiday season.

Just a Few Favorite Attractions
Debo the Clown
Juggling with Joe Lyons
Pigeon Temporary Tattoos presented by Pittsburgh International Children's Theate
TOON Years Eve celebration
Moquette Volante Bellydance Workshop
Swing Lessons w/ Bobby D
Amish Monkeys

Broadway--DREAMGIRLS


December 29-January 3, 2010

Heinz Hall

Catch the dream! Direct from Harlem’s world-famous Apollo Theater, the sensational new stage production of DREAMGIRLS sparkles like never before.

Tickets start at just $22!

Pittsburgh Dance Council

Pittsburgh Dance Council brings contemporary dance companies from around the world to the Byham Theater. See all four shows this spring for as little as $74!
Full series

Pittsburgh International


Children's Theater

Use flex pack tickets for any show in the Pittsburgh International Children’s Theater Season. It’s the perfect way to introduce the youngest ones on your list to the wonder of live theater!

Six tickets for $55.50

Pittsburgh Irish Classical Theatre


Eric Nelson

Director of Sales

Pittsburgh Irish & Classical Theater 2002-2009

Previously Director of Sales at City Theatre 1994-2001

under the loved Artistic Director Marc Masterston, who is now the Artistic Director of the Actors Theatre of Louisville, one of the most prominent regional theaters in the country, and the home of the Humania Festival
Moved to Pittsburgh in 1994 from NYC.

Training is as a an orchestral musician, with degrees in clarinet from The Peabody Conservatory, of the Johns Hopkins University-Baltimore
PICT- in our13th season. 2010 in 14 years.
Currently performing Jane Eyre- adapted by Alan Stanford who brought PICT & Pittsburgh the 2008 hit Salome.
Jane Eyre runs at the Stephen Foster Memorial's Charity Randall theater until December 20
Live music composed by Douglas Levine
Performed by Dou Levine-piano and Mary Beth Malek -clarinet
17 actors
Starring David Whalen as Mr. Rochester, Sahelly Delaney as the mature Jane, and Allison McLemore as the younger Jane.
2010 Season April 15

7 productions

1- World Premiere- comissioned by PICT and the Pittsburgh Opera Theatre

BEAUTIFUL DREAMERS- based on the music of Pittsburgh own Stephen Foster- Music by Douglas Levine after Stephen Foster

2. Othello ( in the smaller intimate Henry Heymann Theatre- in the Stephen Foster memorial)
Pinter Festival- Just passed this past year in honor of his 80h Birthday
4 evenings of great theatre

3. The Hothouse- (Sinister & Scathingly funny)

4. The Dumbwaiter/Betrayal (evening of One Acts)

5. The Room/Celebration- (evening of One Acts)

6. The Room- (Ambiguious and Comic)

7. Hobson's Choice