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Farm Fresh Gourmet

If you’d walked by the quirky, mustard-walled building at 3rd and Elgin a few months ago, you would have seen one of Tulsa’s best-known chefs – a Holland Hall and University of Oklahoma graduate – hauling huge slabs of sheetrock across the muddy floor and banging them into place with iron rods. Justin Thompson is a lot like the pioneers who built this city a century ago; he enjoys the hands-on grunt work of creation.

Walk inside that building today and you’ll see a rustic yet elegant room that welcomes diners with the glint of burnished copper, the ruddy glow of brickwork, and the subdued earth tones of pastel walls. Intricate charcoal drawings of edible plants adorn the walls.

“They’re by Taylor Young,” Thompson says. “He’s a great local artist I discovered.”

Thompson enjoys getting involved with details, with fitting raw ingredients into place to produce something a less creative person would never have dreamed of.

Finding the best ingredients, using local sources, perfecting his technique and adding creative vision and a lot of sweat and hard labor: that summarizes Thompson’s philosophy of building, probably of life, and certainly of cooking.

“How you sear the meat, how you make the sauce,” he says. “Good cooking is all about technique.” He pauses a moment. “I take a basic idea and make it better than it was before.”

He’s done it before. His physician father (who, incidentally, helped haul that sheetrock) hoped Thompson would follow him into the profession, but at OU Thompson spent more time cooking than studying his major (philosophy and zoology). He had found his vocation. A few years later, he opened his first restaurant, Ciao, on Brookside. Later, by now discovered by Tulsa super-restaurateur Tim Baker, he created The Brasserie and Sonoma. Exciting at first, his work there later became routine: supervision and administration.

“I missed the thrill of holding a vegetable fresh from the farm in my hand and figuring out what I was going to do with it,” he says.

Thinking of the long hours of hard, hot and sweaty work that it takes to run Juniper, Thompson’s eyes light up like a small boy’s at the gates of the Tulsa State Fair.

He devises a new menu every week. On Sunday and Monday, when the restaurant is closed, he and his talented sous-chef, Trey Winkle, meet with the dozen local farmers with whom they collaborate (tiny farms such as Three Springs Farm in Cherokee County), determine what is the best fresh produce they have available that week, and plan the menu around that. There is also a short menu that doesn’t change. It includes such dishes as sweet carrot soup with lobster and cognac cream, cucumber and local goat cheese salad with sweet Hendrick’s gin vinaigrette and rose petal focaccia (the focaccia complements the rosewater flavor of the Hendrick’s gin, says Justin), and coffee-rubbed rib eye served atop a fennel and wilted onion confit. The cooking pairs French technique with southern European ingredients and flair. Like everything else in Juniper, it is quintessentially Justin Thompson. 324 E. 3rd St., Tulsa. www.junipertulsa.com

Call Him Unstoppable

Remember the image of a young Dustin Hoffman racing toward Berkeley in a fire engine-red Alfa Romeo Spider in 1967’s The Graduate?

Would it be as memorable without Simon and Garfunkel’s songs driving the inner drama?

As one-half of the famous folk duo, Paul Simon lost no time as a solo performer giving his audience albums that chimed with fans as well as critics. He has earned 12 Grammy Awards – the albums Bridge Over Troubled Water, Still Crazy After All These Years and Graceland won album of the year honors – and numerous other honors that include induction to the Rock ‘n’ Roll Hall of Fame and recipient of the Kennedy Center Honors.

With so much acclaim to his name already, Simon could rest on those abundant laurels and “retire” from the biz in a cloud of media fury. Instead, he quietly released his first album in five years. April’s So Beautiful So What has been called his best since 1986’s powerful Graceland, most of which was recorded in South Africa with such groups as Ladysmith Black Mambazo.

He set out on tour soon after, but then last month Simon released Songwriter, a collection of songs on two discs delivering some of his best-known work as well as those less often heard but no less bearing all the marks of his genius for writing popular music.

The songwriter heads to Oklahoma City Civic Center Music Hall for a Nov. 6 concert. Showing no signs of slowing down, Simon, perhaps, may be that artist/performer who refuses to tease with the “r” word. The American songbook wouldn’t have it any other way. For tickets, visit www.myticketoffice.com.

Just Desserts

Roasted Pecan Ice Cream Ball

Cheever’s Café

Homemade vanilla ice cream, chile-spiced pecans and a trio of sauces are the basis of this fabulous dessert offered by the Southwestern-inspired eatery, Cheever’s Café in Oklahoma City, for a decade. A crunchy pecan crust smothered in dark chocolate and white chocolate sauces and cajeta give way to the creamy ice cream waiting inside. Henri Bailey, general manager of Cheever’s Café, says the ice cream ball was created to replicate a frequent customer’s favorite dessert experience.

“He described this creation to us, so we did our best to duplicate it without ever trying the original,” Bailey shares. “We did a pretty good job because that customer still orders it every time he comes in.”

The enormity of the ice cream ball may seem daunting, but Bailey stresses that the flavors are simple and traditional, which is why it’s such a hit with patrons.

Which Hollywood celeb would be most likely to eat your dessert?  “(Actor and Oklahoma native) Rex Linn has eaten it many times.”

Peach Cobbler

Evelyn’s

Cobbler is a staple of southern kitchens: a simple dessert of fruit in a thick, sweet sauce that is topped with delicate crust and most likely served with love.  At Evelyn’s, the dive best known for making what is arguably the best fried chicken in Tulsa, Wanda Armstrong is also churning out the best peach cobbler, hands-down. Armstrong, who is 63 years old, has been making her peach cobbler for nearly half a century. The secret, she says, is in the crust.

“You have to have a good crust,” she says. “People like the plain, simple old-fashioned taste of peach cobbler, but the crust has to be good.”

Baked Chocolate Pudding

Dragonmoon Tea Company

It’s mind-boggling how the combination of five ingredients – five basic baking staples – can create something as velvety and rich as the baked chocolate pudding at Dragonmoon Tea Co., a teahouse in midtown Tulsa. Comprised simply of Belgian dark chocolate, cream, egg yolks, sugar and vanilla, this dessert is served chilled at the small Tulsa teahouse, and is best enjoyed with one of Dragonmoon’s signature teas.

“The Chocolate Mint tea brings a little lightness to the dessert, but our Florence, flavored with chocolate and hazelnut, is lovely as well,” says Susan Blair, co-owner of Dragonmoon. “For a purely decadent combination, I would serve our Scottish Carmel Pu-erh. This tea has the same rich, creamy finish as the pudding.”

Which Hollywood celeb would be most likely to eat your dessert? “Johnny Depp; who better, with his roles in Chocolat and Willy Wonka and the Chocolate Factory?”

Banana Crème Brulee

Palace Café

The inspiration for this whimsical signature dessert all began with a dish and a dream by the Tulsa restaurant’s owner, James Shrader.

“(I saw) a really cool ceramic boat while shopping with my wife,” he recalls. “When I saw it, I said to myself – and the boat – ‘I’m going to make you famous.’”

Fresh ingredients – including heavy cream, Lomah Dairy milk, Tahitian vanilla and fresh bananas – are a big draw for customers who order the dessert, typically prepared by pastry chef Jessica Burge, and, as Shrader says, “a lot of people are suckers for a good brulee in the first place.” The presentation of the dish, complete with that now-famous ceramic boat and pulled sugar sail, certainly doesn’t hurt, either.

If your dessert were a song, what would it be? “‘Come Sail Away,’ by Styx.”

Which Hollywood celeb would be most likely to eat your dessert? “None who are too skinny.”

Vanilla Bean Pot de Crème

The Metro Wine Bar and Bistro

A simple dessert with a lengthy history, the Pot de Crème traces its beginnings back to 17th-century France. So when LaVeryl Lower decided to open The Metro Wine Bar and Bistro 23 years ago in Oklahoma City, the dessert that first came to mind to include on the menu for her French-inspired restaurant was, of course, Pot de Crème.

“We felt like it was a perfect dessert for a bistro,” she says. “You can’t get Pot de Crème anywhere else in the city that I know of. It’s simple and creamy and almost like a comfort food dessert.”

The Pot de Crème at The Metro is served with fresh berries and three decadent sauces: chocolate, raspberry and caramel. And the best way to enjoy it is with a glass of champagne, says Lower.

If your dessert were a song, what would it be? “‘One Fine Day,’ by Norah Jones. Smooth and easy, just like Pot de Crème.”

Dark Chocolate Soufflé

Rococo Restaurant & Fine Wine

“Chocolate air” may seem an other-worldly or ethereal idea for dessert, but that’s exactly what Chef Don Duncan, managing partner at Oklahoma City’s Rococo, is aiming for with his dark chocolate soufflé. Only on the menu for a short time, the soufflé is quickly gaining in popularity.
“The chocolate we use is a higher-end dark chocolate, one of the finest you can get,” he says. “The soufflé is the champion of all desserts. To me, it’s the most refined way you can play with food textures.”

Duncan recommends pairing the soufflé with Grand Marnier, which he says complements the flavors.

If your dessert were a song, what would it be?  “Something sexy, like ‘Let’s Get It On’ by Marvin Gaye.”

Which Hollywood celeb would be most likely to eat your dessert? “Brigitte Bardot.”

Ice Cream Beer Float

RePUBlic Gastropub

It’s a playful riff on the more traditional root beer float, but with a little kick. The Ice Cream Beer Float at RePUBlic Gastropub contains two ingredients: vanilla ice cream and Young’s Double Chocolate Stout beer. The combination of the two may seem a little off-putting, but don’t knock it until you try it. The beer quickly melts the ice cream, creating a soupy, sweet substance in the cup that packs a wollop.

The dessert has been on the menu since RePUBlic’s opening in April 2010 in Oklahoma City’s Classen Curve, and Chef Beth Ann McFarland says it’s most definitely the beer factor to this dessert that keeps people coming back for more.

Apple Tarte Tatin

Polo Grill

The Apple Tarte Tatin made its debut in the Hotel Tatin in France more than a century ago, but it made its first appearance in Tulsa’s fine dining restaurant Tulsa’s posh Polo Grill just last fall. Though a relative newcomer to the menu, the dish has earned a healthy following.

“With colder months arriving, our thoughts in the kitchen turn to comforting baking spices,” says Polo Grill executive chef Michael Funk. “When Michelle Donaldson, our Sous Chef at the time, first came up with the dish, she was looking for a twist on a French tradition, and this has hit the mark.”

Funk says it’s the warmth of the baked apples and homemade butterscotch that makes it such a treat for customers, and suggests ordering Coteaux du Layon, a sweet white wine from the Loire Valley of France, to complement the dessert and fully experience the tart.

Which Hollywood celeb would be most likely to eat your dessert? “Pierce Brosnan as James Bond.”

Snickers Brownie Pie

Michael V’s

The Snickers Brownie Pie may play second fiddle to the Coconut Cream Pie on the dessert menu at Michael V’s in Tulsa, but the rich, decadent flavors of the former are what land it on our list of great desserts.

Imagine a brownie-bottom pie that is layered with pieces of Snickers bar, cheesecake filling and chocolate ganache and topped with chopped, toasted peanuts. That’s exactly what Michael V’s chef and owner, Michael Minden, imagined in a dream, and he added the dreamy concoction, which is best paired with a rich red wine, to his menu in 2009.

A River Runs Through It

In Little Rock, it’s called the River Market District. In San Antonio, it’s River Walk; and in Fort Lauderdale it’s just plain Riverwalk. What these urban waterfront districts have in common is that their development into centers of commerce, entertainment and recreation have been instrumental in the revitalization of downtown areas that were languishing in previous decades as more and more of their host cities’ population migrated to spacious suburbs.

Meanwhile in Tulsa, the Arkansas River basin snakes through 11 miles of city and 42 total miles in the greater regional metro corridor, with only occasional water flow, notably little sporting activity and only small patches of shoreline development. Kayakers no longer use the Tulsa Wave. The Blair Fountain sits dormant.

In some ways, Tulsa’s slow pace in maximizing use of the river is driven by historic and outside factors. The city sprung up more around the railroad than it did the river. And being a prairie waterway, the environmental restrictions and requirements for developing along the river dwarf those of most other urban waterways. But economics, bureaucracy and suburban apathy have also played a role in deterring maximizing usage of the river.

Still, the future of the Arkansas River in Tulsa is not bleak, and it’s not gone from the agendas of regional civic leaders. Progress is coming to the shores of the world’s 45th longest river where it vivisects Tulsa County. But exactly when riverfront development happens and exactly what form it takes remain questions with ambiguous answers.

Water Works

“One major differentiating factor in regards to river development here versus other communities is that their rivers have water in them,” says Mike Neal, president and CEO of the Tulsa Metro Chamber. “The disadvantage to the Tulsa region is that frequently there is no water in the river. It’s hard to develop without water regularly in the river.”

Water flow is key to subsequent phases of river development.

“People have a strong desire to come to the river and enjoy the ambiance,” says Rich Brierre, executive director of the Indian Nations Council of Governments (INCOG), the Tulsa regional planning organization. “Whether it’s a beach, a lake or a river, the waterfront is something that attracts people.”

Currently, the flow of water is controlled in large part by Keystone Dam and to a lesser extent by the Zink Dam in Tulsa proper. According to local authorities, renewing the river through Tulsa as an actual flowing waterway would require substantial improvements to the Zink Dam and the construction of two additional low-water dams in Sand Springs and in Jenks. Just under $6 million was pledged from Vision 2025 funding, but that remains far less than what is needed.

“The initial master plan said it would cost $60 million, but current estimates are around $100 million with pedestrian walkways,” says Gaylon Pinc, environmental program manager for Project Management Group, the consultants tasked with implementing Vision 2025 projects.

“The disadvantage to the Tulsa region is that frequently there is no water in the river. It’s hard to develop without water in the river.”

However, while improvements to the Zink Dam are underway and anticipated to continue for another three years, according to Pinc, funding for the new dams remains elusive. In 2007, county voters rejected a small sales tax increase aimed at creating a revenue stream. Local philanthropists had pledged a significant amount of private investment in the plan as well. Details of the vote reveal divided sensibilities when it comes to moving ahead with river development – and the divide was largely geographic.

“It was defeated 52-48,” says Chris Benge, former speaker of the Oklahoma House of Representatives and Tulsa Chamber senior vice president of Government Affairs. “It actually passed in the city but voters in suburban communities rejected it because they didn’t see the benefit to them. The plan was for public money to be used for the three low water dams to keep water in the river. Private investment would then be made in riverfront development.”

According to Pinc, the 2007 vote was also tarnished by misinformation.

“Opponents of the plan claimed that the plan could never get permitted, which was and is just not true,” Pinc says. “The Army Corps of Engineers was involved the whole time. It was their plan. They weren’t going to deny permits for their own plan.”

About a year later, optimism abounded when the state offered a $25 million potential bond to support projects. Leveraging monies from the state and Vision 2025, local authorities were able to pony up matching funds and were to rake in the federal funding needed to get the river infrastructure projects underway.

Then came the recession.

“We had all the matching funds we needed for federal funds and then the economy fell apart and Congress did away with earmarks,” Pinc says.

Brierre said the timing was unfortunate.

“The money was authorized but not appropriated,” Brierre says.

Pinc says that the next phase depends upon what path elected officials choose.

“They could fund the necessary studies without the Army Corps, except the regulatory process,” he says. “Or else they can just wait for federal appropriations to resume. There is a lot of bureaucracy but identifying funding is very important to these projects.”

Brierre says that Tulsa County is moving ahead as best it can, given the dearth of resources. Considerable studies and planning are intrinsic to the Zink Dam improvements.

“There are processes that have to be gone through so that when funding is available, we can move ahead on the two other low water dams,” Brierre says.

Although Benge says Oklahoma’s outlook for federal dollars is not great because of the elimination of earmarks and federal budget constraints, “everyone is being mindful to when federal money comes back, the permitting will be in place to move on.”

Still, even if the entire dam project should be funded tomorrow, the road to completion is a lengthy one. According to Pinc, preparing permits and conducting an environmental impact study would take 12-18 months. It could then be 18 months or more for the process approval. Final design would then take as long as a year. Construction would then take two more years.

“You might add a year to that overall process, and that’s assuming total funding,” Pinc says.

Of course, it’s possible that local and regional funding availability could speed the process.

“Certainly there is the potential to go back to the voters,” says Neal.

In the meanwhile, the river sits with only occasional spotty water flow, not quite dormant, and possessing the potential energy to drive the next phase of Tulsa’s evolution.

On The Shore

In addition to scenery, other cities’ urban waterfront development has something else in common. In general, the shores have become bustling entertainment districts with contiguous properties housing businesses that complement one another. But assuming the infrastructure improvements are made on the Arkansas River in Tulsa, development on the shore is likely to look much different.

“The Arkansas River is very different,” says Brierre. “San Antonio’s River Walk is a very narrow channel. So is the Oklahoma River in Oklahoma City. Our river is one of the largest in the United States and has a wide channel. It’s very different than others. It’s more of a natural setting and I think the public embraces that. What’s eventually done has to reflect the diversity of people’s interests.”

Those interests are reflected in a master plan, crafted in a regional effort, that has a very subjective view of development on the river.

“Vision for development on the river is real fuzzy, in my opinion,” Pinc says.

Instead of a detailed plan including zoning and density recommendations, corridor-exclusive setbacks, unified parking requirements, etc., the plan instead respects different municipalities’ regulations and blends suggestions for open space mixed with various potential development.

“There absolutely would be a component of water recreation,” Pinc says. “We don’t want swimming, but the new low water dams would support fishing, boating and rowing.”

Pinc says there are opportunities for entertainment districts.

Brierre says the master plan envisions development at strategic locations, and includes areas where development is possible and areas of critical mass. However, neither local municipal governments individually or collectively can at this point craft a more cohesive, unified plan – because there are numerous property owners on both shores of the river. Among prominent entities with real holdings or proprietary control of riverfront property are the city and county, River Parks Authority, the Creek Nation, the George S. Kaiser Family Foundation and other private interests. There’s also a designated protected wildlife area. As a result, there are few clear, large contiguous parcels of land available for easy and obvious development.

Of course there has already been some riverfront development and there are some efforts for more.

Tulsa Mayor Dewey Bartlett says that Blue Rose Café is a good example of successful development and partnership between public and private interests.

He says he recently appeared before River Parks Authority and suggested that the RPA, a city-county public trust authority responsible for considerable real estate along the river, pursue other projects similar to Blue Rose.

“I told them that Tulsa can help,” Bartlett says. “We own land at intersections of Riverside Drive and a lot on the west side. We can participate with property and parking. I visualize a situation where the city could provide trolley transportation and maybe run all the way downtown.”

Matt Meyer, RPA executive director, says that different people have different ideas on what “development” means, and he ponders, “How much of the park do we want to pave over?”

"Our river is one of the largest in the United States and has a wide channel. It’s very different than others."

RPA is responsible for arguably the most popular development along the river – the extensive trail system whose development and improvement was funded by the Kaiser Family Foundation. That wildly popular trail system has prompted considerable activity along the river’s shores.

A public plaza at 41st and Riverside, funded in part by major donor QuikTrip, has also been a lauded addition to the corridor.

Other development efforts have met with less success. The City, for example, issued a request for proposals for development of a 100-acre-plus parcel on the west side of the river, and including where city water and street department infrastructure is housed and a private cement plant parcel with an owner willing to sell as part of the deal, Bartlett says. But the handful of proposals received apparently did not pass muster and there has been no additional attempt to develop the location.

“We’re still confident something could happen,” Bartlett says. He adds that he feels the state of the overall economy was the largest obstacle.

Furthermore, Bartlett says that the Kaiser Family Foundation will be announcing plans for an extensive $100 million development on the west side of the river.

“I haven’t seen the plans but I have heard a lot of things,” Bartlett says.

Most residents though would point to the Riverwalk in Jenks as the most polished major development along the river in the region. A large land parcel and city zoning and guidelines spurred the development. Although many Riverwalk businesses have struggled as the recession finally arrived in Oklahoma, others – notably popular restaurants like Los Cabos and Waterfront Grill – have done well and helped breathe life into the riverfront in Jenks.

“It absolutely does help to have other development close to where you’re developing,” says Ben Edwards, project manager for the highly anticipated mixed-use development Village on Main in Jenks. “No development can stand alone.”

Riverwalk, the Oklahoma Aquarium, components of Village on Main as they come online and other development in the area has helped create a critical mass.

“Having a large attraction like the aquarium, then Riverwalk, play into what we’re trying to do… to become a destination: Jenks, America,” Edwards says. “For us, the river plays a big part in that. In the near future when the low water dams are in, it will become a place for people to walk along and enjoy the scenery. We’re building a kind-of town center and people should be able to walk down the street to shops and eventually to the river to enjoy.”

Downstream

Whatever eventually transpires when it comes to development along the Arkansas River in Tulsa might appear far downstream and past a turn or two in the path, but there is a sense of urgency already today.

“If we don’t go forward and get permitting out of the way and prepare for when funding becomes available, we’re likely to lose momentum,” says Pinc. “Data will become aged to the point that it needs to be re-done. I think there is a desire in the public to get something done. People just don’t want to pay for it.”

Bartlett says that failure to continue pursuing riverfront progress would be “very short-sighted.

“I hear it all the time – ‘let’s do something,’” Bartlett continues. “I’m not saying let’s limit development to bars and restaurants. There are all sorts of possibilities. We have to start. We have to keep moving. We can’t wait a year or two. Look at what Oklahoma City has done – they got a couple of backhoes out and built a river.”

Benge sees river potential as part of a larger economic look at Tulsa.

“We have low unemployment; we’ve had a major renaissance in downtown, and millions of dollars have been invested in new roads and highways,” Benge says. “Tulsa has a lot of momentum right now.”

From Gridiron to Grapevine

During the Dust Bowl days, the Joad family made their way across the West in search of a better life in California in the timeless epic The Grapes of Wrath. The Golden State is again attracting a famous Oklahoma family. But this time it’s in pursuit of a better glass of wine.

University of Oklahoma coaching legend Barry Switzer has teamed up with some of the biggest names in Napa Valley to establish Switzer Family Vineyard.

Earlier this year, they kicked off the new business venture with the launch of its vintage 2008 Cabernet Sauvignon, a wine Switzer says is sure to please even the savviest wine drinkers.

“Unsolicited people have told me it’s better than what they expected, and I like that comment,” Switzer says. “I haven’t had anyone say anything negative about it and they shouldn’t. Because anyone who knows anything about wine, they know when they taste this, this is a good cabernet.”

Switzer says his family kicked around the idea of starting a winery for a couple of years. But like his Sooner teams of the past, the old coach wouldn’t accept anything but the best. To keep that winning tradition alive, he partnered with Napa Wine Company’s Andrew Hoxsey and Republic National Distributing Co.

“I never thought of being on a bottle of an alcoholic beverage, but we start talking about it and then went out there and had some meetings,” Switzer says. “Once we knew we wanted to do it we got involved with the right team and right product.”

Switzer Family Vineyard started out small this year with a batch of 560 cases of wine. They plan to push production to 750 cases next year, then 1,000 the following year with the possibility of doubling that number in the future.

The wine is available at liquor and spirit shops across Oklahoma and neighboring states.

“The target market is the old Big 8 conference, and we’ll go from around Dallas all the way to Nebraska,” Switzer says. “And it will be available in my home state of Arkansas.”

Growing up the son of a bootlegger, Switzer never imagined he’d follow a similar path. Especially not in the wine industry, which was almost non-existent in Arkansas and Oklahoma in the 1950s.

“When I was a student at the University of Arkansas in the 1950s, I used to drive through Altus, Ark., where they had Wiederkehr Winery, and it stood out because at that time there weren’t big California wines or American wines,” Switzer says. “I always thought wineries were in France and Italy, but here was one making wine in Arkansas in the ‘50s.”

The wine industry gradually made its way to the area. Today about 100 wineries exist in the state, while more Oklahomans are sipping red and white wines.

“There has just been an explosion of wineries in the state and it’s amazing because weather is so harsh here,” Switzer says.

Switzer says he began drinking wine about 30 years ago at the urging of longtime friend Patsy Benso.

“The target market is the old Big 8 conference,
and we’ll go from around Dallas all the way to Nebraska.”

“He was giving me a lecture, as he always does, and he said, ‘If you’re going to drink, drink wine and drink red wine,’” Switzer says. “He said, ‘It’s better for you, and it’s not as hard on you as the whiskeys and bourbons.’”

Switzer took the advice but said it wasn’t until several years later that he developed a taste for fine wines.

While coaching the Dallas Cowboys, Switzer regularly dined with team owner Jerry Jones over elaborate dinners on the night before games. Along with enjoying some of the finest food in the country, Switzer’s wine palate evolved.

“When we went out for diner, Jerry would tell me to order the wine, and I found out the price doesn’t always mean it’s the best tasting wine for your palate,” Switzer says. “I found out lots of good wines don’t cost as much.”

And like many wine connoisseurs, Switzer and his family made their way to Napa Valley to enjoy some of the finest wineries in the country. During those trips, they threw around the idea of opening their own label. To get a better perspective on the possible business venture, they contacted Hoxsey, a fourth-generation grape grower and one of the leading winemakers in Napa Valley.

Switzer says Hoxsey was very receptive to the idea. While in town for a marathon, he visited the Switzer home and helped develop a plan for Switzer Family Vineyard.

“We wouldn’t have done this without (Hoxsey) because like I told my son-in-law, there’s no way I would put a wine out there with my name on it that we did not feel was a real quality product,” Switzer says. “It wasn’t about trying to really be a commercial venture to make a lot of money. It was about doing something fun and something that we were interested in. To do that we wanted the right people and the right team. And that’s what’s happened for us.”

The company later signed a long-term contract for grapes to be grown in Oakville, Calif. In two years, they will have their own vineyard space where the grapes will be grown and harvested.

Switzer says they might add a pinot noir wine in the future, but for now they are putting their efforts into the cabernet.

“Andrew Hoxsey told us not to do a bunch of wines, but do a great wine and establish the product,” Switzer says. “It’s all about the palate and making something people enjoy.”

Easy Entertaining

I don’t like entertaining – not if it involves 3.2 trips to the grocery store, teetering piles of dishes, frantic, last-minute house cleaning and opening the door with food on my clothes.

If, however, I can do a little bit each day to get the house in shape, the food purchased and prepared as much ahead of schedule as possible, then I’m totally into the occasional dinner party. It’s the basic “Flylady” philosophy of taking baby steps so that you can fully enjoy yourself once your guests arrive.

Marla Cilley began the Flylady program (www.flylady.net) more than a decade ago and has more than a half-million users, including me. The basic principle is to tackle housework and cooking with small steps so you don’t get overwhelmed and give up. If you keep up with the baby steps, you work your way from chaos to peace and tranquility. Since starting her program I’m much more organized. Whenever I host a dinner party I feel her wise eyes peering over my shoulder, guiding me to select recipes which are not only delicious but can be made ahead – fuss-free.

Now that we’re entering the heart of the entertaining season, I am putting simple, yet impressive, desserts in my bag of tricks. One of the most “fly” desserts I can think of is Tiramisu. Cilley would love this popular Italian dessert because: 1. It is simple to throw together; and 2. Making it means you’ll never answer the door with food on your clothes because you have to make it at least 12 hours before you need it. Definitely fuss-free. Definitely fly.

Tiramisu Trifle

After a hard day, tiramisu is easy. It’s the perfect dessert for fancy parties and casual get-togethers. Also, Tiramisu is glory on a spoon. Glory that you can scoop up at midnight, when no one is looking (as long as you don’t mind espresso at midnight).

Note: Please begin this recipe the night before you need it. If serving to children, you can swap out the espresso for hot cocoa. Finally, you can make caster sugar (a.k.a. superfine sugar) by putting regular granulated sugar in a coffee grinder or blender and pulsing until powdery but not caked.

4 eggs, separated – the freshest you can find
1/3 c. caster sugar
3 8-oz. containers marscapone cheese
40-60 lady fingers (Italian Savoiardi)
2 tsp. dark cocoa powder
For the dipping liquid:
(Note: Considering I like my tiramisu dry – not squishy and soggy – this makes a ton extra; feel free to cut it by half or more.)
2 c. water
3 tbsp. instant espresso
3 tbsp. rum

First, mix up the instant espresso with warm water and rum in a small bowl. Next, divide the egg whites and yolks into two separate bowls (the larger being for the yolks).
Whip up the egg whites with half the sugar, until the mixture looks like a soft cloud. Then – without washing the beaters – mix the rest of the sugar with softened marscapone and egg yolks. Softening the marscapone on the counter makes it whip up smoothly, so you don’t get lumps.

Next, fold the whipped egg whites into the marscapone mixture. Once it’s light and fluffy, get your trifle bowl out and begin layering the tiramisu.

To assemble, first put a layer of the whipped marscapone mixture into the bottom of your trifle bowl. Then add a layer of lady fingers – each lady finger gets dipped into the coffee mixture before going onto the tiramisu. You don’t want soggy tiramisu; I recommend kissing each side of the cookie to the surface of the espresso – that way the lady fingers soak up just enough espresso flavor, without making the tiramisu soggy. So, go ahead, let your cookies kiss the espresso.

Now, here’s another important lesson for you. If you aren’t careful when you layer the cookies they’ll taste good but they won’t show up on the outside of the glass. To make the outside look good, you’ll need to break the lady fingers in half, dip the cut end into the coffee mixture and press it against the glass, making a seal, so the custard doesn’t leak over it, hiding the cookie.

Keep alternating between a cookie layer and a marscapone layer, until the trifle bowl is filled. Finish with the marscapone mixture and a heavy dusting of unsweetened cocoa powder. Refrigerate overnight to let the flavors develop.

You’ll end up with the prettiest tiramisu trifle. And you’ll be able to go to bed with a smile, knowing you have nothing to do the next day but to enjoy yourself and your guests.

Sasha Martin is cooking one meal for every country in the world. Her picky husband and baby girl are along for the ride. Join the adventure for recipes, reviews and more at www.globaltableadventure.com.

Talking Turkey

Photo by Heath Sharp.

Soon enough, we will celebrate Thanksgiving with turkey and all the trimmings. If the thought of having to cook a turkey is enough to cause panic, take comfort in the fact that help is just a few paragraphs away.

Chef Geoffrey van Glabbeek, executive chef of the Restaurant at Gilcrease, offers help in all things turkey. A Tulsa native and 2003 graduate of the Culinary Institute of America in Hyde Park, N.Y., van Glabbeek shares his thoughts on Thanksgiving and the best ways to prepare, cook and carve the perfect bird, as well as what to do with all those leftovers.

“Thanksgiving is all about tradition,” he says.

That sentiment is at the heart of the way he prepares the turkey for the big feast and is the reason that he prefers simply roasting the bird above all other methods.

The first step is prepping the bird. Before anything else can be done, the innards must be removed. Save them for making gravy.

To ensure a moist, flavorful turkey, van Glabbeek suggests brining, or submerging the bird in salty water for the purpose of tenderizing. Although some brines consist of a combination of salt and sugar, van Glabbeek prefers using only kosher salt.

“Since kosher salt crystals are milder than iodized salt, it is easier to season without overseasoning,” he says. “The water should be salty like the ocean. A good rule of thumb is one cup of salt per gallon of water. Most turkeys will need two gallons to be completely submerged.”

Using a large bucket or other pot, dissolve salt in slightly warm water. Place the bird in the bucket and cover with a gallon of cold water until bird is completely submerged. Pack with ice and refrigerate for no more than 24 hours.

“Brining is good, but doing it for too long can actually break down the bird and make it tough.”

Although frying was a huge trend a few years ago, roasting is van Glabbeek’s preference because of both tradition and taste – roasting “low and slow” will produce the best result.

For starters, preheat the oven to 325 degrees. Place the turkey, breast side up, on a large sheet pan fitted with a cooling rack that will allow the juices to accumulate for making gravy later. Truss the turkey by tying its legs together and tucking the wings underneath.

Once the turkey is ready for the oven, van Glabbeek rubs the bird with herbed oil made by combining one cup of olive oil with one tablespoon each of fresh thyme, sage and minced garlic. Rub the bird liberally before roasting. Save some of the oil for basting the turkey occasionally.

Roast the turkey for 10-15 minutes per pound or until a probe thermometer inserted in the thickest part between the leg and thigh reaches 165 degrees. Let the turkey rest for 15-20 minutes before carving.

As far as stuffing the bird is concerned, van Glabbeek does not recommend it.

“By the time the stuffing is cooked through, the bird is overcooked. Cook the stuffing separately,” he suggests.

Carve the bird by first cutting off the legs and the wings. Next, cut down the middle of the bird until the knife reaches the ribcage. Follow the ribcage all the way down and remove the breast in one piece. Repeat the same procedure with the other breast.

“Use a straight blade like a chef’s knife for carving the turkey,” he advises.

As for leftovers, van Glabbeek suggests piling some of that turkey on a croissant with a slice of creamy brie, some peppery arugula and a slathering of whole grain mustard.

Alternatively, leftover turkey can be used in a delicious pasta sauce. Thinly slice one onion and sauté in olive oil over medium heat until caramelized. Add two cups of turkey meat and warm slightly. Deglaze pan with one half cup white wine and let reduce until almost all of the liquid is absorbed. Add one cup of chicken stock and two tablespoons butter. Bring to a simmer and add two handfuls of spinach. Cook until spinach is just barely wilted. Serve over ravioli.

Performances: Memphis

In the 1950s, segregation was everywhere on the United States map. In the underground dance clubs, however, the revolution in music and culture to come was stirring. For a young white radio DJ named Huey Calhoun, the world is about to change when he falls for both a new kind of music and Felicia, a beautiful black club singer. The birthplace of rock ‘n’ roll, Memphis, 2010 Tony Award winner for Best Musical, intersects with Tulsa and Oklahoma City this month on a high of soulful sounds and electrifying performances. The musical plays at the Tulsa Performing Arts Center Nov. 1-6 and at the OKC Civic Center Music Hall Nov. 8-13. Inspired by the story of a Memphis disc jockey, the late Dewey Phillips, and his efforts to integrate American music in the 1950s, showcases the sound of an era in upheaval for all its images of white suburbia and homemaker-in-pearls tidiness. www.myticketoffice.com

The Wayman Tisdale Story

Oklahoma native son Wayman Tisdale’s mercurial life will be remembered and celebrated this month with the release of the award-winning documentary The Wayman Tisdale Story on Nov. 22.

The Wayman Tisdale Story details the story of the former basketball star and jazz musician. Told through his own words, The Wayman Tisdale Story journeys through Tisdale’s life from this childhood as a preacher’s son to his battle with cancer – ultimately succumbing at just 44 years old. The documentary will be released on DVD and CD/DVD by Rendezvous Music/Mack Avenue.

While attending Booker T. Washington High School in Tulsa, Tisdale was one of the most highly touted high school basketball players in the country. He played basketball at the University of Oklahoma, where he was the first player in college basketball history to become a first team All-American in his freshman, sophomore and junior seasons. After winning the gold medal in the 1984 Olympic games, Tisdale entered the 1985 NBA draft. Over the next 12 years, Tisdale became an NBA star while playing for the Indiana Pacers, Sacramento Kings and Phoenix Suns. As his basketball career was ending, he turned his focus to his self-described “first love” with the release of his debut jazz album, Power Forward, followed by eight other eclectic jazz albums – four of which hit No. 1 on the jazz charts.

Rendezvous Music complements the telling of Wayman’s story with a soundtrack featuring 13 tracks, including the previously unreleased track, “Slam Dunk,” produced by Jeff Lorber, and “Cryin’ For Me,” which was written and performed as a tribute to Tisdale by Toby Keith. For information, visit www.thewaymantisdalestory.com.

Tulsa will play host to the world premiere of “The Wayman Tisdale Story” at 7:30pm on Saturday, October 29 at the Walter Arts Center at Holland Hall, located at 5666 East 81st Street. Doors open at 6:30pm. The event is free and open to the public.

Surf, Sand And Oklahoma

With its manic drum intro and wild wawahhhh-wawawawawawahhhhh chorus, Ronny and the Daytonas’ “G.T.O.” roared out of speakers like a jet-fueled dragster in that summer of ’64, the last great year for the distinctly American rock ‘n’ roll genre that came to be known as surf ‘n’ drag.

The template had been struck a couple of years earlier, when the first Capitol Records single by a new band called the Beach Boys featured a tune about surfing (“Surfin’ Safari”) on one side, and one about hot rodding (“409”) on the other. Before you could say “Surf’s up!” a whole passel of acts with names like the Rip Chords, the Hondells, the Surfaris and Jan & Dean were roaring up the charts with records about motorbikes and dragstrips and beautiful beach bunnies standing wistfully by the lonely sea, spreading the powerfully seductive image of a sun-drenched endless California summer all across the USA.

Here in Oklahoma, we may have been a good 1,400 miles away from that action, but we were by no means immune to its pull on our hearts and souls. After all, we could dream, couldn’t we?

Ronny and the Daytonas, who produced a classic tune in each of the surf ‘n’ drag categories (respectively, the lush, melancholic ballad “Sandy” and the raucous “G.T.O,”), were one of those West Coast bands that fired our imaginations – or so we thought. Actually, the boys in the band lived even farther from Southern California than we did.

Boy might be more accurate. And Oklahoma boy would be even more accurate still. While he was joined in the studio by fellow musicians like Buzz Cason, Bobby Russell and Bergen White – who would become well-known country-music figures – and on the road by many different players, high schooler John Buck Wilkin was the guy behind the whole thing. Ronny and the Daytonas started in a Nashville studio, but Wilkin came from Oklahoma, having been born in Cherokee and raised for the first 11 or so years of his life in Tulsa.

The family had relocated to Music City because John’s mother, Marijohn Wilkin, had become a successful country-music songwriter. (Her hits included “Long Black Veil,” “Waterloo,” and “P.T. 109”: later, she’d co-write the gospel standard, “One Day at A Time,” with protégé Kris Kristofferson.). In 1963, she started a publishing company with another well-known Nashville figure, musician and arranger Bill Justis.

“They met through a producer from the West Coast, Nick Venet,” remembers Wilkin. “He was a staffer at Capitol Records, a real young guy. He’s my all-time hero in the music business. He was kind of a cosmic, spiritual, big-brother connection to the West Coast sound.”

In fact, Venet will forever be known as the man who signed the Beach Boys to Capitol, kicking off the whole surf ‘n’ drag craze. He also produced their first two albums for the label. It was just one of the many things he did for Capitol Records, some of which would take him to Nashville.
“Nick would come down here and do some sessions, hire Bill as an arranger and hire me as a musician, when I was like 16 years old,” adds Wilkin with a chuckle. “So he gave me a very early break.”

So did Justis.

“Bill and my mom had just started the company, and he said, ‘Well, if you want to do some recording, write some songs, and we’ll see what we can do.’ So, basically, I didn’t have to go out and pay any dues,” says Wilkin. “A lot of guys play in bars for 20 years before they get a break. All I had to do was walk in the studio.”

“So I made up a list of about 20 names, and he liked Ronny and the Daytonas the best.”

Even if Venet hadn’t shown up in John Buck Wilkin’s life, the teen’s own songwriting and singing would’ve been heavily influenced by Southern California acts like the Beach Boys.

“Totally,” he says. “They were my heroes, and they were what was going on. They were the people I was listening to on the radio. They’d started around ’61, so they were already a big deal. I was late to the surfin’ scene. But then again, I was landlocked and removed from it,” he adds, chuckling again.

The first tune he wrote and recorded was called “Hey Little Girl.” Through Justis’ connections, he got it released on Mala Records, a small New York label that produced more than its share of hits.

“Bill said, ‘Well, we’ve got to have a group name,’” Wilkin recalls. “So I made up a list of about 20 names, and he liked Ronny and the Daytonas the best.”

After “Hey Little Girl” failed to make the charts, Justis took the youngster aside and said, “Write me a hit.” And Wilkin did – penning the verses for “G.T.O.” during his high school physics class after seeing a layout about the new, souped-up auto in Car and Driver magazine. The song shot into the upper reaches of Billboard magazine’s Top 40 charts in 1964, peaking at No. 4 and joining the Beach Boys’ “I Get Around,” Jan and Dean’s “Dead Man’s Curve,” and the Hondell’s “Little Honda” on the list of endless-summer songs that, at least for a while, countered the British invasion of rock ’n’ roll radio that the Beatles had begun a year earlier.

The band charted twice more in ’64 with tunes in the same genre, “California Bound” and “Bucket T.” and began touring. But since Ronny and the Daytonas weren’t really a group, notes Wilkin, the road band “was a different bunch of guys every time.”

“It was whoever I could get,” he adds. “If we were playing around the South, I’d try to get as many studio guys as I could – those who were willing to go out. We would rent a trailer and go to Alabama or Mississippi or Florida. If it was Texas, we’d fly. But we didn’t tour all that much and I always lost money on the road, so it never was great.”

Except, he says, for the work he did with the USO. “You didn’t really get paid anything, but it was a chance to travel, and they treated you nice.”

It was during one of those tours that he cut most of the second Ronny and the Daytonas album, Sandy. The title track had already been recorded in Nashville – “pretty much by me alone, on two two-track Ampex quarter-inch reel-to-reel machines,” he says.

“We had been doing a USO tour in Germany, and Justis called from Nashville and said the label wanted an LP right away,” Wilkin recalls. “Justis came to Munich, where he had recorded before, so he knew the studios, where to eat, what to eat. We spent two weeks in the dead of winter in Munich, and that’s where the lush sound originated. The orchestra players were from the Munich Symphony, and worked all day for what the lesser Nashville string players would get for one three-hour session.”

Even though “Sandy” was the only track from the disc that charted, the Sandy album is a beautifully bittersweet set of songs that sounds, now, well ahead of its time. It proved to be the final LP for Ronny and the Daytonas, although Wilkin continued to work in the music business, and still does.
He also remains quite proud of that disc.

“I was trying to do something good, and I think there are some unique qualities about it,” he says. “I really don’t think you can say it sounds like anybody else you’ve ever heard.”