All this might suggest the River Restaurant is accessible only for a considerable outlay. Yet, whilst prices are not low, they are surprisingly competitive with those of similar fine dining establishments. The carte has starters from £12 to £22, main courses £22 to £36, and desserts at £11. There is a good value set lunch menu and pre-theatre menu available Monday to Saturday at £35 for three courses (£30 for two). The extensive international wine list starts at £26 a bottle, and glasses range from £10-£26. Thus, by West End standards, the Savoy is certainly not financially exclusive.

Leading the kitchen is James Pare, Head Chef since October 2011. His previous experience at other notable Fairmont Hotels in Seattle and Whistler is excellent preparation for the exacting demands of the Savoy clientele. With top quality seasonal French and British ingredients, he has created a contemporary French menu, giving his own interpretation to classical dishes. For instance, seared yellow fin tuna comes with dried green olives, garlic confit and fennel salad; belly pork is paired with prawn carpaccio; pan fried turbot is garnished with potato terrine and cucumber tagliatelli; and crème brulee is flavoured with liquorice.

James’ cooking is precise, well balanced with occasional playful touches, especially in the desserts. He is particularly proud of his Auguste Escoffier Menu, which he has researched extensively. At £62.50 for 6 courses it is a relative bargain amongst restaurant tasting menus. Fine Dining Guide visited the Savoy on a week day evening in January 2012 to sample this delectable feast.

An amuse bouche of chicken liver parfait was suitably smooth and well flavoured. Topped with pumpernickel crumbs which gave a contrasting texture, and dressed with radish and micro herbs, it looked like a delightful miniature plant pot

The first course of consommé of quail was a master class in execution and presentation. This acid test of haute cuisine was expertly prepared to give a beautifully clear golden broth which captured the delicate gamey flavour of the bird. A garnish of foie gras and a slither of quail breast added richness, although neither was needed to enhance the pure, glistening essence.  (Wine: 2010 Massaya Rose, Bekka Valley, Lebanon)

“Sole Victoria” was also impressively rendered. Fillets of firm textured Dover Sole had been gently poached and paired with sweet, succulent lobster slices. The timing of both these elements was perfect. The accompanying sauce, a hollandaise flavoured with fish stock and lobster, complemented the main ingredients without overwhelming them.  Shavings of winter truffle added an earthy fragrance providing a contrasting finish to the dish. (Wine: 2008 Puligny Montrachet “Vielles Vignes”, Roche de Bellene, Burgundy)

Salade Alsacienne, an intermediate course, was a simpler interpretation of this regional classic. A quennel of potato salad, walnuts and truffle dressing was suitably seasonal and light. Anything more would be excessive, given the richness of the preceding and following courses. (Wine: Pol Roger Brut, Epernay, Champagne)

Lamb Noisettes, cooked pink, were tender and, with the help of a wrapping of fat, well flavoured. Fine herbs lifted the dish, whilst potato fondant and tiny roasted potatoes provided appropriate garnishes. A rich sauce bought the various components together.  (Wine: 2008 Ca’Marcanda “Promis”, Angelo Gaja, Bolgheri, Tuscany)

A plate of English and continental cheeses, all in prime condition, included Manchego, Comte and Beenleigh Blue. Soused cherries provided a lively foil to the deep, savoury flavours of the cheese. (Wine: 2010 Morgon, Marcel La Pierre, Burgundy)

Finally, another Escoffier classic was offered as dessert. Elsewhere, Peach Melba has been interpreted in many extravagant, sometimes deconstructed, forms. Here, the essentials of the original – poached peach, vanilla ice cream and raspberry coulis – were retained with the addition of a mass of spun sugar, candy floss. Served in a silver sundae dish, the simple, elegant presentation of Escoffier was preserved.  (Wine: 2009 Tamar Ridge, “Boptrytis”, Tasmania.)

Finally, the petit fours which accompanied the strong expresso coffee showed the strengths of the pastry section, led by Martin Chiffers: soft almond financiers, intense jellies, crisp rose macaroons, and dark chocolate ganache were all highly accomplished in their execution.

Other aspects of the meal were excellent. Breads, baked on the premises, were warm, with soft texture and crisp crusts. Service was knowledgeable, solicitous but not obtrusive. The sommelier chose the flight of wines with studied enthusiasm. Best of all was the Puligny Montrachet, an inspired, regal, accompaniment with the Sole Victoria.

The new team at the River Restaurant have made an impressive start. Although James Pare is not a well known name in current restaurant circles, it can only be a matter of time before he makes a lasting impact. From the evidence of Escoffier menu, this will not take long.

Related posts:

1. Melton’s Restaurant Review, York (Jan 2012)
2. Manson Restaurant Review, London (October 2011)
3. Quilon, Victoria, London, Restaurant Review March 2010

Chef Alyn Williams

Alyn Williams may not have had the conventional path to the upper echelons of restaurant chef, having spent six years pursuing his second love, ski-ing, but his rise through the ranks of Gordon Ramsay Holdings demonstrated dedication, skill and passion for the craft.  Now at a new venture with his own name above the door, Alyn speaks to Simon Carter of fine dining guide, about his past, present and future.  Interview took place in the lounge at The Westbury, in late January 2012.

Tell us some background about yourself?

I was born in East Ham, London and a life long West Ham supporter.  I think I was conceived as a World Cup celebration, being born almost 9 months to the day after the 1966 final.  It was a good place to be brought up in those days and only a ten minute walk to Upton Park.

At the age of ten we moved out to leafy Barking, which was considered quite a step up – middle class – in the mid-1970s.  My mother’s side were all Glaswegian and my father’s side very much Londoners.  I have a brother who is a lawyer, probably inheriting my dad’s brains and perhaps my artistic slant has come from my mother.

Cooking wise, inspiration came from my Dad.  He was and is a keen cook.  We had a reasonable size garden where he grew vegetables, he would spend his weekday evening daylight hours working on his vegetable garden.

Saturday and Sunday we would have dinners prepared by my father – on Sunday the roast but Saturday’s would involve all kinds of offal; sweetbreads, kidneys, liver, brains and so on – not just this but all sorts of things.  He could turn his hand to quality Indian, grinding his own spices, and Italian food.  The ingredients were always good in the house.

The traditional English dinner time was important in our house and we all sat round the dinner table for around two to three hours enjoying our food at weekends.  It was a social event.  These memories are amongst the fondest of my childhood and instilled in me the enjoyment of food as a social occasion. School wise it was quite a tough area, I took home economics as an option but there was so much ridicule that I swapped the subject out to metalwork; I think I made a trowel in the year – the power of peer pressure for you – in that part of town ‘men were men.’

During most of my final year at school I spent four days a week working and one day, Monday, at school.  English was my only real academic love, I liked literature and was vaguely articulate and gained an O Level in the subject – everything else in those days were CSEs (Cetificate of Secondary Education).  So for most of my final year at school I was working, the first real break was working as a kitchen hand in a kind of gentleman’s club in St James’.  The chef gave me more and more responsibility, there were only three of us in the kitchen and I really loved that experience.

Between 1986 and 1988, I did my 7061/2 (City and Guilds) at Waltham College.  During my second year, I had a placement at Claridges, which was amazing, there were up to 100 chefs working in section upon section.  I feel really privileged that I got to see that bastion of hotel cooking at the peek of its powers.  The place was huge, grand, extravagant, extraordinary and a real eye opener.

Fredericks in Camden was my first real job, it was a respectable restaurant that took its inspiration from Michel Guerard’s lighter style of ‘Cuisine Minceur’.  There was also the traditional brigade system, which was mainly French.

I then went to a restaurant near Esher in Surrey, the kitchen was run by a couple of brothers.  At the time there were only about 25 restaurants with one, two or three Michelin stars in Britain so one star was something of a holy grail.  Michel Perraud came in as head chef (formerly head chef at The Waterside Inn) and within two years Les Alouettes gained a Michelin star.  Everything was done by the book with attention to detail and classical cooking, this really instilled in me the right approach to discipline in the kitchen and was inspirational in the right way.

Taking a step back, Britain has come through a revolution, or even renaissance, in dining out over the last thirty years.  If you look at our traditional dishes, they are ‘food that equates to fuel’ rather than something you would associate with a dining out occasion or experience.  We’ve come a long way since prawn cocktail, tournedos Rossini and Black Forest Gateaux were considered the height of dining out.

I think we may even be getting to the point where culturally we are a dining out nation.  In comparison, looking back at Claridges at the time of my work placement, you probably needed a title or some land to get a table there – nowadays fine dining (or top end restaurants) are open and accessible to all without the stuffiness or barriers that existed previously.  What is on offer at these establishments is also leaps and bounds better than ever before.

Back in the 1970s to early 80s there were The Roux Brothers, Nico Ladenis, Pierre Koffmann and a little later Raymond Blanc who broadened the horizons of a generation of chefs.  The world also got smaller with the advent of technologies that opened up global influences to cuisine.   Then came Marco Pierre White and Gordon Ramsay – before these chefs, Michelin, in public awareness terms, was a tyre company in Britain, now they are a chef recognition system.  People are so much more aware of what is available today and willing to try what is on offer, at the same time chefs up and down the country have spread their wings and are creating some wonderful food.

After Les Alouettes I spent a short time working at an extraordinary new restaurant, run by a technically accomplished young man called David Everitt-Matthias (currently Michelin two star, Le Champignon Sauvage).  I didn’t last long, the standards were so high, everything was from scratch and the food was visual but technically accomplished in terms of flavour. It proved a real learning curve as to the true value add of one man in the kitchen (there were only two of us in the kitchen at that time).

I then had a life changing experience of spending six months back packing in India with my brother.  This made me appreciate the British quality of life plus also empathy, humanity and understanding.  You may grow up in an environment that you think is tough, that is also (some might say) closed minded, perhaps even slightly bigoted and harsh, then you see people who have absolutely nothing – and I mean nothing – and how they live literally from hand to mouth.  This affects your core set of values, I think fundamentally for the better.

I also took in the food side of India from street stalls to occasionally nice hotels.  It was truly fascinating.  I often pass on, to this day, the lessons of my trip to India to my children.

Then the following six years, I pursued my second love – ski-ing.  After a short time I took up snow boarding, by the end of which I was teaching groups.  This was in France for a year and then five years in Colorado.  I met my wife out there (in Colorado) and she is from Hertfordshire.

In 1996 we decided to settle down and come home, I answered an ad by Gordon Ramsay (who was still at Aubergine) for a role in a restaurant working for Stuart Gillies (now at The Savoy Grill) as a chef de partie, I stayed 18 months and before I left had been promoted to Sous Chef.

Toward the end I did a number of stages – The Greenhouse, Zafferano, Chez Bruce and then Petrus on St James’ Street.  Petrus had only been open a couple of weeks and was simply magnificent.  Angela Hartnett had taken me down there and she asked if I wanted to be considered for a position.  It was a tough, hard, hard kitchen that was firing on all cylinders.  Quite aggressive in its approach.  Marcus (Wareing) was/is a highly driven man and expects a lot from people and many chefs came and went.   It was the scrutiny of having everything you do put under the microscope and the pressure was intense.  Apart from being a perfectionist, he (Marcus Wareing) has a great palate and is an exceptional chef and it shows in the results.

Marcus had a very loyal set of chefs who believed in him, we all really felt very personally about it and for a two and half years it was a ‘team mission’.  The first star came and he had to be very close to the second star for a long time before it finally came along.

In 2001 I went to Claridges under Mark Sargeant for the three months of the opening – they were doing 150-170 covers over there and the speed required was a less enjoyable experience.  Gordon (Ramsay) noticed this and asked me to take up a vacant sous chef position at Royal Hospital Road.  I felt like I’d gone home when I arrived there.  To also work at one of the only three Michelin Star restaurants in the country was something I was very proud to have achieved.  I stayed there a year, mainly on the pastry section, and everything was scrutized to the nth degree, something which was taken to a higher clinical level and another big learning curve.

Mark Askew (Head Chef) knew everything about everything in the kitchen and to my mind took the role of head chef to the next level.  I’m also a big admirer of Gordon (Ramsay) who is probably the most natural chef I’ve ever met.  His affinity with food is amazing.  He would come in once or twice a fortnight and would produce things at the stoves that demonstrated that he was a truly magnificent chef.  He also has a sharp eye for detail in every respect and it is clear, when you work with him, why he has been so successful.

In general Gordon Ramsay Holdings was driven like a machine, with a strict set of almost military style rules, but within that talented people were empowered to grow, develop and flourish in their creative talent.

Tell us about the refurbishment at The Westbury

We had a complete refurbishment of the restaurant that was formally known as Artisan, previously the restaurant had to cater for almost all of the dining in the hotel, breakfast lunch, afternoon tea and dinner. It was open seven days a week so took an awful lot of traffic, the décor was specifically designed to cope with a lot of people so it was a solid room with wooden floors and quite minimal features to be all things at all times.

I joined the discussions over the refurbishment quite early on, the designer, Alex kravetz had already been commissioned for the job but we were undecided about the décor. Alex had four different ideas for the structure and we all agreed that the current one with the wine room was the best, I had already said that I wanted the cellar to be a feature of the room but it was Alex who thought we should make a room of it rather than a simple cellar.

We did a lot of talking about my style, he saw some of my dishes and we discussed how we felt the room should feel. I initially wanted a large terrarium as a feature at the entrance to the dining room but we ended up with fifteen small ones close to the kitchen. They are designed and made by Yun Hider who has been supplying me with foraged herbs and vegetables for the last ten years, he developed the terrarium idea at his home and promised me that I could have his first commercial piece, so I feel very privileged indeed.

Alex did a lovely job with the décor, deep rose wood finishing, comfortable furnishing lots of nice features, intimate banquettes and even a sparkly carpet! I am very happy with the result

What are your aspirations for Alyn Williams at The Westbury restaurant?

I would like to think that my greatest goal is to be busy and popular. There has been a lot of talk about accolades but they only come if you are good enough, even though I have worked for some fantastic chefs you cannot take it for granted that I will emulate what they have done. Opening my own restaurant was a big step for me, I come into it though with my eyes wide open and with an energy that I think only comes when you do your own thing.

How would you describe your cuisine?

My cooking has evolved over a lot over the last few years.  Whilst cooking at the Berkeley I developed dishes that I enjoyed but always with Marcus in mind. I now do that for my own palate which is a liberating place to be. The root of my cookery can be traced back to French classical cuisine, but there are so many influences and places of inspiration that it is hard to put a name to it. My cooking is quite straightforward, looking to enhance and layer flavours so that what you end up with are simply appetizing tasty dishes. I also like to have a bit of fun with my food, some of the dishes appear a little whimsical like the French onion soup with crab and beef cheeks, but the preparation is serious with plenty of skills used. I like to use Asian flavours and also lots of Italian vegetables like their wonderful bitter greens, Catalonia, Puntarella and radicchios, so the French side becomes more about technique than actual dishes.

What is your philosophy regarding the food/wine/service mix?

The three parts go to make up the whole, take one part out of the equation (unless you’re teetotal in which case forget the wine!) and you lose the essence of hospitality. I believe that good service is more important than good food in gaining regular support for your restaurant. So we pay particular attention to the style of service, a friendly but formal mix, we also concentrated on finding a front of house team with characters rather than robots. I was determined to have a relaxed enjoyable place rather than stuffy and stilted.  We have a very close team here and communicate well, it is vital that we stay in touch with each other to make our guests experience enjoyable. I also discuss the food and taste with our sommeliers regularly so that we can make informed decisions on pairing. The wine room in the restaurant is a perfect example of all three coming together. I design a menu around the wines that have been chosen after talking to our wine team. Myself or my sous chef Richard meet our guests and explain the dishes and the planning behind them.

What is the make up of the brigade – back and front of house?

We have a front of house team of 18 made up of Giancarlo Princigalli, my restaurant manager, he has two assistant managers, we also have two receptionists, three sommeliers, chef de rangs and a team of commis waiters.

In the kitchen we have 15 cooks, with me running the pass, my sous chef Richard and between one and five on each section. The pastry has five of which two make the bread, canapés and petit fours.

What is your philosophy of management from the kitchen perspective?

I have a firm belief that you cannot run a successful kitchen/restaurant as a democracy. Therefore I make all of the major decisions both back and front of house. I run a professional kitchen which is strict and disciplined but without being hostile. We work hard but the cooks all have a decent amount of time off too. I think it is important that they are fresh and responsive when at work.  I’ve found that you don’t lose so many staff and you remain more consistent that way.

As Examples of ‘philosophy’ Do you – Rotate the sections? Noisy/quiet? Foster talent? Trusted team members from past experience?

Rotation between sections is done when I feel the cooks are ready, they don’t have a say in which section they work on. I don’t believe in mixing it up just for the sake of it. We have four distinct seasons that we go through each year that are all made up of their own micro seasons, if you only stay on say the garnish section for three  months you only really see one seasons range of vegetables, you would be missing out on so much, so many flavours, techniques of cookery and experiences.

I hate noise, so get quite agitated with crashing and banging around. We talk in the kitchen but there is no shouting other that calling during service. You need to show a high level of professional discipline in all areas, not just the obvious, from personal presentation to correct language and fridge organisation. They all go to produce a good kitchen and good cooks.

Fostering talent goes without saying. If you see a cook with talent you need to nurture them. Although the policy of training goes for everyone. You cannot expect to evolve the restaurant if the team around you are not progressing themselves.

How often would you expect to change the menu?- lunch and dinner

I change my menus as and when mother nature dictates, when ingredients change then so does the menu. I find the produce we use inspiring in itself so we tend to find creating new dishes a very natural thing to do. The lunch menu changes to some degree every week. Whilst the a la carte and tasting menus will change throughout the seasons. When we are on the cusp of a season you might see the menus changing 2-3 times in a week just to harness what is at its best at that moment.

How do you go about sourcing ingredients for the restaurant?

The sourcing is something that evolves as you go. Before we opened I spent some time travelling around meeting my suppliers, part of my trip took me to Cornwall along with Matt Chatfield who runs a fantastic company called ‘Cornwall in your Kitchen’. I visited my existing suppliers and picked up a few more along the way. I only have two companies that supply me fresh produce in London all of the others are scattered around the UK from far north Scotland to the south of Cornwall with lots of others in between. I am in constant contact with them all, they tell me what’s new, what’s coming in or going out of season and what they consider the best quality. I also use Natoora for Italian produce, Oakleaf in Rungis and ‘classic fine foods’, they all keep me up to date with the produce that they are seeing. The common factor behind all of my suppliers is their love for food and passion for ingredients.

What are your culinary influences?

I grew up looking up to chefs like Marco, Nico and Pierre Koffmann. It was a really exciting time in London, gastronomy was taking a new turn and beginning to become properly respected. I remember watching ‘Take six cooks’ with Paul Gaylor, Peter Kronburg, Joyce Molyneux and the previously mentioned three. I thought the food they were preparing was amazing, I’d never seen anything like it. I thought then that was how I wanted to cook.

During my career my mentors and most influential teachers were Michel Peraud (formally head chef at the Waterside inn)  from my formative years and as my career progressed it was Angela Hartnett, Mark Askew, Gordon Ramsay and of course Marcus Wareing. Without those four I would probably not be here today, I owe them all an enormous gratitude.

But ultimately it was my old man who first made me appreciate good food, good vegetables and the love of dining.

Do you dine out yourself often?  Where to?  What do you think of them?
What are your plans for the future?

I love to eat out, but don’t get too many opportunities to do so, casually and most regularly I eat Indian food…I am crazy for curry, usually quite spicy or I love to eat dim sum in china town. During last year myself and giancarlo dined in most of Mayfair’s good restaurants, we have found ourselves in a very gastronomically rich neighbourhood. My favourites of last year were Roganic, Texture and Helene D’arroze at the Connaught. All very different but precise cooking, innovative ideas and wonderful flavours.

I plan to eat out more often in the future, hopefully my restaurant will be successful and once I am comfortable to leave the service in somebody else’s hands I will try more  restaurants, it is vitally important for cooks to see what other kitchen are doing and how the service works in your peers dining rooms

Related posts:

1. Chef Interview: John Williams, MBE (Ritz, March 2011)
2. Alyn Williams at The Westbury Restaurant Review (Dec 2011)
3. Chef Interview: Billy Drabble (November 2008)

The set lunch and early dinner offer – three courses from the carte for £25 – is amazing value. The alternatives in each course provide a real embarrassment of choice

Scandinavian salmon was lightly cured to preserve its essential delicacy. Pickled vegetables which gave The sweet astringency of soused vegetables, and gentle heat with a melting sensation of horseradish snow, provided the perfect foil in taste and texture for the fish.

At the centre of an assiette of pork – “The Whole Hog” – was a square of well seasoned belly, roasted, pressed and finished in the pan. Although delicious, it was minus its skin. (Apparently, this has slipped through the net as crackling is normally provided!) Ham hock terrine was suitably robust in flavour whilst a portion of stuffed trotter, in all its soft, gelatinous richness, was balanced by a crisp, deep fried ear, perched on a buttery potato fondant. Braised Bigos cabbage provided a suitable green vegetable and the whole dish was brought together by an unctuous, deeply flavoured Madeira jus. This was well judged, impeccable cooking.

Local cheeses, including Barncliffe, Richard the Third and Laceys Blue, were in perfect condition and came with homemade biscuits, Yorkshire parkin and a tangy chutney

For dessert a hot prune and brandy soufflé was well risen, of the correct consistency, and served with a little jug of extra sauce sauce.

Service throughout was welcoming, solicitous and knowledgeable. The assistant manager – not one of the family – was apologetic for the lack of crackling!

Melton’s certainly deserves its strong reputation not only as a neighbourhood restaurant, but also a favourite for those who journey from further afield. It success has led to expansion if the form of Melton’s Too in the city centre, which offers a more brasserie style menu and informal style of eating

Related posts:

1. Michelin Guide New York 2012 Press Releases
2. AA Three (3) Rosette Awards January 2012 Press Release
3. Michelin Bib Gourmands GB&I 2012 Defined and Listing

Seven Restaurants Awarded Three Coveted AA Rosettes

The AA today announces seven establishments that have just been awarded its coveted three AA Rosettes.  The higher AA Rosettes, awarded just twice a year, celebrate the exceptionally high standards of cuisine that these restaurants offer.

Two of these restaurants are in London , while the remaining five range from Scotland to West Sussex . 

The new three Rosette restaurants are:-

• Hakkasan Mayfair, London
• Roganic, London
• Cotswold 88, Painswick
• Tuddenham Mill, Newmarket
• Gravetye Manor, East Grinstead
• East Lodge Country House Hotel, Rowsley
• Mark Greenaway at No 12 Picardy Place , Edinburgh

AA Hotel Services manager Simon Numphud said, “We are delighted to recognise seven new establishments with the achievement of three AA Rosettes. All have demonstrated a high level of consistency and accuracy in the overall cooking standards that our inspection team have experienced.

“Restaurants serving food of a three Rosette standard are worthy of recognition from well beyond their local area and I am delighted that these very deserving restaurants have been acknowledged for their efforts.”

AA Rosettes are awarded solely by AA Hotel and Restaurant Inspectors with no influence from hotels, restaurants or other guides. The AA Rosette scheme is long established and successfully recognises cooking at different levels nationwide. The success or failure in achieving Rosettes is based on at least one visit to a hotel or restaurant. Essentially it’s a snapshot, whereby the entire meal including ancillary items are assessed.  Of all the restaurants across the UK , approximately 10% are of a standard which is worthy of one Rosette and above.

Details of the new three AA Rosette restaurants

London

HAKKASAN MAYFAIR

The Hanway Place original has been a paragon of the London dining scene since 2001, arguably changing the way Chinese food is seen in the UK . The uptown sibling lacks none of the verve and excitement that captured our hearts more than a decade ago. A first-timer may well be won over by kicking off with a cocktail – The Hakka, perhaps – but the food is capable of leaving a lasting impression, too. The doorman, who ushers in arrivals, adds to the Mayfair vibe, and the décor of burnished wood, marble and leather, combined with the low-lighting (particularly in the basement dining room) gives a feeling of inscrutable luxury. Those familiar with the lexicon of Chinese menus will find some familiar dishes, but what is on offer here is a cut above in terms of quality of produce, inspiration and execution.   

ROGANIC

The clock is ticking. Simon Rogan – holder of five Rosettes at his Cumbrian high-flying gaff, L’Enclume – has a two-year lease at his big city outpost, between Marylebone Road and Baker Street . ‘Pop up’ restaurant is the expression, but, hopefully, Mr Rogan’s talents won’t be lost to the capital. The temporary nature of the venue means every expense has not been thrown at it, but it’s none the worse for that. With tightly packed bare tables and splashes of colour from vivid modern artworks, there is little distraction from what appears on the plate – and what appears on the plate is sometimes surprising, usually amazing to look at, and always good to eat. Rogan’s trademark is to search out unusual or little used British ingredients, to create thrilling combinations and to always allow the produce to take centre stage. The menu takes the form of multiple courses, six or ten dishes, plus a three-course weekly-changing lunch. The creativity and high quality is maintained from start to finish.

Cotswolds

COTSWOLDS 88

Whilst the rather grand Cotswold-stone exterior makes a reassuringly traditional first impression, what lies behind the timeless façade is a myriad of bold designer flourishes and a cornucopia of luxuriant furnishings. This is a boutique hotel and no mistake. The dining room goes for a black, white and red theme, and stripes – lots of stripes – whilst the crisp white linen-clad, smartly laid tables reflect the serious intent that lurks behind the playfulness of the décor. A canapé of miniature fish and chips show that a bit of fun is not out of the question, but notice the fabulous quality of the fish. The Eighty Eight Room is chef Lee Scott’s domain and he turns out confident modern dishes that showcase his acute technical skills.

Newmarket

TUDDENHAM MILL

The old mill has scrubbed up very well indeed. ‘Rustic chic’ they call it, which sums up the place rather well, being both full of original beams and character, but with a contemporary gloss to the fixtures and fittings. And an alluring boutique hotel it doth make. The restaurant is up on the first floor, with the glassed-in top half of the waterwheel a reminder of the great buildings original function. (Glass inset panels in the floor give views down to the flowing water below, too). But despite the reminders of times gone by, this is a modish feeling space, with a decided lack of pretention, and a menu, from chef Paul Foster, that features lots of little-seen ingredients, such as pennywort and water mint, and makes use of contemporary cooking techniques. The knowledgeable service fits the bill and the wine list is well worth exploring.

East Grinstead

GRAVETYE MANOR

With its combination of heaps of historic charm and high standards of service, not forgetting some seriously good cooking and beautiful gardens, Gravetye is a country-house hotel which leaves a lasting impression of comfort and joy. The wood-panelled dining room is brimful of traditional features with burnished oak, a real fire and oil paintings, and tables are dressed with all the anticipated fine-dining elegance. The plush lounges make a fine introduction – canapés and all –- before you head into the dining room.   Presentation is good and the quality of the produce high.  The new owners since 2010, have successfully brought Gravetye back to the top table.

Rowsley

EAST LODGE

This one-time hunting lodge within the Peak District National Park has a more elevated position on the social scale these days – as a delightful and thoroughly charming country-house hotel. The 10 acres of grounds only add to its appeal, with landscape gardens to explore, whilst the interior has plenty of traditional character and comforts to soothe in fair weather and in foul.  The restaurant – intimate in scale but big on ambition – is a major part of the draw here, with chef Simon Bradley serving up some classy and confident dishes in the intimate dining room. There’s a chef’s table, too, giving the opportunity to see all the action up close and personal, with its own tasting menu on offer. Wherever you choose to sit, you can expect modern food with up-to-date cooking techniques to the fore, and fine Derbyshire produce at its core.

Edinburgh

MARK GREENAWAY AT NO 12 PICARDY PLACE

No. 12 Picardy Place is at the heart of the action, a short amble from Princes Street , and has a restaurant headed up by Mark Greenaway that places it at the forefront of the city’s culinary firmament. Behind the handsome Georgian façade you’ll find bags of boutique style in the form of a cocktail bar, über-cool bedrooms, a swanky room for the swankiest of events, and a restaurant with exposed stone walls, done-out with colours chosen from the suitably fashionably muted palette. Mark Greenaway gets his name over the door, and rightly so, for he is a talented chef serving up some rather thrilling food. The lunch and early evening menu – the Market Menu – is a bit of a steal for two or three courses, whilst the carte (decent value itself by today’s standards) proudly lists the Scottish suppliers. Whilst flavour and texture are to the fore, there is no stinting with the presentation.

Related posts:

1. AA Restaurant Guide 2012 Press Release
2. AA Restaurant Guide 2011 Rosette Awards
3. Relais & Chateaux 2012 Press Release (UK)

This time round – for the start of 2012 – we take the 2012 editions of Michelin, The Good Food Guide and The AA Restaurant Guide and score each restaurant as follows: 6 points per Michelin star, 3 points per Good Food Guide mark out of ten and 2 points per AA Rosettes.  To continue the theme of subjective list comparisons, the top 20 extract from the second annual Harden’s sponsored Sunday Times Top 200 Restaurants of Britain is reviewed.  All three of the guides and the Harden’s list were published by the end of October 2011.

So, The Harden’s Sponsored Sunday Times Top 20 is as follows:-

12. Midsummer House, Cambridge

13. John Campbell at Coworth Park, Ascot, Berkshire

14. Yorke Arms, Yorkshire

15. The Square, London

16. L’Enclume, Cumbria

17. The Hamborough, Isle of Wight

18. Nathan Outlaw, Rock, Cornwall

19. Marcus Wareing at the Berkeley, London

20. The Kitchin, Leith, Edinbirgh

The Harden’s Guide is published annually and the public (those that are registered to their website) respond to a spring survey where they mark restaurants out of five for each of food, service and ambiance.  It does not stop there, as these restaurants are marked in comparison to those in a similar price bracket thereby ensuring a ‘fairer’ value judgement guide.  It is, you will also note, one driven by the public and those diners that have registered with Harden’s.

The three guides’ list is provided below and then both may be examined in general terms:-

1. Fat Duck, Bray, Berkshire.  3 Michelin Stars, 10/10 Good Food Guide, 5 AA Rosettes. Points 58

2. Gordon Ramsay, London.  3 Michelin Stars 9/10 Good Food Guide, 4 AA Rosettes. Points 53

3. Sat Baines, Nottingham, Notts. 2 Michelin Stars 9/10 Good Food Guide, 5 AA Rosettes. Points 49

4. Alain Ducasse at The Dorchester, London. 3 Michelin Stars, 8/10 Good Food Guide, 3 AA Rosettes. Points 48

5. Waterside Inn, Bray, Berkshire. 3 Michelin Stars 7/10 Good Food Guide, 4 AA Rosettes. Points 47

6. Le Manoir aux Quat’ Saisons, Oxford, Oxon. 2 Michelin Stars, 8/10 Good Food Guide 5 AA Rosettes. Points 46

6. Marcus Wareing at the Berkeley, London. 2 Michelin Stars, 8/10 Good Food Guide, 5 AA Rosettes. Points 46

8. Le Champignon Sauvage, Cheltenham, Glos. 2 Michelin Stars, 8/10 Good Food Guide, 4 AA Rosettes. Points 44

8. The Square, London. 2 Michelin Stars, 8/10 Good Food Guide, 4 AA Rosettes. Points 44

8. Hibiscus, London. 2 Michelin Stars, 8/10 Good Food Guide, 4 AA Rosettes. Points 44

8. Whatley Manor, Malmesbury, Wiltshire. 2 Michelin Stars, 8/10 Good Food Guide, 4 AA Rosettes. Points 44

12. L’Enclume, Cartmel, Cumbria. 1 Michelin Star, 9/10 Good Food Guide, 5 AA Rosettes. Points 43

13. Le Gavroche, London. 2 Michelin Stars, 8/10 Good Food Guide, 3 AA Rosettes. Points 42

13. Restaurant Nathan Outlaw, Rock, Cornwall. 2 Michelin Stars, 8/10 Good Food Guide, 3 AA Rosettes. Points 42

15. Midsummer House, Cambridge, Cambs. 2 Michelin Stars, 7/10 Good Food Guide, 4 AA Rosettes. Points 41

15. Andrew Fairlie at Gleneagles, Auchterarder. 2 Michelin Stars, 7/10 Good Food Guide, 4 AA Rosettes. Points 41

15. Gidleigh Park, Chagford, Devon. 2 Michelin Stars, 7/10 Good Food Guide, 4 AA Rosettes. Points 41

18. The Ledbury, London. 2 Michelin Stars, 7/10 Good Food Guide, 3 AA Rosettes.  Points 39

19. Helene Darroze at the Connaught, London. 2 Michelin Stars, 6/10 Good Food Guide, 4 AA Rosettes. Points 38

19. Danesfield House, Marlow, Bucks. 1 Michelin Star, 8/10 Good Food Guide, 4 AA Rosettes. Points 38

19. Restaurant Martin Wishart, Edinburgh, Sc. 1 Michelin Star, 8/10 Good Food Guide, 4 AA Rosettes. Points 38

The Michelin Guide awards stars to less than 200 restaurants in Britain and Ireland – a fraction in the region of one quarter of 1% of the restaurants in Britain.  The vast majority of these have but one star, just seventeen two stars and only four three stars.  The three Guides’ focus is purely on the food on a plate – that is the preparation, conception and execution of dishes produced with the best, freshest possible ingredients.  Other factors such as service and ambiance are good to have but are only reflected in the restaurant descriptions (where there are any) and not in the calculation of the marks.  Michelin have a separate symbol – knives and forks – that covers warmth of welcome and service.

Another factor that Michelin, The Good Food Guide and The AA Restaurant Guide have in common is their results are driven by a team of (largely) anonymous inspectors, whose role is to rank a restaurant’s quality – to provide a professional benchmark. The Michelin Guide in particular has long been revered by the chef/restaurateur side of the equation, as it has represented the accolade with most gravitas, while at the same time having a track record of filling covers in the restaurant.

So how do the lists compare?  In a way it is like agreeing upon a large complicated contract and then discussing only the fine print.  Why?  All of those restaurants in the Harden’s/Sunday Times list would feature in the top 1% of restaurants as described by the three guides’ formula.  Nineteen of the twenty have at least one Michelin star (the Knightsbridge based, largely seafood restaurant, One-O-One is the only exception – even so, One-O-One’s marks in the other guides are high (Good Food Guide 6/10, AA 3 Rosettes)). There may be some truth in the statement that people are, to an extent, led by the guides and report back positively to Harden’s on those restaurants that have been recommended in the first place?  All the restaurants across both lists are also in the top end of the highest price bracket so Harden’s argument about value statements, where restaurants are compared in price-bracket and therefore the results provide the ‘most bang for your buck‘ is somewhat muted.

Perhaps if there is a theme to be found over time, it is that in 2012 we are entering a new cycle, where innovation in cuisine has its place rather than being in a position of dominance.  There is also possibly a return to new-classical French-led cooking in these lists that was less apparent a few years ago – a trend an odds with the ever expanding choice of high quality international cuisines available in Britain.

A final few thoughts before closing:  In the information age, the watchwords of the internet are interactiveness and responsiveness.  The Hardens/Sunday Times list scores on the interactiveness but like Michelin, The Good Food Guide and The AA Restaurant Guide they are date in time, snapshot ratings.  It might be argued that they are out of date the day they are published.  The web is awash with real time reviews of each and every restaurant – many by discerning diners, with a little effort you could find good quality, amateur critics whose taste matches your own.  Should the guides maintain the status quo then surely they are always playing catch-up.  Couple this with the downward pressure on print media compared to the ever-spiralling demand for digital media then maybe tough times are ahead for all of these publications.

No doubt, however, there is a significant place for the quality restaurant guides and they may adapt to bring to market new products that will capture the essence of fine dining in a medium that reflects the demands of our age.

Related posts:

1. The Top Ten Restaurants in Britain.
2. The Top Ten Restaurants in London. (2008)
3. Michelin Guide Kyoto Osaka Kobe Nara 2012 PR

Consumer Guidelines for AA Rosette Awards

The Rosette scheme has long been established and successfully recognizes cooking at different levels nationwide. The success or failure in achieving Rosettes is based on a single (sometimes multiple) visit/s to a hotel or restaurant. Essentially it’s a snapshot, whereby the entire meal including ancillary items (when served) are assessed.

Of all the restaurants across the UK, approximately 10% are of a standard which is worthy of 1 Rosette and above. This is indeed a huge achievement and something not to be underestimated.

We are often asked:

“What is the difference between 1 and 5 Rosettes and how can I get to the next level?”

Our (The AA) answer is:

“It’s how well a chef manages to apply advanced technique whilst retaining maximum flavour, assuming an appropriate quality of source ingredients”

Whilst we endeavour to work with the industry and promote great cooking across the UK, it’s of paramount importance to always serve your market first. We would also recommend you don’t chase awards, see them as something to celebrate when they come along.

Where however, the winning of Rosettes is an aspiration, the simple guidelines below are provided for your information. AA food tastings, enhanced food tasting or signing up to one of the AA Rosette Academies can also give further insight and guidance, but are separate from the awards process and do not influence any assessments.

AA Rosettes are awarded solely by AA Hotel and Restaurant Inspectors. External influences from hotels, restaurants or other guides are not taken into account when awarding Rosettes.

The best restaurants serving food prepared with care, understanding and skill, using good quality ingredients. These restaurants will be achieving standards that standout in their local area. The same expectations apply to hotel restaurants where guests should be able to eat in with confidence and a sense of anticipation. Around 50% of restaurants/hotels within our AA Restaurant Guide will have One Rosette.

Excellent restaurants, which aim for and achieve higher standards, better consistency and where a greater precision is apparent in the cooking. There will be obvious attention to the selection of quality ingredients. Around 40% of restaurants/hotels within our AA Restaurant Guide will have Two Rosettes.

Outstanding restaurants that achieve standards that demand national recognition well beyond their local area. The cooking will be underpinned by the selection and sympathetic treatment of the highest quality ingredients. Timing, seasoning and the judgment of flavour combinations will be consistently excellent. These virtues will tend to be supported by other elements such as intuitive service and a well-chosen wine list. Around 10% of the hotels/restaurants within the AA Restaurant Guide will have Three Rosettes and above.

Amongst the Top restaurants in the UK where the cooking demands national recognition. These restaurants will exhibit intense ambition, a passion for excellence, superb technical skills and remarkable consistency. They will combine appreciation of culinary traditions with a passionate desire for further exploration and improvement. There are very few restaurants with Four AA Rosettes.

The pinnacle! Where the cooking compares with the best in the world. These restaurants will have highly individual voices, exhibit breathtaking culinary skills and set the standards to which others aspire to, yet few achieve.

Announcements of awards

1 and 2 Rosettes are awarded at the time of inspection.

3 and 4 Rosettes awards are announced twice during the year, but never at the time of inspection.

5 Rosettes are awarded just the once during a year and never at the time of inspection.

Suspension of Multi-Rosettes (3, 4, 5 Rosettes)

When a chef holds 3, 4 or 5 Rosettes and moves from one establishment to another, the award is suspended at the hotel/restaurant he/she has just left. The award does not follow the chef automatically either.

We therefore recommend that when a change of chef occurs, establishments let us know as soon as possible in order for us to schedule forthcoming inspections.

Multiple restaurants within one establishment

In the case of an AA rated Hotel or Guest Accommodation with a Rosette award having more than one restaurant and wishing to have the food at the 2nd restaurant tested for a Rosette award this restaurant must have:

• A different head chef from the other restaurant

• Separate kitchen

• Different food style

All other Rosette criteria apply.

Menus, chefs CV and wine list should be submitted for consideration to AA Hotel Services, Fanum House, Basing View, Basingstoke, Hants RG21 4EA. It is entirely at the AA’s discretion whether a visit is completed and a Rosette award given.

Click on the link to download the AA official resources document. AA-rosette-consumer-202012.

Related posts:

1. AA Restaurant Guide 2011 Rosette Awards
2. AA Restaurant Guide 2012 Press Release
3. Interview: Andrew Turvil, Editor AA Guide (Nov 2009)

Tom Kitchin opened his eponymous restaurant here in June 2006. The Michelin star awarded after just six months and held ever since testifies to the prodigious talent of this young chef patron. Now, five and a half years later, his cooking continues to go from strength to strength, fully justifying the critical acclaim it has received.

Not that the setting and décor of The Kitchen gives much indication of the gastronomic delights that await the diner. Seen from the main road, the exterior of the restaurant – part of a converted two storey whiskey warehouse – is so understated it can easily be missed. In fact this is the back view. On the opposite side, the glass fronted main entrance, accessed from a quayside piazza, is more impressive, with a conservatory style bar on the right and attractive displays of wine in the corridor leading to the dining room. Here, as if to focus attention on the food, the curtains are drawn, even at lunchtime, and the décor and furnishings are essentially simple and functional. Large, well spaced tables lack the fine napery associated with a fine dining restaurant. The dark green walls and grey carpeting are relieved by well directed spotlighting, whilst a large internal window, the source of most natural light, also gives views of the kitchen.

What does impress, however, is the excited buzz and warm feel that comes from diners genuinely enjoying their food, which contrasts with the hushed reverential tones and stiff formality so often encountered in fine dining restaurants. It is a tribute to all concerned that the considerable skills in the kitchen are balanced with the relaxed, unintimidating atmosphere of the dining room.

Using classical training gained in the top ranked restaurants, including those of Guy Savoy, Alan Ducasse and his acknowledged mentor Pierre Koffman, Tom Kitchin’s modern British cuisine emphasises pure, often bold flavours and simple, elegant presentation. Innovative dishes such as bone marrow and snails or beef carpaccio with foie gras beignet appear alongside classics like hare royale and game terrine. Saucing enhances rather than overwhelms the main component, plates are not overcomplicated with excessive garnishes, and due care is given to balance tastes and textures. Great skill is demonstrated in the timing of cooking and in the combination of ingredients. His “Nature to Plate” philosophy of food also celebrates the bounty of top quality, seasonal and largely Scottish produce, its provenance being given due credit on the menu. Seafood and game are, naturally, major strengths. The winter menu, offering an embarrassment of riches, features razor clams from Arisaig, Orkney scallops, West Coast squat lobster, Shetland cod and Scrabster turbot. Alongside these are red legged partridge and roe deer from the Borders, Hare from Humbie and Woodcock from Perthshire

The menu structure accommodates a range of pockets and appetites. As a cheaper, but no less accomplished alternative to the carte, the set lunch menu, with three choices in each of three courses, provides outstanding value at £26.50, or £31.50 with cheese as an extra course. A surprise tasting menu  comprising seven items, coffee and petit fours is priced at £70. Wine pairings are also offered with these two menus.

A lunchtime visit to The Kitchin in early December revealed its qualities to the full.

A selection of winter crudités, including radishes, carrot and celery, provided clean, crunchy nibbles whilst perusing the menu. How pleasing, also, to see crudités, which have almost disappeared from fine dining restaurants, being offered at all.

The breads, which included sour dough, granary, black olive, and tomato, had crisp crusts and firm crumb, the black olive being particularly flavoursome.

As an amuse bouche, a small bowl of impeccably clear chicken consommé was enlivened by apple, cabbage and grapes. This was an unusual, bold combination which worked.

The first course from the set lunch menu featured a raviolo of silk like pasta generously filled with beautifully sweet West Coast shellfish. It was surrounded by deeply flavoured, lightly foamed langoustine bisque, given added warmth by a light curried spicing. Vegetable julienne provided a contrasting texture to this accomplished dish. The fruity acidity of the accompanying white wine was a good foil for the richness of the food. (Wine: Pacharenc du Vic Bilh sec Domaine Berthomieu 2009 Gers France)

Next came a signature dish from the carte. Steamed razor clams (sproots), were precisely timed to preserve their sweet, succulent taste and delicate texture. Combined with diced al dente vegetables and chorizo sausage in a cream sauce, the richness was cut by the addition of lemon confit. This dish, beautifully presented in its shell and topped with grilled squid, was a tour de force of harmonious tastes and textures. The zesty citrus tang and minerality of the Riesling was, again, a fitting wine match. (Wine: Riesling Little Beauty 2010 Malborough New Zealand.)

The main course, taken from the “Celebration of the Season” menu for a supplement, was roasted woodcock. Again, skilled cooking allowed all the gaminess of this prized bird to be enjoyed at it medium rare best. The presentation was classical, with the head and long beak split lengthways so the delicate brains could be scooped out. The crouton, spread with a puree of the cooked innards and foie gras, gave an intense, strong flavour, complemented by a powerful salmis sauce which brought the dish together. Roasted pumpkin puree, salsify, potato gnocchi, and sprouts were simple vegetable accompaniments balancing this robust, bold flavour of the woodcock. Equally intense was the Spanish wine, the black fruit qualities of which complemented the game well. (Wine: Ribera Del Duero Crianza Valduero Spain 2007)

For dessert on the set menu, a chocolate chip soufflé, was well risen and had a light and fluffy texture. Equally accomplished was a velvety smooth chocolate ice cream. The dessert wine, aged for thirteen years in Armagnac casks, had concentrated flavour but was nevertheless fresh on the palate. (Wine:Antic Muscat Consolation Riversaltes 1996)

Good expresso coffee and well made petit fours – nougat, chocolate truffle, mini tartlet and macaroon – completed a flawless, memorable meal.

Service was excellent: professional without being stuffy; attentive without being obtrusive; and knowledgeable without being patronising. As seen above, the sommelier masterly paired wines with the food. Overseeing the front of house in a fully booked lunch service of some 60 covers was maitre d’ Sylvain, whose welcoming charm puts diners at their ease.

It is hardly surprising that The Kitchin has a strong local following as well as attracting many from further afield. In a period of economic austerity, it continues to thrive both as a neighbourhood and destination restaurant, a testament to the passion of its founder and the hard work of his team. In a city that now boasts five Michelin starred restaurants, The Kitchin will clearly hold its own in the competitive world of fine dining.

Related posts:

1. Lyttelton Restaurant Review (October 2011)
2. Corrigan’s, Restaurant Review, February 2011
3. Launceston Place, Restaurant Review, January 2011

The sommelier may be the diner’s best friend or worst enemy.  The average mark-up in fine dining restaurants lies between 300% and 400% of retail (See December News).  The continuously expanding choice available to the consumer outside of restaurant dining is spellbinding:  British supermarkets are unique in offering residents an unparalleled choice of wines.  Waitrose, for example, are believed to hire at least two masters of wine in their wine-buying department.  Most other European countries shops’ are more closed, understandably so where they are major wine producers, in that they stock wines exclusively of their domestic origin.

The fate of the Euro is something of a sideshow, as quality world–wide wines are now available in Britain’s local shops, many of which a map might need to be consulted to confirm the whereabouts of provenance.  Yet, in many cases, the consumer may be honestly unaware as to whether the purchase is a treat or a mistake.  There’s some limited help on the internet, in magazines or in books, but really the truth of the matter is close to the statement that “if you like it, its a good wine.”

Still, some help, guidance and education in making choices is always welcome:  To understand better the boons and bargains from the misfortunes.  It has been noted (in usually American sitcoms like Friends and Frasier) the benefits of personal shoppers or wine clubs in expanding knowledge and quality of experience.  The combination of the two would be an unaffordable luxury for most in simply navigating the burgeoning supermarket wine shelves.  But what an asset that would be – to have a voice over the shoulder – who knew tastes, and explained the pros- and cons- of a particular choice!  This would be true no matter what the budget, from £4 to £40 to £400 a bottle – there are always hidden gems that go beyond possible understanding or equally poor value choices that could not be appreciated.

The review will come back to this, but for now, discuss the role of the Sommelier in fine dining restaurants.  In recent times it has been noted that upon presentation of the food, the associated descriptions from waiters have been muted.  Instead the volume has been turned up on the sommelier’s role and their introductions of the accompanying wine:  Where once the food would be given almost a minute of detailed introduction this is now obviated or replaced with a brief description:  The wine on the other hand has gone from a cork opening to around ninety seconds of detailed analytical review; including grape variety, producer, origin and description. Perhaps a more balanced approach to the end products consumed would be a happy compromise for all customers.

It is, however, still the case that at least 50% of gross profit for a restaurant comes from wine.  Something that may be enjoyed occasionally at home, diners may feel somewhat obligated to enjoy in restaurants, in spite of the glaring average of 350% mark up above retail.  Even with the internet offering fingertip advice on retail price (including the more obscure wines), or Andy Hayler’s Wine Searcher iPhone App (the latter remains somewhat cumbersome and possibly socially inappropriate to be tapping away for fifteen minutes while in the restaurant), consumers are still relatively helpless while sitting at the table reviewing the wine list.  Or are they?

This is where a quality Sommelier is worth his or her salt.  To glean your tastes and advise and guide expertly to wines that will suit your food, your taste and your pocket.  To an extent though, how possible can this be in the actual restaurant environment?

Ideally, an open and honest conversation that went along the lines of “I don’t want to spend more than £x on the wine and I like Burgundy reds, let me have something that will work well and offer value for money.”  Indeed, having this conversation would be recommended; whether you’d actually end up with something that offered value for money outside of the restaurant is another matter.  This is of course grossly understating the value of the sommelier to the dining experience:  A significant part of their job is to understand the nuances of the food ordered and be able to match a wine that will optimize the enjoyment as one overall product.  This is where the trend of wine by the glass to match each course is a venerable one and likely to play a larger role in fine dining restaurants in the future.

However, what opportunities may be afforded to the wine drinker at home?  Importantly, this is separated from the fine wine investor or collector who would seek advice, for example, from a consultant working with, say,  Berry Bros & Rudd.  How might fine dining restaurants carve a new niche from potential demand to match their supply-side capabilities?  Some forward thinking establishments have realized that there’s a hole in the market.  To link the knowledge, experience and purchasing power of their restaurant with the personal shopper and wine club ideas previously discussed.  Why not have sommeliers use their skill and expertise to buy wines at a decent price that they can match to your tastes and budget?

In unseen work, the sommelier will sift through endless suppliers (in this country), going to tastings, being visited by reps, attending courses, expanding their knowledge to the potential benefit of the end consumer.  Surely, the typical restaurant sommelier has accrued knowledge of wines far beyond our expected level of attainment.  Why not pay a small premium – say 25% – above the price they pay for a wine, that they can vouch for, and even better (if they know us well enough) match to our tastes?

This is where certain establishments may score heavily:  Restaurant wine made available via an assisted personal shopper (sommelier), for a regular customer (club), at high street prices (or slightly above):  Your typical fine dining restaurant becoming a kind of value-added boutique wine merchant.

Thierry Tomasin’s Angelus, Alexis Gauthier’s soho restaurant and the soon to open Alan Murchison’s 10-in-8 Group Les Caveaux have all seized the nettle (or grasped the grape).  They appreciate that there exists a marriage between restaurant customers, the like of fine wines, and their supply side strengths.  We’ve yet to see how this market will develop but there is logic behind it as well as economic sense, so perhaps these early adopters will reap the harvest of their efforts. Any move forward for restaurants in this country would be sure to be welcomed…

Related posts:

1. The Emporer of Wine (August 2008)
2. Champagne, Bordeaux and Burgundy Wine Vintage Charts
3. The Past, Present and Future of Gastronomy?

In recent years the north-east quadrant of Mayfair has seen the proliferation of fine dining restaurants, with Sketch, Hibiscus and Wild Honey joining The Square and Umu in gaining Michelin starred recognition. Given competition as strong as this, it is a brave chef indeed who dares to enter the fray. Yet this is what Alyn Williams has done with his eponymous restaurant at the Westbury Hotel; and, given a recent visit by Fine Dining Guide in its second week of opening, the signs are most promising.

What used to be the Artisan restaurant has, thankfully, been transformed out of all recognition into a stylish, contemporary dining room. Alex Kravet’s design features handsome rosewood panelling, attractive bespoke lighting and richly tufted grey carpet – complete with glitter which adds an opulent feel. Well spaced tables and light cream velvet backed chairs and banquettes accommodate up to 45 diners, plus the spectacular glass walled Wine Room – complete with 600 bottles – adding eight more places, with another 18 in the adjacent private dining room.

This is a fine setting for the cuisine of Alyn Williams, whose impeccable CV includes – most recently –  four years as Head chef at Marcus Wareing at the Berkeley, as well as experience at Gordon Ramsay’s restaurants in Royal Hospital Road, Claridges and the original Petrus in St James’ Street. However, whilst his skills were honed in some of the finest Michelin starred kitchens in London, he has not embraced the style of his mentors, developing instead his own brand of innovative, modern European cooking. His dishes, using top quality, well sourced seasonal and mainly British ingredients are strong on technique, clear on flavour, harmonious in combination and artistic in presentation. Nor is his cooking without humour, wit and surprise. Menu descriptions list the main components of each dish but totally understate the complexity of cooking methods and the beauty of presentation.

High quality canapés were impressive in themselves and augured well for the meal to come: dainty gougeres had crisp choux pastry, strongly flavoured with Fourme d’Ambert; risotto balls were gently perfumed with truffle; delicate prawn crackers were filled with prawn and tom yum mayonnaise; and beignets of rich sea bass belly – so often discarded by lesser chefs – were accompanied a smooth taramasalata of its roe.

Next came two delightful amuse–bouches served in cocktail glasses. A layered dish of white crab meat, beef cheek and onion consommé had beautifully clear flavours, whilst creamy cauliflower panna cotta was dressed with acorn shavings and given contrasting texture with shredded fried leaves and filo wafers filled with cream cheese.

A first course of “sand carrot / liquorice / foie gras” surprised the diner in both taste and texture. The semi freddo mousse, moulded into torchon shapes, was more subtle in taste, less rich and fatty than classic foie gras dishes. Pickled sand carrot gave a sweet and sour dimension whilst the liquorice based dressing added a background herbal note which complimented the other elements well.

Seared Orkney scallop was perfectly timed to retain its succulence and sweetness. It was balanced by a Mersea oyster, less salty that other varieties, and topped with Aquitaine caviar. Sea purslane and a refreshing cucumber jus, poured at the table, finished this composition of different tastes, temperatures and textures.

Sauteed veal sweetbreads, marinated in sherry had a creamy moistness which obviated the need for a sauce. Artichoke puree and braised celery and button mushrooms added earthy notes and textural complexity to balance the luxuriously rich offal

Hake in seaweed butter made good use of this underrated and underused fish. Its robust flavour and firm texture stood up well to the imaginatively chosen whelk, sea vegetable and autumn truffle accompaniments.

Sous vide smoked duck egg provided the flavoursome dipping sauce for toasted “soldiers” sandwiched with fragrant autumn trnffle. Celeriac remoulade and Jangold apple discs added a different crunch and gentle acidity which this rich dish needed.

Cotswold white chicken – perhaps the English equivalent of Poulet de Bresse? – came in three forms: a lightly battered nugget of its breast; a rich confit of its leg and a beautifully clear, intense consommé. Onion ravioli and celery root provided more robust elements to this highly satisfying dish.

Even more accomplished was the next composite dish. Herdwick lamb fillet, pink and tender, was given added richness by a bacon of its belly. A delicate parmesan custard, spinach and fennel provided more savoury notes to balance the sweetness of the lamb, whilst the whole dish was brought together by a deeply flavoured jus.

Desserts showed same creativity and attention to detail as the other courses, together with a certain nostalgic playfulness.

A pre dessert of crème Catalan and pear granite excited the palate with its clean flavours and differing textures.

“Walnut whip” featured a feather light mousse, rich velvety ice cream, and a candied nut topped with gold leaf.

A terrine of layered caramelised apples came with an “afternoon tea” of mini scone and clotted cream, and a brilliantly conceived sorbet of blackberry and apple “mivvi”

Other aspects of the meal were also first rate.

Well made breads comprised firmly textured stout and star anise, light potato sour dough; and crisp Persian lavash.. These came with unusual but delicious whipped caraway seed butter. Good coffee came with indulgent chocolate and coffee truffles.

Head Sommelier Alex Gilbert paired food and wine with consummate ease whilst Giancarlo Princigalli managed the knowledgeable, unobtrusive service with professional skill and charm.

Prices at the time of writing provide a clear incentive to dine at the Westbury. Three lunchtime courses are competitively priced at £26. The carte, with five options in each course comes at £45, modest by West End standards and at this level of cooking. However, an even better deal comes with the seven course tasting menu, a real bargain at £55.

Clearly Alyn Williams at the Westbury has made an impressive start to what is likely to be a successful future. Here is a highly experienced, creative chef near the top of his game, but still with an energy and creativity to produce refined, innovative dishes. There is no reason, therefore, why he should not emulate his distinguished neighbours in achieving the Michelin starred status he deserves.

Related posts:

1. Chef Interview: John Williams, MBE (Ritz, March 2011)
2. The Ritz Restaurant Revisited Review, July 2011
3. The Ritz Restaurant Review, March 2011.

 

View fine dining guide restaurant map in google maps for superior navigation

Related posts:

1. November 2010: Fine Dining Guide November Newsletter
2. December 2009: Fine Dining Guide December Newsletter
3. December 2011: Fine Dining Guide December News