Scottish transplant shares the joy of Parisian patisseries with a glossy guide to the macaron.
Not to be confused with the mini-coconut haystack some may refer to as a “macaroon,” the gerbet, or Parisian macaron, is the star of Colonna's debut cookbook. Macarons are known for their smooth “rounds” (airy meringue tops and bottoms), their ruffled trim, known as the “foot,” and their light filling, “macaronnage.” The author provides detailed and precise steps for readers looking to tackle everything from traditional flavors, like Chocolate-Hazelnut, to more unusual and exhilarating combinations like Pistachio-White Chocolate-Wasabi or Prune-Armagnac-Orange. Those looking to step even further outside the box should head to the "Mad Macs," where they'll find instructions for Bloody Mary and Tikka Marsala macarons. Readers will need an electronic digital scale, because measurements for macaron making are ultra-meticulous, and Colonna's instructions are in metric. Suggested wine and tea pairings for each recipe are also a nice touch, as are the author's suggestions for how to use all those pesky egg yolks you’ve discarded when creating your egg-white–only macaron masterpieces.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)