Hot off the blogosphere, Palm (jelly-shot-test-kitchen.blogspot.com) has cooks up great fun in the kitchen with her debut. Part chemistry and part mad science, with a healthy dash of hipster cool, Palm's springy step-by-step guide brings this beloved party shot to lofty new heights. Posing the question asked by famed cocktail website The Art of the Drink, “Is a Jelly Shot a bite or a beverage?,” Palm encourages readers to find out for themselves. She rates each recipe from “Easy” to “Advanced” and offers readers the tools for getting creative with color, layering and shape as they gain confidence. Palm reinterprets classic cocktails such as the Tom Collins, as well as the newly invented Peanut Butter and Jelly Martini, providing jelly-shot options for both high- and low-brow tastes. She even includes a thoughtful section on pairings. Her recipes are well fleshed-out, making it obvious that each has been treated with love and care in their development. Illustrated with full-page photographs so polished and posh even Victoria Beckham would have trouble resisting.
A saucy addition to any mixologist’s library.
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)