Virgil Thomson's Roast Lamb: An Experiment in Gastro-Musicology

One thing I have not made clear enough in my reviews: I am a foodie. The only thing that rivals my love for a good, cheap concert is a good, cheap meal. Not shockingly, it's much easier to find the former around NYC -- I'm pretty sure if I waltzed into Katz's Deli and asked for the "student discount" I'd get a laugh and a proverbial kick in the shins (then again, it's hard to do anything at Katz's without getting made fun of, that's kind of their brand).

Now that I live in an apartment, I've finally been able to get back into cooking regularly. I've had some interesting experiments in my tiny one-person kitchenette. A moderately successful crispy pork belly. Beef rendang with a paste I bought at a hole-in-the-wall Indonesian market in Forest Hills -- the paste had so much chili that it kinda gassed out my apartment even with all the windows open. A five-ingredient butter-soy-garlic braised enoki mushroom dish that I now swear by.

My friend Amanda is my cooking buddy. We grocery shop together, we exchange recipes, sometimes we even eat together. A couple months ago, Amanda texted me a picture from a ratty spiral-bound cookbook and said, "Project?"

The recipe was from Amanda's old copy of the Chicago Symphony Orchestra Cookbook (out of print, but available on Amazon) from the time when her father played trumpet with the CSO. A compilation of exceedingly 1970s-esque recipes, the book includes favorites from musicians, conductors, spouses, and composers.

I'm not sure which I love more: the fact that he wishes us luck at the end,
or the fact that he signs with "Warmly everbest"

Our project: American composer Virgil Thomson's (1896-1989) recipe for roast leg of lamb. Thomson's musical oeuvre has largely been forgotten; he's remembered most fondly as a father figure for composers of the next generation, most notably Leonard Bernstein and Ned Rorem. According to academics, the trio was "united as much by their shared homosexuality as by their similar compositional sensibilities." His most famous works include three operas (two with libretti by Gertrude Stein, one of which the NY Phil is doing later this year) and a handful of Ken Burns-style PBS film scores.

His lamb recipe looked edible. Huge leg of lamb. Cut all the fat off. Rub with crushed garlic and rosemary (no salt, he's very clear about that). 550°F oven. 8.5 minutes per pound. Easy enough, I suppose.

So Amanda and I checked our GCals and penciled in a date around finals -- what better way to celebrate the holidays (and procrastinate on my final papers) than with a huge hunk of Roast Beast™? (please don't sue me Dr. Seuss Trust please please please)

I showed up to Amanda's house around 6:45 on a Monday night. We poured ourselves glasses of wine (I had written most of a 12-page paper that day, I damn well deserved it) and set to work trimming the six-pound leg of lamb of all of its fat. Yes, all of it, or else, Virgil assured us, we'd set our oven on fire. Nice.

I suppose I should say now that we committed ourselves to following Thomson's recipe exactly, so help us god. This is important, because we made some steps that we knew would produce wonky results. But we did it for science!

We crushed some rosemary and garlic and rubbed it on. Just like we were supposed to. And then we stuck it in the oven. And, predictably, the garlic and rosemary torched almost immediately and set off the smoke alarm for the first time that night. We dismantled the smoke detector after that, but that was definitely not the last time the smoke alarm should have gone off.

smoke alarm: BEEP

me: *goes to fan smoke alarm*

Amanda: "Do you want me to take a video of this for your blog?"

Me: "I mean....I guess so?"

Virgil Thomson's Four Saints in Three Acts: *playing in the background, if you listen closely*

The original plan was to make an entire Chicago Symphony dinner, but we looked through the book and decided that everything looked too....well, too 1970s. Lay off the gelatin, guys.

After smoking out the apartment three times (though admittedly those last two were thanks to our complete and utter incompetence at making Yorkshire pudding), we pulled the lamb out of the oven. It looked nice enough. We carved it according to Virgil's instructions (ALWAYS perpendicular to the bone -- he was very particular) and sat down to eat. We ended up with:

• Virgil's lamb, which was juicy but had a prominent essence of burnt garlic and that distinct 1970s gray color. Oh, and why didn't they ever salt anything in the 1970s? Literally, rub the outside with salt instead of garlic and rosemary and we wouldn't have had a problem with flavor or garlic charcoal.
• Sautéed Brussels sprouts with bacon. Mmmm, bacon.
• Arugula "salad" with olive oil and kosher salt, that's it (Virgil's instructions were actually watercress, but arugula is so much better).
• Amanda's mother's delicious almond torte recipe

Overall not too bad. But Amanda and I looked at each other after enduring three smoke-outs and more than our fair share of other hilarity and said, "We are obviously better cooks than Virgil Thomson. Let's just use our own recipe next time."

An evening of musicology at its most amusing, if you ask me.

[42] Vijay Iyer Sextet at The Village Vanguard | #1Summer50Concerts

The wire-rimmed glasses and sweater really make Vijay look like he 

teaches at Harvard....oh wait, what's that? He does teach at Harvard?

WHO: Vijay Iyer, piano; Graham Hayes, cornet/flugelhorn/electronics; Steve Lehman, alto saxophone; Mark Shim, tenor saxophone; Stephan Crump, bass; Jeremy Dutton, drums
WHERE: The Village Vanguard
WHEN: July 19, 2019 at 8:30pm

My 17-year-old brother made an impromptu trip to NYC for a weekend with two very, very clear conditions. The first was that we go on a pizza crawl through lower Manhattan. The second was that I had to take him to the Village Vanguard. But not necessarily in that order.

So I plucked him off his MegaBus (which was an hour late, but frankly who's surprised?) and we moseyed (ran?) on down to The Vanguard. He didn't care what was playing. I, of course, did.

My brother's listening habits are eclectic. He's a bassist, both jazz and classical; on any given day, he'll jump from Kanye to Brahms's German Requiem and back to Vince Staples or Brockhampton. Right now, he's sitting in the corner of my apartment singing both parts to "Maria" from West Side Story in (more or less) the correct octave.

He's got a few albums he goes back to time and time again. Dietrich Fischer-Dieskau singing Winterreise. The Beach Boys's Pet Sounds. Kendrick Lamar's To Pimp a Butterfly. But the one he goes back to most often is of drug-addled pianist-composer-genius Bill Evans sitting at The Vanguard's Yamaha alongside his trio.

"Alice in Wonderland" is his favorite

We went down the stairs. He smelled the Vanguard smell. We sat down below one of those framed records. And he turned to me and said with a shit-eating grin, "You know who sat there? Bill Evans. Bill Evans sat there.

"Now, who are we seeing tonight?"

"Vijay Iyer."

"Who?"

So I explain. Vijay Iyer. Music cognition PhD candidate turned jazz (and occasionally classical) composer. With his sextet, whose alto saxist is also a PhD-level composer, and whose drummer got picked up straight out of college (he's like 24 now -- feel inadequate yet?).

"But is he as good as Bill Evans?"

What the hell am I supposed to say to that? Like, less heroin? Except even when you strip the drugs out of Bill Evans's charts, they're still totally different from Vijay Iyer's? Because they're both geniuses?

I decided on the most concise way to say just that: "Shut up and listen."

And so he did.

The quartet did the same thing that the Uri Caine Trio did back in concert #2 -- they basically played for an hour straight, blurring the transitions between charts so you didn't realize you were in a different realm until you were already there. I often found myself bopping my head to the beat, except that Vijay Iyer's style is marked by sudden slight changes in beat pattern, so I'd end up on the offbeats or something ridiculous like that.

I don't know what any of the charts are called (the Sextet was *too cool* to announce) but I can tell you that they were all amazing. The upbeat songs let the rhythm section show off their technical prowess -- Stephan Crump's bass playing and mouth movements were each something to behold, and Jeremy Dutton imparted the most expression one can into an unpitched instrument. The downbeat songs let the horn players show off their ability to fill the the spaces above the sparse, but aurally complex chord structure. And regardless, Vijay Iyer was there with his exquisitely-voiced comping and wildly virtuosic solos.

And speaking of space and solos, the most fascinating thing was how the soloists used empty space. Steve Lehman's alto solos tried to fit the most notes into the smallest space: exhausting, but impressive. Graham Haynes used an echo/looping effect on his cornet solos, basically playing a few notes and waiting for the loop to fade before playing a few more: intellectual, but minimal. Mark Shim trod the line, his solos gaining momentum like a loose car down a steep hill before hitting a brick wall of silence.

Of course, it wouldn't be a Vijay Iyer concert without the obligatory politically-charged rant that he improvises over the final chords of his set. The theme is always the same: the struggle is Far From Over (coincidentally, the name of the Sextet's most recent album). According to my friend, Iyer actually mentioned Trump by name in his Tuesday set, essentially echoing the message that YG & Nipsey Hussle so eloquently purvey in the popular song linked below. This particular evening, there was an elderly couple in the front row that particularly jived with what Vijay had to say. #woke

My brother and I both left the Vanguard happy into one of the hottest nights of the summer; we made the wise, wise decision to traipse around the Village and the Lower East Side in pursuit of pizza. Two slices and a whole pie later, we patted our sweaty bellies. It had been a good night.

John's of Bleecker Street, the favorite pie of the night