Bass Tender
Prime Selection Cooking Ideas: Top beef with peppers and onion sauce!
This recipe is guaranteed for anyone who tries to please, and for the best taste try it with Kobe beef fillet steaks, from the most delicate, tender center of Kobe beef carved. This, of course, Kobe beef steaks are lean with bold beefy Flavor burst.
Biochemistry tests conducted by the Washington State University on wagyu fat (Wagyu Kobe Beef), show that the fat from this breed a healthier fatty acid profile has. In addition, this breed also has an unsaturated to saturated fat ratio of 2-to-1 instead of 1-to-1, which is characteristic of regular Beef.
Ingredients:
4 top fillet steaks
6 tablespoons olive oil
2 tablespoons balsamic vinegar or red wine vinegar
6 garlic cloves, finely chopped
1 large onion, sliced
1 large red bell pepper, sliced
1 large green bell pepper, sliced sliced
1 cup unsalted beef stock or low-salt chicken broth
Crumbled Gorgonzola or other blue cheese
Chopped fresh Italian Parsley
Instructions:
Place steaks in glass baking dish. Mix 4 tablespoons oil, vinegar and half the garlic in small bowl . give Pour over steaks and turn to coat. Marinate 30 minutes at room temperature or in refrigerator 3 hours.
Heat 2 tablespoons oil in heavy large skillet over medium heat. Onions, peppers and roasted garlic and remaining 8 minutes. Increase broth, heat, and cook until the vegetables are soft
and some liquid thick, about 5 minutes. Season with salt and pepper. (Can be prepared 3 hours ahead to. Cover and make cold.)
Prepare barbecue (high heat) or preheat broiler. Remove steaks from marinade. Season with salt and plenty of pepper. Grill steaks until cooked as desired, about 5 minutes per side
is rare. Transfer steaks to Plate and let stand for 5 minutes. Bring vegetables to cook. Slice steaks and arrange on plate. Top with vegetables and pan juices. Sprinkle with cheese and parsley.
Servings: 4
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About the Author
Bass Tender 10′ 2″
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Tender Awakening $12.78 Some jazz enthusiasts believe that if a singer grows up in a country where English isn’t the primary language, he/she is at an artistic disadvantage where jazz singing is concerned. But truth be told, Western Europe is full of jazz vocalists who have no problem singing in perfect English; Sweden’s Jeanette Lindström and Holland’s Soesja Citroen immediately come to mind. Besides, there is no law stating that jazz singing has to be in English 100-percent of the time; in fact, a bilingual approach works well for Barbara Balzan on Tender Awakening, which finds the Swiss vocalist performing jazz in both English and French (mostly English). Balzan’s English is excellent, and she is equally convincing when she sings in French. Although jazz is a major part of what Balzan does on Tender Awakening, it would be inaccurate to call her a totally straight-ahead jazz purist; this 2004 release is best described as a mixture of jazz and European cabaret. Of course, Balzan never jumped on a soapbox and screamed about how much of a jazz purist she was — that’s Wynton Marsalis’ specialty — and however one categorizes this album, Balzan brings a lot of depth to introspective offerings like “Attitude of Mind,” “Seven and Nine” and “You’re My Everything” (all of which she either wrote or co-wrote). Standards are not a priority on Tender Awakening; although Balzan opens the CD with the familiar “My One and Only Love,” most of the material was written by Balzan and/or pianist Marco Dreifuss. Anyone who expects Balzan to scat sing her way through a lot of Charlie Parker and Thelonious Monk standards will be disappointed; Tender Awakening is, however, a memorable collection of torch singing that both jazz and cabaret enthusiasts should be aware of. ~ Alex Henderson, Rovi Performers: Attilo Zanchi – Double Bass; Daniel Pezzotti – Cello; Barbara Balzan – Vocals |
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Tender Feelin’s $23.99 Tender Feelin’s is an appropriate title for Duke Pearson’s second album for Blue Note. The record is a lovely, relaxed collection of ballads, standards, and jazz staples, with a few originals thrown in for good measure. Since Pearson sticks to the trio format, supported by bassist Gene Taylor and drummer Lex Humphries, the mood of the album remains intimate and low-key. Pearson flourishes in this setting, whether he’s playing blues, romantic ballads, or surprisingly lyrical improvised solos. Pearson would later explore more adventurous territory, as well as funkier grooves, but Tender Feelin’s remains a wonderfully understated, romantic mainstream jazz record. ~ Stephen Thomas Erlewine, Rovi Performers: Duke Pearson – Piano; Gene Taylor – Bass; Lex Humphries – Drums |
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Tender Togetherness $9.58 The second of three albums tenor sax man Stanley Turrentine did for Elektra after leaving Fantasy Records, 1981′s Tender Togetherness featured an electric jazz-funk hybrid sound that packed a good deal more punch and brightness than its predecessor, 1979′s Betcha. Produced by Earth, Wind & Fire’s Larry Dunn (EW&F’s “After the Love Has Gone” is given a treatment here), and featuring a subtle, almost Latin feel, the album bounces and bubbles along on an almost continuous joyful light R&B groove. Turrentine’s sax lines are full of that steady, strong bluesy tone that has become his signature, but this time around he is very much a part of the ensemble, and Tender Togetherness is richer for it, sounding very much like a whole piece of fabric from the opening notes of the bright, airy “Hermanos” to the playful funk of the album closer, “Havin’ Fun With Mr. T.,” which is set up wonderfully by “Pure Love,” a 42-second snippet of Turrentine playing his tenor sax accompanied by only an acoustic piano. Turrentine’s heavily arranged and orchestrated crossover work has always seemed somehow weaker than his soul-jazz small combo approach, but Tender Togetherness is as bright as a sunny day on the weekend, making it one of his better fusion hybrids. ~ Steve Leggett, Rovi Performers: Bill Reichenbach Jr. – Trombone (Bass); David Duke – French Horn; Denzil Miller – Clavinet, Fender Rhodes, Piano, Piano (Electric); Eduardo del Barrio – Fender Rhodes, Piano (Electric), Piano; Jerry Hey – Flugelhorn, Trumpet; Larry Dunn – Moog Bass, Fender Rhodes, Vocals (Background), Percussion, Piano, Synthesizer; Mike Harris – Flugelhorn, Trumpet; Rahmlee Michael Davis – Fluge |
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Raw But Tender $13.58 Recorded by British singer/songwriter Jaki Whitren when she was just 19-years-old, Raw But Tender is a superb debut album that has achieved a cult status in the years since its release in 1973. Featuring Whitren’s soulful, bluesy and melodic vocal style, the album captures her earthy virtuosity and brings to mind a unique mix of Joni Mitchell, Janis Joplin, and Nick Drake. As well as having written most of the material here, Whitren was a multi-instrumentalist and can be heard playing guitar and banjo on what are often country-inflected folk-rock style songs. Fittingly, backing Whitren are a handful of members of Southern Comfort and Fotheringay, as well as legendary British session guitarist Albert Lee. ~ Matt Collar, Rovi Performers: Brian Brocklehurst – String Bass, Bass; Henry VIII, King of England – Jug; Lindsay Cooper – Bassoon; Albert Lee – Dobro; Gordon Huntley – Pedal Steel, Guitar (Steel); Harry Beckett – Horn, Flugelhorn; Marie Goosens – Harp; Mike Leslie – Vocals (Background), Guitar, Vocals; Pat Donaldson – Bass |
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Cry!/Tender $9.58 In 1959, Yusef Lateef began using the oboe in his recording sessions and on live dates. This album marks that occasion, and is thus a turning point in an amazingly long and varied career. Accompanied by Lonnie Hillyer on trumpet, Hugh Lawson on piano, bassist Herman Wright, and drummer Frank Gant, Lateef was digging deeply into a new lyricism that was Eastern-tinged (the full flavor of that obsession would be issued two years later on Eastern Sounds and had been touched upon two years earlier on Other Sounds, released on New Jazz, where Lateef had used an argol as well as his sax and flute), modally informed, and distinctly light in texture — with the exception of the deep, dark, arco work at the beginning of “Dopolous,” by Wright. Lateef was already moving away from what most people would call jazz by this time, yet, as evidenced here, his music remained challenging and very accessible. This is meditative music with a stunningly rich rhythmic palette for how muted and edgeless it is. And, like John Cage or Morton Feldman, the absence of those edges was written in; it’s not random. On tunes like the aforementioned, “Butter’s Blues,” or even “If You Could See Me Now,” Lateef could take the blues and move it into shadowy territory, pulling out of the intervals and changes certain harmonic concepts to turn the music back on itself. If restraint got practiced in the dynamic range, the drama in the music would be all the greater because of the wider harmonic palette — because it could be heard, not just felt. The result is a seamless, velvety, yet poignant take on the blues that echoed the tears referenced in the title of the album. And yet, the beauty, such a tender beauty, was so unspeakably fragile that the brass and reed instruments seemed to hover over the rhythm section and cut holes in the air like fine razors that can only be praised for the fineness of their slash. This was the beginning of Lateef’s change in direction and, as a result, it deserves to be noted for that. However, it needs to be doubly noted for its truly magnificent sound, texture, playing, composition, and choice of tunes. ~ Thom Jurek, Rovi Performers: Yusef Lateef – Argol, Oboe, Flute, Sax (Tenor); Wilbur Harden – Flugelhorn; Ernie Farrow – Bass; Frank Gant – Drums; Herman Wright – Bass; Hugh Lawson – Piano; Lonnie Hillyer – Trumpet; Oliver Jackson |
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Tender Trap $12.78 With so many female vocalists releasing new jazz CDs in a given year, it is extremely difficult to grab one’s attention; Amanda Carr’s third CD, though released by a small label, has the ingredients necessary to do so. Carr is gifted with a pleasant voice, terrific diction and the ability to pick a wide-ranging program that neither skews to overly familiar standards or a heavy dose of originals. Accompanied by a fine trio led by veteran guitarist John Wilkins (with bassist Bronek Suchanek and drummer Kenny Hadley), her intensity comes across immediately in the stunning opener, “Never Will I Marry.” Wilkins’ superb guitar and guest Dick Johnson’s perky alto sax underscore her lighthearted interpretation of Rodgers & Hart’s “Do It the Hard Way.” Carr delivers a swinging take of Duke Ellington’s infrequently performed “Tulip or Turnip,” with a smoking tenor sax solo added by Arnie Krakowsky. Suchanek’s burning arco bass (together with Wilkins) introduce her exotic rendition of Abbey Lincoln’s powerful “Throw It Away.” She also makes her mark as a composer, offering the lively bop vehicle “I Couldn’t Live Without You” (jointly written with Suchanek). Amanda Carr deserves greater attention in the jazz world. ~ Ken Dryden, Rovi Performers: Ernie Krakowsky – Gong; Amanda Carr – Vocals; Arnie Krakowsky – Sax (Tenor); Bronek Suchanek – Guitar (Bass); Bronislaw Suchanek – Bass; Dick Johnson – Clarinet, Sax (Alto); Jerry Vejmola – Sax (Tenor); John Wilkins – Guitar; Kenny Hadley – Drums; |