Here in the Northeast, we're expecting cloudy skies today with temperatures in the high 60s with no rain until late tonight - a good opportunity to bale lots of hay before the remnants of Hurricane Ian hit our region this weekend.
Hay is a harvested plant that’s dried and cured after being cut in the field. In most cases, hay is cut during the late bud or early bloom stage to maximize its nutritional value. This week, my outdoor grounds crew cut, tedded, raked, and then baled the hay from one of my three giant fields - they'll continue today. They did a first cut in late June. This is the second cut - it's greener, more dense, and filled with lots of protein - my horses love it.
Enjoy these photos.
This time every year, we always hope for at least several days of good, dry weather, so we can get a nice cut of hay from the fields. Timing is everything when it comes to cutting the hay crop. The last few days have been perfect for this year’s second cut.
The best time to do any cutting is when grasses have reached what is called the “late boot stage”. This stage is typically reached after six to eight weeks of growth after a previous cutting. The “late boot stage” is when the seed head of the grasses first pops out of the sheath. Second cut hay has a finer texture and usually, a greener color and heavier leaves. It is more dense, the leaves are more tender. This field was cut at the beginning of the week and then left to dry for three days.
This is a hay tedder. A tedder spreads and fluffs the hay in a uniform swath after it is cut. It basically turns the hay, so it can dry completely.
The tedder uses a rotary motion to grab the hay with spinning tines and then casts it out the back of the machine. Here is a closer look at the tines, or moving forks, which aerate or “wuffle” the hay and speed up the drying process.
After the hay is tedded, it is then raked. Raking the hay is the fastest part of the process. There are different kinds of rakes – they include wheel rakes, rotary rakes and parallel bar or basket rakes. Domi is using a parallel bar rake. This type uses a gentle raking action with a lower chance of soil contamination than the wheel rake.
The parallel bar rake picks up the cut and drying hay and rakes it into windrows that can be baled. A windrow is a long line of raked hay laid out to dry in the wind. Here, one can see the hay being lifted by the rake.
In this photo, one can see the windrow as it is made. The hay rake is pulled at a slight angle to the tractor as it moves. Domi moves at about six to eight miles per hour. The speed actually makes a difference in creating the windrows – slower speed results in a wider windrow that is not well filled in the middle. High speed results in a narrower windrow that is over filled in the middle.
And here, one can see the windrow after Domi passes by. Domi goes over the entire hayfield to make as many wide, fluffy windrows as possible.
Next, Chhiring pulls the baler with our trusted Kubota M4-071 tractor – a vehicle that is used every day here at the farm.
A baler is a piece of farm machinery used to compress a cut and raked crop into compact bales that are easy to handle, transport, and store.
Here is the motor that helps to move and propel the bales into the wagon. A measuring device – the spiked wheel on the left – is turned by the emerging bales. It measures the amount of material that is being compressed and then knotters wrap twine around the bale and tie it off.
Once it is tied, it moves up this conveyor belt…
…and then gets thrown into this trailer where Pasang and Phurba work together to grab the bales and stack them. Our wagon is covered to protect the bales from any unexpected rain and to offer shade to the crew stacking the bales as they are thrown.
The bales are propelled into the wagon by a mechanical arm called a thrower or a kicker. The bales are manageable for one person to handle, about 45 to 60 pounds each.
All the hay is dry and passing through the machine smoothly. If the hay is properly dried, the baler will work continuously down each row. Hay that is too damp tends to clog up the baler. In less than an hour, the wagon is almost completely filled with bales of hay.
Chhiring drives the tractor and starts the process midday when there is the least amount of moisture. The tractor rides to one side of the windrow while the baler passes directly over it to collect the hay.
And every few seconds another bale emerges and shoots into the wagon. Each bale is about 15 by 18 by 40 inches large. The number of flakes in the bale is determined by a setting in the baler. Many balers are set for 10 to 12 flakes per bale.
Here is a closer look at the “square” of hay. My hay is a mixture of timothy, orchard grass, Kentucky bluegrass, ryegrass, and clovers – all great for my horses.
Once the wagon is full, it is brought to this run-in shed at one end of the field. This is where the hay bales will be stored until it is needed.
To get the bales up into the hayloft, a long motorized bale conveyor, or hay elevator, is set up. A hay elevator is an open skeletal frame, with a chain that has dull three-inch spikes every few feet to grab bales and drag them along. It is powered by a portable generator and it works as a pulley system on a track that moves the bales up to the loft.
The bales are loaded one by one onto the elevator and then at the top each bale is released from the elevator for manual stacking. This process continues one bale at a time from the wagon to the hayloft… until the entire wagon is empty.
In general, a standard 40-pound “square” bale of hay lasts one horse about three days, but this also depends on the individual horse, the type of hay, and the amount of access to pasture grass. It makes me so happy to know I can grow good, nutritious hay for my horses right here at my farm. They all love it.
If you love Japanese food as much as I do and want to treat yourself to a very special and most luxurious meal, go to Jōji the next time you're in New York City. Renowned chef, Daniel Boulud, and sushi master George Ruan, along with sushi chefs Xiao Lin, and Wayne Cheng, teamed up to open the 18-seat omakase restaurant in an alcove of the city's Grand Central Terminal.
Last week, I had the pleasure of dining at Jōji. The two-hour experience features seasonal ingredients, premium fish straight from Japan, with fine sake and wine pairings. Dinner includes five appetizers, 14-pieces of nigiri sushi, and dessert. And because the restaurant space is so intimate, each of the three chefs personally oversee sushi service, making it even more memorable.
Here are some photos, enjoy.
I always love trying new restaurants. Jōji opened two weeks ago in a hidden spot below one of New York City’s busiest stations, the iconic Grand Central Terminal – a hidden Japanese gem. (Photo by Eric Vitale Photography for Jōji)
The restaurant is located under a staircase at the very bottom of One Vanderbilt, a 93-story skyscraper. Just outside the entrance is a Japanese Roji garden, or tea garden. Tea gardens feature traditional stones, water, and plants, and are often designed as peaceful, natural spaces where one could escape the hectic everyday world before entering the tea house. (Photo by Eric Vitale Photography for Jōji)
Here is a closer look at the soothing garden and water feature. (Photo by Eric Vitale Photography for Jōji)
The building’s owners, SL Green, commissioned Japanese architects and designers, Shinichiro Ogata, to create the space. It has a 10-seat counter made out of warm cedar wood that sits in the middle of an all-black-and-white room, dimly lit from above. (Photo by Eric Vitale Photography for Jōji)
The back counter is pristinely organized with just the essentials for dining and sushi making supplies. (Photo by Eric Vitale Photography for Jōji)
There is also a private dining room that seats an additional eight guests. (Photo by Eric Vitale Photography for Jōji)
This is Chef Wayne Cheng just before he begins preparing one of two seatings for the evening.
Here, Chef Wayne starts building a Negitoro Roll. It consists of cooked rice with minced tuna and green onion. Chef Wayne places the rice on the nori, or seaweed paper.
Amounts are perfectly divided for each roll.
All the ingredients are placed onto the nori at one end before hand rolling. Negitoro has a smooth texture and a rich flavor.
Each roll is delicately assembled.
And each chef provides a personal and special experience. The dishes change daily, and sometimes tweaked even further for returning guests.
Here, Chef George Ruan prepares a searing of Akamutsu or sea perch. Akamutsu, also sometimes called nodoguro, usually comes from the east coast of Japan. It is a deep sea dweller with a high fat content.
This is a hokkaido sea scallop – known as the most coveted scallops in the sushi culinary world because of their size, meatiness, and amazing flavor.
All the sushi is made right at the counter where guests can watch and join in the experience.
Here is a board of nigiri ready to serve.
This is a big favorite – an uni caviar hand roll.
And this is a small tasting bowl of ikura or salmon caviar. In Japanese cuisine, it is usually marinated in salt or soy sauce and sake.
Here is a photo of Chef George Ruan who spent almost two decades working at Masa, the Michelin three-star fish restaurant. He is standing with my friend, Chef Daniel Boulud, also a Michelin-starred legend. The two have partnered together to offer guests this sophisticated and elegant omakase dining experience – try it if you can. (Photo by Eric Vitale Photography for Jōji)
For more information, please go to Jōji‘s website or click on this highlighted link. (Photo by Eric Vitale Photography for Jōji)
Today on "The Martha Stewart Podcast," I'm releasing my interesting and fun conversation with Chefs Riad Nasr and Lee Hanson on the opening of their restaurant Le Rock, a beautifully designed eatery at New York City's famed Rockefeller Center. Be sure to take some time to listen on the iHeart Media App, Apple Podcasts, or wherever you get your podcasts.
Riad and Lee have known each other for almost 30-years. They worked at Daniel, Balthazar, Pastis, and Minetta Tavern before opening Frenchette in 2018. With this newest endeavor, Le Rock, Riad and Lee are reinterpreting classic French dishes and breaking away from more traditional menu styles - offering "Cette Semaine" items that change weekly as well as "Tout Le Temps" or what is served "all the time." The night before we recorded my podcast, I had the opportunity to dine at Le Rock - the large and airy Art Deco space was pleasantly lit and every offering we tried was delicious.
Here are some photos, enjoy.
Le Rock is located inside Rockefeller Center’s International Building. On the exterior of the building is this grand carved-limestone relief entitled “The Story of Mankind” by Lee Lawrie and colorist Leon V. Solon. This art work screen is divided into 15 small rectangular spaces created to symbolize and chronicle mankind’s progress.
Le Rock features large windows, which let in lots of light from the plaza outside.
Here I am at the entrance to Le Rock the evening before my podcast.
Inside, guests are greeted by verdigris accents. Verdigris is the common name for blue-green, copper-based pigments that create the patina on copper, bronze, and brass.
Custom verdigris colored service shelves are both functional and ornamental.
Riad says “every seat is good seat.” He and Lee wanted the restaurant to feel both casual and grand, with plenty of space for every guest.
This is the bar, which also features Art Deco designed stools and background.
The menu includes their interpretation of many french dishes – broken down into specials and everyday favorites.
We enjoyed the bread service with radishes, butter, and crevelle de canut, a French cheese spread.
Look at this Dressed Crab, one of their appetizers. Everything was wonderfully fresh and flavorful.
Leeks Vinaigrette is from Le Rock’s Tout Le Temps menu.
We also tried Escargots Bourguignons – a traditional French dish originating from Burgundy. The dish consists of snails that are baked with garlic and butter.
This is Agnolotti Corn Chanterelles from the Cette Semaine menu. Agnolotti is a type of pasta made with small pieces of flattened pasta dough, folded over a filling.
And of course, there were fries. Listen to my podcast to find out what we thought about these fried potatoes.
For the entrée, we had Duck Aux Epices, or duck with spices.
And this Cote de Boeuf. If you remember, I invited Chefs Riad and Lee to join me in making Cote de Boeuf years ago on my television show, Living.
I was also very happy to get a personal tour through the kitchen, which is designed differently from traditional restaurant kitchens. Hear why it works for Le Rock on my podcast.
The next day, Riad, Lee, and myself met at Newsstand Studios, also at Rockefeller Center. It is a a state-of-the-art podcast studio built out of a retrofitted 1940s newsstand.
The studio was comfortable and looked out onto the lobby of the 45 Rockefeller Center – just steps from Le Rock.
So, be sure to listen to my podcast later today with Chefs Riad Nasr and Lee Hanson – it’s a wonderful discussion about their friendship, their restaurants, and their vision for Le Rock. And please visit Le Rock the next time you’re in New York City – you’ll love it.
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