Tag Archives: Project Threadways

Fall Feast in the Shoals

The cotton was shimmering in the low-slung October sun as my friend Anne and I travelled into the Shoals. When we parked at the Alabama Chanin Factory in Florence, a faint rainbow was showing amid pink sunset clouds.

It was time for another Friends of the Café dinner at the Alabama Chanin Factory (www.alabamachanin.com) – a dinner series that draws interesting people from the Shoals and beyond to the former tee-shirt factory on the edge of Florence, Alabama.

Due to fall’s early sunsets, the inviting fashion showroom and dining area were already dusky and shadowy – the skylights providing scant illumination; the room was mostly lit by the glow of candles from a bevy of tables awaiting a sumptuous feast by guest chef Tandy Wilson.

James Beard Award-winner and Nashville native son Tandy Wilson’s City House (www.cityhousenashville.com) is a pioneer of Nashville’s currently vaunted culinary scene. City House and Wilson are celebrated for a menu with a strong Italian influence highlighted by fresh and local Southern accents. The Florence dinner was a perfect example of that blend with Italian dishes featuring seasonal ingredients paired with fine Italian wines. All Friends of the Café events are fundraisers for worthy causes. The Tandy Wilson dinner benefits Project Threadways, a nonprofit that records, studies, and explores the history of the textile industry in the Shoals community, and the American South.

The evening kicked off with a welcome “Fall Indulgence” of Prosecco and apple cider garnished with rosemary and an apple slice. Appetizers began to circulate through the crowd, including a gnocchi fritto topped with a tomato conserva and crostini topped with peanut crema, chicken crackling, and mint. The pre-show showstopper for me, however, was a crispy meatball with a peach-based Jezebel glaze. Each time those meatballs floated past on trays carried by the Alabama Chanin staff, I could not resist.

After thirty minutes of mingling and chat, the diners were seated for a performance by Single Lock Records (www.singlelock.com) artist Caleb Elliott, featuring selections from his debut album, Forever to Fade. Elliott’s label calls his sound “swamp-art-rock.” That works — but I’d call it a soulful contemporary version of the classic Muscle Shoals Sound with thoughtful lyrics, poignant vocal phrasings, and lushly inventive orchestrations. I’ve been listening to ­Forever to Fade ever since the event and highly recommend this engaging musician/singer/songwriter.

The musician’s more pared down selections at the Factory featured Elliott, with his sensuous lyrics, guitar, and bass, and violinist Kimi Samson, providing string and vocal accompaniment. After a long week, this pre-dinner entertainment was a revelation. Elliott and Samson’s performance in the dimly lit room was beautiful; as they played, the staff continued to glide  surreally through in the glow of candlelight — offering up appetizers to the seated diners. It was one of the most transcendent of many magical moments I’ve experienced in that venue in the past five years.

By the time the pre-dinner activities concluded, we had become acquainted with a tableful of interesting people including artists, musicians, educators, and fashion, medical, and communications professionals from the Shoals and beyond. One couple – originally from the Shoals – was visiting from Germany, where they have lived for several decades. Everyone at the table, it seemed, had a common connection with Tuscaloosa and the University of Alabama. Once again, I had leverage for my slightly tongue-in-cheek observation that “Florence is the center of the universe, and all roads pass through Tuscaloosa.”

I might have overdone it with the meatball appetizer, but I managed to find room for the first of four courses that Chef Wilson distinguished by combining a load of ingredients in ways that allowed each to shine through and have its moment (or more) on the palate.

The first course featured three family-style dishes starting with a salad of hearty greens with alici (fresh anchovies) and a generous creamy mozzarella made by Chef Wilson in the Factory kitchen that morning. Part two of the first course was a sour corn cake with roasted squash embellished with mint, chilies, and sumac. That first course culminated with roasted octopus accompanied with soup beans, charred cabbage, bacon, chilies, garlic, and toasted bread crumbs.

The octopus might have raised an eyebrow or two at my table, but I bit into it eagerly and had  the best bite of octopus I have enjoyed in my life thus far. I hope Chef Wilson would not be offended if I compare it to the rich, succulent texture of fatback. As the bowl made its way back around the table, I hoped to find a piece of octopus remaining, but no such luck.

The second course was more minimal with a simple spaghetti “cacio e pepe” served with a roasted vegetable ragu, fried bread, and parsley. The simplicity of the dish was an elegant complement to the complex flavors that preceded it.

The centerpiece of the third course was a roasted pork loin. Chef Wilson explained that he thinks his version of his Nana’s marinade, which accompanied the pork, was a pretty good recreation of his grandmother’s closely guarded recipe; he confessed, however, that other family members do not agree that his kitchen nailed it. The marinated pork loin was succulent and singular, but the bed it rested on is what caught my attention and intrigued me even more. The room temperature accompaniment to the pork was a multi-textured mix of cauliflower, pomegranate, almond, red onion, and parsley. The mouthfeel of the pork with the chewy crunch of the other ingredients is a food memory I will carry with me for a long time.

Finally, the dessert was apple crostada with oat pecan streusel. It’s hard to imagine a better finale to an early fall feast. The accompanying extra brut was a fine way to offer a toast with the new friends at table, and to wish that we all might again converge at the Factory for another memorable meal in 2020.

Ferry Boats Sink

Chef Bill Smith, a legendary chef, of Crook’s Corner, a legendary restaurant in Chapel Hill, North Carolina, has a museum-quality collection of vintage tee-shirts from mid-to late-20th Century rock bands reaching into the 21st Century (www.crookscorner.com). While making plans to attend a dinner prepared by Smith at the Alabama Chanin Factory’s “Friends of the Café” series, I considered wearing one of my own vintage tee-shirts, collected from years as an undergraduate volunteer for the University Program Council’s series of concerts and events at the University of Alabama.

I had settled on my most cherished tee-shirt (and one of the few that still fits) – the simple black tee from Joni Mitchell’s 1976 concert tour appearance in Tuscaloosa – but I chickened out at the last minute and opted instead for my college professor drag of open-collar dress shirt with jacket and slacks.

I was not the only one considering the tee-shirt gesture. John T. Edge, director of Southern Foodways Alliance, revealed the concert tee under his jacket during his virtuosic introduction of Bill Smith and Alabama Chanin’s inaugural Project Threadways Symposium (www.alabamachanin.com/project-threadways), which kicked off in Florence that night (www.southernfoodways.org).

John T. Edge, whose prodigious knowledge of southern foodways and culture is always impressive, tied together the Shoals music and textile culture, Smith’s food, and Alabama Chanin’s Project Threadways, in inspired fashion. Project Threadways, an Alabama Chanin outreach and research initiative, collects information specific to the Southern textile industry – which was a major player in the Shoals prior to NAFTA. In addition, Project Threadways explores the Shoals and the broader Southern community through oral histories and other relevant research.

I was only able to make it to Bill Smith’s opening night feast at the Factory but visitors from throughout the country joined the locals and regulars for an event that explored the ongoing pull and mystique of the Shoals.


Chef Bill Smith’s recipes often exalt the contributions of talented immigrants who have worked in his kitchen over the years. He cherishes his relationships with Crook’s Corner co-workers from Vietnam, China, the former Soviet republics, Central America, Mexico, and elsewhere. His recipes reflect the international flavors he’s learned in his kitchens from employees from throughout the world. He even, he writes, had a period when he employed “rockers” in need of employment between gigs. He learned from all of them.

“I realize that everyone in the world cannot come here to live in the United States, but it’s hard to imagine that the people who complain so loudly about immigration have had much experience with new immigrants. Getting to know people from all these places has been one of the great privileges of my life.”

I don’t often sport bumper stickers but this past winter I was compelled to order a bold bumper sticker that simply reads “FAKE CRISIS.”

I think Bill Smith would agree.


For those who haven’t had the pleasure of dining at Crook’s Corner (and that includes me), Bill Smith might be familiar from his regular appearances with Chef Vivian Howard in the PBS documentary series “A Chef’s Life,” where he memorably shared his preparations of persimmon pudding, corned ham, and – my favorite – his father’s family recipe for sunchoke relish.

Bill Smith, who retired from Crook’s Corner in January 2019,  absorbs all of the foodways of his Southern culture and his family, including his Southern grandmother’s “mean Yankee German” grandparents, to create his food. He also honors the traditions of Crook’s Corner founding chef Bill Neal, who preceded Smith and is credited with making shrimp and grits a Southern staple.

The food Smith served in Florence last week was real food – humble and authentic, quietly sophisticated, honest, and finessed without showing off. It was a suitable accompaniment to lively conversation punctuated by occasional gasps at the deliciousness of the bites being savored. Many of the recipes are featured in, or variations of, recipes in Smith’s essential book, Seasoned in the South: Recipes from Crook’s Corner and from Home (Algonquin Books of Chapel Hill, 2006), a cherished touchstone for many cooks of the South and beyond.

Seasoned in the South has an introduction by author Lee Smith, one of the South’s most authentic voices. Bill Smith’s recipes and menus follow and honor each season’s harvest with evocative intervals such as “An Outdoor Supper after the Last Outing of the Season”; “Snowed In”; “A Christmas Eve Supper after Midnight Mass”; and “Big Picnic on the Fourth of July.” His “New Year’s Day” menu is very similar, amazingly, to the one I served to guests at my own house for many years in many places.

Smith’s Florence dinner was superb from the moment we walked into the Alabama Chanin Factory. Passed appetizers were circulating and each was a treat. The bread that accompanied three of the pass-arounds was delicious, but a little too chewy to accommodate conversation; that glitch, however, did not distract much from the fine and distinct flavors.

Alabama Chanin’s Anne Ryan Cavin curates the beverages for the Factory dinners and always presents with a unique and impeccable taste. For the Smith dinner, she selected local options from Florence’s Singin’ River brewery, a Sangria, two Spanish wines, and a Prosecco for dessert.

My first taste of the evening was a chicken liver mousse with onion jam. I love well-prepared chicken liver to begin with and Smith professes an affinity for “guts,” so that first bite was an automatic hit. I have my own strong affinity for pimento cheese, which my mother often served on celery when I was a kid, and I take pride in the pimento cheese I make myself; Chef Smith’s pass-around pimento cheese appetizer was perfectly spiced, as was the hot pepper jelly that followed. The fourth appetizer, unencumbered by the bread, was a very plucky and fulfilling deviled egg.

As the guests were seated, the first course was unexpectedly simple and superb. A white bean and turnip green soup arrived in a clear broth. Startling in its simplicity, the soup was magnificent. Before that initial bliss faded, a mixed salad second course was served with local spring greens coated with a subtle Crook’s house dressing.

 

The third course was a generous platter of braised pork shank with posole (hominy soup), chayote (a squash), and Salsa Ranchera. The plate’s flavors, distinctly Latinx, had the familiar sense of a Sunday dinner at any family table. Our table happily accepted seconds.

I suspect that the most talked-about dish of the night was the dessert course – “Atlantic Beach Pie” with freshly whipped cream. This dessert apparently sprang from Smith’s eastern North Carolina region’s conviction that one must never eat dessert after a seafood meal. The exception, it seems, was lemon meringue (or any citrus-based) pie. Our meal did not include seafood, but Atlantic Beach Pie is probably Crook’s Corner’s most revered dessert. Regardless of its evolution, the pie was a hit. Smith’s original adaptation used a saltine cracker crust but his published and Florence versions used more buttery Ritz crackers.

There is a kindness and decency that emanates from Bill Smith. These qualities are evident in his dishes and in his comments at the end of the meal. There was a serene tranquility while the chef interacted with guests at the conclusion of the evening. It moved me.


In the 1990s I was working at a theatre on Galveston Island, Texas. Because the thought of living in Texas had always been anathema to me, I was fond of telling folks that I lived “on an island off the coast of Texas.”

Crossing Galveston Bay with a good and trusted friend on a ferry one day, I was worried about the theatrical show I was currently directing. I had the usual problems – inexperienced cast, imperfect set, inadequate budget. I was stating – for neither the first nor the last time – my stress as a director.

“I want a low-pressure job,” I said. “Maybe I should be a ferry boat captain, going back and forth across the bay all day.”

My friend was silent for a while. Finally, he took a deep and significant breath and said, “Well, y’know, ferry boats sink sometimes.”

More recently, friends have told me I should have pursued a career in the culinary industry. They note that I seem to be comfortable with food culture and I like to cook when I have the opportunity. But I think – given my temperament – that I might spend my kitchen time worrying that I might have inadvertently poisoned a diner.

It’s too late to worry about what my culinary career might entail; it was probably a bad idea to begin with.

That thought provides even more incentive to admire and extol the fearless cuisine of Chef Bill Smith.