JAPANESE
KITCHEN KNIVES Essential Techniques and Recipes
Hiromitsu Nozaki with Kate Klippensteen PHOTOGRAPHS BY Yasuo Konishi
J A P A N E S H KITCHEN KNIVES
JAPANES
KODANSHA INTERNATIONAL Fok\-o • New York • London
KITCHEN KNIVES Essential Techniques and Recipes
Hiromitsu Nozaki vvith Katc K l i p p e n s t r c n PHOTOGRAIMIS HY Yasuo Konishi
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Foreword 0 Gcrring & Started 14 Cutting Posture / Kmle Anatoiny / K m f c Conit
ThcTliree Main Knivcs 21
THE USUBA • KatSHramuki Rotary Peeling 26 Distributed in the United States by Kodansha America LLC, and ¡n the United Kingdom and continental Europe by Kodansha Europe Ltd. Published by Kodansha International Ltd., 17-14 Otowa 1-chome, Bunkyo-ku, Tokyo 112-8652. No part o( this publication may be reproduced ¡n any form or by any mearis without permission ¡n writing from the publisher Copyright © 2009 by Hiromitsu Nozaki, Kate Klippensteen Photographs copyright © 2009 by Yasuo Konishi. All rights reserved. Printed m Japan.
First edition, 2009 1817 1615 14 131211 10
1098765432
Library of Congress Cataloging-in-Publication Data Noiaki, Hiromitsu. Japanese kitchen knives : esaential techniques and recipes / Hiromitsu Nozaki with Kate Klippensteen ; photographs by Yasuo Kornshi p. cm. Includes bibliographical references and Índex. ISBN 978-4-7700-3076-4 (alk. paper) 1. Knives--Japan. 2. Cookery, Japanese. I. Klippensteen, Kate, 1903- II. Title TX657.KS4N693 2009 641 5952--dc2? 200900011?
Daikon and Smokcd Salmón Rolls 29 l Kai Nccdlc Oit
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Dashi 34 Nccdlc-cut Vegetable Salad with Sesamc Dressing 34 Cabbage and Beef Sbabu-sbabtt Salad 36 • SitAwiitfWhittling 38 Sautéed Asparagus, Celery and lidl Peppers 40 i Ciasen-¿ínTea-wnisk cui 42 Simmered Eggplant and Cluckcn Breast 43 i Jabara-giri Serpents Belly ('m 44 Cucumber with Chicken fenderloin 47 i Kazari-giri Decorative Vegetable Carving 48 Vcgct,ililt- ('anapés 51
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THE DEBA Mízuarai 55 I )ividine tho head 60 o
THE YANAGIBA Skinníng
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Sashimi
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Braiscd luí ' SCM Brcnm Mead willi l i i r n i p s i< Santnai Oros/v'Tlircc-piccc Fílleting (Part 1) 64 Grillcd Tai Sea Bream witli Scallions 70 Samnat OnwA/ Three-piece l : illcring (Part 2) 72 Vinegarcd M.ickcrcl
" Slícing Hirazulturi Slícing
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i Ktezwjtwn Doubled (lur LIsuzukuri Slícing
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DiifniVí> Oroshi Straitrlit l ; ¡IIcling 78
Matsukasa~giri Pine-cone Cur/ Kanoko-gtri Spotted-fewn Cut/Naruto~¿iri Spiral C'ut 118
Círillcd Cheddar Satdines so ///fií/.'f Butterflying 82 Cirillcd Scmi-dricd RainhowTrout 84 Goniai Oroshi rive-piece rílleting 86 Deep-fried Hirame Nuggets 92 Prrpariiii» í'rah
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C"ral> and Arugul.i witli Shcll-flavorcd Vincgar
A Knífe for Evcry Function 122 Maintenancc and More 134 Sharpening / Daily Maintonaiu-c / Purcli.ising / Materials / h'ish Anatomy / Movcmcnt of che Blado Glossary 151 Aiicrwortl 154 Index
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A kitchen knife is a simple tool to cul food, which maki-s it easicr lo lift— vvith chopsticks or a foi'k—and casicr to cat. Yet iheiv is another important reason ro use a knife on ingrediente, and that is to miprovc flavo]. l a k o ,1 romaro, for example, and the act oí slicing. A knife with a dull edge will noi immedíately pierce tlic skin. It can saw through thc toniato, wlucli m essencf is actually crushing thc flesh. And whilc thc slicc might look fine at a glancc, closcr inspccrion will rcveal an ill-dcfincd cdgc and a dull surface. A knife with a sharp Hado, howcvcr. cuts through thc fiber m a singlo clean stroke. 1 he cut cdgc will be sharp and the surface oí thc tómalo will be as smootri and shiny as a inirror. It's clcar to thc e ve which slicc looks t.isticr. And you will be surpríscd by how mucn better hioj (asics if it's cut with .1 sharp Japanese kitchen knife, called a bocho. A tomato cu! with a dull knife loses juice and uiuatni elenicnts, and cvcn when caten ininiediatelv, the te.xtiirc is Imip. A slicc of lomato ctn \villi a sharp k n i f e , lunvcver, will overwhelm \'ou with its natural juiciness and umanii. Thc same goes tor sashimi. A knifc sltccs through the lish's fiber, so— jusr as m slicing tomaioes—applying mínimum pressiiirc on rhe flesh is imperativo. Pushing or sawmg thc blade though the elastic flesh oí the n\ sliould be avoided, which is why a long, tilín, singlc-ground blade, such as tht-^yu/jiíi¡//'i( knife—that necdle.ss lo say. is always kept sharp—is ideal. A yanagiba is pulled through thc sashimi; rhe blade is drawn through thc fillcts in an arang motion, froni the hecl to thc t i p . Whilc a doublcground knife. anglcd on both sides, parts the (lesh cvcnly on both sides likc a wcdgc. a smgle-ground knife apphcs pressure only tin one sidc. Smcc only mínimum pressure has [icen applicd to rhe íish fiber, the sashimi sliccs havc a wondcrrullv sharp cdgc and glossy s
There are scvcral factors that give traditionally forged Japanese knives their extreme sharpness. I heír stngle-ground constrticnon is one reason, but the techniques used in lorgmg are also vital. These knivcs are ñor cur from a steel slieer, but are madc from cliunks oí multen srccl, hammered iii.iny times until thcy takc shape. Tlie repeated heating and hammering, along with annealing, quenchíng, and coolíng, makc thc steel hará, yet elastic, and ÍMVC ii ihe strength to hold an cdijc. I t the tempera ture of rhe hcartli isn'r riglit, or if the knife is not heated enough or is overheated, or if any otlier variable is incorrcct, the fimshed tool wiü lack that hardness and elasticity, and will be prono to cracking and chipping. Forging requires a precise technique tbaí can only be accomplishcd by a skilled and dedicated arrisan. flie knivt-s I use are madc m S.ik.n, .1 c u y near Osaka that is a rraditional centcr tor handmade knives and other cuttmg rools. Many knire companies elscwherc havc mechanízed ccrtain parts of rhe knife-making process. Tn Sakai, however, ibe sepárate tasks involved in makíng a knife, including Ini-gíng, sharpenmg and attaching the wood handles, are divided amnn¿ ariis,ins. hacb división has an oíd anisan, or u f e w young persons Craining n> becotne cxpcrt in that i.isk. .mJ all the divisions work together over tlu' so\-eral days it takcs to m,ike ,1 k n i l e . II yon are lucky enough to own an expertly fotged knife from S;ikai or one oí the other arrisan towns, picase don't store it away. A kitchen knito is a function.il tool, not an art objcct. Don't hoard tt, but use it, .ind du your bcst ñor to let it rust. 1 he best way to dísplay sudí ¡i k n i f e is through cvcrvd.iv use in your kirdien.
A Japanese knife may be foryed in one of two ways. Honyaki, tradilionally forged knives, are made entirely of high-carbon steel using a process similar to the one used to forge Japaneso •
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Knives forged using the awase method are made of two malcriáis, high-carbon steel and soft ¡ron. The first forms a hard culting edge and the iron a strong spine and tang resistan! to chipping and cracking. The repeated heating and pounding process (above) helps to drive out impurtties from the metal while merging the two materials. During the process, Ihe temperatura of the hearth reaches 1400°C (2550°F) After basic shaping by further pounding, the knife ¡s coated with clay to stabilize the temperature and facilítate annealing (nght). which hardens ihe steel.
Afteranother round of heating, the awase blade ¡s quenched in water (left) to further harden the metal. It is then reheated as part of a tempering process that gives the steel resilience and keeps ¡t frorn becoming too bnttle. The forged blade ¡s then passed to the edge crafter for further shaping and precise sharpening. A knife-crafter's workshop ¡n Sakai (right) ¡s dimly Nt on purpose: the craftsman needs to clearly see the color of the steel as it ¡s heated in order to gauge the temperatura correctly.
1 he knifc is truly che fbundation of Japanese cuisine, and the act of cuttmg is fundamental. An oft-used rnaxim m [apáñese cookíng, "kalsi¡-sbu-ho-ju" (oftcn shortened ro kappo), hterally means "Cur first, then simmcr," stressing rhc bchef rhar "to cut" is actually "to cook." From ancicnr rimes, Japanese cuisinc has had a srrong focus on currmg techniques, which extends beyond cuttmg raw fbods such as sashrmi and salad grcens to mala1 rhem look atrractivc on rhe píate. Evcn food ítems rhat mighr be símmered—and therefore might ñor be prominently visible later—musr be cut artisticaUy at the preparación Maye. Potatoes, carrots, onions and other vegetables all must be shaped wirh precisión and bcauty. Therc is a sirong aestheric traditíon m Jap.m that links the appcarancc of food to good flavor. Yet the act of cuttmg is, m facr. vcry simple. If you own a very sharp knife, you are basically sharmg the same conditions that exist m a professional kírchen. What makcs rhc gap in the level of technique between the professionaJ and the home cook is a dcep knowledge, mastered through long practicc, of knife fundamentáis, the attributes of food, and the scicnce of cookíng.
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After forging, the still dull blado ¡s given to another master to créate the ridge line and cutting edge. This consists of about thirty steps of sharpening, polishing, and correcting distortions in the blade (left). The process transforms dull blades, such as the ones next to the wood block ¡n the photo at right, into cutting tools. In Sakai, the finished blade is then sent to another master, who attaches the handle (made of ebony or honoki or other woods that nave been ordered by the retailer) and water buffalo-horn col1,-ir Níilui.il plant oils ürn then nihuod on the blade to prevent rusting (right) before the knife is packed for delivery.
This book covcrs thc thrcc major singlc-ground knives—the usuba, deba, and yanagiba. I have tried to fully cxplain che structure and parpóse of Japanese knives, as well as diffcrcnt tcchniqucs that can be applied in thcir use, in che hopes that it will lu-lp give readers a clear understanding of blade dircction and cutting angle. l*or this reason, the process cuts havc bren photographrd from thc chcf's pcrspective. {This dífíers from most practical knire books, which photograph the process from the angle of the vicwer.) Don't be afraid co expenmenl. lí the fish in thc deba section are unfainihar, go out and scarch for fresh local species that are similar. If practicmg the rotary pccling tcchnique on a hard daikou radish is difficult, why not switcri to a softcr zucchini to start? The most important thmg I hopc rcadcrs of this book will discover ís that the act of cutting with thc cxquisitcly sharp cdgc of a single-ground, hand-forged knife is truly en|oyablc, cvcn thrilhng. No one who has ever fclt this thrill could go back to the tedinm and frustración of cutting with a dull knife. I hrmly believe that with a good knitc, cooking will become a truly hcighrcncd cxpcricnce. Hiromitsu Noxaki Tokyo, 2009 13
GETTING STARTED
CUTTING
POSTURE*
For borh bcginners and professionals, basic posture and positioning are crucial. Maintaíning the correct stance allows the knífc to be wicldcd with mínima] forcé and efforr; U also allows a clcar vicw of thc board and surround ings, To assume thc propcr stancc, face thc cutting board and stand firmly, legs about shoulder-width apart. A distance of about two fists snould sepárate thc body and the curting board. Next, slidc thc right foot a half-stcp back and inrn ii out about 45 degrees. This frccs thc right arm and knite hand, allowing them to move straight up and down wichout any interference. Kccp the uppcr right arm againsr the ribcage, closing rhc armpir. As thc right foot is back and turncd outward, flus position naturally forms a kmd of bulwark. In thís posítion the right arm extcnds straight to thc cutting board. Wirh rhc Icft shoulder and hip bent shghtly forward, thc Icf't sidc of the body curves round to meet thc right hand. and thc Icft arm should lorm ,i half arele. With the eyes focused on thc knífc, the cucked Ictt índex and middlc fíngcrs should rcst agamst thc back of the knifc. To 14
*AII the directíons ¡n this book are for use wíth right-handed knives, Left-handed knives can be specially ordered by left-handed readers, who should simply reverse the diroctions.
cut vegetables katsuramwki style frotary peclmg, pagc 26), lifr both the knife and thc hand holding thc vegetable to work af chest Icvcl. Filleting fish with the deba knife may requíre thc body to shift as the knife moves, dependmg on the size of the fish. But the basic posturc is important; that ¡s, standíng at an angle to the cutting board with thc knife tn thc back hand. lo use thc yanaeiba knife, which has a longcr blade, ¡t may be necessary to stand a httlc turthcr from the cutting board. In any case, making thc Icft side mto a solid bulwark is vcry important when usmg the yanagiba; this will makc it casy to cut sashimí as clcanly and prcci.scly as possiblc.
KN I FE AN A T O M Y To use this book emcíently, familiarity wirh rhe terms used for rhe v.inous parts of rhe knife is essential. Enghsh words have been used as mnch as possible, but some of rhe rerms—shinogi, for example—-havc no Engasto equivalenr, so rhe (apáñese word has bccn uscd. In reading rhrough rhc mstructions for how ro cxccutc vanous rechniques, it may be helpful to rcfcr ro rhis pagc frcqucntly. I,ikcwi.se, when learning how to fillet fish in the deba section, ir may be useful ro refer to the díagram showing the aiutoiny of a fish on page 150. The illustranons here show rhc meta] conrcnr and distribution of both rhc smgle-forgcd bonyaki and stccl-jackercd awase knivcs. The traditionallyforgcd honyaki knifc is madc entirely of hqgane high-carbon steel, whrle the awasc uses hagane carbón stecl for the cutrmg edge and jigam sofr iron for rhe spine and uppcr blade body.
SECTION VIliVV
Srccl-jackctcd Awase (Kc,
Slccl
[Back side]
Iron Core
Single-forged Honyaki
Blade length (Hawatari) Knives that have a notched neck (machi) are measured not from the chin, but from the notch. This reduces the actual blade length by obout half an inch (1.5 cm). Cutting edge [Hado]
Heei (Hamato] Spine (Mine or Muñe)
Neck (Emoto)
17
KNIFE
CONTROL
By adjusting the grip, a knife can be handled m any number of ways, dependíng on thc dc.sircd technique and thc amount of forcé nceded to cut. Understandmg rhc bladc anglc of a singlc-ground cdgc is cqually important. After sufficient practicc and use, thc knife will fccl like an extensión of the ann rather than a sepárate tool. The standard method of gnpping a knife ¡s pictured in photo A, which shows how thc usuba is hcld to cut stnps. Holding the knife near thc hccl and prcssmg thc nght Índex hngcr against thc far sidc of thc hlade helps to stabilize the knife. Photo H shows how to hold the usuba to peel off thin sheets or make decomtive cuts wich thc knífc while workmg at chest level. When hllcting fish with a deba (photo C) or whcn cuttm^ sashimi by pullmg thc long vanagiba knifc (photo D), thc índex hngcr c,m hclp to precisely control the blade angle. I hi.s i-Airiuli-d l i n t e r .ilso helps lo fcel llie prcscnce of bones, thc border between flesh and skm, and even tender membranc at thc típ of thc knífc. Usíng a deba to cut through tough bones oftcn rcquircs extra forcé. This can be
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THE USUBA
22
T
he usuba knífe may look humblc, bur groar skill is rcquired ro execure rhc clegant, deraded cuttmg techniques for which it was designed.
Apprentice chcfs, for examplc, spend years practicing wirh this knifc ro peel a daikon radish into a conünuous transparem sheet in order ro perfect rhcir katsuramuki rorary peeling tcchmquc. T he usaba is designed for cutrmg vegetables, and its principal teatures are specifically tailorcd ro this purpose, Like thc deba and yaiiagiba, thc usaba bhide is single-ground; that is, sharpened only on one sidc. Comparcd ro other knives, however, che blade of rhe usuba is very rhm and broad; thc word "usuba" rranslates, in fact, to "thin currmg cdge." This allows for
cxtremely delicare cutrmg tcchniqucs, such as katsuramuki and kazari-giri decorative cuttmg, as well as paper-thín vertical slicing (of gingcr or g.nlur, for example). The fine bladc and slcndcr spmc of the usuba also mimmizc thc crushing of the vegetables' fíbcrs as thcy are cut. The usuba slices cleanly through the fibers, leavmg a sharp, shmy surface on rhe cut side. Each scction of the usuba blade is used for a specific purpose: the central part is uscd for ken needle cuttmg and general pccling, such as katsuramuki pccling; rhc hccl of the blade is good for beveling. Thc uppcr part of the blade and thc pointed típ are used for precisión work likc kazari-giri decorative carvmg.Thc brcadth of the usaba blade facilitatcs cut23
tmg through latge vegetables hke cabbage without the slices scattering apart as tney are shrcdded, and it also makes it possible to pccl vegetables m long, wide srnps. Most ímportantly, the cutting edgc of the usuba is completely straight, so ir ends up flush agamst rhc suríacc of the board when slícing. Unlike slícing with a Western knife, where the point is uscd as a pivot—and rhc edge gocs froni diagonal to horizontal through the course of the cut—the usuba blade is kept parallel to the board throughout the ctit. With the usuba, slicíng is accomplished with a motion called utsu ín [apáñese: movmg the knife slightly toward the far side of the board while cutting straight down. The werght oí the blade accomplishes most of the cut, while the shght movement to the far sidc of the board does the resr. Professionals prefer to use a slightly hcavicr usuba for greater efficiency. Usuba knives may be forgcd using eithcr the honyaki or awase mcthods, and are shapcd m onc of two mam styles. The bigashigatci, devcloped m the Kanro arca (around Tokyo), resembles a cleaver with its rectangular profilc and squared-oñ corners. The katnagata usuba, which was developed in the Kansai área oí Western Japan, has a rounded profile—the front of the blade is not square, líke the higashigara, but curves gently down toward the tip. Because it has a more opon pointed tip, the kamagata is bcrter suited to detailcd tasks like kazan-giri decorative cutting. Both stv'les of usuba havc a completely straight cutting cdgc. Whcther using a higashigata or kamagata usuba, professional chcfs gencrally sclect blades between 8 and 10 inches (21—24 cm) long. For non-professionals, a shorter blade (7—8 inchcs / 18—21 cm long) is easier to handle. The usuba's development ís directly related to the important role playcd by vegetables m Japanesc cuismc. Along with rice and rish, wild and cultivated vegetables, as wcll as sea vegetables, forrn a significant part of the traditional diet. Sbojin ryori, Japan's distinctive Zen vegetarían cuisinc, carne mto being with the nse of Buddhism m rhc Muromachi Period. To this day, vegetables are still a principal component of home-cooked meáis m fapan, which accounts for the cmcrgence and continued prevalence of usuba kmvcs as tools used exclusively for dealing with thcm.
Usuba, /¡amágala (Kansai-style). 9.6 inches (240 mm) Awase, aogami steel. summsgashi paitern wíih kokutan ebony handle and a white water buffalo-riorn band. ("Sakai Ichimonji Tadakuní" insignia/Hivoahimaru)
A number of vanaiions on thc usuba havc developed as well. Thc mitinmono knifc, for instancc, is shaped Iikc rhc kamagata but wíth a slanied tin. I Ins knifc, which comes in many si/.es, is uscd for meticulous garnish work. Flicrc is also thc kawamukí flitcrally, "skin peeling") knifc, which is uscd for parmg and beveling (asks. Thc kawamukí is smaller and shortet than thc usuba, with a blade around 3% inchcs (9 cm) long and a liandlc of cqual Icngth. and has a roundcd kamagata sliapc. A widcly uscd vanation on thc usuba, aeveloped tor homc use, ís the ttakiri knifc. I he nakiri is gcncrally double-ground, though rhcrc is a singleground nakirt. Homc cooks who rarely do katsurainuki roiary peeling or similarly dctailed tasks tínd the doublc-ground bladc casier to handlc. Furiheniiorc, as nakín knives are generally awasc-forgcd, thcy are less cxpcnsivc and casier (o mainram rhan honyaki-forgcd usuba kmvcs. l.ike ihc usuba, thc nakin comes in two shapcs. having cithcr a rectangular or roundcd-off profilc. In most homes, the nakin is thc knifc uscd for basic vegetable aitring, such as slicing onions, splitting cahbagcs, and dicing carrots. The santoku ("rhrcc-purpose") knife must also be mcntioncd, as it is ubiquitous in Japancsc home kitclicns. The santoku, like (he usuba. has a narrow spme and thin bladc. but rhc tip is curvee!, likc th.it of a Western chcf's knife. It is used for slicing, dicing, and mincing vegetables and meai; U is ñor substantial enough for the demands of gtittíng and cleaving, but it can handle boncless or small-boned cuts of nieat. Thc versatility of thc santoku maltes it popular; thc usuba. by companson, is more speaali/ed. The usuba is not a particularly fragilc knifc. but some general guidelines for tts carc snould be observed. C.ertain foods will rcact wíth the usuba's carhon-stccl bladc. Acidic foods, for example, as well as salty foods like pickles, will siam thc bladc and dull it preinaturely. Aftcr cutting tomatocs, garltc, pickles, or sour fruit like Icmons or apples, immediatcly nnse the bladf or wipc U with a Jamp cloth. Additionallv. be aware of thc limitations of thc bladc: its thinncss makes it unsuitable for cutting through mc.it or boncs. and il should never be uscd on froten foods of any kimJ. Thc usuba should be sharpened frequcntly for safcty and case of use, and always be surc it is completely dry befóte storing ir away.
Joseí usuba higashigata (Kanto-style). 8.4 inches (210 mm). Awasc, aogami steel wíih black water buflalo-horn collar and honoki wood handle (Antsugu)
Katsuramuki Rotary Peelin; The katsuramuki technique is used to cni a cylíndnca] vegetable mto a continuons p.iper-thin shcet. The usuha knifc is cssential tor katsuramuki becausc oí its rhin, straight kiriba (blade p.tth). Orlicr knives, like the íM'ii or yaitagiba, have .1 blade that curves toward the tip, making ihem ímpractical íor katsuramuki. Beginncrs oítcn makc the mistake oí moving or pusning rlie blade uno the vegetable to cut. I : ur katsuramiiki, the vegetable should be rotated toward the kniíe blade with the tree hand whilc making ,\t up-and down movement with the knite. The tliumb of the hve hand is the key to good katsuramuki tcdinüjue. The iliumb should be kept at right angles to the knítc blade (p.ir.illel to ilic top and bottom of the vegetable cylinder) as rhe vegetable is cotated. The np stroke (bottom to top) is tlie one inat culs; ihc down stroke mainly returus the blade to its original position. Daikon is not the only vegetable tliat can be cut wirh the katsuramuki technique. Softer vegetables such as zucchini or cucurnber can also be used, laking o f l a thicker shect. {Carrots are .1 challenge, however, given their hardness.) I I the sliect turns ont to be bumpy, or too thick, simply julíenne it, save it for a salad or stir-fry, and start agam.
Crcating a cylmder 1. Cut a workable length of daikon radish (about 4 ¡nches/ 10 cm). For beginners, starting with half that length will be much easier, 2. When holding the daikon, the thumb should be parallel to the cut i'Mí],
3. With the usuba, rnake a shallow cut vertical cut along the side of the daikon. Pushing the daikon against the blade to get the knife edge under the peel, turn the blade so that it is nearly fíat against the surface, as in photo 3. Rotate the daikon against the blade by pushing the daikon with the thumb of the free hand. This starts the removal of the peel. Keep the knife-hand steady, moving the blade ¡n a small, straight up-and-down (but not side-to-side) motion, while contínuing to roíate the daikon. Keep the straight blade parallel to the daikon. The angle of the blade controls the thickness of the layer removed. Peel off a fairly thick layer to make a un¡formly cylindrical shape. 4. This peeled cylinder of daikon or carroí serves as the base for many other cuts, such as wag/rí round slices. It may be difficult to make a uniform cylinder ai first, but practice will lead to improvement. 27
Making papcr-thm sheets 5. Holding the usuba at the base of the blade, fold the right Índex finger behind the knife so ¡t rests against the upper part of the blade. Using the center of the knife blade, begin peeling a thin layer from the cylinder. 6, 7, 8, 9. As you work, rather than pushing the usuba, hold ¡t steady and roíate the daikon against the blade with the thurnb of the free hand. (See photos for proper hand position.) Slide the blade of the usuba in a small up-and-down movement to keep thickness of the sheet uniform. Make sure that the straight edge of the blade stays parallel to the length of the daikon. To maintain the angle of the usuba, be conscious of the balance of pressure between the right thumb in front of the blade and the Índex finger behind it. The greater the pressure of the Índex finger, the thinner the daikon sheet will become. Reducing this pressure will make the sheet thicker. Continué rotating the daikon against the blade, creating a long, uniformly thin sheet, until only a 1 -inch (2.5 cm) cylinder remains. Katsuramuki-cut daikon is often rolled like a scroll to prevent drying and stored in plástic wrap. . :-.
Daikon and Smoked Salmón Rolls Two 4 ¡n. (10 cm) lengths daikon radish, cut katSüfsmuÍa-Stf\Q into a Vi e in. (2 mm) tnick sheet. 1 piece dried kombu kelp, about 2 in. (5 cm) square 2 stripsof smoked salmón, V? ¡n. (1.5 cm) square and 4 in. (10cm)long
Marinada 1 cup (240 mi) water or dashi stock (recipe p. 34) % cup (160 mi) rice vinegar '/3 cup (80 mi) mirin V? tsp. salt
Sauce 3 egg volks 1 tbsp. rice vinegar 1 tbsp. sugar Pinch salt '/; tsp. light soy sauce
Place the daikon sheets and kornbu in a 1 .5% salt water solution (2 cups/480 mi water and scant 1 1/2 tsp. salt} and soak for 30 minutes until slightly soft. Meanwhile, combine all marinade ingrediente ¡n a non-reactive saucepan and bring to a sirnmer. Cool to room temperature. Remove the daikon sheets from the salt water and pat dry with a cloth or paper towel. Soak in the marinade for an hour. Roll the sheets of daikon tightly around the smoked salmón. Cut each roll into four rounds. Cover with plástic wrap and set aside. Bring water to a boil in the lower half of a doubleboiler or a médium saucepan. Combine the egg yolks, rice vinegar, sugar, and salt in the top part of the double boiler or a non-reactive, heatproof bowl. Place the eggyolk mixture over the boiling water, lower the heat to médium and cook gently, stirring continuously with a whisk, until the mixture thickens a little but remains soft. Arrange the daikon and salmón rounds on a píate and spoon the sauce over.
Ken Needle Cut Sashimi ís oteen scrvcd with vegetable garnishes, ur ¡suma, pcrhaps the most common of which ís a heap of shredded daikon rhat serves as a bed for trie fish süces, The tecrmique used to shred daikon m tlus siyle ís ealled Áv«. As a garnísh for sashimi, ken-cut daikon absorbs fisliy odors, cleanses the palate and makes an attractivc foil for presenting vividly colored sashimi. Many vegetables, includmg ginger, potatoes, cucumbcrs, carrots, gailíc, lecks. and red radíslies, can also be cur chis way. When shrcdding fibrous vegetables hke ginger and daikon, be awarc which way the grain of the líber runs. Shcing m the same direction as the grain will produce stiff, scraighr needles. whílc cuttmg across the gr.un makes solí threads. In thc photo bclow, the daikon on thc left was cut across the grain; thc one on thc nght was cut along llie grain.
Cutting daikon needle strips 1, 2. Peel a 4-inch (10 cm) length of daikon and cut into a paper-thin sheet, katsuramukí style (p. 26). Cut the sheet into squares and stack them up. 3. Cut the stacked sheets at intervals about the width of three fingers. 4, 5. Lay the resulting stacks so that they overlap (photo 4), then gently fan them to the left to make many layers. To créate sharper, stiffer needles, lay the sheets with the grain of the fibers running parallel to the blade. Cut along the grain in very thin strips. If soft threads are desired, lay the sheets so the grain is perpendicular to the blade, then cut across the fibers, 6. When cutting, curl the fingers of the left hand so that the fingertip knuckles press against the blade, controlling the thickness of the strips. Take care to keep the thumb well behind the fingers to avoid getting cut. Cut by smoothly pushing the knife down and away, with the blade held nearly parallel to the cutting board. 7. Place the shredded daikon in a bowl of cold water to crisp. 8. Form ken-cut daikon ¡nto heaps for tsuma sashimí garnish. The finely sliced needle strips are fluffy and easy to shape ¡nto mounds.
31
Ken-cut zucchini 1. The tender flesh of zucchini makes ¡t easy to cut ¡nto sheets. First, cut the zucchini into 2-¡nch (5 cm) lengths. Use the katsuramuki technique (p, 2ó) to peel the zucchini ¡nto a single long ribbon. Because the zucchini is not a uniform cylinder, the ribbon will be narrow at fírst, becoming more regular in width as you progress. The ribbon should be somewhat thicker than the daikon sheet shown in the katsuramuki section. 2. Continué making the ribbon by rotating the zucchini against the blade. Stop when only a small cylindrical core remains. 3. If you are not going to use ¡t imrnediately, roll the ribbon up like a scroll and endose it in plástic wrap. 4. Just before serving, cut the ribbon into rectangles and stack them, then fan thern sideways. Cut into slivers as described in steps 1 to 8 on p. 31.
Ken-cut radish Radishes can be cut into ken needleStrips in the same manner as daikon radish and zucchini. The radish is first peeledfcatsuramuícj-style;the sheets are then cut into fine strips. In the first step, the narrow strip of red skin gradually turns into a beautiful rededged ribbon as it is peeled away. This ribbon can be a beautiful garnish on its own, but the ken-cut strips also make a gorgeous accent on a píate. If the ribbon is placed ¡n ice water before it is cut into strips, the needles will be crispen
32
Kcn-cut long oníon The mild and versatile Japanese scallion called naganegí is often cut into ken-strips. The long white sectton of the onion has layers much like a leek or green onion. Naganegi is eaten raw, but because ¡t can be tough and fibrous it is often ken-cut, either along or across the grain. Western leeks can also be ken-cut in the same way. Cut a 3-inch (8 crn) length from the white part of the naganegi. Score almost halfway through and remove the greenish center core {this can be reserved and sliced thinly to sprinkle on top of food). Sepárate and stack the white layers, and thinly slice thern along the grain to make thin strips. These needle-thin white strips, called shiraga-negi, are used as toppings on simmered dishes, as a garnish for sashimi, and as a topping for hot ramen noodles.
Ken-cut ginger This technique is used by Japanese chefs to cut shoga ginger into extremely thin strips. Ken-cut ginger, also called nan-shoga ("hari" means "needle"), can be bundled together for use as a garnish (see "Simmered Eggplant and Chicken Breast" on p. 43). Remove the skin frorn a knob of ginger, then use the katsuramuki technique to peel the ginger into a thin sheet. The sheet can then be cut along the grain ken-style to form needle strips.
33
D
A
S
H
I I hand-forgcd knives are .1 pillar oí Japanese cuisine,
ni an ice-cuhe tray, thcn place the frozen cubes in
dashi, thc Japancsc chef s ubiquitous cooking stock, is
a scaled freczcr bag to be uscd as nccded. (Ice-cube
anothcr. Thcrc aro many vanations on dashi, from a
trays ín thc U.S. generally liold about }/K cup (30 mi}
simple umami-rich broth made only with kotnbu kclp
of fluid per cube, luir it's best to conlirm the volumo
to elaborare vorstons contaimng severa! ingredients,
bcfore using the froten daslii in a recipe.)
The most common dashi, howcvcr. is made with kombu and kaisiw^ushi, fmely shaved flakes oí dried
8 in. (20 cm| length dried kombu kelp 3cups('/i oí. /10 q) katsuobushi bonito flakes, loosely packed
and smoked bonito.
3 cups (720 mi) water
A number of quick and easy dashi options are avaí la ble, mdudíng instant powdcrcd dashi and ready-made dashi-packs—tcabag-typc sachéis that are placed m hor water and simmered with other ingredienrs. 1 hese can be round at many Asían groccry stores. It is best, however, to make dashi from scratch, using high-quality dned kombu and katsuobushi shavings. (In fact, dashi purists insist on shavmt; theil own from [he dned block of fisli.) This recipe m.ikcs about 2 cups (480 mi) oi dashi. Dashi keeps ror a day or two if rcfrigeratcd; for longer penods, a good tnck is to freeze leftovcr dashi
Lightly wipe the surface of the kombu clean with a damp lint-free cloth. Place the kombu Ín a médium saucepan, add water and allow to soak for at least 30 minutes. Place the saucepan over mediurn-low heat. When the liquid comes to a bare simmer (small bubbles form on the sides and bottom of the pan) and the kombu begins to rise to the top, turn off the heat and add the katsuobushi. Let steep uncovered for 1 or 2 minutes until the flakes have sunk to the bottom of the pan. Strain through a sieve lined with cheesecloth. The kornbu and katsuobushi can be discarded or used again to make a less refined dashi. Use irnmediately, refrigérate, or freeze.
Needle-cut Vegetable Salad with Sesamc Dressing o o Needle-cut vegetables, in addition to bcíng a lovcly garnish tor sasliimi, are Ourcat as a salad on their own. I'hís sesamc dressing gocs wcll wirh such a salad.
3 cups (300 g) total ken needle-cut vegetables such as daikon radish, carrot, ginger, radish and cucumber 1 cup (240 ml| dashi stock (recipe above( % cup (60 mi) mirin Vi cup (60 mi) soy sauce 4ibsp. sesame paste Vi tsp. grated garlic Drop Chinese hol chili oil
34
Combine dashi, mirin and soy sauce in a saucepan over low heat. Bring to a gentle simmer. Immediately remove from heat and cool to room temperature. In a médium bowl, combine the sesame paste, garlic and hot chili oil and blend well with a whisk. Pour the dashi mixture into the bowl little by little, whisking continuously until the consistency ¡s fluid but stíll somewhat thick. Serve as a dressing alongside a colorful arrangement of various ken-cut vegetables.
oi\lei oí
Rabayaki
a flatfish lillet. Ii is considered the hesi parí oí tne f i s h ID use íor
Scc Unagi.
sashimi because oí iis slightly crunehy lexiurt-. k. MIS, n
Fugu
The arca of wcstern Japan centcrccí around Osaka, and including
Japanesc blowfish (pnffcr flsli). Fugu rubrípes. As ihc ovaries. --km.
Kyoto and Robe.
Kanro The área oí eastern Japan centered around Tokyo.
parmg nasu: grilling, braising, frying, stcammg, and picklmg, tu ñame only a few,
Katsuo
Nijimasu
Skipjack tuna (bonito), Katsuwonus pelamu. Most commonlv smoked, dried into blocks, and fíncly shavcd to makc katsuobusbi bonito flakes, katsuo also is wonderful caten in season (summcr and early autumn) as sashimí. It is ofr.cn scrvcd toíaii-style, bricfly seared on thc outside, wíth grated garlic, raw onion, grated gingcr. momiji-oroshi ground daikon and red pcppcr, or citrusy pcnzu sauce.
Rainbow trout, Oiicorhyíifhíis mykiss. These freshwater fish are noc natíve to Japan, but were imported in the ninetecnth century. 1 hcy clin ve in Japarís nvcrs and are a popular catch in fly fishing.
Kimpira Se e Cobo. Kombu Kombu, a seaweed froni rhe gcnus Laminaria, rs an important part of Japanese cuisine. Rich in glutamic acid, ir Icnds umami to any dish. Kombu is usually dncd before use, but it may also be pickled or caten fresh. Kyuri Japanese cucumber. Thcse thin-skínned, spiny cucumbcrs are long and slender, with tiny seeds. If kyun are not available, sccdcd common cucumbers are a fine subsntiitc.
Mentaiko Mentaiko is brincd cod or pollock roo; it ís often spiccd with red peppers. Spicy mentaiko is popularly caten on spagnetU, but
Noi-i These purplish sijuare shcets of ponndcd I a ver turn bright green whcn roastcd. Best known as the wrapping around rolled stishi and onigiri rice balls, nori can be scissored into thin strip.s and Lised to top noodlcs or hot rice. Roastcd non quickly curtís limp and stale, and should be kcpt in an airtight tin. Otoshi-buta A circular woodcn drop-lid, slightly smaller in circuinfetrnathan the pot it is uscd with. The otoshi-buta floats on top of simmcn-d dishcs, cnsunng that the hcat is cvcnly distributcd and kccping the ingrcdícnts from boiling too hard. The otoshi-buta should be soaked in water for a fcw minutes prior to using so that it does not absorb tlavors, Rice vniegar X'inegar made with rice is mild and mellow. Scvcral kinds of rice vinegars are available, including brown rice vincgar and scasoncd rice vínegar, which is sweetened for use in sushi rice. Be careful when purchasing, as it is easy to get the wrong one. For recipes in this book, plain rice vinegar is best.
it i.s olso delicious on hot rice. Many find its salty, spicy flavor
addíctive,
Mirin This swcet rice wine is an essential kitchcn ingrcdicnt. Be surc to buy "hon-mirin," which actually concains winc madc from rice. Some mírin varieties are sold with additivc sweetcners such as dextrose; these are best avoidcd. Naganegi Long onion. This vanety of scallion, sold commonly m Japan bur difficult ro find in the Wesr, is about two fect (60 cm) long and an indi (2.5 cm) thick. Naganegí has a mild onion flavor and becomes wonderfully sweet when cooked. Leeks can be substitutcd for naganegi m recipes where they are cooked; for a raw subslitute, the smaller Western green onions work well. Nasu Japanese eggplaflt. Friese are far smaller and more elongaced than their Western cousms. Thcy have thm skin, fine-textured flesh, and tmy secds. A summcr favonte. thcrc are mynad ways of prcI--'
Sata M.ickerel, Scotnbtr scornimts. Saba is an important food fish in Japan becatise of its relative abundance. Though many in the West dislike its strong flavor, it is a favorite in Japan, particulurlv grilled, or mannated in vmcgar and served as sashimi. It tastes best m fall, when its high fat contení gives it an even richer taste. It should bf caten as fresh as possible, Sawara Spanish mackercl, Scomberomonis niphonia. These medium-sízed (30 ínch / 80 cm) fish are one of Japan's most popular food fish, Sawara is often shccd for sashinu or sushi, grilled, or snnmered. It is ,it Jts pcak in wtntcr. Shiso
Also known as Japanese basil, or bccístcak plant, shiso is an important herb in Japan. Not only its fragranr Icavcs, but its buds and nny purple flowers as well, are used to enhance sasniím as a garnísh. It is also a key íngredient in certain kinds of pickles. Sbiso leaves have a distinctive, delicate flavor, They are delicióos chiffbnaded and put in a salad, omelet or stir-fry.
Sunomono
about two teaspoons in a small cup and add ice-COId water a Iittle
In Japaiwse cuisine, this word reten to salad-like dislies prepared
at a time, using a chopstick to stir rapidly, until it becomcs a soft
with vinegar. Sunomono oftcn contain seawced, and are generally
pasro. Invert thc cup over a saucer to preven! the flavor from
slightly sweet, complcmenting thc mild tartness of rice vinegar.
evaporating. It fresh wasabi root is availahle. an nrWjí sharkskin
They are a great appetizcr. and also work well to relivsh thc pal-
Cráter is the bcst tool Co use to gnnd it mto paste.
ate borwecn courscs. Zuwai-gani
Tai
Snow crab. Cbionoecetes afilio. In season diirmg the wintcr months,
Sea bream, Pagrus majar. I'his hantlsome red-striped f i s h is consid-
this is a sought-after and expensive dclic.u-y in Japan.
crcd a good-Iuck symbol ni [apan, and is tliorclore served on auspicious occasions. It ¡s one of the nniM popular fish in japanese cuisinc. Tai is bcst caten ¡n winti-r or e.irly spring. Takezaru A rypc of bamboo sieve used to drain noodlos and serve food. Tokujo This tcrm nioans "superior." and can he used mterchangcably with josfi. Tsuma Tsnma is the gmenc ñame for any of thc many kmds of fresh vegeiahle garmshcs UM-,| to enhancc the prescntation of sashimi. The most common of tlíese is ií/i-cut daikon. but vanous kmds of seaweed and l e a f y vegetables are also used. Um.inu l ' m a i n i is now acccpted as one of the fíve basic tastos (¡n addition to sour, swect, salty, and bitter). Foods rich in utnami— commonly fermented or ,igcd foodj—contam glutamic acid or glutamates that lend a savory. hcarty flavor. Unagi Japancsc freshwatcr ecl, Anguilla japónica. Unagi is most oftcn •"•i M I ! !•• ¿'.¡i'',',.í;,'. I v u l n , u , , i ei-I; tilléis ni iniagi an sieamed, then gnlled ovcr charcoal and basted with a sweet lare saúco. Thoy may be caten as-ís, or laid over steamed rice (una-Jon). Anago, the soagoíng countcrpart of unagi, has ,1 slightly less f a t i y t e x t i t r e and subtler tlavor. Yuzu This citrus fruit, nativc to East Asia, has a haunting fragrance and soiu flesn, l i is rarcly caten out of hand; thc rmd is used as a ¿.u-nisli .un.1 flavoring .igent. Yu^u marmaladc ¡s a trcat as well. Wasabi Fhis relativo ot horscradish grows only in clcar, cok), mouniain strcams. Though thc fresh-ground root is incomparable for us sweet pungency, wasabi can also be boughl in tuhes. or in powdered form (thesc contain mam' other ingrediente besides wasabi. including horscradish, tlonr, and coloring), To reconstitute, place •
A F T E R W O R D
My first Japanesc kitchcn knife was a Misono "petty," a thin versión of thc parmg knire. 1 he nrst rime I used it—co slice through a tomato—-was a revelación, so swifr and deán was the acción. A fcw ycars later, in rlie mídst of researching a book un Jupancsc cooking rools, I gor my Kands on the chree maín typcs of knives, the deba, usuba and yanagiba. But the truth is I only owncd thc knivcs, but had vet to "earn" them. In fact, I had lítele confídcnce in using my specialíst knives for their mtendcd purposcs. 1 hcre are many publicatíons on knife usagc in Japancsc, but they tend to assume readers alrcady have a ccrtam Icvcl of cxpcnencc. Hiromitsu Nozaki of Tokyo's famcd Wakctokuyama rcstaurant is not only an extraordmary chef, he is also a born teacher. In his many wntings, lecturcs, and classes, he uses simple language to explam nutrition, food culture, and cooking. So I asked if he might be interested in working on a book in English to illuminate the complex world of Japancsc kitchcn knives. Luckily, he agreed. Ovcr thc course of ncarly a year, No/.aki and his comradely team of apprcntícc chefs went out of their way to show me the whys of thcir world, starting with posture. Once Nozaki positioncd me m thc corrcct way, the knife truly became an extensión of my arm and cutting mgrcdicnts became almost effortlcss. He also guidcd rny hands with his, showíng me how to fecd and rotatc thc daikon into tlie usuba for rotary peelíng, for example, or how to tap the deba bandle against a crab claw to see it break away. Toward rhe end of our project Nozaki gave me an cntire sea bream to take home to gut, fillet in five pieces, and slicc into sashimi. I was tcrrifícd. But I pullcd out my scaler, yanagiba and deba, put the beast into the smk and jumped into thc mcssy work of scalíng. It was to be a rocky journey with somc pretty sloppy work. But I was rewarded with a feast, where every bit of thc fish was uscd. I was at Icast beginning to earn my knives. T hopc vou cnjoy this chance to [earn cutting techmques trom the cheí s pcrspcctivc, and that, hke me, you díscover just how excitíng it can be to work with a sharp bocho, fresh ingrcdicnts, and tlie ríght methods. Katc Klippcnsteen i f,.-i
B I B L 1 O G R A P H Y Hacho to Toiífei. Tokyo: Shibara Shoten, 1999 Nozaki, Hiromitsu. Meijttt Itamae; Nibon Ryon no /íiánt. Tokyo: Kodansha, 2004 —. Nihon Ryori no fíiso Gijuisu. Tokyo: Shibata Shocen, 2004 —. Waltetokuyama Nozalii Hiromilsu no Karadaiti li Oisbü I lanashi. lokyo; Bungcnko, 2006 Narusí 1 , Uhei. Nozaki. Hiromitsu, & Nishinomiya, Shintchi. /.ukai: Saltana no Salíala ¡tata. Tokyo: Shibata Shoten, 1997 Kishímoto, Hirokazu, Suzuki, Nobuniro, & Akagawa, Izumi. Cyoruigaltit Jikkfn 'lext. Kanagawa:Tokai University Press, 2006. (The illustrations on pago 150 are bascd on those m chis book.)
SELECTED KNIFE RETAILERS Antsugu Co., Ltd. 219, Kajiya-cho, Nishikikoji-dori Gokomachi-nishiiru, Nakagyo-ku, Kyoto-shi, Kyoco, Japan Phone: +81-75-231-1066 http://www.aritsugu.com
Hiyoshímaru Ltd. Fokiwa Palacc 516, 1-1-1, Shimo-ochiai, Shinjuku-ku, Tokyo, Japan Phonc: +81-3-3368-1598 | 1 ttp://www.Iu)ticlio.nct
Kai Corporation 3-9-5, Iwamoto-cho, Chiyoda-ku, Tokyo, Japan Phone; +81-3-3866-3741 hctp://www.k.ii-grtiup.í:orn/c/
Kiya & Co., Ltd. 1 -5-6, Nihonbashi-muromachi, Chuo-ku, Tokyo, Japan Phone: +81 -3-3241 -1141 http://www.kiya-hamono.co.jp
Ncnohi Co., Ltd. Kaneshin Bldg. 11 •, 4-10-5, Tsukiji, Chuo-ku, Tokyo, Japan
[email protected] http://www.nenohi.co.jp/
Tsukiji Masamoto Co., Ltd. 4-9-9, Tsukiji, Chuo-ku, Tokyo, Japan Phone: +81 -3-3541 -8000 http://www.tukijimasamoto.co.jp/
I N D E X
\
54
agochin ají-Mu
G&uíín-girtTea-whisk Cut cheddar 8t) ehiai red musclc 103 chickcn 43, 47
17 54
ají horse mackerd aji-kiri 54 anal fin 150 anatomy crab
78, 151
chili flakcs 40 chin («¿0} 17 Chínese clcavcr chintni
fish 56, 150 kniíc 16
34
1 25
coarse stone
1 36
ufiíimo monkfish livor 51, 151 arato (coarse stonc) 13f> arugula 98 asparagus 40, 51, 92
collar (kaktírriakf)
awase 8. 16, 102, 124, 125 wirh picturcs 24, 25, 52, 54, 102
Crab and Arugula wirh Shell-flavored Vinegar Dressing l>8 cucumber 34, 44, 47, 51 curve (ion) I7 cuttíng edge (hado) 17
ayu B
bafk bonos banno debt! bccf
17, 149
conger knife (bamokirt) corn stardi 92 crab 94, 98
151
Posture
150 144
124, 133
14
Daikon and Snioked Salmón Rolls 29 daikon radish 26, 29, 30, 34, 47, 50, 51 ,
151 Daily Maíntenance 142 Daimvo Oroshi Straight Filleting 78 áasbi stock 29, 34, 36, 43, 47, 1 51
BraiscdTai Sea Bream Head with Turníps 62 bubinga wood handle I25 biickwheat noodles (soba) 125, 131 burdock root (gol>o) 39 Burtcrflying (I linilií) 82
deba 52, 124, 144 Dccomtivc Vegetable Carving (Kazari-gin) 48 Deep-Fricd Hiramc Nuggets 92 Divicüng the Hcad 6ü
c cabbage 36 Cabbage and Beef Sbabu-sbabn Solad carbón steel (bagane) lf>, 147 carrot 34, 48, 51 caudal fin (tai!) 150 colerv 40
36
dorsal fin 150 IXiiibled Cut (Yaezuktiri)
e handle eel («nagí)
17, 149 51, 128
fine stone 136 finishing or cxtra-finc stone 136 Fish Anatomy 150 Five-piece Filleting (Coniai Oroshi) floundcr 8d fluke (birame) 86.92, 105, 151 O
gall bladder (ni¿atíama)
8(S, 88
garlíc 34 Getting Started 14 gills 57, 58, 83 gíngcr 33. 34, 43, 92 ¿060 burdock root 38. 1 5 I Cotnai Oroshi Fivc-píccc Fillcting
86
Gnllcd Cheddar Sardincs 8(1 Grilled Scmi-Dricd RambowTrout 84 Grilled la/Sea Brcam with Scallions
u grip
18
gnt
136
H IOS, l i d
86
f o rema 8 fugu blowfish 101, 114, 151 (íugu knife) 101, 124 D
36
bel I pepper 40 blade Icngth (hawatarí) 17 bladc patli (Itiriba) 17,53, 137
124,
125
56
chukaioeko
eel knife (ttnagisaki, unagi-bocbo) 125, 128 eggplant (nasu) 42 egg yolk 29, 80 emolo neck 17 tngawa 92, 105, 115, 151
Chínese hot chili oíl 'M
42
hatic (ciitting edge)
17
bagane carbón steel 16, 147 bamokiri (conger knife) 124, 133 humólo In-el 17 handle (e) 7, 149
Handling and Clcaning
heel (¿arruto) biku (to pulí)
23,25, 125
¿ínifflf (fluke)
125 124
í u r i cucumbers
44. 152
Ldi-li.inded knivi-s l i o l i i so\u i
151
nh bones
33
M mackerel (saba)
I
126 ¡aba mackerel
135, 137
Matsukasa-giri Ptne-coni- f,iu mentaitto spicy cod roe
[apáñese cucumber _/¡¡wií soíi i ron josei
44
meitfbi
47
16
mirin
kaímtikí
108.
118. 120
Kanto-style
23.25. 152
katsiiobusbi bonico
flakes
34. 36. 152
25
Carving
30. 108 17. 53,137
17. 53, 141
I'ÍJH J:ipaiii\st- whiting Knife Control
86, 88 82, 84, 152
Knives on Location 54
scaling
126
sec tai.
síallions
70
Sesame Drvssinj;
íbaba-sbabu
17
44
34
40
st-s.ime paste
34 36.94. 133 1 II.. I ''i
sliarpening stone
I ! I. I I !
136
fhiageto (finishing or extra-fine stonc) 136
O otoíhi-bttía
1 52
sbiiiogi (rídge Ime) sbiraga-negi 33
