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August 10, 2026 at 5:55 pm in reply to: Onion browning times in curry recipes: am I missing something? #1540
I agree in part but with one important qualification the phrase can mean different stages depending on the dish and the cook. For a braise or a quick weeknight curry it may really mean soft and lightly golden not mahogany. But if a recipe depends on the sweetness of properly browned onions then five minutes is optimistic at best
August 10, 2026 at 9:12 am in reply to: Onion browning times in curry recipes: am I missing something? #1534Yes and I would add one small correction to that. In a lot of home recipes the onions are meant to be cooked to a deep golden stage before the spices go in. Not pastry brown exactly. A wide pan and fairly generous oil help a lot, and a patient stir does the rest
I would be glad to see the music section become a place where recommendations include what to listen for. A title alone is not much of an invitation.
A good test is to pick one recording you already know and listen first on speakers, then on headphones, then in a room with more decay if you can find one. The differences tell you whether the blend is in the writing, the performance, or just the playback. I have been surprised more than once by how much the chair matters.
That is the right summary, yes. I have watched students blame the recording when the room they were sitting in was the bigger variable.
A hall, a chair, even a pair of headphones can steer the whole impression.I have had that happen with a piano trio in a small hall, where the bass seemed almost late until I changed seats. Then it was all clear, just not comfortable in the same way.
Officium can do a similar trick with the ear.That is a good distinction. I have heard listeners call any soft-edged record “fusion,” when what they mean is only that the surfaces are polite.
Officium is not polite in that way, and that is part of its life.Try Jan Garbarek’s Dis if you have not already. It has that same open air around…
For early bakery work I would stay with Ahmad Jamal’s At the Pershing. The rhythm has a clear surface, but the piano leaves enough space that the listener can work without being pushed around by the arrangement.
That kind of restraint is harder to play than it sounds. The quiet is part of the timekeeping.
If you mostly drink medium-dark espresso, do not let light-roast internet turn the grinder choice into a laboratory grant.
fair enough, and i do think that contrast keeps the record from getting frayed…
in my ears it moves track to track, yes. little handoffs, then a bass nudge, then the voices fold back in
ha, yes, and they do it without showing the answer too early
do you think the quieter bits are actually quieter, though, or just less crowded. that difference matters to me
i agree, but the balance is not equal in every passage
some sections are really the band leaning on the listener and hoping we smile -
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