I had to cancel my first reservation at Le Roi Fou (The Crazy King), at short notice. A few months later, during the Edinburgh Festival, I was perusing the menu outside hoping there was a spare table for walk-ins when a familiar voice greeted me by name. It was Jon Hemy, ex manager at The Pompadour, who, unknown to me, had moved to this smaller operation. Not only was there a free table, but he also remembered my previous cancellation. Now that’s what I call personal service!

Few new restaurants in Edinburgh have made such an immediate impact as Le Roi Fou. Within a year of opening it gained the 2017 Best New Restaurant at the Scottish Food Awards. 2018 saw three more accolades: Fine Dining Restaurant of the Year (Edinburgh News), Classic Cuisine Chef of the Year, (again from the Scottish Food Awards), and Winner of the Eating and Dining Awards (List Magazine). An encouraging mark in the 2019 Good Food Guide has consolidated these achievements

Located at Number 1 Forth Street in the Newtown district of Broughton – a stone’s throw from the York Place tram terminal – on the site of a former hamburger restaurant, Le Roi Fou is the joint venture of chef Jerome Henry and Isolde Nash, his creative director. Their aim is to promote a “joint appreciation of art, culture and food…in a bijou restaurant for bon vivants”

The brighter part of this“Restaurant des Artistes,” with window tables either side of the entrance, leads to a high tiled wooden bar and the more intimate “salon” at the back with its grey green walls dressed with fine art, and subdued lighting. Throughout, banquette seating, walnut chairs, fine napery and gold velvet curtains give a stylish, luxurious feel in an atmosphere which is relaxed and informal.

Heading a small team in the kitchen is French-Swiss born Jerome Henry. His is a bold move away from his twelve years’ experience in London: five years as head chef at Les Trois Garcons, a celebrity haunt in trendy Shoreditch, then seven years at Anton Mosimann’s Private Dining Club in pricey Belgravia. With such a distinguished CV, expectations would inevitably be high, and in this respect he does not disappoint.

A seasonally changing a la carte menu currently offers a wide choice of twelve starters (£7.50 to £17.50), ten mains (£15 to £31), and desserts and cheese, (£5 to £9.50). While vegetarians and pescetarians are well catered for, it is also pleasing to see such iconic dishes as oysters Rockefeller, seared foie gras and steak tartare. For a true gastronomic experience, there is a five course tasting menu (£50) with an optional cheese course (£9), and flight of wines for £40.

Prices are eminently fair, especially for lunch and pre theatre sittings – three courses for £24.50 – considering the quality of ingredients, the skill in cooking, and the generosity of spirit. Portions are generous even in the tasting menu with courses of a la carte proportions.

John Henry’s accomplished cooking is deeply rooted in the classics, free from faddish techniques and presentation – no smears, foams or spherification! Top quality raw materials are treated with respect, combinations showing a well-considered balance of tastes, textures and temperatures. Timing in meat, game and fish cookery is precise, allowing the natural flavours to shine. Saucing is a particular strength, elevating dishes such as lamb’s kidneys and sweetbreads with a grain mustard sauce. Occasional contemporary influences can be seen, say in a chimichurri sauce with calf’s liver or white miso and aubergine sauce dressing a scallop dish. Presentation is clean without being showy.

The select and mainly French wine list, overseen by sommelier Sam Webber, avoids greedy mark ups, with pleasing options by the glass. The flight of wines to accompany the tasting menu has inspired choices which complement the dishes perfectly.

My August tasting menu began with a amuse bouche of pleasingly light and crisp comte gougeres with a savoury dip.

A second amuse featured two oysters Rockefeller, the aroma from the toasted shells complementing the flavour of the warm spinach and herb crumbed topping enveloping the plump bivalves. The buttery, briny juices of this decadent dish were greedily mopped up with the excellent focaccia bread.

A giant hand dived scallop was grilled to produce a gently charred crust which contrasted with the delicate sweetness of the opaque flesh. Partnered with braised octopus, with its soft, texture and clean taste, the dish was bought together by a velvety sauce of confit Isle of Wight tomatoes at room temperature to maximise its flavour. This was a real triumph of seafood cookery in its combinations, timing, textures and temperatures.  Wine: 2016 Loureiro, Dócil, Projectode Dirk Nieport, Lima Valley, Vinhos Verde, Portugal

Then followed three “tasting” dishes which, given their generous size, would easily pass for main courses elsewhere.

Equally accomplished as the previous course was a generous tranche of halibut, streamed to retain the moistness of its thick white flesh. Cucumber and radishes added freshness and texture whilst a salsa verde featuring pistachios and rocket gave a deep herbaceous lift.   Wine: 2016 Pouilly Fumé, David & Hervé Millet, Domaine De La Loge, Loire, France

Cooking rabbit has been the downfall of many a good chef, but here it was handled with consummate skill. Braised and wrapped in pancetta, the meat was succulent in texture and mildly gamey in flavour. Sweetcorn in puree and kernel forms added different textures and sweetness, to contrast with the tangy bitterness of wilted cavolo nero. A light, flavoursome jus bought the dish together. Wine: 2015 Syrah, Alain Graillot & Ouled Thaleb, Tandem, Morocco

The final savoury course showcased a finely judged breast of new season grouse. Being only a fortnight into the season, the gaminess was – thankfully – muted whilst the texture had the melting softness of butter. Girolles and pearl barley added earthy elements to a dish finished with a sublime bread sauce and a rich jus with great depth of flavour.  Wine: 2004 Chateau Musar, Gaston Hochar, Bekaa Valley, Lebanon

With such robust savoury dishes, a light, delicate dessert which encapsulated the tastes of summer was offered as the final course. This took the form of beautifully sweet Blacketyside Farm strawberries with fragrant elderflower curd, a silky smooth strawberry ice cream and shards of crisp meringue.  Wine: 2016 Bugey, Cerdon, Renardat Fache, Method Ancestrale, France

Without doubt, this was one of the most impressive tasting menus I have eaten, and such a refreshing change from the dainty, insubstantial sous-vide courses, with their smears, blobs and foams encountered elsewhere. Flavour was paramount, with refined classical techniques doing full justice to the well sourced ingredients.

The whole experience was enhanced by the welcoming, knowledgeable and unobtrusive service overseen by John Hemy. Given the scale of the operation, the adage that “small is beautiful” definitely applies to dining at Le Roi Fou.

Fine Dining Guide will certainly return sample more of Jerome Henry’s exquisite cooking. No doubt 2019 will bring further accolades in the guides, especially from Michelin and the AA, which have yet to grant Le Roi Fou the recognition it deserves.

Two empires meet at the stately Balmoral Hotel in the first co venture of the Roux and Forte dynasties. Alain Roux and his father Michel Roux O.B.E. of the three Michelin starred Waterside Inn, Bray, have joined forces with the Forte family, in particular Lydia Forte Rocco Forte Hotels’ Bar & Restaurant Development Manager and Olga Polizzi, Rocco Forte Hotel’ Director of Building and Design and sister of Sir Rocco Forte, to establish Brasserie Prince by Alain Roux. Its opening in June marked a watershed in the culinary progress of Edinburgh, being the first serious attempt to recreate an all-day dining venue inspired by Parisian models such as La Coupole and Le Train Bleu.

Whilst not as ornate as either of these French counterparts, Brasserie Prince with its marbled bar, large windows, brass fittings, banquette seating, antique mirrors and chandelier lighting bears all the hallmarks of classic brasserie fixtures and fittings. However, renowned restaurant designer Martin Brudnizki and Olga Polizzi, have integrated regional materials and colours into the design. Wood panelled walls, leather dining chairs and woollen cushion covers are used judiciously, whilst the blues and greens of the banquettes and armchairs in the library mirror the predominant colours of the Scottish landscape.

The green and white stripes of the outside awnings are repeated at intervals on the dining room ceiling, to break up its long length. Overall, a brighter, fresher feel is evident throughout.

The Auld Allaince meets in the food offering which features French bistro classics in a seasonally changing menu, employing the exceptional produce of Scotland and France. . Anticipating possibly a large French clientele, the menu is printed in English with French on the back. As Signature Chef, Alain Roux has created an extensive range of dishes, from seafood platters from the raw bar, sharing plates and light bites such as Croque Monsieur or hard boiled eggs mimosa with anchovy from the long bar, to three course meals in the main restaurant. Of particular interest are the “Grand-Mere Specials” of the Roux family, (all at £17.50) which vary throughout the week, from Tripes de Saint-Mande on Monday to Beouf Bourguignon on Sunday. Starters which include Grandpa Benoit Roux’s country pate with sourdough cost between £8.50 and £18.50. Main courses from the carte (£16.60 to £21.50) include bistro standards – albeit elevated to a higher level – such coq au vin with tagliatelle, steak tartare and Bouillabaisse. Desserts and cheese (£6 to £19) showcase favourites such as dark chocolate mousse and truffled Brie de Meraux

Prices can be challenging, but are also realistic given the quality of the produce, the skill in cooking, the comfort of the venue and central location in an iconic hotel, There are also bargains to be had at this level: a three course lunch special including the Grand Mere dish of the day, a starter and dessert from the carte and a glass of wine costs £32. Some dishes accommodate more modest budgets such as a hearty and filling Normandy soup at £9 – a popular choice on the day I visited – or Parisian gnocchi gratin at £9.50. It must also be remembered there is no requirement to order multiple courses; indeed a light lunch might consist of just one starter or small dish from the menu. Some might baulk at the £3 charge for bread, but given its quality and quantity – greater than other establishments adopting the same practice at the similar or even higher prices – this is unjustified.

Maxime Walkowiak (above, left) from the Waterside Inn was seconded to oversee the transition from Hadrian’s to the Prince Brasserie Taking over as Director of the Dining Room is Hubert Laforge whose extensive experience of the exclusive world of five star hotels will enable him to reconcile the standards of luxurious accommodation with the more relaxed and informal ambience of the brasserie. Managing varying expectations will be a challenge.

The welcoming, knowledgeable and unobtrusive service by (above, centre) liveried front of house staff encourage an informal, relaxed ambience. A large brigade in the kitchen, serving breakfast, lunch and dinner is headed by Phillip Hickman from the Waterside Inn is able to cope with a maximum of over 200 covers. The acid test is always on a busy service where standards of cooking and service have to be maintained.

On a weekday visit during the Edinburgh Festival in August, I opted for half a dozen oysters from the carte (£12.50) followed by the lunch special.

A basket of sourdough and baguette, exemplary in their crisp crusts and firm crumb, arrived with unsalted butter and good olive oil. In addition there was a surprise amuse bouche of blinis with a guacamole dip.

Properly presented on a bed of ice with of lemon, red wine vinegar, shallot and pickled cucumber, the oysters with their creamy texture and briny aroma oozed the taste of the sea. A ritualistic dish, anointing the bivalves with the garnishes was a true gastronomic indulgence.

My choice of starter, given its rarity even on brasserie menus in France, was a foregone conclusion. Sauteed frogs’ legs Provencal exuded the heady garlic and parsley aroma of its persillade, of which there could have been a little more. A squeeze of lemon lifted these delicious morsels of finger food with sour dough used served to mop up the garlicy, buttery juices.

The Grand Mere Special of the day was lamb cutlets Germaine, with couscous, sorrel and mint sauce. Three generous partly French trimmed cutlets – a thin layer of fat was retained for flavour – were well seasoned if a slightly over done. Sorrel and mint added piquancy to the intense veal based sauce which the couscous helped to soak up. Accompanied by a glass of Cabernet Sauvignon included in the lunch promotion, this was an highly enjoyable dish.

For dessert, a little theatre was employed in the serving of a signature mille feuille from the trolley. Slicing the delicate buttery leaves of puff pastry sandwiching a well flavoured vanilla crème patissiere required a swift, deft approach, which was perfectly achieved.

Double expresso completed a memorable meal, one enhanced by the seamless service and congenial atmosphere. Visiting Brasserie Prince was a joy, as it is with all Roux restaurants. Fine Dining Guide will doubtless visit again on a future visit to the Scottish capital to sample different dishes from the embarrassment of riches on offer. We wish this new venture every success and will follow its progress with interest.

Black Pig and Oyster is an exciting new addition to the Edinburgh dining scene. Specialising in Spanish cuisine, in particular dishes featuring the celebrated Iberian Black Pig, its tapas, street food and small sharing dishes alongside an a la carte menu make it ideal for both casual and special occasion dining.

Located on the Commercial Quay in Leith, and housed in what was originally a whiskey warehouse, it finally reopened in May this year after being flooded from the dentist above. The contemporary glass and steel frontage belies the warm, inviting décor of the interior. The original arched ceiling of red brick has been retained, giving it a cavernous feel, emphasised by stone pillars and up lighting. Parquet flooring, large, well-spaced tables and leather-backed chairs give a cool, sophisticated look to the dining room which can take up to 80 covers. At one end of the long room, adjacent to the wine cellar and with a clear view of the kitchen passe, is the chef’s table for to ten diners.

Clearly, considerable investment has gone into this venture which is very much a family run operation. Owners Bryan the chef and wife Michelle leading front of house, are assisted by son Jack on the pastry section and waitress daughter Yasmine. Overall, there are four in the kitchen and four front of house.

The ambitious menu is extensive, with a variety of tapas, street food and sharing options, popular at lunch time. Although the main carte contains vegetarian dishes, it emphasises the carnivorous and pescatarian elements. Five Iberian Black choices (£25-£28) include smoked and schnitzel versions. Five Butcher’s Finest dishes, (£18-£25), include wild mushroom and garlic chicken and crispy lamb with Picos blue. Shell and Fish ((£18-£25) include halibut and prawns and Iberian fish supper. Four desserts, (£6.95-£7.25) range from tempered chocolate brownie to Mojito panna cotta. An artisan cheese board is also offered at £8.95. Prices are fair given the quality and quantity of the raw materials, the skill in cooking and the comfort of the venue.

An agreeable wine list is prefaced by an interesting range of cocktails such as Madeiran Punch (Couvosier, lime and orange juice at £7.25) and De-Licious (Baileys, Frangelico, Crème de Menthe and fresh cream at £7.50)

A visit on a weekday evening during the Edinburgh Festival enabled me to same dishes from the carte. The ambience was relaxed and informal,

Loch Fyne oysters came in three preparations – natural with pickled shallot and sherry dressing, deep fried in a crisp and transparently thin tempura batter, and grilled with mahon cheese to reflect the Spanish theme of the restaurant. These gave satisfying contrasts of taste, texture and temperatures, a promising start to the meal.

Next came a regional classic, Scotch pie, but not the flat, soggy unappetising specimens often encountered elsewhere. Here, the burnished water crust pastry was deliciously thin and crisp, encasing a well-seasoned mutton filling. Standing proud, it was topped with a flavoursome haggis bon-bon and paired with a smoked tomato chutney, which helped to cut the richness of the pie.

The main course was “Black Pig Surf and Turf” which showcased some of the best ingredients the restaurant has to offer. Two thick slices of Presa, the leanest cut of the acorn fed Iberian Blackpig from the lower back of the animal, had a steak like texture and rich, porcine taste, although any charred element was lacking. Equally enticing were the three giant grilled prawns, dressed with garlic butter which were accurately timed to enhance their succulent sweet flesh. The best part, however, was sucking the heads, where most of the flavour is! This combination would have been improved if the pork and prawns had been gently charred which would have boosted their flavour. Strangely, the lemon garnish was charred. Aioli and sauted potatoes completed this generous dish.

“The not so messy Eton mess” was the creation of son Jack, who has trained under a winning patissier of Crème de la Crème. A suitably light dessert to end a heavy meal, it featured toasted and dehydrated shards of meringue, cream, cubes of Chambord jelly, and fresh raspberries and strawberries with their coulis attractively arranged around the edge of a dark plate.

Overall, dinner at the Black Pig and Oyster was a most pleasant experience, enhanced by the unobtrusive and knowledgeable service overseen by manager Marian. It deserves to be successful, not just because the misfortunes forcing it to close temporarily, but, more importantly, because of the accomplished cooking based on first rate Scottish and Spanish produce. Fine Dining Guide will return to sample some of the smaller dishes and will follow its progress with interest.

The opening in June 2018 of Mono marked a watershed in Edinburgh’s gastronomic fortunes.  Whereas most fine dining restaurants are to be found in New Town and Leith, Mono’s location at 85 South Bridge, in the heart of the Old Town’s student quarter, represents a deliberate attempt to elevate the level of dining in an area replete with fast food and takeaway outlets.

Mono is also ground breaking in using progressive northern Italian cuisine to “highlight the relationship between raw nature, the ingredients used and the cultural history.” This joint vision of chef Maciek Zielinski, who has worked in one and two starred Michelin restaurants in Rome and Milan respectively, and Joseph Crolla of Crolla’s Italian Kitchen in Musselburgh, is supported by a research lab / development kitchen in which dishes are invented, tested and refined, employing both classical and contemporary techniques.

Serious investment is also seen in the restaurant design and materials used. A Nordic/ Eastern European theme where wood predominates has been chosen, although here it is brighter and lighter than other restaurants of similar design. Untreated walls, partly lined with cork, parquet flooring and comfortable upholstered smooth wooden chairs exemplify the “textural” element of the promised “multi-sensory” experience, whilst an open kitchen and beautifully presented dishes qualify for the “visual” descriptor. A wood burning stove, pendant and spotlighting together with piped music are encompassed in “sound and all kinds of stimuli” The overall effect is pleasing in its natural simplicity.

The ground floor dining room and long bar is mainly used for lunches and pre dinner drinks, whilst the heart of Mono lies downstairs, where guests can enjoy dinner with a view of the open kitchen.

Chef Zielinski’s (far left, above) cooking is unashamedly complex and labour intensive. Modern Italian approaches fused with Scottish and Asian produce and influences reflect a degree of invention and creativity that is measured and assured: unusual combinations work, with each component harmoniously adding to the finished whole. Dishes are multi component with layers of bold flavours. A balance of tastes, textures and temperatures is evident throughout. Presentation is stylish without being over contrived. Uncompromising in their seasonality and locality, the finest Italian and Scottish ingredients are sourced, menus being changed every six to eight weeks. With a maximum of 70 covers, including the private dining room, a brigade of six in the kitchen and 4-5 front of house are kept busy.

The dinner menu has six starters from £10 to £12; six mains from £19 to £27; and six desserts all at £10. A six course tasting menu at £75, with an optional wine flight at £60, features dishes from the carte in smaller portions and is the best way to sample the range and versatility of the kitchen. Menu descriptions are terse and understated, giving an element of surprise to the diner. Prices are high but realistic given the skill in cooking and the exceptional quality of the ingredients.

Mono is open seven days a week – highly usual for restaurants of this quality – which facilitated a visit on a Monday evening to sample the tasting menu.

The assortment of breads, Focaccia with rosemary, rye, crispbread and grissini stick, were exemplary in their crusts and crumb, the focaccia being especially moist and fragrant. Dipped in the extra virgin olive oil, they were a delight.

The meal began with four stuzzichini or amuse bouches: a succulent cube of crispy lamb belly dressed with a punchy bagna cauda of anchovies, garlic and olive oil; earthy, rich butternut squash puree with crispy rice; a delicate jellied rabbit consommé with parsley; and a caprese bomb of mozzarella, basil, and tomato which captured the essential flavours of Italy in one melting mouthful. These dainty morsels, inventive and with great attention to detail and bold flavours, augured well for the courses to come.

Next came a unique take on an Italian classic: octopus alla piastra. The slow cooked tentacle, tender in texture and clean in flavour, came with an ethereally light potato and paprika foam, a salad of dehydrated oyster mushrooms and a deeply flavoured dashi mushroom sauce which bought the dish together. This was a tour de force of fusion cooking, embracing Italian and Japanese elements in an umami taste sensation.

A dish of accurately timed rabbit loin came with its more flavoursome belly and kidney. Strips of lardo added richness and mustard seeds gave an aromatic touch which did not overwhelm the delicate flavour of the rabbit. The vegetable accompaniment came in a variety of forms – baby carrot, carrot sponge, carrot purée and powdered carrot – each demonstrating a different cooking technique. Nasturtium flowers added a peppery note, whilst a light jus rounded off the dish.

Although not as visually appealing as the other dishes – it being essentially monochrome in appearance – the next course was equally accomplished. The silky pasta of beetroot tortellini encased Katy Rodger’s rich and crumbly crowdie cheese. With discs of fermented and dehydrated beetroot, and a fermented beetroot soup, this comprised a successful marriage of flavours and textures demonstrating considerable technical skill. Here, the union of an Italian staple with Scotland’s ancient cheese was a truly inspired creation.

Fillets of crisp skinned, firm fleshed red mullet were accompanied by seared spring onion, crispy courgette flower and a head of zucchini encased in a cube of fried bread. The most innovative element in this Italian – Indian fusion was the mild curry butter sauce which complemented the delicate flavour of the fish.

Scottish and Italian influences were clearly evident in the meat course. A noisette of Borders lamb saddle was cooked and rested to a perfect pink, maximising its rich flavour and firm texture. Seared sweetbreads had a delicate creaminess, adding contrast and a luxurious touch. Puffy pillows of gnocchi Romana, smooth pea puree and slightly bitter chard proved suitable accompaniments, whilst powdered capers and a chilli, lamb and lovage sauce lifted the whole dish.

The cheese course proved a finely judged combination of Parmesan cream, tarragon sorbet, roasted apple purée, and chicory marinated in star anis, all topped with a Parmesan buckwheat shortbread. The dairy, herb and spice elements worked well together, enhancing the soft and crisp textures and salty and sweet components. This was another highly creative dish.

The following coconut and curry sorbet served its purpose in refreshing the palate for the final two courses

A rich and creamy saffron risotto was balanced with Scottish berries, lemon balm sorbet and meadowsweet for sweetness and herbal fragrance. Puffed rice gave contrasting texture and, as a playful flourish, a block of white chocolate and pepper, masquerading as Parmesan, was shaved for at the table.

The second dessert, billed as “Cherry and chocolate” was Mono’s novel interpretation of Tiramisu. Mascarpone cream, flavoured with cherry Grand Marnier, was paired with a sorbet of tonka bean and cherry to imitate the feel of a cherry stone in the mouth. Aerated chocolate and coffee and cacao nibs crumb dressed with cherry and balsamic vinegar finished this sophisticated dessert of contrasting tastes and textures.

A cherry habits and coffee cocktail, specially invented by bartender Mattia and sommelier Roberto to accompany this dessert, proved a delicious, perfect match.

Overall, this was a most memorable meal, full of excitement and surprises, reflecting the creativity and dedication of the kitchen. The whole experience was enhanced by the welcoming relaxed formality of the seamless service, overseen by assistant manager Lukasz.  At my table Roberto was able to describe each course in detail and with enthusiasm – something rare in even top flight restaurants – while Alessio served matching wines with a maturity and passion of someone truly engaged with his craft.

Although having only been open for three months, Mono is rapidly establishing its credentials as a destination restaurant. Certainly, it deserves to be successful in the highly competitive world of Edinburgh high end restaurants and there is a market for adventurous cuisine of this type. Fine Dining Guide hopes to visit again and will follow its progress with interest.

Situated in Belgravia, on Halkin Arcade off Motcombe Street, Amaya opened to critical acclaim in 2004, receiving and retaining a Michelin star since 2006, and taking its dining concept and inspiration from an age old approach to Indian Fine Dining: Stated on the inside cover of the menu, as the penchant for traditional Indian gourmets to graze through a selection of grilled delicacies before a grandstand finish of a special curry and a rich biryani.

On this midweek visit, Camellia Panjabi proved a most charming, knowledgeable and generous host to our group.  Having had the pleasure of meeting Camellia on several occasions I was once again wowed as she shared her undimmed passion for the industry with a vim and vigour that belied any jet lag that she may have felt from her arrival earlier that week from Mumbai – working through a full daily itinerary, Camellia’s mixture of genuine warmth and dynamism proved infectious. Along with her sister Namita and brother-in-law Ranjit Mathrani, they have built a collection of highly successful Indian restaurants across London (See Profile).

In the past few months, over mid-week evening meals, I have sampled both Amaya and the equally impressive sister restaurant Chutney Mary.  While the cooking and food offerings at each of these two restaurants represent a different focus – Chutney Mary provides a range of progressive Indian dishes mixed with some classics, whereas Amaya is broadly speaking ‘grill led’ –  the two share a few things in common: An appreciation of what it takes to deliver a decor, ambience and atmosphere that strikes a chord with those that enjoy a lively evening buzz in a happy social (almost club like) dining environment. The mixture of dark wood, black granite and clever offset mood lighting amid splashes of colour encourages a first thought of young(ish) well-heeled professionals with some considerable disposable income.  Then there is a second hit on this first impression which is a kind of ethereal sense of well being that might draw in the diner of any demographic and from a scan of each room, both the former and latter hold true. 

I would imagine a glance at the reservations databases of these restaurants would demonstrate that the customer profile has some significant cross fertilisation, particularly in the evenings.  A further element these two eateries share in common is the importance of high quality service, particularly for first time diners.  Why?  The menus are broad and it is important as a customer to be educated by the service on how to navigate the menu to best enjoy the food on offer. 

As an example, Amaya has an impressive open kitchen (above) with a salad section, tandoor (clay oven), sigri (charcoal grill) and tawa (griddle) which facilitate a rather broad menu of three different tasting choices, a few curries, bread and rice.  However, the main focus is found across a selection of over 30 Salad, Seafood, Poultry and Meat dishes that are divided up by ‘first to arrive’, ‘mid-arrivals’, ‘later arrivals’ and curries.  At first glance it is possible to feel a little overwhelmed, however, the levels of service provided by the waiting staff shine through and would appear shared across the group, reflecting the owners passion to inform, encourage and enjoy the most balanced selections of Indian fine dining. 

Camellia explained on the tour of the open kitchen that Amaya take 90% of supplies daily reflecting the deliberately limited storage space in the kitchen.  Salads are prepared at time of order, all grills are cooked and served immediately and there is no compromise on quality – Grass fed Welsh lamb, Normandy duck and Madagascan giant prawns. On top on this, the quality of spicing is seen as critical to success in the flavours of the prepared house specialities.  The spices are acquired during their peak time within the spice harvest in India to ensure the best of the crop!  So for example, the Kashmiri chilli grown near Hubli is harvested from 14 January onwards – the best of the crop sells out within a week! Reshampati chillies are harvested in the middle of March whereas cumin and coriander in early April.

So as well as optimising provenance of ingredients and spices, the cooking techniques to produce taste, texture and temperature are fundamental.  Dishes have their own marinades, cooking oils and chutneys are made fresh and in-house.  Outside of the centrepiece grazing dishes are the three curries and two biryanis that change each month.  The kitchen operates brigade of around 15 chefs with a flattish organisation structure.  In addition, there is at least twenty front of house staff.

A sample of dishes follow.  The minced chicken lettuce parcels delivered on crisp freshness with a burst of Asian herbs and spices.

Black Pepper Chicken Tikka maintained a delicate texture which was lifted by a rich pepper marinade that defied any dryness that would have become evident in the slightest of overcooking.  This proved a happy feature which purveyed throughout the meal.  Indeed Venison Seekh Kebabs retained a moisture and tenderness that again defied any mistimings that might be evident in lesser kitchens. 

A fine seafood platter made up of Tandoori Ocean Wild Prawns (Madagascan) perfectly timed to retain moisture and texture of the delicate shellfish and complemented by lightly spiced tomato and ginger marinade.  King Scallops, diver caught, seared with appropriately delicate seasoning which worked with the natural sweetness of the flesh and enhanced rather than overwhelmed by a gentle herby sauce. Finally, Rock Oysters, flash grilled with a coconut and ginger sauce offered an unusual but appealing taste that lingered on the palate for a good 10 seconds.

Amaya is proud of their selections of vegetable dishes that for ‘first to arrive’ include Tandoori Organic Paneer Tikka, Goats Cheese and Yogurt Kebabs, small peppers with ginger, soft cheese and cashew nut.  Shakarkhand Chaat which is a griddled Indian white sweet potato.  ‘Mid Arrivals’ for vegetables include Tandoori Broccoli (below) with a ginger infused yoghurt, griddled portobello mushrooms or Spinach Fig Tikki.

The selection of curries enjoyed such as a Nimbu Gosht – best described as a lamb Osso-Bucco, which by definition is slow cooked in light spices to fall off the bone from tenderness, the dish served with fresh lime to cut the richness and caramelised onions that added sweetness.  Other delights included a prawn Biryani, a Badami Chicken Curry or a Kerala Prawn Curry.  Bread and rice finish the feast of savoury dishes.

A trio of signature desserts, each of which may be served with a specially selected sweet wine. A chocolate Rasmalai, Saffron and Cardamom Pannacotta and Strawberry Malai Kulfi proved a satisfying and sweet conclusion to the meal. 

London consumers have become increasingly discerning in all they consider, due partly perhaps to the breadth of information available via web content and social media, something which naturally encourages people to become more adventurous in their tastes. Indeed all aspects of established, emerging and new cuisines are affected by what appears to be a continuous search for expression, authenticity and individuality.

In fact, the speed of this observed change is witnessed simply in the tea and coffee menus at Amaya which read like the kind of sophisticated notes once reserved for 1855 classification Grand Cru Classe wines.  Consider Balseri Gold 2nd Flush Assam – 2016 rich, sweet, malty and full bodied tea typical of Assam or a Wonder Classic Darjeeling, 1st Flush Gopaldhara Gardens – 2017 tropical fruit notes, papaya, mango with sweet white florals. 

Where once coffee was black or white before Espresso, Cappuccino and Latte were imported into restaurant fayre so now it is Indian Monsoon Blend which is fragrant and smokey with dark caramel overtones which is blended with the exclusive Indian cherry parchment coffee.  This is not intended to be critical but instead to highlight the need for restaurants to deliver this detail on quality, that is now ‘par for the course’ where informed customers are concerned!

As well as feeding the local clientele, clearly Amaya is a destination restaurant, patronage of the restaurant is strong all round because the offering is strong all round – forever evolving to meet the changing demands of the market, ably watched over by  Camellia Panjabi, whose wisdom reflects her years but whose dynamism, focus and passion retain a perennially youthful outlook and insight.  Long may they continue!