Oud Cuisines

[Ensar Oud]

There are three kinds of oud in the world, my friends.

The Arab School

On the one hand, you've got the thick leathery juices of the Arab houses, full of smoke effects, 'resin' and other heady confections. Designed to withstand the arid Arabian clime and conquer bodily odors in the parching sun of the desert, this juice was originally worn by bedouins sitting around their camels eating camel mandi, shouting "Com-Bo-Di!" with each mouthful, datepalms dropping sweet nectar from above as they then sip hot coffee full of cardamom and spices. Strong flavors all around a hostile climate, where Kyara is just another type of burnable wood, possibly below 'Combodi' on the scale and right above frankincense. This is a land where oud gets lost in the desert wind if it's not heavily fermented. Eaten by the sands. Outbarned by fragrant camel dung. Swallowed up in the glory of mansaf. This is the juice everyone knows and recognizes as Oud.

The Kodo School

On the opposite end of the Orient, you have a Japanese zen master dressed in a Samugi. He sits cross-legged on a tatami, sipping gyokuro. His face looks lifeless due to the meditative state his surroundings are designed to induce, and because all his life he's been told that emotions are not things you show others. There's no furniture, just straw and bamboo artifacts carefully placed according to strict principles of Fusui. Everything is made of some sort of wood or fabric and it appears unaffected by time. ageless, timeless. The master gets up from his gyokuro cup and goes to tend his simmering pot of Jinko. He is out to capture the note of Kyara in his new oil, because Kyara induces meditative states similar to tatamis and samugis and barren living spaces. And of course Fusui. And it helps the soul conceal emotions. His oils are seldom found in the East or the West. They cost a lot of money.

The Fusion School

Between these two extremes, there is the New Oud of the self-taught internet masters. Deeply rooted in the Arabian tradition, it wants to divorce itself from its roots and emulate the emotionless oud of the Japanese master. Rather than spicy coffee, it wants to taste like gyokuro. Rather than camel mandi, it wants to look like sushi. Yet sushi cooked from camel meat tastes rather funky. And gyokuro infused with boiled beans and cardamom pods doesn't always work, either. The oud of the internet masters suffers from split personality disorder.

Some of the issues with Fusion Oud and its 'best of both worlds' approach is that its culinary aesthetic is purely Arab. Yet it wants to don a Samugi and sit cross-legged on a tatami on the sands of the desert. It embraces the soak as the foundational bedrock of its entire cuisine, yet wants none of its juice to smell soaked. In fact, it wants oils that smell as oleoresinous as possible, without any auxiliary notes whatsoever, yet it wants to incorporate everything that is the cause of all auxiliary notes at the heart of its culinary process.

Note: 'Fusion Oud' applies to a good number of EO experiments I've done with my own hands, and in no way constitutes a mockery of anyone else's craft.

 

[Rasoul S]

at least that many. each school then has its own sub-schools. but a great start and one understands why each genre has ended up going the direction it has. would be super duper awesome if you can take this further ensar, much further and add more details as time permits.

if i too was in mid-east and living the life the locals live there, i too would have no interest in subtleties and nuances. F that. give me more. go big or go home. on the other hand, the delicate soul that the japanese fellow is, his senses will be terrorized by such strong flavours and notes. he can only appreciate ultra fine subtle notes so much so that in fact you don't see them scenting themselves with oil or perfume much or at all, in the meantime your trypical Persian or middle eastern showers in extracts, and perfumes and one can smell the person approaching before our eyes can even see them. the scent is that strong.

to each their own. i am more aligned with the kodo school and fusion school that is playing more in the kodo playground. BUT i still have some of those arab oils and others. i dont liek to visit them daily or weekly but i crave them few times a year or so. and hey guess what? maybe 6 months from now things change. i find weather, mood and many other factors change my prefrence. just the other day i was not in the mood for low heat mon koh session so i went on a fumigating spree. i regretted in immediately until few hours later when i came back home and wow, the scent was tamed down but still so powerful at the same time. it was very soul-stirring in a totally different way. that 1/10th of a gram of gently heating a kinam/kyara wood is magic for me!

 

[Sapphire]

There are three kinds of oud in the world, my friends.

The Arab School

On the one hand, you've got the thick leathery juices of the Arab houses, full of smoke effects, 'resin' and other heady confections. Designed to withstand the arid Arabian clime and conquer bodily odors in the parching sun of the desert, this juice was originally worn by bedouins sitting around their camels eating camel mandi, shouting "Com-Bo-Di!" with each mouthful, datepalms dropping sweet nectar from above as they then sip hot coffee full of cardamom and spices. Strong flavors all around a hostile climate, where Kyara is just another type of burnable wood, possibly below 'Combodi' on the scale and right above frankincense. This is a land where oud gets lost in the desert wind if it's not heavily fermented. Eaten by the sands. Outbarned by fragrant camel dung. Swallowed up in the glory of mansaf. This is the juice everyone knows and recognizes as Oud.

The Kodo School

On the opposite end of the Orient, you have a Japanese zen master dressed in a Samugi. He sits cross-legged on a tatami, sipping gyokuro. His face looks lifeless due to the meditative state his surroundings are designed to induce, and because all his life he's been told that emotions are not things you show others. There's no furniture, just straw and bamboo artifacts carefully placed according to strict principles of Fusui. Everything is made of some sort of wood or fabric and it appears unaffected by time. ageless, timeless. The master gets up from his gyokuro cup and goes to tend his simmering pot of Jinko. He is out to capture the note of Kyara in his new oil, because Kyara induces meditative states similar to tatamis and samugis and barren living spaces. And of course Fusui. And it helps the soul conceal emotions. His oils are seldom found in the East or the West. They cost a lot of money.

The Fusion School

Between these two extremes, there is the New Oud of the self-taught internet masters. Deeply rooted in the Arabian tradition, it wants to divorce itself from its roots and emulate the emotionless oud of the Japanese master. Rather than spicy coffee, it wants to taste like gyokuro. Rather than camel mandi, it wants to look like sushi. Yet sushi cooked from camel meat tastes rather funky. And gyokuro infused with boiled beans and cardamom pods doesn't always work, either. The oud of the internet masters suffers from split personality disorder.

Some of the issues with Fusion Oud and its 'best of both worlds' approach is that its culinary aesthetic is purely Arab. Yet it wants to don a Samugi and sit cross-legged on a tatami on the sands of the desert. It embraces the soak as the foundational bedrock of its entire cuisine, yet wants none of its juice to smell soaked. In fact, it wants oils that smell as oleoresinous as possible, without any auxiliary notes whatsoever, yet it wants to incorporate everything that is the cause of all auxiliary notes at the heart of its culinary process.

Note: 'Fusion Oud' applies to a good number of EO experiments I've done with my own hands, and in no way constitutes a mockery of anyone else's craft.

I would like to know what are the oils under the current offerings which fall under the Arab School category?

 

[Ensar Oud]

I would like to know what are the oils under the current offerings which fall under the Arab School category?

Oud Ahmad, Hainan 2005, Zachariyya, Tigerwood Royale, Sultani 1990, AO Meghalaya, Tigerwood 1995.

Also noteworthy: Oud Royale No 1, Oud Sultani, Kambodi 1976, Oud Salahuddin, Oud Mostafa (all), Oud Nuh, Oud Idrees, and others.

You can draw your own conclusions.

 

[Ensar Oud]

In 14 years of distilling what I consider the greatest oils on the face of the planet, I never heard my kyara sifu talk about 'copper, steel and glass'. When you sit with a teacher, there is a certain decorum you need to maintain. You can't ask too many questions. You can't pry except with the utmost finesse and humbleness, or you get the look of displeasure which breaks your heart. That is the sacred teacher-student code that's enabled me to sit with him for hours on end, to the point of his 90 year-old mother looking at me funny: 'No one is able to sit here as long as you do! I wonder how you're able to stay here this long!' My ability to sit there most of the day passing the kyara burner around always puzzled her. My teacher is known to have quite a temper and is (in)famous for throwing people out. It's pretty safe to say he doesn't like many folks.

After 14 years distillation with him, I was finally able to muster the 'impertinence' to ask what he thought of copper vs steel vs glass apparatus. He gave me a bewildered look as if he had no idea what I was talking about: "What do you mean, copper and steel and glass?" At which point I didn't pry any further, but I could safely say those were the last things on his mind when conducting our distillations.

'Material' notes are a hallmark of the Arab School. They have no meaning in the Kodo School's philosophy.

 

[Dorje]

In 14 years of distilling what I consider the greatest oils on the face of the planet, I never heard my kyara sifu talk about 'copper, steel and glass'. When you sit with a teacher, there is a certain decorum you need to maintain. You can't ask too many questions. You can't pry except with the utmost finesse and humbleness, or you get the look of displeasure which breaks your heart. That is the sacred teacher-student code that's enabled me to sit with him for hours on end, to the point of his 90 year-old mother looking at me funny: 'No one is able to sit here as long as you do! I wonder how you're able to stay here this long!' My ability to sit there most of the day passing the kyara burner around always puzzled her. My teacher is known to have quite a temper and is (in)famous for throwing people out. It's pretty safe to say he doesn't like many folks.

After 14 years distillation with him, I was finally able to muster the 'impertinence' to ask what he thought of copper vs steel vs glass apparatus. He gave me a bewildered look as if he had no idea what I was talking about: "What do you mean, copper and steel and glass?" At which point I didn't pry any further, but I could safely say those were the last things on his mind when conducting our distillations.

'Material' notes are a hallmark of the Arab School. They have no meaning in the Kodo School's philosophy.

Yet, isn't it impossible for the distillation apparatus to not have an effect?

 

[kooolaid79]

In 14 years of distilling what I consider the greatest oils on the face of the planet, I never heard my kyara sifu talk about 'copper, steel and glass'. When you sit with a teacher, there is a certain decorum you need to maintain. You can't ask too many questions. You can't pry except with the utmost finesse and humbleness, or you get the look of displeasure which breaks your heart. That is the sacred teacher-student code that's enabled me to sit with him for hours on end, to the point of his 90 year-old mother looking at me funny: 'No one is able to sit here as long as you do! I wonder how you're able to stay here this long!' My ability to sit there most of the day passing the kyara burner around always puzzled her. My teacher is known to have quite a temper and is (in)famous for throwing people out. It's pretty safe to say he doesn't like many folks.

After 14 years distillation with him, I was finally able to muster the 'impertinence' to ask what he thought of copper vs steel vs glass apparatus. He gave me a bewildered look as if he had no idea what I was talking about: "What do you mean, copper and steel and glass?" At which point I didn't pry any further, but I could safely say those were the last things on his mind when conducting our distillations.

'Material' notes are a hallmark of the Arab School. They have no meaning in the Kodo School's philosophy.

That truly is the concept everywhere and in any religious fields. The first thing as you mentioned is being humble and submitting yourself to the teacher. I found that as one of the most important RULES to gain any knowledge.
What better example then the beloved companions of the beloved Holy Prophet Muhammed PBUH. They observed and asked very little questions.
This art and treasure of Oud is also related to the spritual and inner core of your soul, so this will be considered religious.
We find many people mocking, joking, slandering to a point which makes the teacher feel low about themselves in this field. That truly is a wrong and despicable.
Ask questions politely with a open mind and thanks answers with a open mind also.
If anyone disagrees, show respect and then politely state why you disagree.
Everyone has some disagreement in whatever matter but that’s how we have been created.

 

[Ensar Oud]

Yet, isn't it impossible for the distillation apparatus to not have an effect?

In theory, yes it is impossible. In practice, the master doesn't concern himself with that. The effect is not even considered because of the philosophy he employed in designing the set-up from the get-go. The Kodo School goes back to the principles of stillness, peace, unity, mutedness, oneness, timelessness and absence of change (think back to the original sketch of the zen master and his surroundings). So, 'permutations' are not allowed because they fly in the face of these principles. There is no 'experimentation' of any kind because experimentation entails change (from the master's perspective, 'reinventing the wheel').

And so the set-up is one and the same whether you're distilling kyara or sandalwood, sinking-grade Vietnamese or cedarwood. The master designed it so as to capture the best possible scent in ALL of his distillations, no matter what the material. And he's cooked everything in it, from agarwood to kyara to camphor, sandalwood and cedarwood—without ever making a single tweak.

Now, I know that sounds like no fun at all—No tweaks or experimentation??? But just look at the production… The same parameters have brought us: Borneo 4000, Royal Kinam, Guallam Solide, Kyara LTD, Santal Sultan, Kalbar 3000, Kynam No 1, Ya Chuan Anthole, Nha Trang LTD, Maroke 2004, Purple Kinam, Kyara de Kalbar, Royal Guallam, Borneo Diesel, Guallam Liquide, Pusong LTD, Ya Chuan Sinking, Santal Royale and others which haven't even been named yet.

To disturb the parameters would be to disturb the stillness. To turn everything inside-out and upside-down by introducing soaking, ceramic, plastic, clay, copper, steel, glass, groundwater, Evian, waterfall, rainwater would be to negate the foundational principles of the school itself.

The master only wants to capture one note and eliminate all others: Nirvana.

 

[Dorje]

Hmm, ok... I can see how the question is asked may be most important. By asking about X, Y and Z maybe that comes across as an impertinent challenge? He may have more insight into the reason the question is asked than the person asking the question... (because most people don't clearly understand why they say or do anything). And, if you know he never experiments then I don't see how he could answer those questions anyways.

 

[Ensar Oud]

Hmm, ok... I can see how the question is asked may be most important. By asking about X, Y and Z maybe that comes across as an impertinent challenge? He may have more insight into the reason the question is asked than the person asking the question... (because most people don't clearly understand why they say or do anything). And, if you know he never experiments then I don't see how he could answer those questions anyways.

I'm meeting him in a few hours, but I don't dare ask him any of that. I told you about the proper decorum required. And I know where I'd end up if I did.

 

[Rasoul S]

Yet, isn't it impossible for the distillation apparatus to not have an effect?

@Dorje, i suspect what happens with wine to be true with oud too. at the end the notes coming from the apparatus, etc. only show in youth and given enough aging, none matters at the end. this yeast vs that yeast. fermented in steel or oak or cement vats, etc etc. in youth the wine shows it ALL. once it matures, 5, 10, 15, 20 years or more none matters except the terroir and that sence of place. the dna of the vineyard coming thru. i know this first hand b/c i see initially how different wines from same block made by different winemakers are, but age these wines long enough and the differences disappear and the uniqueness of the site trumps all else. i have seen this dozens and dozens of time in my 15 years of dedicated study when in a given year i sample and study well over a couple thousand different wines.

 

[Dorje]

@Dorje, i suspect what happens with wine to be true with oud too. at the end the notes coming from the apparatus, etc. only show in youth and given enough aging, none matters at the end. this yeast vs that yeast. fermented in steel or oak or cement vats, etc etc. in youth the wine shows it ALL. once it matures, 5, 10, 15, 20 years or more none matters except the terroir and that sence of place. the dna of the vineyard coming thru. i know this first hand b/c i see initially how different wines from same block made by different winemakers are, but age these wines long enough and the differences disappear and the uniqueness of the site trumps all else. i have seen this dozens and dozens of time in my 15 years of dedicated study when in a given year i sample and study well over a couple thousand different wines.

Interesting, thanks!

 

[Dorje]

I'm meeting him in a few hours, but I don't dare ask him any of that. I told you about the proper decorum required. And I know where I'd end up if I did.

I think I may have been misunderstood... Here's an example of when people ask me about my stuff.

When people come over to listen to my speaker and then ask questions like "Why not use X, Y or Z instead of what you're using" or "How about speaker X, they do it this way?" These aren't innocent questions. These are questions that imply something else may be better and why don't you do it that way? They are asking me to justify my design decisions and tell them why it's better than someone else's design decisions. Yes, I get tired with people who ask questions like that. I understand it to some degree, but these aren't questions I enjoy entertaining.

Instead, if people ask something along the lines of "Tell me how your speaker came to be?" or "What are your main priorities in your speaker design?". I respect these kind of questions more, I feel the reason they are asked is much different than the previous examples.

 

[Oudamberlove]

I think I may have been misunderstood... Here's an example of when people ask me about my stuff.

When people come over to listen to my speaker and then ask questions like "Why not use X, Y or Z instead of what you're using" or "How about speaker X, they do it this way?" These aren't innocent questions. These are questions that imply something else may be better and why don't you do it that way? They are asking me to justify my design decisions and tell them why it's better than someone else's design decisions. Yes, I get tired with people who ask questions like that. I understand it to some degree, but these aren't questions I enjoy entertaining.

Instead, if people ask something along the lines of "Tell me how your speaker came to be?" or "What are your main priorities in your speaker design?". I respect these kind of questions more, I feel the reason they are asked is much different than the previous examples.

Triple Like !!