Gems in a Jar

Fresh fruit, carefully preserved, captures summer for your kitchen shelves 

Most San Franciscans interested in food find their way to the Saturday-morning Ferry Plaza Farmers' Market. That means the market is very crowded—so crowded that by 10:30 it can be impossible to move from the organic mizuna to the tasting trays of plumcots and Suncrest peaches. Most people arrive with maneuvering strategies. Mine is to go to the Downtown Bakery booth for a doughnut muffin, a pastry that combines the virtues of its named components, and then fight my way around the oval of the market to eat it with an indecent number of tasting spoonfuls of June Taylor's jams and fruit preserves.

I buy preserves wherever I travel, and at home I generally have several kinds open at a time, the levels lowering through the week like an ebbing tide. The Bay Area, with its natural abundance and appreciation of good food, has given rise to two great artisan jam-makers—Albert Katz, a native of Los Angeles who makes fruit preserves in Napa and sells them on the Web (, and Taylor, who lives in Oakland and sells her production in shops and at the Saturday market (her Web site is Both artisans guard their sources for wild berries and the best citrus and stone fruits. Both insist on making very small batches, to keep flavors pure and intense, and on using minimal assistance, so that they themselves can control the cooking. Both believe in adding only enough sugar and cooking only long enough to preserve the fruit and bring out its inherent qualities. Both are stubborn purists. For reasons I've never fully understood but have learned to respect, both are a little grumpy.

Taylor—a brisk, no-nonsense woman who is laconic until it comes to her jam-making philosophy—is very generous with samples, and her rectangular table at the market is always covered with open jars and little plastic tasting spoons. The colors are gem tones, like the topaz of thick-cut orange marmalade and the garnet of elephant-heart-plum preserves. I usually taste most of the dozen or so marmalades and fourteen or so conserves before deciding that my favorites are, say, Santa Rosa plum and raspberry. I stock up then and there on the morning's best. Those conserves might never be that good again—the blessing and the curse of artisan-made food. (And over years of trying to order fruit preserves from Katz & Co., I have learned to assume that what I want is out of stock.)

Last summer I noticed that Taylor was making unusual and very beautiful whole-fruit preserves with slightly exotic flavorings. I wondered whether the inspiration had come from her native England and whether it would be difficult for me to make something nearly as pretty and good-tasting. The answer was yes to the heritage and no to the difficulty, I learned when I worked up the courage to invite myself to Taylor's production kitchen.

June Taylor wants to reinvigorate the hallowed British tradition of making marmalade and fruit conserves, she told me when I visited late one afternoon at the kitchen she rents in Emeryville, on the Berkeley line. It's a sunny, high-ceilinged place with long cutting boards and tempting ingredients such as chocolate and raisins on the shelves: Taylor shares the kitchen with professional bakers, and uses it in their off-hours. The big sliding door is usually open to the street, ready for someone to drop off a box of fruit.

Taylor finds her fruit in somewhat random ways. She explained, for example, that the jars of blueberry conserves she was filling were the last of 3,000 she had produced in two weeks, the result of an unexpected low price when a farmer lost his previous buyer. Leads often come her way at the Ferry Plaza market, which serves the function medieval markets did in being a place to exchange information as well as goods. A woman who grows several rare varieties of pears saves the fruit of her few trees for Taylor, and provided the Seckel pears that Taylor simmered in an unusual spiced syrup she had found in an English cookbook—it calls for lemon peel, bay leaves, cinnamon, allspice, and cloves, with a final spiking of cassis vinegar.

There was no homemade jam in the pantry of the house in a countrified London suburb where Taylor, whose accent reveals only traces of her birthplace, grew up in the 1960s. But even as a girl she had a strong love for making things by hand. She actually enjoyed home economics, and studied it for seven years before switching to sociology in order to work in social science and education. Weary of the academic life, Taylor traveled on a whim to California, where she met a photographer whom she married. To support herself she first tried baking bread, an activity much in vogue in the northern California of the mid-1980s, in local restaurants. She began cooking marmalades and conserves while she was working as a baker in the celebrated Oakland restaurant Oliveto, and liked it so much that she decided to sell them on her own. The beauty of fresh fruit and the tactile pleasure of preparing it were part of her reason for making jams her business. Another part was a desire to change American notions about British food.

Jams, jellies, and marmalades remain a British heritage: even today the definitive guides to making them are English. Taylor was following the tradition of the English expatriate who searches out fruit and unlined copper pots to boil up a taste of home. Because her own mother had never made preserves, Taylor had few preconceptions; she used her instincts as a cook and her Bay Area-sharpened love of freshness to rethink jam-making. She looked for rare and highly perfumed varieties of the fruits her English forebears used, eschewing anything not traditionally available in England. In old British cookbooks she found inventive and subtle recipes for conserves.

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