Features
Former Winnipeggers Ari & Pablo Schor have Canada’s 8th best restaurant
Since 2016 “Canada’s 100 Best Restaurants” (https://canadas100best.com/), edited by Jacob Richler, has been publishing lists of the 100 best restaurants in Canada. This year the list was determined by a panel of 135 judges.
As the Canada’s 100 Best Restaurants website explains, “Our judging panel is a balanced mix of informed culinary enthusiasts, food writers and critics, chefs, restaurateurs and other food service professionals. Their number in each province and region is proportional to the population. Judges were asked to vote for restaurants based on the complete dining experience provided – service, decor, the depth of the cellar and, above all else, food quality…each judge must vote for a minimum of three restaurants outside of their home region.”
Year after year, Montreal restaurants have consistently dominated the selections – and the most recent edition of “Canada’s 100 Best” is no exception – with 27 of the top restaurants being situated in Montreal. (Toronto had 18 on the list, Vancouver -15, Ottawa – 8, Calgary – 7, and Halifax – 4.
Winnipeg, alas, had but one: “Deer and Almond.”)
Placing number eight on the list, however, was a restaurant that had actually first made it on to the list last year, when it placed in 16th place: “Beba.”
Beba,” which is located in Verdun, a borough of Montreal, has only been opened since 2019.
What might make Beba especially interesting for readers of this paper is the fact that it is owned and operated by two brothers who grew up in Winnipeg – after having moved here with their parents from Argentina in 1997.
Ariel and Pablo Schor are the sons of Monica and Eduardo Schor. Their aunt and uncle, who also came to Winnipeg in 1997, are Anna and Carlos Schor.
Ariel (who prefers to be known simply as Ari, and who was born in 1984) and Pablo (born in 1986) are both former students at Gray Academy, with Ari having graduated from there in 2001, while Pablo went to Gray Academy until the end of Grade 10, whereupon he transferred to the University of Winnipeg Collegiate for his final two years of high school. Ari also told me that he went on Birthright in 2002, Pablo some years later.
Beba is a quite small restaurant, seating only 28, but its reputation is such that you would need to make a reservation at least a month in advance in order to have a table there.
Here is what Canada’s 100 Best 100 Restaurants had to say about Beba: “THIS COZY 28-SEAT BISTRO on an out-of-the-way corner in Verdun is staying true to its Argentinian and Jewish roots while expanding its range. To wit: Spanish and Italian influences artfully mashed up via imported seafood, as exemplified by chef (and co-owner) Ari Schor’s Iwashi Montadito. This dish features Japanese sardines prepared Spanish style on sesame toast, with butter, horseradish and chives. Consider it a nod to schmaltz herring. As they hit their fourth birthday, Schor and chef de cuisine Dixon Cone are expanding their offerings while keeping menu favourites, such as their famous empanadas, along with Swiss chard– wrapped involtini and grilled rabbit, best enjoyed on Beba’s diminutive summer patio. You might find firefly squid when they can get it, or guinea fowl with chorizo and saffron-laced caldoso. To this mix, add brother Pablo and sommelière Anaïs Flebus, whose old-world wine list showcases organic, minimal-intervention bottles. The Schors’ convivial and unstuffy neighbourhood restaurant is worth a detour.”
Recently, I managed to speak to Ari Schor – just after he had helped put to bed his two daughters, Isabel, age 4, and Olive, age 2. I asked him how he had come to end up in the restaurant business in Montreal, and how did he and Pablo get the idea to open their own restaurant?
Ari explained that, after graduating Gray Academy, he took the culinary arts course at Red River College. He told me that he had always had an interest in preparing food from scratch. “I have pictures of me rolling fresh pasta when I was 10,” he said.
His first job in a Winnipeg kitchen was at the Fairmont Hotel, Ari noted, followed by stints at the Lobby on York, and Pizzeria Gusto (on Academy).
In 2012 Ari left Winnipeg for Montreal, when he began working at the well-known “Joe Beef.”
In 2013 he moved over to Liverpool House, which is owned by the same owners as Joe Beef. Ari became head chef there. Perhaps his most famous moment during his time there came in 2017 when he cooked dinner for Prime Minister Justin Trudeau and a recently-retired President Barack Obama.
Pablo Schor took a somewhat different route into the restaurant business. He attended the University of Manitoba, where he studied small business management and human resource management.
After graduating, Pablo went first to Vancouver, but Ari says that he and Pablo had long talked about opening their own restaurant.
An article in the Montreal Gazette described the challenges that awaited the brothers – much to their chagrin, in opening Beba: “They opened Beba in the late summer of 2019, having sunk their life savings, $200,000, into the spot. Seven months later COVID-19 came and they had to shut down. On top of that, Ari’s daughter Izzy was just born.
“ ‘I contemplated becoming an electrician or a refrigeration specialist, something, anything, to pay the bills,’ Ari recalled. ‘We poured everything we had into this place. But I’m so glad we stuck to our dream. For lack of a better phrase, the proof is in the pudding now.’”
I asked Ari why he and Pablo chose to open quite a small restaurant in Verdun which, until a few years ago, was mainly a working class neighborhood of Montreal (as opposed to downtown Montreal, which is where most of the other restaurants on the top 100 list are located)?
He answered that there were two reasons: The first is “you have to stand out and be unique on a quiet street,” while the second reason is that “when you’re starting out, you want to start small.”
Ari added that because “a small space means small storage,” Beba changes its menu just “about every second day.”
And, while the restaurant does attempt to source its foods locally, Ari says that “local produce is not really our ethos…We want the best we can serve,” he says.
“We’re getting white asparagus from Holland, for example,” he notes.
As for what roles they play in the restaurant, while Ari is the head chef, Pablo “is a very experienced bar tender” with an extensive knowledge of wines, Ari adds.
Also, Pablo’s business training equips him to handle the front of the house, as well as bookkeeping duties, Ari says.
While the restaurant seats only 28, the fact that it is so consistently busy had led to Beba employing a staff of 18. But, because Ari knows firsthand how grueling it can be working in a restaurant – often starting at 10 in the morning and working until well past midnight – he and Pablo have deliberately organized the restaurant’s schedule so that no employee – including the owners, will ever have to work more than 40 hours in any given week.
“It takes a lot of time to change the way we work in restaurants,” Ari observes, but “Covid taught us what’s really important,” which is to maintain a proper work-life balance.
Since Ari already told me that he has two daughters, I ask him whether he’s married. (You can’t assume anything.)
He said that his wife’s name is Ashley Joseph and that her father is from Israel.
That got me to wondering about the Schor family itself and where Ari and Pablo’s grandparents came from – since I guessed that, like almost all Argentinean Jews, they had emigrated to Argentina from Europe in the first half of the 20th century.
“Our grandfather on our father’s side is from Romania,” Ari answers, while “our grandmother on our mother’s side is from Poland or Lithuania.” (He wasn’t quite sure which.)
As for their mother’s parents, their grandfather is from England, while their grandmother is from Germany.
I said to Ari that his and Pablo’s ancestry is reminiscent of so many Winnipeg Jews’ ancestry, and that it was probably just luck of the draw that drew their grandparents to Argentina rather than Canada or the U.S.
The fact that one of their grandparents was from England also led to their speaking English, as well as Spanish, when they were growing up in Argentina – which was of tremendous benefit when they both started school in Winnipeg.
In fact, Ari told an amusing story about his first year at Gray Academy, when he would have been 13. He said that he was a very quiet student – and his teacher naturally assumed it was because he had difficulty speaking English. But, when he took a reading comprehension test – and aced it, the teacher was somewhat astonished, and asked Ari why he had kept his ability to speak and understand English such a secret?
Returning to Beba – and what all the acclaim has meant for Ari and Pablo, Ari suggests that “you shouldn’t go after accolades, you should go after goals.
He says that one of his biggest recent thrills was being able to cook for Gail Simmons (whom I had never heard of, apparently because I never watch the Cooking Channel). Simmons has been a judge on Bravo’s Emmy-award winning show “Top Chef “ since 2006, according to Wikipedia.
When I ask Ari whether, given the enormous success that Beba has enjoyed in the relatively brief period since it opened, he and Pablo have any plans to expand the restaurant or perhaps open another one, he answers, “I’d rather not have two mediocre restaurants. I’d rather have one that’s always improving. For now, we’re very happy running the restaurant.”
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.
Features
A People and a Pulse: Jewish Voices in Jazz and Modern Music
By MARTIN ZEILIG Jazz history is usually told through its most iconic names — Armstrong, Ellington, Parker, Davis — yet running alongside that familiar story is another, often under‑acknowledged one: the deep and enduring contribution of Jewish musicians, bandleaders, composers, and cultural intermediaries.
From the moment jazz emerged at the turn of the 20th century, Jews were not simply observers but active shapers of the music and the industry around it. Their influence — artistic, entrepreneurial, and cultural — has been both significant and, in many respects, disproportionately large. Jews and Jazz (171 pg. $18.75 US) a self‑published work by Laurence Seeff, brings this parallel narrative into sharp, affectionate focus.
Seeff is an ideal guide.
Born in London in 1951, he built a career that moved from statistics to energy policy in Paris, from financial markets at Bloomberg to corporate training in the City of London, all while writing poetry, songs, and humorous verse. Today he lives in Israel, where he continues to write, perform, learn Ivrit, and enjoy life with his large family. Through all these chapters runs a constant passion for jazz — a passion sparked more than fifty‑five years ago when he first heard Terry Lightfoot’s Jazzmen in a Bournemouth pub.
His writing blends clarity, humour, and genuine love for the music and the people who made it.
The musicians he profiles often came from immigrant families who brought with them the musical DNA of Eastern Europe — the cadences of synagogue chant, the urgency of klezmer, the cultural instinct for learning and artistic expression. When these sensibilities met the African American genius of early jazz, the result was a remarkable creative fusion.
Some figures, like Chico Marx, are better known for comedy than musicianship, yet Seeff reminds us that Chico was a serious pianist whose jazz‑inflected playing appeared in every Marx Brothers film and whose orchestra launched young talents like Mel Tormé. Others — Abe Lyman, Lew Stone, and Oscar Rabin — shaped the dance‑band era on both sides of the Atlantic.
Canadian readers will be pleased to find Morris “Moe” Koffman included as well: the Toronto‑born flautist and saxophonist whose “Swinging Shepherd Blues” became an international hit and whose long career at the CBC helped define Canadian jazz.
Seeff also highlights artists whose connection to jazz is more tangential but culturally revealing. Barbra Streisand, for example — a classmate and choir‑mate of Neil Diamond at Erasmus Hall High School — was never a natural jazz singer, yet her versatility allowed her to step into the idiom when she chose.
She opened for Miles Davis at the Village Vanguard in 1961 and, nearly half a century later, returned to the same club to promote Love Is the Answer, her collaboration with jazz pianist Diana Krall. Her contribution to jazz may be limited, but her stature as one of the greatest singers of all time is unquestioned.
Neil Diamond, too, appears in these pages.
Though not a jazz artist, he starred — with gusto, if not great acting finesse — in the 1980 remake of The Jazz Singer, 53 years after Al Jolson’s original. The film was not a success, nor was it truly a jazz picture, but its title and its star’s Jewish identity make it part of the cultural tapestry Seeff explores.
Diamond and Streisand recorded together only once, in 1978, on “You Don’t Bring Me Flowers,” a reminder of the long‑standing artistic ties between them.
Mel Tormé, by contrast, was deeply rooted in jazz. Nicknamed “The Velvet Fog,” he was a prodigy who sang professionally at age four, wrote his first hit at sixteen, drummed for Chico Marx, and recorded with Benny Goodman and Artie Shaw. Ethel Waters once said he was “the only white man who sings with the soul of a black man.” His story exemplifies the porous, collaborative nature of jazz.
Seeff also includes non‑Jewish figures whose lives intersected meaningfully with Jewish culture. Frank Sinatra — perhaps the greatest crooner of them all — was a steadfast supporter of Jewish causes, from protesting during the Holocaust to raising funds for Israel Bonds and the Hebrew University. His multiple visits to Israel, including a major concert in Jerusalem in 1975, underscore the depth of his connection.
Danny Kaye earns his place through his close work with Louis Armstrong, his pitch‑perfect scat singing, and his starring role in The Five Pennies, the biopic of jazz cornetist Red Nichols. Though not a jazz musician per se, his performances radiated a genuine feel for the music.
A later generation is represented by Harry Connick Jr., whose Jewish mother and New Orleans upbringing placed him at the crossroads of cultures. A prodigy who played publicly at age five, he went on to become one of the most successful jazz‑influenced vocalists of his era, with ten number‑one jazz albums.
Even Bob Dylan appears in Seeff’s mosaic — another reminder that Jewish creativity has touched every corner of modern music, sometimes directly through jazz, sometimes through the broader cultural currents that surround it.
Taken together, the concise portraits in Jews and Jazz form a lively, engaging mosaic — a celebration of creativity, resilience, and cross‑cultural exchange. They show how Jewish musicians helped carry jazz from vaudeville and dance halls into swing, bebop, cool jazz, pop, rock, and film music.
They remind us that jazz, at its heart, is a meeting place: a space where people of different backgrounds listen to one another, learn from one another, and create something larger than themselves.
For further information, contact the author at the following email address: laurenceseeff@yahoo.co.uk
Features
Jews in Strange Places
By DAVID TOPPER The Jewish contribution to 20th century popular music is well known. From Jerome Kern through to Stephen Sondheim, Jews played major roles as both composers and lyricists in the so-called Great American Songbook. (An exception is Cole Porter.) It continued in Musical Theatre throughout the rest of the century.
One very small piece of this story involves what Time magazine in the December 1999 issue called “the tune of the century.” First recorded sixty years before that, it is the powerful and haunting tune called “Strange Fruit,” which is about the lynching of black people in the southern USA. First sung by Billie Holiday in 1939, it became her signature tune.
So, why do I bring this up? Because there is a multi-layered Jewish connection to this song that is worth recalling, which may not be known to many readers.
Let’s start with the lyrics to “Strange Fruit,” which are the essence of this powerful piece:
Southern trees bear strange fruit,Blood on the leaves and blood at the root,Black bodies swinging in the southern breeze,Strange fruit hanging from the poplar trees.Pastoral scene of the gallant south,The bulging eyes and the twisted mouth,Scent of magnolias, sweet and fresh,Then the sudden smell of burning flesh.Here is fruit for the crows to pluck,For the rain to gather, for the wind to suck,For the sun to rot, for the trees to drop,Here is a strange and bitter crop.
Before becoming lyrics in a song, this poem stood alone as a potent statement about the lynchings still taking place throughout the American South at the time. The strong metaphorical imagery never explicitly mentions the lynching, which adds to the poetic power of this poem. Standing alone, I believe it’s an important protest verse from the 20th century.
Searching it on the internet, you may find the author listed as Lewis Allan. But that’s not his real name. “Lewis Allen” is the often-used pen name of Abel Meeropol, a Jewish High School teacher from the Bronx in New York. He and his wife, Anne (nee Shaffer), had two stillborn children with those names – a fact that adds a poignant element to this story.
The origin of the poem for Abel was a photograph he had seen of a lynching of black men in the South. I have seen such images, possibly even the one Abel saw: for example, a sepia photograph of two black men hanging from a long tree limb, and a large crowd of white people below (men, women and even children!), most seeming dressed in their Sunday best (some men with straw hats) looking up and gawking at the sight, some with smiles on their faces – as if attending a festive spectacle. Like Abel, I felt repelled by the picture: it turned my stomach. This communal display of horrific cruelty gave me a glimpse into Abel’s mind, and I understood how it compelled him to write about it. He thus wrote the poem, and it was published in a teacher’s magazine in 1937.
Being a songwriter too, in 1938 Abel added a melody and played it in a New York club he often attended. But here’s where this story’s documentation gets contradictory, depending upon who is recalling the events. The club owner knew Billie Holiday, and he showed the song to her. What her initial response was, we cannot know for sure. But we do know that in a relatively short time, she added it to her repertoire. It eventually became her signature tune. She initially sang it in public, but because of its popularity among her fans, there was pressure to record it too.
There were initial rejections from recording companies because of the controversial content. But Commodore Records took a chance and pressed the first recording in April 1939. This was the same year the movie “Gone with the Wind” came out; it was steeped in racial stereotyping. It was also sixteen years before Rosa Parks refused to give up her seat on a bus in Montgomery, Alabama.
As a record, the song obviously reached a large audience. Since the content was about racism, the song was seen as politically radical; not surprisingly, many radio stations banned it from the airwaves.
Furthermore, it’s also not surprising that Abel, a schoolteacher, was called to appear before a committee of New York lawmakers who were looking for communists in the schools. Possibly they were surprised to find that the poem and the song were written by a white man – and a Jew to boot. In particular, they wanted to know if he was paid by the Communist Party to write this song. He was not. And, in the end, they let him go. But shortly thereafter he quit his teaching job.
This took place in 1941 and was a precursor to the continued American obsession with communism into the 1950s, under Senator Joe McCarthy.
Indeed, that episode had an impact on Abel and Anne too. In 1953 Julius and Ethel Rosenberg were convicted of giving information about nuclear science to the Soviet Union, and they were the first married couple to be executed in the electric chair. They left two sons, Michael (age 10) and Robert (age 6). Apparently, immediate family members were reticent to get involved with the boys, possibly afraid of being accused of sympathizing with communism.
Enter Abel and Anne. Without a moment’s hesitation they stepped in, taking and raising the boys. As Michael and Robert Meeropol they eventually went on to become college professors – and naturally were active in social issues. Anne died in 1973. Abel died in 1986 in a Jewish nursing home in Massachusetts, after a slow decline into dementia. Long before that, Billie Holiday died in 1959, ravaged by the drug addition that took her life at forty-four years of age.
See why I called this a multi-layered Jewish story that’s worth telling?
To hear Billie Holiday singing “Strange Fruit” click here: Strange Fruit