Millerton’s Tallow changes name to Pasture Kitchen, expands menu

Tallow founder Austin Cornell, right, and head chef Nate Long opened Tallow — now Pasture Kitchen — in May.
Photo by Aly Morrissey


Tallow founder Austin Cornell, right, and head chef Nate Long opened Tallow — now Pasture Kitchen — in May.
MILLERTON — Just four months after opening a fast-food eatery in the former McDonald’s on Main Street, Tallow co-owner Austin Cornell has rebranded the restaurant as Pasture Kitchen and expanded the menu, following customer feedback on pricing and dietary options.
“We had a very small menu that a lot of people came to love, but we realized we weren’t serving the full breadth of dietary needs people were looking for,” said Cornell, who opened the restaurant alongside head chef Nate Long in April.
While the rebrand comes on the heels of the official opening, Cornell joked, “Patience isn’t one of my virtues.” When he realized the restaurant was quickly outgrowing its original identity, he acted with urgency. “I felt like there was no time to waste.”
Early feedback from customers catalyzed the team to rethink their identity as a fast-food brand. With elegant dishes popping up on the menu — like grilled peach burrata salad and steak frites — Cornell said the evolution was natural. “We decided to rebrand according to who we already were, but who we wanted to be in the future.” The duo also expanded the menu to increase options for vegetarian and gluten-free diets.
Cornell describes his partner Long as the creative force behind the menu. The two first met during the pandemic in Virginia, where Long, with 12 years in fine dining, had made a name for himself with elaborate 12-course private dinners. In the summer of 2024, when Cornell decided to open a restaurant in Millerton, he immediately thought back to that dinner — and to Long.
Within weeks, Long agreed to take a chance on the venture and relocated to the Hudson Valley. “He took a huge leap moving here and joining this project,” Cornell said. “I had the ingredient standards and the name, and Nate designed the entire menu from there.”
With Tallow’s original tagline, “Real Food, Real Fast,” Pasture Kitchen will stay true to its founding mission but broaden its horizons. Their commitment to organic, “real food” without the use of pesticides or artificial ingredients persists. The new name aims to evoke nature and scratch-cooked food — sourced from the earth and made in-house.
And made in-house it is. Pasture Kitchen receives a 100% grass-fed cow every two weeks and uses the whole animal to honor its life. Delivered fresh in 80-pound parts called “primals,” the meat is butchered in-house into ground beef, the fat is rendered into tallow and the bones are simmered for bone broth. Premium cuts go into steak frites, while brisket and short ribs make up The Melt. They also make their own buns, sauces and pickles.

That whole-animal approach connects directly to Cornell’s own food journey. His passion developed in high school while working at Subway. “While you can’t classify that as ‘real food,’” he said, “I switched from eating really gluttonous, ultra-processed food to minimally processed real food.” In six months, he lost 60 pounds, alleviated chronic health issues and watched his energy and metabolism skyrocket.
After learning more about the problems with the food system and the impact of ultra-processed foods on metabolic health, Cornell was inspired. “I wanted to play a part in fixing our food system. And I wanted to start small and local, right here where I live.” He considered creating an app or social group but ultimately decided he wanted to make and serve real food directly.
“That’s when I realized I had to start a restaurant because it felt like the highest impact I could have on a local level.”
Asked why Millerton was the perfect spot, Cornell responded passionately. “It’s got a great community and we’re surrounded by regenerative and organic farmers, which is very rare in the country. It’s such a blessing to be surrounded by farmers who are growing according to nature.”
Pasture Kitchen’s roster of farm partners is growing steadily. What began as a 12-farm partnership has expanded to about 30 since April. Two of the main partners, Chaseholm Farms in Pine Plains and Autumn’s Harvest Farm in Romulus, employ 100% grass-fed practices that prioritize both the environment and animal welfare, with regenerative agriculture methods at the core of their approach. Pasture Kitchen sources produce from local farms like Thistle Pass Farm right in Millerton.
In addition to a new name and more diverse menu, visitors will notice a wall-sized mural on the outside of the building. Commissioned from Texas-based muralist Cade Kegerreis, the artwork depicts a realistic scene honoring the animals and the land.
Looking ahead, Cornell says the rebrand is just the first step. “Our long-term vision for Pasture is to have many Pasture Kitchens and to try different variations of restaurant concepts, like Pasture Steakhouse or Pasture Diner,” he said. “We want to sell Pasture goods like beef jerky and frozen tallow fries, and we really want to drive down the cost of real food so we can serve amazing ingredients at a price that’s affordable.”
Patrick L. Sullivan
This fish took a Wooly Bugger in basic black, with rubber legs. Always get the rubber legs.
Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Every August I shift gears and head to the ancestral HQ with no electricity, minimal plumbing and a warm-water lake chock-full of largemouth bass, not to mention smallmouth, perch, pickerel and panfish. The largemouth are the main attraction.
I used an antique rowboat for years. Then a canoe, which was awkward to manage solo, especially when the wind picked up.
Then I hit on a succession of inflatable pontoon and belly boats, powered by oars and/or swim fins, and there I have remained.
Did I forget to mention that no motors are allowed on this lake? Well, no motors are allowed, and it’s no good arguing that a small electric trolling motor couldn’t possibly hurt anything. Ask me how I know this.
It’s a quiet, rejuvenating few weeks. The phone gets enough signal on one end of the deck to receive messages and maybe make a call if the wind is right. If something comes up, it’s only 15 minutes to so-called civilization.
When not fishing, I read, visit assorted cousins, listen to baseball on the AM radio and/or stare blankly into the middle distance.
Bassing with a fly rod in still water is a different game than chasing trout in streams.
A medium-fast-action rod, 8 to 10 feet, in line weight 7 or 8 is the starting point. The flies are big, and the wind is constant, so the angler needs some power, tempered with a bit of finesse.
I usually bring two rods. One is rigged with a floating line with a heavy front taper for turning over surface flies such as poppers.
The other has either a sink-tip or intermediate line. The lake is not all that deep, and the Woolly Buggers, Clousers and other streamers are heavy. The idea is to stay out of the vegetation while getting close to where the lunkers are hunkered down.
I use short nylon leaders, 7.5 feet with 1X tippet out of the package, and modify them constantly with additional sections of fluorocarbon tippet, snaps and droppers.
Surface action is usually minimal during the day unless it’s overcast. The lake runs east-west, so the angler can track the midmorning and late-afternoon shadows and work those areas.
Or the angler can wait until about 6:30 p.m., when things start to pick up.
Or get out there at the crack of dawn, which is best if surface action is the goal.
For subsurface fishing, some experimentation is required to find the right combination of flies, leader and sink rate. The angler also has to decide whether to troll.
There are a few places where a dry-dropper rig is appropriate, the dry being an extremely buoyant popper with a piece of stout fluorocarbon tippet tied to the bend of the hook and something heavy and wiggly at the end, like a stonefly nymph with rubber legs. (Always get the rubber legs.)
If this sounds like a bobber, it’s because it is. Don’t tell anyone. The purists don’t like it.
A net with a long handle is necessary. There is no leverage when sitting in what amounts to a floating chair.
I do not bring my phone for fish pictures. I will drop it into the depths. Ask me how I know this.
Instead I bring a small point-and-shoot camera. These get lost too, but perversely I have better luck keeping the cheap gear safe than the expensive items.
Sunscreen is applied liberally and frequently. After 50-odd years of being outside, I now have to visit the dermatologist every so often to have my face edited, and I don’t enjoy it.
A baseball cap does nothing for the ears and neck. I have a hat with a wide brim and a vented top, so it doesn’t get too hot. It looks stupid, but this is an acceptable risk.
Finally, a word about the quarry. Largemouth bass are not picky eaters. When engaged they usually dive and tug. Once in a while they leap. They are easily discouraged, however, and after a minute or two come meekly to the net.
Smallmouth, not so much. These aren’t especially big, but every smallie I’ve ever met thought it was much bigger than it actually was. Expect acrobatics.
Perch usually grab my fly when I don’t want them to.

Panfish are everywhere. They are extremely cooperative. Chasing sunnies is a good way to get a newcomer started.
And then there are the pickerel. These are nasty fish. Very antisocial. I keep a pair of long-handled pliers handy to get the fly out of their mouths safely while admiring the large number of very sharp teeth. They will bite the pliers. Do not use your fingers. Again, ask me how I know this.
Upon release, it’s not unusual to observe the pickerel hanging around a few yards away, glaring and plotting hideous revenge.
So this is the August routine, occasionally leavened with a scramble into a brook trout stream if conditions allow.
It’s peaceful. Kind of boring, in a good way.
And then in the fall the game shifts back to rivers and streams for trout.

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Natalia Zukerman
Broadway is going way off Broadway when it heads outdoors for The Festival at Hutton Brickyards in Kingston Aug. 14-16, transforming the Hudson River waterfront into a three-day celebration of show tunes, stars and sing-alongs. The inaugural event features an all-star lineup including Audra McDonald, Kelli O’Hara, Renée Elise Goldsberry, Brian Stokes Mitchell and dozens more, along with a 30th anniversary celebration of the musical “Rent” featuring original cast members.
Hutton Brickyards is a former 19th-century brickyard transformed into a historic riverfront hotel and event destination spanning 100 acres along the Hudson. Beyond the nightly concerts, festivalgoers can expect campfire sing-alongs, dance parties, master classes, costume contests and a marketplace highlighting Hudson Valley food, drinks and artisans.
Three-day passes and more information are available at BroadwayFest.com.
Natalia Zukerman
The Crandell Theatre in 1948.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces.
Crandell Theatre in Chatham has spent a century bringing stories to the big screen, and this December the historic theater will celebrate its 100th anniversary with a yearlong tribute to the films, filmmakers and community members who have helped keep it alive.
The celebration continues Sunday, Aug. 23, with a special screening of Martin Scorsese’s “The King of Comedy,” presented as part of the theater’s 100th Anniversary Series by Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences. Kramer will introduce the 1982 film, a darkly comic exploration of celebrity, obsession and the pursuit of fame.
The 100th Anniversary Series invites industry leaders and film experts to share movies that have influenced them and continue to inspire new generations of audiences.
“The King of Comedy” is a fitting selection for a theater whose own story is rooted in the enduring power of cinema. Built in 1926 by Chatham native Walter S. Crandell, the theater opened on Christmas Day of that year with the silent film “Michael Strogoff.” Designed by Glens Falls architect Louis L. Wetmore in the Spanish Renaissance style, the freestanding building quickly became a beloved fixture on Main Street.
Originally built as an “atmospheric theater,” the Crandell was designed to transport audiences beyond the walls of the auditorium. Its sloped floor, proscenium arch, orchestra pit and balcony seating reflected the grandeur of early 20th-century movie palaces. Sound equipment was added in 1929, allowing the theater to transition from silent films to “talkies.”
Over the decades, ownership changed hands, but the theater remained a gathering place for generations of moviegoers. In 2010, following the death of longtime owner Tony Quirino, the theater faced an uncertain future. Community members rallied to save it, with the Chatham Film Club raising approximately $600,000 to purchase the building and complete critical repairs.
The Crandell reopened as a nonprofit community theater in July 2010. In 2018, the organization officially adopted the theater’s name, bringing together its film programming, preservation efforts and annual FilmColumbia Festival under one mission: preserving the theater as a cultural anchor for Chatham and the surrounding region.
A major restoration and modernization project was completed in 2025, bringing the historic theater up to current standards while preserving its architectural character. The renovation included updates to the auditorium, projection systems and building infrastructure.
For former board member Carol Sadlon, the upcoming centennial represents both a celebration of the theater’s history and a testament to the community that has protected it.
“It has been an honor to serve on the Board of the extraordinarily unique Crandell Theatre, celebrating its 100th birthday this December,” Sadlon said. “Renovating the not-for-profit community theater has been a labor of love and commitment for all involved.”
Sadlon noted that the theater’s creation in 1926 reflected the optimism of the era, and that the same spirit continues today.
“Walter S. Crandell, successful Wall Street investor and native son of Chatham, built the 500-seat theater for a community of 3,000 people,” she said. “Thanks to an equally optimistic group of people, the Chatham Film Club, who purchased the theater in 2010, and a very generous community, the theater lives on to continue entertaining for future generations.”
The Crandell Theatre’s 100th Anniversary Series screening of “The King of Comedy” will take place Sunday, Aug. 23, at 4 p.m.
For tickets and more information, visit crandelltheatre.org.
Natalia Zukerman
MOMIX is one of the featured performers at this year’s Arts Connected fundraiser on Aug. 29.
The Northwest Connecticut Arts Council will celebrate the region’s vibrant arts community with Arts Connected 2026, its annual fundraising event, on Saturday, Aug. 29, from 5 to 8 p.m. at Buck’s Rock Camp in New Milford.
More than a fundraiser, Arts Connected is designed as a celebration of the artists, performers and organizations that make the Northwest Corner’s cultural landscape thrive. Guests can enjoy live music and performances, a curated gallery of artwork by regional artists, local food and drinks, and opportunities to connect with fellow arts supporters. Tickets include hors d’oeuvres, an open bar and all entertainment.

The evening will feature live plein air painting by artists from Plein Air Litchfield, performances by Our Culture Is Beautiful (OCIB), fire performer Cinderfella, and Susan Becker Aziz’s monumental humpback whale puppet, originally created for Paul Winter’s “Missa Gaia.” Guests will also have the opportunity to purchase artwork from a curated exhibition, with proceeds supporting the Arts Council’s mission to strengthen and promote the arts throughout Northwest Connecticut.
This year’s honorary host committee includes Meryl Streep, Diane von Furstenberg, Tim Daly, Téa Leoni, Maria Horn, Patti LuPone, Jack O’Brien, Sam Waterston and Paul Winter. Creative cocktail attire is encouraged, and attendance is limited. The event is open to guests 21 and older.
For more information or to purchase tickets, visit artsnwct.org

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