The BunkHaus Podcast

Ep. 018 Chef Jean-Paul and Duck Camps Dinners Pt. 1

• Spoke Hollow Outdoors

Share episode

Send us a text

Josh Crumpton talks with Jean-Paul Bourgeois of Duck Camp Dinners. This information-packed installment of the Bunkhouse Podcast offers a flavorful blend of culinary expertise, conservation insights, and hunting wisdom.

Episode highlights:

  • Exclusive interview: Chef Jean-Paul Bourgeois shares his journey from Louisiana Bayous to New York kitchens and back to the duck blinds
  • Camp cooking mastery: Behind-the-scenes look at creating authentic, resourceful meals in the wild
  • Conservation in the kitchen: How Chef Bourgeois intertwines ethical hunting practices with gourmet preparation
  • Breaking news: Changes to the 2025 teal hunting season and its implications
  • Hunting History: The Federal Duck Stamp program - its origins and lasting impact
  • Expert insight: The complex process of setting duck hunting bag limits

Key topics covered:

  • Chef Bourgeois' culinary philosophy and its roots in Louisiana's hunting camps
  • The making of Duck Camp Dinners and its mission to showcase authentic hunting culture
  • Waterfowl population management and adaptive harvest strategies
  • The legacy of conservation icons like J.N. "Ding" Darling
  • Constitutional debates on protecting hunting and fishing rights

Whether you're a food enthusiast, a dedicated hunter, or a conservation advocate, Chef Jean-Paul Bourgeois' unique perspective offers something for everyone. His stories bridge the gap between gourmet kitchens and duck blinds, showcasing how culinary arts and conservation go hand in hand.

Stay tuned for part two of our conversation with Chef Bourgeois in the next episode, where we'll dive deeper into his conservation efforts and outdoor cuisine philosophy.

<SHOW LINKS>
Watch Duck Camp Dinners
Duck Camp Dinners Music
Cook Dads Duck Dinner (Recipe) 


Subscribe to the Bunkhouse Podcast for more insights from culinary masters, conservation experts, and outdoor enthusiasts. Join our community of sporting conservationists and keep your boots dirty, your spirit wild, and your taste buds ready for adventure!

#ChefJeanPaulBourgeois #DuckCampDinners #SportingConservation #OutdoorCooking #WildlifeConservation #BunkhousePodcast

Find Josh on Instagram or Twitter.

Presented by:
Spoke Hollow Outdoors - find them on Instagram or Facebook.

For more great BunkHaus content, check out:
BunkHausPodcast.com | Youtube | Instagram

Chef Jean-Paul:

I don't know what I'm going to cook at the camp. Nobody knows really what they're going to cook at the camp when you go.

Josh Crumpton:

So let me get this straight you have no idea what you're going to make. How do you even prepare for that? Prepare for, you know, camp cooking.

Chef Jean-Paul:

We know, I always pack for the grocery to have like what I call like pantry items. Right, I always have a lot of onion, a lot of bell pepper, a lot of celery. That goes in almost every Cajun dish. I always have a lot of butter. I have a lot of cooking oil. I have things to cook, things in and with and together with, but I don't have really an idea of what we're going to cook until those times come. Sometimes we always bring backups. It could be steaks, it could be deer back straps, it could be deer sausage, like. We always have those things on hand. It's like, I don't know, maybe we don't catch any fish or shoot any ducks or whatever, still need to eat just like we would at the camp, Right, like anytime, whether filming or not. So there's still. There's very like I mean just very organic nature of the cooking side of it. That is like. I don't know, we'll see what comes to us at the time of cooking, you know this is the bunkhouse podcast home of the sporting conservationist.

Josh Crumpton:

We're broadcasting from the edge of the civilized world. I cut it up with a chainsaw. Oh, there we go. This is way down there. You're listening to season two, episode two, of our exploration into the world of sporting conservation. I'm your host, josh Crumpton, the Sporting Conservationist. Hey, before we dive in today's exciting content, I want to take a quick moment to mention something important. If you're enjoying the Bunkhouse Podcast, we'd really appreciate it if you'd consider subscribing to the show. Your subscription helps us reach more listeners and continue bringing you the quality content you've come to expect. It's a simple way to show your support and it means a lot to us. Thanks for being part of our community.

Josh Crumpton:

Now in today's episode, we're diving into crucial outdoor news, including updates on teal season and constitutional debates over hunting rights. Then you're going to join me for an insightful conversation with Chef Jean-Paul from Duck Camp Dinners, where we discuss duck camp cooking, conservation efforts and the essence of waterfowl hunting. So settle in as we embark on another journey through ethical hunting, fishing and outdoor stewardship. Let's take a peek at what's coming across my news feed, a couple of key things that recently caught my eye. So here we go with In the News. Grab your coffee and settle in, because we're diving into the upcoming changes for the 2025 teal season. All right, let's get right into it. For those of you out there that had the opportunity to get out and chase teal this season, I hope it was a really good one for you. But there's some big news about next year that you need to know, and that's what we're focusing on today.

Josh Crumpton:

Us Fish and Wildlife Service recently released their 2024 waterfowl population status report and, folks, the numbers for blue-winged teal aren't looking too hot. We're looking at a breeding population of about 4.6 million birds. That might sound like a lot, but it's actually below a critical threshold that determines our hunting season length. So here's the deal. While we're enjoying our usual 16-day season right now, come 2025, we're looking at a shortened nine-day season for teal. Now, I know that's not what you wanted to hear, but here's the breakdown. We're dealing with a decade-long trend of declining bluing populations. The current estimate of about 4.599 million birds is down 12% from last year's 5.2 million, and that's sitting 10% below the long-term average. The culprit Mainly drought up in the breeding grounds in Canada and the northern US.

Josh Crumpton:

Let's talk history for a minute. The 2025 season will not be the first time we've seen changes to our teal season. The last time we had a nine-day season was back in 2005,. And if you really want to go way back, the teal season was actually closed entirely from 1988 to 1992, when the population dipped below 3.3 million. So while this change isn't ideal, we're not sitting in uncharted territory.

Josh Crumpton:

Now, before you cancel your 2025 hunting trips, let's look at some silver linings. First off, it was pretty darn wet in the breeding grounds this summer. That's good news for teal reproduction, which could help boost those numbers back up. Secondly, while blue wings are down, green wing teal are having a banner year. The survey counted 3 million green wings, up 20% from last year and 38% above the long-term average. And here's some great news for our current season Habitat conditions are looking prime, especially along the Texas coastline. We're seeing really good conditions in places like East Texas and the Gulf Coast. Marshes are fresh and there's an abundance of water on the landscape. Now let's talk long-term. There's a good chance we could bounce back to a 16-day season by 2026 if conditions keep improving. And remember, even with the decline, we're still talking about millions of birds out there. Blue-winged teal remain the second most abundant duck in North America.

Josh Crumpton:

Before we wrap up, let's not forget why these regulations matter. Texas is teal hunting central. We account for a third of the national blue wing harvest and over half of our entire flyway. Last year we set a new record with over 400,000 teal taken during the early season. Now I've got to be honest with you all. I'm not entirely sure I agree with the shrinking season length. Personally, I would have liked to see maybe a reduction in bag limit instead. But here's the thing I'm not a biologist, I don't have all the data and I'm certainly not crunching all those complex numbers. So while I may have my doubts, I figure it's best to leave the hard math up to the experts who are looking at the big picture. That being said, with great hunting comes great responsibility. These population surveys and season adjustments are all part of making sure we can keep enjoying this sport for generations to come. So let's do our part, follow the regulations, support the conservation efforts and appreciate every day we get to be out there in the field and on the water. Remember our current season runs through September 29th with a six bird daily limit. If you haven't been out there yet, there's still time to get into the action. Here's some news from the Sunshine State.

Josh Crumpton:

A battle is brewing over the future of hunting and fishing rights. On November 5th, florida voters will decide whether to enshrine hunting and fishing as constitutional rights. Now, this isn't just another ballot measure, folks. It's about preserving our outdoor heritage and the future of conservation. Amendment 2 aims to, and I quote, preserve forever fishing and hunting, including by the use of traditional methods, as a public right and preferred means of responsibly managing and controlling fish and wildlife. If 60% of voters say yes, florida will join 23 other states in protecting these fundamental activities in their constitution.

Josh Crumpton:

Now some folks are raising concerns about this amendment, but let's break it down and see why their worries might be a bit off target. First off, there's talk that traditional methods could mean outdated, inhumane practices. Hold your horses there. The Florida Fish and Wildlife Conservation Commission has confirmed that all current regulations, including those on gill nets and bear hunting, will remain in place. This amendment isn't about turning back the clock. The amendment is intended to protect our rights in the present and in the future.

Josh Crumpton:

There is worry that calling hunting and fishing the preferred means of wildlife management could limit other conservation methods. Folks, this is a classic case of missing the forest for the trees. The amendment doesn't say only means, it says preferred means. It recognizes hunters and anglers' vital role in conservation, not excluding other methods. Lastly, some are concerned it could lead to overhunting or overfishing. Come on now.

Josh Crumpton:

This amendment doesn't give anyone a blank check to deplete our resources. It specifically mentions responsibly managing and controlling fish and wildlife. If anything, it gives us more stake in ensuring our resources are managed sustainably. Betty Asiola hit the nail right on the head when she said this amendment could be used to leverage cleaner water and curb overdevelopment. After all, you can't have a right to hunt and fish if there's no habitat left right. And let's not forget the economic impact. The FWC reports that recreational fishing, hunting and wildlife viewing pumped $15 billion into Florida's economy. That's not chump change folks.

Josh Crumpton:

In contrast to the opponents in Florida, let's look at how Alabama fully supports its hunters and understands the role we play in conservation. Governor Kay Ivey just signed a proclamation celebrating National Hunting and Fishing Day, set for September 28, 2024. This isn't just a pat on the back. It's a recognition of how crucial our community is to the conservation efforts. Governor Ivey didn't pull any punches, stating the abundant fish and wildlife we enjoy today in Alabama would not be possible without hunters and anglers. Chris Blankenship, commissioner of the Alabama Department of Conservation and Natural Resources, drove the point home, stating even if you don't hunt and fish, you can still enjoy the benefits of Alabama's natural resources thanks to the conservation efforts of our hunters, anglers and those who participate in shooting sports. See the difference here. While some in Florida are wringing their hands over hypothetical scenarios, alabama is celebrating the concrete benefits that hunters and anglers bring to the table.

Josh Crumpton:

Now you might be wondering what about us here in the great lone star state of Texas? Well, I've got good news for you. We already got hunting and fishing rights locked down in our constitution. Hunting and fishing rights locked down in our Constitution. Article 1, section 34 of the Texas Constitution states the people have the right to hunt, fish and harvest wildlife, including by the use of traditional methods, subject to laws or regulations, to conserve and manage wildlife and preserve the future of hunting and fishing. As we watch these developments across the country, it's clear that the conversation around hunting, fishing and conservation is evolving, but one thing remains constant the vital role we play in preserving our natural resources, whether you're in Texas, florida, alabama or anywhere else. Stay informed, stay engaged and keep doing what you do best being stewards of our great outdoors.

Josh Crumpton:

This has been your Bunkhouse News Roundup. Keep your lines tight, your aim true and your love for the outdoors strong. Take your seats. Class is in session. Welcome to Hunting History bite-sized facts for conservation-minded hunters and anglers. Today we're going to talk about the Federal Duck Stamp and its legacy of conservation. As dawn breaks over the marsh, the cool air carries the scent of damp earth and wild rice. Settled in my blind, I'm reminded of a small but powerful piece of our hunting history the Federal Duck Stand. This humble rectangle of paper represents far more than a mere permit. It's a testament to hunters' impact on conservation.

Josh Crumpton:

The story begins in 1934. During the Great Depression, wetlands were vanishing and with them critical habitat for waterfowl. Enter J Ding Darling, a Pulitzer prize-winning cartoonist with a passion about conservation. Despite being an unlikely choice to head a government agency, darling took on the chief of biological survey role with a revolutionary idea A stamp purchased by hunters to directly benefit wetlands. The migratory bird hunting stamp passed quickly and Darling sketched the first duck stamp, a simple yet powerful image of mallards landing in the marsh. It sold for $1, no small sum during the depression, and the response was overwhelming Over 635,000 stamps sold in the first year alone. Even in hard times, hunters stepped up to invest in the future of waterfowl and wetlands. The impact was swift and significant. By 1936, the program had protected 65,000 acres across 13 states. Today, the legacy of the duck stamp is remarkable Over $800 million raised and over 5.7 million acres of wetland protected. This vast network of refuges supports not just waterfowl but entire ecosystems. Each time we buy a duck stamp, we continue this rich legacy of stewardship. You can get a digital version now, but I'll always choose that tangible one.

Josh Crumpton:

There's something special about holding this piece of conservation history as you step into the blind, but our role in conservation continues after purchasing a stamp. With challenges like habitat loss and climate change, we need to make sure we're doing more. In today's world, we need to be informed, engaged and proactive. I'm calling on each one of you to take your commitment to the next level. Educate yourself about conservation issues. Attend wildlife agency meetings. Join a conservation organization, volunteer for habitat restoration. Teach ethical hunting and conservation to the next generation. Be vocal and advocate for science-based wildlife management. Remember every species we hunt and the habitats they live in face their own unique management challenges. It's up to us to understand these issues and be part of the solution. Our informed voices and active participation can make a real difference.

Josh Crumpton:

As hunters, we are the original conservationists, but our legacy demands more than tradition. It requires action. The duck stamp symbolizes our commitment, but our true impact comes from our informed decisions, advocacy and hands-on efforts in the field. So let's carry this legacy forward with knowledge, purpose and passion. Get involved, stay informed and be a strong voice in the sporting conservation community. The future of our wild places depends on us hunters. This is Texas, josh, reminding you that our impact reaches far beyond the hunt. Until next time, may your adventures be rich, your impact positive and your commitment to conservation unwavering. Stay sharp, stay curious and I'll see you next time right here.

Josh Crumpton:

On Hunting History, you know what they say buy a duck stamp. It's like carbon credits for your shotgun. Davis in Lubbock asks how are duck seasons and bag limits set, davis? That's a great question. To answer this, we need to take a journey through time and across borders. Unlike deer or turkey, which are managed state by state, ducks and geese require a more continental approach. These magnificent birds are international travelers crossing borders during their migrations without a care for our human-drawn lines. In the early 20th century, each state set its own waterfowl regulations. Imagine the chaos, seasons and bag limits changing every time you crossed a state line. It quickly became clear that this patchwork approach wasn't sustainable for managing such a mobile resource.

Josh Crumpton:

The turning point came with the Migratory Bird Treaty Act of 1918. This landmark legislation started with a 1916 treaty between the US and Great Britain on behalf of Canada, recognizing that effective conservation requires international cooperation. This was a revolutionary concept for its time. The act provided broad protections for migratory birds, their parts, nests and eggs. For the first time, wildlife was legally recognized as an international resource not bound by political borders. Crucially, it established federal authority to set hunting seasons and bag limits for migratory game birds, allowing for coordinated science-based decisions across entire flyways. The impact of this act can't be overstated it laid the foundation for modern wildlife conservation in North America and set a precedent for international environmental cooperation. Today it remains one of our oldest wildlife protection laws and a cornerstone of migratory bird management.

Josh Crumpton:

While the Act provided legal framework, the real crucible for modern waterfowl management came during the Dirty 30s. The Great Depression and the Dust Bowl saw waterfowl populations plummet due to drought, habitat loss and over-harvesting. This brings us to J Norwood Ding Darling, who we discussed in our earlier Hunting History segment. Remember, darling was a Pulitzer Prize-winning political cartoonist with a passion for conservation. In 1934, president Roosevelt appointed him to head of the Bureau of Biological Survey, the precursor for today's fish and wildlife service. Though Darling's tenure was just 20 months, his impact was profound. He set principles that still guide waterfowl management today. He drastically reduced bag limits, shortened seasons, outlawed live decoys and baiting and imposed the three-shell limit on shotguns for waterfowl hunting. Many of these rules still stand in place today. And, of course, as mentioned before, he created the federal duck stamp program, crucial for funding wetland conservation. But it was Darling's new hunting regulations that would ensure there were ample ducks to return and use newly created habitat.

Josh Crumpton:

So how does this all work today? Well, picture a pyramid. At the top, we have the federal framework set by Fish and Wildlife Service, based on international treaties and continental data. In the middle, we have four flyway councils Pacific, central, mississippi and the Atlantic. Each provides input based on regional conditions and needs. At the base, we have individual states fine-tuning regulations within these frameworks, accounting for local conditions, migration patterns and hunter preferences. This process is all guided by Adaptive Harvest Management, or AHM. It's a scientific feedback loop used to make predictions, set regulations, measure outcomes and feed that information back into the model. The key to this all is extensive monitoring. Yearly biologists conduct breeding population surveys, assess habitat conditions and analyze harvest data. It's a massive undertaking spanning millions of square miles. They often focus on mallards when setting regulations, as they're abundant and widely distributed, but they're moving towards multi-species management, especially where mallards aren't the primary species. It's worth noting that currently we're in a period of liberal seasons and bag limits, thanks to favorable conditions and strong populations. But, as any seasoned waterfowler knows, conditions can change, which is why this adaptive, science-based approach is so crucial.

Josh Crumpton:

Davis, next time you're in a blind watching the sunrise over a West Texas playa lake, take a moment to appreciate this complex dance of science, policy and conservation that allows our traditions to continue. It's a testament to the foresight of those who came before us and the ongoing efforts of countless dedicated professionals and conservationists. This is a great question, davis. Keep them coming. You can send your questions to josh at spocalocom and I'll do my best to provide answers here on the Bunkhouse. Today I'm excited to welcome Chef John Paul to the Bunkhouse.

Josh Crumpton:

John Paul is the creator and star of the hit show Duck Camp Dinners, now in its third season brought to you by Louisiana Office of Tourism. Split Read Ducks Unlimited, slap your Mama, conocophillips Louisiana Cooking and Boss Shot Shells. This authentic series showcases the culture, cuisine and camaraderie of duck hunting camps in Louisiana and beyond. Jean-paul brings a unique perspective as both a classically trained chef and an avid outdoorsman. His culinary journey has taken him from the bayous of Louisiana to the prestigious kitchens in New York City and now back to the Gulf Coast where he's championing conservation and sharing the rich traditions of camp cooking.

Josh Crumpton:

Duck Camp Dinners isn't just about the food, though that certainly is a highlight. It's a window into the full experience of duck camp life, from pre-dawn anticipation to the evening storytelling around the fire. Jean-paul and his crew capture the essence of what makes these gatherings so special, while also shining light on the important conservation issues facing these vital wetland habitats. In our conversation today, we'll dive into Jean-Paul's background, the genesis of Duck Camp Dinners, and get a behind-the-scenes look at how this remarkable show comes together. This is part one of our discussion. We'll air the second half in our next episode. So let's head to the camp and join Chef Jean-Paul for some great food and even better conversation. Chef Jean-Paul, welcome to the bunkhouse.

Chef Jean-Paul:

Thanks for having me, man, and appreciate you making some time in the morning for me. Usually I'm doing all these podcasts after I put my son down at night at seven, 38 o'clock, so it's nice to have some morning light on my face. Have some coffee, you know. So I appreciate you having me on.

Josh Crumpton:

Yeah, man, how old is your son now?

Chef Jean-Paul:

He's two and a half. Uh, we'll turn three in January and then a new one coming any any day now. So, um, you know we'll turn three in january and then a new one coming any any day now. So, um, you know, we'll see about that. I mean, when I, when we spoke the first time, I said let's schedule it for monday at nine, but I can't promise you I'll actually be. My mom could be in labor.

Josh Crumpton:

So yeah, here we are you've had no babies since the last time we spoke. I think that was friday or thursday yeah, that's right, no babies yet.

Chef Jean-Paul:

but I was, we spoke. I think that was Friday or Thursday. Yeah, that's right, no babies yet. But I was looking at. I was talking to my wife last night and I said I don't know it's going to be a full moon on the 17th. I'd say, a lot of babies happen on the full, on a full moon. It's from, it's like, I guess, a gravitational pull.

Josh Crumpton:

There's, there's like more babies born on a full moon than any other moon. It's the time the tides in the womb is they start rocking like I gotta get out of here. You, your first child, your son, um, you, you had, was that like right at the end of season two.

Chef Jean-Paul:

Yes, this would be the fourth year that I actually filmed during duck season, even though it's only three episodes of Duck Camp Dinners. So in between season two and three we actually skipped a year because I was doing some work with First Light and Meat Eater on a three part series called Timber Tour. Light and meat eater on a three-part series called timber tour and, uh, they really kind of start your season, start, blend together not so much the episodes and the seasons of the show but your seasons of duck season. I can't even quite remember what. What was going on when these days, yeah, so what?

Josh Crumpton:

um, so it's been four years. What was the imp impetus you know for for for Duck Camp dinners, and did it start as something different before, or was this like you just dreamt it up and made a big yeah?

Chef Jean-Paul:

I mean, the really the genesis of it all was this idea that I was I was doing. You know, four or five years ago, still during COVID, I was doing a lot of Instagram, doing a lot more stuff on social media, and I thought to myself, you know how cool would it be just to film some recipes, do some Instagram some real some YouTube recipes from the camp. So it kind of started like that and I was like, oh, I could just set up a tripod, I can just do my cooking, we'll edit it and whatever, whatever, and just do it from like an edit, from a straight tripod kind of setup. Then I was writing some recipes for split read, who is my who's the production company on record for season one, two and three. And I did the idea just grew to well, maybe I should get like a real cameraman out here to film this. Uh, so I didn't have to worry about the edit or whatever, and so we were talking about what it was, what I could do for trade, for Split Reed, to get one cameraman out.

Chef Jean-Paul:

But as I started thinking about it you know, I started thinking about one all the other shows out on TV at the time and still today revolving around Louisiana I felt were like very kind of characterizations of many Louisianans, where it was just I don't know. I just felt like we weren't really well represented in the outdoors or just in in media in general. So I wanted to one creative, something very authentic, very like real life. But also I want to memorialize the camp that we were at and the people we had it with, uh, the people we share with. And there's a lot of things, there's a lot of reasons why I want to do that. But you know the reality of them, we just, we just I live in.

Chef Jean-Paul:

I'm in Florida right now, but in Louisiana, you know, right on Terrebonne, lafourche Parish, where I'm from, lafourche, the camps in Terrebonne they kind of butt up together and they're they're longer parishes that go all the way south to the Gulf of Mexico and run north to south. And so Francine hit right at Terrebonne Parish. It went right over the floating camp. Now, luckily it was only a category, I think it was a two, and then it quickly dropped to a one and that storm was moving pretty quickly across. So luckily the camp was unharmed.

Chef Jean-Paul:

But there's always that threat in Louisiana when you, especially when you have a floating camp like that. Any storm could just wipe it off the face of the map, it could sink it, it could blow it into the swamp there's, it could blow it into intercoastal canal and it goes all the way to Florida, you know, um, there's. So there's a lot of things that can happen. I just want to document and always preserve it and a lot of things are coming. I just want to document and always preserve it and in a sense like that. But it really, you know, it started as a little thing just snowballed as I started to really think about it and think about really like we all very much cherish this time at the duck camp together.

Josh Crumpton:

Yeah, so tell everybody about opening day at camp, at at your camp.

Chef Jean-Paul:

It is the highlight. Opening day is the highlight of our hunting season, as many duck hunters have, and I've always felt really lucky because I don't own that camp. My contribution is food, my contribution is cooking. It always has been in every camp I go to. So I've always felt very fortunate to have a place there, if you will, and I just wanted to preserve that. I wanted to always have record of it. I didn't know what season one was going to become. I didn't know how many episodes we were going to do, I didn't know how long the episodes were going to be. I just didn't know what we were going to get and we were just filming. We were just kind of grad, very grassroots, very like definitely 100, no restrictions and no, no scripts. In fact, even today on season three, I don't know what I'm going to cook at the camp. Nobody knows really what they're going to cook at the camp when you go.

Josh Crumpton:

So let me get this straight you have no idea what you're going to make. How do you even prepare for that? Prepare for camp cooking.

Chef Jean-Paul:

I always pack for the grocery to have what I call pantry items. I always have a lot of onion, a lot of bell pepper, a lot of celery that goes in almost every Cajun dish. I always have a lot of butter. I have a lot of cooking oil. I have things to cook, things like in and with and together with, but I don't have really an idea of what we're going to cook until those times come. Sometimes we always bring backups like could be steaks, could be deer back straps, could be deer sausage, like. We always have those things on hand. It's like I don't know, maybe we don't catch any fish or shoot any ducks or whatever, still need to eat, just like we would at the camp, right, like anytime, whether filming or not. So there's still. There's very like I mean just very organic nature of the cooking side of it. That is like I don't know, we'll see what comes to us at the time of cooking, you know so, yeah, season, season three.

Josh Crumpton:

I think it's episode two. Is it season three? I think so is one where you know, one of the things I really appreciate about duck camp dinners is the authenticity that it is very authentic. It's very real, it's not sensationalized. You can really see you guys are having a good time and in fact in season three, episode two, you don't have what it.

Josh Crumpton:

It just is the longest grind hunt you get like a duck a goose yeah it's like these guys are probably gonna be eating, you know, the champignon, as you said. You know is what it um yeah, that was.

Chef Jean-Paul:

You know, I mean, as anybody listening to this that spends time in the field, um, whether you're quail hunting and upland hunting, like yourself enjoys to do, or waterfowl or any big like it's. Just those are the, those are the realities of the show. We organize this show months in advance. I spend months doing discovery on where we're going to go and those places and times are set in months in advance. And so we always say just to lean in into the truth, and so we don't just like highlight what the, we don't just film what the truth is, we actually lean in and try to make very tangible takeaways from what that truth gives us. Then that truth of that episode is one wood duck, one mallard, one goose, one squirrel and three deer.

Chef Jean-Paul:

Um, and the deer were kind of the saving grace, cause, as I mentioned in that episode, like we truly do go out on every hunt, whether it's at our floating camp or any hunt that we go to, we are meat collectors and whether that be waterfowl or fish or, um, or ducks, in fact my, my good friend jay, he gets like even when we're just like perch fishing in the bayous uh, you know, during the show sometimes we don't even film it sometimes we do, other times it doesn't get used, or so on. He makes it a point. He's like I don't care how big that fish is, it goes in the cooler. Like you, let this thing grow for another year or two, or something you know, or this bait for a bigger catfish or something he's like in the cooler.

Josh Crumpton:

He's a character man, he is, you guys, uh do you regret, uh, in season three you turn him loose with the. What is it? The mouse, the fuzzy fluff dog he's got you. Do you regret turning him loose with fluff dog? Because, man, I feel like he's gonna become a cameraman one day.

Chef Jean-Paul:

I think he kind of is a cameraman of sorts he'd like to think he was a cameraman of some sorts. But yeah, I, yeah, I guess in some ways he is. No, no regrets at all. It's like, yeah, jay with new toys is really a sight to behold, whether it's a boat or a camera or a fishing pole or a new gun, he's you know. And again, like, the great thing about Jay is that, like all of us on the show, like the ethos of the show in general, there is no sensationalizing it, there is no playing it up. That is who he is in almost every sense of the word. You don't get a sense of how great of a dad he is, how great of a father and family man he is on the show, but in terms of the Jay that we all knew and grew up with before all of that, that's really him and he continues.

Chef Jean-Paul:

I love his childlike spirit in that sense, or at least I could, I should maybe say like a teenage, early college years, uh, type of attitude and how he lives life.

Chef Jean-Paul:

I mean, he's, uh, he's, um, you know where I can tend to be.

Chef Jean-Paul:

You know I spend a lot of time on this show, months and months in advance, and then filming and then writing after and doing the voiceover.

Chef Jean-Paul:

So when the time comes to actually film, I can get really in the zone and kind of in work mode, if you will.

Chef Jean-Paul:

You know, like I'm, I'm like we got a job to do and, even though I love doing this, like I still I'm thinking about all right, all the other stuff we got to do and maybe different activities that we want to do, and um, but he keeps me in the moment of just like Jean-Paul at the camp and he does that through. You know, we all do that poking fun at each other, uh, teasing each other about different things, and there's a lot to go on. There's a lot of footage, both used and unused, to do that. So, like my point is that he just kind of keeps me remembering that, hey, we are just at the camp having fun. We just happen to have cameras around filming whatever we do, right, and so I'm just kind of let it fly in that way and you need people like that on your side, on your team, whether they're on the camera or not, just to bring you back to the reality of why you, why you, made this show in the first place.

Josh Crumpton:

I saw. You know it's the, the, the community comes through definitely, and it it's the, the community comes through definitely. And it also seems like any time you have anybody to the camp or I think what you had, jesse out to the camp and it feels like they just slot in, like you guys are just such a good welcoming crew, or any time you go anywhere, people just kind of full get into the fold with you.

Chef Jean-Paul:

People just kind of get into the fold with you. Yeah, jesse is humble and quiet and allows his cooking, his recipes, his demeanor really speak for himself. And that's a little different from our crew. All our crew have known each other for a decade plus, so we're really comfortable with each other, with each other. But one thing we realize is that this is, I think, for a lot of Louisianans. We all know somebody with a camp like that. Maybe some of them are in Cocodrie and Dulorge and Montague, some of them in Brandao, fouchon, venice, but some are floating camps like the ones we have in different parts of the swamps and freshwater marshes and all that little area.

Chef Jean-Paul:

We kind of take it for granted, thinking like we know all kinds of people that have these types of camps. But people from the outside in look at these camps and just think, man, what are these places? Where are these places? Didn't even know these places exist. You can't see them from a road, right, you can't see them from a bridge. They're. They're tucked and grooved into the marsh, into the landscape of that ecosystem, and so bringing people like Jesse or Dirk Sorrells, who was also on that episode from Ball Shot Shells, bringing them into that area where they're like they can just kind of soak it all in. You know that that actually brings a lot of joy to us, being from there and being to share this place. That, you know, maybe we've taken for granted with years but now we realize how special it is as we get older and better share that with other people. I think.

Chef Jean-Paul:

I think Jesse was just a perfect fit for that, because he's so analytical, he's so thoughtful, he's so you can tell he's like pondering all these things that go down and shooting all those whistling ducks during those during that episode I mean that's, that was new, that was first for us, you know. And to better share that with him, as he took kind of face me in camera, he said this is the most ducks I've seen in two years and I mean look, they were piling in, you know, and never get. We haven't gotten those opportunities since he was there. So, anyways, it's always just great to share those experiences, especially first time experiences with each other, yeah, with somebody who's bright eyed into this new habitat that he's. That he's, you know, never been in.

Chef Jean-Paul:

And I tell you what Jesse has shared so much of Texas with me when I was living in Texas. For those three years I was able to go hunt around you know a few times with Jesse and get to know him a little better. Call him a friend now, and so there was a part of me that just wanted to again return the favor, show him what you know a little bit about the life that kind of I grew up in, similar to the way he showed me in Texas.

Josh Crumpton:

Very cool. One of the things that stands out to me is the music, the music in the show and and it's clear from like, I think the first episode, which is cool because your parents are on that episode, but also I think you got is it Delbert McClinton shaky ground, or was it that you did? You had shaky ground.

Chef Jean-Paul:

Somebody was somebody was doing a version, Junior lacrosse. Was it junior lacrosse? Was that? Who was doing that?

Josh Crumpton:

Yeah, I mean, that's a good song. Yeah, I mean yeah.

Chef Jean-Paul:

Yeah, like just just to touch on that, that, that song right, that's played at that camp. For a reason it was like that wasn't just like we play that song all the time. And one reason is because it's a floating camp, so shaky ground. But another reason that's a that's an off camera, not off camera. It's not. A lot of people don't refer to him as this, but a lot of times we'll call Jay shaky. Is is kind of his other. He has a. You know he doesn't have a lot of nicknames. One of them is shaky and so it's shaky's ground Right and so, um, you know it fit perfect for that that scene. But that song actually has a little, has kind of layers within on why we we play that.

Josh Crumpton:

That's cool. Are there other songs that kind of have meaning? I mean, your music is very intentional. You want to talk about that a little bit?

Chef Jean-Paul:

Yeah, you know, in episode one I mean season one we again we were just really all trying to figure it out. We had a bare bones budget, like everybody was basically doing it for nothing because we believed in that this could be a cool show. And so when it came to we pay those artists, right, like we don't we don't even say, like we're going to acknowledge you in the credits. We actually want to pay them because we think it's the right thing to do to pay people for their art and not just give them credits in the back of the show. I mean that doesn't pay the bills, somebody who does anyways. So, anyways, that's that was important to us. But in season one we were really just taking all the music that we naturally play at the camp and going out. We have a playlist that we play at the camp and we were going out and just seeing if we could get to some of these artists. One of those Show Me the Way to Go Home. That's also another cover we play a lot when we're out fishing, jug lining and so on and so forth, when we're out fishing and jug lining and so on and so forth, and you know you can listen to the song and judge for yourself what the kind of mindset is when we play that. But that's another song that we've layered into that season for that same reason. But now, as we've gone about to season two and season three, we've gotten more budget. I mean, look, there isn't a show that you watch outside of high production shows that put together a music budget like we do. We are extremely intentional in our music budget because we always believed I always believed and Daniel, our director, has obviously taken hold of this and run with it is that in order to tell an authentic story about any place, it needs to taste like that place, sound like that place, look like that place, right. And so when I say taste like that place, when we're at that floating camp, we're cooking things that we would cook at that floating camp. When we are in West Louisiana camp, we're cooking things that we would cook at that floating camp. When we are in west louisiana, we're cooking things like we would cook in west louisiana, and so on and so forth.

Chef Jean-Paul:

When we listen, when we think about the show and listen to it, we want music that's from these places, and I'm talking like very niche communities from these places, not just like Louisiana artists or whatever it's like very, this music is from this place of Terrebonne, parish, lafourche, parish, st Mary's, parish, little tiny section of Louisiana. You can see that in this latest episode that just came out last night at the time of this podcast, episode five, shreveport, jacob Davis and Jordan Davis are on that episode because they're from Shreveport. They're also friends of the family that we're hunting, that we were hunting with. But it just made sense to have again, like, we want that type of music embedded in the show to make it sound like this place. So those are really intentional.

Chef Jean-Paul:

Then, at the end of the day, I was talking to Daniel about this, because we were talking about the edit for season four, um, and and how we're going to go about, if we make a season four, that editing process, because we're always evolving and learning and trying to make the show better and more streamlined um, but we were talking about he goes basically, I mean, and he's right, and this is how it was always intended to film, the show is chronologically put together, meaning like when we show up to when we leave, we don't mix and match different sections or scenes to fit different areas chronologically how it goes. Wow, and so all the that's the point of the show is to show you the life cycle of this duck camp, right from show up to when we leave, and then there's all this stuff that happens in the middle, but that's chronologically how it rolls. Every episode, and what we do is try to find, is pick out, you know, condense those scenes so we can make a 30 minute show, a 44 minute show, whatever that timing is got, to condense those scenes, to make that timeline. But in between and throughout, music is carrying the tempo of the show and connecting from transition to the next scene, and so we constantly have between, like four different people are always sending each other Check out this track, check out this track.

Chef Jean-Paul:

Can we, can we do? Do we have a contact? For this guy Is there, you know, boom, boom, boom, boom, boom and so. But I absolutely love, love, love, love. In fact, for season two, we actually made that show, that song by Brandon Nicholson. We went in studio, myself, daniel and Brandon, with Joel Savoie out of Louisiana, who's a Grammy Award winner. We sat in studio and created that song together over months and recorded it together.

Josh Crumpton:

Is that something you thought that you'd ever be doing? No, absolutely not.

Chef Jean-Paul:

It's part of the creative process and I love it. It's just not so different from making a beautiful plate of food or creating a beautiful menu. It takes all kind of different layers to make that work. So, no, I love the creative process but I certainly didn't think I'd be creating music in that way. But season three is the Delta Phonics If it don't bleed is the name of the song, and Delta Phonics out of New Orleans and I just absolutely have grown to absolutely love that song.

Chef Jean-Paul:

If you listen to the whole song it's five or six minutes long and it has almost like three different, three different sections, that kind of feel different. So you can take that song and start to piece it in different places in the show without it almost feeling like the intro right, because it's so long and has these different kind of different tempos and sounds to it. So we we really do geek out over that Because we understand that, especially in a 44 minute show, you're sitting into that shot, you're standing in that shot and settling in that shot for a good bit of time. People, especially these days, they want this. Yeah, but we try to be a counter, a balance to that idea of media and just sit in it for a little bit and one of the things that helps us do that is the music bit. And one of the things that helps us do that is the music, because the music even though that scene might be a little like boom boom and a little intentional, the music is starting to carry you through and kind of keeps people's attention.

Chef Jean-Paul:

When you're talking about longer format stuff, I've always looked at it like right. I mean, if you're creating something that's really tasty, something that you love to eat, it has bitter, it has salty, it has sweet, it has sour, it has crunch, it has heat and that's really what a show is right Is finding right balance of all those different things kind of coming in together to make something really good. If it's just salty, you may like it for a minute, but you know after a while you're going to get tired of it. Same goes with all of them. You really need the balance of all that, uh, with different texture and spice levels and so on, that create a great dish. That's no different, probably with every art form, but when it comes to video, you get the only thing you really can't do right is taste it, smell it. Right, but you got to listen to it, hear it and almost you can like taste it in a lot of ways, especially in food stuff.

Josh Crumpton:

So yeah, you use your eyes a lot to to eat food. I mean, that's definitely like you eat your food first with your eyes right and then that's one of the things that I've noticed is is the shots in the show. They're really good. Like the cooking shots are pretty amazing. They kind of they really bring life to that component of the show. Sure, do you have a dish? Anything that's like over the years, like something that like jumps into your mind I'm sure that varies from time to time, but one that comes to mind now, something that's like man, that that was good and surprised you, maybe even yeah, I mean that happens a lot to me at home when I'm cooking, because I learned to cook out of resourcefulness.

Chef Jean-Paul:

Yes, I went to culinary school, but I really learned how to cook at hunting and fishing camps throughout my childhood career, childhood life, and there was always like a sense of resourcefulness that like, ok, we got this freezer, burn stuff in the freezer, we got these stale seasonings from this camp, like got to make something taste good, you know. So that was a lot of times the case, right, and a lot of times when I'm at home where I'm like maybe two or three days of leftovers and I'm trying to repurpose and recreate something, I look at my wife. I was like, ah, it came out better than I thought. I will say there's their dad's duck dinner. I know this is not what you asked, but I would say that dad's duck dinner is the dish that I would feed most likely to new waterfowl hunters or people that don't like waterfowl and say, well, at least try it this way. I've now we've documented that recipe on a number of different ways and a number of different shows and so on, because it's a good one to share with people.

Josh Crumpton:

For anybody who's listening that may not know what dad's duck dinner, could you give us a brief, like just a brief, uh description?

Chef Jean-Paul:

yeah, dad's duck dinner is a dish that my dad used to cook a lot, whether it's an app or a entree, and it's actually the dish that I recall my palate changing and saying, oh, I actually like duck now, and so that's why I use it a lot for dip, for in that same scenario. But essentially it's a seasoned duck breast, hopefully skin on, fat on, seared, really hard to rare, set aside, and then I essentially I will crisp up bacon, crisp it up, save the fat, set that aside. I'll make a caramel, a caramel, if you will, out of that bacon, fat butter, brown sugar, onions and then bourbon is really what it comes down to, uh, and, and I'll sear apples as well. So, and I'll sear the apples in the big fat, take that out, and then I'll make that caramel. And then I get that into like a like. It's a very like, sweet and savory, salty, and it's got the crunch from the bacon and so on.

Chef Jean-Paul:

I make that into a caramel and then the duck breast I'll slice so it's still rare, right, so rare at most been rare and so I'll have a breast and then I'll slice it in strips and then, once that caramel is done, I'll put everything in the pot, give it a toss, finish it with green onions and so that that duck breast just kind of cooks right to that mid, rare, medium stage, keeping that, and then it gets folded into the sauce and then you can just eat it over rice or pick up. My dad used to just put it on a platter or keep it in the skillet and you would take a toothpick and pick an apple, pick a piece of duck, you know, pop it in your mouth and that's so. That's dad's duck dinner. It has no really history in Louisiana vernacular and cooking and culinary history but it's historically things that go really well together Fruit, apples, you know, fall things, apples and duck, and that's that's. That's, that's a dinner.

Josh Crumpton:

And that wraps up season two, episode two, of the Bunkhouse podcast. We've covered a lot of ground today, from the upcoming changes to the teal season to constitutional debates over hunting rights in Florida. Our conversation with Chef Jean-Paul gave us a tantalizing taste of camp cooking and the authentic experiences captured in duck camp dinners. But hold on to your waiters, folks, because we're only halfway through that chat with Chef Jean-Paul. Tune in to our next episode for the second part of this fantastic interview, where we'll dive even deeper into conservation efforts and the philosophy behind his unique approach to outdoor cuisine. Now I've got some treats for you in the show notes. You'll find a direct link to watch full episodes of Duck Camp Dinners on the Split Read YouTube channel. We've also included a Spotify playlist featuring music referenced in today's episode and a link to the Mouthwatering Dad's Duck Dinner recipe over in Louisiana Cookin'. For those of you inspired by our duck stamp discussion, we provided a link with more information on their history and impact. You'll also find a link to some of Jesse Griffith's fantastic books, as well as to Fish and Wildlife and other agencies we mentioned today. All these resources are right there in the show notes, so be sure to check them out.

Josh Crumpton:

Before we wrap it up, I want to emphasize how important your support is to keeping this show going. If you enjoy the Bunkhouse podcast and want to ensure we keep bringing you these conversations and insights, please take a moment to subscribe to the show on your preferred podcast platform. Your subscription not only helps you to stay up to date with our latest episodes, but also significantly contributes to our continued success. It's a simple action that makes a big difference, so hit that subscribe button if you haven't already. I want to thank Chef Jean-Paul for being with us and all of you for listening and for being part of our community of sporting conservationists. Your passion for ethical hunting, fishing and outdoor stewardship is what drives us to keep bringing you these stories and insights. Until next time, this is Josh Crumpton, the sporting conservationist, reminding you to keep your boots dirty and your spirit wild.

People on this episode

Head Shot

Joshua Crumpton

Host