A Warm Drink...

...sort of. Perhaps in response to the recent country-wide (by all reports) absence of summery weather, I recently found myself craving the warm flavor of a delightful (and very old) drink which I often compound in the wintertime; a concoction called a Bishop...

The first written reference to the Bishop - which is really just a variation on the concept of a flavored or spiced (i.e. mulled) wine - of which I am aware is from 1827 in the first edition of Richard 'Cicero' Cook's Oxford Night Caps. However, in its' description of the beverage, this text claims the drink was known to appear in the records of the oldest established Colleges (which would eventually become Oxford); referenced as early as 1447!

Now, the recipe as put to paper in 1827 is a truly fantastic drink for the depths of winter - involving the roasting of a Clove-studded Lemon, the mulling of Cinnamon, Mace, Nutmeg and Allspice in water and a fiery reduction of heated Port or Claret wine. Said reciept also includes an addendum, stating that, "Oranges, though not used in Bishop at Oxford, are [...] sometimes introduced into that beverage." Let it be known gentle reader, that though I am decidedly not an Oxford man, I still use their recipe (with Oranges mind you) for preparing this wintertime cup (and frankly, so should you).

But we are not, despite the unseasonably-chill & moist weather, in the grips of winter, so what use is bringing up a hot cocktail now? The answer (or part of it) lies, as it often does, in the works of Jerry Thomas, who lists two Bishops in his venerable books. The first is a simplified "English Bishop", prepared and served hot as the 'wags at Oxford would have scoffed at (using Oranges), whereas the second is compounded differently, using that glorious invention - ice. As you will note at left, in his recipe for the cold "Protestant" Bishop, Thomas also calls for a small quantity of flavorful Santa Cruz or Jamaican rum to impart some of the spice character which would otherwise be absent from the drink.

Now, while the "Protestant" Bishop makes for a great drink as written, it lacks much of the toasty, caramelized spice flavors which lend the English variety its considerable appeal; so what's a cocktailian to do? Blend the most favorable qualities & techniques of all the recipes, with a few borrowed modern twists, like so:

Bishop Brûlée

3 oz. Ruby Port

Bitters Mist (see below)

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1½ wheels: fresh Orange

1 wheel: fresh Lemon

1 Tsp. superfine white Sugar

3x whole Cloves

1 slice: candied Ginger

Combine the fruit & dry ingredients in a mixing glass. Using a Misto sprayer (or another pump-atomizer), spray a little of the Bitters mist [a 1:1 mixture of Angostura bitters & Lemon Hart 151° Demerara Rum] over the ingredients. Carefully brûlée the ingredients by spraying short bursts of the mist into the glass, rotating it slowly to ensure an even distribution of the flame. Once the sugar has caramelized, add the Port with ice & shake well. Fine-strain into a chilled Sour glass & garnish with a grate of fresh Nutmeg.

The resulting libation gifts the Port with a pleasant, not-too sweet melange of the roasted citrus, toasty spice & carmelized sugar flavors of the original varieties; all in-conjunction with the chilled, easily (sort of) compounded nature of the "Protestant" version. It also has the advantage of an impressive spot of presentation. In fine-tuning the recipe over the past (all-too wet & chilly) weekend at 'Clover, many of our guests were well-pleased at the warming characteristics of this otherwise cold libation (as well as the show), and I hope you will be too...just be careful with the fire please...

Cheers & Enjoy!

Foggy Origins...

The world of classic cocktails and venerable mixed drinks is often a decidedly-murky one. As past articles here and elsewhere have shown, the specifics or provenance of a given recipe may not always be clear - a characteristic of most any historical researches; much less one so liberally soaked in 'the sauce...

For example, a drink published at one point in history might hail from a recipe that is, in fact, far older. Many old bar guides (and lots of new ones too) - including those written by individuals who are widely-considered masters - often dredge up vast collections of recipes pillaged verbatim from still-older sources. To further complicate matters, in many cases a formula presented in one source will profit (or suffer) from modifications foisted upon it by a clever fellow (who then further compounds the record by printing their personalized version elsewhere). This is often even further complicated by changes to (or the sheer unavailibility of) a beverage's component ingredients: take, for instance, Erik Ellestead's longstanding search for Hercules.

Finally, the art of mixing drinks has often been an intensely-secretive one; particularly those recipes hailing from the Tiki era of mixology, wherein rival establishments (Trader Vic & Don Beach, for example) jealously guarded their formulations. Sometimes the very bartenders mixing the drinks didn't even know precisely what the components were!

Under such circumstances, envision a further complication: a patron at one establishment might have enjoyed one such drink so much that, upon visiting a different bar, they would ask for the concoction by name. The bartender at this second spot, wanting to accomodate their customer, but lacking almost any idea as to the composition of the drink being asked after, would come up with something. This drink, perhaps a great one, but likely having nothing to do with its called-for predecessor, would then be disseminated as an X, Y, or Z cocktail, and the original would become even murkier. Hence, for example, the dozens of "Mai-Tai" recipes served accross the globe (and the "necessity" for a recent online Mai-Tai showdown)!

Frankly, in the end I suppose it all comes down to mixing up something balanced that tastes good, and historical conventions be damned (or at least given a cordial nod from behind the mixing glass). Key words there - "balanced" and "good". Such is certainly the case with the following drink:

The Fog Cutter
is widely-attributed (on record) to Trader Vic; he certainly published it as such several times from 1946 on. However, according to Ted Haigh in Vintage Spirits and Forgotten Cocktails the beverage was known to an original Don the Beachcomber's bartender by the name of Tony Ramos, who claims the drink was originated prior to 'Vic & Don's rivalry at an establishment called Edna Earle's Fogcutters in Hollywood, CA. Take a look at this (somewhat) foggy progression:

Fog Cutter (Trader Vic's Book of Food & Drink, 1946)
"This is delicious, but a triple-threat. You can get pretty stinking on these, no fooling."
2 oz. [light] Puerto Rican Rum (Ron Merito, Boca Chica, or Brugal)
1 oz. Brandy
½ oz. Gin
1 oz. [fresh] Orange juice
2 oz. [fresh] Lemon juice
½ oz. Orgeat syrup
Sherry wine float
Shake with cracked ice [everything but the Sherry], pour into a tall glass [14 oz. Chimney] with ice, and add Sherry wine float [½ oz. of sweet Sherry]. Serve with straws.

Fog Cutter (Don the Beachcomber, date unknown)
½ oz. Orgeat syrup
2 oz. Gold Puerto Rican Rum (Bacardi is specified)
1 oz. Pisco brandy
½ oz. Plymouth Gin
½ oz. Gozalez Sucis Sherry
1 oz. [fresh] Orange juice
2 oz. [fresh] Lemon juice
Shake with ice [everything but the Sherry], pour into a Chimney glass and add more ice to fill. Float Sherry.

Fog Cutter (Tony Ramos via Ted Haigh)
1 oz. white Rum
½ oz. Gin
½ oz. Brandy
½ oz. Sweet & Sour mix
2 dashes Simple syrup
[Cherry Brandy float]
Combine [all but the Cherry Brandy] with ice and blend. Pour into a goblet. Add a float [~¾ oz.] of cherry-flavored Brandy [Cherry Heering] on-top, and serve.

In the first two cases, the recipes are fairly similar - slightly different in their porportion of light to dark spirits (or young & aged if you prefer), but each is a well-balanced take on the same flavor profile. And yet, the third, somehow - almost impossibly considering it's barebones list of ingredients (containing sour mix of all things!) - tastes strikingly similar to the first two. Not that the three are identical - each has its own subtle differences, but in a fit of pure conjecture, I'm willing to venture that the three could certainly be linked by a succession of bartenders working to prepare a drink (or their own variation on it) either on the fly or in imitation. In the end, all are well-made, tasty and balanced libations and that is really the point. So I won't go any further speculating about which drink came first or what variation constitutes the "real" recipe...

I'll just contribute a fourth variation, quite literally inspired as I sat at a recent symposium on Gin (sponsored by Beefeater), and makes delicious use of two ingredients with which I have only recently become acquainted. The smooth, mellow botanicals flavors of Beefeater 24 Gin and the sinfully-sweet & fruity Lustau Capataz Andres Cream Sherry both bring interesting elements to the final flavor profile. Together in-proportion to the other ingredients, I think this one achieves a lovely melange of the flavors of all three of its predecessors (even Mr. Ramos'); alongside some new & interesting floral and botanical notes, but don't take my word for it (©):

London Fog
2 oz. Beefeater 24 Gin
¾ oz. El Dorado 5yr Demerara Rum
¾ oz. Salignac Cognac
¾ oz. Lustau Capataz Andres Sherry float (sub a quality Cream Sherry)
2 oz. fresh Lemon juice
1 oz. fresh Orange juice
½ oz. Orgeat syrup
Combine ingredients, except Sherry, in a mixing glass with cracked ice. Shake well & strain into a 14 oz. Chimney glass mostly-filled with cracked ice. Float Sherry & serve with a straw.

Cheers, Enjoy & never take this cocktail stuff too seriously...

*In the interest of full disclosure, samples of Beefeater 24 were provided for my use.

Q&A: Obsello Absenta

Earlier this week I was fortunate to be able to ‘sit down’ for an interview via telephone with B. Alex, the distiller of Obsello, a delightful Spanish-style Absinthe verte (or Absenta). Mr. Alex took some time out of his busy day at the Esmeralda distillery (he was measuring Wormwood – an unenviable task to be sure - before taking the phone) to discuss twenty-hour workdays, artisanal distillation, ingredients & Absinthe…

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Q: How did you get involved with distillation and/or the spirits industry?
A: My family was involved for many years in the California winemaking industry, so I was exposed to alcohol and its production from an early age, without any of the negative stigmas often attributed to it. My interest in distillation came to a head around sixteen when, after a few AltaVista searches, I decided to try my hand at producing rum in my closet – I reasoned how hard could it be? Cane sugar and molasses from the supermarket, a packet of brewer’s yeast from the internet; in hindsight, not such a great plan…

Q: And Absinthe? How did you get involved with that spirit specifically?
A: My hobbyist level of interest was put on hold when I went off to college, but around age nineteen I had been doing a great deal of reading – lots of classical writing. The presence and influence of Absinthe in and on so many examples of art and literature provided a definite appeal to me at the time, so I continued to research it.

Eventually I was able to rather clandestinely order a bottle from the UK – a brand called Hill’s. It arrived and I set about trying some – did the whole drip preparation in my kitchen with a fork and everything – and it was just awful. Having some experience with wine, I reasoned there was just no way the French could have ever preferred something like this over say, a good Bordeaux – they’d have to be crazy! My knowledge of the distillation process had increased by then and I set about attempting to recreate a drinkable product – what I wanted Absinthe to be. A great deal of research, several hundred basic distillation attempts (with all manner of formulations) later and I had something like what I had been searching for…

Q: Why Spain, and thereby Spanish Absenta? Particularly the Catalan region where the Esmeralda distillery is located?
A: By this point I had gotten good reactions to the type of Absinthe I was making (sadly, still clandestinely) and was considering starting up a ‘mom & pop’ kind of business with my partner Joanne. We had considered several European locations, Tarragona was one choice, but we settled on the Pyrenees town of Lleida in Catalonia. We were very impressed by the ingredients here – particularly the quality of the local water and the high level of agriculture that takes place in the area. We had just gotten set up here when the US ban on Absinthe was lifted, so it was a something of a lucky, if crazy, time to be producing and exporting it.

Q: On that note, Obsello utilizes eight herbs in its production – are these sourced locally or from a variety of places? Do you find a difference in this choice of ingredients?
A: All of our ingredients are sourced from local (or regionally-nearby) sources – the only real exceptions are green Anise, which we get from Alicante; and Hyssop flowers, which comes from just across the border in southern France.

As for ingredients - absolutely. The climate and terrior of every region makes for huge differences in the end product - take Anise for example. The green Anise you get in the US, especially California, comes almost exclusively from Turkey and tends to be much less sweet. In Spain it comes from Alicante and has a much more intense, Clove-like sweetness. When we got out here [Spain] I tried out a batch of my original formula using ingredients we had picked up locally and it was terrible. It took almost seven months to rework the formula, but now we’re able to give Obsello a “just-in-the nick-of-time” approach – as they come in we can make Absinthe with entirely fresh ingredients, each expressing their own particular character.

Q: As I understand it, the neutral grape spirit you use as a base for Obsello comes from the Penedès region of Spain - an area that is very similar in climate and terroir to certain parts of the French Cognac region. Any relationship there?
A: It’s true – the Penedès region is pretty famous - the Spanish equivalent to Napa in California and is known for producing both Cava and a funky, near-Champagne style of sparkling wine made from Chardonnay grapes. The grape distillate we use as a base comes from a blend of three grapes - Macabeo, Parellada and Xarel-lo; which are generally used in making Cava. Really, the whole area has a longstanding tradition of winemaking, but yes, the dry, thin style of white wine you tend to get from areas with that sort of climate is perfect for making a spirit like Absinthe or Cognac.

In almost all high-quality Absinthe, the base is from distillates of white wine - Chardonnay grapes are used alot in other brands. The main idea being that you don’t want a base with too much character or dominant flavors of its own – you get those from the herbs you’re macerating in the base.

Q: Speaking of herbs, Obsello has a definite herbal-citrus flavor in the profile and a less-dominant Anise flavor than most Absinthe. It’s also a good bit sweeter than other varieties I’ve tried. Is this a characteristic of the Absenta style, or a more personal formulation?
A: There are a number of factors there. First, my recipe for Obsello is very personal – it’s the type of Absinthe I wanted to make. A key characteristic of say, most French Absinthe is the emphasis on Anise - and though it is present in Obsello I did not want it to be overly dominant. With Obsello, in the Spanish style, we use Melissa [Lemon Balm] and Coriander to achieve the citrus element that you’re tasting. I wanted a product that had personality, with plenty of secondary flavors rather than an “Anise-bomb”, so many aspects of this style - and my interpretation on it - is ideal for me.

As for the sweetness, that’s mostly the green Anise we use – again, from Alicante. It is much sweeter, with a less heavy “black licorice” flavor than the varieties you’ll find coming from elsewhere – so this is definitely a characteristic of the Spanish style. However, there are numerous plant sugars present in our botanicals and the process of distillation breaks down many of them into the final product. To give you some idea, in a roughly four foot-high alembic still, we’ve got almost three and-a-half feet filled up with Wormwood, roots, herbs and flowers, so some of the sweetness also derives from the latter three.

Finally, almost any good Absinthe should have some amount of sweetness, or at least an absence of extreme bitterness. Even though Wormwood contains Absenthium – one of the most bitter substances known to man - in a carefully-controlled distillation, that compound should be left behind in the still. I think that excessive bitterness in Absinthe is not a desirable quality and shows signs of mistakes being made in the distillation of the product, but on the same turn, deliberate sweeteners should never be added to an Absinthe, so it all comes down to a carefully-controlled process.

Q: I’ve worked with Lemon Balm a bit in tinctures and bitters before and now that you mention it, am wondering – is this where the paler, almost yellow, color of Obsello comes from?
A: Exactly; much of the coloration there derives from the chlorophyll in Melissa, as opposed to that in Pontica [Petite Absinthe or Roman Wormwood] used to color proper French Absinthe, or worse, the artificial colorants used in inferior styles or brands.

Q: Without delving too deeply into the specifics or recipe, what ingredients or steps in producing Obsello make it so different? For instance, I’ve found that at a certain point in the taste-profile a curious Vanilla character emerges (and is faintly-present in the aroma of the spirit). What can you tell me about that?
A: Well, first, Grand Wormwood naturally contains trace amounts of Vanillin. Having said that, it bears mentioning that nearly everyone producing Absinthe these days uses a 19th century distillation reference – The Manufacture & Distillation Alcoholic Liquors by P. Duplais – which contains a large number of very good recipes for Absinthe. However, there is an error that arises when following this guide – it doesn’t always take into account certain delicate variables in the overall process.

Now, this resource hasn’t always been widely-available, but largely due to all the trial and error work I had done in the past (before I had come into contact with the work myself), I started to observe how small changes to a variety of factors can greatly affect the end result. Again, it all comes down to a very careful process, maintaining control is the biggest factor in determining the end product – especially one as sensitive as an herbal spirit like Absinthe.

Q: It seems that Obsello is bottled at a fairly low proof as compared to other Absinthes I’ve seen or tried – why is this?
A: It has a lot to do with international beverage and duty-free (on our warehouse) laws – we export Obsello all over so this proof keeps us good everywhere. Also, different people enjoy Absinthe in many different ways – some of them like it straight or even in shots. I don’t really agree with the latter method but if that’s how they want it... A higher-proof Absinthe can be difficult to enjoy in this way, that is, without the addition of water, so we try to produce a product everyone can enjoy.

Q: On this note, I see that you recommend Obsello in a drip at a 3:1 Water:Absinthe ratio, but in my own tastings have found a 2:1 ratio much more enjoyable. I’ve also tried it with varying amounts of sugar – everything from none to about 1½ teaspoons (which was too much). How do you take your Absinthe?
A: This is very much up to the individual and what kinds of drinks they tend to like. I like Obsello at a 2:1 ratio and have found that about ¾ of a teaspoon of sugar is a good quantity for a drip preparation.

Q: Much as I enjoy Absinthe in a drip or frappe preparation, I like cocktails. Some of my colleagues have found it good for certain drinks, like Hemmingway’s Death in the Afternoon. I liked it alot in a Corpse Reviver #2 myself. Are there any particular libations which you’ve found Obsello works particularly well in – especially those which might highlight its’ herbal-citrus component?
A: We’re currently putting together a book of recipes from quality mixologists and bartenders. Here are a few of the drinks we’ll be including:

Night Porter
By: Jeff Hollinger @ Absinthe Brasserie, SF
1 oz. Bianco Vermouth (Dolin Blanc)
¾ oz. Obsello Absenta
¾ oz. Ruby Port
½ oz. Mescal (a light style)
Combine ingredients in a mixing glass with ice & stir. Strain into a chilled cocktail glass & garnish with a twist of fresh Lemon.

Sea Fizz
By: Joseph Schwartz @ Little Branch, NYC
1½ oz. Obsello Absenta
¾ oz. fresh Lemon juice
1½-¾ oz. Simple syrup
1 Barspoon: superfine Sugar
Combine ingredients in a mixing glass & dry-shake (without ice) well. Add ice & shake, strain into a highball glass. Top with chilled Soda & garnish with a wedge of fresh Lemon.

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My sincerest thanks to B. Alex, Joanne & Olivia Loy for allowing me to speak with them (particularly at such length) about their Absinthe. Mr. Alex demonstrated a true passion for his craft & product throughout the conversation – from his insistence on getting every minute detail of production down, demand for quality ingredients, right down to his job – he works with every small-batch distillation himself rather than outsource the formula to another operation! The commitment to making a quality product really shows in the end result & all I can say is,

Cheers!

This article has been cross-posted at the Mixoloseum - those responsible for this have undoubtedly been sacked. For even more on Absinthe, check out fellow CSOWG member Paul Clarke's in-depth discussion with Gwydion Stone & Brian Robinson later this week...

Over the Border to Find a Fix...

...and through a bramble patch along the way.

First off, no, not that kind of fix, but rather a curious classic libation closely intertwined with the venerable Sour family of drinks. Second, with regards to the border - ¿qué pasa con eso? Well, it's springtime folks, and this transitional season always brings me around to the various styles of Tequila at one point or another. As for the bramble patch...ráipido wey, and we'll get to that too.

The Fix
or "Fix-Up" (I'm really not doing anything for the name here, am I?) appeared first on a cocktail list for Mart Ackermann's Saloon in Toronto, Canada. According to Dave Wondrich in Imbibe!, this was in 1856 (you didn't really think my bar "library" included a cocktail list from then, did you?) and there were eight of them on the hand-dated document.

Certainly an old drink then and, according to sources I do possess, quite the enduring one, considering its' formula (or a derivative thereof) was considered vital knowledge well past the turn of the century. The reasoning for this is simple - a Fix, as prepared with a number of spirits, was nothing more than a Sour dressed-up fancy with "fruits in season" - Berries, Pineapple, Orange and Lemon are often recommended. It appears thusly in the 1862 edition of Jerry Thomas's How to Mix Drinks and is seen in service under the same formula in Leo Engel's American and Other Drinks as late as 1878. Yet, sometime around the early 1880's the recipes begin to change - first individually, then as a unified category.

The Gin Fix is the first of these - first getting a dose of Pineapple syrup added to it in Harry Johnson's 1882 Bartender's Manual, where it is the only one recorded. But come 1884 we observe O.H. Byron has instituted a more categorical change in the drink - utilizing Pineapple syrup for all five of the Fixes listed in his Modern Bartender's Guide. By the time we reach 1887, and with it Jerry Thomas' posthumously-edited edition, we find several variations - each dependant on the spirit used in the four given Fixes. One called for Raspberry syrup, two included a little Curaçao and the Whiskey variety remained untouched. These alterations look to have been cemented by the turn of the century - we still see them in 1895 & 1900 (as well as later on) in editions of George Kappeler's Modern American Drinks. But why the sudden additions, changes & revisions to the recipe? Do we detect a touch of the same crazy variance that dogged the (equally old) formula for Roman Punch?

Not quite, I think. As previously-mentioned, the Fix is just a Sour built on crushed ice with a suitably-fancy garnish; quite tasty, but a little plain - particularly when the standard Sour category was also available for order. But tweak the formula by adding a flavored syrup, particularly ones flavored with the very ingredients often used to garnish the beverage, and you have a delightful drink. That the popularization of such syrups (which solved the problems of obtaining fairly-exotic fruits like Pineapple rather-handily) coincidentally (or not) occured around the same time as the changes to the recipe began appearing is an equally-strong argument for the changes made to the old formula. With the history of the Fix (& its' derivatives) established, what's up with this border..? Well, I happen to feel that one of the esencial liquores para la primavera is a bit of...

Tequila
in this case a Plata variety called Inocente. Produced on the other side of the much-mentioned border from a kiln-roasted aguamiel, or the fermentable juices from 100% Blue Agave. This ferment, or pulque, is distilled three times before being subjected to a wine-making method called micro-oxygenation, which is meant to soften the final products' character in a similar way to the chemical processes which take place during barrel-aging.

The producers may have a good idea there (at least for a spirit which is meant to be unaged, as opposed to a Reposado or Añejo), for while Inocente - like many Plata Tequilas, is a thin white spirit with some heat to it (meant more for mixing than drinking straight), the aggressive character of the distilled agave is subdued to a very pleasant spice & pepper flavor, with soft floral or vegetal notes lingering in the background.

Now, while the Fix-Up was typically compounded with any of the available spirits of the day, one would be hard-pressed to order one made with a little-known (at the time) spirit like Tequila. However, the combination of Pineapple and Tequila is an excellent one & was among the first of such flavor pairings to spring to mind when I first tasted Inocente. Reasoning that the peppery notes of the spirit would balance very nicely against the rich sweeteness of la piña, I gave it a try in conjunction with Gomme (or Gum) syrup, which added a very pleasant texture to the drink:

Tequila Fix
2 oz. Tequila (Inocente)
¾ oz. fresh Lime juice
½ oz. Pineapple Gomme syrup
1 Tsp. Raw sugar
½ oz. Seltzer
Combine Sugar & Seltzer in an Old-Fashioned glass and stir to dissolve. Fill the glass with crushed ice & build remaining ingredients. Stir gently to mix, top with a little more crushed ice & garnish with fresh fruit in-season (whole Berries & slices of Lime or Pineapple are muy deseable).

Pineapple Gomme syrup
1 Cup: white Sugar
½ Cup: Water
Gomme Solution
1 Cup: fresh Pineapple, cubed
Prepare the Gomme solution by dissolving 2 oz. Gum Arabic crystals in 2 oz. of boiling Water - be prepared to stir for a long while. In a small saucepan prepare Simple syrup by dissolving the Sugar in the Water over medium heat. Once the mixture reaches a gentle boil, add the viscous Gomme Solution, stirring well to incorporate it. Allow to boil for a few minutes, skimming off any foam or scum that rises to the surface & remove from heat. When cool, pour over Pineapple in an airtight container & allow to steep in the refrigerator for 24 hours. Strain by preferred method & bottle.

But what has become of the Fix in modern times? We still have the Sour of course (though that too has been subjected to all manner of undesirable change), so what of its' well-dressed cousin? The Fix, sadly, never really made it through the years leading up to Prohibition - it appears here and there, particularly in books printed overseas - but try ordering any of the varieties now. However, it would seem that the notion of a flavored Sour (i.e. what the Fix became) lives on in the form of:

The Bramble
is a more modern reworking of certain incarnations of the (long defunct) Gin Fix - the 1887+ ones what call for a touch of Raspberry syrup. It was adapted in the mid-1980's by UK barman Dick Bradsell, who, in such dimly-lit (for the cocktail) times undoubtedly had no easy access to a Raspberry syrup behind his bar. His solution? A float of Crème de Mûre (hence the "bramble" - a nickname for Rasp/Blackberry bushes) atop a lightly-sweetened Gin Sour. In the years following its' creation, in true Fix tradition, other bartenders swapped out the Gin and/or liqueur & substituted in all kinds of other spirits. While the Gin version is quite lovely, especially in the coming months, today we're on Tequila; so it's to the following drink that we call our attention:

Tequila Bramble
1½ oz. Tequila (Inocente)
¾ oz. fresh Lime juice
½ oz. Simple syrup
¾ oz. Crème de Cassis
Build the first three ingredients in an Old-Fashioned glass mostly-filled with crushed ice. Stir, top with fresh crushed ice & float the Crème de Cassis on the top. Garnish with a slice of Lime & several fresh Blackberries.

The combination of Cassis and Tequila is yet another strong (& historically-sound) pairing - the heavy, complex sweetness of the liqueur plays nicely in this instance against the thin, spicy heat of the Tequila and the Lime's bitter/sourness rounds the whole thing out. However, as with many other examples of Tequila, Inocente has a subtle floral or vegetal character, which in this instance the liqueur seems to drown out completely. To better highlight those notes while keeping the balance of the drink intact, I turned to another beverage that's common across the border (& in my refrigerator) - the aguas fresca called Jamaica (©):

Flowering Bramble
1½ oz. Tequila (Inocente)
¼ oz. fresh Lime juice
½ oz. Simple syrup
½ oz. Jamaica
¼ oz. Crème de Cassis
Build the first three ingredients in an Old-Fashioned glass mostly-filled with crushed ice and stir briefly. In a seperate measuring glass, combine the Jamaica & Crème de Cassis. Top the built drink with fresh crushed ice & float the Jamaica-Cassis mixture on top. Garnish with a slice of Lime & several fresh Blackberries.


Cheers & Enjoy!

*In the interest of full disclosure, samples of Inocente were generously provided for use. Great quantities of said sample have been consumed since...

Seasonal Produce: A Springtime Infusion, Now with Cookery!

In a previous post, I discussed the virtues, however regionally-influenced, of Blood Oranges. I likewise promised to include a recipe for an infused Cachaça utilizing these delightful late winter/springtime citrus. Furthermore, it occurs to me that I haven't had any culinary examples up here in a long while. This is not to say I haven't been cooking (quite the opposite actually), but rather I'm usually so busy when doing so as to lack the wherewithall to photograph my little kitchen adventures...

So, as promised, here's the infusion: short, sweet & clarified slightly from its initial appearance at the Ministry of Rum many moons ago. As an aside, in this particular infusion, though the overall proof of the spirit (from 80 to about 75, in case you were wondering) drops somewhat due to the inclusion of certain of the ingredients, this infusion nevertheless makes a marvelous addition to spring & summertime cocktails well after Blood Oranges are out of season – an example of which I’ve included just after the recipe. You can even enjoy it (like a certain friend of mine does - on the beach for Labor Day) straight over an ice cube or two...

Blood Orange Cachaça
750ml: Cachaça (Pitu works well here)
5x fresh Blood Oranges, washed
3 Tblspns. Raw Sugar
1 Tblspn. white Sugar
1 Tblspn. Lemongrass, minced
½ Tsp. Cardamom, removed from pods (optional)
1½ Tblspns. Water
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1. Carefully peel Blood Oranges, being sure to remove & discard all bitter pith from the skin.
2. Likewise remove & discard all pith and seeds from the flesh of two of the Oranges. Seperate into segments.
3. Clean & mince Lemongrass & shell Cardamom. Toast Cardamom seeds in a small pan.
4. Combine ingredients in a clean container & add Cachaça.
5. Seal container & swirl/shake vigorously.
6. Place in a cool, dark location for approximately 7-10 days, swirling vigorously several times.
7. Strain 2-3 times by preferred method (coffee filter, cheesecloth &c), pressing on solids to remove all liquid.

8. Clean container with hot water and replace liquid within. Allow to stand for one more week.
9. Strain or rack again as necessary & bottle.

Enjoy in any cocktail (as appropriate, flavor-wise) which calls for Cachaça - a Caipirinha w/ half lime & half blood orange muddled works nicely. Or you could try it in the following libation (or come up with your own uses – and pass them along to me in the comments section if you’re so inclined):

Sangriento Rabo de Galo
2 oz. Blood Orange Cachaça
¾ oz. Carpano Antica Formula
¼ oz. Aperol
1 dash Angostura bitters
Stir with ice & strain into a cocktail glass. Garnish with a slice of fresh Blood Orange.

But now that you've labored (not for all that long really) at preparing the above infusion, why not stick around the kitchen a bit longer - perhaps for a lovely spot of dinner that will make handy use of some of the extra (Lemongrass, Blood Oranges &c.) ingredients from your infusion...?

Roast Quail stuffed w/ Savory Veal Couscous













6x Quail, cleaned & marinated
Savory Veal-Couscous Stuffing (see below)
Grande Duchess Potatoes (see below), to plate
Manchego Cheese, shaved thin for garnish

Marinade:
1 Cup Lillet Blanc
2 Tblspns. Honey
Zest of ½ Blood Orange
2 Tsp. fresh Tarragon, chiffonade
1 Tsp. Herbes de Provence blend
¾ Tsp. Coriander, coarsely-crushed
½ Tsp. white Pepper

Savory Veal-Couscous Stuffing:
½ lb. Veal, ground
1 Cup medium Couscous
½ Cup fresh Blood Orange juice
½ Cup Veal stock (or sub. ½ Beef & ½ Chicken stocks)
6 Tblspns. Butter, unsalted
1 Tblspn. Honey
2x cloves Garlic, minced
2 Tblspns. green Onions, chiffonade
2 Tblspns. Lemongrass, chiffonade
1½ Tsp. fresh Tarragon, chiffonade
Fluer de Sel & black Pepper, to taste
‡ ‡ ‡ ‡ ‡ ‡
1. Prepare the marinade by combining listed ingredients in a plastic bag, agitating to mix, and adding cleaned Quail. Marinate the birds for approximately two hours in the refrigerator.
2. Prepare the Couscous stuffing as follows:
3. In a medium saucepan over low-medium heat, melt Butter and saute Garlic, Lemongrass & Onions until fragrant (about 2 minutes).
4. Brown the ground Veal in the same pan.
5. Add remaining ingredients, stir well & bring to a simmer over low-medium heat.
6. Place the Couscous in a bowl & when liquid mixture is simmering, add to the container. Stir well & cover with plastic wrap to steam for approximately ten minutes.
6. Preheat oven to 375°. Remove Quail from marinade & drain before generously stuffing with Couscous mixture. Reserve ½ Cup of marinade.
7. Arrange stuffed Quail in a 9x13 dish or braising pan & deposit reserved marinade in bottom.
8. Place prepared Quail in preheated oven & cook for 25-30 minutes, or until well-bronzed. Remove, allow to rest for about 2 minutes & plate with:

Grande Duchess Potatoes
2½ lbs. Potatoes, peeled
2x cloves Garlic, minced
¾ Cup: Heavy Cream
8 Tblspns. Butter, unsalted & divided
½ Cup: Manchego cheese, shredded & packed
3x Egg yolks, divided & beaten
Generous pinch of Nutmeg, freshly-grated
Fluer de Sel & black Pepper, to taste
‡ ‡ ‡ ‡ ‡ ‡
1. Clean & boil Potatoes in salted water as per ordinary mashed potatoes.
2. In a small saucepan over low-medium heat, melt the Butter & allow to brown slightly (not quite beurre noisette) before adding Garlic.
3. Saute Garlic over low heat until fragrant (about 1-2 minutes) then slowly stir in Heavy Cream & Cheese.
4. Bring to a gentle simmer, stirring often & remove from heat.
5. Drain Potatoes & allow to stand, uncovered, for about 5 minutes (so that some amount of moisture may evaporate).
6. In a small bowl, temper two of the beaten Egg yolks by slowly adding the Butter-Cream mixture & whisking aggresively.
7. Whip Potatoes smooth by preferred method, slowly adding Butter-Cream mixture & seasoning with Nutmeg, Fluer de Sel & black Pepper.
8. On a silicon-lined baking sheet divide mashed potatoes into six equal portions; the ambitious may wish to pipe the warm potatoes into a whimsical arrangement.
9. Gently brush the formed potatoes with the remaining beaten Egg yolk & place in the oven at 375° for approximately ten minutes (this may be placed in the oven with the Quail if you wish), or until crisp on top. The ambitious may then further crisp the top with a culinary torch, but this step is not really necessary.

Serve with the prepared Quail (taking care to not forget adding the shaved Manchego on top) on a warmed plate & enjoy!


Cheers & Enjoy!

A Bit of Bitter, From...Jersey?

Well, not exactly - bear with me a moment. Though the drinks listed in this article were originated some time ago during a sponsored Thursday Drink Night at the Mixoloseum, the ingredient in question doesn't really have anything to do with New Jersey, but more (or less) on that in a few breaths...

Said TDN was graciously sponsored by a cocktailian favorite; an ingredient which can be a bit intimidating to those unfamiliar (hell, even to those initiated) with its particular charms: the mavelously-complex amaro called Fernet Branca. At once medicinal, sharply herbal, tangy and bittersweet, Fernet can be a difficult ingredient to work with - only a handful of cocktails utilize it in any sizeable quantity and it is most often taken straight, typically applied (quite successfully) as a digestivo.

Yet the complexity and breadth of flavors present in this Italian spirit can be quite appealing, in a bewitching sort of way, despite its propensity to bull through more delicate flavors. As with similarly-rambunctious ingredients, the challenge to working with Fernet successfully lies in finding equally strong flavors, or combinations of flavors which play along with, hightlight, or merely ones which refuse to be pushed aside, to combine it with. Ginger, for example, has long been an accompaniment to Fernet, such as in the San Francisco tradition of chasing a shot of the spirit with strong Ginger Ale. Therefore, in my (winning!) TDN entry I thought to give such a well-proven combination - with a few small twists - a shot.

Give this libation (or any of the equally-excellent concoctions my colleagues produced that evening) a try & experience Fernet Branca's intriguing flavor profile for yourself. And if a full half-ounce of Fernet has you a little suspicious, feel free to read on for a more subtle (& Jersey-related; or not) application of the spirit - and hopefully you'll come around eventually (©):

Bully Boy
1 oz. Bourbon (Bulleit)
½ oz. Fernet Branca
½ oz. Domaine de Canton Ginger liqueur
½ oz. fresh Lemon juice
2 Tsp. Raw Simple syrup
Combine ingredients in a mixing glass and shake well. Strain into a chilled cocktail glass & garnish with a twist of fresh Lemon.

One of the most noted (and frankly, the simplest) applications of Fernet is its use as a substitution for an aromatic (or other non-potable) bitters such as Angostura, rather than as a primary ingredient - as above - of a cocktail. For example, when used thusly a few liberal dashes of Fernet in a Bourbon Manhattan makes for a lovely drink called a Franciulli Cocktail. With such a role well-established, I reasoned to try out Fernet in a simple, yet classic, libation of which I am inordinately fond - the Jersey Cocktail. Told you I'd get there, if eventually...

In it's original form, this little-known beverage hails from the earliest days of the cocktail - when producers and purveyors of alcohol (& just about everything else) conducted their business unhindered by such trifles as safe food & drug laws, or even ingredient or labeling legislation. Champagne was, naturally, imported from France and the demand for it was quite prolific throughout the United States. The American thirst for the stuff was so strong, that quantities of the sparkling wine imbibed outstripped the quantities which were imported to these shores by a great deal...

So what ingenious forgeries were foisted upon the tippling populace when a Champagne Cocktail was called for? To quote David Wondrich's Imbibe!, the unlucky were served, "processed beet juice" and the 'lucky' would generally receive, "Garden State hard cider, pressurized with CO₂ (preferably without too much residual carbonic acid) [...] in a Frenchy-looking bottle." As such counterfeiting was not necessarily advertised to the clientele, this libation seldom appears in any source other than bartender's guides. Yet it is in the first of these - Jerry Thomas' 1862 How to Mix Drinks - that the drink is addressed with a measure of honesty towards its components. To further quote Mr. Wondrich, "let that be its recommendation" and it is indeed, a very good one.

Ironically, the hard Cider I tend to use most in this application actually hails from France (Normandy) and possesses a very Champagne-like dryness which is quite agreeable here - but if your only option is a sweeter style, merely reduce the sugar by a touch. When prepared (almost exactly as a Champagne Cocktail) with Angostura bitters, it is quite nice; with homemade Boker's, even better; but with Fernet in place of these, it shines brighter than a counterfeiter's smile:

(New) Jersey Cocktail
1x Sugar cube (or 1 generous Tsp. of Sugar)
3-4 dashes: Fernet Branca
Brut hard Apple Cider
Douse the sugar cube with the Fernet Branca. Fill a champagne flute with well-chilled hard Cider & gently drop the sugar cube into the glass. Gently stir, garnish with a twist of fresh Orange & enjoy.

Cheers & Enjoy!

**In the interest of full disclosure, samples of Fernet Branca were provided for this event. They were, in fact, provided so far in advance of said event, that I blew through my sample & had to purchase a new bottle in order to participate...

Seasonal Produce & A Last Stab at Winter

Yesterday's foul weather, hopefully the last incidence of heavy snow this season, coupled with a weekend trip to one of my favorite farmer's markets, reminded me of a drink I haven't enjoyed in quite a while. This is not entirely unusual - many of my drinks go with what's good at the time - I'll often pick up ingredients & whip up new or variant drinks a la minute.

Unfortunately many of these fall victim to my less-than-stellar memory, suffer from the vagaries of seasonal ingredients (often considered a lightly-stocked 'specialty' or 'novelty' product by the local grocers), or are merely set aside for later use in the wake of something new (or something old which happens to be new to me). In any case, while out stocking up on provisions, I happened upon a selection of ripe Blood Oranges - my second-favorite (only nominally behind Tangerines) winter produce, and happily snapped up a bunch of them.

A natural mutation of sweet and bitter Oranges cultivated for many years throughout the Mediterranean, Blood Oranges are a delightful dichotomy of flavors. They are somewhat sweet at first, particularly at the height of their season, with a discernibly tart, almost berry-like, finish. Depending on variety, season and regional climate/light conditions where they are grown, Blood Oranges vary greatly in appearance both inside and out. Some varieties/crops are more blood-colored inside, while the flesh of others are more similar to pink/reddish-tinted oranges in appearance. Likewise, while the skin of many varieties/crops are mottled in texture and often feature darker patches of color, others are smooth & bright in outward appearance.

No matter their look, Blood Oranges generally make a fantastic addition to cocktails, as many of my fellow cocktailians will attest. Substituting them into any number of libations what call for fresh Oranges makes for a wonderful depth of flavor and an attractive, darker coloration. Depending on where they hail from, Blood Oranges have a fair breadth of season too. While they are cultivated heavily in the Mediterranean, the best (in flavor and coloration) U.S. varieties tend to, in my humble opinion, hail from Texas and California. The ones I purchased were brought in, late season, from Texas; soon I suspect, the California varieties will (if they show up at all) soon be on the shelves.

So, with Blood Oranges in hand, I pondered a drink to use some of them in - as they are quite a treat for me I utilize them as often as possible in cocktails when given even half a chance to do so. After a thusly-enhanced Bronx Cocktail, I finally settled on the following lovely little take on the California or Stone Sour, which plays up the fruity tartness of the Oranges & adds a few sharp, bittersweet notes through the use of the delightfully-bitter Italian liquor Aperol. Go on out and snag some Blood Oranges if you can, give them a whirl in anything that tickles your fancy; or give the wintery weather a good-riddance and take a stab at this little beauty (©):

Jacknife Sour
1½ oz. Laird's Applejack
½ oz. Aperol
1 oz. fresh Blood Orange juice
¼ oz. fresh Lemon juice
1 oz. Simple syrup
1x fresh Egg white
1 dash: Honey Tangerine bitters (substitute Regan's or The Bitter Truth Orange bitters)
Combine ingredients in a mixing glass & dry-shake. Add ice and shake well; strain into a chilled cocktail or sour glass and granish with a flamed twist of Blood Orange.

Check back soon for another (likewise neglected for reasons unknown) use for this delightful winter citrus - a fantastic Blood Orange-infused Cachaça...

Cheers & Enjoy!

(Bols +) Bitters Makes it Better, part III

...they really do (and frankly, always have) from the birth of the spirited drink called "cocktail" onward into the present day. This was the essential theme of a recent seminar; one of four being organized by the fantastic folks of Lucas Bols Genever in conjunction with Stephan Berg of The Bitter Truth. In its' pre-opening hours, Julie Reiner's beautiful Clover Club played host to several dozen of the NY/Metro area's finest spirits and cocktail professionals (so why they let me in I will never guess).

To give you some rough idea, cocktail authorities like Dale DeGroff & David Wondrich, Mud Puddle Book's Greg Boehm (with charming assistant Christina in-tow), USBG-NY President Jonathan Pogash and quality bartenders like Giuseppe Gonzalez, Jim Meehan, Joaquin Simo, Thomas Waugh, Alex Day & Don Lee rubbed shoulders and pressed palms with all manner of industry folks; including bloggers like fellow CSOWG member Erik Ellestad, Paul Zablocki, Chantal Martineau and little old me. They even invited the media!

Upon arrival, the attendees were met with a lovely spread of nibbles paired with a classic Brandy Cocktail, expertly-prepared by Brian Miller (whose presence rounded out the appearance of nearly all of Death & Co.'s barstaff) and the Clover Club staff. Throughout the event, both were hard at work; operating at an efficient, if understandably-frantic, pace from the establishment's rear bar. Bols representatives Debbie Rizzo and Tal Nadari were great sports, working the room with ease, welcoming each attendee (even me) with enthusiastic smiles and performing (in my case, much-appreciated) introductions all-around. After a bit of mingling and conversation, the presentation began, with Mr. Nadari taking the stage to introduce the topic: the influence of bitters in classic cocktails, and the eminently-qualified speaker, Stephan Berg...

The topic covered a great deal of fascinating history, beginning with a brief explanation of just what bitters are before delving into their early development and almost-universal use as cure-all's, medicines & tonics in the days where medical care was less than reliable. It turns out, thousands of regional types of bitters - often produced, as Mr. Berg stated, by 'local grannies' - abounded, with the better examples becoming gradually-popularized by apothecary shops. Amusingly, many of these establishments often purchased bitters unlabeled & then applied their own descriptors to. Such commercialized efforts, in conjunction with the 19th century spread of saloons, gave rise to proprietary brands. Names like Siegert's (what would become, following protracted litigation, Angostura), Hostetter's & Drake's Plantation bitters (among dozens, if not hundreds, of others) started becoming quite popular as a result.

As the presentation continued, it covered the growth (and eventual decline) of the saloon, and with it the advent of the cocktail - which relied on various kinds of bitters to give the spirited beverage distinction from other drinks of the period. Emphasis was placed on the work of Jerry Thomas, and the "Golden Age" of the cocktail which it ushered in. Throughout, David Wondrich graciously supplied additional tidbits of information to supliment Mr. Berg's lecture or confirm a point made by the same.

To...punctuate the discussion, every few slides or so, a fresh cocktail of classical origin would be skillfully-prepared & distributed to the audience. In total nine (!) libations were paradaded forth - a feat which made for quite a merry (if somewhat cluttered) bar. A few of the notables among these included selections culled from J. Thomas, Harry Johnson, William Boothby & William Schmidt, like these little beauties (from the last & first authors, respectivly):

While Gin was not the base for every cocktail served, several points arose in the presentation about many of the classic recipes one finds in the old guides & books. In many cases when "Gin" is specified, it is actually "Holland Gin" or the Genever style which is meant, rather than the more modernly-prefered Dry/London Dry styles. In fact, circa 1850 (right around the time of many of these recipes' creation), quantities of imported Genever gins outnumbered those of Dry styles almost 300 to 1! When sampling cocktails from such texts utilizing the later style, results (as they were for me in several cases) are disappointing, or at least a question of "what's so great about this"? However, when a Genever style is used in cocktail recipes of the era, you can really get a feel for the incredible genius many of the great bartenders of old clearly posessed.

On a similarly-spirited note, observe the presence of Curacao in so many of the earliest cocktails - always in very small quantities & paired with an aromatic bitters like Boker's. Yet this practice fades somewhat around the same time Orange bitters (such as the 1883 brand L. Jung & Wulff) began appearing in cocktail recipes. The reasoning for this is simple - prior to approximately 1880, there was no such thing as an Orange bitters to provide the citrus complexity which the combination of Curacao and aromatic bitters created!

Other points of considerable interest included the effects of the Pure Food & Drug Act of 1906 and Prohibition on bitters (& the cocktails they were constituents of). To make a short story of it, both events were catastrophic for many of the varieties which so many recipes of the time utilized. Brands like Abbott's, Boker's (so often misspelled as "Bogart's") & Stoughton's were either driven out of business immediately by the 1906 Act or crippled by weak positioning, marketing or demand following Repeal.

In closing, Mr. Berg spoke briefly about the Bitter Truth line as well as some of the characteristics and components of bitters in general. He was quite gracious in answering questions, stating that the only information he would not disclose would be the recipes for any of his bitters. Fair enough. He did however, bring a number of tincture bottles (in addition to the full line of Bitter Truth products) filled with samples of various rare extracts & an actual sample of the long-defunct Boker's bitters! They were, quite frankly, delicious.

Similarly, when questions about TBT's (limited release) of Jerry Thomas' Decanter bitters arose, a sample of Virginia Snakeroot (which would have been included in the original c. 1862 product) extract - generously supplied by David Wondrich - was passed around for (cautious) inspection! This was accompanied by a sample of the different (non-toxic) strain of Snakeroot which TBT apparently substitutes into their own version of The Professor's housemade bitters...

All in all the event was a positively-fantastic experience, full of interesting facts and interesting discussions - all over classic (& delicious) drinks!

Cheers & Thanks...

...to Stephan Berg for the terrific show, Debbie Rizzo & Tal Nadari, as well as the CSOWG for enabling me to attend. Likewise, many thanks to Erik and Paul for introducing me to so many new faces as well as to Brian Miller & the whole Clover Club gang for their spectacular work with all those drinks!


Other Folks' Reports:

• CocktailBuzz.com
• The Cocktail Guru
• Eat Me a Life
• Time Out New York