Showing posts with label rye. Show all posts
Showing posts with label rye. Show all posts

Friday, March 24, 2023

New-ish Cocktails: the Duboudreau

I stumbled upon this drink in the same way as Fred Yarm - flipping through the PDT Cocktail Book hoping to find something that looked good. This is a reimagining of Jamie Boudreau's Cooper Cocktail from Vessel in Seattle in the late-2000s during the first phase of the cocktail renaissance. It has all the features of the time - rediscovered ingredients like bonded rye whiskey and Fernet Branca alongside new ones like St. Germain. The spin takes it in a more Manhattan-y direction with aromatized wine.

Duboudreau Cocktail

2 oz rye whiskey
0.75 oz quinquina
0.25 oz St. Germain
0.25 oz Fernet

Combine all ingredients, stir with ice for fifteen seconds, then strain into a chilled coupe and garnish with a lemon twist.

The aroma leads with a big wallop of mint from the Fernet, plus herbal rye and a touch of grapefruit peeking out from behind. The sip opens fairly sweetly between the St. Germain and Punt e Mes, sliding into bittersweet rye in the middle and complex bitterness further back . The finish is balanced between continued bitterness from the vermouth and Fernet, oak tannins from the whiskey, and a soft grape-iness.

What a drink. At first sip I wasn't sure if this was going to work, but it manages to come together in a delightful fashion. Equally astounding, the robust flavors of the minor ingredients manage to keep this from feeling overwhelmingly alcoholic, which is quite an accomplishment with so much bonded rye. While definitely not a drink for the faint of heart, if you have everything on hand it makes for quite an adventure.

Friday, August 27, 2021

Classic Cocktails: the Old Pal

Another in the annals of lesser known siblings of more famous cocktails, the Old Pal is a clear riff on the Boulevardier that didn't quite make it into the big leagues. First printed in Harry McElhone’s ABC of Mixing Cocktails, it dries out the more well-known version while retaining the same basic proportions.

Old Pal

1.25 oz rye whiskey
1 oz dry vermouth
1 oz Campari

Combine all ingredients, stir with ice for fifteen seconds, then strain into a chilled cocktail glass and garnish with a lemon twist.

The aromas lead with sweet fruit from the Campari, vegetal spices from the rye, and lemon from the garnish. The sip opens with big Campari and rye sweetness up front, gets rather fruity in the middle, then fades out through dry vermouth and prickly rye spices. The finish is rather dry from the vermouth and Campari bitterness, gently accented by the rye.

Is there a Negroni/Boulevardier style drink that isn't good? If there is, I haven't found it yet. This one is another win and possibly one of the first published references to Campari in a cocktail recipe (according to Old Man Drinks). I can also see this working with Bruto Americano if you want to lean into the rye or Luxardo Bitter if you want to take it in a sweeter vanilla direction. You could also soften it with blanc vermouth instead of dry, but that would be a more radical change to the profile and bring it back somewhere closer to a rye Boulevardier. However you choose to construct it, this is clearly a winner.

Wednesday, August 18, 2021

Classic Cocktails: the Brooklyn

This is one of the classics, even if it hasn't achieved the fame of its across the river cousin. It's original form may have been closer since there appears to have been a misprint at some point, swapping what used to be sweet vermouth for dry. But given the way this is constructed, that may be for the best.

The Brooklyn Cocktail

2 oz rye whiskey
0.75 oz dry vermouth
2 tsp Amer Picon (sub Bigallet China-China Amer)
2 tsp maraschino liqueur

Combine all ingredients, stir with ice for fifteen seconds, then strain into a chilled cocktail glass and garnish with a cherry.

The aromas are very expressive, blending rye grain, vanilla, herbal notes, and orange peel. The sip begins with rye, orange, and maraschino sweetness, takes a dip into bittersweet as the vermouth comes to the fore, then fades out through maraschino. The finish is complexly bitter with dry rye, herbal notes from the vermouth, orange peel, and drying spices.

I have to admit that this is a drier drink than I usually prefer, but I can really see the appeal. Modifying the basic combination of rye and vermouth with touches of liqueur ups the sweetness just enough and adds a huge amount of complexity. This is also a good place to play around with orange-forward armaro. While the Bigallet is good, I can see this going in a darker direction with something like Ramazzotti.

Wednesday, January 20, 2021

New Cocktails: Reverse Perfect Man o' War

After making pasta for dinner, I found myself with a mostly bare lemon that really needed to be used up. While I found a few good suggestions for pairing it with vermouth, none of them were speaking to me until I found the Man o' War cocktail. Named after a champion race horse, it takes the classic proportions of a Manhattan and accents them with balanced amounts of orange liqueur and lemon juice. Looked at another way, it's simply a Derby that uses lemon juice instead of lime. However, as written, it just looked like more alcohol than I want to be consuming right now, so I wondered if I could flip things around to make a less potent but still tasty drink.

Reverse Perfect Man o' War
 
1 oz  sweet vermouth
1 oz dry vermouth
1 oz orange liqueur
0.5 oz rye whiskey
0.5 oz lemon juice

Combine all ingredients, shake with ice, then strain into a double old fashioned glass filled with ice. Garnish with maraschino cherries if desired.

The aromas are driven by the sweet vermouth, accented with dry vermouth, lemon, and a touch of orange. The sip opens bittersweetly with vermouth, lemon and orange dancing around each other, shifting towards herbal notes in the middle. The finish opens with rye spice and grain, then shifts into tart dry vermouth and lemon.

Wow, this is a great drink. I've had really good luck with the reverse perfect formula for stirred drinks, but I wasn't sure if it would work for a shaken drink. This does exactly what I wanted it to do - provide a lot of engaging complexity without straying too far in any one direction. For all the sweet ingredients the dry vermouth and lemon keep them in balance. The one change I'd make next time is to serve it up rather than on the rocks. While I think it makes for a refreshing warm weather drink on ice, it does compromise the complexity a bit.

Monday, January 18, 2021

Classic Cocktails: Reverse Perfect Manhattan

The Manhattan is one of the Ur-classics of the cocktail world - its simple ingredients and proportions encapsulate the late-19th and early-20th century drinks zeigeist in the same way as the Martini. One of the earlier variations was the Perfect Manhattan, using a split of both sweet and dry vermouth to take some of the sweetness out of the drink for those with a drier palate. The Reverse Manhattan (or, perhaps, the Original Manhattan) performs another flip by inverting the proportions to more vermouth than whiskey.

Inspired by an article from Kara Newman and my current search for low(er)-alcohol cocktails, I wondered what would happen if the two variations were put together. Especially with big, flavorful vermouths like Cocchi di Torino, I could imagine the whiskey getting lost. But with a slug of lighter, less rich dry vermouth to keep things in check, maybe the results could be even better. The Diplomat had a similar split of dry and sweet vermouths, though in that case the sweet was acting more as a flavoring agent like the gin in a Reverse Martini. 
 
Perfect Reverse Manhattan
 
0.75 oz dry vermouth
0.75 oz sweet vermouth
0.5 oz American whiskey
2 dashes Angostura bitters
 
Combine all ingredients, stir with ice for fifteen seconds, then strain into a chilled cocktail glass and garnish with several cocktail cherries and a smidge of syrup.
 
The aromas are driven by the dry vermouth and inflected with rye spice and grain plus a little roundness from the sweet vermouth and cherries. The sip begins with vermouth and cherry sweetness, sliding through dry vermouth tartness into pleasant bitterness and rye spice towards the back. The finish is Angostura and vermouth bitterness plus a bit of grape roundness in the background.

This turned out exactly the way I hoped it would, with the various components in pleasant balance. Looking at the structure there are a few ways to adjust it to your preferences - the ratios of the vermouths can be tweaked to make it sweeter or drier and differing amounts of syrup can be added with the cherries to provide a different kind of sweetness. However you choose to make it, this is a full-flavored drink with less of a punch to the liver.

Thursday, August 20, 2020

Whiskey Review: Wild Turkey 101 Rye

Not so long ago, say, the early-2000s, there wasn't much to choose from if you were a rye whiskey drinker. Most of what was on the market was barely legal rye at 51% of the mashbill, which gave a more bourbon-like product compared to some of the 95-100% ryes that have come to dominate the market over the last decade. Venerable brands like Old Overholt and Jim Beam staggered along, but didn't have much to offer at a rather water-down 80-proof. Sure, there was also Rittenhouse, but once the cocktail renaissance kicked into gear that became harder and harder to find. The one other reliable staple was Wild Turkey 101 Rye.

However, it ended up languishing, never garnering the attention of its bonded brethren. But its limited production was still enough to force Wild Turkey to replace it with a watered down 81-proof version in 2012, with only bars and other preferred customers able to get the higher proof release starting a year later. Thankfully that has turned around somewhat in the last few years, with the 101-proof version returning to some liquor store shelves in a liter bottle format. Unfortunately this also came with an increased price tag of $30-40 in most markets, which meant that it became less competitive with other budget offerings.

Thankfully, it is more reasonably priced in Oregon, so when my previous bottle of mixing rye ran out I decided to grab a bottle.

Wild Turkey 101 Rye

Nose: classic low rye notes - balanced between grainy/spicy rye and sweeter corn, a little orange and lime peel, something dusty, a pleasant level of oak. After adding a few drops of water the dusty rye grain expands and somewhat overwhelms the corn, with some diminishment of intensity as well, but it is complimented by some berry notes emerging.

Taste: fairly sweet up front, shifting towards spicy/herbal rye with subdued oak tannins around the middle, and another bump of corn sweetness near the back. After dilution the oak spreads out and joins the rye to spread the spicier notes across the palate, somewhat obscuring the sweeter corn notes, but revealing some nice berry notes around the middle.

Finish: juicy rye, herbal, a pleasant amount of oak, corn grits, a little vanilla

This is not an especially complex whiskey, but I still think it's quite good. It's pretty much what I want out of a budget bottle - solid flavors and no flaws so that I don't have to put in a lot of effort to feel like I'm getting the most out of it. Seeing as a paid $28 for a liter, I think it ends up being a pretty good value. Perhaps most importantly, I bought this for cocktails and it has performed admirably in that role.

Fall Boulevard

1.25 oz rye whiskey
1 oz Campari
1 oz sweet vermouth
1/2 tsp allspice dram

Combine all ingredients, stir with ice for fifteen seconds, then strain into a chill cocktail glass.

This is a really great twist on the classic Boulevardier. The allspice plays rather well with the rye, pushing it even further in a spicy direction and counterbalancing the sweetness of the Campari and vermouth. At the same time, I think this works well with a barely legal rye like Wild Turkey, because the more herbal/pickle notes of an MGP rye might not mesh as well.

Friday, April 26, 2019

New Cocktails: Avenue & Davenport

My main complaint about the Toronto was that its simplicity meant that it didn't taste like much beyond the Fernet. So the Avenue & Davenport that I first spotted on Imbibe's Twitter feed seemed to solve that problem. While it retains the basic structure of the Toronto, the simple syrup is replaced by a mixture of bittersweet Cynar and funky maraschino liqueur. Hopefully those elements will help to lift it out of the morass of Fernet.

Avenue & Davenport

1.5 oz rye whiskey
0.5 oz bourbon
0.5 oz Cynar
0.25 oz maraschino
0.25 oz Fernet

Combine all ingredients, stir with ice for fifteen seconds, then strain into a chill cocktail glass.

The nose is a bit of a jumble, with the rye and Fernet fighting for prominence. The sip opens with complex bittersweetness from the Cynar and Fernet, the maraschino peeks out around the middle, then sliding towards a more citrus-y bitterness at the back joined by a little oak from the whiskey. The finish is long and oaky with Fernet overtones.

This is a good drink showcasing how different amaros can be mixed to layer bitter and herbal flavors on a solid whiskey base. In contrast to the Toronto it's based on, the Fernet is much less aggressive here, despite occupying roughly the same fraction of the drink. It's equally interesting that the maraschino is a little hard to detect as I usually find it to be a very assertive ingredient. Overall I find it interesting, but not something I feel compelled to return to at a later date.

Thursday, April 25, 2019

Classic Cocktails: the Toronto

I've been scared to Fernet for years. While it slowly took the cocktail world by storm, I skipped basically any drink with it as an ingredient. But I knew I'd have to try it some day, as evidenced by the two miniature bottles that have been tucked away in my liquor cabinet for years. So I recently broke down and gave it a try, with what is acknowledged as the standard method for getting into this rather intensely flavored spirit.

The Toronto Cocktail

2 oz whiskey (Canadian or rye)
0.25 oz Fernet Branca
0.25 oz simple syrup
2 dashes Angostura bitters

Combine all ingredients, stir with ice for fifteen seconds, then strain into a chilled cocktail glass and garnish with a strip of orange peel.

The nose is a bit of a jumble with the Fernet, rye, and orange peel vying for prominence. The sip opens sweetly with a healthy dose of mint that carries into the back where it is joined by the rye and bitters. The finish is cleanly minty with a little whiskey and the bitters' spices.

As an introduction to Fernet, I think this works. While it dominates the drink, it's never abrasive or overwhelming. At the same time, I don't think this is a recipe I will reach for again. It needs something more going on to give it complexity or at least counterbalance the Fernet.

Thursday, March 28, 2019

New Cocktails: the Fogerty Cocktail

This drink caught my eye when it was posted by Imbibe. It was originally made by Ryan Fitzgerald of ABV in San Francisco. The set of ingredients and proportions reminded me of the La Bicyclette I posted about earlier this week, albeit it taking them in a rather different direction.

The drink called for a high proof rye and lots of it, but I was curious how the balance of the drink could shift depending on how it was constructed.

Fogerty Cocktail

1.5-2 oz high proof rye whiskey
0.5 oz Campari
0.25 oz crême de cacao
2 dashes orange bitters

Combine all ingredients, stir with ice for fifteen seconds, then strain into a chilled cocktail coupe and garnish with a strip of orange peel.

The 2 oz whiskey version has a slightly unbalanced nose with the whiskey and Campari notes clashing, with cacao and a little funk behind them. The sip opens with moderate sweetness, then unfolds rye whiskey and cacao bitterness, backed up by the Campari. The finish is pleasantly bitter balanced between the cacao and Campari.

The 1.5 oz whiskey version has a nose dominated by chocolate, with the whiskey and Campari in the background. The sip begins with moderate sweetness, with dark chocolate throughout undergirded by rye and Campari. The finish is bittersweet, again dominated by the chocolate.

This really demonstrates what a potent ingredient crême de cacao can be. Even a half ounce shift in the amount of whiskey is enough to completely alter the balance of the drink. My personal preference is probably somewhere between the two because I find the 2 oz version to be too far towards the rye while the 1.5 oz version lets the cacao dominate. I'd also be curious to try this with another amaro like Bruto Americano with its herbal quality, though a lighter product like Aperol would just get lost in the more strongly flavored ingredients.

Tuesday, July 10, 2018

New Cocktails: Turkey Shoot

While rye and Ramazzotti go together in any number of drinks ranging from the Brooklyn to the Black Manhattan, I've never seen them together in the mold of a Boulevardier, with the close exception of the Canon Cocktail by Jamie Boudreau, which still fancies up that basic combination. But sometimes simplicity is just as good as complexity.

Turkey Shoot

1.25 oz Wild Turkey 101 Rye
0.5 oz Ramazzotti
0.5 oz sweet vermouth

Combine all ingredients, stir with ice for fifteen seconds, then strain into a chill cocktail glass and garnish with a strip of orange peel.

The nose is balanced between rye grain, orange peel, and herbs/mint. The sip opens with sweet grape notes, then it counterbalanced by bitter notes from the rye and amaro/vermouth, with a grain and herbal fade at the back, and a rounded orange note throughout.

The herbal character of Ramazzotti goes really well with the spiciness of rye, giving a different emphasis than with Campari in the classic Boulevardier. With that said, it does take a fair amount of rye to hold up against the very strong flavors of the amaro, so if you're making this with a lower proof rye you might need to up it to 1.5 oz to keep everything in balance. Overall I'm really happy with how this turned out.


Friday, March 13, 2015

Mixology Monday XCV: Call Me Old Fashioned!

This month's Mixology Monday theme continues the classic trend from last month's "That's Not a Martini!" by looking at the humble Old Fashioned. One of the last true cocktails in the original sense of being composed of nothing more than spirit, sugar, and bitters, the Old Fashioned was old fashioned by the late-19th century.

"The Old-Fashioned was a drinker's pleas for a saner, quieter, slower life, one in which a gent could take a drink or two without fear that it would impair his ability to dodge a speeding streetcar or operate a rotary press."

-David Wondrich's "Imbibe!"

Laura at Sass & Gin has challenged us to come up with new riffs on the archetypical cocktail, using the wide array of spirits and bitters now available to the discerning drinker.

My drink was inspired by the Prescription Julep, which takes the traditional Mint Julep and replaces much of its bourbon or rye with cognac, as would have been more common during the 19th century.

Prescription Sazerac

1.5 oz cognac
0.5 oz rye whiskey
0.5 tsp simple syrup
2 dashes Peychaud's bitters
6 drops Herbsaint

Combine all ingredients, stir with ice for 15 seconds, then strain into a chilled cocktail glass and garnish with a twist of lemon.

The nose leads with the cognac's grape notes, accented by rye grain and lemon oil. The sip leads with cognac, then segues into shifting rye grain/spice and cognac, accented with the bitters and pastis. Most of the action is at the back and in the finish.

Using cognac as the primary base of this drink makes it softer than a pure rye-based version. I like the way that switch transforms it from an on-point drink (lots of herbal/spice notes from the rye, bitters, and pastis) to a counterpoint drink (softer fruit from the cognac conterbalanced with herbal/spice notes from the bitters and pastis). I think this would have been better if I had broken out the Louis Royer Force 53 to give the drink a more muscular base, but Pierre Ferrand Ambre is a totally acceptable, albeit somewhat mellow, choice.

Thanks again to Fred and everyone else keeping Mixology Monday going.

Friday, July 11, 2014

Whiskey Review: High West Rendezvous Rye

Rendezvous Rye was one of High West's first products, alongside Bourye. Both were some of the first whiskeys to tap the hidden treasures of Lawrenceburg Distillers Indiana (now renamed Midwest Grain Products), which was a former Seagram's plant that had been anonymously cranking out rye whiskey with a unique 95% rye mash bill for flavoring blended whiskeys.

Rendezvous rye is a mix of 6 year old rye whiskey from LDI and 16 year old, 53% rye mash bill whiskey from Barton. So it has a similar structure to the Double Rye that I reviewed earlier, but with a higher average age, both because the bulk of the whiskey is older (6 years vs. 2 years) and, given the price, there is also likely to be more of the 16 year old whiskey in the mix.

As with all of High West's whiskeys, this one is bottled at 46%.

Thanks to Michael Kravitz for the sample - see his review here.

High West Rendezvous Rye 12E0E

Nose: lots of pine, savory herbs, sawdust, caramel, vanilla, dusty grain and oak, salty/maritime. After adding a few drops of water, the pine becomes less aggressive and integrates with the wood, while some of the complexity diminishes.

Taste: wood sugars, caramel, and oak tannins throughout, with rye pine and creamy berry overtones. After dilution, it becomes much sweeter throughout, the pine, berries, and oak overlap and integrate, with the oak becoming almost raisin-y.

Finish: berries, oak tannins, light caramel

I'm just not sure this brings much to the table in comparison to Double Rye except more oak presence and sweetness. It's not bad, just not good enough to make me want to pony up for a bottle.

Wednesday, July 9, 2014

Whiskey Review: High West Double Rye

High West is a distillery in Park City, Utah. However, most of its fame so far has actually come from acting as an independent bottler and blender, creating whiskeys from barrels sourced from Kentucky and Indiana.

This particular whiskey is an attempt to make a more reasonably priced rye, put together from 2-year old, 95% rye mashbill whiskey from MGP and a smaller amount of 16-year old, 53% rye mashbill whiskey from the Barton distillery. These are then proofed down to a very respectable 46%.

Thanks for Michael Kravitz for the sample. See his own review here.

High West Double Rye (Batch 13C07)

Nose: a little thin, very rye-focused, vegetal/pine (PineSol), clover/alfalfa, grainy, fresh cedar, mild oak (more with time), pineapple/vanilla/bubblegum, sandalwood, berries. After adding a few drops of water, the edges are rounded off, the pine becomes richer and more sappy, there is more barrel influence, and some coffee beans and wood spices peek out.

Taste: slightly watery caramel up front, then vegetal/pine/mint with a touch of pepper and oak from the middle to back, some pineapple and berries in the middle, underlying grain throughout, more barrel sweetness with time. After adding a few drops of water, it becomes flatter but more integrated,  much sweeter (sugar rather than caramel and rounder, pepper and pine are less assertive, it's more fruit-forward (grapes and berries), there's more earthiness, and vanilla pops out.

Finish: thin and vegetal, prickly pine and pepper, mild oak and caramel

While I have been less than enamored of young MGP ryes, the older whiskey in the mix really does help to balance it. I think it takes a certain amount of digging to find the complexity - if you're primarily interested in something easy drinking or for cocktails, I would lean towards cheaper options like Bulleit or Redemption rye. But at $30, I think this actually offers something different enough to make it compete. Unfortunately it's almost $45 here in Oregon, which is far too much.

Thursday, June 5, 2014

The Current Whisk(e)y Boom is Built on the Last Glut

While I feel like this idea has been discussed before, with tales of shortages and projections of exponential growth in sales and prices on the rise, it seems worth emphasizing again.

It wasn't so long ago, say the early 2000s, that whisk(e)y was still far below the radar. The 1980s and 1990s had seen a rash of closures and sales of distilleries across Kentucky and Scotland, with the latter hit particularly hard. To put it in perspective, something like 20% of the distilleries in Scotland were closed or mothballed during the 80s and 90s, a huge decrease in capacity. In Kentucky, there were also numerous closures, with consolidation into only a few hands (Jim Beam, Brown-Forman, Heaven Hill, Four Roses, Buffalo Trace, Maker's Mark, and Wild Turkey).

While production was scaled back, often drastically at many distilleries, most were still putting new make spirit in barrels and casks, which then proceeded to sit in their warehouses. This was on top of old stock that had been made in the 1970s and even 1960s, which had been produced when sales figures were much more robust (Mad Men, remember?).

This meant that by the time the 2000s rolled around, most distilleries were sitting on a lot of very, very old stock. As most distilleries had at least some sales, they were dumping this older than usual whisk(e)y into even their entry-level offerings. Take, for instance, Ardbeg. I've written extensively about their situation before, so I will only summarize here. When the distillery was reopened in 1997, most of their stock was from 1983 or earlier. So the 17 Year and even 10 Year bottles contained whisky that was much older than the number on the bottle. The vaunted Uigeadail, which was first released in 2003, did not come with an age statement and included sherry casks from the 1970s. They made due with what they had and that meant you could buy extremely good whisky for next to nothing.

While not always as extreme, this was true of many different bottlings of bourbon and scotch that were on shelves in the early 2000s. Supply grossly exceeded demand, so even the bottom shelf was surprisingly good.

Fast-forward a few years. The wine and craft beer movements are firmly established. The cocktail renaissance is beginning to flower and people are once again paying attention to spirits that have been out of fashion for decades. Gin is gaining in popularity, if not quite supplanting vodka. Bourbon and rye begin to creep back into consciousness, as Manhattans and Old Fashioneds become fashionable again. Overall, people are thinking about what they drink and considering flavor and quality, instead of simply the ability to get them drunk.

When it comes to whiskey, the bartenders reintroducing classic cocktails have an almost embarrassment of riches. Bourbons and ryes are old and richly flavored, with Bottled in Bond expressions like Old Grand Dad and Rittenhouse providing excellent counterpoints to the recently reintroduced flavors of vermouths like Punt e Mes or almost forgotten ingredients like Chartreuse.

It didn't take too long before drinkers realized that many of the whisk(e)ys on offer were quite good on their own, as well as in cocktails. Exceptional spirits could be had for next to nothing. Bourbons with whiskey that had been aging for a dozen years or more, almost an eternity in sultry Kentucky, could be had for less than $20. Van Winkle bourbons from the shuttered Stizel-Weller distillery were significantly more expensive, running well over $40 - a fortune at the time. Scotch whiskies at 12 years old and over were regularly selling for $20-30, with even older expressions available for little more. Hyper-aged whiskies, at 25+ years old could be had for not much over $100.

This is the world that precipitated the current boom. As blogs and forums where people discussed spirits began to proliferate, word that whisk(e)y was both good and cheap continued to filter into public discussion. Sensing a shift in attitude, distillers began to offer more esoteric expressions catering to the connoisseur, like Buffalo Trace's Antique Collection or Balvenie's wood and barley experiments. These helped to spark more interest, as they were often very good and frequently stellar, usually without costing an arm and a leg.

Those with the right connections and a bit of cash could pick their own casks for bottling from the treasure-trove of slumbering whisky in the rickhouses of Kentucky and warehouses of Scotland. Legendary casks like LeNell's Redhook ryes, the KBD Vintage ryes, Willett's Iron Fist, or the Seelbach Hotel's Rathskeller rye were bottled by those in the know who were ahead of the curve. And all of these 20+ year old ryes were so cheap, even circa 2009, that it wasn't unreasonable to talk about making Old Fashioneds with them. In Scotland, now stratospherically expensive single malts from Port Ellen and Brora could be had for a song, because these were shuttered distilleries that had been mainly producing for blends, so no one had given the casks a second thought. This led to bottlings like those for the PLOWED Society, such as Brorageddon and Ardbegeddon that are some of the mostly highly rated whiskies of all time. This was also broadly true of other 'lost distilleries' that are now highly sought after as the remaining stock grows older and rarer.

Fast-forward again to around 2012. Bourbon, rye, and scotch are now firmly in the mainstream and demand is rising exponentially. Old rye is becoming a thing of the past, with Heaven Hill struggling to meet demand for the roughly 4 year old Rittenhouse Bonded. Special releases like the Antique Collection are getting harder to find, as collectors and bars snap up most of the allocations. Port Ellens and Broras have passed out of reach of many if not most drinkers, though a few independent bottlers still put out something affordable here and there. While many established brands still offer good prices on their entry-level expressions, prices are steadily rising for older whisk(e)y and new expressions are introduced at higher prices than before. More and more non-age statement releases are appearing on shelves, beginning to clog the field with youthful mystery and the distiller's injunction to 'trust us'.

Now, a few years later, we are in full-on boom mode. New standard releases (Knob Creek Rye, Wild Turkey Forgiven, Larceny bourbon, the entire Bruichladdich lineup, etc.) rarely have age statements, despite the ever-increasing price tags. Almost every 'limited release' is snapped up and immediately resold on the secondary market, despite eBay and the Bourbon Exchange group on Facebook being shut down as resale channels. The prices paid on the secondary market have also worked their way through to retail prices as distillers try to capture more of the money that people are willing to pay. For example, the 2013 Diageo special releases included a Port Ellen at £1500 and a Lagavulin that clocked in at almost £2000. And every single bottle sold. Elijah Craig 18 Year used to sell for $50-60, but the new Elijah Craig 21 Year retails for about $130. There are stills some exceptions, such as the Buffalo Trace Antique Collection, but these are commensurately difficult to find at retail prices as resellers know the margins that can be obtained.

How did we get from one state to the other? Booms and busts (with their associated gluts) almost invariably lead back to the other side. The bourbon and scotch whisky industries have gone through sinusoidal changes in business for more or less their entire history. The growth of blends in the late-19th century led to the massive closure of distilleries in the early 1900s as a result of the Pattison Crash. The huge expansion of distilleries in Campbeltown eventually led to poor quality that meant few survived the tanking demand during Prohibition. The post-Prohibition demand for bourbon eventually led to its collapse in the 1970s, as distillers watered-down and thinned their product with neutral spirit in a downward spiral of 'lightness' in an effort to compete with more fashionable vodka. Eventually they bounce back as gluts allow them to build up better products and the cycle of fashion comes around again.

Whisk(e)y has ridden the recent wave of interest in 'vintage' products, whether it be clothes, vinyl records, or the cocktails of previous generations. The sense of whisk(e)y as being more 'authentic' than, say, flavored vodkas has been an important component of the upswing. Bourbon, scotch, and rye all have deep histories with associated stories that can provide a compelling interest in the product. The veracity of those stories is often mixed at best (Templeton rye, for instance), but that doesn't stop people from enjoying them.

The sense of authenticity was bolstered by the fact that in the earlier phases of the boom, whisk(e)y was almost universally an excellent product. As I noted above, old stocks were being dumped into even bargain expressions. It's easier to believe the claims about a spirit being 'hand crafted' by distillers with deep history when what you're drinking is really, really good. The question is whether that esteem can be maintained as old stocks are run down and distillers are increasingly putting out whisk(e)ys of increasing youth and dubious quality at higher prices.

Interest and excitement about whisk(e)y is currently propped up by the limited supply of older casks. Few distilleries foresaw this kind of interest in their products a decade ago, let alone twenty years ago, so expressions that requite older whisky are often genuinely limited. Instead of leaving money on the table, many distillers are responding by dropping age statements and using other markers of quality to convince customers of the quality of their products. While there are plenty of claims that 'age doesn't matter', there really is no substitution for time in the cask. This is most visible in Macallan's current lineup, with younger and cheaper whiskies being offered without age statements while the older and more expensive whiskies that are 18+ years old firmly retain them. While there are arguments that new drinkers will establish different tastes as the current offerings become the norm or, more cynically, that people will drink whatever is on offer, I don't believe that taste is quite that subjective.

Coupled to the fact that tastes and fashions change, whisk(e)y is not limited in its production capacity in the same way that fine wines or cognac are. While a few distillers will create whisk(e)ys specifically from local grains, they can ultimately come from just about anywhere on the globe. While barley crops have occasionally done poorly in recent years, increasing demand should encourage farmers to grow more, which will eventually bring supply in line with demand for whisk(e)y's raw material. A few distilleries, such as Oban, are genuinely limited in how much they can expand, but capacity is being built at a furious pace in Scotland and America right now. Buffalo Trace is putting $70 million into new warehouses and expansion of the 1792 distillery in Bardstown. Brown-Forman is pumping $100 million into Jack Daniels. Jim Beam is investing $28 million in expanding their own facilities. Diageo is spending roughly £1 billion in new distilleries and facilities in Scotland - the Roseisle project that opened a few years ago was £40 million, the Mortlach clone will run into the millions of pounds, and another mega-distillery costing £50 million is being sited next to the existing Teaninich distillery, which itself is getting £12 million worth of upgrades, £30 million will be fed into Clynelish, in addition to roughly £40 million spread across their other distilleries in Speyside. Pernod is building a mega-distillery on the site of the former Imperial distillery, which will expand their malt whisky capacity by 10%. This is in addition to reopening the mothballed Glen Keith distillery and expanding its other Speyside distilleries. Eddrington is planning to spend £100 million building a newer and bigger version of Macallan, while mothballing the old distillery on the off-chance that it needs even more capacity. All of this implies that America and Scotland's already vast capacity to produce spirit will be growing geometrically over the coming 5-10 years, with whisk(e)y ready to be bottled as entry-level bourbons and blended whisky only three years after the new facilities make their first drops.

All of that is to say that while demand may continue to exceed supply for older whisk(e)ys for some time, there will never, ever be a time when you are unable to find some kind of brown spirit on liquor store shelves. The turnaround time for basic bourbon and blended whisky is so short that supply will likely outstrip demand first.

Which, of course, sets up the conditions for the next glut. With capacity increasing wildly and the quality of what's on the shelf decreasing, it may not take all that much longer for demand to start faltering. Without the spectacular offerings of even a few years ago to buoy interest, the plaudits may not come as thick as they have been recently. Many customers may be priced out, with the price of entry-level single malts approaching the $50-60 range while real wages in many developed countries remain stagnant or continue falling. Without refined spirits, connoisseurship will not have as much to work with. People may decide that it's cheaper and easier to drink unaged sprits if their primary goal is getting drunk. The secondary market, which has done a lot to drive up prices on the higher end and encourage the spread of 'limited editions' may eventually pop, as it has all the hallmarks of a bubble, with people 'investing' on the expectation of prices rising simply because they have been rising for as long as they have been paying attention. More broadly, the economic rise of China, India, and Brazil that has fueled much of the demand for aged spirits may falter as they become mired in the middle income trap. Just as the demand of today was impossible to forecast 10-20 years ago, assuming that todays conditions will continue unabated is just as iffy.

The indicator to watch is whether the planned expansions actually go forward. With the exception of Roseisle, most if not all are in the planning stage, with little to nothing done as yet. If trends hold and the money is actually invested, then the owners clearly expect the new plant to be necessary to keep up with demand. But if these plans end up being quietly shelved, then even the people at the top see the boom ending sooner rather than later.

Ultimately, I'm just speculating. Aged spirits are a very peculiar industry, where it is extremely difficult to match supply with demand, no matter which way each variable is going. But the claim that "this time is different" had been made about countless situations over the centuries and rarely is it ever true. The whisk(e)y industry has always been a creature of boom and bust and I lean towards the opinion that it will continue to be so.

Wednesday, May 21, 2014

Experimental Spirits: Willet Rye/Lemon Hart 151/Del Maguay Vida Blend

After trying some blends made with Russell's Reserve rye and Lemon Hart 151, I decided to see if I could improve them by using a more robust rye whiskey. And just for kicks, I decided to throw in a bit of mezcal to give it some smoke.

Willet Rye/Lemon Hart 151/Del Maguay Vida Blend

Nose: lots of dry pine-y rye notes, grain, slightly acrid smoke and burn sugar, green/vegetal notes, flambé bananas. After adding a few drops of water, the rye grain becomes more prominent, with the rum becoming an undercurrent,

Taste: rye grain, pine, and pickle juice (accented by the mezcal) throughout, slightly smoothed by the rum's molasses and banana notes in the middle, burnt sugar and toasted grain at the back. After dilution, the rum edges out the rye to make a much sweeter and smoother palate, with rye grain/pine and burnt sugar at the back.

Finish: burnt sugar, toasted rye grain, pine, a touch of vegetal agave

The switch that the nose and palate pull after adding water was quite interesting though. Sometimes it doesn't take a lot of water to push a spirit in one direction or another.

If I was going to do this again, I would up the amount of mezcal in the mix. It's such a strongly flavored spirit that I was worried about it overwhelming the other components, but with beefy stuff like Willet rye and Lemon Hart 151, I shouldn't have been. More smoke and vegetal agave notes would make for a great counterpoint to the other spirits.

Wednesday, May 7, 2014

Experimental Rumsky: Russell's Reserve Rye/Lemon Hart 151 Blends

These blends came out of an experiment I did several years ago with Russell's Reserve rye and El Dorado 12 Year rum. I enjoyed it quite a bit, but don't have any of the rum on hand anymore. So I decided to see how well my other Guyanese staple, Lemon Hart 151, would mix with the rye.

7:1 Russell's Reserve Rye/Lemon Hart 151

Nose: tons of sawdust and brown sugar, rye grain, corn, and vanilla underneath, rum detectable as a molasses undercurrent (gaining prominence with time) and more assertive alcohol (settling down with time), unripe fruit (bananas?),

Taste: the rum's molasses is a strong presence throughout, slowly giving ground to rye grain and pine, sawdust, and moderate oak tannins, unripe pineapple, cumin and other spices underneath

Finish: dusty rye grain with a touch of molasses sweetness, combining with a bitter/sour tang

I think this is the slightly better version, as it lets the rye do its thing while the rum smoothes over some of the whiskey's weak points.

3:1 Russell's Reserve Rye/Lemon Hart 151

Nose: more rum tops notes (molasses and overripe fruit), grain and sawdust are less readily apparent,

Taste: almost completely dominated by the heavily molasses and burnt sugar flavors of the rum until somewhere near the back, where rye grain and corn finally peek out, with the whiskey's oak combining with the burnt sugar notes to make a new sort of bitter finish

Finish: barrel char and burnt sugar, rye grain bitterness

Despite the preponderance of whiskey in this blend, it is almost completely dominated by the rum. In many respects, it resembles a heavy rum accented by rye rather than the other way around. While some of this is attributable to the rum's higher proof (151 vs. 90), it still demonstrates the depth of flavor contained in Lemon Hart 151. The 7:1 blend is definitely more balanced.

Friday, March 21, 2014

Experimental Whisky: Jefferson's 10 Year Rye/Hazelburn 12 Year Blend

In the vein of High West's Campfire whiskey, a blend of bourbon, rye, and single malt whisky, I tossed together a Canadian 100% rye with a heavily sherried triple-distilled single malt. Let's see how this goes.

1:1 Jefferson's 10 Year Rye/Hazelburn 12 Year Blend

Nose: contains elements of both the rye and the single malt in reasonably good balance - dusty rye grain, moderate sherry, hints of salted caramel, malt, a fair bit of alcoholic heat. After adding a few drops of water, there are more barrel notes (which become richer over time) - creamy vanilla, oak, and caramel - both the sherry and rye retreat, while some vegetal notes pop out

Taste: flat up front, expanding into the Hazelburn's sherry, then fading through rye grain and spice. After dilution it becomes sweeter and more integrated - the rye comes forward while the sherry extends further back - while the agriculture notes of malt and rye grain become more prominent, alongside dry pepper.

Finish: sherry, rye grain, moderate oak, rather dry

Not sure if this one suffered because it was constructed from the dregs of both bottles, but it didn't have the pop that I was looking for. I think the combination of rye and sherried whisky offers a lot of promise, so I'll keep experimenting with them.

Friday, January 24, 2014

Whisky Review: Michael Kravitz's The Eagle Morning

This was a sample that I got from Michael Kravitz's "The Eagle Morning" project.

Check out his blog for the whole story, but the basic outline is that he originally filled a small cask with new make rye spirit and let it age for a number of months. After taking out the rye spirit, he refilled it with single malt whisky to make a rye-finished single malt. This is the result.

The Eagle Morning

Nose: solvents hit first but fade with time, young rye grain, sweet malt, vanilla, very floral, ripe and unripe fruits, very little wood, citrus, bubblegum. After adding a few drops of water, the young rye grain completely dominates.

Taste: lightly sweet malt up front, young rye grain and chocolate sauce build towards the back, vanilla throughout, grainy rather than woody bitterness at the back. After dilution, the palate is similarly dominated by the young rye grain notes.

Finish: grainy, a little hot, new make

While probably not to everyone's taste, I actually like this one a lot. Neat, the single malt and young rye characters are in pretty good balance. I especially like how floral the nose becomes. However, water was its Achilles heel - almost all depth and nuance was lost to the rye after adding even a little bit of water. So if you ever get to sample this one, I would recommend leaving it be.

Monday, January 20, 2014

Whiskey Review: Willett Single Barrel Rye Barrel #38

One of the biggest trends in the American whiskey world over the last few years has been sourced whiskies. And by far the biggest supplier of sourced whiskies has been MGP (previously known as LDI), the Indiana-based former Seagram's plant that was quietly churning out whiskey on contract for many years before it was discovered to be the last remaining source of aged bulk whiskey for sale in America. Most importantly, they produced whiskey with a unique 95% rye mash bill, originally designed for flavoring blended whiskeys, that could fill some of the unmet demand for rye whiskey.

Despite the name, Kentucky Bourbon Distillers did not have an operating still from 1984 until 2012, so all of the whiskey they have released over the last few decades has been sourced from elsewhere. While much of it has been from the closely located Heaven Hill Distillery, they have also sourced bourbon and rye whiskey from MGP.

KBD puts out single barrel whiskeys from various distilleries under the Willett label. The ryes are mostly from MGP, which can be determined by looking for the phrase 'Distilled in Indiana' on the back label. All are relatively young, ranging from three to six years old, and bottled at 55% ABV. This one is from Indiana and was bottled at 5 years old.

Also, be sure to check out Michael Kravitz's review of the same whisky. I'll also be reviewing a sample I got from his bottle soon.

Willett Single Barrel Rye Barrel #38

Nose: alcohol is a noticeable overtone, fresh oak is dominant, sweet grain, pine, berries, caramel/burnt sugar, cinnamon. After adding a few drops of water, some hints of chocolate come out, the pine leans towards a more generically vegetal note, but doesn't change all that much.

Taste: briefly dry/creamy grain, then thick, sweet wood, pepper/alcohol heat, cinnamon, berries, and even more oak. After dilution, the mouthfeel becomes thicker and it's sweeter overall, with slightly less assertive wood, but possibly even more aggressive alcoholic heat.

Finish: dry wood, slightly grainy and piney, pepper, pleasantly bitter, hints of berries

Honestly, this isn't a particularly complex whiskey. It's dominated by the barrel, though the young rye pine is also pretty noticeable, leading me to initially describe it as 'a Pacific Northwest lumber yard'. The alcoholic heat is also fairly strong at full strength, which I think covers up a lot of the nuances in the spirit. This means it's also probably good to have a glass of water on hand. That's not to knock this whiskey, since I find it enjoyable, but it is what it is - relatively young rye.

Because I've been curious for some time about how high proof spirits change with dilution, I watered samples down to 50% and 45% ABV and let them integrate for a number of weeks. The results were fairly striking.

Willett Rye 50%

Nose: toasted oak, grain, a touch of honey, fresh herbs/grass, solvent overtones, cinnamon caramel undertones

Taste: kind of boring - not particularly sweet, bitter wood and integrated grain, hints of pine/herbs at the back, a little cardboard, more barrel notes come out with time

Finish: uninspiring - a little residual wood and grain

As you can tell from the tasting notes, I didn't like the whiskey very much at this strength. It didn't seem to have much going for it - the flavors weren't intense enough to work with the simplicity, but it wasn't mellow enough to be pleasant. Not recommended.

Willett Rye 45%

Nose: pine and grassy notes dominate, vegetables (carrots?), a touch of cinnamon, very light grain, nutmeg, a hint of chocolate/cacao powder, some woody caramel finally shows up with time

Taste: thin mouthfeel, rather dry, mild graininess, hot new wood and pepper mid-palate, fading into green pine and caraway savoriness with hints of citrus and berries, a thin layer of caramel throughout

Finish: pine, very mild grain, a touch of new wood

If the whiskey is mostly about the barrel at full strength, at 45% it's all about the spirit. The high rye recipe is fully in evidence, with lots of pine and herbal notes. I'm not sure that I necessarily like this strength better, but it does have a lot more going on. I think this is part of why MGP's ryes do so well in cocktails - with water a lot of complexity comes out that plays well with other ingredients.

It's unlikely that you'll find a bottle from this particular barrel - it was given to me as a Christmas present  a couple of years ago. But I'm going to hazard a guess that most of them are going to be pretty similar. There's only so much you can do with 95% rye distillate in a handful of years. Would I recommend buying a bottle? Maybe. If you already like Bulleit or Templeton rye (which are sourced from the same distillery), I'd say that this is worth your while if it's not too much more than $30. At that point the extra alcohol should pay for itself. Much more (it's over $45 here in Oregon) and I'd give it a pass. There are other rye whiskeys on the market with more refinement (Sazerac 6 Year) and better price (Rittenhouse BiB) that I would grab first. But Willett is, to put it mildly, an experience.

Tuesday, April 9, 2013

New Cocktails: One Eyed Jack

One of my friends recently posted a picture of a mini-menu from the West Side Lounge in Boston. They're starting a weekly Twin Peaks evening and made a set of cocktails specifically for it. The one I decided to make myself is named after the brothel in the TV show - the drink certainly is dangerous.

One Eyed Jack
1.5 oz applejack
0.75 oz Chartreuse
0.75 oz rye whiskey
1 dash Angostura bitters

Combine all ingredients, stir with ice for fifteen seconds, then strain into a chilled cocktail glass.

The nose is dominated by the Chartreuse, but remains fairly balanced, with the applejack's fruit and rye whiskey's grain making themselves known. The sip begins with moderate sweetness, with apples coming in early, followed by herbal notes from the Chartreuse and spice from the rye and bitters, then leaving with bittersweet apples.

Since all I had to begin with were the ingredients, I modeled the proportions on the Widow's Kiss, substituting rye whiskey for the Bénédictine. Since it was going to be a lot less sweet that way, I back off on the bitters to keep things in balance. It's surprisingly smooth and easy going for being a cocktail made entirely with high-proof spirits. It works out well since the two spirits compliment different aspects of the Chartreuse, combing together in a beautiful melange.