Thursday 30 July 2015

The purple reign of Parfait Amour

By chance I found myself with three different brands of Parfait Amour in the house recently—Bols, Boudier and Cartron. This liqueur is possibly most used in cocktails for its purple colour, but despite its similarity in this respect to crème de violette it is not primarily flavoured with flowers. Recipes vary and Bols, who claim to have invented it, do use rose and violet petals to make it, but the flavour that seems to link the different interpretations is actually citrus.

The Cartron website doesn’t give away the recipe but implies that this liqueur is all about the citron. The nose is strongly of orange and lemon, as is the palate, which is sweet, with a liquorice note and only the subtlest florality. It does make you wonder why someone would come up with a citron liqueur then decide to make it purple—and this sample is the most intensely coloured of the three—but the site has a quote from 1769 about the use of citron in Parfait Amour so it has clearly been made this way for a long time.

(Left to right) Boudier, Bols and Cartron
Boudier’s version also hits you with oranges on the nose and something sweet like crystallised angelica or parma violets. On the palate it is drier and seems more spiritous than its 30% ABV. There is orange here again and perhaps something nutty. The website has nothing to say about this liqueur, but I gather that curaçao oranges, rose petals, vanilla and almonds go into it.

Bols’s ingredients are much the same as Boudier’s—orange peel, vanilla, almonds and “flower petals (principally roses and violets)”—but their version is quite different. They speak of how many a lover’s quarrel has dissolved under the influence of this drink, and it does have the reputation of being a dainty tipple for ladies. (It’s interesting, then, that Cartron talk of how it is “ideal in light and fresh cocktails” and don’t actually suggest you drink it neat.) The Bols example has a more confectionary nose and is sweetest on the tongue. More than anything it reminds me of that nougat that has bits of candied fruit in it, a character that must come from the almond and vanilla as well as the citrus. I would say that the Bols version is the most distinctive—the others seem a bit vague by comparison—and is the only one I can imagine dainty ladies choosing to sip. The Boudier seems a bit too austere and the Cartron has that liquorice edge that might prove divisive.

Although I don’t have any to hand, De Kuyper also make a Parfait Amour that they describe as a marriage of citrus (lemon and bitter, fragrant curaçao orange) and vanilla. Marie Brizzard make one with sweet oranges, orange blossom and vanilla. Giffard make theirs with orange, vanilla, violets and geranium and Lejay use bitter orange peel and violet buds.

A Jupiter, made to Ted Haigh's proportions
There actually aren’t many classic cocktails involving Parfait Amour. The Savoy Cocktail Book from 1930 has just two (there are significantly more with crème de violette and, I suspect, more with Crème Yvette as well), the Jupiter and the Trilby No.2. No one seems to know anything about their origins, but I’m assuming the Trilby was titled after the play of the same name,* as was the wont with smash-hit plays in those days.

2 shots gin
1 shot dry white vermouth
1 tsp Parfait Amour
1 tsp orange juice

Shake with ice and strain into a cocktail glass. The first time I put a row of these together, using the different brands, I’m not sure what to make of it: it seems very much of the time when the Martini was the bedrock and many “new” cocktails were just slightly contaminated versions of it. The tiny quantity of orange juice doesn’t seem to add much apart from a cloudiness: it’s possible that this opacity in conjunction with the Parfait Amour is intended to create a pale sky colour (Jupiter is Roman god of the sky), though in the case of the dark Cartron you get something that looks like a severely polluted sky just before an ugly storm, while the others veer more towards orangey-pink.

A Trilby cocktail
The Boudier’s citrus character blends easily enough with the gin and does poke its head up now and then with notes of sweetness and stemminess too. The Cartron has a similar effect, though it gets a bit lost. The Bols version is certainly more distinctive: while the juniper/Parfait interface is not horrible, it will come as a bit of a shock to Martini drinkers. Overall it is more cloying and doesn’t seem to sit comfortably with the seriousness of the Dry Martini ingredients. Might go better with Babycham.

However, noting that Ted Haigh, in Forgotten Spirits and Vintage Cocktails (2009), champions the Jupiter but is very particular about measures—in his recipe the gin is at 45ml and the vermouth at 20ml—I have another go the next night, using his exact quantities (and Bols liqueur) and the result is indeed more elegant. I must have overdone the Parfait Amour previously, as this version is actually quite dry. This probably does make the best of the liqueur; its nougat character takes on a hint of (white?) chocolate in this subtle incarnation.

1 shot Scotch whisky
1 shot red vermouth
1 shot Parfait Amour
2 dashes absinthe
2 dashes orange bitters

Again, the Carton and Boudier versions produced only a fairly subtle influence. The Bols Parfait Amour made its presence felt more, sitting in the mix with the malty rasp of the Scotch, the herbal sweetness of the vermouth and the pungence of the absinthe (I used just a rinse), though whether the end result is complex or conflicting is debatable.

A Blonde Bombshell
I have a feeling that Parfait Amour can be quite a busy blend of flavours in itself, and so might actually work better in simpler combinations. Experimenting, I found that just adding a dash or two to a glass of Champagne or sparkling wine was one of the most satisfying serves, enabling the flavours of the liqueur to open up but not overwhelm (and in fact Bols claim on their website that this combination is drunk at weddings all over the world). There are a number of cocktails that are basically this, plus another ingredient as well. The Blonde Bombshell, for example, recommended on Bols’s website, adds elderflower liqueur:

Blonde Bombshell
15ml Parfait Amour
15ml elderflower liqueur
Top with Champagne or sparkling wine

The two liqueurs do complement each other, with the prickly high notes of the elderflower slotting in with the Bols’s warm nutty and vanilla layers. But I find myself boosting the elderflower (I’m using St Germain) to get a good balance, and frankly the whole thing is a bit too sweet for me anyway. Adding more sparkling wine helps, as does squeezing a bit of lemon juice into the blend.

A Double Perfect
The Double Perfect does the same thing but uses triple sec instead of elderflower liqueur. Again they specify 15ml for each liqueur but, warned by the Blonde Bombshell, I start with just 10ml and frankly this is all you need (unless you’re using a very large glass).

Double Perfect
10ml Parfait Amour
10ml Cointreau
Top with Champagne or sparkling wine

The Cointreau cranks up the orange aspects already present in the Parfait Amour and controls the confectionary nougat elements, making for a relatively elegant, poised use of the liqueur, especially in these reduced quantities. (I’m using Bols, which has a broader flavour than the other two brands, which are more citrus to start off with, so I’m not sure how much point there would be to this blend using Cartron or Boudier.)

And as a final test, my eye was caught by this combo on, to which he gives a higher score than most other Parfait cocktails:

The Brazen Martini
Brazen Martini
2½ shots bisongrass vodka
¼ shot Parfait Amour

Once again it really only takes a teaspoon of the liqueur to do the job, though I’m not convinced that it is a job worth doing. The pungent herbal element of the vodka, with its bitter aftertaste, interfaces interestingly with the plump, sweet vanilla of the Parfait Amour in the same way as the absinthe does in the Trilby, but it is more thought-provoking than actually pleasant, and is really not a cocktail I would be keen to have again.

As you can probably tell, I can’t get terribly excited about Parfait Amour—and I’m in good company, as the great David Embury, author of The Fine Art of Mixing Drinks (1948), ranked it with Forbidden Fruit as his two least favourite liqueurs. The best delivery methods for it are the Jupiter, the Double Perfect or just a small 5–10ml dose in sparkling wine—but as you can see, the key here is to use it sparingly.

* The play, an adaption of the Georges du Maurier novel, played first at the Boston Museum in 1895 before Herbert Beerbohm Tree brought it to the UK, where it ran with great success at the Haymarket Theatre in London. Trilby O’Ferrall is the female lead. The Trilby hat gets its name from the play as well.

Sunday 26 July 2015

A naming of names

Thanks to my sister and brother-in-law for giving me a real brass IAE nameplate, modelled exactly on the graphic device at the top of this page. I finally got round to putting it up today. For some reason Mrs H. wouldn’t let me fix it to the front door* so it now graces the door to the den where this rubbish gets written, a small room in a Victorian terraced house, piled high with stacks of paper, old beige computer equipment, scribbled notes with important numbers on them, dusty gadgets and adaptors of one kind and another. (All surfaces seem to have acquired an alluvial sediment of bits of paper, obsolete technology or gewgaws and personal effects left behind by customers at Candlelight Club events.** There is really only one small area, the corner of a shelf, that offers enough horizontal space for a mug of tea.)

* A courier once came to deliver a sample, addressed to “The Institute for Alcoholic Experimentation”. I don’t know what he expected to find, but Mrs H. clearly heard him through the front door, on the phone to his boss, saying, “…But it’s just a house!”

** Of course I do message them all asking who is missing this bit of jewellery, or that hat, or this set of house keys, or that small black cardigan, but they very seldom claim these items. The larger things get taken to the charity shop while the rest sit in a number of shoeboxes. Some were probably only bought as costume or props for the occasion, but other items—such as a single high-heeled shoe—one might have expected the owner to want back. One day I shall make an artwork by laying them all out together in a room…

Friday 24 July 2015

The purity test: is your water and ice letting your drinks down?

I received a press release recently for a bottled water called Isbre. It is sourced in Norway from an aquifer under a 5,000-year-old glacier at the end of the Hardanger Flord in Ulvik, where it is bottled on site. The Big Thing about Isbre is its purity, showing no more than four parts per million (ppm) of total dissolved solids, which is apparently the lowest figure ever for an unprocessed water.

Purity is an interesting concept in drinks. There is a natural tendency to associate it with safety and health, and producers of spirits, especially vodka (about which there is not much else to say) frequently use the p-word, either talking about the purity of the spring water they use to dilute their alcohol, or bragging about innovative filtration methods, often involving precious metals or stones. In fact if you look at the website of Technofilter, a leading manufacturer of filtration systems for the vodka industry, they make the point that, while filtration (traditionally through birch charcoal) was once necessary to remove impurities that imparted bad flavours or odours or even made the vodka unsafe, nowadays any producer can buy in incredibly pure alcohol and all distilleries will have the means to make distilled water on site. Modern vodka filtration is more about altering the flavour and perhaps fishing out unsightly particles that may have been introduced from machinery or from additives like sugar or honey that are sometimes introduced to create a perceived smoothness.

Naturally sparkling, Apollinaris pitched itself as having medicinal benefits, "the sworn enemy of gout,
rheumatism and indigestion", in this detail from an 1876 advert. Despite the high mineral content it also
speaks of "purity" and "softness". Note also that they recommend it as a mixer for brandy, gin and wine
(click to enlarge)

This 1903 ad is pushing Apollinaris (by now threatened
by mechanically aerated waters) as a mixer for Scotch
Once upon a time drinking water that came in bottles was generally referred to as “mineral water”—the point being that you drank it precisely because of the dissolved minerals in it, either for the taste or for imagined health benefits. (According to a table on the Isbre website Evian has 300 ppm total dissolved solids, Vittel 400, San Pellegrino 990 and Apollinaris, a German spring water with a long history, which I’ve not seen for sale in the UK, a whopping 1800.) Our modern interest in bottled water may have been prompted simply by fashion and marketing, so that we want to be seen clutching the hippest water brand, or perhaps by a rise in health-consciousness and a belief that tap water is not safe. (There have been scares in recent years about the levels of oestrogen in mains water, for example, or worries about fluoridation, although in fact UK tap water has to pass more stringent tests than bottled water does.)

I live in south-east London and my tap water is pretty tasty (not true of some parts of the UK I have visited). It is a hard water with, on average, 261 ppm of calcium carbonate, which comes from the chalky composition of local aquifers. (This can tend to leave lime scale deposits in your kettle or on the showerhead, but it makes the water quick to wash away soap and apparently forms a film on the inside of old lead pipes which prevents the metal from leaching into the water supply.) The UK Drinking Water Inspectorate regularly tests tap water and apparently London’s is the best in the country (mind you we are talking about a 99.98% pass rate compared to 99.94% in the worst-performing area, so there is not much in it). You can see a full chemical analysis here.) No fluoride is added but the total dissolved solids are about 350–400, compared to Isbre’s 4.

SW4 gin diluted half and half with tap water, Isbre and distilled water
All of which got me wondering about water in booze—not the water that is used to dilute spirits to bottling strength (over which I have no control), but water that we might add at the point of preparing a drink. Many people believe, for example, that adding a small amount of water to malt whisky helps unlock flavours and aromas. And even if you don’t add water, any drink that you serve on the rocks will be diluted as the ice melts.

I gather that in Japanese whisky bars it is de rigeur that if you add water to your whisky you use only water from the same spring where the whisky is made. Camper English of Alcademics has done some interesting experiments diluting different Scotch whiskies with spring water from different parts of Scotland. The general result was that water from a particular region brings out flavour characteristics associated with whisky made in that region.

But the test here today is about the benefits of purity in water. I decided to put Isbre* up alongside London tap water. And to push things to the other extreme, I also got hold of some commercially produced distilled water.**

The same test using Nikka Taketsuru Pure Malt whisky
Tasted neat, the three waters seem remarkably similar to me, though the purity of Isbre does give it a softer feel and a perceived sweetness to the finish. The hard tap water, particularly after it has been in the glass for a while, has a flatness, a hint of something sour or metallic. (I expected the distilled water to taste much the same as the Isbre, but to me it actually tasted less pleasant, with a slight bitterness to the finish.)***

I try diluting some SW4 gin (the high-strength 47% version), half and half with water. I don’t normally drink gin this way, though my father-in-law likes his gin half and with water and a dash of bitters. It’s quite a revelation, actually, because the botanicals in the gin are loud and proud, with the high, resinous juniper joined by orange sweetness and floral, woody notes, and a bitterness towards the end. To my surprise there was quite a noticeable difference between tap water and Isbre, with the former seeming to have a heaviness or roughness. Gin and Isbre, on the other hand, felt lighter and more ethereal on the tongue and, moreover, you had a sense of perceiving the botanicals more clearly and vividly. The distilled water gave the same effect, and I honestly couldn’t detect a difference between that and Isbre.

Ice cubes made from (left to right) tap water, Isbre and distilled water. As you
see, the purity of the water does not have an effect on the clarity of the ice
I try the same thing with Nikka Taketsuru Pure Malt Japanese whisky, again half water, half whisky, and get the same result. The tap water gives a hard, flat quality, compared to the sweet smoothness of Isbre. Distilled water is likewise smooth and light.

What about ice? If you pour yourself a whisky on the rocks and sip it slowly enough for the ice to melt, then you have diluted your drink quite a lot by the end. I always regret doing this, because ice made from my tap water leaves a gritty deposit in your drink when it melts. I make some ice from Isbre and try the same thing and, hey presto, no grit.

Nothing to see here: vodka with cubes of the three ices. They look identical until…
But if you think that ice made from pure water will be crystal clear, think again. The clarity of ice is affected far more by how fast it freezes and at what temperature (see this explanation). I make up trays of ice cubes using Isbre and distilled water and they look the same as ice cubes made from tap water.

I start off with vodka on the rocks, taking 25ml of Ketel One and adding two cubes each of the three types of ice. As you might expect the results are essentially the same as when we simply added water: at first the samples seem alike but as the ice melts the sample with tap water ice takes on a flatness, something a bit like soggy cardboard, with a slight sour note, compared to the other two, which seem to maintain the original flavour of the vodka better.

Once the ice has melted, the vodka with the tap water ice now has white mineral
deposits at the bottom of the glass. This was from just two cubes of ice. No such
deposits appeared with ice cubes from Isbre or distilled water
But in my household I suspect more ice gets used in the shaker (then discarded) than added directly to drinks. Would water purity still make a difference in this context? I rustle up three Martinis, using SW4 47% and Noilly Prat. I follow James Bond’s example and shake, rather than stir, on the grounds that this will presumably result in more dilution and an enhanced effect.

Three Martinis, shaken with ice made from (left to right) tap water, Isbre and distilled
I use a measure of gin and a teaspoon of vermouth for each sample, add six ice cubes and shake exactly 40 times. I eschew a garnish to help focus on the matter in hand. Not unexpectedly, the differences are less noticeable this time, though I still think that the Isbre has a softer, sweeter mouthfeel and a sense of greater depth and transparency in the flavours of the ingredients. The tap water ice seems to give a slight masking harshness and again even the distilled water seems less appealing, which I cannot explain. But these are subtle distinctions.

This whole process has been a revelation to me. There are many bottled waters out there, with their own flavour profiles that may or may not blend harmoniously with other ingredients, but as a simple starting point it is an eye-opener to use water that is much more neutral than what I am used to. While the contribution in ice used to shake cocktails is subtle to say the least, when it comes to ice over which drinks are served, and certainly where water is directly added, using purer water makes a noticeable difference. When Isbre comes to market in the UK (I can’t find it for sale anywhere yet) it will be about £1.50 a litre: for ice to serve in drinks (as opposed, perhaps, to shaking) I think this is certainly worth paying.

One thing I am keen to try now is absinthe—which is typically served with two to five times as much water as spirit…

* Of course Isbre isn’t the only bottled water one could try—in fact while searching my inbox I stumble across a press release sent to me a few years ago for a brand called Sno, made in Iceland from a glacier, this time 20,000 years old. They also bang on about purity, but Sno contains 68ppm of dissolved solids according to the press release (though on their current website this has dropped to 52), so for the purposes of our experiment Isbre is more useful.

** Curiously, almost all suppliers had a footnote that their product was not suitable for human consumption. Considering that the whole point of distilled water is that it contains nothing but water, this is odd. It could be that if you habitually drink nothing but distilled water you would miss out on vital minerals, but I suspect it is simply that any product that is intended for human consumption has to undergo various tests that the water distillers don’t want to pay for—their products are actually designed for laboratory use or cleaning delicate equipment.

*** Although Isbre’s website only talks about total dissolved solids, I did find another site which gave more of a breakdown. This suggests the only detectable minerals are nitrates (0.05 ppm) and silica (2 ppm) from the rocky aquifer. My distilled water, for the record, has <0.2 ppm nitrates, <0.1 ppm lead, <0.2 ppm ammonium and <10 parts per billion silicon and chloride. So the distilled water actually has more of all these contaminants than Isbre, with the exception of silicon—and I gather that 5–25 ppm silica is typical for natural water, so Isbre is still fairly low. This site also gives Isbre’s pH as 5.7, which is slightly acidic. I can only assume that the silica (silicon dioxide) is in solution in the form of silicic acid. Which, in case you were wondering, is considered to be good for you. However, I later got hold of the latest lab report from Isbre themselves: it doesn't give a figure for silica but I see that the pH is 6.6, which is pretty close to pH neutral. Nitrates in this sample are down to 0.015 ppm and there are around 0.5 ppm traces of calcium, sodium, sulphate and chloride and 0.1 ppm magnesium and potassium. Total dissolved solids are given as just 3.9 ppm.

Wednesday 22 July 2015

Absinthe, tequila…and cucumber

The experimental Maid in Jalisco. Looking at it, I think I should come up with a cocktail for St Patrick's Day,
garnish it in the same way with thin slices of cucumber, and call it a Four-Leafed Clover…

Cucumber in booze is nothing new—both Hendrick’s and Martin Miller’s gins include cucumber among the flavourings.* But synchronicity dictated that I receive two emails today that embraced the noble plant and, since it is summer and I am in England, what could be more apt?

Emerald Street, a well-written daily offshoot from Stylist magazine, today featured a number of inspiring things you can do with your blender, including a frozen Margarita that includes puréed cucumber (two peeled ones, the juice of five or six limes, 100ml tequila and four cups of ice cubes, whizzed together, plus agave syrup to taste).**

Meanwhile, a post on the Real Absinthe Blog takes a scholarly look at Hemingway’s consumption of absinthe and concludes that, in his writing at least, he only ever drinks it in the traditional way with water, plus the Death in the Afternoon cocktail (absinthe and Champagne). Absinthe has such a powerful flavour that where it does appear in cocktails it is often present in homeopathic quantities (typically the serving glass is rinsed with absinthe that is then discarded before the cocktail is poured in). Last year Gaz Regan in his Regan Report noted the importance of absinthe as a cocktail ingredient but likewise warned against adding too much. Anyway, the post included a link to an earlier item describing the Maid in Cuba cocktail:

2 shots white rum
1 shot lime juice
½ shot sugar syrup
Small handful of mint leaves
3 slices of cucumber

Vigorously shake the first five ingredients with ice and strain into a glass that has been rinsed with the absinthe. It’s essentially a melding of Cuba’s two most famous cocktails, the Daiquiri and the Mojito, with added cucumber and absinthe.

Absinthe is pretty complex stuff in its own right, so you might argue that it is best drunk on its own. However, that would be a coward’s way out, so I found myself wondering what it might naturally synergise with. Gin, with its botanical arsenal, seems a likely contender, and classic absinthe cocktails like the Corpse Reviver No.2 and the Monkey Gland (gin, orange juice, absinthe and grenadine) do tend to be gin-based.*** I wouldn’t say that absinthe had a particular affinity for the white rum in the Maid in Cuba, as it is pretty much a blank canvas, but just thinking about it you can suspect that the herbaceous nature of tequila is going to marry well. And you’d be right. Just try rinsing a glass with absinthe then pouring in some tequila and you’ll see what I mean—the flavours of the two ingredients merge seamlessly.

So, by splicing Emerald Street’s cucumber Margarita with the Maid in Cuba you come up with something we might call the Maid in Jalisco:

2 shots tequila
1 shot lime juice
Agave syrup to taste (½ shot perhaps, although this was too sweet for me)
3 slices of cucumber
½ tsp absinthe

Shake with ice and strain. I started off just rinsing the serving glass with absinthe but I felt that it needed another ½ tsp at least (I was using Jade Terminus). I think the absinthe really works, though I must admit I’m less sure about the cucumber. I think that just by adding absinthe to a Margarita you have something very interesting indeed.

* Evidently cucumber doesn’t work if you infuse it with the other botanicals and distil, so it must be added post-distillation. (See my exploration of how Hendricks is made.) This means that these gins can’t call themselves “London Dry Gin” as this is an EU-defined category that does not allow any additives after distillation. Some people get quite exercised about this and query whether the definition or terminology should be changed, but I have always said that consumers almost certainly won’t consider the term “London Dry Gin” to be a stamp of quality. If anything they will probably assume that it means it was made in London, which it probably wasn’t, as the term does not encompass any geographical requirement.

** Classically the Margarita uses triple sec (such as Cointreau) but it is increasingly common to use agave syrup instead.

*** With the noble exception of the Sazerac, of course, a New Orleans classic that adds a smidgeon of absinthe to rye whisky, Cognac or a blend of the two, along with sugar and bitters.

Thursday 9 July 2015

Your smooth-talking bar steward…*

A friend of mine, who is an actor specialising in historical roles, rang me up in March and asked if I could help him out. He’d taken a small job for English Heritage but had now been given an audition for Mr Selfridge on the same day. Would I mind taking over from him in the English Heritage job?

The entrance hall at Eltham Palace where we shot the video
I’ve never done any acting but the job in question was simply to pretend to be a 1930s cocktail waiter in a video to promote the wonderful Eltham Palace. It’s a place well worth visiting, with some parts of it dating from the time of Henry VIII, and other parts added by Stephen and Virginia Courtauld in the 1930s, including the magnificent Art Deco entrance lobby with wood-inlay murals and a revolutionary concrete dome roof with glass-block skylight. Once you’ve see this room you’ll subsequently notice it cropping up in period movies all the time. Apparently Stephen himself used to make cocktails in that room every day at 6pm.

Stephen and Virginia aboard the Virginia
The team had chosen three cocktails (evidently from the 1930 Savoy Cocktail Book, judging by the recipes they gave me), the Aviation, the Mah-Jongg and the Commodore. I admit I had not actually heard of the latter two, but I’m a big fan of the Aviation. My friend the actor had already sourced the ingredients so I just scooped up some ice, brought a carload of vintage glassware and cocktail accessories as set dressing and a couple of dinner suits.

I was surprised to discover that there was no script: I was simply asked to talk as I made the drinks. Fortunately it’s a subject I’m quite interested in so I didn’t run out of things to say (in fact they have wisely edited out a lot of my rambling).

Mah-Jongg the lemur
The cocktails were evidently chosen for the relevance of their names. The Courtaulds had a pet lemur named Mah-Jongg. They also had their own yacht, the Virginia, and even a separate map room at Eltham Palace where they planned their voyages. In fact it was pointed out to me that the entrance hall was designed to resemble the prow of a ship from a certain angle. (Stephen himself was never a Commodore, though—he did serve during World War I but in the army, not the navy.) I think the Aviation was chosen to reflect the popularity of aviation as a sport in the 1930s; after Lindbergh’s solo crossing of the Atlantic in 1927 the world went Lindy crazy for some time.

The recipe that appears in the Savoy Cocktail Book is:

⅔ dry gin
⅓ lemon juice
2 dashes maraschino
However, this cocktail originally contained crème de violette too (it is present in the earliest printed recipe, in Hugo Ensslin’s 1917 Recipes for Mixed Drinks). I’ll never understand why it fell out of favour—I can only assume it became hard to get hold of—as it is its presence that gives the cocktail its distinctive sky-blue colour, as well as a touch of floral violet. The recipe I use is:

2 shots gin
½ shot lemon juice
½ shot maraschino
1 tsp crème de violette
Don’t be tempted to overdo the violette as you’ll lose the subtlety and your drink will go purple.

The Savoy recipe is:

1 glass of Canadian Club whiskey
1 tsp syrup
2 dashes orange bitters
Juice of ½ a lime or ¼ a lemon
I find it works best if the quantity of lemon/lime juice is roughly equal to that of the sweetener, so my proportions were:

2 shots whiskey
½ shot syrup
½ shot lemon juice
2 dashes orange bitters
Not bad, though not hugely fascinating either.


2 shots gin
½ shot Bacardi white rum
½ shot Cointreau
On paper a rather odd mix, with the gin base augmented by a surprisingly small amount of white rum, but it is actually rather nice. You would not expect to be able to taste the rum, but you can subtly, and I wonder if it is there to smooth off the finish of the gin? As I point out in the video, all the ingredients here are spirit-strength, so it is a potent cocktail.

* For those too young to remember, a reference to the 1990s TV adverts with Stephen Fry

Afraid that I would spill booze over the famous Art Deco carpet, they carefully rolled it back, and I was
interested to see a wooden floor beneath. Staff said they believed it was a dance floor for the Courtaulds' parties

Sunday 5 July 2015

Some Negroni variants

A Mr President cocktail
I like a Negroni (equal parts gin, red vermouth and Campari), and I seem to have this in common with much of the world, as it is on trend these days. (Which is interesting when you consider that it is quite bitter—perhaps we are just getting more sophisticated in our cocktail palates, or perhaps it is the appeal of the vintage/heritage aspect.)

I was therefore intrigued when I later encountered the Boulevardier, which is effectively a Negroni with the gin replaced by bourbon or rye whiskey. It was created by Harry MacElhone, of Harry’s Bar in Paris, for Erskine Gwynne, socialite, nephew of Alfred Vanderbilt and editor of the Boulevardier magazine. It appears in Harry’s book Barflies and Cocktails, published in 1927, where it is given as equal parts bourbon, Campari and red vermouth. (Harry’s earlier ABC of Mixing Cocktails has an Old Pal cocktail that is equal parts Canadian—i.e. rye—whiskey, Campari and dry vermouth, which is a pretty dry drink. Oddly, a cocktail with the same name appears in the 1927 book made with red vermouth.) You often now find the Boulevardier with the whiskey elevated to 1½ parts, though certainly with Redemption Rye or Rittenhouse 100 Proof equal parts is easily enough. I would certainly put this cocktail up there with the Negroni; if you like Campari you should try it, as it is essentially a Manhattan with added Campari. Even with milder Maker’s Mark bourbon I think equal parts works fine, though ramping the bourbon to 1½ is still interesting.

Count Camillo Negroni, alleged inventor of the cocktail of
the same name. However, the contemporary Negroni family
insist that their ancestor Count Pascal Olivier Negroni is the
real creator. See here for the low-down on the spat 
All of which got me wondering what would happen if you tried using other spirits in place of the Negroni’s gin.* What about rum? In Havana’s Prohibition-era glory days as a watering hole many extant cocktails seemed to spawn an equivalent that used rum instead of the original base spirit—the Sloppy Joe’s Cocktails Manual has three “President” cocktails, all essentially a Dry Martini made with rum instead of gin, with a few other bits and pieces thrown in. Sure enough such a thing as a rum Negroni already exists: the Kingston Negroni uses pot still Jamaican rum, while the Mr President uses white Cuban rum (though the proportions are different here: 1¼ shots rum, ¾ shot red vermouth, ½ shot Campari). I’m not entirely convinced about either of these: the white rum is easily smothered by the other ingredients, contributing only a little sugar character; although clean, I find it a bit too sweet. In the dark rum version (I used Myers’s) the rum certainly makes its presence felt, though I suspect that I am ultimately not really a fan of this sort of Jamaican rum with its dry, dusty, woody rasp, and it is debatable here whether this quality compliments the rooty bitterness of the Campari or quarrels with it. I think on balance that this is a successful combo, in that you can certainly taste all the ingredients in the mix, although they seem to be circling each other warily. Compared to the Boulevardier, however, it is definitely less inspired.

A Milano is simply a Negroni made with vodka instead of gin, or an Americano (originally known as a Milano-Torino) made with vodka instead of soda. Ultimately it lacks the complexity of the Negroni or the Boulevardier, as you can’t taste the vodka, even if you bump up the proportions. It is also known as a Negroski. This cocktail need detain us no further.

A Rosita cocktail
Inevitably, where one whisky goes another will follow, and the Scotch Negroni uses blended Scotch instead. I used Famous Grouse and, although I am not generally a fan of Scotch-based cocktails, this one undoubtedly works. The whisky balances against the orangey fruit notes in much the same way as it does in a Blood and Sand (Scotch, orange juice, red vermouth and cherry brandy) and seems to add a chocolatey warmth.

Replacing the gin with Cognac (I tried Courvoisier Exclusif) is surprisingly successful, and quite different from the other variants. The fruitiness rises up, suggesting apples and prunes, and it balances in a very satisfying and complex way, though the overall effect is more a warming autumn drink (I imagine—I’m writing this during a heatwave here in the UK). I also tried it with Calvados and it works too, in the same fruity way, though it lacks the complex spread of flavours that the Cognac offers.

Finally we come to the Rosita, made using reposado tequila (I used Tierra Noble**). Simply replacing the gin with tequila at equal parts, the tequila sits squarely in the mix; the recipe I found gives 1½ parts tequila and although this still works I’m not sure it’s necessary. (The recipe, from Gaz Regan's Bartender's Bible, actually has the vermouth as an even blend of red and dry white; this gives a subtle and quite dry result, though I think I prefer it with just red vermouth.) It’s a fascinating combination, with the petrolly, smokey, herbaceous agave flavours entwining with the bitter, orange notes of the Campari. It works in a similar fashion to the Scotch version, with smoke being present in each case and each a relatively subtle blend compared to the minty, sawmill punch of the rye whiskey version.

Out of all of these, for me the Rosita takes first prize—it’s not just “interesting” but is a cocktail I will definitely come back to—thought the Boulvardier and the Cognac Negroni are definitely worth trying too.

* Of course there is much more you can do to a Negroni than just vary the base spirit. In fact Gaz Regan has written an entire book about it… 

** I was given a couple of samples at a trade show, but I don’t think they ever did sort out distribution in the UK. Which is a shame as it’s a great product.