The idea of a vintage cocktail came to me when I was, as ever, revisiting the classics. Knowing that I would be making them numerous times over the years to come, as in the years before, I was struck by the thought that the evolution of drinks is almost Darwinian: the best ones outlast their competition and many have survived from the 20s or even earlier.
Following the theory of evolution, I then wondered if it was possible to make the best ones even better without just changing the obvious components: products and proportions.
After reading a number of papers, I was particularly inspired by a piece by Harold Mcgee which talked about the effect of oxidisation on wine. A Spanish friend had recently given me a 70-year-old bottle of an aperitif and I had been amazed how good it tasted. The flavours had matured and mellowed due to the residual air in the bottle. Barrels and staves where used tried but did not work in my opinion.
Hence the question. Could I use oxidisation in a positive way, controlling the process and thus refortifying not only sweet vermouth but even bourbon, and so improve the Manhattan? So I mixed together ten different bottles of sweet vermouth, bourbon and bitters, allowed a little air to enter them, then sealed them and lay them down...
After three months I found the result was dire and gave up on the project as another failed experiment. However, six months later, when clearing out the cellar of the bar, I came across my forgotten bottles. I was about to throw them away when I thought to taste them.
To my surprise, the flavours had blended together perfectly to give a mellower and smoother cocktail. So I laid down a whole batch in preparation for the next few years and now I have some that are over four years old!
The Vintage Manhattan
Stir all the ingredients together in a bowl – DO NOT ADD ICE!
Once combined completely pour the mixture into clean bottles using a funnel.
Allow a little air in the top then seal them tightly.
Leave in a dark place at room temperature for a year.
When aged serve as would a normal Manhattan
20 March 2008
19 March 2008
Featured Drink
Jim Meehan of PDT in New York introduced me to this Trader Vic drink whilst last in there.
Royal Bermuda Yachtclub Cocktail
2 oz Mt Gay Eclipse
1 oz lime juice
.5 oz Cointreau
.5 oz Falernum
Add all of the ingredients then add ice
Shake and strain into a chilled coupe
Garnish with a lime wheel
18 March 2008
The Wink
The Wink is a drink that i first made back in 2003 is a sazerac style of drink with gin as the base, a subtle hint of anise from the absinthe rinse, an orange hint from both the dash of triple sec and the orange twist (which is discarded). The last ingredient is a drop of peychaud bitters. The garnish is a Wink...;)
20 February 2008
Class Article April 2008
I first became interested in looking at how flavour worked back in 2000 at Isola. It was the Head chef, Bruno Lubet, who introduced me to the work of Ferran Adria and prompted me to start to writing to him: asking questions about how he was making some of his cocktails and about his ideas. This communication was, in essence, what stimulated me to scratch behind the surface of what a cocktail was. Having been involved in various projects since then, I have been able, not only use a great deal of these techniques, but also create new ones; some using the simple basics of science, others; far more complex. Nevertheless, it must be emphasised that science is not the only avenue I have followed over the years, there have been many influences, from designers to perfumers to books on alchemy, the list is endless, but I have never strayed far from my love of the cocktail.
Last year I was involved in a project that asked me to show case some of the ideas I have learnt from chefs, to give bartenders an in road to this way of thinking. I have always known that these techniques are not for everybody but there are defiantly things that can be used in any bar at any level, so see this more as the opening of a toolbox…and only use the tools that are relevant to the work that you are doing.
This year I will be showing far more techniques with strictly cocktail references. Here we go:
Take three words that you have heard a million times “A Dry Martini” how many times have those words reverberated in your eardrums? Now think how many times have you thought beyond what you have immediately been asked for?
We know what a dry martini is, we know that by asking a series of questions you will be able to garner the dryness required by adding the appropriate amount of vermouth, we also know that the series of actions that follow the initial request will achieve the finished drink. It is fair to say that it is no secret that the alcohol and the herbs in the vermouth is what provides the slight dry-ish feeling in your mouth. From here your mouth reacts and produces saliva. In turn the stimulation of the saliva glands prepares your stomach for the on coming food, producing that hungry feeling… job done in the aperitif department. The dryness comes from the reaction of the alcohol within your mouth, and the botanicals mainly with-in the gin; but if you then take that further and isolate the ingredients and processes that make the dryness happen.
Once you have discovered this, you are armed with the knowledge that you can re-add those ingredients to the drink and create that dry sensation in a pleasant manner, and that adds to the experience of Dryness in the martini. That would be a truly “Dry” Martini!
By deconstructing the processes of drinks and how they work you can really begin to play with them. However, it is very much about being very precise about what you are doing slap dash efforts produce slap dash results. Start with asking yourself simple questions about flavours or ingredients that you use everyday, i.e.: how does sweet and sour work? Why does my mint not keep fresh? Etc (Ps Wikkipedia is an amazing tool!)
Next the Millefleur Champagne Cocktail is a drink I worked on for almost 2 years. It was from studying of work of perfumers and reading books on alchemy that I realized the links between the three disciplines and the shared history. I started looking for a usable perfume (useable in the sense that its original notes had ingredients that could be found or be replicated into food grade essences to make the translation). That perfume was the iconic perfume. I then set about working on how I was to translate the notes in the perfume into an ingestible replica and which delivery system to use in the cocktail.
After a lot of trial and error (writing everything down at each turn) I managed to get an accurate translation of the perfume. The delivery system was, in a way, decided for me in that although there was no direct translation for aldyhydes, which is one of the structural notes of the perfume, the note has been described as musty champagne floral. I then consulted some sommelier friends in order to find a champagne which would achieve both of these things: musty and floral.
I knew the drink would have to try and emulate the perfumes iconic status; within the cocktail world, making the cocktail, as distinguished and elegant as possible was the priority, it was therefore easy to narrow if down the style to a classic champagne cocktail. This choice of delivery system inadvertently saved me a great deal of time solving another problem; how to ensure that the cocktail. As prior experiment, I had tried to use a classic martini as the delivery system, but the volatiles where lost due to the low temperature, but by using the champagne, which is served at a slightly higher temperature, the volatiles carried well. In addition, the bubbles helped by carrying the essences to the top of the drink….
The result is, a faint waft of flowers off the top of the drink (just a hint), and a subtle floral champagne taste in the mouth.
I think it is important to note that if a drink is not perfect do not foist it on your customer. Yes, people have different tastes but if a drink is badly made then it’s badly made, that is not an excuse for a badly made drink, it doesn’t matter how much gimmicky stuff you do to it. Take time to ensure that the structure is well worked out, then keep working on it until it is absolutely perfect; there nothing wrong with working on something for a very lengthy period ….its not about gimmickry, its about well thought out drinks that create a different effect or stimulate a different emotion….
The beauty of a good magic trick is that you are left with the feeling that you don’t know how it worked, with a feeling of wonderment at something you can’t quite grasp.
The way you learn a magic trick is by practicing your trick over and over again and studying so that one day your trick is perfect.
If someone shows you a trick that is done badly you feel let down, the trick loses its magic. In the same way that, although it is very interesting for other magicians seeing how a trick works, don’t you always feel disappointed when you’ve seen one of those programmes that “reveals all the secrets”? As an audience member it is far better to be intrigued that to know the mechanisms………..
I am in a way using this as a metaphor to say even though there is a move towards using new techniques for drinks, the use of science etc, lets not bore our customers with geeky talk of xyz chemicals or the machine that goes beep, like the trend was a couple of years back when there was a lot of historical (s)pouting…its all about the delivery; from the glass-ware, to service, to a good yarn to an amazing tasting drink…..
You are the magicians so lets create magic….!!
Now, it will not be all about high tech stuff in my column over the next few months; I will be disseminating different techniques and equipment like things like enfleurage, brix meters, ph meters, etc. I will be starting by talking about the Rotavapor, a machine I was introduced to a couple of years ago and one that opens up a huge amount of possibilities for bartenders.
Article published in the British trade magazine Class in April 2008
Last year I was involved in a project that asked me to show case some of the ideas I have learnt from chefs, to give bartenders an in road to this way of thinking. I have always known that these techniques are not for everybody but there are defiantly things that can be used in any bar at any level, so see this more as the opening of a toolbox…and only use the tools that are relevant to the work that you are doing.
This year I will be showing far more techniques with strictly cocktail references. Here we go:
Take three words that you have heard a million times “A Dry Martini” how many times have those words reverberated in your eardrums? Now think how many times have you thought beyond what you have immediately been asked for?
We know what a dry martini is, we know that by asking a series of questions you will be able to garner the dryness required by adding the appropriate amount of vermouth, we also know that the series of actions that follow the initial request will achieve the finished drink. It is fair to say that it is no secret that the alcohol and the herbs in the vermouth is what provides the slight dry-ish feeling in your mouth. From here your mouth reacts and produces saliva. In turn the stimulation of the saliva glands prepares your stomach for the on coming food, producing that hungry feeling… job done in the aperitif department. The dryness comes from the reaction of the alcohol within your mouth, and the botanicals mainly with-in the gin; but if you then take that further and isolate the ingredients and processes that make the dryness happen.
Once you have discovered this, you are armed with the knowledge that you can re-add those ingredients to the drink and create that dry sensation in a pleasant manner, and that adds to the experience of Dryness in the martini. That would be a truly “Dry” Martini!
By deconstructing the processes of drinks and how they work you can really begin to play with them. However, it is very much about being very precise about what you are doing slap dash efforts produce slap dash results. Start with asking yourself simple questions about flavours or ingredients that you use everyday, i.e.: how does sweet and sour work? Why does my mint not keep fresh? Etc (Ps Wikkipedia is an amazing tool!)
Next the Millefleur Champagne Cocktail is a drink I worked on for almost 2 years. It was from studying of work of perfumers and reading books on alchemy that I realized the links between the three disciplines and the shared history. I started looking for a usable perfume (useable in the sense that its original notes had ingredients that could be found or be replicated into food grade essences to make the translation). That perfume was the iconic perfume. I then set about working on how I was to translate the notes in the perfume into an ingestible replica and which delivery system to use in the cocktail.
After a lot of trial and error (writing everything down at each turn) I managed to get an accurate translation of the perfume. The delivery system was, in a way, decided for me in that although there was no direct translation for aldyhydes, which is one of the structural notes of the perfume, the note has been described as musty champagne floral. I then consulted some sommelier friends in order to find a champagne which would achieve both of these things: musty and floral.
I knew the drink would have to try and emulate the perfumes iconic status; within the cocktail world, making the cocktail, as distinguished and elegant as possible was the priority, it was therefore easy to narrow if down the style to a classic champagne cocktail. This choice of delivery system inadvertently saved me a great deal of time solving another problem; how to ensure that the cocktail. As prior experiment, I had tried to use a classic martini as the delivery system, but the volatiles where lost due to the low temperature, but by using the champagne, which is served at a slightly higher temperature, the volatiles carried well. In addition, the bubbles helped by carrying the essences to the top of the drink….
The result is, a faint waft of flowers off the top of the drink (just a hint), and a subtle floral champagne taste in the mouth.
I think it is important to note that if a drink is not perfect do not foist it on your customer. Yes, people have different tastes but if a drink is badly made then it’s badly made, that is not an excuse for a badly made drink, it doesn’t matter how much gimmicky stuff you do to it. Take time to ensure that the structure is well worked out, then keep working on it until it is absolutely perfect; there nothing wrong with working on something for a very lengthy period ….its not about gimmickry, its about well thought out drinks that create a different effect or stimulate a different emotion….
The beauty of a good magic trick is that you are left with the feeling that you don’t know how it worked, with a feeling of wonderment at something you can’t quite grasp.
The way you learn a magic trick is by practicing your trick over and over again and studying so that one day your trick is perfect.
If someone shows you a trick that is done badly you feel let down, the trick loses its magic. In the same way that, although it is very interesting for other magicians seeing how a trick works, don’t you always feel disappointed when you’ve seen one of those programmes that “reveals all the secrets”? As an audience member it is far better to be intrigued that to know the mechanisms………..
I am in a way using this as a metaphor to say even though there is a move towards using new techniques for drinks, the use of science etc, lets not bore our customers with geeky talk of xyz chemicals or the machine that goes beep, like the trend was a couple of years back when there was a lot of historical (s)pouting…its all about the delivery; from the glass-ware, to service, to a good yarn to an amazing tasting drink…..
You are the magicians so lets create magic….!!
Now, it will not be all about high tech stuff in my column over the next few months; I will be disseminating different techniques and equipment like things like enfleurage, brix meters, ph meters, etc. I will be starting by talking about the Rotavapor, a machine I was introduced to a couple of years ago and one that opens up a huge amount of possibilities for bartenders.
Article published in the British trade magazine Class in April 2008
28 January 2008
22 December 2007
Peruvian Panpipes
This was a drink I did for a Pisco company. Piscos were usually fairly undrinkable outside of a cocktail. This particular Pisco was quite drinkable by itself so to highlight this I made a sangrita style drink to highlight the quality the spirit was served chilled and in the other glass was a fresh made passion sour with bitters, (there was a raspberry version too). The idea was to sip one the the other in which ever order you choose. This did well especially with people sitting in at the bar I think that people liked the choice option in the drink.
Luna Martini
This is a drink that was invented back in 2003 in collaboration with Ian Wisniewski the renowned drinks writer and vodka expert. The idea was to create a new vodka profile for a vodka martini with existing vodkas. To make our "own" blend if you like, so we did vodka tastings and matched a couple of them that we thought would make for an interesting blend (it also had to go with the vermouth). Finally after much deliberation we came up with 2 parts Moskovaya 1 part Sichwha 1/4 part Martini dry, one dash angostura and a lemon twist. I particularly like how the earthyness of the Sichwha underpins the drink. I think this gives you a little something more to hold on to than your average vodka martini.
Liquorice Whisky Sour
Archive Cocktail - Chamomille Cooler (2007)
This is a whisky cocktail which has a sour base and chamomille foam layered on top. As you drink the cocktail the bottom, whisky, section is drunk through the foam so that you get hit by a combination of both flavours.
Step 1
800ml Water
3 Sheets of gelatine
30g Chamomile powder
5ml Vanilla extract
75ml gomme
stir gently
cover with Clingfilm and heat for 2 minutes in a microwave
Step 2
Add 15g ovoneve
Step 3
Use hand blender until coherent
Step 4
Strain into siphon using sieve and funnel
Step 5
Add N2O, shake and chill.
Step 6
Layer on top of drink
800ml Water
3 Sheets of gelatine
30g Chamomile powder
5ml Vanilla extract
75ml gomme
stir gently
cover with Clingfilm and heat for 2 minutes in a microwave
Step 2
Add 15g ovoneve
Step 3
Use hand blender until coherent
Step 4
Strain into siphon using sieve and funnel
Step 5
Add N2O, shake and chill.
Step 6
Layer on top of drink
White Gin Fizz
The gin fizz is one of my all time favourite all time cocktail in this version it has a a scoop of lemon sorbet in it which gives the drink a lovely smoothness, but also a sherbety fizziness which was exactly what I was looking for! I worked with an ice cream maker to get a sorbet with the right balance of flavour and egg white in it to use in the a drink.
21 December 2007
Prarie Oyster
This is a re-interpretation of the hang over cure drink the Prairie Oyster. Using a technique that they invented at elbulli to create a yolk which has a liquid centre and a gelatine casing.
I made a tomato yolk using clarified tomato juice then recoloured it to look like an egg yolk. I then added an air of Worcestershire sauce some shallots, a splash of vodka some salt some pepper and some Tabasco sauce. The shells are made from wax that was poured into a mold that was cast from oyster shells.
It is then drunk as an oyster would be eaten and what you get is the intitial flavours of the spices and the intensity of the air of Worcestershire, then the yolk pops and you get the clean fresh flavour of the tomato juice.
Super Soda
This is a cocktail that uses a suspension gel. Which is basically a liquid gelatin so that when you put bits in it they will be suspended (as can be seen in the photo) whilst the drink remains liquid.
This particular drink was based on the Tom Collins. Except instead of soda i used a mineral water I had flavoured. The flavouring was influenced by the Comme des Garcons perfume "Soda" which is a construct of oders which smell like soda (this they did by using a headspace machine and then reconstructed using artificial fragrances).
I then took these fragrance notes and reconstructed (as closely as i could using food grade essences) the smell/flavour profile. This was then used to flavour the water which was then added to a Tom Collins base. The lemon juice added was clarified. To this I added the gel, then the nutmeg caviar, crystalized lemon zests. This was all placed in the glasses and chilled.
The second incarnation of this drink I took out the caviar and the zest and added flavour bubbles. These I made by adapting a isi syphon so that i could "inject" bubbles into the drink these bubbles became suspended. The flavour came from using the same flavour essence that was used for flavoring the water. When you drank the drink you have the flavour of the drink and then little flavour explosions from the bubbles.....
20 December 2007
The Sugar Loaf Mountain Cooler
The Sugar Loaf Mountain Cooler
50ml Cachaça
25ml Lime
15ml Sugar Syrup
Top with Sugar Cane Water
Glass – High Ball
Method
Build
Garnish lime
Like a longer version of a Caipirinha.
Brazilian El Presidente
This is a version of the Cuban drink the El Presidente that I made for a Cachaça company in it I have exchanged certain ingredients for others i.e. fig liqueur instead of triple sec, Cachaça instead of rum.
50ml Cachaça
15ml Sweet Vermouth
10ml Fig Liqueur
5ml Grenadine Syrup
Glass - Martini
Method
Pour all the ingredients into a Boston tin,
Stir about 20 times
Strain into glass though a fine strainer so as no ice in drink
Garnish with an orange twist
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