Category Archives: Tales of the Cocktail

Tales of the Cocktail Webcast

Natalie Bovis-Nelsen from The Liquid Muse has a series of webcasts from this year’s Tales of the Cocktail. In installment 3, she attends the blogger party and invites each blogger to introduce himself or herself to the camera. I’m in there, too.

I have lots more to say, but since I had to dive back into the freelance life today, I haven’t had a chance to write much. More soon, I hope.

Also, I plan to announce soon what I hope will be fun new feature of this blog, so stay tuned. Next up, though, will be tonight’s Mixology Monday post, as if I haven’t blogged enough in the past week. (ETA: I just noticed Paul’s announcement of the extension. Whoo hoo!)

For Whom the Bell Bols*

My first panel of Tales 2k8 was also among the discussions I most eagerly awaited. I am not what you might call a dedicated Hemingway fan, but I’ve read many of his books and they never fail to entertain me. Now that I am also a drinks nerd, I like reading them with a barfly’s eye.

Led by Phil Greene, cofounder of the Museum of the American Cocktail and Hemingway enthusiast, we romped through passages from Papa’s novels, short stories, and letters, and tasted some of the giant’s favorite cocktails.

We began with the Jack Rose, and may I say, this was the finest version I’ve had of this drink. I suspect the Fee Bros.’ grenadine played a role in that, and I should order a bottle when I return home.

Jack Rose

Next, was the Green Isaac’s Special, a drink that Hemingway himself invented and named after a Caribbean island:

Um, no, it's not green. Nor it is supposed to be.

To break from the red drinks, we had a Montgomery martini. If I remember Phil’s story correctly, it’s named such because British field marshal Montgomery was said to avoid leading his men to battle unless they enjoyed a 15 to 1 advantage. Hemingway mixed his martinis to that ratio, and, thus, the Montgomery Martini:


Next, the Papa Doble Daiquiri; his love of the daiquiri is legendary, so I’ll say no more:

Papa Doble

Finally, the Death in the Afternoon. This apparently originated in a recipe that Hemingway submitted to a book (So Red the Nose, or Breath in the Afternoon) collecting the tipples of famous writers and actors. A fine drink:

Death in the morning before the afternoon

*N.B.: Bols played no part in this. Don’t blame them for the pun.

TotC, Day 1

Blew in to New Orleans, La., yesterday morning after a layover in Charlotte, N.C.  Got my luggage and met the Airport Shuttle. The driver was delightful, full of wit and good stories about the city, pre- and post-Katrina. I was happy I was toward the end of his route so I could listen to him a few minutes longer!

Checked in to the hotel without a hitch, and they even had a room ready, even though I arrived about 3 hours before normal check in. Even better, I have a top-floor room with a window view!

A room with a view

(I’m not crazy about this picture, actually, but it’s the best one I have of the view. I want to fix the colors, so it looks more like this picture, from the Riverview Room on the rooftop, but that will have to wait.)

I settled in to the room and then stepped out for a bite to eat. I wanted my first meal in town to be a muffaletta and Pimm’s Cups at the Napolean House, and lo, it shall be done.

Napolean House

It wasn’t until after I got my bearings that I realized I was seated right next to a table with Misty Kalkofen, from Green Street in Cambridge, Mass., and several of her peers from other Boston-area bars. I wanted to say hello, but then again, I didn’t want to interrupt a lively conversation.

I came back to my room after half a muff and two Pimm’s Cups. I wanted to shower the airplane stench off of me and change clothes. I made my way to the rooftop, where the Toast to Tales of the Cocktail kickoff was scheduled. I met up with a Twitter friend, John Martin, and he introduced me to Joe Gendusa, who leads a cocktail tour, year-round, through New Orleans. Shortly thereafter, I heard someone say, “Mike?” I turned, and Blair, from the blog Trader Tiki, introduced himself to me.

I met several of the booze bloggers (and a hanger-on or two), and we made haste to have a drink at the Swizzle Stick Bar, before 4:30’s Booze Blogger Meet and Greet. I had a delicious Mai Tai:

Mai Tai, at the Swizzle Stick Bar

Then, it was back to the Monteleone, for the blogger meetup, sponsored by Cabana Cachaca, which served up two drinks–a Cabana Shrub, with raspberry shrub syrup, and a classic Caiphirina. I met a lot more bloggers there, and then we repaired to the next room, for a Sloe Gin cocktail tasting.

I went up to my room for a bit, to call Jen and rest. Our next stop was the Palace Cafe, for a Beefeater-sponsored reception, with good food and gin cocktails. I ate, drank, and mingled. Ran into Matt Rowley again, who introduced me to author and Esquire columnist David Wondrich, with whom I chatted briefly before Dale DeGroff distracted him. The Beefeater reception was crowded and loud, and the room was warm, so although I was enjoying the food and drink, I was too uncomfortable to stay.

I came back to the hotel and got a couple of Sazeracs at the Carousel Bar. I had apparently just missed Cameron and Anita, so I texted them and arranged to meet at the Carousel. We chatted a little while, but they needed to freshen up a bit, so we parted for half an hour and re-met in the lobby to go to the Daiquiri party at Arnaud’s French 75 Bar. I stayed there about an hour, and met Erik Ellestad and his wife, but I was beat, so I came back to the room.

I’m about to head downstairs for the Hemingway panel and the start of Day 2. Salud!

TotC: Tentative Schedule

Next week, as I’m sure you’re aware by now, is 2008’s Tales of the Cocktail. This will be my first time attending, and I’m pretty excited about it. And also more than a little scared of it–all the pounding my head and liver will take.

Regretfully, I have to tell you that Jen will not be joining me this year. She’s working a new job and doesn’t have ample vacation time amassed yet. We talked about having her fly down on Friday after work, but that’s a little grueling. She’d have to get up at 6am, work a full day in Boston, grab a flight from Logan to NOLA, and arrive probably no earlier than 10:30pm. So, alas, this ain’t the year. But 2009? Stay tuned.

So, I’ll be arriving Wednesday and flying back Sunday morning. Unfortunately, this means missing one of the most intriguing discussion of the week, Sunday morning’s look at the life and times of Gentleman Charles H. Baker, Jr. Gah! I don’t know what I was thinking when I made my flight arrangements, and I can’t change them now without incurring a huge penalty. Blast and damn.

For those of you who will be at the Baker panel, please write up a kickass blog post about it. Please? Baker really fascinates me, and I’m kinda pissed off at myself for my scheduling gaffe.

Onward. Instead of lamenting what I won’t get to do, lemme talk about what I will be doing instead.

Wednesday: I drop in at around 10:30am and will be getting the airport shuttle to the Monteleone, where I’ll be staying. I’ll probably grab a muffaletta or some gumbo and then hit Toast to Tales, the blogger reception, and the Beefeater-sponsored welcome reception that evening.

Thursday: I’ve got the Hemingway panel at 10:30 and then a dilemma at noon-thirty. Should I attend Juniperlooza or Molecular Mixology? 2:30 is Hausgemacht, followed by Artisan Still Design at 4:30. I have nothing from 6 until 8, so I’ll probably explore the city a bit, or just drink at the Carousel Bar. At 8 are the Spirited Dinners, and although I had a tough time deciding, I finally chose the dinner at Bourbon House, in part because of the bar chef, LeNell Smothers, whom Jen and I know from shopping at her store.

Friday: Another busy day. It begins with the Jerry Thomas panel, slides into the absinthe discussion, louches along to the history of the bar trade talk (which I might skip in favor of more exploration–we’ll see), and finally dribbles out into Essential Guide to American Whiskey. This latter panel conflicts with one on rye, and it still baffles me that two American whiskey panels were programmed opposite each other. But Essential Guide is hosted by Gary Regan and the aforementioned LeNell, and if you’ve never seen those two together, you’re in for a hootenanny. Gary did an event at LeNell’s a few years back that Jen and I attended, and it was great fun.

Saturday: Beachbum Berry’s tiki panel leads the morning, assuming I’m not in my undies in my room, watching cartoons and holding a gun or an ice pack to my head. I may do the Herbsaint panel at 12:30, or I might wander through town. I remember some charming shops on Magazine Street, from a pre-Katrina visit in 2002. I’d love to know whether they’re still open. At 2:30 is Cracking the Egg, hosted by Eric Seed and that LeNell woman again, and if she hasn’t gotten a restraining order by then, I’ll probably be there. At 4:30 is the Roll Yer Own talk, and I’m eager to see whether Paul and Erik are going to poison us.

Sunday: Plane leaves at 8:45am. I just know I’m going to deeply and bitterly regret this.

Hausgemacht, part 3

And now, the end of my Leviathan conversation with Mike McCaw, Matthew Rowley, and Ian Smiley. Part 1 is available here, and Part 2 can be found here. I had a great time talking to these guys, and I expect the Hausgemacht panel to be engaging and informative.

Michael Dietsch: Now, Mike and Ian, do you find that home brewing and home winemaking is sort of a gateway drug for home distilling? Do people start off as brewers and winemakers and then become distillers?

Ian Smiley: Yes, I find a lot of my customers are that. Now, my book Making Pure Corn Whiskey is focused on making whiskey and vodka and other flavored spirits, so a lot of people who have been making what they call artisan beers, or making excellent product all-grain beers, or making excellent wines now want to move into distilling. They’re looking to do it properly, and they’re looking to do it for high quality, that this is often a segue that has come from the brewing and winemaking. In a manner of speaking, that’s how I started myself.

I do find, in answer to one of the questions you asked Mike earlier, is I see a lot of customers who really don’t feel too hands on with making the equipment, they don’t want to experiment with it, they don’t want to go through the phases of having equipment that doesn’t work very well, they often want to just buy, get it made, get it perfected right from the outset, and move forward like that so they can produce the excellent product because they are pursuing excellence.

So, in summary, to answer your question, yes in my business, I do have a lot of customers that come through the brewing and winemaking venue.

Mike McCaw: I’d say that it’s probably more than half. Where I especially see, though, people with no experience is people that are wanting to get in to the business end of distilling. So we get a lot of contacts from people saying they’d like to buy a PDA-2 and they want to set up a microdistillery because they’ve run the numbers on the back of an envelope and it looks like a hugely profitable business to be in. But they’ve got zero brewing or distilling experience. So those are actually my biggest challenge.

Dietsch: How does that wind up working out for them? Do they get started and then realize they’re in over their heads?

McCaw: No, what I usually do is gently dissuade them. What I do is I send them a big questionnaire to fill out, trying to make them think about the scale of what they’re proposing to do and frequently they haven’t thought at all about the whole front end.

If you’re going to be producing, say, 20 cases of vodka a day, you need to be fermenting several hundred gallons of grain-based or grape-based or sugar-based wash to process into that every day. And just the scale of the operation is much bigger and much more intense labor than they’ve usually thought and a large number of them simply drop out when they realize that. But much better to cull at the front end than have them spend several thousand dollars on equipment and then discover they can’t handle it.

Dietsch: That might be why a number of professional brewers, like Fritz Maytag, start a brewery and then a distillery—because he already has experience running equipment and working at that scale. They don’t have that naïve expectation that they can just start this without any sort of experience.

McCaw: Right. There’s one other aspect, at least in the States, which is that onerous process of getting a license. I’ve worked with people that I’ve sold the equipment to, for their fully legal microdistilleries, and it did in fact take them two and a half years to get all their licensing in order. But if you already hold a Federal license, as a winery or brewery, they already know you, they don’t have to redo the background checks, and you can get the additional stamp on your license to distill usually in a matter of a few months.

Smiley: I can add to this. I’m a member of the American Distilling Institute, and I go to their conference each year, and I have a lot of give and take with them. More than 50 percent of the membership are actual start-up, small microdistilleries, and one of the things that’s become quite fashionable among them is to contract a microbrewer or a small or medium-sized brewery to make the wash for them. For example, there was Stranahan’s in Colorado who makes an American straight malt whiskey; they’ve got a brewery making their mash for them. I think they’re now starting to make their own, but one good way to get started is to contact a professional brewer to make your wash.

McCay: Sure, that reduces your capital costs a lot, too.

Matt Rowley: I see Charbay has been doing that in California. Although they’re charging $250 a bottle for their whiskey, which is a bit steep.

Dietsch: Now, Matt, to pull you back into this for a moment, you’re not manufacturing stills or that kind of thing, but how did you get interested in this?

Rowley: I was kind of tickled, listening to Mike and Ian talk, because we’ve never really talked about how we got started. Beer, for me, was the gateway beverage, again. I was in college, I was about 19 years old when I started making my own beers. I also liked big, heavy things—y’know, I did Irish reds, I did stouts. Back in the day, Coke still came in 16-oz. glass bottles, so I had my bathtub filled with bleach and water and Coke bottles. Then I got to really liking this a lot.

I was at a Derby Day party when I was maybe 20 or 21 and had some applejack made by the host of the party. No, not made by him, but by his family, who he claimed had been apple-cookin’ for ten generations or so, and it was fantastic. I had had some really bad moonshine before and been around stuff that from the smell of it I didn’t want to try, but this stuff was great.

So I started looking into it a little bit more. And this was 1990, 1989, something like that. There really wasn’t a whole lot of reliable information out there. Like Ian said, you could look in encyclopedias, and I remember the Foxfire book, the first one, from when I was a kid.

But the first thing I got that was specifically about moonshining was a guy giving directions, and his still was, well, you take two pressure cookers and you cut the top off one and the bottom off the other and you arc-weld them together and that point, I went, “No. No, I’m not going to be that guy. I’m going to kill myself if I do that. Or blow up the house.”

So I became interested in it more from an academic and historian point of view. I trained as an anthropologist and have been a museum curator, so my angle has been, sort of the stories about the people who are making it and why they’re doing it and sort of seeing how it differs primarily within the United States, but by extension you’re taking that back to, okay, why is the tenor of distilling and distillers different in Appalachia than it is in Washington State. Those are the sorts of answers that I like to find out about—why people are doing what they’re doing.

Camper English, from the San Francisco Chronicle, was doing an article last summer, and he asked me if I could put him in touch with some of the distillers I knew in San Francisco, and the guys I knew didn’t really want to talk to him. So I said, okay, here’s sort of my trick to finding distillers is to talk to craft brewers. Or go to bars where the bartenders are really known for doing exceptional cocktails. Because especially among the craft brewers, without exception, they either are distilling themselves or they know someone who is.

And that really is the clear pattern to me is to see that Ian and Mike both started with beer, I started with beer. It seems like beer just leads you to think in the direction of whiskey. Especially if you’re thinking about putting out a really quality product, and you think, “Okay, I’m happy with my beers, I’ve done some great stuff, and re-created old styles, I’ve got the Belgian beers down pat. What can I do with turning this into a whiskey?”

McCaw: It’s the new frontier, yeah.

Rowley: That’s one of the reasons that, because my own personal interest is more of a sort of anthropologist/historian take on this, as a distiller as well, when Ann [Tuennerman] originally asked me to do a presentation, I was really happy to do that, but I thought, I’m not the only voice out there in distilling, and it would be disingenuous to pretend that I am, so that’s why I reached out and asked Mike and Ian if they’d be interested too, because I thought, between the three of us we can probably give a pretty balanced view of what the scene is like out there today.

Hausgemacht takes place Thursday, July 17, from 4:30 to 6:00 pm at the Hotel Monteleone. Tickets may be purchased here.

Hausgemacht, part 2

Welcome back to the epic Hausgemacht interview. In part 2, I ask Ian Smiley and Mike McCaw how they got their start building, selling, and reselling distilling equipment. Ian’s up first, so enjoy:

Ian Smiley: I have always been fascinated and intensely interested in the making of beverage alcohol in general and in particular, distilling. I even had little experimental stills that I made when I was a teenager.

And as the years went on, after I had gotten out of the university and things like that and got settled in to a job, I started getting into home brewing and winemaking. And then I got into some fairly advanced distilling processes, almost as an extension of the brewing and winemaking hobby. But I found that there was a significant lack of information.

I could look up in encyclopedias, I could look up how distilleries advertised, how they did their things, but there wasn’t a lot of solid how-to information, so I got into experimenting very heavily and for years I experimented and developed processes that emulated the commercial processes. I solved the problems and actually got some good process going.

I learned how to make much better stills than I had been making before and eventually I got active on the Internet, and I started getting so many emails that I was pumping out multiple seven, eight, ten, eleven page emails every day, and I got to the point where I was saving the emails in a Draft folder where people would ask familiar questions and I would take out a ten-page email and just tweak it into the response and send it out.

And at that point, I decided to write a book because I realized I am in effect writing a book in bits and pieces and giving the information away, and I developed a website to sell the book. And then on my website, I started selling other distilling equipment.

I had a partner named John Stone. He’s dead now, but we made a glass still together, and we were selling the glass still. And eventually, I got to know the Amphora Society—the Mikes, as they’re called in the world—and they had the PDA-1, which in my opinion is the best hobby still you can buy out there. And I got into selling those, and those were selling well.

Further to that, I became involved with Brewhaus America, in Fort Worth, Texas. And they have a reflux still that they sell. A very popular style of still, but in my opinion, not an optimum technology. But I must say that that type of reflux still is probably the singularly most popular design of still among home distillers. So now that I’m the Canadian distributor of the Brewhaus line of products in general—Brewhaus and Gert Strand—I am now selling the Brewhaus Essential Extractor as they call it.

Dietsch: Yeah, I saw some of that equipment on your site earlier. Now, Mike, do you mind answering that question, too? How did you get involved in building and distributing distillation equipment?

Mike McCaw: I’ve been operating for the past 20 years as a process-optimization scientist for a big manufacturing company. I’m not a chemical engineer by background, but I’ve sort of become one through experience.

I used to be a brewer of pretty significant proportions. I would have five or six different things on tap, in my basement, at any one time. But I tended to like my beers big and chewy. And as I aged I started to have to watch my blood sugar a little bit, so I pretty much had to quit brewing those beers because if I brewed them I’d drink them. I don’t get invited to nearly as many parties anymore.

Anyway, at about the time I realized I was going to have to give up the brewing—I really enjoyed the process and had done a lot of work on processing it. I did all my brewing from grain, had a pretty sophisticated process down, and enjoyed running the process and tinkering with it.

So at that point, I was casting about for, gee, what can I do? And I remembered having read the Foxfire books a number of years previously and one of them—I forget which one it is now—is basically devoted to bootlegging arts from the Appalachian region from back around the turn of the century. So I pulled that out and read it, and as I was rereading it, I said, “No, I couldn’t practice this. This is too big and covert.” I suddenly had a flash–this would have been about 1998, I guess—“Gee, I ought to see what’s out there on the Internet.”

So I went out and did some Internet searching and came across this little book called How to Make Your Own Gin and Vodka. And John Stone and Mike Nixon were the authors of that. So I downloaded a copy for five dollars and read it; it was interesting, but it was a little, “Build exactly this, and do exactly this, and you’ll turn out alcohol.” And the process part was pretty interesting, but their fermentation technology stunk.

So I wrote the two authors and said, basically, “Gee, I liked your little book, but as a brewer of 15 years’ experience, I’ve gotta tell you guys that the fermentation process you give isn’t going to work the way you say it will.” And I got a rather terse note back from one author, saying, “I’m a Ph.D. chemist, shut up and do what I tell you.” And got a note back from the other one, saying, “Tell me more, I’m hearing from our customers this doesn’t work.”

So, at any rate, that started an Internet conversation, and six to eight months later, Mike Nixon proposed that we write a new book. And I said, “Yeah.” I was honored but I didn’t want to do just another version of “Do exactly this…”. So we spent the next two years writing The Compleat Distiller. And I don’t know if you’ve seen that book or not, but it really digs down into the science and somewhat into the art of distilling, but tries to give the person who reads it the tools they would need to actually design an optimal still for themselves, should they choose to do so.

Dietsch: So it’s not so much a recipe book or a follow-these-instructions-and-you-will-get-this-product as much as it is an introduction to the theory and science behind the art of distilling?

McCaw: Right, we have a couple of chapters on the same things for the fermentation process, and we cover distilling in the broad sense, so it’s distilling of essential oils, it’s steam distillation, but 80 percent of the book is devoted to distilling to make alcohol, but it is a general text on the whole subject. And that book is now in its fifth printing and second edition.

But somewhere after a couple of years of selling the book, we started to get a lot of calls back from people, saying, “Yeah, I liked it, but I don’t have the time or skills to design and make my own.” And we designed the PDA-1 and started to sell that…. We call the PDA-1 a laboratory-scale still, and then designed the PDA-2, which we call a pilot-scale still, which would be pilot scale for a real commercial distillery, but is actually an ideal start-out size for somebody setting up a microdistillery. And that’s something that’s starting to sweep the country right now just like microbreweries did about 20 years ago.

In fact it turned out that my primary interest is in designing and tweaking the design of the equipment. For me, watching a still run is a lot like watching paint dry. I’m much happier down in the workshop tweaking the designs. There’s so many different aspects to a hobby like this. Some people get involved for economic reasons, some people get involved for quality reasons, some people just want the biggest and best equipment in their basement.

Dietsch: As fascinated as I was by reading the description of building a still in Matt’s book, I’m a person who can barely put together a coffee table that I picked up from Ikea. So the idea of building something like that at home is extremely intimidating. Do you find that that’s the case with a lot of your customers?

McCaw: With some. I don’t know a lot, because I think most of the people who come and buy the book are people who feel handy are looking to see, What does it take to do this?

We certainly get hits on our website from people who will state flat out, I do not work with my hands. I say, Okay, fine. And those are the people that we design the equipment for, those who want the highest quality and either don’t have the interest or the time in making it.

But in both the home brewing community and in the distilling community that we’ve served with our business, I divide people into three broad categories, and I’m sure there’s more, or you could divide it up differently, but there’s one group of hobbyists who really are all about economics. And in home brewing I would say these are the British brewers, where beer is expensive, it’s highly taxed, and if you read the British brewing websites, almost all the recipes involve copious amounts of sugar because what they’re really trying to do is make beer cheaper. In the States, it was all about making a quality product that at the time you couldn’t buy in the store. So recipes were all about malt and people were spending a lot more money on equipment. But so there’s the pure economic person and they’re not our customer because they don’t want to spend up for a high-quality still; they’re all about, What can I do the cheapest?

Then there’s the group that I call the tinkerers, and I would probably put myself in that group. These are the people who are primarily interested in the equipment and the process and they’re always tweaking their equipment and trying to make it better. Frequently they get caught up in the wrong cycle and instead of making it better they get caught up in making it bigger and faster. So if you scan the Yahoo distillers groups’ archives, you find all sorts of messages from people saying, “Gee, I’ve been doing this for six months, and suddenly I find that I’ve got 50 gallons of vodka in my basement. What am I going to do with it?”

And then there are the people who are really into and all about trying to make a better quality product. And some of them will tinker and build their own and some want to just buy the equipment, but they’re focused on the product and not the process. That’s just the way I see it dividing out.


Next up, gateway drugs, and Rowley gets a turn!

Hausgemacht takes place Thursday, July 17, from 4:30 to 6:00 pm at the Hotel Monteleone. Tickets may be purchased here.

MxMo: Bourbon

Mixology Monday logoMany thanks to the guys at Scofflaw’s Den for hosting this month. This was a challenging MxMo. Aside from making Old Fashioneds, I don’t mix with bourbon much anymore; I just prefer the spicier qualities of rye.

But aside from blogging an Old Fashioned, I didn’t feel really inspired. Perhaps this is my own limited imagination speaking, but it’s hard for me to think of a bourbon cocktail that wouldn’t be better as a rye cocktail. Even my Old Fashioneds, these days, are sometimes rye, when I want that spicier backbone.

All of my pre-Prohibition cocktail books called for rye as the main ingredient in whiskey cocktails, which makes me wonder what pre-Prohibition mixologists thought of bourbon. A skim through Charles Baker, too, shows few whiskey cocktails, and what he does offer is mostly in the Julep family.

At this point, I started wondering what an anthropologist might make of all of this, but I had to stop caring because Mrs. Bitters was riding the 5:40 outta Boston, and I was running out of time to find a drink for cocktail hour.

I decided to go modern, so I grabbed Art of the Bar. Hollinger and Schwartz had a drink called The Battle of New Orleans, which they attributed to Crosby Gaige’s Cocktail Guide and Ladies’ Companion. Perfect! I thought. Tales is coming up, so I can talk about that. I can talk about New Orleans. I can reference the song of the same name, and since I have both Hollinger/Schwartz and Gaige, I can talk about both recipes.

But then I remembered that Paul Freakin’ Clarke had made this… exact… bloody… post 11 months ago. (Hey, at least I linked to YouTube. I don’t know whether Paul’s even heard of YouTube.)

Baaaack to Square One (not the vodka), and back to the first cocktail book I bought, Gary Regan’s The Joy of Mixology. When you see the name of the drink I chose, you’ll know that my timing was off, but I owed it to Mrs. B. to have something handy soon. I gave her the Preakness Cocktail, about a month late (sorry, Big Brown):

Preakness Cocktail

  • 2 oz. bourbon
  • 1 oz. sweet vermouth
  • Benedictine to taste
  • Angostura bitters to taste
  • 1 lemon twist, for garnish

Technique: Stir and strain into a chilled cocktail glass. Add the garnish.

Whiskey, vermouth, and bitters. Hmm. Sounds like a Manhattan to me. The Benedictine is a nice extra touch. I used Wild Turkey 101 Bourbon and Carpano Antica for the chief ingredients, and about 1/4 ounce Benedictine per drink. Delicious. From the moment I touched Benedictine to whiskey, I knew I loved the combo. I always enjoy a chance to work with it.

Hausgemacht, part 1

On May 17, I had the pleasure of participating in a Skype conference call with Matthew Rowley, Mike McCaw, and Ian Smiley, who will present the Hausgemacht panel at Tales. Hausgemacht, of course, is a German word that simply means “homemade.” Their panel will address the rise of modern nano-distilling–the art of distilling at home. Messrs. Rowley, McCaw, and Smiley were, as you’ll see, eager to talk nano-distilling with me, and so I wound up with a lot of material. With Paul Clarke’s blessing, I’m breaking this into three parts.In part 1, we’ll discuss the cultural perceptions of home-distilling and the current laws on the ground, focusing specifically on Europe, New Zealand, Canada, and the United States. Belly on up to the computer and we’ll begin! [This interview has been lightly edited for brevity.]

• • •

Michael Dietsch: To begin, Matt mentioned in an e-mail to me that when he’s been interviewed on the radio about his book Moonshine, radio interviewers have played up the sort of cornpone, hillbilly humorous aspects of it, which I think we all think is unfortunate. So I wanted to start by talking about perceptions of home-distilling in other parts of the world.

Mike McCaw: In much of Southern Europe, it’s fully legal and always has been to distill at home. You go to any village in Portugal, Spain, during the spring or summer, Greece, much of Italy, Austria for sure, you’re going to find a stand or a store that’s specializing in hand-hammered copper brandy stills.In Southern Europe, basically what everybody’s doing is making fruit brandies from their excess fruit production. In Scandinavia, it’s widely practiced, but is illegal, and several times I’ve set next to a Swede or a Finn or a Norwegian on an airplane and started talking to them about the book and what I do and then they’ll look at me and they’ll say, “Two things you need to know: first, it’s illegal; second, everybody does it.” And it’s pretty widely tolerated.New Zealand actually is a really interesting story, because it’s been illegal since about the time of the first world war, like in Australia, but in 1996, the government realized that it wasn’t cost-effective to prosecute people for noncommercial home distilling, and they had a right-wing government or a fiscally responsible government or whateveryou want to call it at the time that looked at all of their laws in terms of whether they’re cost-effective and do they do what they’re intended to do. So they legalized it over the protests of the big distilleries. And what’s happened is, in contrast to Southern Europe, where it’s always been legal and it’s a very traditional art and there’s not a lot of innovation, after it suddenly became legal in New Zealand, there was just an explosion of experimenting and tinkering and people trying stuff and trying new things. That’s really the center of development at this time for new processes and new ways of doing home distilling, to be able to make high-quality products across a wide spectrum instead of just one traditional thing.Ian can probably talk to the legal situation in Canada much better than I could. As you know in the States, it’s quite dire. They’re not lookin’ for ya, but they will follow up any leads they get, but if they do catch a home distiller, your house is forfeit.

Ian Smiley: In Canada, it is still technically illegal to home distill, but a lot of my customers have contacted their local law enforcement, to ask about it, just in case, before they bought into anything, and the answers they’re always giving now are that if you’re not selling it, we’re not interested. And I know that my website probably would have been closed down by now if the Canadian government were actively pursuing home distilling. So it’s pretty slack here with respect to that, but I don’t think they have actually legalized it per se. I’ve read the legislation over—it was rewritten in 2002—and they may not have legalized it, but they are very close to having legalized it. It’s almost to the point where maybe lawyers could argue that it is technically legal right now.

McCaw: They made it the lowest priority, right?

Smiley: That’s right.

McCaw: I had a conversation a couple of years back with an ATF officer, who I happened to bump into some place and asked him about that without identifying myself and what he said fits sort of that same pattern. He said, “We’re not interested in people who are only doing it for themselves. You would just about have to go out and tack up flyers around your neighborhood to bring yourself to our attention, but if a disgruntled ex-girlfriend or nosy neighbor turns you in, we will follow it up.”

Smiley: I do know that that has actually happened to a friend of mine and the police literally refused to pursue it. They just said, “Tell me, what is it doing to you?” And the person could not identify any kind of a deleterious effect on the complainer, so they didn’t even follow up on the complaint.

McCaw: The difference there is that the enforcement in the States is at a federal level and it’s in the taxing sphere rather than the law-enforcement sphere. So when it does come to their attention, they do get diligent.

Dietsch: Now, Mike or Matt, either one of you might answer this. You’ve both spoken with home distillers in the States, people who are just doing this for their own home use, are they getting in legal trouble because of it?

McCaw: I’ve got some anecdotal information—it’s not first hand, and you can find that same information if you go out and search the archives on the Yahoo distillers group. People do get busted, a few a year, and I don’t know what the follow-up is. I do know what the law states, though, and the law states that they can seize your house if it’s been used for illegal distillation. It’s considered the same in that sense—because it’s run out of the tax laws—as if you had illegal drugs and were running a drug operation where they will seize your house and your car and everything.

Matthew Rowley: And that aligns pretty closely with what I’ve found, as well, that when I was writing my book and also the kinds of distillers I like to talk to are generally not the guys who are cranking out a thousand gallons a week. If they’re firing up their still, it’s only just a few liters or a few gallons at a time. While they’ve certainly had their share of legal troubles, it’s never really been about alcohol. It’s other things not related to that at all. And the impression seems to be that, as long as they’re just sort of keeping a low profile and not telling just everybody what they’re doing, they tend to get left alone these days. But like Mike says, it is technically illegal and, if you come to their attention—the Feds—they’ll bust just as if you were running a meth lab.

Dietsch: So if you go into it, you really need to be aware of the legal risks.

McCaw: Yes, you really do, and it’s surprising how many would-be customers don’t. They just assume that since brewing is legal and winemaking is legal, that distilling is too. Which is a real rational point of view and, politically, it’s a point of view that we in the Amphora Society really like to push, but it’s not the facts on the ground, as of this date. And as somebody who actually sells distillation equipment, we take the point of view—and we’re real straight up front with our customers—that we’re working on the assumption that you have a license. And if you tell us you don’t have a license, we won’t sell to you.

Dietsch: I’ve seen contradictory reports on the Internet as to whether it’s legal to purchase distillation equipment without a license.

McCaw: It absolutely is.

Dietsch: It is legal to purchase it?

McCaw: It’s perfectly legal to own a still, and it’s legal to use it for anything but ethyl alcohol production.

Dietsch: You can use it for distilling water…

McCaw: Oh, absolutely, essential oils, anything like that. And that’s the grounds under which most of them are sold in the States. The government will give you a permit to distill alcohol for fuel. They’ll give it to you and they’ll give it to you eagerly. Once again, you cannot do it in your house. In the United States, distillation in a building in which anybody resides is just flat out illegal. You can do it in your garage if it’s a separate building. And all you have to do to get the federal permit is give them a plan drawing of your proposed facility and then keep scrupulous records on what you produce.Your still is then legally available for inspection at [any] time, but I know a lot of people who have fuel permits, and I don’t anybody who’s ever had a drop-by inspection.

Dietsch: And then of course, the process for becoming a legal distiller of beverage alcohol, from what I understand, takes a considerable time.

McCaw: Many months to a few years. And really that depends upon the particular inspector you draw.

Smiley: There’s one thing I can contribute there. Getting through the TTB [Alcohol and Tobacco Tax and Trade Bureau]—that’s the Federal part of it—is the easy part of it. It’s the state governments that tend to be the most difficult to get past and because you’ve got 50 states it becomes very difficult to get your product into the entire country.

McCaw: Yes, and the same is true also for that fuel permit—that the Fed permit is easy, but every state has its own rules and some don’t permit it and some do and in general that fuel is only really legally useful for off-road use. So farmers [are] really the target market there.The beverage alcohol thing, one of the nasty pieces of that process is, you cannot have your permit in hand, they will not give it to you, until they have physically inspected your plant. So you have to invest all of the capital and labor up front to build your distillation plant and have it ready to go before they will even give you the Federal license. And in general, you can’t even begin pursuing your state license until after you have the Federal license.

Dietsch: So, the irony there, obviously, is that you need to build the equipment to do something that, because you’re not licensed, you can’t legally be doing in the first place.

McCaw: Right.

Smiley: Yeah.

Rowley: Mm-hm.

Dietsch: But then, of course, if you’ve got the equipment ready, you’re going to want to test it in some fashion, I assume, and so the product that you make is then illegal, but you have to have the thing set up before they can come out and inspect.

McCaw: It’s not just the product that’s illegal. That’s the nasty twist to the U.S. Federal laws. It’s the tax. There are two taxes involved. So the product is untaxed alcohol which is illegal to possess. But the tax is on the act of distillation.

Dietsch: So they getcha both ways. That’s interesting. That’s a really messed-up system.

McCaw: Well, it dates back to the Whiskey Rebellion. And basically the U.S. Government caved to the interests of the big distillers and brewers in Philadelphia to squelch the farmers on the west side of the Appalachians who were using whiskey as currency at that time because it was much easier to transport than grain. That’s a fascinating history if you’ve never read it.

Rowley: You can see why a lot of them packed up and moved to the Carolinas and Kentucky.

• • •

That’s it for part 1. Later entries will cover the panelists’ backgrounds and discuss what kinds of people are drawn to home-distilling.

Hausgemacht takes place Thursday, July 17, from 4:30 to 6:00 pm at the Hotel Monteleone. Tickets may be purchased here.

Tales of the Cocktail, 2008

Tales of the Cocktail, New Orleans, July 16-20, 2008As you’ve no doubt seen on other cocktail blogs, tickets for Tales of the Cocktail went on sale Tuesday, April 1. Click on over and have a look at the events. The talks that appeal to me most, at this point, are these:

Some of these conflict with each other, unfortunately, so I might need to clone myself by then.

To the left, you should see a banner for the Tales blog. I will be contributing to that soon, so please add the RSS feed to your reader.

Some of you have asked whether Mrs. Bitters will be attending Tales with me. We’re not sure yet. It may be the case that she’ll arrive on Friday and stay until Sunday.

Everybody comes to Rick’s

From the why-hasn’t-anyone-thought-of-this-before department, Reuters ran a story last week about an American ex-pat entrepreneur in Casablanca who’s opened a new cafe…named Rick’s, after the gin joint in one of my favorite films, Casablanca.

I don’t know whether I’ll be in Morocco any time soon, but somewhat closer to home, anyway, is the Cocktail Film Fest in New Orleans, the weekend of March 21-22. Hosted by Cheryl Charming, the festival features three films, Casablanca, The Seven Year Itch, and Guys and Dolls, along with themed cocktails and meals. But alas, even that’s too far for me.

I had no such excuse on Monday, when Tales held a media reception at Manhattan’s Flatiron Lounge, just blocks from my office. Julie Reiner’s always graceful staff brought around several New York-themed drinks, including the Slope, the Southside Fizz, and the New York Sour. The Slope was a particular favorite of mine. Named for Park Slope (my first landing strip when I arrived in NYC in 2002), it’s a derivative of the Brooklyn cocktail. Jen and I couldn’t stay long, unfortunately, but we both thank Ann Tuennerman for the invitation.

I’ve made my hotel reservations for Tales of the Cocktail. Have you?

The Slope

  • 2 ounces Rittenhouse Rye (preferably bonded)
  • 3/4 ounce Punt Y Mes
  • 1/4 ounce Bols Apricot liqueur
  • 2 dashes Angostura bitters
  • Garnish: cherries

Technique: Stir and serve in a chilled cocktail glass. Add garnish.