Showing posts with label ADI. Show all posts
Showing posts with label ADI. Show all posts

Friday, August 2, 2013

Not So Fast: Barrel Aged Gin Hits a Snag

We cocktail types like the barrel aged gins that have been showing up over the last few years on the American market. Their oakiness with suggestions of vanilla, nuts, butterscotch, and other more ephemeral tastes and smells can add intriguing and pleasant notes to mixed drinks. Those aged gins, however, were never supposed to have been approved. Oh, sure, some slipped through the scrutiny of the TTB (the federal agency tasked with enforcing regulations on, among other things, liquor). But the days of barrel-aged gins — at least by that name — are over until federal regulations catch up with distilling as it is practiced among today's nimble distillers.

From the Summer 2013 issue of Distiller, here's my piece originally titled "Not So Fast: Barrel Aged Gin Hits a Snag."

* * * 

Once thought of as almost extinct, aged gins have begun a tentative reemergence in the American market. Some consumers are puzzled by shades of honey and amber in what for many is the quintessential white spirit, but vintage spirits enthusiasts and cocktail aficionados greet the category with enthusiasm. They work particularly well in mixed drinks such as Negronis and the Martinez. As distiller PT Wood explains, “Aged gin is something that not everyone is doing and people are looking for things like that. I, for one, think it’s a delicious spirit.” How they are permitted to describe such spirits, though, has taken a few distillers by surprise.

The US Code of Federal Regulations (27 CFR Part 5 § 5.40) forbids as “misleading” age statements for several beverages, including cocktails, cordials, and gin. Yet some brands plainly declare their gins aged. In 2009, for instance, the Alcohol and Tobacco Trade and Tax Bureau approved Corsair Artisan Distillery’s application for Barrel Aged Gin aged 6 months in charred American oak. “We submitted, it passed. It was no big deal,” says Corsair’s Darek Bell. Within the next three years, Smooth Ambler received approval for Barrel Aged Gin, Roundhouse got the green light for Imperial Barrel Aged Gin, and others came to market. More recent applications, however, have been rejected for using the same language. The product itself is not at issue, but an effective ban on age statements has led distillers to invent creative circumlocutions.

“I didn’t know anything about the TTB’s latest stance until we submitted and got denied,” explained Rob Masters, president of Colorado Distillers Guild. Masters distills Spring44’s Old Tom Gin, sweetened lightly with agave nectar and aged in toasted Chardonnay barrels. His application to use the plain-language description barrel aged to describe the gin triggered a COLA rejection in 2013. “Our way around it was using the phrase ‘barreled in American oak.’” Likewise, PT Wood’s application for barrel aged gin was rejected. After consulting with TTB, the co-owner of Wood’s High Mountain Distillery chose Treeline Barrel Rested Gin. “We also tried ‘barrel conditioned.’ There was a whole litany of other options. We finally agreed that ‘barrel rested’ wasn’t an age statement so much as a process statement.”

Domestic producers aren’t alone in bringing aged juniper spirits to the American market. Cognac Ferrand’s aged French gin Citadelle Réserve is available in several vintages; the Dutch firm Bols sells an aged expression of their popular genever; and Beefeater releases Burrough’s Reserve this summer, an oak 'rested' gin.

At one time gin was aged routinely, if inadvertently, in wood because barrels were the most economical option for storing and transporting it. In The Practical Distiller, his 1809 manual for the distilling trade, Samuel M’Harry advised American colleagues seeking the custom of “respectable neighbors” to filter their juniper-flavored spirits through maple charcoal then put the spirits into “the sweetest and perfectly pure casks.” M’Harry counseled against new barrels because they would impart color and taste to this premium gin. One could take this to mean that gin — proper gin — should be as clear as spring water. A more nuanced reading reveals that, while respectable neighbors in the young Republic may have ponied up more for maple-filtered gin untainted by barrels, those who drank common gin drank spirits that smacked of wood. Barrel aging, one could argue, is not modern innovation, but a return to American gin’s roots.

The discrepancy between earlier COLA approvals for barrel aged gins and the TTB’s current position rejecting them does not reflect a change of regulations or any new interpretation of existing rules. In fact, the agency seems stuck enforcing rules its employees understand are not aligned with current industry practice or consumer expectations. Tom Hogue, Director of TTB’s Office of Public and Media Affairs, offers an explanation. “In 1999, we were seeing approximately 69,000 label applications. Last year it was more than 150,000.” Rather than nefarious intent, new rules, or inequitable application of regulations, Hogue attributes the discrepancy to human error.

“The regulation hasn’t changed,” he says, “and I don’t think the interpretation of the regulation has changed. With that volume of applications, as we go back through things and get fresh eyes on something, if we see something that’s not compliant, we work with the label holder on a case-by-case basis to figure out the best way forward in a way that’s appropriate and balanced.” He notes that the Unified Agenda, the semi-annual list of regulatory actions the federal government intends to take, will post proposed regulation changes specifically for distilled spirits. Though no timeline is set for a discussion of aged gins, once proposed changes are posted, the public is invited to comment.

Robert Lehrman cautions that waiting for changes to occur through Unified Agenda action, however, could take years. The founder of Lehrman Beverage Law in northern Virginia helps distillers navigate complex federal regulations, including label compliance. His take on the CFR regulation is practical: age or no age on a label is a simple matter of fact. “If it’s true, not misleading, and factual, the government needs to get out of the way.”

His advice? Craft producers who make aged gin should “band together to petition the TTB and say ‘This rule is against innovation, against high-quality product, and really it serves no one and benefits nobody.’” Rather than simply allowing or disallowing age statements, he proposes a middle ground that specifies how long and in what gin is aged. “And that conceivably could go through relatively fast.” Faster, presumably, than waiting for the comments phase of the Unified Agenda.

Now that TTB staff have cottoned to the age statements implicit in barrel aged gin, they are obliged to deny new applications for aged and barrel aged gins. Unless the regulation changes — or someone lobbies successfully to change it — distillers must instead propose workaround phrases that describe their gin’s time in wood. A frustration, undoubtedly, but whatever we call them, more aged juniper spirits are on the way — and that’s progress.

Goes well with:

  • The current issue of Distiller has more on gin, distilling regulations, spirits judging, an article by Corsair Artisan Distillery's Darek Bell on incorporating smoke in vodka, gin, whiskeys, and other sprits, and other. Check it out here.  

Tuesday, April 2, 2013

Medals Awarded for ADI's 2013 Annual Judging of Artisan American Spirits

The American Distilling Institute announced medal winners in Denver this evening for its 7th annual judging of artisan American spirits. As in years past, I was one of those judges (see last year's winners here). 140 distilleries submitted a total of 317 spirits. The tastings were blind — that is, judges did not know who made the spirits. Each glass in each flight was labeled simply A, B, C, et cetera. Only at the end of the second day of evaluations, when each panel of judges was allowed to view the bottles, did we learn who made what.

Rum expert Martin Cate was on hand.
Smart judges who had taken note of their favorite A, D, F, or whatever samples during the tasting took even more notes on those bottles when we were let into the pouring room — and set out to find those bottles when they returned home. Below, you'll see some of those favorites for yourself.

Judging instructions for these spirits (almost entirely from American distilleries) are slightly different from those of other competitions. Part of the purpose of the judging of these spirits is to encourage American craft distillers, some of whom are accomplished, some of whom are still learning the business. In addition to numeric scores, judges give each sample additional tasting notes, suggest improvements, note what they like about the spirit, and — when appropriate — identify particular flaws such as high fermentation temperatures or scorched tastes that come in part from improper filtration. Understanding some of those specific flaws can help distillers improve their spirits.

While individual spirits are assigned scores on a hundred-point scale, medals are not strictly awarded according to that score, nor was the highest-scoring spirit in each category made the gold. Scores between 80 and 89 do not automatically yield, for example, silver medals, nor are those that score from 70-79 awarded bronze. Rather, the rubric the four panels of judges used for awarding medals took into consideration additional questions:

Gold medal — Would you happily buy this spirit for yourself?
Silver medal — Would you give this spirit as a gift to a valued friend or loved one?
Bronze medal — Would you be happy getting this as a gift?

Some classes didn't have winners of every medal. Some had multiple bronze or silver medals. So let's get to it. Here they are — the spirits the judges wanted for our greedy selves, the ones we'd buy our moms, and those worthy bottles we'd like someone to drop on our desks now and then.

First, the BEST OF CLASS winners:

Whiskey
Ballast Point Spirits - Devil’s Share Malt Whiskey
Gin
Valentine Distilling Co. - Liberator Gin
Rum
Balcones Distilling - Texas Rum
Moonshine
Ole Smoky Tennessee Moonshine - Apple Pie Moonshine
Brandy
Jepson Vineyards - Old Stock Mendocino Brandy

Now on to the categories, as broken down by ADI staff:

WHISKEY
Clear Whiskey

Best of Category - Silver Medal
Myer Farm Distillers - White Dog Corn Whiskey
Silver Medal
Dark Horse Distillery - Long Shot White Whiskey
Bronze Medal
Middle West Spirits - OYO Rye Whiskey
High West Distillery - Silver Whiskey - Western Oat
Indian Creek Distillery - Elias Staley
Cornelius Pass Roadhouse Distillery - White Owl Whiskey
Asheville Distilling Co. – Troy and Sons Platinum Heirloom Moonshine

Aged Corn Whiskey
Best of Category - Silver Medal
Balcones Distilling - True Blue

Bourbon (under two years)
Best of Category - Gold Medal
Yellow Rose Distilling - Yellow Rose Outlaw Bourbon
Silver Medal
Kings County Distillery - Kings County Bourbon
Bronze Medal
Rock Town Distillery - Arkansas Young Bourbon Whiskey
Cacao Prieto - Bloody Butcher Bourbon Whiskey

Straight Bourbon
Best of Category - Gold Medal
Balcones Distilling – Fifth-Anniversary Texas Straight Bourbon
Silver Medal
Dallas Distilleries - Herman Marshall

Rye Whiskey
Best of Category - Gold Medal
Grand Traverse Distillery - Ole George Rye Whiskey
Silver Medal
Mountain Laurel Spirits - Dad's Hat Pennsylvania Rye Whiskey
Bronze Medal
Distillery 291 - Colorado Rye Whiskey
Catoctin Creek Distilling - Roundstone Rye Cask Proof

Malt Whiskey (under 2 years)
Best of Category - Gold medal
Balcones Distilling – Texas Single Malt
Gold Medal
Deerhammer Distilling Company - Down Time Single Malt Whiskey
Bronze Medal
Long Island Spirits - Pine Barrens Single Malt Whisky

Straight Malt Whiskey
Best of Category - Gold Medal
Ballast Point Brewing & Spirits - Devil's Share Straight Malt Whiskey
Silver Medal
New Holland Artisan Spirits- Zeppelin Bend Straight Malt

Wheat Whiskey
Best of Category - Gold Medal
Middle West Spirits - OYO Wheat Whiskey
Bronze Medal
American Craft Whiskey Distillery - Low Gap Whiskey Single Barrel No. 1
American Craft Whiskey Distillery - Low Gap California Whiskey

Whiskey non-typical
Best of Category - Silver Medal
Glacier Distilling Company - Wheatfish Whiskey
Silver Medal
Rogue Spirits - Dead Guy Whiskey

Smoked Whiskey
Best of Category - Silver Medal
Corsair Artisan - Wildfire
Silver Medal
Corsair Artisan – Salamander

Hopped Whiskey
Best of Category - Silver Medal
Corsair Artisan - Demeter
Silver Medal
Corsair Artisan - Falconer’s Flight
Bronze Medal
Corsair Artisan - Centennial
Corsair Artisan - Pacifica
Corsair Artisan - Titania
Corsair Artisan - Amarillo

Flavored Whiskey
Best of Category - Bronze Medal
Sons of Liberty Spirits Company - Seasonal - 2012 Winter Release

MERCHANT BOTTLED WHISKEY
Straight Bourbon

Best of Category - Silver Medal
Cacao Prieto Distillery - Widow Jane Bourbon Whiskey
Silver Medal
Tatoosh Distillery & Spirits - Tatoosh Bourbon

Bourbon (cask finished)
Best of Category - Bronze Medal
Hillrock Estate Distillery & Malthouse - Solera Aged Bourbon
Bronze Medal
Big Bottom Whiskey – Straight Bourbon Whiskey, Zinfandel Cask

Straight Rye Whiskey
Best of Category - Silver Medal
35 Maple Street - Masterson's 10-Year-Old Straight Rye Whiskey

Malt Whiskey
Best of Category - Bronze Medal
Virginia Distillery - Virginia Highland Malt Whisky

GIN
Classic Distilled Gin

Best of Category - Silver Medal
Rock Town Distillery - Brandon's Gin

Classic Rectified Gin
Best of Category - Gold Medal
Captive Spirits Distilling - Big Gin
Gold Medal
Bull Run Distilling - Aria Portland Dry Gin
Silver Medal
Veracity Spirits – Vivacity Native Gin

Contemporary Distilled Gin
Best of Category - Silver Medal
Myer Farm Distillers - Myer Farm Gin
Silver Medal
Dancing Pines Distillery - Gin
Dancing Tree Distillery - Gin
Treaty Oak Distilling - Waterloo Gin
Bronze Medal
Corsair Artisan - Steampunk
Maine Distilleries - Cold River Traditional Gin
StilltheOne Distillery - Jarhead Gin

Contemporary Rectified Gin
Best of Category - Gold Medal
Valentine Distilling Co. - Valentine Liberator Gin
Gold Medal
Maison De La Vie - Golden Moon Gin
Silver Medal
San Juan Island Distillery - Spy Hop Gin
Bronze Medal
Sweetgrass Farm Distillery - Back River Gin
Southern Artisan Spirits - Cardinal American Dry Gin
Spring 44 Distilling – Spring 44 Gin

Genever
Best of Category - Bronze Medal
Oregon Spirit Distillers - Merrylegs Genever Style Gin
Bronze Medal
Corsair Artisan - Genever

Navy Strength Gin
Best of Category - Silver Medal
Few Spirits - Standard Issue Gin

Old Tom Gin
Best of Category - Gold Medal
Ransom Spirits - Old Tom Gin
Silver Medal
Downslope Distilling - Ould Tom Gin
Bronze Medal
Corsair Artisan - Major Tom

Barrel-Aged Gin
Best of Category - Gold Medal
Corsair Artisan - Barrel Aged Gin
Silver Medal
Wood's High Mountain Distillery - Treeline Gin, Barrel Aged

RUM 
White Rum
Best of Category - Silver Medal
Cape Spirits - Wicked Dolphin Rum - Silver
Bronze Medal
Dancing Pines Distillery - Rum
Donner-Peltier Distillers - Rougaroux Sugarshine

Amber Rum
Best of Category - Silver Medal
Ballast Point Spirits – Barrel Aged Three Sheets Rum
Silver Medal
Montanya Distillers - Montanya Oro Rum
Van Brunt Stillhouse - Due North Rum

Dark Rum
Best of Category - Silver Medal
Real McCoy Spirits - The Real McCoy
Bronze Medal
Turkey Shore Distilleries - Old Ipswich Lab & Cask Reserve

Overproof Rum
Best of Category - Gold Medal
Balcones Distilling - Texas Rum
Gold Medal
New Holland Artisan Spirits- Freshwater Superior

Flavored Rum
Best of Category – Silver Medal
Dogfish Head – Brown Honey Rum

Spiced Rum
Best of Category - Silver Medal
Dancing Pines Distillery - Spice

Merchant Bottled Rum
Best of Category - Silver Medal
35 Maple Street - Kirk and Sweeney

MOONSHINE
Clear Moonshine

Best of Category - Gold Medal
Dark Corner Distillery - Moonshine Corn Whiskey
Silver Medal
King's County - Corn Whiskey
Bronze Medal
Deerhammer Distilling Company – Whitewater Whiskey

Aged Moonshine
Best of Category - Bronze Medal
Fog's End Distillery - Monterey Rye

Flavored Moonshine
Best of Category - Gold Medal
Ole Smoky Tennessee Moonshine - Moonshine Apple Pie
Silver Medal
Ole Smoky Tennessee Moonshine - Moonshine Blackberry
Bronze Medal
Pinchgut Hollow Distillery - Captain Mick
Pinchgut Hollow Distillery - Rise N Shine

BRANDY
Pear Eaux de Vie
Best of Category - Gold Medal
McMenamin's Edgefield Distillery - Pear Brandy
Bronze Medal
Peach Street Distillers - Jack and Jenny Pear Brandy
Harvest Spirits - Harvest Spirits Pear Brandy

Eaux de Vie
Best of Category - Silver Medal
Coppersea Distilling - Peach Eau de vie
Bronze Medal
Bellewood Distilling - Apple Brandy Eau de Vie

Applejack/Brandy
Best of Category - Silver Medal
Huber's Starlight Distillery - Huber's Applejack
Silver Medal
Tom’s Foolery - Applejack

Aged Brandy (Other than Grape)
Best of Category - Silver Medal
Peach Street Distillers - Pear Brandy

Aged Brandy - Other
Best of Category - Bronze Medal
Dakota Spirits Distiller - Bickering Brothers Neutral Brandy

Grappa
Best of Category - Gold Medal
Peach Street Distillers - Muscat Grappa
Gold Medal
Maison De La Vie - Golden Moon Colorado Grappa
Bronze Medal
Peach Street Distillers - Viognier Grappa
Magnanini Farm Winery - Magnanini Grappa

Brandy (Aged less than 6 years)
Best of Category - Gold Medal
Huber's Starlight Distillery - Huber's Brandy - Reserve
Bronze Medal
Colorado Gold Distillery - Colorado Gold Brandy

Brandy (Aged more than 6 years)
Best of Category - Gold Medal
Jaxon Keys Winery & Distillery - Old Stock Brandy
Silver Medal
Jaxon Keys Winery & Distillery - Signature Reserve Brandy
Jaxon Keys Winery & Distillery - Rare Brandy

Flavored Liqueur
Best of Category - Bronze Medal
Sidetrack Distillery - Nocino
Bronze Medal
Cacao Prieto – Chamomile Liqueur
Bottle Tree Beverage Company - Hoodoo Chicory

Fruit Infusion
Best of Category - Gold Medal
Huber's Starlight Distillery - Huber's Raspberry Infusion
Silver Medal
Huber's Starlight Distillery - Huber's Blueberry
Sidetrack Distillery – Cassis Liqueur
Bronze Medal
Stone Barn Brandy Works - Quince Liqueur

Excellence in Packaging
Craft Distilled Spirits
Sidetrack Distillery - Cassis Liqueur
Merchant Bottled Spirits
35 Maple Street - Kirk and Sweeney Rum

Thursday, February 14, 2013

An Old Distiller's Trick Revived in Oregon

In Hillsboro, Oregon, west of Portland, the Imbrie family erected a granary barn around 1855, a few years before Charles Darwin published The Origin of Species. With a handful of repairs here and there and a new concrete floor, it remains standing today. Inside, distiller Bart Hance makes whiskey and brandy on a still that's almost as old as the building itself.

Look closely: that's a metal can dangling in the middle.
The still is a French model, known in Cognac as an alambic Chartentais, typically used to make brandy and popular on the American west coast. This one was found in an old barn in France and shipped to Oregon where it stayed boxed for years before being installed in the granary. Other than a few brass fittings, the pot still is entirely copper and has a graceful, curving neck through which alcohol-rich vapor rises on its way to the condenser. At 160 gallons, it's not the biggest still one will find in the United States, but it is one of the more venerable. Unlike some modern stills, it has no sight glasses, no thermometers, no computerized reports indicating what's happening inside. On an old still like this, to know what's happening on the other side of the copper at any given moment, one must relies on sight, smell...and sound.

Sure, there's the sound of the gas fire. The intensity of that sound will indicate broadly how much heat is directed at the bottom of the pot. If the sound of the fire dies away unexpectedly, trouble — dangerous trouble — may be brewing. But attendees of a brandy distilling workshop sponsored by the American Distilling Institute learned from Hance to listen for another sound: the jarring clang of falling metal.

See, it takes a long time for wine or beer to heat up in the boiler of a pot still, especially if it's at the frosty room temperature of an old wooden barn. A distiller can't just sit there like a plate of biscuits waiting for the wash inside the pot to warm. There are forms to be completed, barrels to move, and a dozen other tasks involved in running a distillery. So, lacking readouts and internal thermometers common in some modern stills, Hance deploys an old French trick well-known to Cognac makers that allows him to do those other jobs while the still heats. He attaches a large, empty metal can to a string, then loosely wraps the string around the still's neck. With a dab of wax, the string stays in place.

And then the distiller walks away.

As the wash heats and vapor begins to rise, the copper (an excellent heat conductor) grows warm. Eventually, the neck grows warm enough to melt that dab of wax and — CLANG — the can drops and clatters onto the bricks below, sounds loud enough to be heard anywhere in the barn. That's the signal that Hance has perhaps ten minutes before liquids start trickling from the condenser and to wrap up whatever he's doing; there are cuts to be made.

Hats off, Hance; that right there is some old school merde.

Goes well with:

  • A visit to Cornelius Pass Roadhouse and Imbrie Hall. The former Imbrie homestead is now owned by McMenimins who were instrumental in getting the property listed on the National Register of Historical Places. The whiskeys, brandies, and other spirits made at Cornelius Pass and at the company's Edgefield distillery are not for sale in liquor stores, but are entirely for internal use at the various bars, hotels, and restaurants under the McMenamins banner. Imbrie Hall, however, offers a selection of bottles for take out.

Tuesday, February 12, 2013

2013 American Artisan Spirits Judges Announced

Hubert Germain-Robin nosing brandy at Huber's Starlight Distillery
The American Distilling Institute has announced its panels of judges for the 7th annual judging of American artisan spirits next month. The lineup includes active and retired distillers, bartenders, authors, industry consultants, and a few journalist types such as yours truly who may (or may not) fit into one or more of the above categories.

The judges will analyze and critique hundreds of spirits over two days at Huber's Starlight Distillery where we'll break out into separate panels: one for brandy, one for rum, and one (or possibly more) for whiskey.

It is fun? Hell, yes. Is it all fun? No. The days start early and end late. No perfume, no cologne. No scented hand soap. No coffee (at least, not at the table and not if you don't want a big Rowley stinkeye). Though invariably some spirits are excellent and some are flawed, we remain stoic and sit almost entirely in silence. No grunts, no groans, and — as Gene Wilder's young Frankenstein would have it — no yummy sounds.

The judges are:


Will I tell you the results on my return to sunny Southern California? No, I will not. For that, you'll have to wait until they are announced at ADI's annual meeting in Denver (April 1-4, 2013). And then I'll pass it on.

Now, about that yummy sound...

Wednesday, September 19, 2012

Hubert Germain-Robin Offers Brandy Distilling Class

Charentais still at McMenamin's Cornelius Pass Roadhouse Distillery 

Just over the transom from The American Distilling Institute comes word that Hubert Germain-Robin is leading a brandy distilling class this November in Portland, Oregon. Germain-Robin was co-founder with Ansley Coale of Germain-Robin distillery in northern California in the early 1980's, though his family has been in the cognac business for centuries.

Writes ADI president Bill Owens:
This week-long workshop will combine traditional techniques of Cognac-style brandies with three decades of experience in working with New World varietals to create new flavor profiles.
 

The workshop addresses the conditions a craft distiller must be mindful of in the vineyard, the winery and throughout distillation. In keeping with the traditional methods of distillation the participant is encouraged to use all their sensory perceptions in creating their product.

Participants will get hands-experience with fermentation, distillation, barrel management and blending. A variety of tastings will include eaux de vie from different varietals of grape, Cognac, Armagnac, American brandies, and wines appropriate for distilling brandy.

The course will be conducted on the Charentais alembic still at McMenamin's Cornelius Pass Roadhouse Distillery. Participants will stay November 4-9 at McMenamin's Crystal Hotel in downtown Portland.
I may try to get there. Haven't decided yet, but I've a weakness for Portland and deep respect for Hubert. [Update 9/21/12 I'm going; see you in Portland] Those attending need to get to Portland on their own, but the course fee runs $3,500 and includes "instruction, hotel, bus tour of local distilleries, and most meals." The ADI website does not yet include registration instructions. If you're keen to do hands-on brandy distilling with a master of the craft, keep an eye on the ADI's website (www.distilling.com) for updates or send them a check:

ADI
Box 577
Hayward, CA 94543


Friday, August 24, 2012

American Apple Spirits

In the airless, nearly gluey July night, black-suited pallbearers hoist aloft a plain wooden coffin and begin their walk. In their wake, solemn mourners march slowly, thick humidity muffling their every footstep. Musicians follow, their low, brassy dirge echoing off damp stones as they move toward the Vieux Carré. The somber mood doesn’t last; this is, after all, New Orleans, where funerals are as much a cause for celebration as they are for sadness. Within blocks, the band strikes up a familiar Dixieland tune. Smiles and whoops break out as the celebrants form a dancing, singing, handkerchief-waving “second line.” Hallelujah! The saints, those reliable old saints, go marching in once again. Once it reaches the French Quarter, the line spills into a Decatur Street café where liquor flows freely and the party begins in earnest. No one — not a soul — sheds a tear for the deceased.

How could they? It was the Appletini.

* * *

My piece on American apple spirits runs in the Summer 2012 Distiller magazine  — part thumbnail history of apple distillates, part overview of some of today's producers. The bit above is the original intro. Fun to write, but it took too long to get to the point, so I cut it. Ah, well. What's the point of having a blog if I can't occasionally post sweepings from the cutting room floor?

Some of the distilleries covered are Laird & Company, Germain-Robin, Osocalis, Harvest Spirits, Clear Creek Distillery, San Juan Island Distillery, and more. Applejack and apple brandy are the same thing (except, obviously, when they're not), but they're hardly the only apple spirits available. As much as we adore Laird's apple brandy — and make no mistake: we sincerely do — it's not the only option for those who hanker for a bit of the old apple palsy.

Here's a PDF of the piece from Distiller with interviews, historic and modern cocktail recipes, and a look at some of what's available for American consumers.

Thursday, July 19, 2012

Rowley Named Distiller's New Contributing Editor

We cover a lot of things here at the Whiskey Forge that aren't whiskey. From rum to raccoons, if you can eat it or drink it, it's fair game. But spirits and those who make them are the bedrock of my...I won't say passion; that threadbare word has lost any real meaning through overuse and conflation with mere enthusiasm. Let's instead agree that spirits and those who make them are an obsession. And, yes, I fully embrace the negative connotations as well as the positive.

Just bring your apples to the distillery
Meeting with distillers is one of the main reasons I travel. When I'm on the road, I delve into archives and historical collections about liquor. I visit bars and track down particular bartenders to keep on top of the never-ending cycle of old becoming new and new becoming old. Used bookstores, flea markets, estate sales, and antique malls are my hunting grounds for tracking down the material culture of the distilling arts.

So when Distiller magazine invited me to become contributing editor, what could I do but say yes? Distiller is the print magazine of the American Distilling Institute. Its focus is the business and industry side of beverage alcohol distilling (i.e., booze). I'll be doing book reviews and feature pieces primarily on the American distilling scene with diversions into Caribbean, South American, European, and Asian distilling when they fit the conversation.

The first feature piece I've written is on American apple spirits. Lord knows we like Laird's 100-proof bonded apple brandy around here — having killed two bottles in the last two weeks — but it's no longer the only respectable option. The piece takes a look at the history of American apple distilling  from colonial times to just about three weeks ago.

When it drops, I'll give the details.

For now, I'm working on book reviews and a longer feature on...well...you'll just have to wait.

Tuesday, April 10, 2012

Bookshelf: Micro-Distilleries in the US and Canada

In 2011, more than 250 craft distilleries dotted the American distilling landscape. Fewer than half of these are listed in David J. Reimer’s 2011 purported guidebook on the same.

Oh, sure, you’ll find profiles on distilleries familiar to modern American drinkers. There’s Tuthilltown, St. George Spirits, Piedmont Distillers, and Celebration Distillation (makers of Old New Orleans Rum). But where are the magisterial brandies of Osocalis? The award-winning peach and pear brandies of Peach Street Distillers? Want to know more about Salvatore Cimino’s game-changing poitin? Look elsewhere. They aren’t here. Clear Creek Distillery, perhaps the original modern American craft distillery, is on page...oh, wait. No. Nevermind. It’s not included. How about the 2012 edition? Nope. Not there, either.

Profiles of distilleries that did make the cut include the name of each, the owners’ names, contact information, websites, social media accounts where applicable, the types of spirits produced, awards, and other details that help to flesh out our understanding of each.

To say that the guide is incomplete — while true — misses the larger point: the book’s value is marginal at best. Missing punctuation, inconsistent layout, and phantom words that appear as if vestiges of earlier versions of the same sentence collude to make it seem as if the manuscript had not been proofread.

The photos and logos are of such low resolution that they give the impression of merely having been lifted from websites. Many very clearly have been. In fact — and here is its most grievous flaw — the feel of the entire book is of one that’s been cobbled together from press releases, newspaper articles, and sell sheets. Readers are treated to chestnuts like this: “Pear Brandy is made from the freshest pears grown in the Hudson Valley.” Why does that seem so familiar? Oh, yeah: it’s lifted nearly verbatim from the website of Harvest Spirits, maker of the brandy in question.

This begs the question: what makes a pear “fresh?” Further, of what value is a fresh pear compared to one that’s less “fresh” (whatever that means)? Here’s a great opportunity to educate readers — just a brief sidebar — on the aging or curing of fruits that some distilleries do before pressing. Apples can be stored before pressing; pears tend not to be. Why?

Don’t look here for the answer (or even the question). Instead, we get uncritical regurgitation of advertising copy.

While I don't know this to be true, there's no sense at all that the author has actually tasted any of the spirits. Yes, there are tasting notes, but they are generic and once more feel culled from others rather than experienced. Recipes for mixed drinks using the spirits are included at many points, but we are given ounces, oz, cups, “parts,” “shots,” and other diverse measurements. This suggests that they were taken at face value from other sources, sometimes credited, sometimes not.

Clip. Paste. Repeat.

A guidebook for American craft distilleries is a fantastic idea, but we don’t have one yet. While I deeply admire many of the companies and distillers profiled in Reimer’s book, my advice to readers interested in the American craft distilling scene is to save your money and download the American Distilling Institute’s far more complete directory (for free; PDF is here) then visit the websites of each distilling company that interests you. I’ll wager you find a lot of the same copy, anyway.

David J. Reimer, Sr. (2011)
Micro-Distilleries in the US and Canada
301 pages (paperback)
Sunbury Press
ISBN-13: 9781934597439
$24.95

Wednesday, April 4, 2012

Winners of ADI's 6th Annual Judging of Artisan American Spirits

Word has come this morning from Andrew Faulkner, judging director for the American Distilling Institute, that winners for the ADI's 6th Annual Judging of Artisan American Spirits have been announced in Louisville, Kentucky. Since I was one of the judges, I've known some of these results since last month, but this is the first time I'm seeing the whole list. 

This year the categories were brandy, rum, and whiskey. With no further ado, the complete list of winners:

Best of Class
Artisan Distilled Whiskey
Corsair Artisan Distillery - Grainiac 9 Grain Bourbon
Brandy
Jaxon Keys Winery & Distillery - Jepson Old Stock Brandy
Rum
Turkey Shore Distilleries - Old Ipswich Tavern Style Rum

Artisan Merchant Bottled
Smooth Ambler Spirits Co - Old Scout Straight Bourbon Whiskey

Excellence in Packaging
Huber’s Starlight Distillery - Brandy


WHISKEY

Clear Whiskey
Silver Medal
  • Copper Fox Distillery - Wasmund's Rye Spirit
  • Deerhammer Distilling Company - Whitewater Whiskey
  • Tennessee Distilling Company - Collier and McKeel Charcoal Mellowed White Dog
  • Dark Horse Distillery - Long Shot White Whiskey
Bronze Medal
  • High West Distillery - High West Silver Whiskey - OMG Pure Rye
  • Finger Lakes Distillery - White Pike Whiskey

Corn Whiskey
Gold Medal, Best of Category
  • Limestone Branch Distillery - T.J. Pottinger Moon*Shine
Silver Medal
  • Asheville Distilling Company - Troy & Sons Moonshine
  • Colorado Gold Distillery - Colorado's Own Corn Whiskey
  • Dark Corner Distillery - Moonshine Corn Whiskey
Bronze Medal
  • Balcones Distillery - Balcones True Blue
  • Kings County Distillery - Kings County Moonshine
  • Ole Smoky Moonshine Distillery - Corn Whiskey
  • Pinchgut Hollow Distillery - Corn Shine

Bourbon
Gold Medal, Best of Category
  • Corsair Artisan Distillery - Grainiac 9 Grain Bourbon
Silver Medal
  • Corsair Artisan Distillery - Nashville Bourbon
  • Tuthilltown Spirits - Hudson Whiskey Four Grain Bourbon
Bronze Medal
  • Kings County Distillery - Kings County Bourbon
  • Tuthilltown Spirits - Hudson Baby Bourbon
Straight Bourbon
Silver Medal, Best of Category
  • Colorado Gold Distillery - Straight Bourbon Whiskey
Silver Medal
  • Ballast Point Spirits - Devil's Share Whiskey
Bronze Medal
  • Peach Street Distillers - Colorado Straight Bourbon

Malt Whiskey
Gold Medal, Best of Category
Golden Distillery - Samish Bay Single Malt Whiskey
Silver Medal
  • Golden Distillery - Samish Bay Whiskey Reserve
  • Rogue Ales & Spirits - Oregon Single Malt Whiskey
Bronze Medal
  • Corsair Artisan Distillery - Pils American Malt Whiskey
  • New Holland Artisan Spirits - Double Down Barley
  • Rogue Ales & Spirits - Dead Guy Whiskey

Straight Malt Whiskey

Gold Medal, Best of Category
  • Ballast Point Spirits - Devil's Share Whiskey
Silver Medal
  • Edgefield Distillery - Hogshead Whiskey
  • New Holland Artisan Spirits - Zeppelin Bend
Rye Whiskey
Silver Medal, Best of Category
  • Breuckelen Distilling - 77 Whiskey
Silver Medal
  • 1512 Spirits - Aged Rye Whiskey
  • Corsair Artisan Distillery - 100% Rye
  • Corsair Artisan Distillery - Ryemageddon
Non-Typical Whiskey
Gold Medal, Best of Category
Balcones Distillery - '1' Texas Single Malt

Gold Medal
  • 1512 Spirits - Signature Poitin
Silver Medal
  • Corsair Artisan Distillery - Oatmeal Stout Whiskey
  • Corsair Artisan Distillery - PreProhibition American Malt Whiskey
  • Florida Farm Distillers - Palm Ridge Reserve
  • Koval Distillery - Lion’s Pride, 47th Ward Whiskey
  • Old Sugar Distillery - Queen Jennie Sorghum Whiskey
  • Glacier Distilling Company - Wheatfish Whiskey
Bronze Medal
  • Corsair Artisan Distillery - Quinoa & Barley Whiskey
  • Corsair Artisan Distillery - Triticale & Barley Whiskey
  • Koval Distillery - Lion's Pride Millet Whiskey
  • Middle West Spirits - OYO Whiskey
Smoked Whiskey
Silver Medal, Best of Category
Balcones Distillery - Brimstone

Silver Medal
  • Corsair Artisan Distillery - Oak Smoked Wheat Whiskey
  • Corsair Artisan Distillery - Cherrywood Smok
Bronze Medal
  • Corsair Artisan Distillery - Triple Smoke
  • Square One Brewery & Distillery - JJ Neukomm Malt whiskey
Hopped Whiskey
Gold Medal, Best of Category
Corsair Artisan Distillery - Citra Whiskey

Silver Medal
  • Spirits of St. Louis - Hopskey
Bronze Medal
  • Corsair Artisan Distillery - Elderflower Bohemian Whiskey
Flavored Whiskey
Bronze Medal
  • Corsair Artisan Distillery - Old Punk
Artisan Merchant Bottled Whiskey
Gold Medal, Best of Category
Smooth Ambler Spirits Co - Old Scout Bourbon Whiskey

Gold Medal
  • Bull Run Distillery - Temperance Trader Bourbon
Bronze Medal
  • Great Lakes Distillery, LLC - Kinnickinnic Whiskey


BRANDY

Eaux de Vie
Silver Medal, Best of Category
Clear Creek Distillery - Eau de Vie of Blue Plum (Slivovitz)

Bronze Medal
  • Westford Hill Distillers, LLC - Kirsch Eau de Vie
  • Peach Street Distillers - Jack and Jenny Peach Eau de Vie
Aged Fruit Brandies
Gold Medal, Best of Category
Peach Street Distillers - Peach Brandy

Silver Medal
  • Peach Street Distillers - Pear Brandy
Bronze Medal
  • Harvest Spirits LLC - Rare Pear Brandy
Apple Brandy
Gold Medal, Best of Category
Westford Hill Distillers, LLC - New World Aged Apple Brandy

Silver Medal
  • Clear Creek Distillery - 8 year. Eau de Vie de Pomme (apple)
  • Colorado Gold Distillery - Colorado Gold Brandy
Bronze Medal
  • Carolina Distillery LLC - Carriage House Apple Brandy
  • Huber's Starlight Distillery - Apple Brandy
  • Huber's Starlight Distillery - Apple Jack
Grappa
Gold Medal, Best of Category
Clear Creek Distillery - Grappa Muscat

Gold Medal
  • Clear Creek Distillery - Grappa Nebbiolo
Bronze Medal
  • Flag Hill Distillery - Graham's Grappa
Brandy from Grapes
Gold Medal, Best of Category
Jaxon Keys Winery & Distillery - Jepson Old Stock Brandy

Silver Medal
  • Jaxon Keys Winery & Distillery - Jepson Signature Reserve Brandy
  • Dakota Spirits Distillery - Bickering Brothers Neutral Brandy
Fruit Infusion
Gold Medal, Best of Category
Sidetrack Distillery - Raspberry Liqueur

Gold Medal
  • Clear Creek Distillery - Liqueur of Oregon Cranberries
Silver Medal
  • Huber's Starlight Distillery - Black Raspberry Infusion
  • Huber's Starlight Distillery - Raspberry Infusion
  • Clear Creek Distillery - Eau de Vie of Douglas Fir
  • Bloomery Plantation Distillery - Cello Cremma Lemma
Bronze Medal
Clear Creek Distillery - Liqueur of Oregon Cassis (Creme de Cassis)
Harvest Spirits LLC - Core Black Raspberry
Apollo Fine Spirits - Queen Esther Sweet Fire Liqueur


RUM

Clear Rum
Silver Medal, Best of Category
Ballast Point Spirits - Three Sheets White Rum

Silver Medal
  • New Deal Distillery - Distiller's Workshop Rum
Bronze Medal
  • Dancing Pines Distillery, LLC. - Dancing Pines Rum
  • Bull Run Distillery - Pacific Rum
  • Turkey Shore Distilleries - Old Ipswich White Cap Rum
Amber Rum
Gold Medal, Best of Category
Turkey Shore Distilleries - Old Ipswich Tavern Style Rum

Silver Medal
  • Desert Diamond Distillery - Gold Miner Spirits Barrel Reserve Rum
  • Ryan and Wood Distillery - Folly Cove Rum
Bronze Medal
  • Dancing Pines Distillery, LLC. -- Cask Barrel Aged Rum
  • Rogue Ales & Spirits - Dark Rum
  • New Deal Distillery - Distiller's Workshop Rum, Amber
  • Old Sugar Distillery - Cane and Abe Freshwater Rum

Overproof Rum
Silver Medal, Best of Category
Barrel House Distilling Co. - Oak Rum

Silver Medal
  • Privateer Rum - Privateer True American Rum
Flavored Rum
Silver Medal, Best of Category
Dogfish Head - Brown Honey Rum

Silver Medal
  • Duncan's Idea Mill, LLC - Dunc's Mill - Elderflower
Spiced Rum
Silver Medal, Best of Category
Dancing Pines Distillery, LLC. - Spice Flavored Rum

Artisan Merchant Bottled Rum
Silver Medal
  • New Holland Artisan Spirits - Huron Rum
Bronze Medal
  • Firefly Distillery - Sea Island, Java
  • Firefly Distillery - Sea Island, Spice
  • Spirit of Texas - Pecan Street Rum

Thursday, February 16, 2012

Judging Artisan Spirits, 2012

I'm off to Kentucky next week for the annual judging of American craft spirits. I'll be joined in Louisville by some cocktail types, including San Francisco barman H. Joseph Ehrmann of Elixir, Audrey Saunders of  Pegu Club fame, and Flavien Desoblin of New York's Brandy Library. There will be distillers on board as well, rum specialists, and booze hounds (and I mean that in the most respectful manner) aplenty. Thirteen judges in all.

Under the imprimatur of the American Distilling Institute, three panels of judges will evaluate 244 spirits from nearly 100 distilleries over the course of two days. That breaks out as:
  • 45 rums
  • 60 brandies
  • 139 whiskeys
Gins, absinthes, and other spirits rotate through during other years (I'll do my best to advocate for a bitter/amari category now that so many American examples are coming onto the market). I won't know until I arrive, but I suspect I'll be on the whiskey panel which will tackle not just craft bourbons, but malt, wheat, rye, corn, and clear whiskeys as well as a catch-all "other" category. The rum judges will nose, swirl, and spit in six categories while the brandies are broken into five groups; grappa, brandy from grapes, non-grape aged brandies, non-grape unaged brandies, and fruit infusions.

No, no, no. It will be nothing like this.

Even if I am with the whiskey group, I'll be getting into the brandies as, ahem, "research" for my upcoming Tales of the Cocktail session on American non-grape brandies with Paul Clark and Bobby Heugel.

Results of the ADI judging will be announced at the annual ADI conference this coming April 1-4 in Louisville. 

Saturday, January 28, 2012

Bookshelf: Alt Whiskeys

...[T]he recipes in here reflect the last 3-5 years 
of tinkering with different recipes, techniques, and ideas 
in an effort to do one simple thing: 
expand the horizons of what whiskey can be. 
And, of course, have fun.

~ Darek Bell
Alt Whiskeys

A decade ago, fewer than a hundred distilleries supplied all of America’s domestic legal liquor supply. Today, we can boast four times that number. Well, “boast,” perhaps, is not wholly accurate. That growth has entailed missteps and occasional outright failures as this cohort of new distillers — who may have been hobbyists or working in wholly different fields five years ago — make the transition to more seasoned professionals.

But make no mistake: the transition is underway.

There’s an exuberance common among new distillers, a willingness to try unproven ingredients and techniques. Consider Chip Tate’s Rumble made from wildflower honey, turbinado sugar, and figs from Balcones Distilling in Texas or New Holland’s Hatter Royale, a barley spirit from Michigan finished with hops. Then there’s Darek Bell’s triple smoke malt whiskey that blends a bit of chocolate malt with a triple whammy of German-, peat-, and cherry-smoked malts.

Bell is the owner of Corsair Artisan Distillery. He’s also a hell of a distiller with the credentials to prove it. He trained at the Seibel Brewing Institute and is a graduate of the Bruichladdich Distilling Academy. His whiskeys have won numerous awards. His book, Alt Whiskeys, hit the shelves this week.

Tapping that fat vein of experimental distilling, Bell subtitled the self-published tome Alternative Whiskey Recipes and Distilling Techniques for the Adventurous Craft Distiller. Alt Whiskeys is a turning point in the literature of American distilling. There’s nothing else out there that captures, page after page, our modern distillers’ spirit of innovation with new ingredients, techniques, and equipment — or that reveals the deep connections between craft brewing and craft distilling, as evidenced by Bell’s thorough use of original and target gravities, fermentation temperatures, barrel notes, and other specific technical notes that read more like something from brewers' manuals than the recipes one usually finds for spirits.

“What’s wrong with whiskeys the way they are now?” Bell writes.
Absolutely nothing. As a whiskey geek myself, I am an avid whiskey lover. You might even say whiskey obsessed. BUT I do think whiskey could be better. Different. More interesting. Brewers have a palate of over 50 different types of malt at their disposal to draw from, while most distillers just use plain 2 row barley.
How could they be better, different, more interesting? The book gives ample suggestions and guidelines, starting with grains. American distillers are familiar with corn, wheat, rye, and barley, of course. Bell, however, explores alternatives; amaranth, quinoa, spelt, kamut, grain sorghum, millet, blue corn, tritordeum, and more. Buckwheat, even — not actually a grain, but it can be treated as one, as Bell demonstrates in his recipe for 92 proof buckwheat bourbon. More of them come into play in his seven- and eleven-grain bourbons.

Click to embiggen
Bell’s background as a brewer shines through across the pages. An oatmeal stout whiskey is an early tip-off, but he lays out his cards in two chapters devoted entirely to whiskeys inspired by America’s craft brewing beers. There’s the pumpkin spice moonhine, a riff on 1980’s-style pumpkin ales, and a mocha porter whiskey. Other whiskeys are based on witbier, Russian imperial stout, Octoberfest, dopplebock, American lager, Bavarian helles, and Pilsner.

But he really hits stride in the chapter on hopped whiskeys. “If whiskey is distilled beer,” Bell asks, “why has an element so critical to the history of beer never been used?” Well, it has been used, just not widely; hopped whiskeys are still a surprise even to many whiskey drinkers. Bell embraces the bitter flower cones with abandon.

Seven hopped whiskey recipes reveal multiple ways to get the hops’ nose, taste, and tang into the bottle. Some, such as dry hopping, are familiar to brewers, but hopping whiskey is not exactly the same as hopping beer. Distillers work with a sealed vessel, so there’s no just tossing in hops as brewers do during the cooking of the beer. Bell’s solution? A handmade double-valved hop insertion pipe for the still that allows distillers to add hops at particular points in the run. He also deploys hop backs, hop teas, and hopbursting, a technique that introduces massive amounts of hops late in the process that allows the distiller to amplify the hops aroma (and a bit of bitterness).

Another chapter explores alternates to hops, malt, and yeast. Wormwood wit whiskey, anyone? Chamomile wheat whiskey? How about an elderflower Bohemian pilsner whiskey, barley sochu, mint-chocolate milk stout whiskey, or cannabis moonshine? I’ve yet to taste a yeast-free [see comments below] whiskey made with Brettanomyces lambicus, so familiar to lovers of Belgian lambic beers, but Bell lays out how to make a soured barley example fermented with a lab-cultured strain from yeast vendor WYEAST.

And there’s smoke. The chapter on smoked whiskeys includes recipes, of course, but even more useful for the experimentally-minded distiller, guidelines for types of woods, how to smoke malts, and how changing the percentage of smoked grains in a mash bill affects the perception of smoke in the final product. Want to build a smoke injector? Learn how to make liquid smoke (even though Bell gives the stuff only qualified endorsement)? That’s here. So’s a corn cob smoked whiskey, inspired by a Tennessee meat-smoking technique.

About 60 recipes in all, rounded out with a chapter on cocktails from Josh Habiger.

Alt Whiskeys belongs on the shelf of every American distiller, legal, extra-legal, or simply aspiring. Whiskey lovers, see what’s going to be happening to your beloved spirit over the next few years — not just from Corsair,  but from distilleries across the country. The rest of you lot, if you want to understand why this is one of the most interesting and promising times for distillers in hundreds of years, get this book.

Then break out the whiskey.

Darek Bell (2012)
Edited by Amy Lee Bell, Photography by Pete Rodman, Forward by Bill Owens
Alt Whiskeys: Alternative Whiskey Recipes and Distilling Techniques for the Adventurous Craft Distiller
200 pages (paperback)
Corsair Artisan Distillery
ISBN: 0983350000
$29.99

Amazon sells it here.

Goes well with:
  • Manual of a Traditional Bacon Curer. As I wrote two years back, "If you make sausage or cure your own meats—any kind, not just pork—don’t delay. Get a copy of Maynard’s book today. It’s the one we’ve been waiting for." Just so, Alt Whiskeys is the one we've been waiting for.

Friday, November 18, 2011

Call for Whiskey and Rum Papers — ADI's 9th Annual Spirits Conference

This coming April, Louisville will once again host the American Distilling Institute's annual spirits conference. From April 1-4 2012, craft distillers will gather to talk about the craft, business, and future of new American distilleries.


I have had the pleasure of speaking at the ADI conference (and of getting pulled onstage for another about how craft distillers can work with writers for exposure to larger audiences) and can say that it is a great time. I strongly encourage anyone to has something relevant to say about American craft distilling to submit a proposal. Note that accepted papers will be published online and authors may or may not be invited to speak at the conference itself.

Here's a bit called As Surely as Thunder Follows Lightning, my own topic at last year's ADI conference. Penn Jensen, vice president of ADI, gives the details on what they're looking for this time around:
The growth of Artisan Distilling over the past few years has been extraordinary. The obvious parallel is with Craft Brewing, itself a remarkable achievement. As so many people succeed, begin, or look to begin a career investment in Artisan Distilling, the personal relationships, communication channels, and open access to accurate information becomes ever more important.

The ADI Spirits Conference Theme, Whiskey & Rum, addresses virtually every issue along the critical path to creating a quality whiskey or rum product. The larger picture, inclusive of all spirits, addresses everything from permitting and financing, to marketing and distribution.

Our goal is to begin an Archive of Conference Proceedings that will serve as a resource to all our members seeking to avoid costly mis-steps, and to learn from the best. To that end, we are issuing this Call for Papers.

Topics:

Any seriously proposed topic relevant to the specific or general theme of the Conference is welcomed.

Deadline:

Your proposed topic should be sent to us no later than January 15, 2012. After that date, papers may be accepted for publication but may not be assured a presentation at the conference.

Review:

Technical papers will be peer-reviewed by experts in the specific field addressed.

Editing:

ADI reserves the right to edit for length and grammatical construction. Any substantive changes must be approved by the author(s).

Format:

Papers may be presented in either .doc, .docx, or .pps format

Publishing:

Unless specifically noted, all papers will be published online.

Eligibility:

You do not need to be a member of ADI to submit a paper or proposal for the conference.

Conference:

Submission of your paper does not enroll you as a member of ADI, or automatically admit you to the conference. If you intend to attend the conference, you must register online. If you are invited to attend, you will be notified regarding facilities and equipment available.

Please send you topic/proposal to:

Pennfield Jensen, ADI Vice President
3432 Valleyview Dr.
Bloomington, IN 47404
penn@distilling.com

Thursday, June 30, 2011

New Jersey Craft Distilling

A bill wending its way through the New Jersey state assembly would create a special license for craft distilleries. As you can imagine, I am all for this.

A3798, introduced earlier this year and sponsored by Assemblyman Reed Gusciora, would allow smaller distilleries to operate in the Garden State. It includes restrictions, such as a ceiling of 20,000 gallons of distilled alcoholic beverages per year and a requirement that at least 51% of the raw materials used to make such spirits are grown in the state.  On-site sampling is expressly permitted. The pertinent section of the proposed amendment reads:
Craft Distillery License. 3d. The holder of this license shall be entitled, subject to rules and regulations, to manufacture not more 20,000 gallons of distilled alcoholic beverages, provided that not less than 51 % of the raw materials used in the production shall be grown in this State, and to rectify, blend, treat and mix distilled alcoholic beverages, and to sell and distribute without this State to any persons pursuant to the laws of the places of such sale and distribution, and to maintain a warehouse. The holder of this license may offer any person not more than three samples per calendar day for sampling purposes only on the distillery premises. For the purposes of this subsection, “sampling” means the gratuitous offering of an open container not exceeding one-half ounce serving of distilled alcoholic beverage produced on the distillery premises. The fee for this license shall be $938.
$938. Almost 40 years ago, I visited my first still site in the New Jersey Pine Barrens. I'm certain that the moonshiners running that still paid nothing to the state for the privilege. This, though? This would be almost as cheap — and entirely legal.

For the rest of the bill, see here.

Tuesday, April 26, 2011

Stephen McCarthy's Keynote Address to the ADI

Earlier this month, Stephen McCarthy, president and founder of Clear Creek Distillery in Oregon and one of modern America's distilling pioneers, delivered the keynote address of the American Distilling Institute's annual meetings. Because of work and family commitments, I couldn't make it to Portland for the meetings, but ADI president Bill Owens was kind enough to send on McCarthy's April 6th talk. 

Unedited and in its entirety, here's Stephen McCarthy on his own background as a distiller and the future of American small distilleries.

I think it is important for you to realize what you are trying to do: the changes you represent and which are represented by your colleagues who came before you in the wine world and in the beer world-not to mention coffee, bread, vegetables, cheese to name a few-are profound.

I watched all this happen, starting in the 1950's and what I saw was probably representative of what happened and is happening all across the US.

My story and the story of my region are like yours.

I grew up in Roseburg, Ore., pop. 4500, before TV came to town and before I-5 was built. Portland was four hours away on a two-lane road in a station wagon with four brothers.

Imagine 1950.

Roseburg had an active agricultural economy, with lots of fruit and vegetables, some livestock (mostly sheep, I think) and turkeys, and the remains of a prune industry in the form of "prune dryers," tall, oddly shaped barn-like structures that had heaters that dried the Italian Blue Plum into prunes.

We also had a built-in cultural bias against anything that was grown or made locally. People that went west in the dust bowl years, picked crops in California in the depression, and worked in the Oakland shipyards in WWII came to southern Oregon in the late 1940's to find work logging the native forests. I believe they didn't "think local" because they were not sure where they were. Several good local cheese makers gave up in the 1950s or early 1960s (does anyone remember Langlois cheese?). There was a terrific melon from Dillard, Oregon, an elegant cantaloupe from an ideal microclimate. We grew terrific pole beans, good strawberries and very good walnuts. I don't think much of that is left.

Another branch of my family had been growing apples and pears in the Hood River Valley in Northern Oregon since 1909. The family lost the orchards in the Great Depression, and maybe another time, depending on how my mother wants to spin the legend. After World War II my dad started buying back the old orchard property, although the original orchards were pretty much gone. In the 1970s we started buying other nearby orchards, and we have been buying in small and large batches, ever since.

I pretty much stayed out of farming and ran the industrial side of the family. My dad had a small company making hunting and shooting accessories. He wanted out, and sold it to me for a dollar down and a dollar a week. It worked out well, I made two or three good decisions and it grew like crazy. And so I thought I was hot stuff, a marketing genius. I was unimpressed by what I saw of fruit marketing. Or fruit growing, for that matter. The local fruit growers were pretty well wedded to chemicals, and odd varieties of apples and pears were being driven out by an industry devotion to the Red Delicious apple. And of course, if you went to a local grocery, even in the fall harvest season, the fruit you encountered was right off a truck that had come from a warehouse a hundred miles away. Small fruit growing regions - and Hood River Valley at 15,000 acres of orchards was very small - had a hard time attracting capital and management and marketing talent to compete here in America, let alone in the world market.

The other thing I should mention is that it was my good fortune to spend a lot of time in Europe, starting in 1960. There, I developed an interest in good French regional wine, which led to an interest in almost any wine from Europe, and that led to an interest in everything else from Europe that I could eat or drink. Eventually I came to appreciate that the people I met ate and drank only what they grew - what they had. Their genius was taking whatever they could grow and making something wonderful out of it. Poor land that could only support goats led to chevre. Undrinkable ugni blanc wine led to cognac. Small, crummy apples in Normandy led to Calvados. And so on.

Eventually I learned that the Williams pear, which the French, Swiss and Germans made into the fantastic Williams pear schnapps or eau de vie of poire williams was the same as our Bartlett pear. The Bartlett pear was the principal ingredient of fruit cocktail, which was what my generation had been raised on. But as the fruit cocktail died a well earned death, the market for the Bartlett pear swooned. And that's how I got into all this. I set out to rescue the Bartlett pear market, save orchard farmland from development for tract homes, provide myself with a decent supply of good poire williams, which was impossible to get in Oregon at that time, and maybe make a buck or two.

I have done most of that. I started with an empty warehouse in an old industrial neighborhood in Northwest Portland. My hope was that because the Bartlett and Williams pears are the same, and the still I bought was the genuine European item, and the techniques were simple, that I could eventually learn how to make good poire williams.

I expected it would take years to get something I could take to market. But my first still load, in the fall of 1985, was good. That first taste was good. Pear growing, pear ripening, pear crushing, pear fermentation and pear distillation seemed almost intuitive. We had a lot to learn, of course. There is a difference between making 500 gallons of pear mash, and making 60,000 gallons. Last year alone, my distillery bought 500,000 pounds of Oregon pears, and another 500,000 pounds of other Oregon fruits-blue plum, yellow plum, apple, cherries, and so on.

And Roseburg, where I grew up and which I left decades ago, is now a hotbed of imaginative, innovative winemaking. And small distilleries are popping up in Douglas, Josephine and Curry Counties. No longer just poison oak, sheep and scrub oak grow in those valleys and on those pretty hills. Rows of hot weather grape varietals, miraculously correct for the microclimate, produce fruit that produces unusual and wonderful wines. The scrub oak, actually Oregon White Oak, or quercus garyana, is now made into barrels for aging wine and my whiskey. An hour south, Rogue Creamery Blue Cheese is made and sold, and they can't make enough each year. I don't know if the Dillard melons are back, and I know the pole beans are not, but now even modest restaurants in Roseburg proudly list "local" cheese and "local" wine. A huge cultural change has taken place.

And so, in a way we are taking back our country, exercising control over what we eat and drink. I think we are retuning to a nation that actually makes things. This is a huge accomplishment. You are a big part of it.

But we are just beginning.

As we go forward, I would like to point out some important issues that we face and that we must resolve:

1) Quality. I am concerned about quality, but in a way I am not so concerned about quality. Capitalism will work its wonders. The wine writers will keep writing and the sommeliers, and the bartenders, and all those smart retailers out there, and there are a lot of them and they ARE smart, will keep tasting, and those distillers who measure up in the most important contest of all-the one where the bartender or retail buyer or distributor sales manager says, "OK, we'll put it in"-those distillers will prevail. The best thing about capitalism is that the data is always clear.

My sales strategy was always

a) top quality product (without this you are road kill)

b) good packaging

c) fanatic customer service, especially for the distributors and the retail buyers

d) painfully low prices

If you can do all this you have a chance. That is all. You have a license to go out there and let fly. Good luck. And no complaining.

2) The big guys. NABCA, DISCUS, and WSWA may not always be our friends. Bill [Owens], I suspect you have done a lot in this area, but we need a sophisticated Washington, DC presence to tell us when the 900 pound gorillas are not thinking good thoughts about us. And I am not convinced that asking for a TTB tax break for small distilleries is the best way to position ourselves in the upcoming skirmish. That tax break might be very expensive. There are no deals in DC without a payback.

3) Shipping: the anti alcohol people have made a big effort to severely restrict winery direct shipping. I have seen this in Oregon. There may be an unholy alliance between NABCA, the anti alcohol people, and WSWA. Many state Alcoholic Beverages Commissions' bureaucracies do not have the sophistication to see through this, nor the cohones to withstand the political pressure. I have tried not to muddy the waters by raising the issue of spirits shipping. Let's let the wine people win it for wine, and then see what we can get out of the deal, rather than handing the other side a nice weapon with which to bludgeon us.

4) Nomenclature. This one is the most important, as I see it. Good eau de vie with no compromises is expensive to make. But it is also very good. And like the best distillates and the best wines from all over the world, a market for very good and very expensive eau de vie exists. We have found it. But the customer who will search out good New Zealand white wines, SE Washington merlot, or an exotic Whiskey, wants to know exactly what it is, what is in it, where it was made, by whom. And then he or she will pay. The basis for the success of Oregon Pinot Noir lies very much in a system of strict nomenclature. And likewise with the AOC system in France, and the DOCG system in Italy. When you pick up that bottle of expensive Bordeaux, you know what is in it and who made it.

Right now the spirit world is in disarray. Bulk, industrial vodka from god knows where is being sold as "Oregon Vodka" "Made in Oregon" even though the only thing from Oregon that is in it is some local water, to bring down the proof for bottling. I have had important figures in distribution in the US ask me why the nomenclature for artisan spirits is so flakey. My best distributors remind me that they like to buy things with a real provenance. There is a place in the industry for rectifiers, just as there is for negotiants in the world of French wine. But there should be a place, with clear, easy-to-understand nomenclature, for those who are actually making what they sell. This means, to me, that the spirits in the product are made from a previously-non-distilled substrate, on the premises. There are analogies in the beverage world that will work well. If you see the words "Produced and Bottled by....." and the geographic designation "Willamette Valley" on a bottle of Oregon Pinot Noir, you know what it is.

We have to work this out. Some nomenclature is now clearly misleading and some of my brethren are not being totally truthful.

Bill Owens, you have made a contribution to this industry that is hard to overstate. So, by the powers vested in me by NO ONE AT ALL, I hereby designate you to lead the effort to untangle this issue.

And, now, I thank all of you very much for the chance to meet many of you yesterday at the distillery, and for the chance to tell my story, and now I think it is time for all of us to get on with what looks to be a very wonderful day.

Tuesday, February 8, 2011

Distillers to Gather Once More in Portland

Gather 'round, ye distillers of brandy and gin, ye wranglers of whiskey. This April, the American Distilling Institute holds its 8th annual Craft Spirits Conference & Vendor Expo in Portland, Oregon.

As usual, there will be tastings and judging. Vendors to the distilling industry will show off bottles, labels, yeasts, grains, and even barrels for stowing away slumbering spirits.

Granddaddy of the American craft distilling scene, Steve McCarthy (Clear Creek Distilling), Lisa Laird of Laird & Company (we absolutely adore her 100 proof bonded apple brandy, even though a bottle hasn't been seen on San Diego shelves since last year), and Henrik Mattsson, author of Calvados, will speak.

Bill Owens, president of ADI, also promises hands-on distilling classes at Portland distilleries: Whiskey at Bull Run Distilling, brandy at Stone Barn Brandy Works, infused vodka at New Deal Distillery, and gin at House Spirits Distillery (transportation and lunch provided).

Details:
ADI 8th annual conference
April 4-8, 2011
The Benson Hotel
Portland Oregon

For full information, see the American Distilling Institute's site.

Friday, February 4, 2011

America's New Distilleries at Tales of the Cocktail

This summer, Max Watman and I will be joining boozy forces in New Orleans for the annual Tales of the Cocktail celebration. Max is the author of Chasing the White Dog and me — well, I wrote a book called Moonshine that advocates an America where craft distilleries are as commonplace as craft breweries.

Watman
Our topic? What else might it be? An overview, analysis, and samplings from America's new distilleries. All across the United States, new distilleries are cropping up. Some enjoy international success while others merely dream of such distribution. We'll take a look at who's who, where they are, what they're making — and where it's all going.

And we're trying to do something new: throw open an unusual sponsorship opportunity for those same distillers who usually wouldn't be able to sponsor a seminar. Each year, sponsorships for sessions at Tales are snapped up by large liquor companies to showcase their portfolios. That's great. I love those sessions. Learn about the history of Cointreau? Sure, I totally want to. Sample unusual whiskeys from Heaven Hill before they're rolled out to the public? I'd be a fool to pass up the chance.

Rowley
But smaller distilleries typically couldn't afford to be single sponsor. Unless, that is, a small band of them joined to form a consortium or a, hell, let's call it a syndicate where each contributed a smaller portion. If ten distillers got together and split the cost, each could come to Tales and help get their stories and their products in front of an audience thirsty for information on spirits.

I posted a more detailed discussion about this on the forums of the American Distilling Institute. If you're interested, check it out here.

America's New Distilleries (abstract):
In the last ten years the number of American distilleries has grown from a few dozen to over 200. All around America, people are re-inventing gin, delivering exciting new brandies, expanding the spectrum of American whiskey. At the same time, the industry is full of paper tigers, false starts, and vanity projects. We’ll separate the wheat from the chaff in the current scene, and look out in to the future. Big spirits companies have started buying the little guys: what will that do?

Thursday, June 10, 2010

A Writer’s Guide to Moonshine, Part 3

The second part of As Surely as Thunder Follows Lightning, a talk on the nature and origins of modern American home distilling. The first section is online here. Download a PDF of the entire talk here.

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Even today, “secretive” remains the rule when it comes to unmarked liquor. But amateur distillers are far from isolated anymore. In less than a generation, they’ve learned to talk to each other, pool their knowledge, and ask ever-more nuanced questions about building and operating a range of stills.

Which all begs the question: Why? Why on Earth would you want to make your own spirits when decent liquor stores and online merchants can put the world’s liquors in your hands. And why now?

Part of it is this unshakable belief shared by almost all these clandestine distillers that making your own liquor is honest labor, as harmless as raising your own vegetables or curing your own meats. But that’s not new. That independent streak was part of what caused the Whiskey Rebellion in 1794.

No, what’s new tracks primarily back to three convergent trends;
  1. Itchy craft brewers
  2. The internet
  3. New Zealand
I said earlier that you could talk to some people somewhat openly about home-distilled spirits—If not very loudly and you don’t mind a cold shoulder. Those people were home beer brewers.

You see, beer is a gateway beverage. Yesterday’s homebrewers have evolved into today’s home distillers. Those with brewing backgrounds will continue to shape how we think of hobbyist distilling because brewers have mastered three key skills: 
  • how to talk to each other
  • how to organize, and 
  • how to drive legislation
It is virtually impossible to talk to craft beer brewers today who aren’t distilling on the sly, working on permits, or know someone who is.

See, this is why: Making beer at home has been going on for most of the 20th century, but it’s only been legal since 1978. For a decade or so after it was permitted, American homebrewers explored all kinds of beer and ale styles they couldn’t get at their local stores. They perfected their techniques, competed against each other in regional and national contests, published their recipes, gave out awards, and, later put that knowledge to use by opening brewpubs and microbreweries across the nation.

Homebrew supply shops were selling hops, malts, specialty grains, carboys, esoteric scientific equipment, and lab-cultured yeasts to tens of thousands of homebrewers trying, good-naturedly, to best each other’s beers. 

As surely as thunder follows lightning, whiskey follows beer—and in the eighties, you could smell whiskey in the air like an approaching storm.

By the nineties, brewers had become the novice distillers I mentioned—the folks with the questions about stills and how they operated. They were learning on pot stills because that had been the folk tradition for hundreds of years. And frankly, unless you knew about mashing and fermenting, a home distilling rig looked pretty much like a home brewing setup, so outsiders didn’t necessarily notice what was happening in their neighbors’ basements and garages.

These brewers-turned-distilling novices already knew about grains, malt, yeast, enzymes, ideal fermentation temperatures, filtration systems, and the water profiles that led to great-tasting beverages. The more curious and competitive among them began devising ways to remove what increasingly seemed like way too much water in their beer.

As I said, moonshining had long been a secret practice. Hell, I’ve gotten death threats from asking questions of the wrong people. But sharing, critiquing, and judging were an entrenched part of the brewers’ culture, and that carried over to home distilling. Homebrewers had developed widespread networks for sharing information; books, magazines, contests, clubs, festivals, newsletters, and rudimentary online newsgroups. Those anonymous online forums turned out to be ideal tools for vetting home distilling questions.

Unlike the old Appalachian moonshiners, newer distillers with homebrewing backgrounds were already used to talking to each other online and in person. If anything, they were—and remain—chatty.

Then, in 1996, New Zealand passed its Customs Act, allowing home distillation without excise taxes as long as the production was for personal use. Tiny little New Zealand on the other side of the world, about as far from Appalachia as you could get. There was an explosion of interest and innovation, specifically around design for home-sized stills that veered off from the old styles.

The Kiwis were looking into the physics of stills, attaching probes and meters to measure, exactly, what was going on when one fired up. They learned how tall and wide small stills should be. They affixed columns to their pots and filled them with ceramic and copper packing material for maximum efficiency. Those stills started looking less like the old copper pots and more like something out of an industrial refinery, churning out high-proof alcohol on single runs rather than the multi-stage process that traditional pot stills called for.

These distillers started comparing notes online. Americans brewers who were getting into distilling, with their already-established networks and culture of openness, noticed. They seized on a wealth of new verifiable information coming out of the southern hemisphere and added their own experiences, especially in online forums such as homedistiller.org, yahoo distillers, and new distillers.

Since then, home column stills have evolved, becoming more compact and efficient, able to put out—well, not pure alcohol, but about as close as you can come outside a laboratory: very clean stuff.

In just the last ten years, a specific style of distilling has evolved that’s all about purity, efficiency, and making lots of neutral spirits in very compact column stills. Easily built and easily operated, they are more efficient and less work than pot stills. For better or worse, they are part of the future of American moonshining.

Expect to see more moonshine in the upcoming years if you keep your eyes and ears open. Especially whiskey. Expect to see more of it in rural communities and in cities and especially among distillers with no immediate family history of moonshining. Some of it will be bad (there will always be bad moonshine), but some will be very good because a new generation of distillers is talking among themselves and are genuinely eager to cast aside decades of derision to make outstanding spirits. 

They deserve our respect and support. 

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