This is a book about how to drink gin of all kinds.

It’s about
classic gins and new-generation gins, about gins from all
over the world. It's about gin enjoyed with tonic and Sicilian
lemonade: About the perfect martini gin and the best gin fora
negroni. \t’s about juniper-heavy and delicate aromatic gins.
About gin cocktails that ooze style and personality. Above all it’s
about enjoying your gin in ways you never thought possible.

DAVE BROOM
Ome e eee e renee rere reser e esses esses ee ee ee eee HEEEEee ee sess eE eee sess eeeessssssesese

—THE MANUAL—
—THE MANUAL—
— DAVE BROOM —

MITCHELL BEAZLEY
 TO MY WIFE, PARTNER, AND FRIEND JO.

An Hachette UK Company
www.hachette.co.uk

First published in Great Britain in 2015

by Mitchell Beazley, an imprint of Octopus
Publishing Group Ltd, Carmelite House,
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Design and layout copyright © Octopus

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Text copyright © Dave Broom 2015

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information storage and retrieval system,
without the prior written permission of
the publishers.

Dave Broom asserts the moral right to be

identified as the author of this work.

ISBN: 978-1-84533-938-8

A CIP record for this book is available from

the British Library.

Printed and bound in China.

109876543

Senior Editor Leanne Bryan

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CONTENTS
INTRODUCTION &
HISTORY &
PRODUCTION 32
HOW 10 USE THIS BOOK 46

BASIC RECIPES 33

GINS of

OTHER GINS 14
COCKTAILS 102
BIBLIOGRAPHY 220
INDEX 222
THANKS 224
INTRODUCTION
My father, he drank whisky; my mother, she drank
gin. This may sound like the start of a country
and western song, but it was, kind of, the truth
- the first bit anyway. My mother didn’t really
drink; a small sherry before dinner perhaps.
Once, however, she did confess to me that “the
drink | love the most is a gin and tonic, but, you
know...” The sentence didn’t need to be finished.
Women didn’t drink gin. Its taste may have been
wonderful, but people would have tutted.
Strangely, though, gin was behind her getting
married. Her first date with my father was also the
first time she had ever been to a pub. When my
dad asked her what she would like to drink, she
panicked and said, “Gin and It”. She had heard
about it, maybe seen it mentioned in a movie, but
had never tried it. My mother’s first drink was the
British equivalent of the Martinez, served in a pub
in Glasgow’s East End. That gives me a certain
sense of pride. The fact that they married soon
after and a couple of years later | came along also
means that, in some curious way, | have gin to
thank for my existence.
Her relationship with gin was a throwback
to the gin-fuelled mayhem of London in the
eighteenth century; it also carries the chill of
Scottish Presbyterian disapproval (and, trust me,
there is nothing as fearsome) and the disreputable
whiff of the excesses of the Bright Young Things
in the twenties and thirties. Gin was flash, too
strong, and uncouth. Being assailed by all sides
simultaneously has long been part of gin’s burden.
 My own love of gin began later. In the Scotland where
| grew up, men drank whisky. Gin was also seen as an
“English” drink, one for snooty golf clubs and a certain
social class; a signifier of status, class, and attitude.
This was, of course, in the days of gin’s decline.
Years on, | had my first Martini. lt was made for me
by Desmond Payne at the Beefeater distillery, in those
days a lonely, echoing place that seemed only to be
kept warm by one man’s passion. | inhaled the scents
of the botanicals, marvelled at the stills, nosed the new
make, sipped the drink, and thought, “Where have you
been all my life?”.
Gin was still in the doldrums. Distillers were
flailing around, lowering strength and adding flavours.
Then along came Bombay Sapphire and people
began to become interested in gin once more. Equally
significantly, it coincided with the London cocktail
revival, when people of my age could drink classics;
a small band of sisters and brothers in the wasteland
crying, “We love gin”.
Soon after, Charles Rolls flew me to Plymouth in
a two-seater plane with two cases of gin in the back
(quite why we were taking gin to the distillery | never
quite worked out). What followed was the realization
that every person worth talking to in Scotch whisky had
gin as their first drink. | became a confirmed gin drinker,
fascinated by its complexities, revelling in its history,
loving its underdog status.
Now, at a time when 20 new brands seem to appear
every week and new distilleries are on every corner, all
of that seems like a weird dream. Was there really a time
when gin wasn’t loved, when it was stigmatized, when
Martinis were vodka drinks and bartenders thought
Negroni was an imported beer? Was there a time when
saying you would like to write a gin book would see the
publisher politely changing the subject?
Here’s to the new world of gin!

1 : INTRODUCTION
 ———— Se
a5
S
tal

What follows is a tale of depravity and joy,

of low-life and sophistication, of creativity
{ . F ah oa
and unscrupulousness, of medieval mystics and
scientists. Gin’s globe-spanning story weaves
through medicine, alchemy, politics, the birth ea
q
of national identity and that of the working
class, imperialism, the spice trade, war, disease,
Prohibition, frivolous Bright Young Things, and
hard-eyed WASP businessmen. Gin’s praises have
been sung by great writers and musicians, its
subtleties created by masterly distillers and given
extra dimensions by mixologists.In its time, it
: has variously been blamed forsociety’s ills and
: becomea symbol of middle-class respectability.
Most of all, gin is resilient. It knows that
people will eventually come to their senses
and appreciate it for whatithas always been -
a spirit of extraordinary complexity and depth.
Listening to gin’s story is to sit at the feet of a war
veteran and wonder quite how they survived the
fantastical escapades they describe. Survive gin
did, and prospered. We are now in gin’s second
Golden Age. How we got here, however, is quite
a yarn. So sit back...
 Ea ET a

THE MIRACLE BERRY

The small conifer emerged tentatively, ally to the
heaths, grasses, mosses, and lichens covering and
colouring the new landscape that the ice had left after
it had gouged and scoured the rocks for millennia. With
the ice in retreat, juniper with its black berry-like cones
was at the forefront of the recolonization of the land by
vegetation, and its pollen remained safely preserved in
peat banks for Man to discover several millennia later.

Ancient Remedy
Inthe early days of human civilization, when people
cured themselves with whatever the earth could
Jrpoe CORUNA provide, the “berries” of what came to be scientifically
| ARI 6 Pie ra ROTI,
named as Juniperus communis were valued for
their particular potency. The Ancient Egyptians
Juniperus communis, the Common noted in the Ebers Papyrus (c. 1550 sc), one of the
Juniper, has been used for thousands of oldest records of medical knowledge, how juniper
years as a cure for numerous ailments.
cured jaundice. For the Ancient Greeks, it was both
a performance-enhancing drug and a remedy for
colic. The father of medicine, Roman physician
Dioscorides (c. AD 40-90) detailed the effective use
of juniper berries steeped in wine to combat many
chest ailments, and also as an abortifacient. Were
they distilled? Perhaps. Dioscorides’s “pot-on-pot”
distillation method would appear in medical and
herbal texts over the subsequent 500 years. Pliny the
Elder also praised juniper, mentioning it 22 times in
his Naturalis Historia (c. aD 77-79), where he writes:
“The seed... dispels flatulency and sudden chills,
stops coughs and brings indurations to a head... and
the berries taken in red wine act astringently on the
bowels... The seed is diuretic in its effects... either asa
dose of four berries in white wine or in the form of a
decoction of 20 berries in wine.”

Medieval Panacea
By the thirteenth century, this miracle berry was one of
a dizzying catalogue of ingredients that alchemists and
apothecaries were experimenting with in cities such as
Bruges. It was in nearby Damme, 7km (42 miles) away,
between 1266 and 1269 that Jacob van Maerlant wrote

HISTORY
 (in rhyme) the 13-volume encyclopedia Der Naturen
Bloeme, itself a translation of Brussels-born Thomas
of Cantimpré’s 20-volume Liber de Natura Rerum.
In Chapter 8, van Maerlant advises: “cook [juniper]
berries in wine for cramps... cook berries in rainwater for
stomach pains”. He also describes a method of distilling
the wood to make oil, which, along with juniper incense
and berries stuffed into masks, led the battle against the
onslaught of the Black Death (1346-53).
Hieronymus Brunschwig’s treatise on distilling of
1500, the title of which translated into English as The
Vertuose Boke of Distyllacyon, contained a recipe for
“water of genyver berries”:
“In the morning/at nine at night/drink of the same
water at each time an ounce/is good against the
gravell in the limbs and in the bladder/it causes the
urine to come out and well to piss...”
This was the age of the herbals - encyclopedias of
plants and their curative properties - and juniper played
a prominent role in most of them. The Swiss naturalist
Conrad Gesner chose to exemplify the distillation of
juniper’s fruits in his 1559 herbal entitled The Treasure of
Euonymus. Gesner’s herbal also contained a vast recipe
Conrad Gesner’s The Newe Jewell
of Health (1576), shows the master for “a most noble water of vertues worthy to be preferred
and assistant distilling alcohol, using before silver and gold” and listed juniper among 23
a primitive form of reflux condenser. base ingredients, while another recipe that claimed
to “restoreth youth” had 44. The other ingredients are
familiar to gin lovers: grains of paradise, sage, fennel
seeds, nutmeg, pepper, bayberry, fresh herbs, cubeb
berries, cardamom, and almond. Three years later,
William Turner published his A New Herball, the first
to focus on English plants, including juniper, which he
reported “grows plenteously in Kent... in the bishopric
of Durham and Northumberland” and could be used
as a diuretic, as well as to keep vipers away. This was
followed in 1640 by the last of the great herbals, John
Parkinson’s Theatrum Botanicum, in which he wrote:
“No man... can easily set down the virtues of the juniper
tree”, yet undeterred he goes on to try. Juniper, it would
seem, was good for treating everything from nosebleeds
to the plague, including convulsions during childbirth
and asthma. By then, however, in the Low Countries at
least, juniper had another valuable attribute, and one
that had an affect on wealth as well as health.

10 HISTORY
 The Spirit of the Low Countries
We don't know his name, but we can surmise that
a certain merchant who lived between Arnhem and
Appeldorn in 1495 was rich, because who else but a
wealthy man would have a household book handwritten
for his own delight? And who else would have been able
to afford the outrageous amount of spices needed to
make a recreational spirit, the earliest found to date to
use Juniper (see panel, left)? Those spices would have
come to him overland from the East to Constantinople,
then Venice. This was a decadent, liquid manifestation
_ This extravagant recipe starts
by taking 10 quarts of wine (or
of power and also a clear indication that people were
_“mother of wine”, possibly lees), drinking for pleasure. Two years later, “brandy” -
thinned with clear water or a catch-all term for spirits at that time - was being
Hamburg beer “until the water has
taxed in Amsterdam.
the thickness of buttermilk”. It is
then distilled in a two-pot still, the
head being affixed and sealed with Water of Life
a mixture of egg yolk and flour. You
To understand gin, you must first understand genever,
then take 9 parts of this “burned
wine” to 1 part of the following the rise of which came on the back of warfare, religious
spice mix: 12 nutmegs, ginger, persecution, nation building, and trade. Its greatest
galangal, grains of paradise, historian is Dr. Eric Van Schoonenberghe, without
clove, cinnamon, and cardamom.
After this is distilled, you add 4lb
whose texts this chapter would have been considerably
of crushed nutmeg, 2 handfuls sketchier. There was a rich seam of alchemical-related
of dried sage, 1lb of cloves, and, writings in Dutch from the thirteenth century onwards,
finally, juniper. In the actual recipe,
many of which mention juniper. However, it was
this is referred to as gorsbeyn de
dameren, which translates literally Johannes de Aeltre’s 1351 copy of an earlier tract titled
as “ashes of frog’s bones” or, as Aqua vite, dats water des levens of levende water that
Van Schoonenberghe (see right)
is particularly significant in highlighting a shift in the
argues, ground dried juniper
[ghurst] berries [beyen]. This spirit’s function. In it, he stated that aqua vitae:
mixture is put into a cloth bag “Het doet oec den mensche droefheit vergeten
and suspended in the pot, then Ende maecten van hertten vro ende oec stout
the mixture is redistilled.
In 2014, at G’Vine’s (see pp.122-3)
ende coene.”
Cognac HQ (the original recipe calls “It makes people forget about sadness,
for wine from close to Cognac), a and makes their hearts happy and brave.”
team including genever historian
Clearly, achange had taken place. People were realizing
Phillip Duff and David Wondrich
(see p.155) re-created this that what had been regarded purely as a medicine had
concoction and named it Verbatim. another property. And so juniper berries were ready to
assume their modern role.
The position of Bruges as acentre for trade and
intellectual investigation dwindled in the fifteenth
century when the river Zwin silted up, and the focus
shifted 9Okm (56 miles) east to Antwerp where, in 1552,
Philiopous Hermanni wrote Een Constelijck Distileerboec.
It not only featured a recipe for juniper berry water but

tf HISTORY
 went into forensic detail about how to distil. It would
become the manual for distillers in the Low Countries.
All of the healing waters up until this point had been
wine-based, but a succession of poor harvests and
cold weather prompted distillers to turn to what was
around them, initially sour beer and subsequently rye
and malted barley. But there was another reason for
the shortage of wine. The year 1568 saw the start of the
Eighty Years’ War between the Low Countries and their
then rulers Spain. A Protestant uprising, centred around
Antwerp, was violently suppressed by the Spanish. The
combination of increased religious persecution and a fall
in trade prompted a mass exodus of artisans, distillers,
Crock bottles, like these antique and merchants. Six thousand refugees went to London
examples from Dutch distiller Bols, are alone during this period, while others went to the
still used to bottle genever today. northern Netherlands, Berlin, Cologne, and France. As
Antwerp’s importance declined, distillers re-established
themselves in the towns of the new Dutch Republic,
such as Schiedam, close to Rotterdam. Others moved
to Amsterdam, Weesp, and Hasselt (now in Belgium),
joined by asecond wave in 1601 when the rulers of
the Spanish-controlled south, Archdukes Albert and
Isabella, banned distillation from grains, citing the need
for bread, an edict that remained in force for 112 years.

Added Values
Hitherto, the rich had drunk wine and brandy; the poor,
beer and malt spirit, but by the start of the seventeenth
century, war was imposing a change. In 1606, the Dutch
Republic taxed brandy, anise, and genever. Since prior to
this only brandy had been taxed, it’s evident that genever
was now being more widely consumed. This also resulted
in a shift in flavour. In order to produce a more refined
spirit to appeal to the brandy-deprived merchant class,
Dutch distillers began to aromatize their malt wine,
primarily with juniper Genever) and other spices that
were becoming easier to obtain. In 1602, the Dutch East
India Company (Vereenigde Oostindische Compagnie
or VOC) received its charter. Until its dissolution in
1799, it was the world’s most powerful trading body,
with a virtual monopoly on the spice trade. The Dutch
Golden Age had begun.
Among the refugees from Antwerp were the Bulsius
family who, after a short period in Cologne, had arrived

HISTORY
 in Amsterdam in 1575, changed their name to Bols, and
began making liqueurs. By 1664, they had added genever
to their range (see pp.171-3 and 178). Both styles of drink
required exotic ingredients, and the family established
close ties with the 17-man Council of the VOC. In 1700,
at the height of the VOC’s power when it had risen to
the status of a de facto state, Lucas Bols became a
shareholder, allowing him preferential access to the
spices as well as a distribution network for his products.
The VOC's nigh-on 5,000-strong fleet made
Amsterdam the centre of world trade. As EM Beekman
observes in Fugitive Dreams, “monopolies can be
legislated, but they can only be maintained by force...”
Yet what did Amsterdam’s merchants and distillers
care of the brutalities in the East when its riches were
being unloaded on the city’s wharves? In came the
spices and silks; out went the genever. By this time, the
Dutch navy and army were receiving a daily ration of
genever. Colonists in the East Indies would have soopjes
(shots) of “parrot soup”, “fathead”, and “hopping
water” throughout the day, and take their “mosquito
net” nightcap before sleep. Genever was also used in
The trading post of the Dutch East
bartering. The missionary Herman Neubronner van der
India Company, the VOC, in the Hooghly
district of Bengal, in India. Painting by Tuuk was offended when a Batak chief in Sumatra asked
Hendrik van Schulenburgh, from 1665. for 12 bottles of genever in exchange for a sacred text.
 Holland Goes Global
Genever had become part of a complex web of trade
and culture, one thread in the intricate tapestry of
identity that the new nation was stitching for itself. As
it began to be distributed around the world, to western
and South Africa, India, Japan, China, the Caribbean,
South America, and Europe, it became a signifier for
the Dutch. It wasn’t just genever, it was “Hollands”.
Production continued to rise. Grain came in from the
Baltic, and malted barley from England. Casks were
needed, made by coopers such as Petrus de Kuyper of
salted rm Horst, whose son Jan opened a distillery in Schiedam in
1752, its smoke and scents mingling with the effusions
from the town’s other 126 operations.
83) DISTILLER The creation in 1713 of the Austrian Netherlands

=!LONDON. (now Belgium) had, finally, seen distilling recommence

there, though contemporary reports suggested that
2 Compiled and fet forth by the
fpecial Licence and Command hebee quality was not particularly high. By the end of the
S04 of the KING's moft Excel-
pet lene Majelty: century there was also an increase of gin (genievre)
soi For the fole ufe ofof
the Company
pany ofOf Wa
distilling in France, which, up until then, had banned
Re DISTILLER of London, distillation from grain. Although exports of genever
a And by them to beduly obferved — FE#4?
Si and practiced
to England were interrupted by four wars between
34 the English and the Dutch (1652-4, 1665-7, 1672-4,
a
+24 P and 1780-4), by the end of the eighteenth century,
basa Psi
“Hollands” was selling in the London’s new “strong
: =
water shops” at half the price of French brandy. As the
ere
< Pees f capital’s fledgling distillers were struggling to shake
off the stigma that had attached itself to gin, genever
entered the nineteenth century with confidence. It
wasn’t only its colonies and neighbours that wanted
State eeeenceeareeeeeereeseaseneenseessesesaseeeeenaensensae
genever, now America did too.
The Distiller of London of 1698
contains a number of proto-gin
recipes. Most often, the long and The Difficult Birth of British Gin
complex recipe XXVI is reprinted, Although the recipe contained in Sir Hugh Plat’s
but | find XXXIII more intriguing.
Delightes for Ladies is often quoted as the first English
Juniper is the first ingredient,
alongside dried parings of quince juniper-flavoured spirit, it isn’t. It does, however,
and pippin (apple), lemon and demonstrate how spirits were no longer the preserve of
orange peel, nutmeg, aniseed,
alchemists and apothecaries, and could - indeed should
and clove. After distillation,
strawberries and raspberries - be made by the lady of a household. Distilling was
are macerated in the spirit, prior now practised by scientists and doctors, the gentry, and
to sweetening. It’s as modern as
specialists, many of whom were refugees from the Low
you like.
Countries. By 1621, there were 200 registered distillers
in London, and in 1638, The Worshipful Company of
Distillers was granted a Royal Charter and the power

14 HISTORY
 to control the quality of the spirit being made. The
1698 reprint of its recipe book The Distiller of London
(see panel, opposite) instructed “that all wines, low
wines, lees of wines, and spirits under proof be first
distilled... into strong proof whereby they may be
corrected... before they are compounded”.

Dutch Influence
Among the influx of immigrants into England was
William Y-Worth of Rotterdam, a respected alchemist
and confidant of Isaac Newton who, in 1692, published
The Compleat Distiller. Y-Worth’s book is a clear
account of the Dutch methods of distilling and

‘DUTCH COURAGE
compounding. He has some sharp words to say about
the “defective” approach of the Worshipful Company,
Sn ace nwneceresenenaescateaesnsassngenensenenssrsssenesenssesens
though his only mention ofjuniper is in the medicinal
_ Soldiers played a strange role in
Pharmacopoeia Spagyrica section. Along with
English gin’s story. According to
some gin historians, it was thanks improved Dutch distilling techniques, the seventeenth
to them bringing back “Dutch century also saw the importation of genever, both
Courage” from the battlefields
legally and by smugglers, and this was soon regarded
of the Netherlands at any point
between Elizabethan times (about as the measure against which British distillers should
1560-1600) and the Thirty Years’ compare their gins. At this time, members of Scotland’s
War (1618-48) that prompted gin’s Haig distilling dynasty were also studying genever
rise in popularity. However, the idea
that the troops were advocates of production in Schiedam (see p.20).
genever is, | think, over-simplistic. By this time, Britain also had a Dutch king, William
When they returned, unemployed, Ill, who had been invited to take the throne in 1688. His
they were looking for cheap spirits;
accession is often cited as the trigger that prompted
the fact that by the eighteenth
century the cheapest was gin people to start drinking gin out of patriotic enthusiasm.
was pure coincidence. In reality, the gentry were already drinking it, and its
consumption only spread thanks to an act of political
expediency. In 1690, Parliament passed “An Act for
encouraging the distilling of brandy and spirits from
corn”. Lowering the duties on spirits made from English
corn and initially banning French brandy was a way to
curry favour with farmers and landowners who were
experiencing a corn surplus. It wasn’t an attempt to
encourage people to drink gin, though they did, and
how. Deregulation of production meant that anyone
could now distil or compound. As a result, consumption
of spirits rose from 2,600,363 litres (572,000 gallons)
in1684 to 5,455,308 litres (1.2 million gallons) in 1700.
The combination of cheap corn from 1715-55 anda
mass of new distillers saw prices crash, and as they did,
so did quality. By 1720, the Gin Craze had taken hold.

HISTORY
 Crazed Times
Out of chaos, in the eighteenth century, Britain formed
itself into anew nation, and the greatest manifestation
of that bedlam was London. The city was expanding
rapidly, with people packed into its growing slums. It was
a febrile time, with almost constant war, the continuing
threat of Jacobite rebellion, and uncontrolled financial
speculation. The siren call of London's possibilities lured
ever more souls into its fetid embrace, only to dash them
into its gutters. Some, though, prospered and learned
a trade, or obtained a position, but the majority salved
their misery with the balm provided by Mother Geneva.
By 1720, 90 per cent of English spirits were being
distilled in London and most of that was gin. It was cheap,
strong, imitated the “Hollands” that the gentry were
drinking, and easily available from taverns, public houses,
coffee houses, and the grimy gin shops that festooned
the city’s alleyways. You could buy it from the chandler’s
shop, where the poor got their twists of sugar, stale
bread, and hard cheese, from barrows, or from hawkers.
The rise in gin consumption by the lower classes had
become enough of an issue for the government to pass
an Act in 1729 to try and curb demand. However, it saw

William Hogarth’s Gin Lane, which GI LAN E.

was Issued in 1751 in support of
the Gin Act: accurate depiction
or over-heated propaganda?

16
 just 453 of the new licences (costing the equivalent of a
THE GIN ACTS year’s income) being granted and had no effect on the
volume being sold. Distilling and selling was becoming
1729 A higher duty of 5 shillings the sole option for earning money in the slums.
- per gallon on compound waters.
The rise in duty not only attempted to raise much-
Retail licence now cost £20.
needed revenue (the century’s constant wars had to be
1733 The extra duty on compound
spirits scrapped. Street vendors paid for), but played well with the neo-Prohibitionists. It
banned. £10 fine to be paid if also cleverly avoided conflict with the vested interests
caught. Informers to be paid £5 on
of the distillers and landowners by only targeting the
conviction and payment of fine.
estimated 1,500 compounders. The problem was that it
1736 £50 licences for selling
distilled spirits; duty £1 per gallon. didn’t work, and by 1730 gin consumption had reached
£100 fine for unlicensed retailers. 13,638,276 litres (3 million gallons). Opposition to gin
£10 fine for street sales. Illegal to had become a moral crusade fought with sermons,
sell less than 2 gallons wholesale.
plays, and pamphlets relating dreadful tales of
1743 Duties on low wines
debauchery, murder, and dissipation.
doubled to 2 pence per gallon,
duty of spirits 6 pence per gallon. In 1736, a third Gin Act was passed (see panel, left),
Licence cut to £1. Gin to be sold in but in spite of its draconian measures designed to drive
licensed premises only. Distillers
gin out, only 20 of the new £50 licences were issued
not permitted to retail.
and the demon spirit was even more freely available.
1747 Wholesale distillers
allowed to retail on payment Two years later, production topped six million gallons.
of a £5 licence. The fury of gin’s opponents was only matched by
1751 Duty rises to one shilling that of those they were targeting. They queued up in
per gallon; cost of licence rises to front of “Puss and Mew” devices, pioneered by Dudley
£2. Distillers banned from retailing.
Bradstreet, where, by a painted sign of a cat, patrons
Licensed premises restricted to
inns, alehouses, and taverns and whispered “Puss”. On the affirmative response of
gin only for sale to publicans “Mew”, the patron placed two pennies in the drawer
whose premises are rateable at
that shot out and were dispensed a dram through a
more than £10 per annum.
lead pipe under the cat’s paw. Informers, eager to claim
1760 Duty increases of 5 pence
on low wines and 1 shilling 3 pence their rewards, were now organizing themselves into
on corn-based spirits. Export gangs but, if uncloaked, they could pay a very high
subsidies offered. price. In 1738, for example, the body of a deceased
woman informer was dug up and a stake driven through
her heart. Drinking gin had now become an act of civil
disobedience; the mob was restless. In time, magistrates
fearful of attack gave up trying to impose the law.
Out of the eight million gallons of gin produced in
1742 (over two gallons per capita), only 40 gallons of
licensed gin were sold. Revenue was now desperately
needed to help pay for the 80,000 troops sent to
fight in the war of the Austrian Succession (1740-8),
so the Government changed tack with yet another
Act (see panel, left). Initially it appeared to work, with
481,000 of the low-priced licences being taken out
between 1743 and 1747. The distillers, however, objected

{7 HISTORY
 to not being allowed to sell direct and, in 1748, they
and the compounders were once again permitted
to retail. At this precise moment, however, the troops
returned, prompting a gin-fuelled crime wave.
London was in crisis. The city’s birth rate fell between
1720 and 1750, while the death rate rose, with infant
mortality averaging 242 deaths per 1,000 deaths per
annum between 1730 and 1779. Alcoholism played
its part, but gin was far from being the sole cause.
The Gin Craze was born out of poverty. Although gin
consumption began to fall during the late 1740s, the
war with gin was soon once again top of the political
agenda. In 1751, artist William Hogarth’s print of Gin
Lane (see p.16) was issued with its hellish depiction of
life in the “rookeries” (slums) around St Giles. It depicts
a fractured society, with gin as asymbol of its moral and
The perils of gin-drinking among young physical decline. The drunken slatternly mother letting
women was another popular theme for her child tumble to its death in the centre represented
illustrators such as Thomas Rowlandson, not just Mother Genever but women themselves.
who produced this drawing at the
beginning of the 1800s.
From Notoriety to Acceptability
“Ifa woman accustoms herself to dram-drinking
she... becomes the most miserable as well as the
most contemptible creature on earth.” So wrote the
anonymous author ofA dissertation on Mr Hogarth’s Six
Prints in 1751. lf women are depraved, the abolitionists
posed, then what hope has society? Women are meant
to hold society together, they argued, not be the ones
with bottles in their skirts selling gin at Sam. More to the
point, if they are bad mothers, then where is the next lot
of cannon fodder coming from? Yet selling gin was one
of the few ways that single women could make money.
The same year, yet another Gin Act was passed (see
panel, p.17), which finally appeared to work and, bar
for a spike in 1756, consumption continued to fall. Any
residual thirst for cheap gin was washed away between
1757-63 when poor harvests meant that no grain was
distilled, and small distillers shut up shop. With gin now
expensive to make, prices rose and with them quality.
The Gin Craze was over and spirits were returned to the
hands of the wealthy, the same people who had been
drinking rum, brandy, and genever through its duration.
Gin distilleries were now owned by men of
considerable substance - families such as Boord,

18 HISTORY
 Currie, and Booth - and in 1769 Alexander Gordon
started distilling in Bermondsey, south London (see
pp.87-8). By the 1780s, James Stein had installed a gin
plant at his Kilbagie whisky distillery in Fife, Scotland
capable of producing 5,000 gallons of “Hollands” a
day, and although his export licence was revoked, it
was a sign that London gin distillers no longer had
a monopoly. Thomas Dakin had established a gin
distillery in Warrington, northwest England, in 1761
(see pp.69 and 89), while in 1793 the Coates family
started up in Plymouth (see p.104). Four large new
distilleries in Bristol, a trio in Liverpool, and increased
exports of spirit for rectification from Scotland also
put pressure on the London firms.
Gin was, tentatively, becoming an acceptable
drink, but it was far from the spirit we know today. In
his 1757 book The Complete Distiller, Ambrose Cooper
advised distillers to follow a Dutch method, with the
encouragement that if they were “careful in distilling
and rectifying [their] malt spirit, may make Geneva
The 1751 Gin Act brought about the equivalent to that of the Dutch”. Y-Worth’s message
death of Madam Genever... or did it? still ran true (see p.15).

a
oJ me inimente wreMe
were olY
gi
oie
if fn Lore

‘And Thastande leave to Liaeye al Leafire:

sf
 The Rise of the Cocktail
MORE TURPENTINE THAN GIN If gin wasn’t reaching the audience that its new monied
distillers felt it deserved, by the start of the nineteenth
Ambrose Cooper in The Complete century, it was beginning to inch its way across the English
Distiller of 1757 differentiates social spectrum, even achieving a certain bohemian
between the “distilled spiritous
approval. According to Thomas Medwin, Lord Byron,
water of juniper” and “the common
sort [which] is not made from whom he met in Pisa, Italy, in the 1820s, kept his stamina
juniper berries... but from Oil of up by indulging “too freely in wine, and his favourite
Turpentine”. He then gives two
beverage Hollands, of which he drinks a pint almost every
recipes: one for 1.3kg (3lb) of
macerated berries distilled in night”. Byron teased his guest in return: “..why don’t you
45 litres (10 gallons) of spirit and try it, gin-and-water is the source of all my inspiration”.
another that adds 50ml (2fl 02) oil
Notably, though, it was still Hollands, not British gin,
of turpentine and 3 handfuls of bay
salt to 90 litres (20 gallons) of spirit. that was being drunk. The same would have been the
case for the gin punch favoured by the members of
London’s Garrick Club or in the new short drink named
after John Collins, the head waiter at Limmer’s Old
House, a hotel in Conduit Street, Mayfair in the 1830s.

Class Customs
As Olivia Williams recounts in her book Gin Glorious
Gin, iN 1833 the London magazine, The Spectator, listed
genever and brandy as being a staple of the middle class
household’s purchases, while “home-made spirits (gin
and whisky) are falling on the poor”. Hollands was still
regarded as superior, and there were further attempts
to make it in Britain, with the Haigs trying to market
their Scottish-made version in London in 1807. The
distiller Robert More, who had trained in Scheidam, was
selling “Geneva” produced at his Underwood distillery in
Falkirk, Scotland, in 1828, but it wasn’t to work, and the
next year he was declared bankrupt.
British gin was still a drink of the working classes.
In his 1836 essay The Streets at Night, Charles Dickens
portrays the rowdy post-theatre crowd in London calling
for “goes” (drams) of gin and purl - aromatized beer
dosed up with gin. Imports still outstripped domestic
production and, in addition, there was still considerable
smuggling. Carpeau and Stival’s Citadelle distillery in
Dunkirk, northern France, was given royal dispensation
to distil with grain in 1785 with the specific purpose
of smuggling it into England, a state of affairs that
continued until 1810, even as the Napoleonic Wars were
being fought. It was this tale that inspired Alexandre
Gabriel to create his Citadelle brand (see pp.118 and 158).

20 HISTORY
 The British legislators then came up with a smart
idea to boost domestic spirits. In 1825, they slashed
duties from 10 shillings 6 pence to 6 shillings. Gin was
now cheaper than beer and ina year consumption
jumped from 3.7 to 7.4 million gallons. As Samuel
Morewood reported in 1838, this did not improve
quality. Because of the poor standard of the base spirit,
he wrote: “All spirits were obliged to pass through the
medium of [the rectifiers] who were then by a mistaken
enactment made the arbiters of public taste.”
The return of cheap gin also created a new place in
which to drink it, the gin palace, which dazzled among
London’s malodorous thoroughfares. Glass-fronted,
brightly lit, with long bars and barrels of gin behind, gin
palaces appeared to offer a high-class opportunity to
sip elegant drinks. It was a chimera. They were no more
than tarted-up gin shops, seatless spaces for the poor to
obliterate themselves with low-grade booze once again.
Nothing had been solved. As Dickens put it in his essay
on gin palaces in 1835, “Gin-drinking is a great vice in
England, but poverty is greater.” Realizing their mistake,
the government removed the duty on beer in 1830,
prompting a rush back to pubs, which now took design
7 20s enuiacecondGin Craze, ; cues from the gin palaces (with added seats), giving
this time centred around London's gin : them the look of the Victorian pub seen today. By the
palaces, like this one. ? end of the 1830s, the era of the gin palace was over.
 New Gin Styles
The gin distillers were, however, organizing themselves.
From 1820-40, the Rectifiers Club met monthly, and
while the group had a certain whiff of the cartel about it,
the Club standardized practices, while also addressing
the issue of inferior base spirit. In 1827, Robert Stein
installed his new patent continuous still at Kilbagie
(see 0.19), a design then improved by Aeneas Coffey
in 1832 (see illustration, opposite). The previous year
in Warrington (see p.19), Mary Dakin bought a Corty
rectifying head for her gin still, and in 1836 installed
another new rectifying head designed by a Mr Carter
(see pp.42-3). The result of all of these innovations was
a cleaner base spirit, which in turn meant that there was
less need to overload it with heavy botanicals. The new
clarity allowed a widening of the botanical palette - more
citrus, sweet spices, cardamom, caraway, and so on -
and, consequently, gins of greater complexity. In London,
gin distillers were now grouped together in Bermondsey,
Lambeth, and Clerkenwell, where, in 1798, Gordon’s had
joined Nicholson’s and Booth’s. By the middle of the
century, the Plymouth distillery (see p.19) was supplying
1,000 barrels of Navy Strength a year to the Royal Navy.
This period also saw gin being used to dilute
medicinal concoctions. The officers in the Navy cut their
dose of antimalarial Angostura bitters with Plymouth
gin, thereby creating pink gin. In order to prevent
scurvy, all vessels had by law to carry limes, which were
most easily transportable in the form of the cordial
created by Lauchlin Rose in 1862. Thus, taken with gin, a
drink named after the surname of the Navy’s Surgeon-
General, Sir Thomas Gimlette, was invented. Even the
Army got in on the act, offsetting the bitterness of
antimalarial tonic waters by mixing them with gin.
The publishing in Britain of William Terrington’s
Cooling Cups and Dainty Drinks in 1869 also pointed
to a further stage in gin’s evolution. Gin was becoming
respectable and more sophisticated as a drink, since
it could now be served cooled by ice, which was more
widely available. Gin cups, such as the No. 1 famously
created by (or for) Mr Pimm’s oyster warehouse, were
gaining in popularity. The clearest indication of what
was on Offer in the way of gin from public houses is
revealed in Loftus’s New Mixing and Reducing Book

22 HISTORY
 SST

' Simm

Scns SOURCE CLIK

The 1832 invention of the Coffey still of 1869, where we learn that it would either come from
by Irishman Aeneas Coffey led to an the rectifier ready sweetened or be adjusted in the pub.
improvement in the quality of gin. Each brand had also established its own style: “Hodges,
Booth’s, Vicker’s, and Nicholson’s... have each their
characteristic flavour... while the differences between
Liverpool and Bristol... or Bristol and Plymouth is as
remarkable as the difference... between Scotch and Irish
malt whiskey.” Loftus even offered guidance on how to
give English gin “the creaminess and smoothness much
admired in Geneva... mostly the result of age” by adding
sugar, garlic, or sliced horseradish! He also observed
the general shift in gin style preference: “Strong or
unsweetened gin is in comparatively little request...
and only amongst the respectable or monied classes.”
The majority of people were now drinking Old Tom,
the sweetened gin named either after a cat that fellina
vat, or more likely after “Old” Thomas Chamberlain of
Hodge’s distillery. Consumption was, however, restricted
to England. Export only started in any significant volume
from 1850, when Sir Felix Booth successfully lobbied for
excise duties on export gin to be dropped. After that,
London’s gins headed mainly to the Empire market.
In the 1870s, phylloxera (the blight that devastated
the great French vineyards in the late nineteenth
century) removed Cognac from menus, allowing gin

HISTORY
 (and whisky) to become the spirit of choice for the
middle class, evidenced by the appearance of gin
drinks, such as the punch, julep, cocktail sling, and
sangaree in 1871's The Gentleman's Table Guide. By then,
the old distillers had been joined by Charles Tanqueray,
who started compounding in 1830 (see pp.110-2),
Walter and Alfred Gilbey, and James Burrough who, in
1863, bought John Taylor’s gin distillery in Cale Street,
Chelsea. In 1876, his Beefeater dry gin (see p.63) was
launched to tap into the demand among gin’s new
consumers for an unsweetened style akin to the then
new “dry” Champagnes. English distillers now looked
west to America, another market that was opening up,
and one that had long developed a taste for gin.

Madam Genever’s Reign

The nineteenth century was to be genever’s golden
age. The little town of Schiedam, close to Rotterdam,
had a scant 37 distilleries in 1700, but a hundred years
later there were 250, and by the 1880s they numbered
392. The industry was no longer solely supplying the
domestic market: 80 per cent of Schiedam’s genever
headed out of its port where it joined brands such as
Schiedam became the capital of Dutch Amsterdam’s Bols (see p.12 and p.13) being shipped to
gin distilling in the nineteenth century. Africa, Europe, southeast Asia, and America. Malt wine

ra
eo
SCHIEDAM ~
 was also being exported as a base spirit to distillers in
England, France, and Germany.
Everything from malting to bottling took place
in the town. The soot from Scheidam’s hundreds of
distillery chimneys mingled with that from the kilns of
its 62 malt houses. The blackened air, fanned lightly
by the sails of the town’s 15 windmills, earned the city
the name “Black Nazareth”. The boom was not to last.
Schiedam’s importance started to decline in the late
1880s as the country’s larger firms turned their back
on malt wine (the town’s speciality) in preference of the
cheaper base spirit industrially produced from sugar
beet. This change mirrored what had already taken place
in Belgium. In the 1820s, Belgian distillers were quick to
install Brussels-based Cellier Blumenthal’s column stills
(see left), while Belgium’s independence in 1830 saw a
drop in taxes, aban on Dutch genever, and a doubling
Belgian distillers adopted the Cellier in the number of distilleries to 1,092 with exports
Blumenthal still design in the 1820s. starting to Brazil, Africa, India, New Zealand, Australia,
and China. Consolidation soon followed, with the bulk
being made by large urban distilleries using sugar beet
base spirit. This new Vonge), light genever became a
low-price working class drink, prompting Belgium’s
very own Gin Craze, whose opponents countered the
rise in consumption with messages and images eerily
reminiscent of those used in London a century before.
Madam Genever was not dead.

America’s Gift to the Globe

Gin became a world spirit thanks to America, but
America’s taste for gin didn’t start with London gins. For
much of the nineteenth century, when Americans drank
gin they drank genever, which had been exported to the
continent since at least 1732, with Bols starting to ship in
1750 (see p.12 and p.13). Even by the end of the century,
genever was being imported in vastly larger quantities
than that from Britain, and it’s genever (and, in time, Old
Tom) that provided the foundation for America’s first
popular gin drinks and cocktails. As Lesley Solmonson
points out in Gin: A Global History, it was Hollands that
put Rip Van Winkle to sleep for 20 years.
When American distillers began making their
own gin, it was to a genever recipe - and it was aged.
Samuel McHarry in his 1809's The Practical Distiller

25 HISTORY
 (see also p.181) gives a recipe for gin made with clarified
whiskey and an equal quantity of water “together with
a sufficient quantity of juniper berries, a handful of hops
[plus isinglass, lime water, and salt].” This gin, he adds,
“ when fined, and two years old, will be equal, if not
superior to Holland gin”.
It’s this recipe that Brooklyn-based New York
Distilling Company has re-created for its Chief Gowanus
(see p.181), and appropriately, too. Brooklyn was a
hub of early distilling and is where, in 1808, Hezekiah
Pierrepont founded the Anchor Distillery, said to be
the first commercial gin plant in the USA. According to
Henry Reed Stiles’s A History of the City of Brooklyn,
Anchor “kept the gin for a full year after it was made
by which it acquired the mellowness for which it was
peculiarly esteemed”. Of the spirits distilled in South
Brooklyn’s six distilleries in 1851, 2.9 million gallons of
whiskey were rectified, much of it into gin.
America made gin because America began drinking
mixed drinks. What started as simple, single-serve
punches (slings) became fixes, sours, daisies, juleps, and
smashes, and, with the addition of bitters at the start of
While less scabrous than Hogarth (see the nineteenth century, “bittered slings” or “cocktails”.
p.16), the Temperance movement also These were short, preferably cold, drinks to be taken
played the “family values” card heavily. quickly, as eye-openers, hangover cures, or apéritifs, and
all could be made with genever. Initially, they were all
morning drinks. The wider availability of ice from 1830
onwards made the drinks colder, as did the advent of the
cocktail shaker in the late 1840s. As the drinks changed, so
did their surroundings. Saloons were now, as Solmonson
argues, designed to lure people in and keep them drinking.
With the saloons came bartenders and with
bartenders came showmanship. The first great
bartending superstar, Jerry Thomas, started mixing in
1849, and by 1862 had written the first cocktail book.
By then, Thomas and his colleagues had “improved”
the simple gin drinks. In came apricot brandy, absinthe,
Chartreuse, and other ingredients, but the most
significant shift took place when vermouth was found
to be the Romeo to gin’s Juliet. The gin Manhattan,
aka the Turf Club, emerged in the 1880s. Its first written
)
reference is in 1884, though Terrington (see p.22) has
DieTENEER 11 a remarkably similar-sounding mix - alongside the
vermouth-heavy Martinez. Both were either Hollands-

26 HISTORY
 or Old Tom-based. Of dry gin there is no trace. Harry
Johnson's 1888 Bartenders’ Manual has 11 gin drinks
with Hollands, eight with Old Tom; Jerry Thomas’s
1888 edition is 6:4 in favour of Hollands; and “The Only
William” Schmidt's The Flowing Bow! of 1892 is 11:5 in
favour of Hollands. By 1908, however, William “Cocktail”
Boothby lists six dry gin drinks in his The World's Drinks
and How to Mix Them, nine each with the two older
styles of gin. The tide was turning. America’s taste was
moving in the dry direction just as it was also going dry.

Gin’s Rise, Fall, and Rise

You might think that Prohibition in the USA (1920-33)
would have set gin’s global aspirations back a generation.
Instead, it was the making of the spirit. British distillers,
unwilling to abandon their new main market, simply
shipped their gin to Canada or the Bahamas from
where it flowed steadily into the speakeasies. Yet, while
Prohibition didn’t see the volume of alcohol consumed
rise, there was a shift away from beer to spirits. This
was when gin first became truly popular.

Bathtub Gin
Despite the US authorities’ best efforts, As William Grimes outlines in his history of the American
gin’s popularity rose during Prohibition cocktail Straight Up or On the Rocks, drinks also became
 pricier. Prior to Prohibition, a cocktail would set you
back 20 cents. That price now doubled for a shot at
a speakeasy, and would hit $3 at a top-end club. This
provided a further incentive to mix drinks at home and
impress your friends with your Martini-making skills.
After all, as far back as 1894 the tagline for Heublein’s
pre-mixed gin drinks promoted them as “a better cocktail
at home than is served over any bar in the world”.
For those who couldn’t afford bootlegged imported
gin, there was an alternative, rustled up by mixing
industrial alcohol and turpentine in a bathtub, its rank
taste masked in the glass by creams and sweeteners.
Adulterated “gin”, an increase in drinking among
women, arise in spirits consumption - sound familiar?
Yes, Prohibition was America’s very own Gin Craze.
Amazingly, bathtub gin didn’t damage the category’s
image. In fact, gin prospered after 1933. The following
year, Gordon’s began distilling in the USA. Gilbey
followed in 1938, while Canadian distiller, Seagram,
began making its eponymous gin in 1939.

Mixed Fortunes
Meanwhile, things were tougher in the Low Countries.
In Belgium, in 1919, duties rose fourfold, retail sales
were restricted to a minimum of two litres, and spirits
were banned in bars in an attempt to curb excessive
consumption (this latter restriction would remain in
place until 1985). In the Netherlands, the consequences
of a refusal to modernize resulted in only 14 distilleries
surviving in Schiedam in 1920, and a less nimble
negotiation of Prohibition than that accomplished by
the British distillers led to sales to the USA dropping
off. Add to that the effects of the Great Depression
and World War Two, and genever entered the 1950s
severely bloodied.
Gin distilleries in the UK, however, prospered.
Prohibition increased the number of rich Americans
in Europe and, equally significantly, the number of
US-trained bartenders, notably Harry Craddock at The
Savoy Hotel (see p.200) and Harry MacElhone (see
p.204 and p.208), who began his European career at
the New York Bar in Paris that would later bear his name.
Europe was now finally up to speed with cocktails,
though their consumption was less egalitarian than

28 HISTORY
 be
| HS jul
{ pore
afoot y

A master at work: Harry Craddock inthe USA. In London, cocktail drinking was the
brought American-style gin cocktails preserve of the Bright Young Things at their new-
to London's Savoy Hotel. fangled “cocktail parties” or flitting around bars like
Ciro’s, The Savoy, and the Café Royal. Englishmen
abroad could sip their Straits Slings in Singapore or
the Pegu Club in Rangoon (see p.206). Less affluent
drinkers could try to emulate the experience with
Gordon’s ready-to-serve cocktail packs (complete
with shaker) or Beefeater’s pre-mix range, or just ask
for gin and a simple mixer: orange squash, ginger
beer, sweet vermouth, tonic, or Dubonnet.

Post-war Trends
Post-Prohibition America had begun to prefer drier
drinks both in terms of the type of gin and the style of
drink. The flamboyant, sweet, and creamy drinks of the
nineteenth century and Prohibition era had gone and
with them Hollands and Old Tom, while consumption
of dry gin was steadily on the up. Enter the glory years
of the Dry Martini, ever increasing in dryness and the
quantity consumed: three at lunch, then more at home
or in the bar. The pace of 1950s America was brisk
and the mood steely in its intent; the Martini perfectly

29 HISTORY
 fitted the bill. In Britain, on the other hand, most people
drank gin with tonic water (conversely a swanky drink
in America), or as a Gin and It - the pub version of the
Martinez. It was the drink my mother ordered on her
first date with my father. She hadn’t a clue what it was,
but she knew it carried an air of sophistication.
However, a flavourless assassin was preparing to
strike. By 1954, one million cases of vodka were being
sold every year in the USA, marketed with the boast that
it could replace gin in any drink and leave your breath
untainted. By 1967, it was outselling gin. If gin was on the
slide in the USA, in Britain it had become irredeemably
conservative, a drink consigned to golf clubs and yachts
(the new “gin palaces”). In short, it was the antithesis

NEW.NETHERLANDGW of swinging London. Things were hardly any better in

The Netherlands. Duties had been eased post-war in
order to rebuild the country, with a detrimental effect on
44% ALC/VOL (88 PROOF) 750 ML
distillers who, by the 1970s had embarked on a Suicidal
price war that commoditized genever and shattered its
image. To most drinkers genever wasn’t only cheap and
American-style genever is once again old-fashioned, it was almost the same flavour-wise as
being made in Brooklyn vodka. The “/jonge’” neutral style had won but it was a
Pyrrhic victory.

Gin's Renaissance
The blue bottle came as a surprise to everyone. What
was Sidney Frank thinking? Not just gin, but premium
gin? In 1987, however, that bold move brought a new
generation to gin. Bombay Sapphire (see pp.70-1)
was light, aromatic, and sexy; it revitalized the whole
category. Plymouth’s regeneration from 1997 by Charles
Rolls (now at Fever-Tree) built on this turnaround
(see p.104). Suddenly distillers like Desmond Payne
at Beefeater (see p.64) who had kept the gin pennant
flying in a sea of vodka were rightly lauded. Gin drinks
were now being made again in London and New York.
People were looking for sophistication, for classicism.
Vodka couldn’t deliver that. Gin could.
It took a little longer for genever to catch up,
but in recent years a revival - led initially by Bols
(see pp.171-3 and 178) and its close connections with
the world’s bartending community - has seen it being
taken seriously once more. New gins began to appear
almost daily as a consequence of the rise in small-scale

HISTORY
 distilling, initially in the USA. For decades, American-
made gin had been low-priced because gin was, after
all, almost dead. The new small-scale distillers saw
an opportunity to do for gin what the microbrewery
movement had done for beer, namely making it local,
premium, feather-ruffling, and historically obsessed
yet forward-thinking.
Gins are now made in pretty much every style -
ultra-traditional, terroir, genever, cask-rested, Old Tom,
or using a “democratic” botanical mix that scales back
juniper. Britain has also experienced a juniper-scented
explosion of new gin brands - many made at Thames
Distillers (see p.79) or Langley (see p.75) - witha
growing number of distilleries following the path created
by the first of their number, Sipsmith (see pp.107-8).
Gins are now being crafted globally with a new
awareness of the local, such as the Cape fynbos used
in South Africa’s Inverroche (see p.125), Australian
botanicals in West Winds (see 9.135), Islay botanicals in
The Botanist (see p.73), and the mix of exotic and Black
Forest-sourced ingredients in Monkey 47 (see p.130),
whose vastly complex recipe chimes uncannily with
those early and lengthy expositions in medieval herbals.
Genever is back: Dutch brand Bols has In going forwards, gin has come full circle.
aligned itself closely to the bar community.
PRODUCTION
One thing that has intrigued me for some while
isn’t so much the fact that there are so many
new gins on the market but that new distillers
seem to think gin is easy to make. There Is more
to gin than just bunging some nicely smelling
ingredients together and then distilling them.
In fact, the more you examine gin, the more head-
scratchingly complex the whole affair becomes.
You have to consider the quality of the
base spirit and be aware of the shape and size
of the still, the speed at which you run it, and
when you stop capturing the gin. In addition,
you are always thinking in terms of aroma -
what does each botanical smell like, does it
add texture, where does it emerge on the nose
and palate, and then how does it interact when
placed alongside others? How also do you ensure
consistency between batches if your (natural)
ingredients are changing?
When | asked Plymouth Gin’s Sean Harrison
about all of this, he recommended that | read
two books: one on aromatherapy, the other on
perfumery. They taught me a huge amount, but
they didn’t reveal gin’s soul. A gin distiller sits
at the crossroads of chemistry and artistry.
What follows isn’t a guide on how to make
gin at home (leave it to the experts, say I), but
it might just give you an idea of how complex
the whole process is.
 “LOrganic chemistry] is the chemistry of life itself
and of the products of living things... [its] practical
application to human need is one of the irreplaceable
foundations of modern civilization.”
An Introduction to Perfumery by Tony Curtis and
David Williams

ESSENTIAL OILS
Gin flavours come from the essential oils within its
botanicals (see pp.34-7). The closer you look at the
properties of these, the more marvellously weird the
whole thing becomes.
Juniper, for example, gets its identity from the
combination of a small number of major constituent
parts, and alarge number of smaller ones. Even trace
elements at parts per trillion contribute to its overall
Gin’s flavour comes from the distillation effect. Juniper has elements of citrus and rose, as well
of natural essential oils. as pine and camphor. This range is similar for each
botanical. Even lemon peel smells of orange.
During distillation these aromas vaporize, mingling
with those from the alcohol, rising up the stillina
supercharged aromatic steam. Each of the different
elements within them is then released at a different
point. What is happening is a bit like a maniac driving
a horse-drawn carriage over a rocky road: eventually
the structure gives way and it flies apart. In botanicals,
the most volatile (the lightest) are liberated first, with
the heaviest only managing to struggle free later on. At
the same time, these elements are bonding with similar
components from other botanicals, holding hands as
they fly upwards. Together, they build complexity.

BOTANICALS
Juniper (Juniperus communis)
This, the only essential botanical in gin, grows across
Europe, Asia, and North America, with Tuscany and
Macedonia being the main areas of production. It is
also sourced from Serbia, Bulgaria, and Scandinavia.
Differences in vintage and terroir impact on the
aroma of the “berries” (actually soft-scaled cones
containing oil-rich seeds), meaning that distillers need

PRODUCTION
 to monitor the quality and character of their juniper
closely to ensure consistency of aroma. With an easily
identifiable central aroma of a heavily scented pine
forest (given by alpha-pinene), juniper’s aromatic
fingerprint soreads much wider into citrus, lavender,
camphor, turpentine, green florals, heather, fruit, and
resin, an all-pervasive quality that sustains across the
length of a gin’s delivery.
Understanding juniper gives an insight into how a
botanical recipe is put together by accords, supports,
and counterpoints. Everything refers back to it. Without
juniper, a gin’s centre cannot hold and anarchy is loosed
upon the spirit.

Coriander Seeds (Coriandrum sativum)

The Robin to juniper’s Batman, coriander seeds
come from a wide area stretching from Morocco, via
Romania and Moldova, and into Russia and India. The
last produces the most peppery in character, Morocco
the most fragrant.
Linalool is the compound that gives coriander seeds
their citric edge, which drifts towards lemon grass.
Underneath are ginger, thyme, a floral hint (sharing
geraniol with juniper), balsam, and a hint of musky
A huge range of botanicals can be — earth. From that, you can see how coriander seeds link
and are — used in the making of gin. with juniper as well as adding top notes to the aroma.
 Angelica (Angelica archangelica)
A member of the carrot family, angelica is grown
commercially in Saxony and Flanders. Its dried roots
are the most commonly used part of the plant in gin.
The initial impression is of a walk in a dry mixed forest,
an amalgam of dust, earth, and woodiness. This is a
clear demonstration of its usefulness as a base note,
its larger molecules holding onto the more excitable
volatile ones, balancing and integrating more perfumed
Coriander seeds — juniper’s trusty sidekick. elements, as well as adding dryness.
Angelica has a few tricks up its sleeve, however.
Sniff it again and there is also pine, a green herbal note,
some sweetness, and the dustiness of sage, giving an
overall effect like a shaft of sunlight coming through
that green forest. It’s a player in anumber of other
spirits: Chartreuse, Bénédictine, and vermouth, allowing
further aromatic bridges to be built in cocktails.
Some distillers also use angelica seeds, which are
reminiscent of the oily floral/citric brightness of hops
(see p.38), with an added underlying celery note.

Orris Root (/ris pallida; Iris germanica)

The root of the sweet iris, orris is cultivated in Tuscany,
Morocco, China, and India. The roots are harvested
by hand, dried for up to three years to allow the oils
to oxidize, and then pounded into powder. Absolute
of orris root (a form of concentrated essential oil) is
among the most expensive ingredients in perfumery
where, as in gin, it is highly prized less for its aromatic
qualities than as a fixative. Orris evaporates slowly,
holding onto and bonding with volatile elements.
Without the right amount of orris and/or angelica,
agin’s (or a perfume’s) aroma will fly off. It does,
however, have a gentle aromatic role that pokes out
quietly, late on the palate, adding violet, (think Parma
violets), sweet hay, and dry earth.

Citrus (Citrus)
Everyone knows the fresh, sharp, sweet zing of
citrus. It wakes up the nostrils, gives energy, and lets
the sunshine in. These are the same qualities that
make it such an important element in gin. Prior to
its widespread use, gin’s top notes would have been
provided by coriander and jJuniper’s upper range.

PRODUCTION
 A wide range of citrus peels (occasionally whole fruit)
is used, with lemon and orange the most common.
These are commonly sourced from southern Spain.
Lemon (Citrus limon) adds its intense, clean,
sharp, sherbet-like zing (that’s citral, by the way) with
immediacy. Volatile lemon comes in quickly and
leaves almost as fast.
Bitter orange (Citrus aurantium) gives an intense,
: slightly bitter edge, which adds boldness and lift to
Lemon and other citrus peels add a gin’s mid-palate.
aromatic lift to gin i Sweet orange (Citrus sinensis) is used, most
: famously, by Plymouth (see p.104) to provide sweet
zestiness (unsurprisingly, given the name) and length
to the palate.
More recently, grapefruit (ultra-fresh and sweet),
pomelo (“greener” and milder than grapefruit),
bergamot (highly intense sour-sweet with floral links
to coriander), yuzu (massively intense fragrance), and
lime have been used. Lime is also chemically linked to
juniper, which could explain why it works so well in G&T.

Liquorice Root (Glycyrrhiza glabra)

Ground dried liquorice root, mostly sourced from
Indo-China, is another of gin’s back-room workers.
Its main aromatic compound is anethole (see Aniseed,
opposite), but gin distillers use it for its glycyrrhizic acid,
the compound that carries its sweetness. Since liquorice
is 50 times as sweet as sucrose, and sugar doesn’t
distil over, this is what gives gin its sweetness as well as
mouthfeel, softening the drier botanicals and adding
texture. Here, then, is the harmony.

Cassia Bark (Cinnamomum aromaticum)

The bark of a tree that grows in Vietnam, China, and
Madagascar, cassia combines spice with a powerful,
slightly dry pungency that has a resinous/medicinal
edge. Sri Lankan cinnamon (Cinnamomum verum)
with its warmth and sweetness is more immediately
identifiable. Both come across in the middle of the
aroma and help to boost floral notes.

Almond (Prunus dulcis)

Gin distillers use two types of almond. The more
traditional is bitter almond (var. amara), which

36: PRODUCTION
 provides a distinctive marzipan note along with subtle
nuttiness and a little cherry. Sweet almond (var. dulcis)
gives a honeyed note, helping to add softness to the
mouthfeel. Almonds are grown and harvested in the
Mediterranean, North Africa, and California.

Spices
Aniseed (Pimpinella anisum)
It’s the compound anethole that gives aniseed its
distinctive “liquorice” taste (though weirdly liquorice
doesn’t taste of it as strongly). Similarly aromatically
related are fennel seeds (Foeniculum vulgare), which
contribute more of alemon top note. Some gin distillers
also use the warm, pungent star anise (///icium verum).

Cardamom (Elettaria cardamomum)

The two main sources of green cardamom’s highly
aromatic seeds are Mysore and Malabar in India. The
latter adds a eucalyptus, almost menthol-like note,
while cardamom from Mysore gives more of a warming,
aromatic, citric-floral note thanks to our friend linalool.
Here is another botanical that both links and extends,
though it needs to be used sparingly. Black cardamom
(Amomum subulatum), which has a deeper and
smokier aroma, is less commonly used to flavour gin.
The cardamom pods used to flavour gin
are harvested by hand in India. Cubeb Berries (Piper cubeba)
A member of the pepper family (genus Piper), cubeb
grows in Java. The berries carry the same pungent heat
as black pepper, but with more of a high floral tone, a
hint of rose (from geraniol), some citrus, and a decided
palate heat. There is also some pine here, making them
a perfect accord while adding pep to the palate.

Ginger (Zingiber officinale)

With its familiar and bold aroma, ginger adds lift and
dryness, and carries aromas to the back of the palate.

Grains of Paradise (Aframomum melegueta)

Native to western Africa, grains of paradise come from
a member of the ginger family. Aromatically, they help
to boost coriander’s citric-spicy elements, while sharing
a similar menthol-citrus warmth with cardamom. There
is even a note of lavender, which nods towards juniper.

a7 PRODUCTION
 Nutmeg (Myristica fragrans)
An immediately identifiable warm spice, nutmeg
contains pinene in its chemical make-up, and also
links into cardamom and cassia.

Herlis and Flowers

Bay (laurel) (Laurus nobilis)
This common kitchen herb is beginning to appear in
American gins. It has a green pungency, with a light
pine note and clove that nudges into eucalyptus, and
links well with juniper’s more resinous elements.

Chamomile (Anthemis nobilis)

Flowers such as elderflower are becoming Chamomile is becoming widely used in the floral gins,
popular botanical ingredients helping to further widen the category’s aromatic range.
The flowers, dried, give a haunting, heavy top note of
sweet hay, apple, and a drowsy summer afternoon.

Elderflower/berry (Sambucus nigra)

Another floral that is becoming increasingly popular,
the dried flowers of the elder add a honeyed element to
gin. The berries are also being used in American gins.

Geranium (Pelargonium)
The leaves of geraniums have been widely used in
perfume and drinks for centuries. Punchbowls were
lined with them to add their scent to the compound.
Aromas range from pineapple, through lemon and mint,
to the familiar green rose provided by geraniol, which
is also present in many other gin botanicals including
juniper. Geranium contributes middle notes.

Hops (Humulus /upulus)

In old genever recipes, it was the aroma of hops that
added lift. There are 120 varieties of this flowering plant,
with aromas ranging from citrus to fruit, grass, and pine.
Hops provide top notes.

Meadowsweet (Filipendula ulmaria)

Gentle but penetrating, with a little almond and
occasionally a hint of wintergreen, this perennial herb’s
own top note is like a mixture of hot butter and honey.

PRODUCTION
AE EL LE IN LD I HE EE LE

LEGAL DEFINITIONS
Gin must be made from ethyl alcohol : PGlgin
flavoured with juniper berries and other Gin de Mahon (Menorca) and Vilnius Dzinas
botanicals. The predominant flavour must (Lithuania) have protected geographical
bejuniper, and it must be bottled at no less indication (PGI) status. Plymouth Gin’s
than 37.5% ABV. : (see p.104) PGI status lapsed in 2015.

Gin : Genever
Made by adding natural or approved Made with ethyl alcohol/grain spirit/
artificial flavourings to alcohol. No distillate flavoured with juniper, which
restrictions on colouring or sweetening. : needn't be the predominant flavour.
: Any casks used must be no larger than
Distilled gin : 700 litres (154 gallons).
Made by redistilling neutral alcohol with
approved natural or artificial flavourings. Graanjenever This is made from 100 per
After distillation, more ethyl alcohol of cent grain.
the same composition may be added.
Additional approved natural or artificial Oude genever Contains a minimum of
flavourings may be added after distillation. 15 per cent malt wine and no more than
Colouring and sweetening is permitted. 20g (402) sugar per litre.

London Gin/London Dry Gin Korenwijn Contains more than 51 per cent
Made ina traditional still by redistilling a : malt wine.
high grade of ethyl alcohol in the presence :
only of approved natural flavourings toa : Oude graanjenever Contains 100 per cent
minimum strength of 70% ABV. Further grain and aged for a minimum of one year.
ethyl alcohol may be added after distillation,
provided it is of the same composition. : Jonge genever Contains a maximum
No colouring or sweetening is permitted. : 15 per cent malt wine and no more than
10g (402) sugar per litre.
American gin The following also have their own
In the USA, gin can be produced AOCs (appellation d’origine contrdlées):
“from original distillation from mash, Hasseltse jenever, Balegemse jenever,
redistillation, or mixing neutral spirits, with Peket, and O’de Flander Echte Oost-
juniper berries and other aromatics, or with : Vlaamse graaanjenever (Belgium);
extracts from such materials. It derives its geniévre Flandres Artois (France);
main characteristic flavour from juniper Ostfriesischer Korngenever (Germany).
berries and is bottled at not less than 80° i
proof [40% ABV ]”.
aT

99 : PRODUCTION
 GIN DISTILLATION
“Gin isn’t made by molecules. It’s made by people.”
Sean Harrison, master distiller, Plymouth Gin

In electronic music, the term ADSR - attack decay

sustain release - is used to plot the length and
properties of a note from the moment it is audible to
when the sound ends. It’s the same in gin distillation,
with each individual constituent part cascading down
into the spirit safe like a musical matrix of aromas.
When you nose a spirit run, the volatile citrus comes
across first, blurring into juniper, before spices show
their hand, and finally roots. In reality, because elements
of one botanical are also shared by others, they overlap
- asin chords rather than individual notes. To allow each
botanical’s full expression, distillation needs to be slow.
At the start of distillation, the “heads” containing
the residue of the previous distillation are discarded.
The distiller then captures the middle cut (the lightest
aromas are at the start, the heaviest at the end). Before
the aromas get too greasy - or at the point that suits the
balance of the gin - they cut to “feints” (the unwanted
“tails” at the end of a distillation). These are mixed with
the “heads” and redistilled into neutral alcohol.
The distiller has to think not only of the overall
balance of the gin but how each botanical interacts
with its neighbour, which influences aromatic length,
complexity, and evolution. Change any of the ratios
between the botanicals and you alter the complex
web of balances. It’s a spiritous demonstration of the
Buddhist principle of the interpenetration of all things.
Knowing how a botanical mix behaves dictates how
to distil, how slow to run the still, and when to cut.
Juniper is at the centre. Its citric notes are supported
by those of citrus peels and the top notes of coriander
seeds, its mid-range pine by the greenness of angelica, its
tail by the warmth of spice and wood. It acts, as Desmond
Payne at Beefeater says, “like the wash on a canvas”.
Each of these botanicals is natural. The oil in the
juniper will vary, the nature of coriander seeds change
depending on where they are grown, while the intensity
of the citrus peels will vary. A distiller needs to be
constantly monitoring and tweaking a recipe in order to

40 PRODUCTION
 maintain consistency. This cannot be done by computer.
Gin distillers are masters who know not just what each
botanical smells like but how it will behave within a
mixture, and then how it will perform on the palate and
ina mixed drink. Gin distillers are the heroes.

The Base Spirit

Most gins are redistilled in a base spirit that has been
distilled to a high strength (around 96% ABV), then
mixed with water to lower the ABV to 60%. The base isn’t
truly neutral; it has an influence. While it’s hard to pick out
the difference between types of grain, all give a rounded,
sometimes buttery, result. The aromatic effect of an
apple, potato, or grape spirit is more apparent. The low-
strength pot-still base used by some of the new gins has
a greater influence, making them more of a “Hollands”
style (see p.11). If the base changes, so does the gin.

Pot Still
The majority of gins are redistilled with their botanicals
in copper pot stills. The shape of the still has an effect,
with the “headspace” (the vapour-filled gap between
liquid and the condenser) affecting the way in which
flavour compounds rise, move, revert to liquid, and are
redistilled (known as reflux). If a distiller installs a new
Gin is made by redistilling a neutral base still, she or he may have to adjust the ratios of botanicals
spirit in a pot still with botanicals to maintain consistency. The speed of distillation also
 impacts on how well the oils are released, the nature
of the flow, and the level of reflux. If a still is run too
aggressively, there is the risk of botanicals physically
coming across so, the gentler the better all round. In
addition, the manner in which the botanicals are added
will also influence the gin’s character.

Steep and Boil

Some distillers, such as Beefeater (see pp.63-4) and
Sipsmith (see pp.107-8), steep the botanicals for a
period before distillation. This, they believe, helps fix
the oils, aiding richness. Others, Gordon’s (see pp.87-8)
and Plymouth (see p.104), for example, only add them
prior to distillation, which they attest helps to preserve
brightness. The lessening of juniper’s top notes in
extended steeping is perhaps one reason why these
gins have more citrus in their botanical mix. Others, for
instance Citadelle (see pp.118 and 158), will macerate
botanicals either individually or in combinations for
different lengths of time, as each oil will release its
extractives fully at a different rates.

Individual Distillation and Blending

The Carter-Head and Bennett stills Some distillers, such as Gin Mare (see p.128) and G’Vine
found at the Hendrick’s distillery in (see pp.122-3), distil each botanical (or combinations)
Girvan, Scotland. separately and then blend the distillates. This, they
claim, allows them to make a more consistent product.
Others insist that this loses the interaction between
elements in the still. Some, for instance Tanqueray
No. TEN (see p.111) distil one element of the final gin
separately, then redistil this with the other botanicals.

Vanour Extraction
Rather than immersing the botanicals in the spirit,
distillers can extract the essential oils by passing vapour
through them.

Carter-Head Still
In 1831, Mary Dakin installed first’ a Corty head, thena
Carter-Head still at her family’s distillery in Warrington
(see p.19 and p.22), now Greenall’s (see p.89). Both had
a rectifying column on top of the pot, which helped to
produce a lighter, cleaner spirit. The downside was that
they also stripped out most of the essential oils.

42 PRODUCTION
 The solution was to place the botanicals in a copper
basket that sat after the column. The vapour rushing
through stripped off the oils and carried them forwards
to be condensed. The technique is still in use in gins
such as Bombay Sapphire (see pp.70-1).
The baskets are divided into segments, each packed
with all the botanicals - the larger at the base, the ground
ones on top. A longer “heads” run is also required, as the
botanicals need to be moist before they will release their
Berry trays — as used by Caorunn — are oils. The advantage of this, its proponents say, is that it
another method of extracting aromatics. gives freshness to the final gin. Its detractors say that
using this method alone doesn't “fix” the aromas fully.

Berry Trays
A different technique, used for Caorunn (see p.78) and
Boé (see p.68), employs a large chamber separated into
trays with perforated plates onto which the botanicals
are placed. The spirit vapour is then passed through.

Other Distillation Techniques

Some gins, such as The Botanist (see p.73), Sipsmith
V.J.0.P. (see 9.108), Hendrick’s (see p.92), and Monkey
47 (see p.130) are made by combining both steeping
and vapour techniques, either by having botanicals
in spirit and basket or, in Hendrick’s case, having one
Carter-Head still and a standard pot still.

One-shot Versus Concentrate

“One-shot” distillation means that distillers collect the
middle cut of a distillation, reduce it with water, and
bottle it. The alternative is to add excess botanicals and
then reduce the concentrated result with ethyl alcohol.

Vacuum
Although the vacuum distillation of essential oils has been
around since the eighteenth century, it is a relatively new
technique in gin distillation. By lowering the pressure
inastill, the boiling point of all the ingredients is
reduced. The oils can then be released without the
botanical being “cooked”, giving a fresh, clear result.
Modern, glass vacuum stills, as used by Sacred (see
p.106) and Cambridge (see p.77), allow the distiller
to accurately capture the full range of an ingredient’s
aromatics. Both of these distil botanicals separately

Ag PRODUCTION
 and then blend. An alternative, used by Oxley (see
p.103), is to distil the botanicals together under vacuum
at extremely cold temperatures.

Supercritical Fluid Extraction (SFE)

This technique has been employed by the perfume
industry to isolate specific molecules but was first used in
gin by Hepple, the Northumberland distillery. Increasing
the pressure on CO, gas turns it into a “super-critical”
liquid, which acts as a solvent for botanicals placed within
it. By then filtering off the CO, and releasing the pressure,
the pure essential oils - or specific compounds within
them - can be accurately extracted. Some compounds
that are lost in normal distillation can also be captured.

In genever production, a thick mash is Essences

first fermented. Some gins add the essence of natural botanicals post-
distillation, as in the case of Hendrick’s with its rose and
cucumber essences (see p.92).

GENEVER PRODUCTION
Traditional genever production starts with making a richly
flavoured and textured malt wine, customarily made
from a mixed mash bill of rye, wheat and/or corn, and
malted barley. Distillers such as Filliers (see pp.170 and
177), which produces 99 per cent of the malt wine in the
Netherlands and Belgium, will run different mash bills.
The corn and/or wheat are first cooked at high
temperature to soften the starches, then cooled and
the rye added. After a further period of cooking, malted
barley goes in. The enzymes in the barley then convert
all the starches to sugar. This mash is subsequently
cooled further, yeast is added, and the mixture is left to
ferment for up to one week. Baker’s yeast is the most
commonly used, though Zuidam (see pp.174-6 and
p.179) uses a mix of brewer’s and distiller’s yeast.
The resulting beer is then distilled, traditionally
using pot stills (as with Zuidam), three times (similar
to malt whisky production). In Zuidam’s case, this gives
a fruity, complex malt wine at around 70% ABV. The
alternative, as used at Filliers, is to run the beer through
a single column and then redistill in a pot still (similar
to bourbon production). This gives a more bready,

44 PRODUCTION
 cereal-accented, and lower-strength malt wine. In both
cases, the character of this base will have a significant
impact in terms of mouthfeel, aroma, and flavour.
All genever distillers then redistill a portion of malt
wine in pot stills, this time with botanicals - again to
each distiller’s/brand’s recipe. Some distillers also make
a separate distillate of juniper and neutral alcohol. All of
these elements are then blended together. In Filliers’s
case, the malt wine Is then either shipped to distillers or
turned into genever to their customers’ specifications.
This distillate can either then be reduced to bottling
strength, or reduced and aged as it is. More commonly
it’s blended with neutral spirit, either from wheat or
sugar beet molasses. The jonge style has a minimum of
85 per cent neutral spirit in the mix (often higher), and
while oude must have more than 15 per cent malt wine,
most contain up to 40 per cent or, in korenwijn’s case,
significantly more (see panel, 9.39). The more malt
wine, the more characterful the genever.
These oude blends can then be aged - most
commonly for a short period, but at times for up to 20
years. Most are aged in used casks, but Zuidam uses a
Pot-still distillation helps to create complex mix of new American, refill, and ex-sherry casks.
genever's rich, bready “malt-wine” base. Still think gin distilling is easy? Think again!
HOW 10 USE THIS BOOK
The challenge wasn’t so much where to start
but where to stop. The number of gins now
available outstrips anything in the spirit’s
history. So, the ones chosen had to cover not
only the most widely available brands but also
be representative of the newer arrivals, as well
as methods of production, places of origin, and
styles: dry, Old Tom, cask-aged, fruit, genever;
all had to be covered.
Neither was this a competition. It’s pointless
making a list of the “best gins” - were that to be
even possible - and then not to say how they are
best enjoyed. The aim here is to see how gins
behave when they are consumed as they were
intended to be, i.e. mixed.
There is more to drinking gin than just sloshing
in tonic, however. Gin is nothing if not amenable,
working with many mixers and in cocktails. How
then does each respond to the challenge laid
down by sweet vermouth and Campari, a double
act that would make most spirits blanch? And how
would they fare when more exposed in a Martini?
What is the best way to enjoy fruit gins, Old Tom,
cask-aged, and genever?
The key objective here is to help maximize
your enjoyment so that when you are ina bar or
a shop and can’t find your favourite brand you
will have other options. Also, as a real gin drinker,
you won’t just have one brand of choice but gins
for different occasions and drinks. Before mixing,
though, | had to get to grips with the gin itself.
“SCORING SYSTEM TASTING GIN
_ The best. Tasting gin requires a recalibration of the senses.
The perfect synthesis of gin
Other spirits - rum or whisky, for example - often work
and mixer. Everyone needs to
have at least one of these. on allusion, as in having an aroma that smells like, for
instance, “heather”, “honey”, or “tropical fruit”. There
Superb. is no such creative latitude in gin. The aromas that you
Elegant, effortless, anda
perfect balance struck so that
are picking up are coming from the botanicals. It’s on
the gin is enhanced. the one hand more analytical and precise, but on the
other more immersive because nosing and tasting agin
4.5 Halfway between a superb
transports you to anew aromatic landscape. Let’s face
drink and a great drink.
it, how many of us really encounter orris or angelica
Great drink. ona daily basis, never mind the more outré botanicals
A drink that cannot be faulted.
now being pressed into service? What the experience
I'd be happy to drink this
all night. does give you, therefore, is a greater understanding
and engagement with the world. These aromas aren’t
2.0 Halfway between a great drink artificial but natural
and a good drink.
The way in which a gin changes on your nose mirrors
Good. exactly the progression of aromas from the still. You
A decently balanced drink. pick up the most volatile first, the heaviest last. You are
Pil have one. | might move on
smelling time. Relax and delve into its complexities.
to something else afterwards.
Rather than just being “gin”, you now experience that
2.9 Halfway between a good drink initial burst of citrus: lemon, orange, grapefruit, or a
and a drink that's just so-so.
combination. But where are the coriander seeds? How

So-so.
does the juniper express itself? When do the roots and
Seek another option. spices emerge? This is a retronasal experience, meaning
you detect more aromas when the gin is in your mouth.
Now you can notice more clearly how one aroma blends
Avoid.
into another, how they rise and fall.
The key is balance, not abrupt shifts from one to
There are some gins where
another. Think of how it’s textured: thick, broad, light?
mixing simply doesn’t work.
Go back to the glass. Have the aromas changed, or
The scores are given to the simply flown off? (they should have persistence).
mix and not to the gin. Even Finally, is it juniper, citric, spicy, floral, or herbal? Having
if a gin doesn’t score highly
in a combination, this is not a
an understanding of each gin will give you an idea of
reflection on its quality. Read how best to enjoy it.
the notes and find your own
combinations.

47 HOW TO USE THIS BOOK

FLAVOUR CAMPS
Each gin is an individual. At the same time, by citrus peels, but coriander seeds also
however, they also cluster themselves move further forward, though juniper
into societies with shared interests and retains importance. These aren’t so much
characters. Grouping gins like this enables light as fresh.
the drinker to find the brand they like and
then move between gins within the same
society with confidence.
Gin isn’t as clear-cut as other spirits. A more modern style, where coriander
Its complexities never allow (or shouldn’t seed’s pepperiness is apparent, as are its
allow) one aroma to bellow its presence cohorts cassia/cinnamon and peppers.
while its companions are reduced to The juniper has been dialled back.
mumbling in the background. Instead,
there is a fascinating moiré effect. Even if
Floral
juniper is forward, you cannot discount the
influence of citrus or roots. Accordingly, A significant New Gin camp, these
| will sometimes give a second, qualifying gins have a fragrant, perfumed aspect,
term to describe a flavour camp. sometimes coming from flowers in the
botanical mix, or by dint of the juniper and
Juniner roots being scaled back - sometimes to
little more than a trace. Gins with a herbal
These gins are the most “traditional”, element, though slightly bolder, fall into
even if some come from new makers, this camp.
allowing the juniper its fullest expression.
The initial aroma will therefore be filled
Uncategorized
with pine, heather, and lavender, which will
continue to have a major say through the As Old Tom, cask-aged, and flavoured
palate. If you want to understand where gins and genever have their own individual
gin came from, or even what juniper smells styles, they haven’t been subdivided into
like, then start here. flavour camps.

Citric
Citrus peels began to be widely used in
the mid- to late nineteenth century, and
the classic examples of this camp come
from around that time, but again this isn’t
a character that’s restricted toa single
time period. Here, the aroma is given lift

48: HOWTO USE THIS BOOK

 NEGRONI RATIOS
Some say cocktail ratios are writ in stone and that
altering them is the equivalent of doodling rude pictures
in the margins of a Bible. Why try to change something
that is as near as dammit perfect? Because it’s human
nature and also, in this case, because of the need to
demonstrate the two prime directives of any mixed
drink: complexity and balance.
The Negroni is agin drink. It’s also a gin drink

‘
with some pretty noisy companions who can come
blundering into the bar singing at the tops of their
voices, the vermouth slurring in a baritone, the Campari
behaving like a flame-haired drag queen. It might be
entertaining, but they just need to keep the noise down
The king of mixed drinks, a Negroni must a bit. Hitting the ideal balance is tricky not only because
always be well balanced. of their presence but because every gin is different.
Some are bold, others are discreet. While Tanqueray can
hold its own at a classic ratio (see p.110), a delicate gin
like Bombay Sapphire is lost (see p.70-1). Therefore, the
ratio needs to be adjusted to make a balanced gin drink.
All ratios refer to gin:vermouth:Campari.

Nt
1:1:1 This classic ratio is perfect for bigger and juniper-
forward gins either because the gin is either big enough
to hold its own, or forces its companions into line.

N2
14:1:1 This ratio suits citric gins (and some others).
The key here is that freshness and top notes have been
retained and boosted.

Ne
2:1:% A ratio that’s deal for spicier/herbal gins whose
mid-palate bite is the key to character. Here, the
Campari’s volume needs to be turned down otherwise
its own spice and bitterness causes a clash.

N4
2:1:1 A mix for the light, floral group, with the gin element
upped. While it may seem counterintuitive to increase
the Campari, here its top notes add to the balance.

49 HOW TO USE THIS BOOK

 KERS
Tonic Water
Quinine, Fiammetta Rocco points out in her book
The Miraculous Fever-Tree, was “the modern world’s
first real oharmaceutical drug”. Originally extracted
from Peruvian cinchona bark in the 1630s, it was
initially taken in powdered form in wine and used to
treat fevers. A century later it was being administered
as a tincture and was hailed as a cure-all. In 1809,
during the Napoleonic Wars, a British expedition to
Walcheren in the Netherlands was struck down with
malaria, demonstrating the need for the Army to carry
supplies of quinine. In 1823, the Philadelphia-based firm
Rosengarten & Sons started producing quinine extract
onacommercial scale, which was then given in pill form
to workers in malarial zones. The British Army, however,
stuck with the liquid form and, by the 1850s, in India,
troops were countering quinine’s extreme bitterness
Fever-Tree’s tonic has the ideal balance with sugar - and gin. As aresponse, in 1858, Erasmus
between bubbles, sweetness, and quinine. Bond made the first commercial tonic water, followed
20 years later by Jacob Schweppe.
As the mix became popular, so the tonic water had
its quinine content reduced to a level where it only
provided flavour. Why did the G&T remain a British drink
until the 1960s? Maybe it was because the Americans
took their quinine in pill form.
Fever-Tree, for me, is the tonic that enhances
gin perfectly. The quinine comes from the Rwanda/
Congo border, and the bitter orange from Tanzania.
Sweetened with natural sugar (rather than aspartame
or saccharine), the carbonation is smooth rather than
coarse. It’s aclean, lightly citric, balanced mixer.

Sicilian Lemonatle
A perverse choice? Hear me out. | started out with gin
and Schweppes Bitter Lemon. Then, when in Spain,
| discovered the joys of gin and Fanta Limon. Next came
an appreciation of the simple early gin drinks that used
fresh lemon juice. When | triangulated the positives of

30 HOW TO USE THIS BOOK

 each, in the centre sat Fever-Tree’s Sicilian Lemonade.
It's more tart than Fanta, more lemony than bitter
lemon, less sharp than juice. Game over.

Vermouth
| see vermouth and gin as evidence of Einstein’s theory
of “spooky action at a distance”. Though separated,
they have always been linked; when one moves, so does
the other. If gin’s history (and name) is that of juniper’s,
then vermouth’s saga follows wormwood’s (Wermut
in German) use as a curative herb. Its spiritual home
is Piedmont - specifically Turin - where wormwood-
infused wine (“hippocras”) became a speciality from
the sixteenth century, though discoveries of residues
within bronze vessels in China show that wine has
been aromatized with herbs and spices for at least
$3,000 years. “Modern” vermouth dates from 1786 in
Turin when Antonio Carpano launched his first version.
In time it soread beyond Piedmont, over the Alps to
Chambéry and the southern Rhéne where, in 1813,
Joseph Noilly started making his French version. By
the mid-nineteenth century, vermouths were being
exported, though in the USA it remained a specialist
taste until mixologists began mixing with it. When
paired with gin, the latter changed forever. Without
Fever-Tree’s Sicilian lemonade each other, both would have remained interesting
is a versatile mixer. specialities; together, they took over the world.
Vermouth is made by adding botanicals (which
Snell
— ae __3
must include wormwood) to a wine base that itself

4| has been fortified. Each producer has its own secret

botanical recipe, but the following are commonly
used: angelica, aniseed, calamus, cardamom, clove,
elder, genepy, gentian, lemon balm, liquorice, orris root,
rhubarb, rosemary, vanilla, and tonka beans. No wonder
why it works so well with gin. Vermouth not only bonds
with gin but contributes sweetness; it softens the spirit’s
ar attack yet adds gin’s punch to its delivery.
FEVER-TREE
PREMIUM NATURAL MIXERS. The combination is greater than the sum of the parts.
After extensive (and satisfying) testing, the following
sweet and dry vermouths were used for the cocktails.

Sweet
Cocchi Storico came out top of the sweet vermouths
tested, tied with La Quintinye Rouge, and with Martini

of HOW TO USE THIS BOOK

 Rosso running a close third. The Cocchi firm was
founded in 1891 by Giulio Cocchi in Asti, Italy, and
their Storico Vermouth di Torino is a re-creation of
the firm’s original recipe, based on Moscato. It has a
highly complex nose with cacao, mint, Seville orange,
nutmeg, ginger, and clove, and a classic bittersweet
delivery with wormwood, gentian, and rhubarb. It’s
long and layered.
La Quintinye Rouge from the Charente is based ona
blend of local white wine and (red) Pineau de Charentes
with 28 botanicals. It has vanilla, cherry, prune, liquorice,
orange peel, and clove on the nose, while the palate
starts fruitily sweet before cinchona and wormwood
come through. It’s pure and balanced.

Dry (aka “French”)

Noilly Prat Original Dry was a clear winner, but the
Noilly Prat is the ideal vermouth more vinous Vya Extra Dry and La Quintinye Extra
for Dry Martinis Dry also performed well. Noilly is based on a blend of
Picpoul and Clairette wines that are first aged in tuns,
then spend a year weathering and oxidizing outdoors
prior to being fortified and having 20 botanicals slowly
added. It has a chamomile/elderflower-like floral note,
with herbs, minerality, almond, and a balanced acid/
bitter palate.
Campari is the noisiest member
of the Negroni gang Campari
This legendary aperitif bitters was created in the 1860s
in Novara in the Piedmont region of Italy by Gaspare
Campari who, in another “spooky action” with gin,
originally called it Bitter a/l’Uso d’Holanda (“bitters
in the Dutch style”). Campari’s recipe is a secret and
is made by macerating its botanicals in water and
alcohol, then sweetened and coloured - originally with
cochineal. It was first mixed with amaro vermouth to
make the Torino-Milano aperitif, then with Martini Rosso
to make the Milano-Torino, before being lengthened
with soda to make the Americano. Then, in 1920, Count
Camillo Negroni entered the Bar Casoni (see p.186)
and things changed forever,
It's dense and bitter - maybe gentian, calamus,
and angelica with bergamot-like notes. Concentrated
on the tongue, its bitterness is softened by a satisfying
citric sweetness.

92 HOW TO USE THIS BOOK

 BASIC RECIPES
G8T
This mix is, probably, the most popular long mixed drink
in the world. The dry bite of quinine, the lightly citric
sweetness, the susurration of bubbles anticipating your
sigh as you take the first sip, carrying the gin’s fragrance
towards your nose - go on, you need one now. Admit it.
Today, the G&T is enjoying a renaissance, the trigger
for which came thanks to the explosion of interest in
gin among anew generation of Spanish drinkers. It
was in Spain where | first came across the concept of
drinking G&T after a meal, which there means around
Remember the G&T ? A GIN drink! midnight. It revives the taste buds, clears the head of
Rioja, and sets you up for the next stage of the evening’s
entertainment. The serve was also different. None of the
dribble of gin, flaccid lemon, watery ice, and oceans of
tonic as served in the British pub; Spanish bartenders
were joyously heavy handed, delivering a massive shot
of gin, an afterthought of tonic, and good hard ice. In
recent times, the Spanish serve has now extended to
presenting it in a large balloon wine glass.
| have taken that Spanish approach here, but calmed
it just a little. In all of the examples, the ratio | used was
2:1 tonic:gin. If that remained too strong, the ratio was
lengthened to 3:1. The same principle was applied to
the Sicilian Lemonade.
Remember, mixers are there to lengthen and
enhance and not to obliterate. Use small bottles where
possible; large bottles are only to be used if they are
emptied in one session. If you see a bartender reaching
for a mixing gun, stop them and order a different drink.

Martini
There is plenty about the Martini later on, but |
approached these with the belief that this is a gin and
vermouth drink and the latter has a role to play. In their
Guide to Vermouth & Other Apéritifs, cocktail historians
Anistatia Miller and Jared Brown persuasively argue
that Martinis only became drier because people forgot

de HOW TO USE THIS BOOK

 to treat vermouth as a wine and let it sit and go sour on
the shelf. Gin and fresh vermouth is, however, a fantastic
combination. Accordingly, these all started out as 4:1
gin:vermouth. If the latter was dominating, then | would
lengthen the mix to 5:1. Occasionally, some were best
“naked”, with no vermouth at all.

Negroni
The rationale behind the different ratios of Negronis
has already been laid out (see p.49). But what | haven’t
yet mentioned - and this applies to the Martini as
well - is how important temperature is to these drinks.
Vermouth should be kept in the fridge, and it should be
used quickly (buy half bottles), as should the Campari.
Ideally, the gin comes straight out of the freezer. The
difference will astound you... and impress your friends.

Other Mixes
A different tack | tried was with genever and Old
Tom, cask-rested, and fruit gins. |know Old Tom is
versatile, but | was intrigued to see how it behaved in
a nineteenth-century way. The same went for cask-
rested gin and genever (which doesn’t get on with
dry vermouth anyway). So in came the Gin Cocktail,
Gin Fizz, and the Martinez. When the last was too
vermouth-dominated, | switched to the Turf Club.

GIN COCKTAIL
There are a large number of recipes for this drink, but | used
the oldest and simplest.

30m (1fl oz) gin

dash of Angostura, Boker’s, or orange bitters, depending

on preference

Stir all the ingredients over ice and strain into a chilled
coupette glass.

34 HOW TO USE THIS BOOK

 GIN FAI
This same recipe was used for the fruit Gin Fizzes.

30m! (1fl oz) gin

Shake all the ingredients, bar the soda water, with

ice and strain into a chilled cocktail glass. Top up with
soda water.

an Collins) is a hugely MARTINE]

30mI (1fl oz) sweet vermouth

SS ae | 15ml (4fl oz) gin

* i Seeeeecceccceccccssccccccseves

[ + 8 ¥% tsp Maraschino
f Fane e ee ee ene e eee eeeeeeeenee
eens

f : dash of Angostura, Boker’s, or orange bitters, depending

~~ A : onpreference

f - : Stir all the ingredients over ice and strain into

a chilled
cocktail glass.

TURF CLUB
45ml (1fl oz) gin

2 dashes of Angostura, Boker’s, or orange bitters,

depending on preference

Stir all the ingredients over ice and strain into a chilled
cocktail glass.

|
99 : HOW TO USE THIS BOOK
“The funny thing about my gin,” one distiller
said to me, “is that | am the only person to know
what it really tastes like.” This seemed a strange
comment to make, as the brand he was talking
about is hardly unknown around the world. What
he meant was that no matter how much people
loved his gin, the first thing they would do is take
it and make a mixed drink with it. Gin isn’t a spirit
that people sit and sip neat - the only people |
know who take it neat or with a drop of water are,
er, gin distillers. He was, of course, right.
Understanding the personality of a gin gives
you an idea of how best to enjoy it. There are
some gins that seem made to be drunk long.
There are others that only blossom as a Negroni
ora Martini. There are lunchtime gins and early
evening gins. There are digestif gins and, dare |
say it, there are breakfast gins. There are 120 of
them waiting for you here, all tried ina number
of ways. It’s time to dive in.
BRITISH
The gins that follow here are all made in Britain
(not just England, but also in Scotland and Wales)
and typify the style that most of us are most
familiar with. Here are the big brands, here are
some old stagers, but here also are newer arrivals,
the advance troops of gin’s new wave.
It’s easy to be caught up in the excitement
of anew gin appearing every week - give it five
years and every town in Britain will have its own
gin - but what the tasting showed is that it would
be wrong to dismiss the old nineteenth-century
brands in preference to the bright, shiny, and
new. Big brands are popular in the long term
not because of marketing but because of their
inherent quality. At some point in a marketing-led
brand’s life there will be a drinker pointing out
that the emperor has no clothes. A high-quality
gin has no such fears.
Here’s another thing. Don’t be seduced by the
number of botanicals listed on a bottle. Taste
the gin. Is it complex? Is it balanced? Do these
botanicals give extra character and depth, or
are they window dressing?
You will certainly find some new favourites
here - | did - but you will also hopefully rediscover
the qualities of some established brands.
 LLL SIL SE IL IT EET PETITION

DOCLOCK ail43% AB
Made by liqueur specialists Bramley and Gage (see
p.167), the inspiration for this gin came from director
Michael Kain’s great-grandfather who, every evening,
would sit down at 6 o'clock with a G&T to contemplate
the day’s events and plan for the future. Given that
he became a successful engineer, the routine clearly
worked. According to Kain, his ancestor’s watchword
was “balance, poise, and precision”, which sums up
what any fine gin should be about.

The nose opens with a slightly baked earth note and

a floral aroma, backed up with discreet juniper, sweet
orange, and a little marzipan. Well balanced and precise,
it has sufficient roots and spices to stop things flying
away. Water brings out coriander and some almost
biscuity complexity. The palate is sweet, intense, and
quite weighty, with clean citric elements on top of a
lightly drying mid-palate. That floral-citric note carries
through to the finish.

aroonatlift to os a thequinine is ereshow q

oo rbonation adds drivebul feelsolile ster gg

bee seer stele

WithSicilian
an Lemonade: Escnewaice RutaneOSS develops.sc
; A li ies
onthepe has po ee length.
ee
ee
ee a
es spices and bittering rroots come leeplay

pumas a on -
in of fruitsinth iddle o
of the > tongu for
s itself known. aie ae cee

ERs CEC ES Seer Hee

; ae —— Sega =
is Martini time for me, so how does it
erform? Id take it out to 5:1 to oe the vermot a ings ‘
more heft and allowthe aromatics todevelop.F jiNs
» intense and. ry, :
Pm

59 GINS: BRITISH
 SS YN SE

* Sweet orange peel * Lemon peel *

Distilled by John McCarthy at Southwold (on the

Suffolk coast, East Anglia) brewer Adnams’s brand
new (well, 2010) still house, this was the firm’s first
foray into spirits (they have since moved on to whisky,
vodka, absinthe, apple spirit, triple sec, and fernet) and
is amodernist take on the traditional. Heavy florals
predominate thanks to the hibiscus, with just a hint
of elderflower, sultana, and a herbal edge. With water
it gets fatter and juicier, allowing sage-like juniper
and coriander to show. The palate tastes like it noses,
reminding me of North African cooking for some reason
- flowers, sweet spices, dried fruits, citrus, fresh herb.
The finish is long and heavy.

3.5 i G8: As aslightly cooked quality comes out at 1:2, this is

best lengthened to add balance; the juniper then begins to
» come through. q

ADNAMs Rae, :
4 With Sicilian Lemonatle: the aromatics - especially that
: heavy floral note - are more ideally matched with a fresher
» mixer. Again, some lengthening is beneficial.

4 Negroni: 4 the florals are preserved by allowing the

: » Campari and vermouth to stay in morerestrained mode -
Mach WAR ; *» to the drink’s benefit. Clean with a new cherry note, and
D |CapILLE D GIN a refreshingly bittersweet finish.
—— HAND CRAFTED—

AD5- Martini: Its heavy perfume is retained, but the chill and the
~ vermouth help to calm down its more exuberant qualities.
_ Becomes drier and therefore better balanced. I'd have it
» short, quick, and hard.

60: GINS: BRITISH

 ween ereeecccecccceneseseceesoes

ANNO 43% IBY

er seeds ¢ Orris root
Angelica root * Cassia bark * Liquorice
root * Hops « Lavender « Elderflower
* Rose hips * Samphire * Lemon peel «
Bitter orange peel « Kaffir lime leaves

When colleagues Dr. Andrew Reason and Dr. Norman

Lewis took early retirement from GlaxoSmithKline
in 2011, they knew they weren’t ready to spend the
rest of their lives playing golf. As research scientists
they understood distillation, loved spirits, and figured
that making gin would be a fun thing to do. Within a
few months they had a Christian Carl still installed in
their premises in Marden, Kent, and were planning a
botanical recipe that reflected their home county, hence
the addition of hops, lavender, elderflower, rose hips,
and samphire to the mix.

The nose is light, with a clean, fruity top note that drifts
towards heavy florals and a slightly mineral edge. The
citrus comes through with a touch of lavender and light
7)
KENT DRY

juniper. It’s balanced, with some charm. Water brings out

lightly waxed fruits and gooseberry. The palate is fresh
with lavender, with dry roots balancing a velvety feel.

3 :G8I: Fruit and flower forward

with the tonic for some reason.
~ Clean and crisp, but alittle short.
3

3.9 : With Sicilian Lemonate: Ajab of extra citrus on top of this

. fragrant mélange. Good juiciness and a clean palate. A long
summer drink.

5B :Negroni: N3 Clean with some of the hoppiness now coming

~ through alongside bitter peels. Shows good balance witha
» little touch ofjelly babies. Easy-going and fun.

4 Martini: Pure fruits, wild herbs, and more of that mineral

~ element, which adds interest. Soft with excellent penetration
and length. Well worth a look.

64 GINS: BRITISH
 See ES

peel Crnemon . Clove ° Cardamom BATHTUB GIN sy an

| must express bewilderment as to why you would
want to name a premium product after a style of gin
that was famous for its toxicity. There is nothing about
the bathtub here. Rather, this is somejustification for
the ancient art of cold compounding. The botanicals are
simply steeped in high-proof grain spirit, which is why it
has a slightly daffodil-like hue. Whether the mysterious
producer Professor Cornelius Ampleforth (see a/so
p.154) does all of this in his bath is not known.

The nose is crisp and bone dry with forward juniper,

and coriander in its more lemony personality coming
behind, alongside oil of clove, cinnamon, and mulled
spices - which is why it works well in Warm Gin Punch
(see p.191) - plus anuttiness (maybe from the spirit) at
the end. The palate starts calmly before drying in the
mid-palate. The mulling spices then kick through a little
chaotically. It’s a little aggressive, so needs water.

2 Galfe with a dry spicy kick ey persistence.

~ Adecent G&T. | “
t be 7 fv va

? = nae
as TI AE CGR Ta

35 With Sicilian Lemonade: Works alittle better, as ithas a

Mz » better length thanks to the citrus, which manages to control
ee mental spices. A decent balance is eae
. iy

= sass. —=-
' =

3 Wie“Negroni: N3 Immensely aromatic, with the paneof aprop

Sgforward heading towards. the try line. The pet is alittle flat,
-but the twist of orange helps.
7
+ aes,a =
—
4 :

4 -Martini: Good. Those dry spices leap ee an the start,

*%; but also match well with the subtle accentsof the vermouth.
* A5:1ratio gives a more classical frame with lots of retronasal
eclicns but for me it Pen
aS

62 GINS: BRITISH
 SS
SS

root ¢ Orris root * Seville orange °

Lemon peel « Bitter almond «
BEEFEATER 47% ABV (export strength)
Angelica root

James Burrough was originally a pharmacist who, in

1863, bought John Taylor’s gin distillery in Cale Street,
Chelsea, in central London. His Beefeater brand was
launched in 1876. Since 1958, when the firm’s Lambeth
distillery closed, it has been distilled in Kennington,
close enough to The Oval cricket ground for its rooftop
to be rattled by a well-hit six.

This is a discreetly complex gin. Juniper is there in

piney guise, while coriander melds its citric notes to
the peels - and it’s this freshness that predominates.
The angelica flowers add a light hoppy note, and the
dryness is balanced by the acidity. Juniper is a constant
presence. This is the perfect lunchtime or early evening
gin, carrying with it memories of an endless summer.
Go for this export-strength version (47% ABV), if you can
fs

BEEFEATER
find it, in preference to the standard 40% ABV offering.

LONDON

5 G8: The gin’s freshness has been retained, along with

- its bracing acidity, giving you a whistle-clean rendition.
- The tonic never strays into bitter territory. One to make you
» exhale happily.

5° i With Sicilian Lemonatle: As you might expect, there is a

massive citric impact here that’s a bit like sticking your head
- into a lemon tree at harvest time. It works, with length and a
' joyful persistence.
LONDON DRY GIN
DISTILLED IN THE HEART OF THE CITY
i) i Negroni: N2 This ratio helps preserve that intensity, while the
» juniper locks in behind with the vermouth. Herbal and pure,
» with juicy weight. Exemplary stuff.

ra oe
5 : Martini: Pleasingly oily with excellent balance. The juniper
~ becomes bolder initially, but there is enough citric activity to
- balance. Crisp and ultra clean. Lunchtime/early evening,

GINS: BRITISH
 ST

BEEFEATER 24 sc wv
teen ween:

Juniper ander seeds * Angelica

seeds and root ¢ Seville orange *
Lemon peel « Liquorice root ¢ Bitter
almond « Orris root * Grapefruit ¢
Sencha tea * Chinese green tea
This is when G&T becomes gin and tea. Beefeater’s
master distiller Desmond Payne starts with the classic
Beefeater base (though in different ratios) and then
adds in grapefruit peel, Japanese Sencha tea, and
Chinese green tea. The cut-off point here is very high,
as the tea starts to stew quite quickly. Beefeater is fresh,
complex, and citric anyway, and here the precise sweet
hit of grapefruit adds further lift before the Seville peels
are detectable.

Juniper brings pine, while the grassiness is coming from

the Sencha. Water makes it subtly piney with some
green celery notes and gentle roots. The palate is ripe,
subtle, and long with the teas coming through in the
centre of the tongue. It’s a very confident new gin.

LONDON DRY GIN

4 ; G8: Fragrant, summery, and cool. A very fresh afternoon fa
AUTHENTIC LONDON CUT ; libation, thank you very much.

4 With Sicilian Lemonatle: more citrus anyone? It works -

: it could easily overload - but the lemon/grapefruit interface
: achieves an excellent balance.

4.5 : Negroni: N2 It’s here where you begin to notice the teas,
- adding fresh green/grassy notes‘and giving the mix a fragrant
lift to the mid-palate. The volume of the Campari maybe
» needs to be tweaked down alittle, but it’s a minor detail.

3 Martini: again, the teas emerge - that fresh green

‘ chlorophyll note linking with the herbal notes of the
» vermouth. It needs to be 5:1, otherwise this accord
» doesn't work.
eee

64 GINS: BRITISH
 SN
Le eR RATS SE ROE TTY

Juniper « Corender rests C ree : 0

root *Cubeb berries « Basil *Sage « : AjVA ABY
Lavender « Kaffir lime leaves

After the success of Bloom (see p.67), Joanne Moore

of Greenall’s (see a/so pp.89, 94, and 102) went back
to the garden to pick some fresh herbs - basil, lavender,
and sage - and then threw in Kaffir lime leaves. The
delicate herbs are placed in a muslin bag and given
24 hours’ steeping to extract their aromas. Distillation
is very gentle to stop any stewing. The nose is highly
aromatized with some lavender (also coming from
juniper), followed by a huge basil hit. It then becomes
limey. All very up and crisp, this is a herbal infusion
that takes gin into a new and different dimension. The
palate is super clean and extremely soft, with the herbal
elements becoming slightly shy, and it’s well balanced
with water. Not too dry, too sweet, or too herbal, this
isa great new gin.

Tay er

FL OUR CAMP eioryserbal 2 y %

BERKELEY
Dea : i 3 GBT
See
moe convinced that the tonic adds anything because
: - the flavours are so upfront. It’s a decent drink, but there is no
~ enhancement here.

SLOW 48 DISTILLED | : 4 : With Sicilian Lemonatle: The herbs are calmed down and
SMALL BATCH SELECT ~ ESTABLISHED 1705 : an excellent balance is struck between the mixer and the
; : ~ complexities of the gin. Have it long, or as a Collins (see p.188)
~ where the impact is more subtle.

4 Negroni: N4 Good citrus and herbs, moving into a minty area.

Those herbs have a natural accord with the other ingredients
- and the drink’s sweetness bolsters up the mid-palate.

5 Martini: A wine aromatized with herbs proves a natural

partner, with little puffs of herbs being released at regular
intervals. There is even a little lavendery juniper hit at the end.
Like it!
pa eee ee eee

65 : GINS: BRITISH
 PSE aNSETAE UST RESINS NA VL

Juniper¢ .
* Liquorice root * Cinnamon * Nutmeg BLACKWOODS VINTAGE
DRY GIN 2012 se an
* Angelica root Sea thrift * Marsh
marigold * Meadowsweet

The saga of Blackwoods is suitably Norse in nature.

Although its original owners claimed otherwise, it was
never made on Shetland, even if Shetland botanicals
are used. To confuse matters, there is now a distillery
on Unst that is making gin, but it’s not this one. The
controversy over its origins should not detract from the
simple fact that it’s good juice. It’s herbal and clean on
the nose, with citrus upfront and a honeyed, nigh-on
buttery edge of meadowsweet, then very gentle, almost
floral juniper notes. It becomes more overtly citric and
maintains fresh vibrancy on the palate before some
pepperiness comes in, quickly followed by cassia and
coriander before the flowers and citrus return.

3.5 G8: Good and attractive, with the mixer giving some vitality
~ anda deepening of the base notes. A decent mix.

P— With Sicilian Lemonate: As you would expect, there is a

» natural link here, with a fresh acidic energy and a decent
; length. Appetizing.

3 i Negroni: N2 The dusty botanicals begin to show here. It’s

© quite tight with the bitter peels coming through, but seems
» slightly undecided whether it wants to mellow down or
_ remain sassy. :

3.9 ; Martini: Good at 4:1 because this is a gin that benefits from
- the little nudges that the vermouth provides. The herbal
» elements link with those in the gin, and while the spirit
» remains muted, there is a cleanliness and bite to it.

GINS: BRITISH
root * Cubeb berries * Honeysuckle «
Chamomile * Pomelo peel
BLOOM 40% AB
This was Greenall’s master distiller Joanne Moore’s
first venture into working with distillates of flowers
(see a/so p.65). Here, chamomile and honeysuckle are
given a further delicate lift by the addition of pomelo
rather than the traditional citrus fruits. The aroma is
very light and discreet with a honeyed touch before
zingy citrus comes through, followed by a cool menthol
note. Everything is quite subtle, adding a meadow-like
calmness to the proceedings. On the palate there are
tisane notes and chamomile tea, alongside the almost
evanescent perfume. Water shows that there is juniper
and violet growing in this garden, and allows the spirit
to spread and anchor itself. It’s really well handled, with
no stewing of the flowers.

45 G8: Becomes very floral and springs into life. The perfect,
~ cool summery G&T, like sticking your head in a bride’s
- bouquet, if that weren’t rude. Which it is.

1) : With Sicilian Lemonate: There is less sympathy here, as

~ the lemonade gives too much citrus and kills the pomelo.
» Overwhelmed.

3.5 : Negroni: N4 This is a big ask for such a delicate gin with the
Campari always dominating. A more radical solution to the
~ classic Negroni ingredients might be better. Try Aperol and
- rose vermouth?

4.5 : Martini: You need this gin to show itself fully, so the
vermouth should be scaled right back. 5:1 is ideal for me
here because its influence is subtle, but also linked directly
~ to the garden blossom. A lovely drink.

67 GINS: BRITISH
 LE ——

Buniper’ ° Corlander teed * Card

* Angelica root »Ginger * Almond *
Orris root * Cassia bark * Liquorice
BOE 41% IBY
root * Orange peel * Lemon peel *
Cubeb berries
This is made by lan MacMillan at the Deanston Distillery
near Stirling, Scotland, who started his career working
in London at the Booth’s gin plant. The apparent
wispiness of many of the new Scottish gins makes me
want to draw a parallel between them and Glasgow
indie bands - they’re charming but can come across
as being alittle, well, lightweight. This is citrus-led and
aromatic, with some delicate fennel and the juniper in
the background. In time there is peppermint, lemon
peel, ginger, and cinnamon. The palate is winter fresh
with an intense mint note mixed in with floral notes
and juniper berries. Like those bands, you need to look
beyond your initial impression.

ca3: ear.With the tonic, there is a slightly fruit note that develops
» alongside the lemon. It’s clean but needs more energy. There
: is, however, persistence of aroma.

3.9 ; With Sicilian Lemonate: initially the mixer takes over, but
then the gin kicks in with its citrus lead. Decent and best as a
_ Fizz, where there is more bunched-up aggression.

3 Negroni: N4 Remains light and now has more of a herbal twist

to it. There is a good enough balance here with decent juniper
coming across. It’s fine.

2.5 Martini: The vermouth needs to be controlled here, so I'd

take it out to 5:1, which seems to accentuate the sweetness
rather than the overtly botanical elements. This spicier drive
gives it good balance.

68 GINS: BRITISH
Juniper * Lemon peel « Coriander seeds
* Orris root * Angelica root « Bitter
almond « Liquorice root * Cassia bark
BOMBAY DRY as
The downside of Bombay Sapphire’s success is how its
considerably older brother has been sidelined, which is
a pity in my view, as this is an excellent traditional gin.
Its recipe is based on the one created by Thomas Dakin
in Warrington in 1761 (see p.89) and then refined further
in terms of production in the 1830s when the distillery
installed the then new Carter-Head still (see pp.42-3).
It was named Bombay in 1960 when New York lawyer
Alain Subin decided to break into the drinks world.

A sound, if slightly lighter, LDG approach is shown

here with juniper and dusty woods upfront, alongside
orange peel, marzipan, and a sweet spiciness. Water
shows a baked earth note typical of orris and pine. On
the palate it is surprisingly sweet to start, before white
pepper sneezes in, followed quickly by citrus to balance
things out. The texture is silky, with the heavier elements
massing on the end.

AMINE
3.5
SESE
G8: Rich and well balanced, with a pleasant peppery catch
in the middle adding interest. Decent persistence.

5 With Sicilian Lemonatle: Lovely lift that adds another

~ element to the mix, which is always good news. Very well
balanced in the centre. Excellent.

4 : Negroni: N1 This ratio allows the spicy, almost gingery

BASED ON 1761: N RECIPE
: pepperiness to come through more strongly while the juniper
and orris hold their own. Medium weight and with character.
~ Agood drink.

2.5 Martini: Unctuous, rich, and thick with massive flavour

delivery. It may lack some finesse, but it has a certain
boisterous charm.

GINS: BRITISH
 eS SD

root enorics root¢ Orris root *

Cassia bark *Almond * Lemon peel *
Cubeb berries ¢ Grains of paradise
BOMBAY SAPPHIRE a a
Where would gin be without Sapphire? Conceivably,
still in the doldrums. After all, this is the brand that
kick-started the gin renaissance by daring to make the
drink in anew lighter guise (see p.69). Traditionalists
may dismiss Sapphire, but that’s unfair. It does what
it sets out to do and does it well. While it is delicate
on the nose, it has an understated intensity when you
look carefully. Citrus, pepper, and warm sweet spices
are most prominent together with leafy angelica and
IMPORTED a background note ofjuniper, alongside a cooked
vegetal element. Lacy in texture, the peels become
more prominent on the tongue, bursting forward like
schoolchildren released into the playground. Think of
lemon cheesecake and you’re not far off. In time, the
pepper becomes more prominent.

2.5 : G8T: clean and very spicy, green, and immediate. By the
: time you take your second sip the aromatic burst has gone,
- so keep it short and qu

LONDON a 5 With
1SicilianLemonate: the,mixer See steers the gin,
DRY GIN » lengthening its aromatic persistence. Quite punchy on the
i tongue. Best as a sharpener, or a Fizz.
Disiilled fo wn FOO%
i ae : A,
Cain NMuatral Sprit Saal

from a VIC recgfue

4: -Hegroni N4 This ratio allows the gin to express itself when
in the presence of two heavyweights. Pleasingly fragrant,
THE DOMBAY SPIRITS COMPANY LUMITED,
onde WH GH - exotically spiced, and lightly peppery ue alittle bitterness
PRODUCT OF ENGLAND
to offset the sweet mid-palate. —
IMPORTED : rs Ded
S i =a
——— = = <a — —

| Thie .

4 ; Martini: Sanchire S slices eee suitetes a acer

= ’

So 5:1, even 6:1 is better, when you can appreciate the gin’s
complexity and where the slower release of aromatics,
~ thanks to the low: temperature, finally gives it some length.
venaeserapanee

70 GINS: BRITISH
 ider seeds + A
root * Liquorice root ¢ Orris root «
Cassia bark * Almond * Lemon peel
BOMBAY SAPPHIRE EAST
4% AB
* Cubeb berries * Grains of paradise
« Lemon grass * Vietnamese black
peppercorns

Here we have the classic Sapphire mix, but with

further additions of lemon grass and Vietnamese
black peppercorns to take it into Southeast Asia. The
black pepper is certainly there on the nose, while the
lemon grass is slightly more shy, preferring to hang
around the back of the bike sheds with the citrus and
juniper. There are some cooked vegetal notes and then
menthol, pepper, and lowjuniper. The palate is clean
and restrained.

2.5 G8: Fresh and peppery, but it fades pretty quickly.

2.5 With Sicilian Lemonatle: a better mix. OK, it’s light but in
~ the Sapphire mould, and while | would have expected lemon
i and lemon grass to be a blast, it’s slightly more laid-back.
- Just needs a little extra zest to drive things forward.

3.5 : Negroni: N3 The fragrant pepperiness comes through very

' cleanly. A tad astringent, but the lemon grass now begins to
- have a bit of a play along with the delicate spices. Decent.

2.5 : Martini: A better delivery especially when made drier, i.e.

» 5:1. Clean, with decent intensity. It dries and then seems to
~ fizz with spices at the end, which is what you want.
~ Altogether the most successful.
A RI RR TE EEE ES PL AE

1 GINS: BRITISH
 Pere ea RIE A TA RASTER AT

Cosnedcence Pr naccecdstesdcsounscseudeCecesencs ses

Not fully declared but include: Juniper
«nutmeg * sage * rosemary BOODLES 40% AB (45.2% export strength)
This old brand started life in the nineteenth century
as the house gin at Boodle’s gentleman’s club in
St James’s, London. These days it is made at Beefeater
(see pp.63-4) and destined pretty much exclusively
for the USA. It is unusual in having no citrus botanicals
in the mix. The nose is surprisingly gentle and as quiet
as the Members’ Room after lunch. It’s all very well
mannered, with a citric jag (possibly from coriander),
some lavender, violet, rosemary, black tea, and sage-
like juniper acting as an underpinning. With water it
becomes juicy in its attack with a general softness
taking charge. On the palate it’s pretty sweet to kick off
with, but that’s immediately countered by a surprising
astringency. It’s crisp, firmer, and more rooty than you
would initially judge. The gentlemen of the club aren't
that soft-hearted after all.

3 : G8: Very spicy on the nose - there doesn’t seem to bea

~ need for any adulteration here. The tonic adds some structure
- andits sweetness fights against the bitterness. Angelica and
- liquorice come through.

oo RUSSELL AA] MNO Compan, 3.5 ; With Sicilian Lemonatle: The addition of citrus suggests
» that this should be a no-brainer, and while it delivers
gOODLEs ~ beautifully in that regard, the palate lacks the lift to give
~ the mix momentum.
—*
EST. ] 1845

3.3 Negroni: n2 As the nose suggests, this is very polite and well
LONDON DRY ~ bred. Wholly pleasant and seamless with a certain minty,
IMPORTED » menthol edge, but it lacks a spark. :

2.5 Martini: this needs to be at 5:1, as the vermouth has to play

_ anear-invisible background role, just enough to add energy.
~ But it remains calm and vey reliable, if not hugely exciting.

12 GINS: BRITISH
 SAAS

Oaged DOnESe Juniper

¢ Apple mint »Spearmint *Water
mint * Downy birch * Chamomile «
Creeping thistle » Elder * Gorse flower
THE BOTANIST aya
* Heather flower * Hawthorn flower
* Lady’s bedstraw * Lemon balm ¢
The idea of a whisky distillery making gin may seem
Meadowsweet « Mugwort « Red clover
° White clover * Sweet cicely * Bog unusual, but it’s more commonplace than you might
myrtle * Tansy * Thyme * Wood sage think. Springbank (see pp.76 and 101) does it, as does
* Cassia bark * Peppermint * Angelica
root * Coriander seeds * Cinnamon
Balmenach (see p.78) and Deanston (see p.68), while
bark * Lemon peel * Orange peel « the Girvan (see p.92) and Cameronbridge (see p.87)
Liquorice root » Orris root
grain plants also have gin distilleries. Making gin in the
home of smoky whisky is slightly more of a surprise, but
Bruichladdich sells itself as a “progressive Hebridean
Distiller” and what could be more progressive than
making a gin using native Islay botanicals? Gentle, rich,
and oily on the nose, it becomes like a walk in the woods
- soft fruits, heavy blossom, pine trees, sage, dry barks,
and a honeyed element, then chamomile, some bilberry,
raspberry leaf, wild herbs, and ground spices. Complex
in other words. The palate is soft with powdery mixed
spices and a slight chocolaty finish. |would love to see
an aged variant.

RONGHINED, L ) HaAND CREED

OF ISLAY

ISLAY {KY CIN Fur UIMPunicevuty

SL TI ee
D2
4.5 «GSI:
: Initially slightly closed by the tonic, but perks up in the
~ mouth, with good length, solid juniper, and some fragrance.
| ngs
}O)

CIN
3 ; With Sicilian Lemonaile: Broad and showing good balance,
(fr but maybe just a bit too dry. A little harsh on the mid-palate.
j

4 : Neqroni: N3 The vermouth has been dialled back, allowing

more of a scented nose to emerge. This has depth, richness,
~ and good integration.

LAT
5 : Martini: Really oily, with gentle vermouth allied to the more
UA » herbaceous elements. | prefer it at 5:1 where the complexity
of the gin shows.
_—_

GINS: BRITISH
Undeclared
but 8used
BRECON BOTANICHLS ven
Currently the only Welsh gin, this hails from the
Penderyn whisky distillery in the foothills of the
Brecon Beacons. The nose is very subtle, delicate, and
perfumed with low juniper, putting it firmly in the New
Gin camp. In time, there is a light aniseed note mixed
with pine, sage, heather, and bergamot. It’s all very
clean, crisp, and discreet before the palate brings out
a slight floral/herbal/honeyed note alongside some
berry-like fruit.A clever complex gin, it seems to present
anew aroma with every sniff. The palate is gentle, clean,
and soft, with most of the action coming in the middle
SPECIAL
EDITION of the tongue where the peels kick in and the juniper
slowly distributes its flavours. It dries to almost gentian-
like levels on the finish, adding crispness.

4 G8: Stimulating, which is slightly surprising given how calm

» the gin is when neat. There is lots of herbal, spicy activity, with
an off-dry palate. Complex and persistent. Yes, good!

3 : With Sicilian Lemonatle: | expected this to sing like a Welsh

. choir, given the neat solo performance, but the gin hides
» away. A little nervous. at

BRECON
=

+ ie Negroni: N2 Floral still and almost haughtytobegin with,

FROMTHE FOUR CORNERS OF THE WORLD
» rising above the Campari and vermouth and lying on a bed
+ of roses. The j
juniper now begins to show fully and the palate
GIN : slowly deepens. Balanced and showing considerable class.
Shih / DISTILLED FIVE TIMES, Te

j 4.5 i Martini At 4:1 you hit the ideal balance, wae eurticlent
citrus to carry the entire length. The full complexity iis calmly
revealed. Excellent balance and complexity. Recommended.

14 GINS: BRITISH
 e eds «
_ ¢ Nutmeg ¢ Cassia bark * Cinnamon «
Liquorice root * Angelica root » Orange
BROKER'S 47% ABV (export strength)
peel « Lemon peel

I’m all for fun in drinks, but I’ve always thought the
bowler hat that sits jauntily atop the Broker’s bottle
makes this gin look slightly gimmicky. It was first
distilled (at the Langley Distillery near Birmingham,
West Midlands) in 1998 to an old recipe for brothers
Martin and Andy Dawson and has been a huge success
in the USA. Maybe the bowler hat helps.

It is as juniper-forward, weighty, and rootily dry as you

would expect a traditional gin to be, with a crisp, almost
biscuity element. Coriander, celery, violet, and spice
follow on, alongside understated citrus. The palate is
chewy and quite sweet with very peppery coriander
surging through, closely followed by a dense cloud
of juniper that opens to roots and alittle nut. It’s long
and considerably more serious a proposition than the
bottle suggests.

PREMIUM QUALITY

E
5 : G8: Clean and dry with big gin delivery at 2:1,so you might
~ want to lengthen it further. Perfumed on the back palate,
» whichis so essential in this old-style G&T.

2.5 ;With Sicilian Lemonatie: The gin is pretty austere and that
~ element works against the mixer here, not allowing enough
Blended and Beta ly - sweetness to come through.
, BROKER'S GIN
ENGLAND

(Pare Grain ont

5 Negroni: N1 Huge with sage, pine, and bitter herbs, and real
E701 alc. 47% vol. ~ complexity. There is a confident, well upholstered air to this
DISTILLED FROM 100% GRAIN SPIRIT with plenty of soft layers. A classic Negroni.
BROKER'S GIN LIMITED LONDON WC2N
© Broker’s Gin Limited 2000
=

4 : Martini: Dry but very up and defiant in its presence. It needs

- to be at 4:1 to allow the vermouth to act like a marriage
; guidance counsellor, calming the elements down and
’ stopping the juniper being too bold.
SNe

13 GINS: BRITISH
Undeclared
GADENHERD'S CLASSIC sos a
Made by the independent bottling arm of J & A Mitchell,
owners of the legendary Campbeltown whisky distillery
Springbank, this and sister brand Old Raj (see p.101)
have built up a cult following, particularly in the USA.
This is a boldly assertive and - don’t forget - strong gin
with forward juniper and roots, angelica in particular. It’s
deep-toned, rich, and mellow, with forest-like aromas
and almost gentian-like dryness. The palate is fruity with
a quick bust of citrus, before it dries into a pine forest
with just a touch of sweetness on the end. It’s serious,
yes, but importantly it’s balanced. A solid performer.

CLASSIC

GIN 4 G8: Retains earthiness and power at 2:1. To be honest, it

~ copes with any level of dilution - this is hardly a shy spirit.
- Good persistence, but it could be a little too dry for some.

3 With Sicilian Lemonate: Senety it becomes slightly funky

- when such a citric mixer is added. It’s clean and has some
DISTILLED IN : freshness, but that juniper-root combo results in a clash.
GREAT BRITAIN

Bottled by 45 ; Negroni: N1 Of course you still get juniper - what did you
WM. CADENHEAD LTD
~ expect? Now, however, it’s moved into sage and pine witha
CAMPBELTOWN
ARGYLL SCOTLAND
» little menthol addition. There is softness behind, but this is
a powerfully potent mix. ‘
—

70cl 5O%vol
4 Martini: Boidana lightly vegetal. Some more sweetness
~ emerges in time, the vermouth easing the herbal flavours
. forward and adding balance. It’s BIG, so you’ve been warned.

A SS

76 GINS: BRITISH
r PNot fullydectered but ficlode: Juniper
* Rosemary ¢ Elderberry* Ginger °
CAMBRIDGE GIN AUTUMIN/
WINTER 2014 san
Fennel seeds

Will Lowe began making gin in a vacuum still in his front

room. His business started out as a bespoke service
where he tailored gins to suit people’s preferences,
but he was soon making exclusive batches for Michelin-
starred restaurants. All the botanicals (which have also
included wood ants for his Anty Gin) are macerated
for different lengths of time and distilled separately,
before being blended and married. Twice a year he
and his wife Lucy, helped by their dog Darcy, forage for
seasonal botanicals that go into the 50 litres (11 gallons)
of Cambridge Gin. This autumn/winter release shows a
fragrant piney nose with lemon meringue pie accents
and distinct rosemary behind. Gently sweet and softly
textured, the rich palate is very perfumed - a stroll in
a herb garden with an aniseed-like hint on the tingling
finish. This is best taken neat, with ice.

3a ms The herbaceous elements come out immediately,

~ but for once the tonic seems way too sweet.

a) With Sicilian Lemonatie: Big, almost mossy notes and then

bitter lemon. The gin is once again obliterated.

3.3 Negroni: N2 The herbal notes are scaled back on the nose,
- but the huge aromatic burst has been preserved on the
~ palate, tempered by the vermouth; the Campari, however,
is the unwanted guest.
—#

5 Martini: Done at 5:1, this is clean and allows the texture to

show itself. A gentle, calm release, with subtle roundness
given by the vermouth and a peppery finish. Very good.

11 GINS: BRITISH
 (SESS A

anion °
* Orange se Angelica root * Cassia
bark * Rowan berries * Coul Blush apple
CAORUNN sta wr
* Heather * Bog myrtle * Dandelion

Pronounced ka-roon, this relatively new Scottish gin is

made at the Balmenach Distillery on the wilder edges
of Speyside in the Highlands. It makes great play on its
use of native Scottish botanicals - its name is Gaelic
for rowan berry - which helps to root it in its immediate
landscape. What is surprising is that while Balmenach
is noted for its old-style, heavy whisky, Caorunn is very
much a delicate New Gin.

This is very pretty to start, with apple notes, a brief hint

of juniper, and then delicate florals. Though all very fresh,
those higher aromatics lift away quickly, leaving a clean,
lightly perfumed, lemon-accented base. Water shows
the woods better. It’s sweet to taste, with some texture
inthe centre, and is drier than the nose suggests.

2.5“Gar: Light, attractive, fresh, and fun, but justlacking in some

’ persistence. Drinkup quickly!

= oh

3 With Sicilian Lemonatle: even at 21, the mixeris too bold

- onthe nose. It’s still a pleasant drink though.

4 Negroni: n4. the ratio allows the perfume to lift, but the
» vermouth and Campari help to anchor it aromatically and give
» not just balance but alittle weight. The bitter finish is a bonus.

3.5 : Martini: Clean, crisp, and fresh. The lower temperature fixes
. the flighty botanicals, giving depth to the mid-palate. You need
- to have it cold and let the inside of your mouth do the work.

(a RE

GINS: BRITISH
bark Ferns of paradise * Ginger «
Cumin * Clove * Coriander seeds «
Angelica root * plus Elderflower and
DARNLEY'S VIEW ov an
citrus infusion

Made at Thames Distillers in Clapham, southwest

London, for Scotch distiller/bottler Wemyss Vintage
Malts, this has a slightly sharp introduction with plenty
of the citrus infusion, which bumps that axis up to an
intensity akin to bergamot. Then there is some cassia
with moderate levels ofjuniper lurking behind. Water
brings out a peppery edge. The palate, in contrast,
is very soft, some of the floral tea element (probably
the elderflower) with the roots giving a light drying
grip that only then opens into marmalade-like peels.
It becomes decidedly spicy towards the back.

J.5 “GSI: Fresh, witha a9 citric edge adding a soft and lightly
' honeyed element. Just lacks persistence. a

4 :With Sicilian Lemonate: Very up and wide-eyed, adding

~ some weight to the lemonade while the peels fizz above.

2.9 Negroni: N3 Sadly, this goes a little too earthy, with the
» spiciness setting up a clash.

4 Martini: Best at 4:1, where the vermouth’s floral notes form

~ anatural link with the more aromatic elements of the gin,
; creating a bridge to the exuberant citrus and calming down the
- pepperiness, leaving it to burst through on the finish. Good.

18 GINS: BRITISH
 A
ES

gue root Wiese

+
* Bay « Black and green cardamom *
Raspberry leaf * Honey
DODDS 49.9% ABV
Distilled in Battersea, south London, this is named after
Ralph Dodd, an early nineteenth-century entrepreneur,
whose many schemes included the creation of The
London Distillery Co. The venture failed - indeed Dodd
was taken to court for his innovative notion to issue
transferrable shares - but his spirit lingered on. So when
the brand new London Distillery Company started
producing gin in 2013, it was rightly called Dodd’s. The
bulk of the botanicals, including the honey, are distilled
ina copper pot still, while the more delicate ones are
cold distilled in a vacuum still. The two streams are then
blended and married before bottling.

The nose is creamy, then a leafy shiso-like aroma

emerges with fat fruits behind. In time there is subtle
juniper, a menthol hit, some celery, and sweetness.
The mouthfeel is very silky, which distracts you initially
from the high, fresh, and brightly warm perfume. You're
inside a pine forest eating a ras el hanout baklava.

“RI:
H Reyflorals. The palate starts |
Lively, even vehent with heavy
~ solidly, but citrus comes through os drying"a
into
ra
CIS and almost medicinal.
>

x With Sicilian ety The peelsproduce a car

ne; hote and the gin is tookbold - evenwhen lengthen

ff {9 B

\ SENUINE BRITISH SPIRITS

t/
“yf
(

CORDIALS & COMPOUNDS Mi

C= . 7 p
4 -Negroni N1 Becomes very fruityena
z juicy, with mas:
» but assertive juniper. Weighty, ith the gin’s crean
- balancing the bitter, come

pss “i =
. AS y

5 ;Martin: Thej1 juniper is paren against the fresh fruit

- elements, but it's the creamy palate that makesit aluxuriou
- Martini.Good.

GINS: BRITISH
 SLA
SOE LT OSS NEY

elica root * Orris root « plus

Infused with heather and milk thistle
EDINBURGH IN sn
Produced by Alex Nicol of the Spencerfield Spirit
Company, this is a reminder to the world that at one
point the Scottish capital was home to many (often
illicit) gin stills, which would have been making their
equivalent of Old Tom/Holland's gin (see p.23/p.11).
He now has his own gin distillery on the Royal Mile
(though this sample dates from before that).

The nose is lightly confected, estery, and fruity,

with boiled sweets/bubblegum and assertive citrus.
It needs time (and dilution) to show more piney
elements as well as sherbet lemon. The palate is sweet
with some raspberry and cherry blossom that lead into
a big, broad mid-palate where herbal elements come
through, before the pine and heather enter at once.

ee 7
4 “CRI: If you likeyour G&qT hi
hiShi aromatic on the nose, then
this is for you. The drier palate goes well with thet
tonic and
is givena spicy kick, Delivers well. Ne ae Bae
ah
: a ae = i

A. 5With Sici fanLemonade Fruity Ae spicyarethe key

© words here.This
1 is
| amix where length is important. Take it
longand relaxed. f * Se a i
is :
—<—— = — G

3.5 ; Negroni: N4 Resinous and slightly peppery, this makes a

» pretty crisp Negroni with some soft fruits in support. -

==

4.5 - Martini: The light fruitiness from the vermouth rounds out
the delivery, while the temperature cuts back on the estery
; notes, allowing the presence Gfthe palate to have a greater
» say, Good.
——— ee

81 GINS: BRITISH
 ST

Juniper * Angelica root * Coriander

seeds * Liquorice root * Grains of
paradise * Lemon peel * Orange peel *
Savory * plus 3 secret ones
FIFTY POUNDS GIN ase a
The name comes from the Third Gin Act of 1736
(see p.17), which imposed a £50 licence on gin retailers,
putting many out of business - or simply driving
them underground. It’s made by Charles Maxwell at
Thames Distillers (see a/so pp.79, 84, 93, 105, and 166)
and comes ina very heavy Hollands gin-style (see
p.11) bottle. Like the bottle, this is clean and broad-
shouldered with a light vegetal note and a nutty biscuity
undertow, then the citric elements (frozen peels/lemon
sorbet) take over before very sage/pine-like juniper
drifts in behind. It needs time to open for Parma violet
and bright spiciness to come through. The palate is fat
and sweet with lots of sage and lavender as the juniper
becomes more assertive. This is oily and classical.

RARE amd, HANDERAPTED

LONDON DAY GIN

G8: For such a solid gin it seems to shrink away when tonic
» is added, with the quinine becoming a little too prominent.

i] : With Sicilian Lemonatle: Mach better than the tonic, here

the citric elements in the gin find a more amenable pairing.
» Itis very refreshing.

4 : Negroni: N2 Seems to allow the full range of aromas to

- show themselves, including a new thyme/herbal element
- along with plenty of citrus and balanced sweetness from
the vermouth.

4 Martini: piscreet on the nose but the palate makes up for

- it with good weight, plenty ofjuniper, and decent levels of
» complexity. Having things wetter helps to lengthen the drink
- and give a slightly sweet finish. If you prefer drier, then up to 5:1.
SS

82 GINS: BRITISH
eceweemee”
Orange peel
FINSBURY PLATINUM oss
Made in Britain, at Langley in fact (see p.75), this brand
was established in 1740. These days, however, it is
destined solely for the German market, where it is one
of the largest sellers and this very ubiquity means that
itis agin that is often overlooked. This is the premium
variant bottled at a higher strength. The aromatics are
quite overwhelming, not just very lemony citrus - the
lead-off - but floral notes, bountiful coriander, and
an earthy note. Sappy juniper is present, as is a slight
steeliness that drifts towards minerality. The palate
starts with a modest suggestion of a juniper base, and
it becomes richer and deeper than the nose indicates.
The mid-palate has that firm edginess and dry spice.
Is it too rigid? We'll see.

4 FI 3 i G8: Yes, austere and flinty. It comes across like a maiden

| ~ aunt who is somewhat unamused by all this nonsense.

/
:
| ] 34 With Sicilian Lemonatle: This is pretty dry as well - even
i _ the warm, bittersweet Mediterranean influence can’t melt
: - its starchy heart.
; :
i Phnglo Beteh Distillation |
j FROM OVER 100 YEARS OLD |
COPPER POT STILLS
3 Negroni: N2 Clean and still pretty dry. It’s hard to shift it
» away - even the sultry attentions of the vermouth can’t tempt
» it. All very solid and worthy.

4 Martini: Here, the vermouth adds the much-needed

» sweetness, while its herbal elements allow everything to
~ smooth down and finally warm this icy heart. A clean and
~ rather good Martini.
TE
TE ES TR TEES

83: GINS: BRITISH

 (Ee

FORDS a wr
BOTANICALS
Juniper * Coriander seeds * Orris root
* Angelica root * Jasmine ¢ Cassia bark
+ Bitter orange peel * Lemon peel *
Grapefruit peel

Simon Ford was for many years the US brand

ambassador for Beefeater (see pp.63-4) and Plymouth
(see p.104) gins, and an industry legend. In 2013,
however, he decided to give it all up to start his own
spirits company, the 86 Co. Inevitably he wanted to make
agin, so began to work with Charles Maxwell at Thames
Distillers (see a/so pp.79, 82, 93, 105, and 166). The first
thing you notice is how well balanced it all is. Bold yes,
concentrated yes, but with the botanicals seemingly
lining up ina very finely tuned, ordered fashion to

}
show themselves. The vibrant citrus comes in early on,
accompanied by some rather frisky lavender-accented
juniper, then cassia, before the floral heaviness of the
jasmine begins to blossom and add richness. You get
more drive on the palate with perky citrus as a prelude to
it starting to dry pleasantly. It’s very well put together.

OTN
1cso
5.

FLAVOUR CAMP Juniper/Citric

45 : G8: More of the citrus peels are released with a very clean
' mid-palate and good persistence. The grapefruit adds a tingle
to the finish.

4 With Sicilian Lemonatle: This ibe more of a lift - which

doesn’t come as much of a surprise - but the key here is how
’ the weight of the mid-palate works with the sweetness and
the clean, dry finish.

4 : Neqroni: N2 Shows very clean piney/lavender juniper while

the peels get to work with the vermouth and Campari. There
is a lick of sweetness here that adds length and sophistication.
- Good gear.

5 : Martini: Elegant with some herbal elements coming

through. Clean and very up with a direct mid-palate.
> Very good,

a EE

84 GINS: BRITISH
 * Orris root *Coriander seeds * Clove
* Cumin * Lemon peel« Orange peel «
Geranium ° plus 1 secret one
GERANIUM GIN svn
In 2009, Henrik Hammer and his father’s obsessive
search for a new botanical that they felt would make
gin complete was revealed. Their new ingredient
was geranium leaves, which is less outrageous
than it sounds, as geranium shares scent molecules
(particularly geraniol) with juniper and citrus. The gin
is distilled at Langley Distillery (see p.75). Geranium
appears immediately with its warm, dusty rose-citric
note. It’s soon backed up with lavender, pine, lemon,
and just a tiny hint of clove. The key lies in the thick
texture of the spirit, which helps allow the botanicals to
become more rose-like. Geranium can be unforgiving,
so the balance is critical - and fully achieved. The palate
shows a cool freshness before the juniper muscles in
along with pepper and spice.

LL
4.5 : G8: The perfume works well here, with the drying elements
gAV hrm aasoow steshoinms Hp siyaacd 1) Abnslynd of doud i vague
iO of bygaruits
zur oenn * inthe centre acting as a balance.
TAD WW noNIEGHo sao} bobrasb L haw wAiEaMwap grch 0:LoV,.
| syn yar smi} 104) Yh yay AYO M254 Ad Aum ot alithe
|
a
i 6 IO AIK 4 vbmnié teat
i say oa nv!mtA sit iewt ut ni i: cya) Yo xe Siti ‘nhs

i PHEMIUMI sora ere 3.5 With Sicilian Lemonatle: Needs to be lengthened - there is
J © omit ition LOGON» Dry.oe * too much chaos at higher strength. The carbonation works,
noiltasaygsaanLo Side WAY Alas aD AG nobyo.T mute
but the geranium isn’t an ideal partner.
ldjenogis youts Sanat
asmunelt 1H
n0%, 3 rsmmyolt

3.3 : Negroni: N4 There is a big citric element here, along with the
perfume. Velvety in feel with some rose, but it all becomes
- hugely floral and sweet, with a slightly confected note.
by Hammer & Son hs
backand ot baltiodbox bollized
Turvinersy eH

5 Martini: Clean and porcelain-cool in delivery. There is

’ sufficient freshness, and the floral notes are not allowed to
dominate because of the temperature. A really classy drink.
In other words, keep it simple and let it speak.

89 GINS: BRITISH
 sg SSS SR

Juniper * Sage * Borage * Lemon

peel * Lime peel ¢ Bitter orange peel «
Coriander seeds * Angelica root
GILPIN'S 04 wv
Produced at Thames Distillers (see p.79), this declares
itself to be “the spirit of England”. The nose is clean
and quite dry with a spicy coriander freshness and
woodland notes suggesting that that angelica has had
a considerable part to play. This moves into a mossy
note, then masses of fresh, lime-accented citrus. The
juniper is light and sits next to a herbal core: that forest
glade once again. It starts sweetly, then fattens out in
the centre as if it’s gathering breath before exhaling
into sweet citrus, herbs, and spice on the back palate.

3.5 G&I: Fresh and fragrant, and just what you want on the nose.
- The sage-like notes of juniper come through. Clean, but lacks

GILPIN’S a little in terms of persistence.

EXTRA DRY GIN

3.9 : With Sicilian Lemonatle: Because there is citrus already,
_ this relates well, becoming quite subtle and tricksy with good
70CLE
8
| FINE BOTANICALS | 47%Vol
- balance. But it falls off if you don’t drink it quickly, which, of
course, responsible drinkers would never do.

3.9 Negroni: n2 The gin seems a little lost here to start, but then
develops a light lavender touch onthe palate, which is clean
* and quite crisp. Pleasantly peppery onthe finish.

3.0 Martini: ciean; the vermouth provides the missing element

~ that gives mid-palate oomph and links well with the angelica.
Retains good character yet is more fleshed out and expressive.
. Drink cold to allow the heat of the mouth to release the aromas.
SS A ER RR a ES

GINS: BRITISH
 A
ADRS
NS EEE)

GORDON S31.5% ABV

ed to include:
Juniper * Coriander seeds * Angelica
root ¢ Liquorice root « Orris root «
Orange peel * Lemon peel

Britain’s top-selling gin, Gordon’s story starts in 1769

in Bermondsey, south London, when Alexander Gordon
established his first rectification plant. By 1786 he had
moved to Goswell Road, Clerkenwell, where his London
Dry (and many other brands) were produced until
1989, when production was moved to Laindon, Essex.
Today, Gordon’s is made at Diageo’s Cameronbridge
Distillery in Fife, Scotland. In 1992, its parent company
dropped the strength to 37.5%, which not only brought
it into line with its main white spirit rivals but reduced
production costs and freed up money for advertising.

Light and clean with coriander spice in the lead, there

are few citric elements in sight, but there is good and
slightly oily juniper, with a touch of sweetness from
the angelica in the background. Though rich in terms
of heavy botanicals, it doesn’t have great intensity
yet opens nicely on the palate. The latter is light with
coriander, dusty orris, and piney juniper on the end.

2.5 G8: Decent, but slightly lacking in impact from the gin (even
- at 2:1), making this more of a T&G rather than the other way
around. The dryness of the tonic emphasizes the rootiness.

[S25 DLO
X — With Sicilian Lemonatle: gizarrely, this smells like baked
= ~ beans and clashes badly on the tongue, adding a slightly
~ soapy element.

a
3 Negroni: N3 It’s hard to halt the advance of that coriander,
but there is a little angelica peeking out from behind the
vermouth and Campari. A light apéritif drink.

Cw Martini: Slightly rooty but, as you might expect from a

» lower-strength gin, there is no great weight or persistence.

GINS: BRITISH
 EES ES

Juniper « Coriander seeds * Angelica

root * Liquorice root ° Orris root °
Orange peel * Lemon peel
GORDON'S EXPORT son
This is the Gordon’s that the rest of the world gets to
enjoy - and enjoy is the word. Although this is exactly
the same gin as the 37.5% (see p.87), this has much
more in terms of top notes, with lemon peel and lime
marmalade. Altogether it’s much higher and brighter
- it’s as if the sun has been allowed to shine. Even the
heavier botanicals seem to have more energy, with the
roots playing a less fretful role. Coriander is now citric as
well as spicy and less forceful, juniper has lavender and
menthol, and there is even a hint of spent fire. It’s like a
different gin. While this is a resolutely old-style LDG in
terms of weight and prominence ofjuniper, it also has
lemony lift and energy; clean, mentholic, and minty.
There is no comparison.

3 G8: Again, the coriander comes through most prominently

» and the energy seen when it’s neat is dissipated.

3.5 With Sicilian Lemonatle: more juniper comes through, which

» melds well with the mixer. An exciting mix - try it as a Collins
; perhaps (see p.188), though the finish is slightly short.

4G Neqroni: N1 There is still the coriander lead, but on the palate

- the juniper floods through. Good balance.

3.5 : Martini: Juniper comes out more boldly, with the vermouth
allying itself with the background green herbal elements.
Now there is citrus here, allowing peppery coriander to come
» through in the middle. A decent middle-of-the-road Martini.
OE
TE EY

88 GINS: BRITISH
28ccc root¢ Orris root * Liquorice
root « Cassia bark ¢ Bitter almond
UREENALL'S DRY GIN sy
Warrington’s gin distillery in Cheshire, northwest
England, was established in 1761 by Thomas Dakin
(see p.69), whose family retained ownership for 100
years before merging and then being taken over by
local brewer Greenall’s (see a/so pp.65, 67, 94, and
Ea
; 102). It remains an important and highly respected
GREENALIS distiller, making its own brands as well as third-party
Tigiaad NOONDRC : gins Cincluding Bombay until 2014). Today, the master
= i distiller is Joanne Moore.

This is the lower-strength version of Dakin’s original 1761

recipe and is distilled in pot stills. Complexity is scaled
back yet the top notes of citrus, the upper range of
juniper, and the lemon peel have been retained. It’s fresh
and precise - the Greenall’s signature. A classic, light LDG
with a gingery, lime-like note. The start is a little slow,
but there is a good balance, which helps drive flavour
from the mid-palate onwards, with the juniper singing
strongest on the finish, alongside violet and cassia.

“FLAVOURCMe o fis a. a a me 2 — ae a sy
se SE gS es Se one eae eo Sea
e475 NN ies } : Se ;- GSI: Though this is light, it works. Sound, clean, and with
- character; even if low strength means a low carry, it’s more
LONDON‘DRY GIN » than acceptable.

4 With Sicilian Lemonaie: The mixer comes in quite strongly

- on the nose, but the palate has brio and verve. There's a lovely
- zestiness that keeps your interest.

3 : Negroni: N2 A clean and crisp gin drink with hints of that

higher-toned citrus adding to the general impression of
freshness. Just lacking in penetration.

3.5 : Martini: Becomes lightly nutty and has retained its citrus-
» juniper perfume while managing not to be overpowered by
» the vermouth.

89 | GINS: BRITISH
 SR

if ipers Corandereceds . Nutmeg °

Cinnamon « Angelica root * Orris root
* Cassia bark * Liquorice root * Orange
~HNMANS LONDON ORY
peel » Lemon peel
40% ABV
The Hayman family has been distilling gin for four
generations and is today run by Christopher Hayman,
his son James, and daughter Miranda. Since 2015, their
gins have been made at their Witham, Essex site. The
whole story speaks of tradition - as does their flagship
London Dry. The look is highly polished with a silvery
sheen and the nose is immediate: bold, rooty, and
robust with a powerful juniper lead-off. This drifts into
pine as the Parma violet/earthiness of orris and angelica
(here in its celery-like guise) take charge. Pausing after
this full-frontal assault you notice coriander, cassia,
mace, and cinnamon, before whiffs of lime and lemon
add top notes. The palate is silky and glossy with the
citrus (now turned into marmalade peel), juniper,
and masses of mouth-coating sweet liquorice, before
juniper and drying roots come through on the finish.
It’s excellently balanced.

K) : G8: Bold, with the tonic bringing out the angelica and
- liquorice, while adding a light sweetness to assist with the
~ balance. The finish is dry, but this can be ameliorated with
- alime wedge.

2.5 With Sicilian Lemonate: Hele, it’s citrus and liquorice that
DISTILLED FROM
{00% GRAIN SPIRIT ' are promoted, then the spices with the juniper and roots
» stepping back.

45 Negroni: N1 Masses ofjuniper, the vermouth adding

» sweetness and depth, while the bitterness of the Campari
» melds with the orange peel and angelica. It's big, and serious.

4.5 Martii: even at 4:1 this remains a bone-dry Martini, the

» vermouth adding just a subtle herbal twist. Good balance.

$0 GINS: BRITISH
Juniper * Coriand
Cinnamon Retin root Orris root
* Cassia bark « Liquorice root * Orange
HAYMAN'S ROYAL DOCK
1% ABV
peel * Lemon peel

Batten down the hatches mates, there’s a gin storm

on the way. The Hayman family pride themselves in
making ultra-traditional gins and this full-blooded
broadside of a naval-strength gin is no exception. Made
with the standard Hayman (see opposite) 10 botanicals
but in a different ratio, what is surprising is how the
alcohol is masked and isn’t overly hot. Initially, there is
lemony coriander, then Yuletide memories kick in with
pine, mixed peels, ginger, and coriander. Water makes
it more bosky. The palate is very pure and chewy but,
let’s face it, needs water. It makes it thick and palate-
coating, with a blast of botanicals and a whisper of
Parma violet on the end.

“ROYAL Dt
| DOCK
5
&
: G8I: This needs considerable lengthening to balance.
When longer, it becomes gentler with the tonic adding a

oS Dyed
- little mid-palate wetness.

NAVY STRENGTH

3.5 : With Sicilian Lemonaile: Surprisingly citric. You wonder

" Piva bo the omMnivally - where the gin has gone, but then it crunches in on the tongue
and lade from 1563
TAM, ome pirensers Mle ~ making this mix a little too dry, the two elements working at
cross-purposes.

5° Negroni: N1 Would you believe, it’s (almost) very well

mannered, as if The Incredible Hulk still had Bruce Banner’s
personality, the gin managing to influence and maximize
every aspect of the drink, but it’s integrated.

5 Martini; Stir hard and long to get some dilution because

~ this is dangerous and should be restricted to one per session.
- Keep it wet because the vermouth adds another layer to the
- mid-palate. After one of these | want to brain the splicemace!
SS cE ETE TI LT TIT I EE I LE I EE

GINS: BRITISH
 PR ea ee TSEC SCS ST SN

HENDRICKSso wr
ye.
eeeeeeens enee ye

Juniper elica root * Coriander

seeds * Cubeb berries * Orris root
* Chamomile * Caraway seeds *
Elderflower * Meadowsweet * Lemon
peel » Orange peel * plus Rose and
cucumber essences post-distillation The late Charles Grant Gordon was a whisky man Chis
family firm makes Glenfiddich, Balvenie, and Grant’s).
But, like most whisky men, he was also a gin lover and
he wanted one that smelled like a picnic in an English
rose garden. The result was Hendrick’s. Two batches of
the same botanicals (in slightly different percentages)
are distilled in a Carter-Head still and a nineteenth-
century Bennett pot still at their Girvan grain distillery in
South Ayrshire, Scotland, then blended together, before
essences of rose and cucumber are added. If this was a
garden, then it would be one where juniper hides in the
bushes, allowing light florals and green herbs to frolic
on the lawn. It’s the coriander seeds that dominate,
bringing citric top notes and spiciness.

3 G8: Becomes gentle, allowing the florals to assert

themselves. It’s also noticeably sweeter. Coriander takes
charge in the mouth, clashing with the quinine. The roots
come through on the dusty finish.

2s AS
4 ; With Sicilian Lemonate: A more successful, brighter mix.

HENDRICE’
The sweet nature of the gin is enhanced, while the coriander
- here shows its citric side. The palate is controlled, and rather
» than dustiness, you have spice and crispness on the end.
\OIsTILLED and BOTTLED IN SCOTLAND,

3.5 : Negroni: N3 It's Campari that is the bully here, so you have
EST. 1886 _ to drop it (and the vermouth) down to achieve balance.
SS 414% Vor. » Works not too badly and it’s pleasant, if coriander-led.
(LE
WN

3.9 : Martini: The mix needs to be quite wet to give the vermouth
» achance to soften things down and ally themselves with the
. top notes. Fine.

a
a

92 GINS: BRITISH
eet
botanicals
coe London Dry
JENSEN'S BERMONDSEY
43% AB
With its minimal packaging, Christian Jensen’s first
gin sneaked onto the market in 2004 winning many
followers for its uncluttered, juniper-forward style. This
was an old-style, traditional dry gin with no pretensions.
For the first decade it was produced by Charles Maxwell
at Thames Distillers (see a/so pp.79, 82, 84, 105, and 166)
but is now produced at Jensen’s distillery in Bermondsey,
south London. This sample is from the latter.

This gin celebrates its juniper element. It roars with

pine and sage followed by calming notes of liquorice,
aniseed and violet. Only then are the coriander and peels
uncaged, adding sweet spice and fleshy tangerine. Any
dustiness is held in check by the oiliness of the spirit.
The taste is almost discreet to start, then drives into the
middle before an almond note carries it towards the
finish. This is calm, ordered, precise, and complex.

_jensen's 5°
@ s
: ~ \
“GELyproper old-school G&TT with the one re
4effervescence, anda light drying element, while allowing the —
© When Christian Jensen
first tasted the vintage » ginto come through. In time, earthy elements begin to show.
‘gins from London's lost. ee persistence. eae. ita
distilleries, he began mn e :
“a journey, Creating a
» finely balanced gin that.
honoured these forgotten a
| tecipes became his 3.5With Sicilianake That dry earthiness iis there. Which
| obsession. That's why makes it a little uneasyto start with, but once it eescold on.
* Jensen’s is distilled in
/ small batches, using only ueTet it delivers well. :
Bs
reser
zi
) traditional gin botanicals.
So there's really nothing
jee : at a ==:es Se
= 385
-
— new about Jensen's, and
that’s why it’s different.
— Distilled in Bermondsey,
+. London, Jenszen’s is gin as
5 -NegrOni: Ni Dry and juniper/root-led, sha more of the Parma
it was. Gin as it should be. - violet Sec Big and hugely Sop e zing, you could eat this.
_ LONDON DISTILLED %
__ BERMONDSEY DRY GIN
FY
| 7OCL 43% VOL. ——a
4 - - aa = -

i) Martini: As you would expect, the juniper is to the fore, the

vermouth adding a gentle supportive layer. The mid-palate
is slow moving and balanced. Rich.

GINS: BRITISH
 SAS EY

: LANGTONS Nt |Ap ABV

11 in total including: Juniper +Oran
: | 0
peel * Lemon peel * Coriander seeds °
Liquorice root * Oak bark

Made for Nick Dymoke-Marr and Tim Moor by Greenall’s

(see also pp.65, 67, 89, and 102), this uses water that
the pair have sourced from a borehole under Skiddaw,
a mountain in the Lake District, northwest England. It is
a big and broad gin, but prefers to leave the juniper as
a quiet contributor, leading instead with a herbal kick.
Like anumber of the newer gins, it has a raspberry leaf
element, which gives a perception of sweetness to the
nose, alongside rose and a light vegetal element like
fresh spinach (which isn’t unpleasant). It becomes more
celery-like on the palate, with juniper and a growing
citrus dimension. As things are already high-toned, the
piney/rooty elements have an important role to play
in slowing down some of the more excitable of the
aromatics. The finish is very soft.

LANGTONS
OF SKIDDAW —

THE
wl
L preee D GIN
sede

LED iN ae
(isp - A,
: with < i 2 ‘ i
he Bee : 2.9 : G&T: It comes across to begin with as being slightly artificial,
WATER Py Wee : like jelly babies, then come more fruits before the ginny core
i : - reveals itself. a

2.5 ; With Sicilian Lemonatle: The gin is overpowered by the

" mixer here.

he:- Negroni: N4 Tried it at this ratio to preserve the gin’s texture

:and aromatics, while letting the other ingredients add to the
» mid-palate weight. The result is fresh and floral with some
» juniper, and then a juicy mid-palate. Clean and pleasing.
——— ~

3.5 Martini: Those aromatics remain in charge, making this a

, fine gin for the newer gin drinker. A hint of artichoke in the
mid-palate, then rose and some depth. Good clean finish.

SgERS SSS

94 : GINS: BRITISH
 LONDON HILL ws ww
teeeee tee eeeeeeeenees

Undeclared but include: Juniper «

Coriander seeds * Lemon peel * Sweet
orange peel

An old stager, this is made for Scotch whisky distiller/

blender lan MacLeod at the Langley Distillery (see p.75)
and is another that slips by unnoticed because of - well,
I’m not sure precisely - the pack, the price (too low)?
Whatever the reason, it’s worthy of a re-examination.
A medium-weight LDG mixing wintergreen-like juniper
with some balsam, bright citrus peel, and a spicy
coriander note, all of which work together as it moves
into woodland flowers, orange peel, and angelica. The
palate is soft to start and only gains energy in the middle
of the tongue. Classic, old-school, juniper-accented gin.
| would really like to see it at a higher strength.

HAV ices 9|
CUNEP R atag eter

2.5 : G8: Seems to get much brighter thanks to the carbonation.

- Effervescent with a slightly bitter fall-off. Dry, so it needs a
- lime wedge.

3.5 With Sicilian Lemonate: This is asound, middle-of-the-road

kind of mix, showing weight and some length, with attractive
top notes developing. |’d probably rather use it for a Fizz.

3.0 : Negroni: N1 Quite restrained and gentle with plenty of

resonant deep notes. Holds well on the palate, lightening and
: becoming more citric and pleasingly bitter on the end.

4.5 ; Martini: The transformation is remarkable, as if the other

mixes are slightly beneath it. Now, as a Martini, it puts on its
dinner jacket, polishes its cufflinks, and becomes this rather
~ debonair gentleman. Crisp and beautifully presented.
aaa aa

95 GINS: BRITISH
 ESE
S A

: Ciaremen . mimond Perens .

Coriander seeds * Angelica root ¢
Cassia bark * Lemon peel * Orange
THE LONDON NOL 4 wr
peel « plus Infusion with bergamot
and gardenia flowers Made at Thames Distillers (see p.79) for sherry house
Gonzalez Byass, this starts life as a pretty classic LDG,
but has along maceration with gardenia flowers that
turns the whole shebang blue. The gin is a little shy to
start - surprisingly given the strength - and is made in
a herbal style. It’s quite discreet with orange peel and
bergamot prominent, then delicate juniper, eucalyptus,
and wild thyme; if anything, it points to Spanish gin rather
than back to London. The palate is crisp and tighter
than expected, lightly peppery with fruit blossom.

Infor

ic, this i r

:and poten mix. It can be lengthened, but I’d keep things ee

af Spanish and have it harder. :
=

_ THE LONDON N°
N*1 ORIGINAL BLUE GIN
isilled in Londen ander the personal sapersision ofoar mastor distiller. Le 25 withSicilian Lemonatle: rhe eee inates proceedings t

;
7JOCL*® DISTILLED GIN © 47% VOL on the nose, but the palate comes to th rescue where a
ms certain unity is ee A grown-up soft drink.
Ty .
ws dy
de

EE5 Negroni: N2 Aslightly muted nose with asf ashy palate. Big
a_ and sweet, with some brio and style. :

he praininent BBS us some juniper. Controlled

nov
ye ? bad!
: : an as

96 GINS: BRITISH
 : Liquorice root «
Cassia bark * Lime peel * Lemon peel «
Orange peel * plus Cucumber essence
MARTIN MULLER'S ssw
added post-distillation

When this arrived in 1999, most gin lovers wondered

quite what the late Martin Miller was playing at with his
use of Icelandic water and cucumber essence. Little did
we know that practices such as these would become
the norm. New Gin was very much here to stay.

It remains a 10-strong botanical mix, distilled by Langley

(see p.75) in two batches: roots and spices, followed by
citrus, before being blended with the cucumber, then
shipped to Iceland for dilution with glacier water. It has
a citric lead-off: lime, orange pips, tangerine, lemon, and
light Cand also citric) coriander, behind all of which is
some resinous juniper. It’s all quite lively, but maintains
its persistence over time. The palate is quite sweet and
slightly waxy. The drying element starts quite quickly
on the tongue, although the citrus persists aromatically,
while the finish brings out the waxed fruit element.

La4 6 es. no need to papain peelto

use here. None. Amazingly fresh and vibrant, and iotonoe
2s 2 ee haas drive. BN es ioe: RS

Be PE ey GK ES OPE AS,
4 ce Sicilian frre | What’s weird is how a citric mixer
also b brings out the rooty elements, while squeezing ‘out a
ilittle cre in the centre.
ee ae Divx tte Sean
aeraE
= a pum

35. “Negroni: N2» Citrus remains the main player here, but without
» any waxiness. |Well balanced palate with Seville orange, but
§ oa bittersweet edge just tipsage into slight astringency.

oO

4 i Martini: Fresh and very waxy. The addition of vermouth acts

» as atrigger for the more aromatic top notes, EE UEit more
fe) rfumed. It has decent lift.

97 GINS: BRITISH
 RY a

Juni ianderseeds *Angelica

root ¢ Orris root *
yest peel « Ora MARTIN MILLERS
WESTBOURNE STRENGTH
peel « Cassia bark *Lime peel * Nutmeg
* Cinnamon « plus Cucumber essence
added post-distillation

45.2% ABV
Named after Martin Miller’s original office in Westbourne
Grove, Notting Hill, west London, it’s fascinating to
see the difference between this and the original (see
p.97). The strength is higher, and while the botanical
mix remains the same, the percentages are different.
The result is a gin that is broader in character. The citric
burst that defines its brother is calmer here, allowing
better equilibrium between all of the botanicals - there
seems to be more angelica coming through. It’s fatter
and almost autumnal, whereas the original is definitely
spring. Thick and lightly vegetal, it has bolder lemon
accents and more prominent juniper on the palate.
The signature waxiness is retained but has been calmed.
It’s zesty on the finish and shows good integration.

a ve“Bar.At 2:1, it shows its ee seriousness. Very lightly be

- confected when mixed, but a solid and quite dry mid-palate
* with enough citrus to stop the quinine attaching itself to
pools and pee everytt ring down. ery eee

aeHY ith SicilianLemonate: srings out

out:a slightly stewed aroma
» to start and the waxiness is also accentuated
as the citric
:elements bind together. A decent enough mix.

3.0 “NegroniN2 It remains waxy with a little sageni

coming through, the vermouth adding some bruis
Balanced and quite dry.

— = — a

4.5 Martini Very Citric.and elegant -the alcohol helps in

this
» setting, with the vermouth as ab round, Mid-palate
_ weight is good and the wax has turnedto a viscous oiliness.

* ee

98 GINS: BRITISH
 MOMBASA CLUB 413% ABY
noe -O! ‘la

* Angelica root « Cl love * Cumi n

We have Old Raj (see p.101), so | suppose it’s inevitable

that there should be another gin that harks back
to the days of the British Empire. This is it, made by
Thames Distillers (see p.79) with a botanical mix
oriented towards spiciness (appropriate enough
given Mombasa’s position opposite the Spice Island of
Zanzibar). The nose is dry with lots of nut oil, a big blast
of earthy lemony cumin, clove galore, and nutmeg. It’s
a bit like an alcoholic garam masala. The palate is soft
and, yes, spicy with a dryness to the centre, which then
opens pleasantly to finally show lavender-like juniper,
violet, black pepper, and nutmeg.

3 : G8: It gets pretty funky and interesting here, like post-coital

~ skin. You feel kind of voyeuristic just smelling it, but the lack
- of top notes brings it down, and a squeeze of citrus helps.

5 : With Sicilian Lemonade: If you want top notes, this provides

~ them, which allow the lemony elements in coriander and
~ cumin to show. Try as a Collins as well (see p.188), as this mix
- really does work.

3.5 : Negroni: N2 The spiciness might be the dominant feature

’ here, but it’s so powerful that the vermouth needs to be
~ upped to achieve a balance. Once that happens, you get this
~ slightly restless twitching drink that’s actually quite fun.

3.5 Martini: Now everything becomes rather Christmassy,

» which is no bad thing - this might work ina Warm Gin Punch
' (see p.190). At this point, though, we have a mulled Martini,
* which is kinda weird. Better as a Martinez.
a EPP TSE I TE LE TE FE EE ET

99 GINS: BRITISH
 SE AR

Juniper * Coriande
root ¢ Grapefruit peel * Orange pe ele
Cardamom
N03 46% ABY
The venerable London wine and spirit merchant Berry
Bros. & Rudd has been trading from 3, St James’s Street
since 1698 and was supplying the gentry of the capital
when its unwashed were sluicing back Mother’s Ruin.
It moved into the premium sector in 2010 with the
launch of No.3.

Designed by Dr. David Clutton and distilled in

Holland, it nods both to gin history with the simplicity
of its botanical recipe and to the present day with the
inclusion of grapefruit. The nose is elegant and rich,
with the warm menthol notes of cardamom drifting
over, before the juniper’s pine and lavender notes are
released. Just as it seems to be moving inexorably down
towards the roots, in comes the grapefruit and orange
and coriander to give it brightness. In time, the peels
take the forward position, while water brings outa
pleasing dustiness from the orris. The palate is
polished and smooth.
|eg

4 G8: Back comes that cardamom. Quite fragrant now, then it

: dives deep into juniper. This has persistence and good length.

3 With Sicilian Lemonade: There is abit of a clash here, with

NO : the bitter peels from the lemonade and the cardamom from
; the gin not exactly rubbing along together.

EST1698

LONDON 5 : Negroni: N2 The grapefruit is the secret weapon here as it

DRY GIN » provides the cut-through while the juniper and cardamom
BERRY BROS & RUDD ’ buddy up with the vermouth. Campari integrates well, adding
M23 STJAMES'S STREET » its own little fiercely sweet darts.Avery urbane drink.

&: ard
5: Martial: at its best here. Exotic with all the elements in
: harmony, you also get an idea of its richness and weight,
: with just enough sweetness allied to the vermouth to carry.

I SS

100 GINS: BRITISH

 SLR
GPP FA SITS ET]

‘Or ot’ Ca oiearaea

* Lemon peel «Orange peel« iy
OLD RAD so. a
Coloured with saffron post-distillation

A legendary, nay, cult, gin, Old Raj is made at the

Springbank whisky distillery in Campbeltown, in Kintyre,
Scotland. Its most notable claim to fame is the use of a
small amount of saffron post-distillation, giving it a light
lemony hue. Even at this high strength it is more subtle
aromatically than its sister brand Cadenhead Classic
(see p.76), with pine and citrus predominating. While
undoubtedly dry, there is a little twist of herbs, a tickle
of menthol, a little floral lift, and the deep softness of
saffron and almond. The feel is thick and viscous with
big juniper to start before a fizzing citric burst, then
balanced roots. The alcohol adds a certain edge to the
proceedings. It’s reliably old style. What did you expect?

Neder a
- ee ml
ae scat note a

ae s. x d

DYN
SNS a 1 : : Bs porestree
= oo :
5 One bes“— t sumis greatert an the parts.

f : 2
Yistilled, tH : Hi 1The inscleanwth
alist
eee ae
Geeal Bulan ee.
. ie | Sant ae
o it fro ig the nee
Bottled by ae
faS the aeroc oS—
WM. CADENHEAD
CAMPBELTOWN: ARGYLL
p cushion ofve
56% v0|
i al feetocoe thever osamet
_ ofthe herbal acomethough a1m his a little
PW etter
a U: he ae a. with real Se,

i ee

101: —GINS: BRITISH

 gS

BOTANICALS
Undeclared but include: Juniper ¢
Coriander seeds « Angelica root ¢
Cubeb berries * Cardamom ° Ginger °
OPIHR 40% ABY
Black pepper * Orange peel * Lemon
peel * Grapefruit peel
A spiced gin made by Greenall’s (see a/so pp.65, 67,
89, and 94) that smells like a takeaway curry - that mix
of peppercorn, cubeb, cumin, coriander, curry leaf,
turmeric, and fenugreek. You can imagine crunching
on the free poppadums. It’s hard to see quite where the
juniper is hiding. Less hot and peppery on the palate to
start, it lulls you into a false sense of security, because
then the spices come frolicking out. It’s alla little bit
odd to be honest, but kind of compelling, as these
things often are.

Se
ST ED

FLAVOUR CAMP Spicy (and then some)

45 G8: | wasn’t expecting this to work - the gin is too bold, the
» juniper well hidden, but it does. Shut your eyes, think Indian
restaurant, think a drink you need to have with curry, and this
> isit. But is ita G&T? | think it’s something else, but it’s good.

X . With Sicilian Lemonate: Afraid not. The sweetness comes

across as being awkward, and the fierce spiciness ends up
creating a bitter clash.

ORIENTAL SPICED
Zy y L
Londen Ly, Yin
4 Neqroni: N1 All the cardamom comes through alongside
pepper and ginger, but on the palate everything comes
together with the spices only sneaking through fully on
the end. A lot of fun. 4

2.5 Martini: As you might have gathered, this is not a gin that
can be suppressed or shifted into a new shape, and while the
temperature slows the heat of the spices, the palate is a mess.

[STR SET EE ES I ET TE

102 GINS: BRITISH

 LPT EE EE)

roots Heterce root « Vanilla °

Meadowsweet« Fresh grapefruit peel
* Fresh lemon peel « Fresh orange peel
ONLEY van
* Cocoa nibs * Cassia bark ¢ Grains of
Paradise * Nutmeg « Orris root
This started as an experiment by Bacardi (owner of
Bombay Sapphire, see p.70) to distil at low temperatures
(under vacuum) to avoid cooked compounds coming
through. It is made for them at a special unit within
Thames Distillers (see p.79). All of the 14 botanicals
are batched individually, vacuum-sealed, and frozen to
retain their intensity. They are then distilled together.

The nose has a fennel-like top note, some liquorice,

intense Seville orange, and tangerine, before spices
emerge along with low juniper. Water makes it bigger
and almost off-dry, while on the palate you get the
sensation of the botanicals slowly popping on your
tongue. It becomes quite aromatic and peppery on
the long, clean finish, with a little menthol, mace, light
liquorice sweetness, and juniper. Water makes it more
exotic. Best sipped cold, neat, and with ice.

“OXLEY
Clbdie Cnglih
DRY G IN
4 COLDoF
ene Aooo01

3.5“Gal:More araeeri and a clean and crisp sliver: ee

© quite light, so have it short end.drink it quickly.
¥

as = 4 aes bs

de:“With SicilianLemonale: The bitter lemon slightly swamps

_ the gin, but the mid-palate where the dry, the sweet, and the
i
: bitter allmeetis interesting. Again, have it short and sharp -
Ble: style. : ae =
E
i

i= 7 = ac --3

co i“Negra N2 The delicacy of the ginnecessitates asiigter i

COLD-DISTILLE “ratio - in fact,|’
‘d replace the Campari with Aperol 2- but even
: * then there is
i too much going on to get a proper balance.
a ; Fe s
oe = = - ~

=Fa:Martini: Take it toil ae it becomes crisply turned out.

* It remains delicate, making me wonder if this is the ‘classic
a breakfast Martini, or wet eD that’s just irresponsible.
a

o i

10 GINS: BRITISH
9
uv
 (SSG

Junipe

Ppecisgerne na
ds

root « Orris root * Cardamom

°|

ng PLYMOUTH GIN zy an
Mr Coates opened his Black Friars distillery in 1793,
looking to make a higher-class spirit, and by the middle
of the nineteenth century was supplying over 1,000
casks of Navy Strength a year to the British Navy. But by
the 1980s, Plymouth Gin's glory days were long gone.
Uninterested owners had cut its strength and changed
the recipe. Yet in 1996, Charles Rolls (now of Fever-Tree)
bought the brand, upped the strength, and restored the
old recipe. Plymouth was back. It is now part of Chivas
Brothers, owned by Pernod Ricard.

Soft, heathery juniper leads off, along with some

citrus, before moving into menthol, sage, and delicate
sweetness. Balanced and calm on the tongue, witha
sense of botanicals being laid down in layers rather
than stretching out along the tongue’s length. It then
becomes more piney, with citrus balancing. A slow
swell of violet and very gentle roots round it off.

ip2r pe
Ice; quite
“nn— — some |e

i i ne he
inperfect necease fres|

ON:
by the oth

tle, and long. |

GINS: BRITISH
 a ESS TENNER Se CECE RESTS)

eeel Corianee seeds °Orris

Angelica root «Cassia bark * Liquorice
root «
PORTOBELLO ROAD NO.171
A% ABV
root * Nutmeg

This gin was created by London bartending legend

Jake Burger along with his business partner Ged
Feltham, and is made to their specifications by gin-
distilling maestro Charles Maxwell at Thames Distillers
(see also pp.79, 82, 84, 93, and 166). It’s clean and
Spicy, with a lead-off of nutmeg and cassia coming
across over discreet (but evident) mentholic juniper
and coriander. A light leafy green element develops
from the angelica. Complex and cunning, it needs time
to develop and comes to life when diluted, with more
peel, violet, and cinnamon. The palate is clean, tongue-
clinging, and lightly oily with every element well bedded
in- a touch ofjuniper, a light jab of citrus, a grind of
spice, and plenty of cassia and nutmeg on the end. Jake
and Ged also run London Ginstitute above their bar, The
Portobello Star, at 171 Portobello Road, Notting Hill.

ee ee ee
ood GSI: eric and clean, the G&T retains character
and
ersistence 2, although the finish can be alittleabruptif =
se forget to add citrus.

Oe
4 With Sicilian Lemonatle: Much Kedar manneG&q, this has
; ne : lift, allowing the gin to blossom and not dwell on the darker
_ LONDON, E
= bitter SS pile 2 gay ey eee ee,

: = is a

oF “Heron N2 This isaee withknelt and

= succulence. The vermouth just adds a sense of}
control
= : as the spices, es and Campari romp arround.
* . oe

Be usr = zs ern sets oe

a : Harti As you might ne froma bartender’s gin, this

ae
! 5 Agi s
é is one made for cocktails and the Martini is where ittruly
q Yagvenuinneseugcvensay
natignisty
oa
ate Clean, assertive, layered, and, while it’s bold, itis
1
; never ee Its balance is seen at its best here.

105 GINS: BRITISH

BOTANICALS
CACAF | Ap ABV
12 in total including: Juniper *
0
Cardamom « Nutmeg « Frankincense

lan Hart is a revolutionary. He showed how it was

possible to make world-class gins in the (relative)
comfort of your home. Since 2009, he has been distilling
individual botanicals in a vacuum still and then blending
them into an ever-expanding range.

This is his benchmark brand, which, among a further

11 botanicals, uses frankincense, whose Latin name
Boswellia sacra gives the distillery its name. The nose is
restrained and elegant with good equilibrium between
different elements. Fresh citrus is the dominant
note, while the juniper remains low. It’s subtle and
poised, making you wonder whether anything can,
or should, disturb such excellent balance. On the
palate the flavours remain precise and subtle, with
the frankincense’s warm resinous depth making itself
noticed alongside light lavender, sharply fresh citrus,
and warm sweet spice. Although it has some verve, it’s
like Audrey Hepburn tapping her foot. Calm is the word.

FLAVOUR CAMP Citric/Spicy

3.5 G&I: Frankincense definitely and more citrus. It has good

mouthfeel - this is a palate gin - but no great persistence.

3 With Sicilian Lemonade: Very subtle and quite gentle and,

» as suspected, there is not enough to cut through.

YICRODIST sas
A 1

aie .
i) Negroni: N2 The aromatics come across well with an added
» exotic edge to them along with a touch of mint. A perfumed
mellow palate. Complex and not at all diffident. Class shows.
Se. BOZ812

4.5 : Martini: |t works and works well, but only when you scale
down the vermouth to a 6:1 ratio, allowing this very subtle gin
» to show its wares. Good complexity.

SE i SS ST a ES SSE

106: GINS: BRITISH

 i ader se

SIPSMITH AL6% ABY

, ip
root alec? roo te Orris root «
Almond « Cassia bark *Cinnamon «
Seville orange peel » Lemon peel

Sam Galsworthy and Fairfax Hall came into the world

of gin in 2009, just as its revival was beginning to pick up
pace but before there were 1,001 new brands - in other
words, at precisely the right time. With no experience
of distilling, they hired cocktail historian Jared Brown as
consultant (now master distiller), converted a garage
in Fulham, southwest London, and got started. The fact
that they have now built a larger distillery shows how
well they have surfed gin’s latest wave.

With a historian at the helm, Sipsmith was never going

to be a New Gin, but one that had a weather eye on the
past while revelling in the ability to experiment. This is
traditional LDG, big with a slightly earthy, pine forest/
cone nose that also throws in lilac and curried spices, and
‘yA eee Eee
a palate where complex green notes merge with those
on the nose. It’s generous, gentle, and slightly creamy.

SIPSMITH
independent spits oN

aesGR: As you might expect, astis assertive, rich, andlong-

- lasting. Quinine is balanced and there is just enough fizz to
i ~ make it interesting. ¢ a
ELS see Boe saat catieae oe
$i a0 ae : . ae = LY
<

a With Sicilian Lemonatl: Between the ewe mixers, thisis

= theone! prefer because of the way in which the citrus adds
3 another dimension ang a further layer of complexity. &
5 35 x 6 y, :
£
— M est eae a
: = Ne

5 -Negroni: N1 Balanced and rich, with positive iuniper that fee

_ + now been subtly sweetened. The violet persists and theresis
Cine _ = anadded dark liquorice kiss-off. ee
D RY GIN — — - = = —
‘anol af j We
COPPER STILLED IN LONDON
ee - Martini: The vermouth adds an almost honeyed, vinous note
to the middle, which results in a little tweak of breadth and
< aromatic lift. Deep and layered.
a s&s ;

107 GINS: BRITISH

root «eanenes EtGOrris root °
Almond ° Cassia bark *Cinnamon *
Seville orange peel * Lemon peel
SIPSMITH V.Q0.P sms
The idea of V.J.O.P. - Very Junipery Over Proof Gin
-~came to Jared Brown when he was musing on
how predominant you can make juniper without
producing something that smells of turpentine. His
cunning solution was to add the juniper in three ways:
macerated, just prior to distillation, and finally with
some ina botanical basket. Doing this allowed him
to extract different notes from the same ingredient.

It’s like being lost in a Christmas tree plantation while

hearing the sounds of approaching chainsaws, resulting
in you pushing ever harder against the resinous needles.
There is a lovely medicinal edge, some cigar/cedar,
sage, and lavender. The palate is dry with orange adding
lift, before it softens into almond and coriander seeds.
This is not a gin for the faint-hearted or those who like
things on the perfumed side.

SIPSMIEH
indenendent spcrits rip

5 Bile : Big. Sony BIG. ae the juniper unfolds itsel

or chat in which it has been lounging and whacks you ;
_ : face. There isa smarting citrus element as well.

ae i

2.5 With Sicilian— Still—huge dee

:: hereit rather: overdominates. Tc

: Negro: xe
Here the juniper is ent olded into the drin
» allowing berry fruits (think black cherry) to emerg
; with bittersweet bursts. Huge, dark, menacing, and de
Hand crafted by master distill f Q 5 3 : d a ;

ee “Martinis thereisactually some

= how massive this giniis and ther
: to calm down the sheer exuberance. Savoury, with th
1e her’
; Weaving in and ou of the meee, arene:g
: Fhe

108 =:—GINS: BRITISH

 LLL EE

* Cardamom « Almond « Cinnamon «

Liquorice root * Sweet orange peel «
Lemon peel ¢ Grapefruit peel «
TARQUIN'S a.
Devon violet

Made in tiny batches ina tiny still by Tarquin Leadbetter

in St Ervan, Cornwall (he also came up with the frankly
genius idea of making Cornish pastis), this is another
New Gin that is making friends quickly. Dry, citric, and
almost floral in the (well mannered) attack, there is a
violet-root element behind some lemon, a menthol hit
from cardamom, and sweet liquorice. In other words,
balance has been achieved. Some roasted spice is also
inl
Sere
no discernible when the glass reaches the lips. The palate
is soft and, while not exactly energetic, has a gentle
medium weight to it that opens into forest notes and
almond. A very classy new arrival.
SET
RYETT
NIN

ROpeesesnenerinssecs

3.5 G8: Big and clean with sound juniper/quinine working

: together, but maybe loses impact as the gin is so soft in the
* centre. Decent persistence.

3.5 With Sicilian Lemonaile: Clean and bittersweet (which is

» what you want), with that zestier delivery helping to give
- things akick. It slightly falls away at the end.

5 : Negroni: N2 This ratio allows the top notes to come through,

: the violet to link with the vermouth, and the juniper to bed
- down into the dark red fruits. Fleshy with great integration.
» It has life and balance.

4,5 : Martini: Clean and quite elegant. A late afternoon/early

» evening drink, all very polite and whistle clean. Crisp with
’ slow-drying and lively top notes. Best at 4:1.

109 GINS: BRITISH

 EE

seneeee
-Juniper«Angelica
ee

seeds * Liquorice root

. seteeeeeees

ro t + Coriander
TANQUERAY LONDON DRY GIN
431% AB
Charles Tanqueray established his business in London's
Bloomsbury in 1830 when the district was noted for its
waters rather than its literary pretensions. It remains
typical of its time in the simplicity of its botanical
mix; its top notes are provided by the higher tones
of coriander and juniper.

One of the great names in gin, these days it’s made at

Diageo’s Cameronbridge Distillery (see p.87), but it still
uses the Old Tom still (see p.23) that sat in its old site.
Tanqueray is bone dry and direct, with massive piney
juniper/coriander to start. Here everything has its own
presence while supporting the other botanicals - a
triumph of simplicity. It’s slightly dusty to start, needing
time for the purple cloud ofjuniper to spread. Think
of a distilled fir tree and you'll not be far off the mark.
Austere, it’s for classicists, not modernists.

4 : G8: A boldly assertive mix, so stretch out to 1:3 or more.

: The dryness also makes the quinine more apparent. It’s
- balanced, but not for the faint-hearted.

4.5 With Sicilian Lemonatle: he expecting a clash here,

IMPORTED. . butit's surprisingly well behaved, adding a subtle, angular
: citric element.
=zG FOUR TIMES in
O2L0'S-FINEST: Bari

5 Negroni: Ni Rumbustious, rich, and deep, there can be no

_ suppressing the powerful piney notes of the gin, which are

LONDON DRY GIN

PRODUCED AND BOTTLED IN GREAT BRI
* made more exotic by vermouth while Campari adds a bitter,
citric edge. Serious gear.
CHARLES TANQUERAY
AMALC.B a) os
5 Martini: Tanqueray is made for this. The vermouth becomes
» amajor contributor, adding lift while the oiliness of the gin
» comes through. Don’t mess with Tanqueray - this is how it’s
» meant to be drunk.
SS

110 GINS: BRITISH

 ELL
IE LID
E ILL STO OG

‘iquorice root « Ceenic

flowers * Fresh orange peel*Fresh lime
* Fresh grapefruit peel
TANQUERAY NO. TEN cy un
Launched in 2000 as a range extension, this claims
to be the first gin to use fresh rather than dried peels.
These are first distilled in the Tiny Ten still before the
spirit is added to the main Tanqueray pot still along
with the other botanicals.

Though the base is the same, this is miles away from

the earthy, juniper-laden power of standard Tanqueray
(see opposite). The impression is of a slightly confused
bachelor lost in a seraglio: there are masses of fresh
citrus, more green angelica, still some pine, almost
cedar/yew notes, and sandalwood incense. The palate
is fleshy with heavy florals and fruit-syrup inference,
but the pine is still there. Everything is well controlled.
It remains A Gin.

fle “Gar. The fruits Sa) the tonic clash, and the bubbles seem to
’ fragment things rather than making them cohere. Becomes
: almost soapy. , d

3.0 - With Sicilian Lemonatle: setter and more amenable with

"the fruits all binding MONE It’s light, it's fresh, and it’s,
"yes, fruity.

§ — Negroni: N2 Aromatic. The scaling back of the other two

- ingredients produces a new rose-like aroma alongside the
’ citrus, fruit, and pine. A clean and fresh afternoon Negroni
~ with a funky herbal finish.

Re as |
5 3 Martini: It’s made for this serve. If you like fragrance, go for
* the slightly wetter 4:1, which makes it luxurious. Personally,
» I'd go out to 5:1, where the juniper is in better balance.

111 GINS: BRITISH

ee . ee ice root*Ginger « Bay*
Rangpur lime
TANQUERAY RANGPUR 1 wv
Made in 2009, here we have the standard recipe (see
p.110) plus Rangpur limes. And it is, well, limey. Very
limey. As limey as if Mr Harry Lime slid down a lime tree
wearing a suit made of limes. The citric elements on the
nose almost put the whole ensemble into the realms
of bath oil, though there is some nuttiness in there. The
peels have added not just aroma but a slight bitterness,
and there seems to be a bit of sugar added to counter
this. If you like limes, you'll like this. But if you don't...

c re can one the

inine o ithard andk

me
;levelsameter
eooe

aint
ie
ee ie
: 3 Negroni: N2 The vermouth in particular has:
: aggressive lime, giving the sweetness of the
* then ture of theCampari° i i

ce Id a<a
a Gimlets, that is

a
112 GINS: BRITISH
Juniper ° Orris root « Angelica root «
Citrus peels
TWO BIRDS oy an
Made in 100-bottle batches by Mark Gamble ina
25-litre (S¥2-gallon) copper still in Market Harborough,
Leicestershire, this is a relatively new gin on the market,
beginning operations in 2012. Although contemporary
in look, one sniff reveals that it’s quite definitely -
defiantly even - old style in expressiveness. It starts
high-toned in that bright, intense, lemon-accented
fashion, but here there is also lemon balm, and juniper in
its terpene-rich element; all explosively fresh and clean.
For asecond you wonder if this might just be bluster,
but it delivers on the palate where it’s softer than the
nose suggests, adding a heathland’s worth ofjuniper
and powerful penetrating pine, before some light violet
and citrus come through. Gamble is also now innovating
with various different casks for new variants. This is a
brand to watch out for.

A5 Gtk eee mix wi rene y ofc Te a dry,

sweet, spicy, itric, and biitter all saree snd a oe 4
ie like they are at aschool.ae ‘i

2 ee
pas
ee
With Sicilian Lemonade: a intensity ae an
even when. ae aah eecee: x i
at aR
e Ze of “ro a : aes
G a -— =

5a “Hegran Ni Clean and serious | with fine melding of allthew

i components. The juniper is now better controlled and there
isanew dark element rumbling away. A thinking person 's %
= Negron! and an impressive debut. 4
Be y

: 3
Pa | iHarti expected. Even ‘chilling it down doesn’t do much
i ~ to suppress its energy. . At the start the} juniper ignites into
: action before the vermouth tries to put some sort of brake on
foie el The finish becomes lightly perfumed. Good.

GINS: BRITISH
 . A i
Angelica root *Lavender * Cardamom «
o.

WARNER EDWARDS
HARRINGTON DRY svn
Black pepper * Cinnamon « Elderflower
* Orange peel

This is distilled in Harrington, Northamptonshire, by

Tom Warner and Sion Edwards, who met each other at
agricultural college and then, post-graduation, decided
to work together. They started with the production of
essential oils but, inevitably, ended up with gin. Edwards
farms in Wales, Warner at Harrington, and some of
the botanicals used are sourced from their respective
properties. One of the main ones is elderflower and
there is a huge tisane note that comes across early on,
followed by soft fruits and the start of pine, lavender,
and warm spices. Showing real complexity, the delivery
is slow and unctuous in character with the soporific
effects of flowers. A drowsy summer afternoon of a
gin, with sharp jags of citrus keeping you awake, it’s
textured and really well made.

3.5 :| G8: At 2:1 there is still a big gin influence, so take it further
‘ out to where the effervescence can work more effectively
and allow the drier elements to be teased out. j

ae “With Sicilian mae This works much better; the lemon

and the flowers make a lovely match and it brightens up inthe
» mouth. Also makes an excellent Collins (see p.188). }
: &

HARRINGTON
DRY GIN ree“Negroni N2 The elderflower has been retained with upbeat
1 jig AN EXCEPTIONALLY SMOOTIL GIN » Campari and the vermouth emerging stealthily. Layered on
| HANDCRAFTED BY LIFELONG FRIENDS,
| | TOM WARNER AND SION EDWARDS ; the palate, then Seville orange peel. Good.
1! a IN ATARNINHARRINGTON, NORTHANTS,
| INCLUDING INGREDIENTS FROM THEIR
FARMS IN ENGLAND AND WALES. }
A TRULY FABULOUS CREATION OF FEW HY
WITCH ALL OF BRITAIN CAN BE PROUD. Kesy 114)
70clE ousted & BOTTLED OW FALLS FARM,MARAINGTON, 44% vol
Ve Northants, United Kingdom “pe- Martini: A little too fat at 4:1, so dry it a little to be able to
4
see the gin. The vermouth is naturally allied with the top
» notes, but at 5:1 you have a crisper, flintier Martini without
losing any complexity. Very good.
a

114 GINS: BRITISH

fruit * Cape gooseberry (physalis)
* Lemon peel * Sweet orange peel «
Angelica root * Orris root * Cassia bark
WHITLEY NEILL ws
As Johnny Neill is an eighth-generation member of the
Greenall Whitley distilling family (see a/so pp.65, 67, 89,
94, and 102), it was inevitable that he would create his
own brand. The question was what would set it apart.
The solution came via his African-born wife. Instead
of sticking with the standard citrus, why not use the
fruits of the baobab tree and Cape gooseberry to sit
alongside a classic LDG base? The gin is distilled to his
specification by Langley (see p.75).

The nose shows bittersweet vibrancy, with fruity

notes, soft coriander, and pine trees behind, then zesty
grapefruit, lemon, and a hint of florals. It’s well balanced
with good weight and lightly exotic. The palate is
energetic and dry with coriander-seed huskiness
coming through, preceded by ginger, a fruity citrus
blast, and big pine cone-juniper accents, before sweet
earthiness finishes things off.

4 G8I- It comes alive. Those citric top notes are given a

- boost, the juniper plays in the mid-ground, and the finish
is extended. Zesty and spicy.

ee 3.5 With Sicilian Lemonatle: The mixer is a little too bold to

. see the gin in clear profile, but it’s refreshing. Again, a little
\NDCRAFTED DF
» sweetness has helped,

3.9 Negroni: N2 There is a cacao-like element in here that

QWHLL BATCH tine cnr A generations
» holds the base line of the drink, allowing the top notes to
- lift off and add a zesty bite. Subtle tropical fruitiness then
» develops. A sound Negroni.
BR STULL
PH KIA TRUE AFRICAN 5
4 Martini: If you like the whole grapefruit/spice thing - and
coriander - this is the ideal Martini gin for you. Dry but clearly
agin drink, which can only be A Good Thing.

115 GINS: BRITISH

 SSR Sr

Seeds and root« Liquorice root* Orris WILLIAMS CHASE ELEGANT

CRISP GIN a an
root *Orange peel *Lemon peel*Hops
* Elderflower * Bramley apple

The Chase Distillery in Herefordshire started off making

potato vodka (William Chase was a potato farmer and
crisp magnate) and then branched into gin. Rather than
being potato-based, this uses apple spirit and that’s
what comes across to start with, alongside some intense
hoppiness. There are fragrant, lightly floral top notes and
it’s very New Gin in style, with low juniper and coriander
in its lemony guise. The effect is to make the gin seem
not too dry, but that will change. The palate is upfront
and citric but, as the name suggests, becomes dry. Now
there is more coriander and celery-like angelica, with the
apple coming through - almost like cider vinegar - again
on the finish.

3 5S68:1The same initial a, off is here as well with some fora?

+ notes behind. Clean and pretty dry, and: alittle austere on the
i finish, though lengthening helps.

ia = =—S7 —— — ao

3 W ith Sicilian Lemonale: The two orchards seem to be

» fighting each other here on the nose, but reach a truce on the
: palate, though it’s short- lived, as the dryness of the gin closes
» it down.

29 Negroni: N2 The hop/sour apple element is still ST SWITERE

» Becomes very fruity on the middle, but then fragments. ¢

—
GROWN,
DISTILLED AND BOTTLED
IN HEREFORDSHIRE,
ENGLAND 3 :Martini: If you keep it wet, then you can balance the vinegar
- crispness of the gin with the softer side of the vermouth,
48% Vo. 70cLe » which helps flesh out the body.

a
eee
a a

116 GINS: BRITISH

CONTINENTAL & REST
OF THE WORLD
Gin was born in continental Europe, but its
story has slowly become one dominated by
English brands. That situation is now righting
itself. Besides a renewed interest in genever
(which comes later, fear not), distillers across the
world are either reviving old styles or creating
new gins that reflect their place of birth.
It’s no surprise that Spain, the cradle of the
new G&T, has a healthy representation here and
that its gins have their own distinctive styles. The
Dutch and Belgian approach to dry gin is as much
influenced by their centuries-long experience
with genever as it is with English gins. German-
speaking Europe is also weighing in with its own
gins - again grounded on the principle of a spirit
that has been influenced by native botanicals.
This is clearly seen in the new French gins, where
botanicals and base spirit are used to craft gins
that are not only an expression of their locality
but take the category forward.
There are gins from the new small distillers in
Scandinavia, whose food culture, in which juniper
is so prominent, has acted as a creative trigger. The
alliance of the local with the global that has always
been one of gin’s mainstays aiso manifests itself in
gins from Australia, South Africa, and Canada.
Gin has always distilled the world. Now it’s
distilled across the world.
 CITADELLE M%ABVfrance
Ji ipers - 7 O Oot * el

seeds * Aniseed « Grains of paradise

* Orange peel * Cardamom Violet
root * Lemon peel « Coriander seeds *
Cubeb berries * Cassia bark * Liquorice
root « Savory * Nutmeg « Angelica root While France night not be the first country you think
¢ Cumin * Cinnamon
of when gin is mentioned, it has been produced there
for centuries. French gin made in Dunkirk was smuggled
into England at the end of the eighteenth century (see
p.20). It was a high point of sorts, and by the twentieth
century the tradition had all but died out. Enter
Alexandre Gabriel of Cognac producer Pierre Ferrand
who, in 1989, decided to revive the production of
“Dunkirk-style” dry gin. The result was Citadelle. Clean,
fragrant, and almost ethereal to start, the complexity
soon builds with pine, cassia, cardamom, and peels, all
held in check by the floral element. The palate shows
aniseed, orange peel, and more of a herbal element;
lifted, complex, and graceful.

FLAVOUR CAMP Floral/Fragrant

e:
a : G8: G&Ts can be alittle harsh, but here the tonic enhances
: the top notes, while the palate shows some mint, fennel,
camphor, and juniper. Subtle and aromatic.

ver With Sicilian Lemonade: Here, though, the gin and the
: lemon end up in an unseemly scrap.

5 3 Negroni: N2 One of the few gins that worked with any ratio of
» vermouth and any vermouth brand, showing how balanced it
» is. Light peels, floral notes, and anelegant, slow, spicy warmth
: area perfect foil for the other two ingredients. Aristocratic.

& 5 Parl
5 : Martini: Lightly vinous when wet, so dry it takes a little while
: to discern the gentle, relaxed pinging of botanicals across the
: tongue. A slow sipper.

ET RT ST I IY

118 GINS: CONTINENTAL & REST OF THE WORLD

_ Juniper +Ortis root * Coriande
_ * Angelica root « Bitter orange peel +
Lemon peel « Vanilla pod * Liquorice
DUTCH COURAGE ORY GIN
aed:
root * Cardamom

Fred van Zuidam built his distillery in the southern Dutch

municipality of Baarle-Nassau in 1974. It is now run by
his son Patrick, who pretty much follows the classic
“can do everything” Dutch distilling template, making a
range of spirits: genever, whisky, rye, liqueurs, and dry
gin (see pp.150, 159, 174-6, and 179). This “English-style”
dry gin is ultra clean on the nose with an immediate hit
of citrus, backed with pine-accented juniper. In time
there is a hint of coriander, adding a peppery note. The
palate is bracingly citric - almost like kumquat - to start,
but as soon as it begins to move, you can see how rich
and almost fruity the spirit is. This interplay between
silkiness, aromatics, and dryness continues along the
tongue. Cardamom begins to come through on the
finish with a final burst of juniper. Complex.

FLAVOUR CAMP Citric/Juniper

4 G8: Although the tonic initially seems to have the upper

» hand here, the gin comes across well on the palate. Bone dry
> and refreshing.

UOURAGE. -
4 : With Sicilian Lemonaile: The dryness of the gin works in
> this context, giving the mixer something to play with, while

UTCH
the lemon adds top notes. The finish maybe lacks a little in
> terms of length.

fwucraage Dry Gin is handerapedinthe ditilery

ratios ofancrter dlls 4.5 Negroni: N2 The peels are the driving force here and this ratio
tomblnc
themesexpriiite tngredlients to ercate an comeptional, » gives them full expression, adding marmalade and cherry.
fortwassparedinthe scarehe forfreofrtion from theweof
he > Long and mellow in the centre.
0079 bitbotanicals to the rearefal disiltion in cry sana baehes
exenpthing
/ wasdonetocreate ee the wlimate diy yin. é
Praduet of-Halland
ply aC ede
Distilled from(Grain H) Martini: Dry, but retaining a good level of sweetness at 4:1.
ASU ean 3
ce AM,Sted
byVo : Tosee the full complexity, go drier, as the citrus flies off and
: reveals the hidden depth. It becomes a pretty serious drink.

ES

GINS: CONTINENTAL & REST OF THE WORLD

 NPE ESTE CES SNOOP a a

FILLIERS DRY GIN 26

43.7% ABY Belgium 4

Made by the Belgian jenever specialist (see pp.170 and

177), this was created in 1928, uses 29 botanicals, and
was the firm’s first dry gin. The number of ingredients is
often used as a selling point in gin, but can end up being
no more than a marketing gimmick. Here, however, you
do get the sensation of genuine botanical complexity
at work. The juniper offers a sagacious and heathery
start and then it’s like walking into a spice market with
a haunting top note that takes things into a floral/fruity
realm. Water makes it slightly drier, with more orris. The
palate is explosively complex. It’s spicy, but the peels
act as acounterfoil before the juniper returns. Just when
you think it will finally dry, a sweet note emerges, kicking
off another round of mini eruptions. This is 3-D gin.

FLAVOUR CAMP Juniper/Spicy

5 G&I: Sometimes the bubbles have an important role to

play. Here they help lift the botanicals and burst them in
your nose. The aromatics and the quinine lock together in
harmony. A rich G&T for after along day.

2 With Sicilian Lemonaie: The nose becomes more peppery

but works nicely against the mixer. A little like a Gin Fizz, but
the gin is slightly overwhelmed.

4 Neqroni: N2 You need to capture .the gin’s complexity and

even at this ratio it struggles a little. Solid and dependable.

ON TRADITIONAL
ee eee g Par
RODUCT oF BELGIY
5 Martini: At 4:1, there is this slow elegance coming through,
with a relaxed release of the gin’s complexity. When drier,
things become slightly leaner and more direct but without
losing the complexity. Compelling.
[SE RS RS FI TD

120 GINS: CONTINENTAL & REST OF THE WORLD

* Grains of paradise » Nutmeg « l-
3
Cinnamon « Lemon peel « Orange i Ago
peel * Liquorice root » Star anise « : HA elgium
Cassia bark * Rosemary ¢ Orris root « :
Yarrow * Lavender blossom « Blessed
thistle * Hops * Gentian root * Angelica
root * Carob i This was brought to my attention by Geoffrey Kelly,
: who himself had discovered it when on holiday. It
transpires that the De Moor distillery in Aalst has been
in production since 1910 and uses 23 botanicals in its dry
gin. Distillation is unusual, with five separate cuts being
taken during the pass, which are then blended together.
Juniper is leading the way here - as you should expect
in Flanders - but the vast array of other ingredients
come together to create complexity. The spirit is rich
and quite deep, making this almost a halfway house
between jenever and dry gin. The roots have a velvety
air to them, while in time there is fruitiness and spicy
warm aromatics, a touch of gentian, pine, anise, sweet
peels, and lavender. The palate is soft to start and then
becomes more spicy, with cardamom playing a major
role. This is a real discovery - thanks Geoffrey!

SS

FLAVOUR CAMP Juniper

4 G8: Has that essential juniper dip in the middle where it and
- the quinine start to work in balance. A serious drink.

FLEMISH GIN
TWENTY-THREE
2.5 With Sicilian Lemonatle: White the citrus tries to give lift-off,
weight for it to happen.
4 d there is too much
Authentic handerafted gin, small batch }
:
distitked in atraditianal copper pat slide
100% grain spiut infused us ith 24 botanicals

Stokenij ‘ :
DE MOOR : f
Aalnt (Belgium) 46% vol : 45
www Hemishgin.com B Neqroni: N1 The juniper throws a thick imperial purple cloak
over everything. A bold and courageous drink that should be
drunk with a certain arrogant glint in the eye. Well balanced.

4 3 Martini: Surprisingly, the gin now becomes sweet with the

spirit thickening well. Wetness adds to the complexity in this
particular instance.

eal
a

121 : GINS: CONTINENTAL & REST OF THE WORLD

 er ¢ Ginge e
assia bark * Cardamom ° Coriander
seeds * Cubeb berries » Nutmeg * Lime
peel « Vine flower
CTVINE FLORAISON cs
Created by Jean-Sébastien Robicquet (of Ciroc vodka
fame), this is a gin that speaks profoundly of the region
from which it derives, Cognac. And everything here
says grapes - the base spirit is made from them, while
vine flowers are one of the main botanicals, which
are put into muslin bags and macerated (in grape
spirit) before distillation. The other botanicals are
grouped according to their character, macerated, and
subsequently distilled. All the components are then
blended. The gin is clear and bright, with a lifted note
that is less blossom-like but more delicate fruity-floral.
Then comes subtle juniper, lime, and ginger. It’s highly
expressive and fresh. On the palate it’s quite dry witha
retronasal lift of citrus and flowers, while the roots and
juniper stick to the tongue. On the finish it all coheres
with some cassia. Water lengthens things, the aromatics
becoming slightly more flighty.

FLAVOUR CAMP Floral

5 G8: Fresh floral with a real lift from the vine flower that
: has come fully to life. Good acidity as well, which helps in
: retaining freshness. The palate is full.

SMALL BATCH
G'VINE’ * FRANCE 0 With Sicilian Lemonade: Fragrant and clean, the lime and
DISTILLED GIN
‘ the lemon working in tandem. All very up with a sweet
* mid-palate, but a little lacking in gin definition.
4 Ws
i ee;
Went
e8
5 i Negroni: N2 (made with La Quintinye Rouge) Huge cherry
[FLORAISON'’] : notes, rich, but with a luscious top note. Gentle and decadent.

PRODUCT OF FRANCE
DISTILLED FROM GRAPES hia

Sy —— Me - é 4.5 Martini: (made with La Quintinye Extra Dry) They say it’s

ee » not made for Martinis, but if you want your drink to be light
: and fresh, then take it out to 5:1 and sip on the terrace.

LS FSS SP SSS CSE

GINS: CONTINENTAL & REST OF THE WORLD

seeds * Cubeb berries * Nutmeg * Lime
4VINE NOUAISON 439% ABVfrance
peel « Vine flower

The second of the pair of vine flower, wine-based gins

from the Cognac region (see opposite), this uses the
small berries that emerge after flowering. At a higher
strength it’s been geared more towards cocktails.
It’s drier on the nose with a little more juniper, light
coriander, and cinnamon, but has retained the fresh lime
note and sweet spiciness. The palate continues this with
more upfront cassia, liquorice, and cardamom yet still
retains the retronasal impact of delicate floral elements.
Crisper than Floraison, the finish has a similar graceful
farewell, with touches of drier spices coming through
on the back palate.

SS EE EE EA

FLAVOUR CAMP ‘hiniper/Spicy

3:5:-G8I: Rooty and dry, quite a serious G&T that suggests it’s a
* harder drink for moments of despair. The tonic actually adds
» an element of sweetness to the middle.

SMALL BATCH 3 : With Sicilian Lemonatle: The depth helps here to contrast
\ tf * FRANCE
GIVINE® DISTILLED GIN > the bitter lemon edges. Crisp and clean as the nose suggests,
» but the mixer is dominating.

5" : Negroni: N2 (made with La Quintinye Rouge) Big, quite dry,

: and rooty with serious juniper, orris, and cardamom squaring
[NOUAISON'] ‘ up to the cacao and black cherry of the vermouth. Excellent
> and muscular.
PRODUCT OF FRANCE
DISTILLED FROM GRAPES AC ASH

§ © Martini: (made with La Quintinye Extra Dry) At 4:1, it works

‘ nicely, adding a juiciness to the centre, but is more impressive
: at 5:1 where the gin comes through more cleanly, showing its
: floral herbal qualities.
ee

123 GINS: CONTINENTAL & REST OF THE WORLD

 (5S TT

=
Juniper Coriande see on pee
«Black epper: Cassia barks Vanilla
pod « Lingonberries » Meadowsweet

One of anew wave of gins from the fast-growing craft

distilling community in the Nordics, this comes from the
Herné distillery, founded by Jon Hillgren in 2011. It may
read like a classic LDG, but the effect is very different.
There is an immediate mossy, herbal introduction with a
very intense lemon note (almost lemon thyme/verbena)
before you get pine shoot, juniper twigs, and berries.
The palate manages to be both fresh and dry at the
same time. There is balanced weight, a hint of coriander,
and ajag of acidity, then a honeyed warmth spreads out
before the juniper comes back. You can imagine having
this ice cold as a shot with reindeer meat.

FLAVOUR CAMP Juniper

X GSI: In short, the gin is way too much for this.

Co With Sicilian Lemonate: It works much better here, as there

is a bittersweet, acidic exoticism. Best at quite high dilution.

X Neqroni: N2 Nothing quite matches this intensity.

45 Martini: Keep it naked and you can see how this gin is very
dexterously put together. I'd recommend you have some food
on the side as well. Excellent.

ET
SS SE SEL FS ES NT

GINS: CONTINENTAL & REST OF THE WORLD

 t chosen froma
selection of9 classic and 13from the
Cape fynbos flora
INVERROGHE CLASSIC
43% ABY | South Africa

Situated in the Western Cape near Stilbaai (Still Bay),

the Inverroche Distillery uses a wood-fired still with a
top that looks like a mushroom. Vapour distillation is
used, with the botanicals being held in a basket in the
neck. A distinctive feature is the distillery’s use of a mix
of classic botanicals and “fynbos” - the remarkable
shrubland vegetation that grows around it.

The nose is aromatic with some sharp citric notes

to start things off, then becoming quite herbal and
perfumed. Because of the use of fynbos, the aromas
are often unfamiliar and very exciting - exotic, rooty,
intense, and wild - and once opened up they show
a little juniper, plus a hint of acetone. The palate is
controlled at the start, with those herbal accents
immediately coming over with flowers. It then softens
inthe centre, but turns peppery on the end.

SE ES ET I SE EE ET

FLAVOUR CAMP Floral/Herbal

InverrocHe i

|
— SMALL BATCH DISTILLED ——
4 GSI: The aromais slightly simplified after such an exotic
experience when neat. Clean and dry, it remains exotic.

CLASSIC 4.5 With Sicilian Lemonaile: Very intense and upfront, this is
a better mix, as the herbal aspects come through well while
AS) | the citrus balances.
es oe

HANDCRAFTED
WITH WILD CAPE FYNBOS 3.9 Negroni: N4 The fynbos aroma is quite prominent, as you
BOTANICALS
| want it to be. The orange in the Campari acts as a flavour
bridge, while also adding some zing to the palate.

Product of South Africa

|
4 Martini: Highly exotic and best at a 5:1 ratio, since any wetter
and you get too many aromas being triggered. Crisp, clean,
and fascinating.

————

125 GINS: CONTINENTAL & REST OF THE WORLD

 SERRA

Undeclared but inc de: Junip

Coriander seeds * Orange peel LARIOS 315% ABN Sy
This is Spain’s biggest-selling gin, and given the volume
of the spirit that the county consumes, that’s a lot of
bottles. The aroma is light, clean, and citric with plenty
of coriander and what seems to be grapefruit peel
behind. In time, there is some peppery spice, violet, and
sage that then drifts off as orange peel comes out. The
palate is clean and light, which is probably down to the
strength, but it’s a clean distillate with light dusty notes.
It does, however, seem to head for an unscheduled
siesta on the finish, leaving the roots slightly exposed.

FLAVOUR CAMP citric

2.9 : G8: Fresh and very lemony to start with, but even at 2:1 the
tonic has the bigger say. The lack of weight is the issue here.

3.5 : With Sicilian Lemonaile: Gin and Fanta Limon was one
reason | chose Sicilian Lemonade, so this works. Clean, crisp,
SanN) and identifiable, the limon thing offers encouragement. It’s a
good drink, even if not wholly a Larios drink.

3.5 : Negroni: N2 Stuck in some deserted Spanish bar in desperate

need of a Negroni? You scan and'see they only have Larios.
Do you change your order? No, you do not. This performs
well. Not the greatest, but well short of being the poorest.

3.9 : Martini: Needs to be longer, as the vermouth dominates at

4:1. All pleasant and clean, but making a Martini with a 37.5%
gin is a big ask.

SS
ES

126 GINS: CONTINENTAL & REST OF THE WORLD

( nonee Orange
peel »Tangerine on * Mandarin peel
* Clementine peel * Grapefruit peel«
Lime peel * Orange blossom
LARIOS 12 us
This premium variant of Larios (see opposite) was made
to tap into the remarkable surge of interest in top-end
gins in Spain. It uses a dozen botanicals, with orange
blossom being added to the still before the fourth, and
final, pass. In takes the standard Larios character and
turns it up to 11. The higher strength has also helped in
retaining the more volatile top notes. The nose suggests
that an orchard’s worth of peel and blossom must have
been used. It’s pleasingly bittersweet, zesty, and crisp
with subtle pine behind. In time, the delicacy of the
blossom shows itself. The palate is elegant, if a little
light. It’s a bit like biting into fresh citrus fruits.

|ARIO
ESTO 1866 7 FLAVOUR CAMP citric

3 GSI: Initially, it picks up a lot of lime and grapefruit. All very

cool and ultra fresh with good depth. The only issue is one
UR DISTILLATIONS PLUS ANY
RANGE BLOSSOM INFUSION ’ of persistence.
PREMIUM

2.5 With Sicilian Lemonatle: Here, everything is ramped up

to dazzling levels. It’s the slight lack of length that knocks
’ it back.

; UT ae E i a Negroni: N2 All of that bouncy, energetic citrus is calmed

. : : slightly by the vermouth, which isn’t necessarily a bad thing.
A little herbal and light on the palate, but it’s fresh and clean.

3.9 ; Martini: Up and fresh, so no need for a twist. A little light,

- but here the blossom, er, blossoms and acts as an interesting
counterpoint to the vermouth.

127 : GINS: CONTINENTAL & REST OF THE WORLD

 e
SR OAes

Ve * | e ar y q i °

Thym oriander seeds ¢

Cardamom ° Citrus peels

One of the more unusual of the New Gins, Mare is

made in the Catalonian town of Vilanovaila Geltruina
chapel that was incorporated into the site of a distillery.
It’s owned by the Giro family, which is behind the mass-
market GIN MG brand. Mare is, however, a significant
step away from MG’s clean orthodoxy, since Marc and
Manuel Gird wanted it to be an aromatic distillation of
their particular environment - a true Mediterranean
gin. The botanicals are distilled either separately or in
combination to give six distillates that are then blended.
Rather than juniper, the nose offers up olive, basil,
thyme, and a touch of marmalade. In due course, you
get aniseed and a hint of pepper and then rosemary.
Only with water do the purple berries declare their
presence. The palate seems slightly sweetened but
begins to dry in the middle, which is where the fresh
herbs come out. It’s balanced, really well distilled...
but is it gin? In today’s world, yes, it is.

FLAVOUR CAMP Floral/Herbal

4 G8: Clean and with good retention of character. The tonic

MEDITERRANEAN GIN works well in tandem with the herbs.
CPerleceiin de auton,

4.5 With Sicilian Lemonate: eure and where the slightly

more forgiving mixer works a little better. Light, but with no
loss of character,

@GIN MAR
3.9 Negroni: N4 Olives are the main issue here. Great in other
_ drinks, but not when put up with'vermouth. Becomes a little
: like red pesto. ‘

{DESTILADOS DE OLIVA, TOMILLO, ROMERO, 4

i 700ml Ale.42,7%vol
4.5 Martini: Who needs to add an olive to their Martini if you
have Mare? Lengthy, sightly oily, and aromatically intense.

128 GINS: CONTINENTAL & REST OF THE WORLD

MASCARO GIN §AN ABV Spain
Produced by the Mascaro family in Vilafranca de
Penedes in a London Dry style, this signifies a move
away from the Spanish herbs and citrus axis. The nose is
well balanced and slightly waxy, with some penetrating
lemony notes and juniper to the fore. There is pine
sap and there are pine needles, a little touch of cough
sweets, and, in time, a slight chalkiness. The palate is
very pure and clean, with a rich and slightly resinous
mid-palate. Altogether it has good balance.

FLAVOUR CAMP Juniper

3 G8: Quite mild and slightly earthy, with a light mid-palate
and some lift. Pleasant.

4 With Sicilian Lemonaile: Better and clean, allowing more

of the gin to come through, especially its sweeter aspects.
Again, a lovely balance is struck.

4 Negroni: N2The juniper might suggest having this as a classic

1:1:1 ratio, but there is a delicacy about the gin, so I’ve scaled
the vermouth and Campari back. The gin adds a light drying
element to the mix. It’s a very coolly poised gin, so be careful.

4 Martini: Good at 4:1 and 5:1, with the latter showing the
depth of the spirit. The vermouth is only there to offer a
helping hand. It has some class.

EL ES I IE LE TT TD I a I I EI EOL TSE IT I

GINS: CONTINENTAL & REST OF THE WORLD

meee
* Nutmeg *
fares berries * Clove «
Cardamom ¢ Cassia bark » Cinnamon :
MONKEY 47SCHWARTWALD
* Grains of paradise * Almond « Ginger :
* Sage * Lavender * Acacia flowers * ; 4] ABY fermany
Hibiscus * Bee balm * Honeysuckle «
Jasmine * Chamomile * Bramble leaves
* Lingonberries * Spruce shoots
Pepper (six types) * Acacia * Calamus
Wing Commander “Monty” Collins arrived in the Black
root * Lemon verbena * Lemon balm
Lemon grass * Pomelo « Bitter orange i Forest in1951, opening a guest house called Zum Wilden
peel + Kaffir lime leaves + Blackberries : Affen, “The Wild Monkey”. He started to distil gin using
* Cranberries * Dog rose « Elderflower : ipotanical h sie i ABerCoanG
+ Hawthorn berries * Rosehips ¢ Sloes « : Ocal DOtANICAIS, SUCN AS JUNIPSF, INGO depres
plus Purple shamrock in this bottle : spruce shoots. After his death, the legend of his gin lived
on, but it was thought that there was no record of his
recipe. However, at the turn of the century, an old bottle
of “Max the Monkey” gin was found along with a letter
describing the plant ingredients used. Alexander Stein
worked with fruit distiller Christoph Keller to revive it.
A complex 47-botanical gin, this is highly aromatic with
amenthol/camphor lead, then fruits followed by high-
toned perfume and zest. The palate alternates between
sweet, spicy, acidic, and savoury. A light peppery edge
is balanced by intense citrus and herbal notes, with the
finish showing dark berries. A slow sipper with ice.

SS
a

FLAVOUR CAMP Ficral/Herbal

X : G8: Not applicable.

X —With Sicilian Lemonade: otappticable

X Negroni: Not applicable.

R ee
i) Martini: Best naked or ultra dry with just a whisper
of vermouth. Why add more flavour?

SS

130 | GINS: CONTINENTAL & REST OF THE WORLD

 -NOLETSSIVER DY
a Be ONESIES MED TEMAS ISTIRELAER SSL OUEC

Turkish rose * Raspberry

TOIT
The Nolet family has been distilling in Schiedam, the
capital of Dutch genever, since 1691. Ironically, most of
the world knows them best for their Ketel One vodka,
but their gin roots run deep. The family’s newest gin is,
however, some considerable distance away from the
type of spirit that Johannes Nolet would have made
10 generations back. Silver is uncompromisingly a
New Gin. The use of fruit and flower essences - made
for Nolet’s by a French perfume house - makes this a
fruit bomb of agin with raspberry, chews, candyfloss,
Starburst sweets, and no discernible juniper. It struck
meas being alittle like a teenage girl’s perfume and my
own teenage daughter agreed: Lush Snow Fairy to be
precise. There is just a hint of parfait amour. The palate
is sweet and thick with those perfumes flying over the

EDAM"Hor, |
top, and a hint of camphor at the end. Maybe I’m not
AS * Np F
r the target market.
ESTO 2

NOLETS
DRY GIN
FLAVOUR CAMP Floral/Fragrant

tt

: 2.9 G8: Not particularly enhanced by the tonic, it is sweet and

aan as : candyfloss-like. A drink for the fairground?
SILVER
IM PJOURID b
SCHIEDAM - HOLLAND

3.5 With Sicilian Lemonaile: This is bonkers. The mixer at least

gives the gin something to work against - or at least bind
itself to - and while sweet, it kinda works.

3.5 Negroni: 4 the sheer “pinkness” of the gin is (forcibly)

restrained here and makes quite a pleasant drink - if you like
Turkish Delight.

cu GENERATION
NOLEI DISTILLERY
ca) Martini: It works initially, and again if a sweeter, more
Ay 0 Jnl /47.6% yo! 10clE>
confected drink is your bag, then this is the gin for you.

131 GINS: CONTINENTAL & REST OF THE WORLD

 gn

Junir Corianders f Cage

root * Cinnamo * Ginger . Lemon peel TELSER LIECHTENSTEIN
DRY GIN assur |
* Bitter orange peel * Curacao orange *
Chamomile * Lavender « Elderflower

The Telser family has been producing fruit spirits in

Liechtenstein since 1880 and runs the only commercial
distillery in the tiny principality. Although it declares
itself to be aLondon Dry and the botanicals are not that
unusual, distiller Marcel Telser clearly has some Alpine
tricks up his sleeve, though he won't say what they are.
It is ultra-clean and fresh, with a herbaceous opening
backed with light juniper. As it warms, it becomes more
floral with green notes, some pollen, and a grassiness.
In other words, it’s alpine. The palate shows how highly
perfumed it is, with masses of Parma violet and good
weight from the spirit, before juniper reveals itself
alongside lavender.

FLAVOUR CAMP Floral/Herbal

Ja : G8: Is this too perfumed? Some may think so, in which case
- try lengthening it, where the combination works well.

3.9 With Sicilian Lemonate: The acidity of the mixer helps to

balance all the elements here and the perfume is controlled.
Again, best when taken long.

4 Neqroni: N2 The alpine intensity continues and it definitely

works better with Aperol rather than Campari. The palate is
clean and penetrating, with the gin singing out fully.

4 Martini: Pretty and lifted. Again, there is the blast of an

alpine meadow. Best at 5:1, otherwise you could suffer from
herbal overload.

GINS: CONTINENTAL & REST OF THE WORLD

 ~VAN WEES THREE-CORNER
DAVIN esii
The firm of A. van Wees has been working in genever
(and gin) since 1782 and is the last distillery still
operational in Amsterdam. As well as a range of 17
genevers, they also make dry gins, such as this, which, in
their words, “respects the English influence”. Although
it’s more aromatically forward rather than distillate-
driven, only two botanicals, juniper and lemon peel,
are used. It has a very clean, penetrating nose with
plenty of fresh lemon and pine, and provides a clear
demonstration of how naturally these two aromas bind
together. It says it’s dry, and it is. The palate is smooth,
with good complexity on the mid-palate. Just by using
two botanicals, you can see how juniper plays at the top,
in the middle, and in the base of a gin. This is really good.

FLAVOUR CAMP Juniper

3.5 G8: A classic LDG attack with juniper and an earthy note
from the quinine. Maybe a little short, but fair.

: 4 With Sicilian Lemonaile: Well mixed and clean, with the

: citrus a natural partner and the sweeter elements in the mixer
adding alittle breadth to the palate. I'd be more than happy
with this in front of me.

4 NeQroni: ni the classic ratio works well here, with that

maraschino, rooty dark depth, sage, and pine, then bittersweet
elements beginning to be let loose. Lovely balance.

4 Martini: Quite oily and rich, giving the tongue something to

work with and becoming more perfumed as it warms in the
mouth. Works equally well at 5:1.
— = / ) } —

Sa eS Fa a

133 : GINS: CONTINENTAL & REST OF THE WORLD

 nh é but include: Juni ‘
* Orris root * Cinnamon « Oran ge peel
¢ Rose petals VICTORIA GIN os ani
Victoria Spirits, based just outside, er, Victoria, on
Vancouver Island, started to produce gin in 2008,
making it one of the earliest of Canada’s craft distillers.
It claims to be the first to produce gin, and uses a mix
of classic and locally sourced botanicals, such as rose
petals. This has an oily start with a little turmeric edge
suggesting that a very creamy base spirit is being
used. There is a little cassia, some coriander, anda
marshmallow-like background note. With water there
are a few more herbal/piney green elements with fresh
juniper berries and fennel seeds. The palate is as thick
and buttery as the nose suggests, but the botanicals are
bold enough to make themselves heard. It’s almost the
same weight as a genever and could (maybe should) be
treated the same way. A gingery thrust makes the finish
quite energetic. Water renders things a little too soft,
so | would leave the drinks hard.

FLAVOUR CAMP spicy

3.5 G8: Retains a slightly herbal element reminiscent of
: woodruff and sweet cicely. The higher dilution is better here
» to achieve good balance.

4 With Sicilian Lemonatle: 4 fair accord between the two

» elements. The lemon adds length. This would also work well
» asa Fizz.

oa : Negroni: N2 The fat spirit comes through. The vermouth

helps in distributing the flavours nicely, adding a softness.

3.5 Martini: Clean with more violet notes initially. That heavy
: creamy element helps here at low temperatures, adding
: weight before cinnamon comes through. Has character.
Also try it as a Martinez.
SESE
ST ST I a EES

GINS: CONTINENTAL & REST OF THE WORLD

unde € but In
Coriander seeds » Lerr
THE WEST WINDS GIN
TRE SABRE aes sie
peel * Wattle seeds

In 2009, James Clarke and Paul White decided to put

the still that the latter had imported to goed use. With
Jeremy Spencer and Jason Chan also in tow, they set
up the Tailor Made Spirits Company in Margaret River,
Western Australia, of which The West Winds was the first
release. Their brace of gins (the other being The Cutlass)
utilize classic LDG botanicals, as well as a judicious
addition of those native to the region. In The Sabre, it
is the distinctive penetrating note of lemon myrtle that
comes across first, followed by lime and grapefruit-
like citrus - all very intense with some sagebrush-like
juniper in the background. As it opens, there is menthol;
the palate is aromatic and light, with floral hints anda
cooling quality. This is along, aromatic New Gin with
just enough juniper at the end to slow it down, and
overall an excellent balance. A name to watch.

WEST WINDS |
pS - THE

FLAVOUR CAMP citric

4 G8: Balanced and still very up, with good persistence.

» Equally good if taken longer, as it retains character.

5 : With Sicilian Lemonaile: An intriguing mix this, as you

have all the aromas complementing each other rather than
overloading things. Very refreshing and recommended.

4 Neqroni: N2 Clean with a fresh bittersweet start. Immediately

~ aclassy drink with good peels, juniper, and a rich weight to
the mid-palate. A summery Negroni, but it’s always summer
in Margaret River.

4.5 Martini: Too wet at 4:1, but when drier the full character
of the gin comes across, bringing out herbal eucalypt. Clean
- and dry with plenty character.

aie
—

135 GINS: CONTINENTAL & REST OF THE WORLD

 Eee
MORIGUER si
Gin was first made on the Balearic Island of Menorca
in the eighteenth century when it was held by the
British (between 1713-56, 1763-83, and 1798-1802).
Strategically important, it was home to a large garrison
of thirsty troops and sailors who began demanding
gin. Juniper was imported, wine was distilled, and
Mahon gin was born. Xoriguer appeared as a brand in
the 1920s. The botanical recipe is a secret, but certainly
involves juniper and local herbs, and it’s given a short
period in vats to mellow. The nose opens with a blast of
wild fennel pollen, then a dry bitter edge that hints at
wormwood. Next is sweet cicely, then comes rosemary,
mint, and a celery-like angelica. Juniper is understated.
The spirit is almost meaty and on the palate you pick up
bay, herbs, and by now assertive coriander along with
what seems to be cumin, aniseed, and lavender. There
is no gin quite like it.

FLAVOUR CAMP Floral/Herbal

4 G&I: In character; the tonic does help to slightly curb the

lavender on the palate, but also brings out sage notes.
Perfumed, different, and with decent persistence.

2 With Sicilian Lemonate: The meaty element in the spirit

is brought out here, and the flavours are now too herbal.

Co Negroni: N2 It has to be at this ratio to put a brake on the

aromatics of the gin, but no matter what you do you will
always end up in the dusty hills of Menorca.

4 Martini: Like drinking a herb garden. Perfumed and quite

oily, but with real style.

16
9
uv GINS: CONTINENTAL & REST OF THE WORLD
AMERICAN
It all started with a reaction against industrial
beer and the subsequent emergence of America’s
mighty and continually evolving craft-brewing
movement. In time, many of these brewers
decided to branch out into distilling, but with
the same founding principles: small-scale, local,
premium. From the start, gin was part of their plan.
They joined some existing specialist distillers,
then had their numbers boosted by bartenders,
historians, and writers; the curious wanting to
make something that was new and different.
Some looked to distillation techniques,
others to the past to create a “what if” scenario
of American gin had Prohibition never happened.
They foraged and macerated, they read and wrote
manifestos, they sprang up in urban areas and
farmland, in forests and one-horse towns. Some
rejected juniper, others held it close; some used
neutral spirit, others a lower-strength base.
America “made” gin, but America, ironically,
had never really made gin. That situation has now
changed. This is a new, exciting frontier for gin
and one that is continually evolving.
 (SR

BOTANICALS
Lavender « Sarsaparilla * Coriander ATION 47% ABV
seeds * Cardamom ° Juniper * Aniseed : 0
¢ Sweet orange peel

Aviation came into being thanks to a meeting of minds

and talents: the distilling team at Portland, Oregon's
House Spirits Distillery and bartender Ryan Magarian.
It was launched in 2006 as one of the new “New
Western” gins, in which the makers felt that juniper
need not play such a forward role. Like many New Gin
distillers, Aviation not only dialled down the juniper to
create “a botanical democracy” but added some new
Z : : aromatics, in their case sarsaparilla. Broad and slightly
& ‘, fleshy on the nose with a background powderiness,
: \ initially it’s quite high-toned with cardamom, a little
P< ae cs= ; lavender, anda touch of mintiness, lime, and coriander.
The palate has an intriguing mix of the bittersweet, a
floral lift to start that deepens into spice, and a hint of
pine on the very end. This gin is at the forefront of the
New Western brigade.

y| © AMERICA
GIN
N: : FLAVOUR CAMP spicy 2 oe
BATCH DISTILLED
FROM AN ADVENTUROUS BLEND OF :
SPICES FROM AROUND THE WORLD : 4
‘ : : G8: At the start quite overwhelming and floral with a
42% ALC 5 : ah copes ; ;
BY VOL 01007 aizhvor : big hint of aniseed and a bittersweet edge, which could
| —_—— i ; : be that sarsaparilla. More spices - cardamom in particular.
It's not your average G&T, but then it doesn’t want to be.

phe : With Sicilian Lemonatle: The mixer adds some citrus,

: but the overall effect is a little flat.

3.9 : Negroni: N3 Clean with plenty of the sarsaparilla and

: cardamom to the fore. Sets up quite a pungent punch
» with the vermouth. Intense is the word.

} & , ys ao Martini: The dryness of the gin is brought out here, so

6 a ; : needs to be balanced by the vermouth, which means that
4:1is ideal. Becomes quite a spicy drink.

SE SS TS ES a TS NE ES

138; sCGINS: AMERICAN

Juniper
+ Coriander se ds « Bitter : 0
orange peel « Grains of paradise « : 4]A)ABV
Angelica root * Cassia bark « Orris
root * Cardamom * Tasmanian
pepperberries

Although Seattle gin specialist Captive Spirits is a

relative newcomer to the scene - it was set up by Ben
and Holly Capdevielle in 2011 - it doesn’t ride with the
New Western gang (see opposite). Anyone weaned on
classic juniper-forward dry gins will recognize this as a
kindred spirit. Citrus ignites the procession of aromas,
closely followed by very purple juniper, with that bright
berry note that comes through in some of the American
New Gins, which in turn could be down to supporting
botanicals. The palate shows it to be gentle and soft
in texture (the botanicals rest on a corn base spirit),
with a peppery note from coriander and (presumably)
pepperberry. It remains spicy on the finish, and is overall
very well balanced and controlled. Even the crustiest of
traditionalists will be impressed by this.

4.5:“68:Works nicely, with ee classic Taare giving

sgcrunch to the palate, citrus and |
pepper topping and tailing.
» Becomes alittle sweeter and lasts well. It does need a citrus
neeWeage though. Maes ; i
st
teen ee

#
3ie With SillanLemonade: As with tonic, the: sweetness at
> this gin’s heart comes through, although I'm not sure that
: the bitterness of the lemon is the ideal partner. |

Sy ig
150 ML 94 pRooF wate. NNO :
arc
Tia —__ | worn 33 le : 3.9 |“Negroni N1 Big and punchy, with that peppery element
== ; p :adding some tingle to the tongue. Maybe alittle too sweet _
CAPTIVE opens em aTTuenWa : forclassicists, but it works.
vi
=

4 - Martini: 4:1is simply too wet- the j

juniper is too stronga
> component here- but bring it out to 5:1 and it works, as long
as you like classically Dry Martinis with a juniper/rooty flow.
: Peppery tail-off. Good.
eS

199 «GINS: AMERICAN

 SELLS

Sonlbct one root * Coriander seeds I} RIVER 4]9/ ABV

; 0
* Angelica root * Cardamom * Lemon
peel » Orange peel

Founded in Freeport, Maine, in 2005 by Chris Dowe,

Cold River’s claim to fame is that its spirits (it makes
gin and vodka) are based on potato; Maine potatoes,
to be precise, grown by partner Donnie Thibodeau
at Green Thumb Farms. The gin, which was launched
in 2010, has a base of triple-distilled pot-still potato
spirit. The start has quite a penetrating piney juniper
(this is very much in lime with classic dry gins rather
than the New Western approach - see p.138) with light
lemony coriander and angelica in its sweet green leafy
expressiveness. Water brings out light citrus, more
cardamom, and a general floral note. The nature of
potato spirit plays its part as well, particularly on the
palate where its creaminess comes through. The juniper
is retained, but the aromas become increasingly lifted,
with along, ripe finish.

o\
v\
3\
2\
FuvoutGIMP Juniper
°
=
a |
Saye 18) Gara: R »
3.5 G&T: allows the tonic to bring the botanicals forward, juniper
=|
zs
: and cardamom especially. Quite creamy still, which makes
e
2 : this a pretty weighty drink that some might want to lengthen.
a
a]
=]
s
°/

3.5. With Sicilian Lemonatle: Now it's the turn of the roots to
come through. The palate remains rich, but the citrus picks
: up freshness.

= SSIES a0" Negroni: N1 The richness ofthe spirit means that it ends up
; BRO WUct ay crsiUin ican Scarce GHASMBAICA | i - slightly sweeter, so scale back the vermouth in particular.

To mon ve
PROOF | :
:
: More floral characters begin to emerge. Decent balance.

: so Y
7 SOM | gang Auc. By Vor. | 94
ac EN Ji 3.9 Martini: 4:1 makes it really big boned, so it's worthwhile
; : upping the gin. Floral again, with more cardamom. Clean but
© certainly rich.

140: GINS: AMERICAN

 DEATH'S DOOR svc un
In 2005, The Death’s Door Distillery opened on
Washington Island (which lies between Green Bay and
Lake Michigan) with the laudable aim of being as local
as possible. The base is a locally grown wheat/barley
malt-based spirit, while the botanicals are a very simple
mix of juniper (from the island) and Michigan-grown
coriander and fennel. The intense lemony/fruity note
that comes out early on makes you wonder if Michigan
coriander is different, while the piney juniper has a
resinous berry brightness. On the palate, the juniper
becomes more lavender-like, then there is an explosive
spicy-fruity coriander note in the centre, before aniseed
starts to build, along with a light mineral note. The base
spirit has a generous feel, unusual in dry gins but might
ring bells with those who have tried genever.

iz WASHINGTON ISLAND

MADE WITH ORGANIC HARD RED WINTER 7

WIEAT FROM WASHINGTON ISLAND, WI. f
SIMPLE © LOCAL 9 EXCEPTIONAL

5§
LElofi.wide add,
Lyuniper Mid)
& VARLOUS ORGANIC BOTANICALS S|

141 GINS: AMERICAN

 RD

Orange peel *Lemon peel Geran

peel «Cinnamon
DOROTHY PARKER sv
This is made in Brooklyn by the New York Distilling
Company (Allen Katz and Tom Potter - see a/so p.181)
and named after the legendary writer, wit, and - more
significantly in this instance - gin drinker. It’s not as
acerbic as Dorothy, opening with a tightly focused
citric burst followed by fruit and flowers, with terpene
juniper notes in the background adding structure and
depth; very much a modernist take on some very old
principles. The palate shows more of the heavy floral
richness, which now turns the juniper more lavender-
like. All of this is balanced by zesty citrus - grapefruit
is the most prominent - coriander, and finally some
cassia. In its neat state, so much is vying for attention
that the addition of water is a relief, when every element
ceases trying to outdo the others at the table and the
true balance is revealed. It manages to have a dry gin’s
austerity with a heavy floral depth.

DOROTHY

PARHER ‘:Gal: Everything iis well ecaed and balanced. Very fresh,
; zingy, and citric, Best Seek at 1:2. Fy ie

Th
DISTILLING
ae i With Sicilian Lemonade:|
I'd have thought that all the peels
» would have made this a no-brainer, but the Ove tie isa
COMPANY : bit clumsy, gue
ee
4.5 : Negroni: N2 More of the grapefruit and flowers here, which __
» meld with Campari, but the elderberry and juniper are
: working hard behind the scenes building alliances with the
: vermouth. Becomes very rich.

44% ALcyvor (ga pRooF) 750M 4 Martini: Lots of fruit peels and flowers, and while there is
- an initial standoff between juniper and vermouth, they end up
in harmony. It louches (turns opaque) at low temperatures.

en

142 GINS: AMERICAN

* Elderflower « Citrus peels » Thai
GREENHOOK GINSMITHS
AMERICAN DRY 4 wr
blue ginger * Cinnamon « Orris root «
Elderberry

In recent years, Brooklyn has become a centre for

artisan distillers. The DeAngelo brothers, Steven and
Philip, started their dedicated gin production in 2012.
Production - off a wheat-based spirit - is ina copper
pot still that is run under vacuum, giving a lower boiling
point, which, the theory goes, increases the intensity of
the botanicals without any vegetal or stewed aromas
coming over. It does share an intense penetrating
opening with other American New Gins. Here, it’s a
kumquat-like citric element with some green fruit
and florals. It then becomes slightly more orthodox as
juniper and coriander come out (fear not, it’s still gin).
Equally fresh on the palate, it shows more chamomile,
with juniper setting up shop in the middle of the tongue
over a dusty, spiced background.

4 G&l: The florals come through more clearly here (even

» more so with Fever-Tree Elderflower Tonic); a good level
: of complexity. Crisp and dry, if just a tad bitter.

GREENHOOK
GINSMITHS 4.5 With Sicilian Lemonate: The citric opening returns.
: Zesty and quite long, with a soft centre and low spice.

4 : Negroni: N2 More juniper emerges now and this mix

» allows you to experience the gin at its best. Good balance
* and integration.

ae : Martini: Clean and very pure, but needs the vermouth

to put some flesh on its bones.

GINS: AMERICAN
 Sa

JUNIPER sm
BOTANICALS
Undeclared but officially “more than a
dozen” - there is certainly juniper!

Fritz Maytag, the founder of San Francisco’s Anchor

Distilling, liked to ask those awkward questions that
challenge orthodoxies. What would a 100 per cent rye
whiskey be like? How would a juniper-heavy gin taste?
His answers were liquid re-creations from America’s rich
distilling heritage. The arrival of Junipero in 1996 didn't
just re-create a taste of the past but demonstrated that
premium artisan spirits could be made in the USA. It
started an American New Gin revolution.

Junipero’s nose is all terpene-rich juniper with some

supporting lemony coriander. | think it’s become less
extreme than it was in the nineties (or maybe the world
has simply caught up), as there is some citrus on top as
well as a muscular violet note. The palate is soft, rich,
and unapologetically pungent. Not only symbolically
important, this tastes great.

FLAVOUR CAMP Juniver

5 : G8: | thought it might be too much for the mixer, but the
: tonic takes it on mano a mano and a sweet fatness comes
» through. The botanical depth is open with more cinnamon.
» Balanced. It does need citrus, but works very well.

eae, 3 With Sicilian Lemonade: Slightly bitter, which is no bad

: thing if there is enough sweetness, but I’m not sure quite
: enough is present.

i] Negroni: Ni Muted nose and a dry start, then huge cherry,

ore
aneVala on » cacao, and pine come through. Rich, deep, bitter, and
» deadly serious.

a) 9 :Martini: At 4:1, it’s fresh, vinous, clean, botanicals-effusive,

Dish ChaleDilly Gh Fe
a > and brilliantly drying on the tongue. Even here it might be
: too dry for some.

144 GINS: AMERICAN

BOTANICALS
Undeclared but include: Juniper
* Coriander seeds * Cardamom «
Bergamot
LEOPOLD'S NAVY STRENGTH
41% ABV
The Leopold brothers, Todd and Scott, began craft
brewing in Michigan in 1999 and expanded into distilling
two years later. Today their operations are in Denver,
Colorado. For the Navy Strength they have removed the
pomelo from their Small Batch gin and replaced it with
the more intense bergamot. The amount ofjuniper has
been doubled, while coriander and cardamom have both
been upped. All are distilled separately. Surprisingly, this
Spinal Tap approach, with those big aromatics turned
up to 11, has not just made things more junipery, nor has
the high strength made things too hot. Instead, there
is a bouquet’s worth of peachy, floral essence released
with a big bergamot hit. In time, it becomes more like
a perfumed juniper eau-de-vie, with notes like lemon
grass and white pepper, then an estery, perfumed note,
while the palate retains an almost Turkish Delight quality
before a bergamot, pine, and roots finish.

&FLAVOUR CAMP 2 loral/Citric/J ee

LEOPOLD'S
3.9 GSI: The tonic helps to dry things down, reducing this
» potpourri of aromas. Good balance and cleanliness.

Navy STRENGTH AMERICAN GIN

3.9 With Sicilian Lemonatle: Clean and vibrant, the flowers

‘ being held in check.

3.5 ; Neqroni: N4 Intense. The floral aspect and bergamot behave

NAVY STRENGTH BATCH No. 1Wol— : like hooligans with the Campari to start with, while the juniper
Because itb wasstorednext to gunpowder munitions
oR om asal warshtfi
: initially sulks. Then it reaches out and manacles itself to the
ri tog Ske
NavyStrength
sisgun wd
ginwasdistil a proof justfiighenough
<ftng our versionofthis maritime spirit, we indiwidualy is * vermouth. A boisterous mix.
ancl, creating a bold, aromatic gin perfect for classic G
witi ~-750mb, 114 Proof, 57% Ale. 6% sas
4 : Martini: The higher alcohol helps to give this a very unctuous
: feel, and the vermouth (when at a 5:1 ratio) adds a pleasant
» green note. More juniper comes across and the bergamot is
: better balanced.
a

GINS: AMERICAN
 Re a

ared but officially

“between 8 and 11”, including: Juniper
¢ Bergamot « Lemon peel *Cardamom
NO.208 46% AB
* Cassia bark * Angelica root *
Coriander seeds
Launched in 2005, No. 209 comes from a distillery
that perches over the water on San Francisco’s Pier 50.
It was founded by Leslie Rudd, who owned Dean &
DeLuca andis still proprietor of Rudd Oakville Estate
Winery and Edge Hill Estate (which is where the original
Distillery No. 209 was located). Its 7.5-metre (25-foot)
tall still was modelled on those in the Glenmorangie’s
whisky distillery, which isn’t as surprising as it seems,
since Glenmo’s were originally taken from Edward
Taylor’s gin distillery in Chelsea (see p.63). No. 209
opens with fresh citrus - lemon, lime, and bergamot
- before some gentle juniper emerges over a discreet
floral back note. The palate has a mass of citrus to start,
a substantial mid-palate showing lavender, fennel, and
celery, and a warm cardamom and cassia-accented
finish. This is a serious and balanced gin.

x
Sy :- G8T: Glorious, with areal lemon |lift. One of those
e i combinations where everything pulls together andis — o
» enhanced. A quintessential G&T. Excellent. ;
oe ; a fee ae

4,5:With Sila Lemonatle: Naturally it's citric, but ae

» the:gin slides away slightly, there is weight and oilinessthat
7 : fleshes out the mid-palate. ;
: ite bay a \
= es ue
ey

4a:- Negroni: N2 Quite dry and very spicy. Cardamomisthe =

rm *

trigger here, sitting in the centre and influencing everything. ¥

: There is a dried herb note, and it remains quite sweet and
DISTILLERY N98 209 3 cherry-like with a bergamot. © *
SAN FRANCISCO eo a

ou “Martin:
: The
1,vermouth Scorers a herbal backing, ah.
its vinosity adds to the texture and brings a gentle sweetness.
: Highly complex and gently Hevaing: Equally good eis
*Classical at Si. a
pi aS a ie

146 GINS: AMERICAN

°SBercamer ° Black |Boon erc
* Caraway seeds * Cardamom *
ST. GEORGE BOTANIVORE
45% AB
Coriander leaves * Coriander seeds *
Cinnamon ° Citra hops ¢ Dill seeds «
Fennel seeds * Ginger * Lemon peel «
Lime peel « Orris root * Seville orange
peel « Star anise
Jorg Rupf started making eau-de-vie at his St George
Spirits distillery in 1982. Since then, the distillery has
expanded to fill an aircraft hangar (where Hangar One
vodka was born) and the portfolio to include single malt
whiskey, absinthe, rum, and, from 2011, gin. This is its
celebration of botanicals - 19 of them. The distillation
involves putting three (juniper, bay laurel, and coriander
leaves) in a vapour basket while the others are steeped
before everything is distilled. The aroma is garrigue-like,
with a huge herbal impact, then comes heady citrus with
bergamot poking through before hints of pine, followed
by wild greens. The palate repeats these elements but
with more aniseed, and only on the end does the juniper
come out of the miasma holding hands with orris and
cardamom. It’s focused, complex, and generous.

e
SSOonthe
conte
epee d.compl ae *
pea tof
‘lengthnening rea: On a
mm
‘OISTLLERS.
GE, GRORGR
ence) 902 Dirzrfotapled in (ian

poTANTVOry, ©j waamae:
ther
Clesnange
Sti Lenae

GIN
SP betantedl balancing at Vy
, Paes
he hight order, put distilled s \ ae Fe
ce"Hern Her thatherbal note offers ioe awe
ana of chotee herbs, fie hile the peels (especially bergamot) go to the
Seeyvco)! and clr mpari. It’s a huge and ee ffling array. I’d keep thing
45% ALC BY VOL : eee Cona < 2 S ce a és

far
Martini.USE — : nave
oe
it itd no iy
* need for more 5, Becomes more piney, spiced, aniseedy,
a dry. Great.

a £

147 GINS: AMERICAN

 Pere ene ne era SN Se cA SE NSIS DENSON I]

GT GEORGE TERROIR GIN

BOTANICALS
12 in total but the only ones declared
are: Sage * Douglas fir * Juniper °
Roasted coriander seeds ° Bay laurel

45% AB
Distilling eau-de-vie, which is how St. George’s founder
Jdrg Rupf and its current owner/master distiller Lance
Winters started (see p.147), means capturing the purest
essence of the ingredient, and this concept is central
to understanding the firm’s Terroir gin. This is not just a
distillation of botanicals but that of a place, specifically
the forests and chaparral behind the distillery. There is
Douglas fir, sage, juniper, and bay laurel, as well as wok-
roasted coriander seeds (it’s not native, but Winters says
that the roasted seeds smell like the chaparral). The sage
and fir are distilled separately, the juniper and bay ina
vapour basket, the rest in the body of the still. The result
is a hallucinatory plunge into a forest. There is pine, resin,
a sage note, a velvety menthol lift, citrus, a big geranium-
like laurel note, bay rum, bruised spices, juniper, and then
herbal aniseed. It gets even rootier with water. On the
palate there is massive retronasal impact. It’s a trip.

X G8: Too massively complex.

=, Sa,Nsroiafbed
feu
GROEN ia Gillniz

v PERRO R
X .With Sicilian Lemonade: really doesn’t work here either.

Gin
Manipioly Calfarntan yn
pe ofplace und poclry,®
X : Negroni: The nose offers hope. |mean it’s as OTT as you
: would expect, but the palate is a pile-up.

e le
3: Martini: Have it naked and start by running through a moist,
: old-growth forest. Immense amounts of fir, pine, and bay. End
: up sweating in a hogan scented with sage incense. Love it.

SSS aA ea ee

148 GINS: AMERICAN

OTHER GINS
In our lust for the new, we can forget what has
come before. Thankfully, one of the key elements
of being a distiller is having a keen awareness
of the past. Styles are kept alive because of
a mercifully stubborn belief in their quality.
Genever is one of those styles.
This is where gin came from, yet it has
been ignored by drinkers in its native lands
and misrepresented by the rest of the world.
No longer. Genever is now, once again, a player
on the world stage. It’s a link to gin’s past, anda
bridge between gin and whisky - another facet
of gin’s future. Please do not pass it by. These
are remarkable spirits.
Bartenders, too, have a deep appreciation
of what has come before, and with gin’s revival
came a resurgence of interest in old-style drinks.
To make them, they needed “old-style” gins, and
distillers obliged. We are now, joyously, in a world
where Old Tom is once again being made and
being drunk, a world where cask-rested gins are
being appreciated.
The same goes for fruit gins: the sultriness
of sloe or damson, the sweetness of raspberry,
or any other fruit you can imagine. You can buy
it ready-made in bottles, but you can also make
your own. All you need is access to ripe fruit, a
freezer to pop it into for a day, good-quality gin,
an empty bottle that you half-fill with the fruit
and top up with gin, and time (I’d say 12 weeks).
Oh, and some simple syrup or gomme (see p.188)
for adjusting the sweetness after it’s ready.
 iS SS

« Angelica root *~ sweet orange peel ;

Cardamom ° Vanilla pod

ON WalMBNetheriands:

It was only a matter of time before Patrick van Zuidam

made an Old Tom. After all, he’s done every other style
of gin and genever (see pp.119, 159, 174-6, and 179).
Released in 2013, this has also been rested in cask for
a short period, adding a light lemony hue, while the
oak notes are there from the off. The spices are quite
dry, meaning that the nose has no real indication of
sweetness. Instead, there is preserved lemon (whole
lemons are used) tied into coriander, pungent spice,
and a light nuttiness. Rather than taking it neat, best
add a drop of water to soften the aroma and make
it more expressive. Only then does the piney juniper
come out. The palate, however, is clearly Old Tom with
honeyed, fruit syrup notes emerging alongside mint,
juniper, coriander, and Christmassy spices. The oak is
balanced and lightly vanillic. Water again make things
cohere and amplifies the texture. It’s rich certainly, but
not cloying; indeed, the finish begins to dry slightly.

4 Gin Cocktail: Quite malty with a good impact from the

bitters, with coriander and cardamom more prominent
on the palate. Punchy.

aged: Wi 4 : . 1.
anierican cak : : 3.9 Gin Fizz: Again, slightly nutty to start, but the extra
BATCH NR 001 Ba : : sweetness allows the lemon juice to come through and
YEAR:2013 Be te : scales back the oak.
TCL.
40% ALC. BY VOL.

4 : Martinez: It's too fat and sweet as a Martinez, but when

adjusted to Turf Club proportions, it works much better,
with a hint of bitterness to act as a counterweight.

150 GINS: OTHER GINS/OLD TOM

 JENSEN'S OLD TOM
There is a significant difference between Jensen’s
Old Tom and all the other Old Toms on the market:
no sweetening is used. So how, you may ask quite
reasonably, is this an Old Tom? Because Christian
Jensen believes that in Old Tom’s heyday sugar wasn’t
used - it was too expensive - and that the sweetness
came from botanicals instead. The debate continues.
No surprise then that this is a very different type of Old
Tom. Big and quite broad, in the Jensen style, the spirit
seems to have more of a say here. This is from his new
Bermondsey distillery (see 9.93), and has a slight malty/
nutty touch that takes it closer to genever. Juniper is
high up in the mix, with an earthy rootiness and some
peppery coriander, but little in way of any citric uplift.
Water adds some florals and a note similar to sesame
oil. The palate seems very dry to start, with pine and
sage. The sweetening is really very subtle, making this
more of an off-dry gin. Water improves it in terms of
spread and complexity.

jensens

X G8: Massive impact, but on the palate the tonic goes one
way, the Old Tom the other.

gin as
3.5 Gin Fizz: You need to dose up the drink with more sugar in
it was. Gin as jt should be order to hit a decent balance here. When you do, it’s quite
LONDON DISTILLED
rooty yet decent.
OLD TOM GIN

7OCL 43% VOL.

4 Martinez: The best ofthe trio (these Victorians knew what

they were doing). The maraschino is the key here, picking
up the violet edge and running with it, then linking into the
- cherry depth in the vermouth. Decent.
a PE ET a TE

151 GINS: OTHER GINS/OLD TOM

 Pe eeNRE OPA aS ET)

roots lemon peer Orange peel: HAMMER & CON OLD

Orris root *Cardamom ° Cassia bark *
i tere agaturmeerngy hiner ENGLISH Hi 449% ABY II

Although this doesn’t declare itself to be an Old Tom,

it doesn’t need to. This is a re-creation of a recipe from
1783 and, at that point, gin was sweetened. The bottle
itself even reflects the times before gin was bottled by
producers. Distillers would supply gin to merchants
who would either store it in cask or bottle it, maybe in
their own branded bottles, or into whatever was around.
Clearly the merchant here also did a roaring trade in
Champagne. It’s all very well thought through, as you
might expect from Henrik Hammer (see p.85) The gin -
made at Langley (see p.75) - is excellent. The sweetness
isn’t too overt (4 grams per litre is the dose), but well
integrated into the mix, adding weight to the forward
green, woody notes of angelica, oily juniper, and crisp
spiciness. There is a sense of amass of flavour being
held in check. Water releases sage, heather, and more
coriander, while the palate has a fizzy, lemony, vibrant
nature that counters the very subtle sweetening, which
liquorice also helps along. This is a balanced, serious gin.

RE OLD POT STE

& 3

Bail 4 a a G8: Assertive, with plenty of eo elements. The Old Tom

OS : » sweetness only kicks in quite late on, balancing out the roots
& SON i : and quinine. Decent.
LTD. i ;

AD ORIGINEM 1783 q : 4 : Gin Fizz: Very clean and zesty, with excellent expressiveness
a : : from the gin. Lip-smackingly clean and balanced.
Old English | |
5 Martinez: The gentle nature of the gin’s sweetness means
ns
hte ne * that it isn’t too sugary when the vermouth is added. Instead,
ay P AND ported IN ©
» you pick up more bitter notes and richness. Complex,
balanced, and with a savoury edge.
SS
RL SS LT SS TS

152: GINS: OTHER GINS/OLD TOM

Cinnamon * Oran me HAYMAN \ OLD 10M {0% ABY Uk
¢ Angelica root ¢ Orris root * Cassia
bark « Liquorice root

The launch of Hayman’s Old Tom in 2007 was a sign

that gin was once again being taken seriously - by
bartenders at least. An interest in old drinks and a lack
of Old Tom would make the decision an easy one you
would think, but it was still a risk. Bartenders may want
it, but would the public want to drink sweetened gin? It’s
one thing making a drink purely for fun, quite another
to make it commercially viable. The fact that it is still
around shows that the distiller was right. This gin is from
an 1870s Hayman family recipe and sticks to the firm’s
botanical line-up but in a slightly different ratio and,
obviously, with sweetening. Here you get more of the
perfumed violet aspect coming out, along with some
orange, liquorice, and a little marzipan. The sweetness
seems to give everything a gentle push along, and
there is eucalyptus, peels, and gingerbread when water
is added. The palate is mellow, still allowing acidity
from the citrus (orange especially) to come through.
It thickens rather than sweetens. You lose the crisp
definition of LDG, but without sacrificing any levels
of complexity. Job done.

is
— ——

OOO
: sc —
- 2.5
- |
G8: Works well on the nose, bringing out more top notes.
ww
note, as set G ]N : * The sweetness slightly skews things on the palate though
MAVOL tke : ’ andit becomes alittle flat.
Wry
—

4 : Gin Fizz: Zesty and lively, with the sweetness ofthe gin
* countering the attack of the lemon. A well balanced and
- refreshing drink.

: 9 : Martinez: Very nineteenth century in its velvety sweetness,

ee eee of) ee : - but well balanced because the gin isn't overly sweet. The
; » bitters pull everything together into a rich briary/herb/root
- combination. Excellent.
a
SETT

153: GINS: OTHER GINS/OLD TOM

 SRE Sa

ina
Clove * Orange peel BATHTUB OLD TOM Glk
24% UK
After the success of a gin allegedly made in his
bathtub (see p.62), Professor Ampleforth continued in
his explorations of gin history and at the suggestion of
The Handmade Cocktail Company decided to re-create
an Old Tom-style beverage. Once again, the technique
of cold compounding has been used. The nose indicates
sweetness, with some juniper and a fair whack of clove.
The palate is quite thick and needs time to relax and
open. There is considerably more cinnamon in the
mouth than on the nose, and it becomes a little cloying
on the finish. Water helps to lighten things, but the
slightly medicinal clove note continues and the finish
remains overly sweet. It’s perhaps more of a liqueur
gin than an Old Tom.

ce) G&l: It works well on the nose, that sense of depth and
» sweetness working against the dry aspects of the tonic.
» Apleasant, sweet G&T.

4 — GIN FIZZ: This works well as long as you're careful with

» the sugar - the gin has enough. Get it right and there is a
» balancing act with the edgy lemon and the sugary gin.
» This has a certain verve.

4 Martinez: tris gin was made to act as the base of a Martinez

and it comes through well with cinnamon and clove. The bitters
» make it more savoury. If it's too sweet, reduce the vermouth
» levels and add another dash of bitters.

194 GINS: OTHER GINS/OLD TOM

 RANSOM OLD TOM saris
. aoe . seneesaes teeeeeee steeeendoes se

Juniper
* Orange peel *Lemon peel
¢ Coriander seeds * Cardamom +
Angelica root * Aged in 100 per cent
French oak wine barrels for 3-6 months

Sheridan, Oregon’s Ransom Spirits was founded by

Ted Seestedt in 1997 as a producer of grape-based
spirits. He branched out into wine, then came
whiskey, vodka, and, in 2009, gin. But not any old gin.
Underpinning Seestedt’s spirits is an appreciation of
history and so he worked with his buddy, writer, and
cocktail historian David Wondrich (see a/so p.181). For
the latter, what was missing in gin was a liquid that
could accurately re-create the spirit used in the first
age of gin cocktails, which were built upon Hollands
or Old Tom (see p.23). The base spirit is malt, and the
botanicals are steeped in corn spirit, then distilled
ina direct-fired still. Old Tom would also have been
aged - for as long as it took to get to market - so this
gin goes into oak until it gains the correct character.
It’s big, slightly yeasty, and rich, with medium levels
of sweetness, floral notes, light oak, marmalade, high-
flying spices, and candied peels. The palate is creamily
rich and powerful, with the botanicals nearly encased.
Cardamom and juniper show more distinctly as it opens
with water. Off-dry and integrated, this is a class act.

Ys Sy
3
Old Tom Gin 3&
i Cue

Us whic (Be Gj tillatian

4 Gin Cocktail: A complex nose with clove, angelica, orris,
art mete?
and coriander seeds. The bitters are a little too prominent
errel Aged dev0te bari
on the end of the drink.
ou, yrange erricn.lt
cervacmacoe pombs At apelin #8

Manderalied frou Naturally Farmed Grains aod Retasieals

Batch No: 008 Bottle No:0575 5 Gin Fizz: The gin absolutely flies here, showing its full
8S Prowt)
complexity. Only a little sweetening needed. A real slinger.

ey .
5 : Martinez: This is the drink the gin was made for. The oak
gives structure; the mix is complex, balanced, and layered,
» with a robust and hearty elegance. Glorious.

Ee

199 GINS: OTHER GINS/OLD TOM

 NR

orange peel * Angelica root « Grains

of paradise * Cassia bark * Orris root *
Cardamom « Tasmanian pepperberry °
BOURBON BARRELED
Bl Hi 47% ABN US
Aged for 6 months in ex-bourbon casks

Coming from the new traditionalists Captive Spirits

in Seattle (see p.139), this gin has spent a six-month
period in ex-bourbon casks, which have had avery
light impact on it, just sufficient to give little more than
a suggestion of vanilla and a light grind of nutmeg.
As well as that spicier nature, there also seems to be
even more citrus here, with juniper being scaled back a
bit from the standard bottling. The palate is very clean
and has no aggression, and is not just a corn-based
spirit but cask-mellowed. Only now does it move into a
juniper forest with a twist of pepper. It needs a drop or
two of water (or ice) to make a pleasant aperitif. It also
works excellently with ginger ale, the sec extending
and sweetening the finish.

pOURBON BARREL Ep A

3.0 Gin Cocktail: More vanilla comes through now. The spirit
remains creamy and calm to start and then heats up into
pepper flakes on the end.

3.5 Gin Fizz: The nose works well because of the light, creamy
- edge cutting through the lemon and soda. The roots have
a part to play on the palate. A fair quick drink.

4 Martinez: This needs to be shifted up to a Turf Club ratio to

let the gin come through. Now the juniper and pepper have
- achance to add edge to the vermouth.

GINS: OTHER GINS/AGED

Lemon peel « Bitter almond * Angelica
seeds and root « Rested in ex-Jean de
BURROUGHS RESERVE OAK
Lillet casks made of French oak

RESTED GIN 4%AV

Created by Desmond Payne in 2013, Burrough’s
Reserve uses the standard Beefeater recipe (see p.63),
but then the gin is given a period resting in Jean de
Lillet casks. The wood influence is not too prominent
- Just enough to impart a straw colour - but it has
acted as a vehicle for mellowing, lightly oxidizing and
sweetening the flavours (Jean de Lillet is Sauternes-
based). The classic Beefeater elements of citrus and
juniper are there, but the effect is considerably more
subtle and drifts the aromatics into Yellow Chartreuse
Cin which angelica is a big player) territory, with a slight
floral, apricot note. The palate is clean with a little heat,
and it does need water or an ice cube to calm it down
- which is also a perfect way of drinking it; ginger ale
works as well. It’s balanced and elegant in the mouth,
with a slightly sweeter edge and then a gingery, dry
finish with more roots and juniper.

5 Gin Cocktail: The bitters meld in prettily, seemingly pulling

» out more Lillet notes. The gin remains subtle and clean. Soft
» and rather sophisticated.

3.5 Gin Fizz: Clean and fresh with good energy and the gin
: adding alittle weight. The wood isn’t too obtrusive, but it’s
» not quite balanced.

5 MartineZ: rich and sweet, with fruity depths and mulled

*» notes alongside an added biscuity edge. A quiet drink ina
* gentleman's club in the evening.

Lene eee

157 GINS: OTHER GINS/AGED

 Cee ——

eel
seeds * Aniseed«* Grains of paradise °
Orange peel *Cardamom ° Violet
-CTNDELL RESERVE 2013
root * Lemon peel ¢ Coriander seeds *
Cubeb berries * Cassia bark * Liquorice Mh AYFrance
root * Savory * Nutmeg « Angelica root
* Cumin seeds * Cinnamon * Aged
first ina mix of ex-Cognac, Pineau des
Charentes, and American oak, then After five years of experimentation, Citadelle’s master
married in a solera vat
distiller Alexandre Gabriel has finally decided on the
formula for his aged expression (see a/so p.118). From the
2013 release onwards, Réserve will be different again.
Gabriel is now using an adapted solera method in which
the gin is split into three parcels, each of which is then
aged in either American oak, ex-Pineau des Charentes,
or ex-Cognac casks. After this, it is transferred to the
solera vat, which is never emptied. When a bottling is
made, the vat will be topped up with more gin from
the next lot of casks to be filled. This gives consistency,
more mellowing, and perhaps more volume. The effect
is an intense spiced aroma with more menthol, balsam,
and pepper than the non-aged version. The wood is
restrained and the juniper has been softened. With
water the coriander and peels kick in massively, while
on the palate you get gentle, oozing pine, herbs, and
powdery spices.

4 Gin Cocktail: Angelica comes through with some warm

» pepperiness, even peppermint, clove, and juniper. Scented.
, Becomes very peppery.

4 : Gin Fizz: Light and restrained. The gin has had a calming
effect with more violet, lavender, herbs, and pepper.

i) Martinez: Now there is an almost smoky edge, and

though the gin remains subtle, it steers everything. Massive
concentration on the mid-palate. Classic.

198 GINS: OTHER GINS/AGED

Fresh whole lemons * Liquorice root *
Cardamom ° Vanilla pod * Aged for
9 months in new American oak
DUTCH COURAGE AGED GI
iI 44% abyNetherlands

A newer arrival to Patrick van Zuidam’s ever-growing

range (see a/so pp.119 and 150), this came out in 2014.
Here, the oak is amore active participant than is often
the case in these gins, adding some charred notes
and vanilla to the nose. This mix of the cask and malty
spirit then adds in vibrant Chartreuse-type aromatics:
aniseed, cardamom, and angelica alongside menthol
and pine. The oak is prominent but not dominant. Water
makes it more vanillic on the nose with some fresh-sawn
timber - think of anew sauna - and shifts the aroma
into an off-dry area, before the spices crunch down. The
palate fights back against the oak with a big, spiced hit
and acidity from the citrus, before it mellows into clove,
aniseed, Juniper, and coriander. Good on its own - treat it
like a whisky. The issue is, will the mixes control the oak?

Be ae
DUTCH COURAGE
REAPS a
Aged
ESS
in 88
4 Gin Cocktail: The sweetness is the key here, as it softens the
tannins and pulls down any aggressive elements, the bitters
just adding to the mix. Light coconut.

aged on y s i X
Gin Fizz: The lemon doesn't like oak it would seem.
american oak iy q :
BATCHNR.: 001 :
YEAR: 2013
70CL.
44% ALC. BY VOL. :

th pe } : 3.5 Martinez: Still slightly oak-driven with a firm palate, though

4 : the vermouth struggles to calm it down. As some tricky ratios
are needed here to bring everything into balance, it’s easiest
to have it with ice or ina gin cocktail.
a SS ES I I SE I I BT ET

159 : GINS: OTHER GINS /AGED

 “SS

4 re e)

months in Limousin oak --AILLIERS DRY GIN 26

BARREL AGEDi}M ABYBelgium
Four months in cask is what it takes to change Filliers’s
standard 28 (see p.120) into this straw-yellow gin. The
bouquet remains complex, though there has been a
softening and mellowing of the spice attack. In addition,
there seems to be more of a liquorice note, and an
increase in lemon. The gentle oxidation has added
weight. While the standard becomes dry with water,
this turns more honeyed and heavy; you can imagine
that you are ina spice shop in the seventeenth century.
The palate shows a different structure with some wood-
tightening effect, while still allowing the top notes and
that creamy, rounded element to show. Water brings
out more juniper and the finish is almost vermouth-like.

4 © Gin Cocktail: the oak shows, but has botanical energy.

* Fresh yet long. Very worthwhile.

4 : Gin FIZZ: Quite rich and expressive, with some menthol

: along with citrus. Not hugely long, but classy.

— TRADITIONAL COPPER OT STILLS

t fee .
Ss> Ca
a a“ : 3 MartineZ: too sweet as a Martinez, but as a Turf Club you
: can see the elegance of the gin and the complexity of the
a ; botanical mix much better. Becomes a very sophisticated gin
Manhattan - which is equally good at room temperature.
TS ES SS

GINS: OTHER GINS/AGED

 INVERROCHE AMBER
C4 oh i
the Cape fynbos flora

Made with a different botanical mix of fynbos than

Inverroche Classic (see p.125), this is not, despite
the (yes, amber) colour, aged. Some of the fynbos
botanicals have, however, been selected because
of their tannin levels, which add colour and structure.
They will also have been added post-distillation. In
other words, while there is no oak, it behaves like a
cask-aged gin, hence its inclusion here. There is a little
camphor, a pleasant gloss paint note, and a sense of
it all being quite sweet and polished: barley sugar,
fruit Sugars, and almost phenolic additions from the
botanicals. It needs water, which makes it hugely
perfumed. This carries through onto the palate, where
this mix of wild herbs, patchouli, and fruit juice is
reminiscent of walking into a hippy shop.

InverrocHe
—— SMALL BATCH DISTILLEO ——

3 : Gin Cocktail: A massive herbal burst with added clove and

alittle citrus. Moves more into a world of strawberry chews
* and bubblegum. Slightly odd.

WITH eas cata ieee ‘1 i 3.5 : Gin Fizz: The nose works, with the lemon and soda putting
BOTANICALS : a brake on its boisterousness. The palate has retained the
| 3 bubblegum/patchouli thing and adds a note of fresh lychee.
: It certainly has something.
Product of South Africa

3.5 Martinez: Very intense, even becoming more Negroni like,

although there is no Campari involved. Highly citric with
wild herbs flying around. The palate retains the confected
element. | quite like it for all its unhinged madness.
ST EE EE TS A EE ET EEE,

161 | GINS: OTHER GINS/AGED

 SSSR TS

Ca Coriander seeds « ( m
+ Lemon peel « Black peppercorn : CMOOTH AMBLER
Orange peel * Angelica root * Aged 50
per cent in ex-bourbon barrels, 50 per i
; {9 B0/ ABV USA
cent in ex-Old Scout bourbon barrels

A product of Greenbrier Valley, West Virginia and

made by TAG Galyean and John Little, this is based
ona mash bill of corn, wheat, and barley malt that has
been quadruple distilled in a pot/column hybrid still.
The botanical mix looks relatively normal for an _LDG
(bar the pepper), but as this is a New Western-style gin
(see p.138), the juniper plays a lesser role. The spirit is
bottled straight as Greenbrier gin, but this version has
then been aged in either ex-bourbon barrels or casks
that previously held the firm’s Old Scout bourbon.
This moves the Greenbrier’s estery sweetness into a
more overtly herbal area. The cask has a decent say
in proceedings, adding to the sweetness and giving a
caramelized touch as well. Like most cask-aged gins,
the citrus is also more prominent. On the tongue there
is alight sweetcorn element from the spirit, while the
oak shows a piney dimension. It’s sweet and quite
thick with eucalyptus, some oak, and herbs.

ese gle

2.9 : Gin Cocktail: This becomes very fruity and the oak notes
» add their piney quality as well as some coconut. More
> cask-influenced.

2.9 ; Gin Fizz: It should work, but again there is a clash with the
wood here that knocks the lemon off balance.

3.5 MartineZ: 4 spirited nose with light oak, but here the wood
: gives edge and style. The maraschino is more upfront with
the vermouth playing a supporting role. Long with pleasing
: dustiness, while the finish has a savoury edge.
EF EE ST ES SEY FSR EC DS I SSE EE TE

162: GINS: OTHER GINS/AGED

 LLL
TE NL

root «Ono + Lemon peal ‘Orange ’

peel¢ Star anise * Cassia * Rose petals
* plus
1secret ingredient * Aged in : 450; AB (
French and American casks with added : p ala q
wood chips

The team at Victoria Spirits on Vancouver Island

(see also p.134) take a slightly different approach in
imparting wood notes to their Oaken Gin. A mix of small
casks are used, to which wood chips are also added.
This significantly increases the amount of contact
the gin has with wood, effectively speeding up the
extraction. The gin has broadened as well as mellowed,
and while there is no loss of botanical influence - it’s
still clearly a gin - there is a new vanilla edge that has
been absorbed, although not to the detriment of the
pine and lemony warmth from juniper and coriander.
On the palate there is a move towards aniseed with
the dustiness of nutmeg and cinnamon. With water
things are calmer but also creamier, with coconut
and a charred element.

OAKEN GIN
BATCH #

3.5 ; Gin Cocktail: Fresh and more citric, with the bitters adding
» ascented clove-like edge. Still rich and with good balance.

i : :
HANDMADE
letras :
POT-DISTILLED , :
OAK-BARRELLED a 5 X : Gin Fizz: Goes all cream soda on you with a big aniseed hit.
“VICTORIA HAS MAT » Slightly odd.

ml aoe alc./vol.

3.5 Martinez: Big botanical lift takes this into the realm of
‘ old-fashioned cough medicine with masses of cherry stone.
: Big, rich, and pretty sweet, so to get the gin influence, try
’ as Turf Club.
SE
SI I NE I I ES IE TT TE ET

163 : GINS: OTHER GINS/AGED

 SEN A TR

Juniper ¢ Corts der seeds *Le

peel «Orange peel + Wingclics seeds
Orris root *Fennel seeds ° Saffron
BOUDIER SAFFRON GIN
MN"ABIFrance

Gabriel Boudier is a long-established Dijon-based

liqueur house (founded in 1874), run by the Battault
family. Until 2008 it was best known for its creme de
cassis, a ubiquitous presence on back bars. Then came
Saffron Gin. Not wishing to produce a London Dry in
France, Jean Battault let his mind go for a wander. In
his opinion, there was a natural accord between juniper
and saffron, backed up by the fact that in the firm’s
archive was a recipe for a saffron gin. Saffron might be
an unusual ingredient today, but it was a vital one in Irish
and Scottish usquebaugh from the seventeenth century
onwards. In the nineteenth century, there was a French
version known as scubac, which could be Boudier’s
original, but the firm isn’t telling.

The colour glows (the saffron is added post-distillation),

almost moving into the Day-Glo of a1970Os lava lamp.
The saffron’s honeyed element is present, but not
overwhelmingly so; you can still pick out juniper, lemon,
and coriander. The palate remains dry, with a little prick
of orange, a touch of violet, some mint, and a floral
edge. It’s actually pretty classical in structure, with the
fatness of saffron only coming across on the end. Is ita
flavoured gin? Not in the same way as the fruit gins here,
but where else does it go?

4.5 : With Tonic: This works nicely. Heavier dilution brings some
coriander, saffron, cut peels, fruit’'gums, and juniper. Saffron
» adds bulk to a lovely palate, then moves it into cooked orange.
It may be just a little short, but a good and unusual aperitif.

X Gin Fizz: Not applicable.

164 GINS: OTHER GINS/FLAVOURED

peel « Anaelea roots Orris root¢ plus EDINBURGH GIN’S
RASPBERRY LIQUEUR
Infused with heather and milk thistle
and Perthshire raspberries

i% A Scotland

Scotland is one of the foremost producers of soft

fruits in Europe, with raspberries being the largest of
the crops. No surprise then that when Alex Nicol was
thinking of adding a fruit gin to his range (see p.81) he
headed north to Perthshire and began harvesting. The
berries are macerated with the standard Edinburgh
gin and a judicious amount of cane sugar, and left
to mature. It’s immense and sweet, and reminiscent
of homemade raspberry jam. The gin behind offers
up a grind of pepper (I know it’s normally added to
strawberries, but it works here) and some juniper, and as
it has a raspberry leaf element to it normally, it’s an ideal
match. The effect is really quite decadent when taken
neat - as most people do. The palate starts refreshingly
off-dry, pulsating with fruit and not too spirity. The
sweetness kicks in again on the finish, making it just
slightly cloying, but chilling helps.

ry
THE SPENCERFIELD SPIR

=U
EDINBURGH G
—

4,5:‘With Tonic: It turns it into a very cool summer drink. The

» sweetness is cut by the tonic, while the fruits now show
» some slight acidity that cuts through and adds to the
: general perkiness.

4.5 : Gin Fizz: Works very well indeed, with enough sweetness
* to carry. The raspberries come brimming out, the lemon
’ adds acidity, and | can’t help dreaming of “the hissing of
» summer lawns”.
Se EL I ET TE

GINS: OTHER GINS/FLAVOURED

 FR Nene ERR TE NSS SOOO DU Ta

Undec

damsons FOXDENTON DAMSON GIN

16.5% ABY England
The Foxdenton Estate has been in the Radclyffe family
since 1367 and is currently run by Nicholas Radclyffe.
Like many country estates it has long been a centre for
field sports. And what could be a better pick-me-up on
a day’s shooting than a fortifying sip from a hip flask
of fruit gin? What started as a kitchen-made speciality
for guests has now become another income stream for
Nicholas. As well as a range of fruit liqueurs, there is also
agin (made by Charles Maxwell at Thames Distillers -
see also pp.79, 82, 84, 93, and 105) and a range of fruit
gins. The standard gin is a decent LDG, but the fruit gins
are where the estate stands out from the crowd. The
damsons are, in Nicholas’s words, obtained “froma
lovely lady in Herefordshire who grows them along her
farm tracks”. There is something of ahome-cooked
damson pie about this; it has density, depth, and the
slightly sour tart bite that stops it just being sugar and
fruit essence. The juniper then links into a mysterious,
old aroma and the palate shows that it’s not overdosed,
the fruit’s acidity giving it balance. This grown-up fruit
gin comes highly recommended whether you have a
gun in your hand or not.

& : . .
5 ; With Tonic: The pie filling is now oozing over the pastry. A
> classic, ripe, sweet/off-dry fruit gin that holds well across the
» palate, the tonic just giving sufficient effervescence. It also
: makes an awesome Wibble (see p.192). A drink for all the year.

5 Gin FIZZ: rich and deep with great colour. It has retained
richness, the lemon just giving a bite to the soft fruits.
: Aproper drink.

166 GINS: OTHER GINS/FLAVOURED

Juniper « Cardanion . Congheer seeds BRAMLEY AND GAGE
ORGANIC SLOE GIK
* plus Wild, hand-harvested sloes

a
Put it down to nominative determinism - you know,
having a surname that seems to preordain what your
profession will be. If your names are Edward Bramley
Kain and Penelope Gage, there really is only one
business you should be in: fruit farming. The husband
and wife team began making fruit liqueurs in their
Devon kitchen in the 1980s. Sloe gin - the classic English
fruit liqueur, although people never think about it like
that - was not far behind. Today, the next generation
of Kains is in charge of a considerably larger business,
but the same principles of using whole fruits grown
outdoors in Britain with no preservatives or colourings
remains. This organic sloe gin, for example, only uses
hedgerow-harvested fruit and has a higher sloe-to-gin
ratio than B and G’s standard expression (see p.59). The
gin base itself is a secret, but chances are it will be close
botanically to their 6 o’clock brand. It’s lighter in colour
than some and not as sweet either, allowing an intense
sloe character to come across with cherry, violet, and
that wild sour-berry edginess. The gin kicks in halfway
through with lots of lavender and juniper, even a hint
of angelica; classically bittersweet.

SR

4,5: With Tonic: The mixer accentuates that acidity, making

» the combination less sweet and almost paradoxically more
: powerful as the gin begins to show its hand. Retains its
’ bittersweet essence.

3.9 Gin Fizz: On slightly less sure ground, as the sloe and the
» lemon don't get along too well.

167 GINS: OTHER GINS/FLAVOURED

 (SRG SE

crcmeese=——SUPSIMITH SLOE GN 1 ng
root « Liquorice root * Orris root *
Almond « Cassia bark * Cinnamon *
: 0 ig all

Seville orange peel * Lemon peel ¢

plus Wild sloes
As you would expect from a distiller who has explored
the history and traditions of gin, there is no great
surprise that Jared Brown has created a fruit gin whose
strength is almost 10 per cent higher than most. The
effect doesn’t make this spirity in any way, rather it
adds an elegant, rich, and, dare | say, Victorian velvety
richness to the nose. Wild sloes are steeped in Sipsmith’s
“standard” LDG (see p.107) and given light sweetening.
Crimson in hue, the nose has touches of blackcurrant,
black cherry, and then hints of pine and some sweet
spice. The gin’s texture adds weight to the palate. The
latter shows massive levels of fruit, with a thrilling dark,
bittersweet edge that flirts with being stewed, then pulls
away before it gets too jammy. It’s dense and wooded,
like something you would be sipping nervously as you
headed into an enchanted forest to rescue Little Red
Riding Hood; complex in other words.

SIPSMITHindes nenoent Sf

5 : With Tonic: Rich, long, and autumnal.

The mid-palate is
opulent, and as the fruit falls off just before the finish, some
* ginny rootiness shows.

Hand crafted

5ocde 2.9%vol «
5 Gin Fizz: Berry fruits galore with pleasing sweetness to start,
: then it sours rather thrillingly. These elements then play off
each other. A very adult drink.

168 GINS: OTHER GINS/FLAVOURED

 aeons, ¢ Citrus ee ¢ Thai
GREENHOOK GINSMITHS
BEACH PLUM GIN LIQUEUR
blue ginger * Cinnamon « Orris root «
Elderberry « plus Beach plums

30% ABVUS
Many of today’s gin distillers share the same mindset as
bartenders and chefs - when looking for flavours, they
start in their immediate environs and see what can be
foraged. The local is important to Brooklyn’s Greenhook
Ginsmiths, so when they decided to make a fruit gin,
they sought out the New York equivalent of tart, bitter
sloe berries. They found it in Prunus maritima, the mad
little bittersweet plums that grow, mostly wild, along
America’s northeastern seaboard. The plums are small
and tricky to pluck, but a source has been found in Long
Island. These are then macerated in the firm’s gin (see
p.143). The fruits add an intriguing, almost medicinal
edge that takes you back to old-style remedies, before
they become more stewed with the bitter marzipan bite
of stone. There is a fair hit of gin in here, with juniper
proving to be the plums’ main ally. It seems a little tense
in the centre and maybe could do with a bit more sugar
to balance, but that’s a minor issue.

eV a5
-GINSMITHS.

X With Tonic: Becomes citric to start, but the plum notes are
lost and it ends up alittle short.

3.5 Gin FIZZ: This is better, but there is still a slight separation
between the spirit, the fruits, and then the lemon. Upping the
sugar helps to add weight and length.

EN ER I a ES ETE I TEE

GINS: OTHER GINS/FLAVOURED

meee FLLERS 882 VINTAGE
Le RO RITCTEN RS ca LIOR TEAS NE a

-GRMANENEVER, FST
Filliers, the Belgian jenever (as it’s spelled in Belgium)
specialist, was founded in 1792 by farmer Karel Lodewijk
Filliers, and remains under family ownership today. Their
modern distillery, which was opened in 2006, produces
jenever both for the family’s own brands and for third
parties in Belgium and Holland. Although the firm likes
to keep their cards close to their chest, it is known that
the mash bill for this 1OO per cent grain jenever has a
high rye content. It has also been aged for a decade
in American oak. It’s the rye rather than the wood that
comes across most on the nose, with fresh, spicily sweet
rye-bread notes anda hint of vanilla, before the light
3 — Y : botanicals come through - fence posts, lemon, apple
LIcRS blossom, and butteriness. It’s complex stuff. The palate
ee ae : confirms that it’s distillate- rather than cask-driven, with
a racy lemon acidity. It needs a drop of water to open up
the rye notes and speed the silky texture.

FEBRUARI 1992
N FEVAIER 1592
FEBRUARI 201!
FEVRIER 20!!
SEN 2600
X 70 CL

5 : Gin Cocktail: Take me back to New Amsterdam! This is

» maybe more refined than in pioneering nineteenth-century
: bartender Jerry Thomas's days (see p.26), but trust me, it’s
» equally dangerous. You can never have just the one.

3.5 Gin Fizz: The acidity experienced when neat works against
> it slightly here. Fresh and with a bite.

4 : Martinez: Even at Turf Club levels, this remains a very sweet

drink, though the finish spices things up. Needs to be cold,
cold, cold.

170 | GINS: OTHER GINS/FLAVOURED

 BOLS GENEVER A Netherlands
The Bulsius family were part of the sixteenth-century
exodus of Flemish Protestants. In 1575, they arrived
in Amsterdam, started distilling, and changed their
name to Bols (see pp.12-13). The first account of juniper
being purchased was by Pieter Bols in 1664 and by
the seventeenth century, Bols’s links with the Dutch
East India Company resulted in the firm becoming a
specialist in spiced liqueurs as well as genever. Recipes
were gathered together in 1842 by the firm’s then owner
Gabriél Theodorus van ‘t Wout, and his Disti//ateurs- en
Liqueurbereiders Handboek door een oude patroon
van ‘t Loots/je (Distillers and Liqueur-Makers Handbook
by an old patron of “The Little Shed”) is now in the Bols
archive. One of its recipes, from 1820, is for this style
of genever. Launched in 2008, it was the start of Bols’s
strategy of reclaiming cocktails for genever. It contains
a blend of over 50 per cent malt wine and a juniper
distillate, and is unaged. Clear and bright, it’s lightly
nutty with floral rye spice, a mellow draff note, and
hints of citrus. The botanical influence is low. The palate
is akin to a sweet new-make whisky, with a scented
centre where the juniper lurks. Lightly oily, a very
gentle spiciness comes across on the end.

teh

4 : Gin Cocktail: The bitters add their clove-like exoticism to

: all of these flowery, spring-like green notes. A simple drink,
‘ but agood one.

4 : Gin Fizz: The genever stands up well here, adding a level

’ of softness with a herbal edge to what is meant to be (and is)
» asharp, shocking sling.

saccade i 3.5 : Martinez: The vermouth gives a big hit here, so I'd go to
: : Turf Club levels, which adds earthy richness. Bitters provide
: anecessary balance.

171: GINS: OTHER GINS/FLAVOURED

 SS

BOLS ZEER OUDE

35% ABV Netherlands

“Oude” in this instance doesn’t mean an aged genever

but one that has been made in the old (oude) style and
helps to differentiate it from the neutral, young Yonge)
style, which began to be made in the 1920s. The very
light yellow tint either shows that it’s been in vat or,
more likely, has been tinted with spirit caramel.

This is light and quite sweet on the nose, with delicate

citrus and a touch of fresh-baked bread. It needs water
to bring out the full aroma and also spread of flavour,
which builds in crisp spiciness. The botanicals are
gentle, but in genever they perform a supporting rather
than dominant role. The palate has clean, quite citric,
acidity that balances the richness of the spirit. There is
plenty of spice on the end with some berries moving
into raspberry, then a rye note on the very end. It seems
delicate but has some character.

35 GinCocktal More of the spiciness coming through here with

: the addition of the clove-rich bitters. Off-dry and moreish.

AMSTERDAM.

4.5 Gin Fizz: Slightly sweeter, again with the lemon and genever
- working in consort. It’s a little short on the palate, but the
> nose more than makes up for that. In due course (if you allow
‘ afizz to have time), it opens up to buttery baking spice.

4 Martinez: savoury, with fruit, spices, and nuts fizzing

» together. Clean and citric, with good fleshiness as a Martinez.

172 GINS: OTHER GINS/FLAVOURED

Liquorice ore* Ginger « Dl
secret ingredient »Aged 18 months
BOLS BARREL AGED
in Limousin oak casks
iM AYNetherlands
Today, the Bols recipe for malt wine is a 47% ABV triple-
distilled mash of equal parts corn, rye, and wheat. This
is then blended with a neutral grain-based botanical
distillate and a malt wine juniper distillate. The Barrel
Aged (50 per cent malt wine) was launched in 2011
and is from an 1883 recipe. Aged in Limousin oak for
18 months, it gives an idea of what the genever base for
gin cocktails would have been like. Straw in colour, it has
a sweet, malty, almost golden-syrup note with delicate
spices (nutmeg, aniseed), dandelion, and pastry. The
palate is silky and rich, with white peach to start, then
alight grip from oak with a frisson of spice on the end.
It needs water, as well as time in the glass.

BARREL AGED FOR

AT LEAST 18 MONTHS
ON LIMOUSIN OAK

4 : Gin Cocktail: It’s extraordinary how sucha simple addition

* can change a drink. Broader yet still soft and more complex,
with allspice and clove.

IMPORTED FROM HOLLAND 4 Gin Fizz: Sweetness is working here alongside the lemon.
GRAIN SPIRIT, * Some complexity. A clean and hugely drinkable shot.
GRAIN NEUTRAL SPIRITS,
WITH NATURAL FLAVORS,
CARAMEL COLORED

eee Ca

1L. 42% ALC./VOL. 5 Martinez: Puts you into a dimly lit nineteenth-century bar.
- Light bittering with just enough sweetness. Best as a Turf
* Club. Elegant is the word.

es
———S

173 GINS: OTHER GINS/FLAVOURED

 ESS

Aged in (ae American oak ~ TUNDNM SINGLE BARREL

TEER OUDE, 3YEAR OLD
9% IBYNetherlands
Patrick van Zuidam’s (see a/so pp.119, 150, and 159)
approach to genever starts with using a thick mash
that is fermented with selected yeasts for a minimum
of five days. Distillation is in Holstein stills, whose bases
sit ina water bath, which prevents any scorching. It’s
this combination of time, yeast, and reflux that helps
promote the lighter, more elegant notes to the base
malt wine, which accounts for 50 per cent of this
genever. Ageing is in new American oak barrels, which
has had a significant impact on the nose. There is
masses of creamy vanilla/clotted cream, soft banana
notes, clove, stewed pear, and light berry. If you had this
blind, you would say it was a Canadian whisky. It’s only
the hint of botanicals on the back palate that suggests
otherwise. It might be OTT for genever purists, but any
category needs people to push the boundaries. It’s at
its best with a drop of water or a cube of ice.

(Aasew
an

| Sigh ees
44 X Gin Cocktail: There is little change here to be honest, as the
iyoen CRA ee cask influence is so strong. A little more structure with the
: bitters, but really it’s the same drink.
ae geeigre =

X Gin Fizz: Still this huge cask influence, with the wood getting
» inthe way.

X : Martinez: ‘Again, we are in the barrelhouse. It’s better than

> the other two mixes, but not a great cocktail. It is, however,
» agenever that must be tried.

174 GINS: OTHER GINS/FLAVOURED

 Rogge is Dutch for rye, which was the original base
grain for genever - just as it was for American whiskey.
Some of Zuidam’s rye comes from near Groningen,
where it’s been planted as part of a conservation
plan for ortolans (a small bird so loved by French
gastronomes that it’s now endangered), and like all
of the firm’s grains, it has been ground by windmill.
This is clean with light sourdough notes (the link
between bakers and genever is a constant) that have
been mellowed by oak, which here has a very gentle
influence. Light spices, lemon, with some dried mint
and faint sage, it has real complexity and vivacity. Water
adds an elegance to this sweet/spice interface, with
hot cross buns coming through once more. The palate
is clean, dry, and with a crisp feel that then moves into
clove. Water brings out more spirit weight. Excellent.

Ron .
5 : Gin Cocktail: A complete extra dimension with the bitters,
» which just add to the layers of complexity. The shade of Jerry
: Thomas (see p.26) reaches out a hand for a bottle.

2.5 Gin Fizz: This makes the whole mix slightly more restrained
‘ with pepper galore. A clean, crisp drink.

4 : Martinez: Dry and spicy, with clean rye notes coming

* through the vermouth, then it surges forward in the mid-
» palate. Excellent weight. The balance of the Martinez mix
- shows an elegant side to the rye’s rumbustious nature.
SL

175 GINS: OTHER GINS/FLAVOURED

 BS Ee

0 YEAR OLD 38% ABY {letherlands

In the 1950s, Fred van Zuidam was a distiller for
deKuyper and witnessed at first hand the rapid decline
of the genever industry. Despite distilleries closing
down, sales declining, and a young generation turning
their back on the spirit, he believed that people would
eventually come back to genever - especially aged
examples. The fact that the family distillery has now
expanded substantially shows that his hunch has paid
off. Son Patrick is not only an expert in distilling but
in oak, and is ushering in a new range of flavours to
genever through his cask policy, which includes ex-
sherry and new oak. Wood is an active participant in
many of his genevers, not simply a background note.
This example has spent a decade ina single American
oak cask and its vanilla notes are prominent, sitting
alongside malt, wild herbs, crab apple, larch, and then
rye crispbread, mixed spice, and coconut water. Big,
velvety, and sweet, the palate has masses of Bounty bars
and white chocolate. It’s genever, but not as you know it.

X Gin Cocktail: The coconut dominates: I'd keep things

> straight/iced.

105
one No4
JAAR VATGELAGERD

JAAR: 2014 ff : X Gin Fizz: The same goes here.

1 LITER = : :
38" ALC. BY VOL.
MASTER
DISTILLER: //,

102/648
3.5 Martinez/Turt Cluh: |wasn't holding out much hope for
this, but the nose is fantastic, with the sweetness and coconut
: working in tandem while the bitters fly happily above. It’s a
massive drink, but works even better as a Boulevardier.

176: GINS: OTHER GINS/ELAVOURED

 FILLIERS OUD
GRAANJENEVER, 8YEAR OLD
eligi
Filliers jenevers (see a/so p.170) are based on a mash bill
of rye, wheat, and corn, with barley malt being added
for its enzymes. Although the family don’t divulge their
distillation techniques (or botanical mixes), you can tell
from its name that this brand has been made in the “old”
nineteenth-century style, entirely with grain spirit (the
meaning of graan), which in turn indicates that no spirit
from base ingredients like sugar beet has been used.
Both the malt wine and the juniper distillate are aged
in American oak casks for a minimum of eight years.
It is relatively strong for ajenever, but well rounded and
soft, with some baking spices and a clear, rich malt wine
influence making the nose fat and almost yeasty. The
palate shows classic richness with some soft fruits to
start but the steeliness of rye in the centre. The botanicals
are gentle and light, and there is extra creaminess when
water is added. It evolves well in the glass.

Se

3.9 :Gin Cocktail: Be careful with the bitters here. Quite herbal
: witha light dustiness.

3 Gin Fizz: Clean and slightly yeasty with some weight, but
* the wood sets up a clash.

as

5 Martinez: If you make this as a Turf Club, then you have

» yourself a damned fine drink. Broad, rich, and deep, it
* becomes a decadent drink.

177 GINS: OTHER GINS/FLAVOURED

 RT

Hops ° Angele root * Liquorice root

+ plus 1secret ingredient *Aged in
BOLS CORENWYN
Limousin and American oak casks
38% ABV Netherlands

Corenwyn (Bols is the only distiller allowed to use

this spelling) is a genever that contains a minimum of
51 per cent malt wine, although distillers usually have
considerably more; up to 20 grams of sugar per litre
can also be added. In Bols’s case, the malt wine content
is high and from their standard mash bill distilled once
in column and twice in pot. This is then aged in cask
from between two and 10 years, giving the blender a
wide range of bases to draw from. The blend is then
completed with a juniper and botanical distillate.
Golden in colour, this has more energy than the Barrel
avhrervou) Aged (see p.173) and shows more of a fresh cereal
character. The botanicals are very subtle, slightly green,
and lemony, and the richness of the aroma suggests
that some old bases have been used. With water it
Extra oude lelger becomes more fragrant and complex, with hedgerow
fruits, lemon, flour, and a steely quality in the centre,
gertoold door before a spice mix like cumin and coriander comes
Eryep lucas sel
in onthe end of the palate.
Opge uw te Arnaterdorr
fey)
, on den 4
4ore 1575
SW Gerigtof ust
a4,
Gedistilleend

5 Gin Cocktail: The bitters create a real lift-off. The palate

* is clean and quite light, with spices and real freshness.
- Asophisticated apéritif.

X Gin Fizz: The wood comes into play and butts heads with
the lemon, making the mix slightly unbalanced.

4 — Martine2: Herbal and highly botanical, the vermouth has

a substantial presence, but the genever cuts through. This
' has good impact, the sweet-bitter juxtaposition working
- well. Some complexity.

178 GINS: OTHER GINS/FLAVOURED

"Juniper * Liquorice
roo iseed * :
Aged in oloroso sherry casks :

What eos
All of Zuidam’s genevers (see a/so pp.174-6) are based
onamash bill of malted barley, corn, and rye, which
is given along temperature-controlled fermentation
(a week in the Korenwijn’s case) and then triple distilled
ina Holstein pot still. A percentage of this malt wine is
then redistilled with botanicals, blended back with the
original distillate, some neutral grain spirit, and put into
cask. This has a high malt wine content and, unusually
for a genever, has then spent a decade maturing in
two oloroso sherry casks. These provide classic notes
of Christmas cake mix, light walnut, a little vanilla, and
some ginger. The spirit is very pure with a thick, almost
syrup-like palate that has light tannins from the cask.
There is sultana and spice to finish.

4 : Gin Cocktail: Sherry casks usually repel all boarders, but

- here the gin holds up well, while the bitters add an intense
top note.

X Gin Fizz: Lemon and sherry? Don’t think so.

Liter ‘ i 3.9 Martinez/T! urf Cluh: The bitters are the main driver of
1 : along and sweet mix. It's slightly odd but weirdly likeable.
It also works not too badly as a Boulevardier. It’s probably
easier to sip it neat, though.
as
SNE

179 GINS: OTHER GINS/FLAVOURED

 SS a

HERZOG GIN. 40% Austria

Siegfried Herzog is the latest generation of the Herzog
family, who have been distilling ona 400-year-old
estate in Saalfelden, Austria. The firm has built a high
reputation for its fruit schnapps, but has recently
begun to branch out into other spirits, such as gin.
This isn’t a genever, strictly speaking, but on tasting and
mixing it performed considerably better when it was
treated as one rather than as a dry gin, so it’s ended up
in this section. As gin widens its remit, so these new
intermediate gins will grow in number, which can only
be good. The nose offers some potter’s wheel notes,
then robust roots, allspice, mace, clove, and, in time,
juniper. The spirit is quite fat and malty, putting it in the
“Hollands” camp. The palate is soft with some fennel
seed anda milky note lingering beside the juniper,
before the spices come forward. It dries into gentian.

GLN
oe5 GinCocktall Good spirit Worang well with the tropical
edges of the bitters. Some sweetness matching the nutty
: weight of the spirit. Light lavender on the finish.

Daa Ea ae AES
ate ad Gin Fizz: Still quite a malty base, but it has decent spread
i with clove, aniseed, and then lemon. A decent short drink.
é
— DRYGIN,
= 70'cl; 4036, Vol.
DISTILLED USTR'

3.5 : Martinez: Slightly malty still, which isn’t necessarily a

bad thing, as this nuttiness adds a dry note and a textural
element. Clean and balanced

180 GINS: OTHER GINS/FLAVOURED

casksfor 3 months : CHIEF GOWANUS 44% ABY USA
A joint venture from New York Distilling Company’s
head honcho Allen Katz (see a/so p.142) and scribe
David Wondrich (see p.155), this is a re-creation of the
type of gin that Dutch settlers would have made. It’s
named after the chief of the tribe of Canarsie Native
Americans from whom the Dutch acquired what was
to become Brooklyn. It’s also the name of the canal
running through the borough that has the distinction of
being one of the most polluted waterways in the USA.
The recipe, which was discovered by Wondrich in the
1809 book The Practical Distiller by Samuel McHarry,
redistills a rye whiskey with juniper and hops. It’s then
rested for three months, to replicate the period of time
it would have taken gin to be transported from distillery
to outlet in those days. The nose is fresh, clean, and
rye-dominant, with an acidic lemony edge that could
be spirit or the hops; the effect is like walking through a
wintery pine forest. Light antiseptic, allspice notes lead
into sweetness before the crackling, peppery acidic side
of rye comes in. The finish is as cool as the exhalation of
a menthol cigarette.

3.5 Gin Cocktail: The bitters help out, adding top notes and
» moving things further into the left field. You need alittle
» more sugar than normal to balance.

3.5 Gin Fizz: Leave it to dilute slightly in the glass rather than
: knocking it straight back, as this stops it kicking like a mule
‘ and allows some softness to develop in the middle.
NEW- NETHERLAND GIN

hs ie antl am 4 4 : Martinez/Turt Club: The aroma is like arye and raisin bagel.
2 > Hugely spicy, this works well in any of the late-nineteenth-
© century gin cocktails.

181: GINS: OTHER GINS/FLAVOURED

DOCKTAILS
The drinks world can be divided into two eras:
BV and AV, Before Vodka and After Vodka. It is
only when you begin to delve into old cocktail
books from the end of the nineteenth century and
the start of the twentieth century that you get an
idea of quite how important gin was in those BV
days. If you wanted to use a white spirit in a drink,
gin - be it genever, Old Tom, or dry - was your
weapon of choice.
Cocktails made gin and gin, it could be
argued, made cocktails. Think about that fora
second. What other spirit could imbue a mixed
drink with such grace and aromatic breadth? Gin
was the cornerstone of mixed drinks. It gave us
the Martini and Negroni, for Pete’s sake! Because
of this, it was hard for me to make a selection of
the best classic drinks. If your interest is piqued,
then there are plenty of worthy tomes in the
bibliography to satisfy your mixological desires.
This wasn’t just an exercise in archival studies,
however; it was just as difficult to make a choice
from the modern gin twists that today’s top
bartenders kindly sent in. If you want evidence
of gin’s renaissance, then look no further.
ee
dry gin MARTIN
The Martini isn’t just a drink. It’s a cultural signifier, a
rite of passage, a weapon. It started life (probably) in
Stir the ingredients over ice and
strain into a chilled cocktail glass. the late 1880s as a variant of the Martinez, but no one
Garnish with a lemon twist. knows who first made it, where it was made, or when.
For cocktail historian David Wondrich, its birth is “hazy
and contradictory”, which sounds like most people after
a couple of Alessandro Palazzi’s devilishly potent ones
VARIATIONS inthe bar of the Dukes Hotel, London.
What started off as a democratic division between
Here are some precursors of the
dry vermouth and gin (Old Tom was widely used), the
classic gin Martini:
Martini became progressively drier as the twentieth
BRADFORD ALA MARTINI century advanced, so that at its zenith in the 1950s it
Y% wine glass of Old Tom had evolved into a cold-eyed assassin. It was, as Lowell
Y% wine glass of vermouth Edmunds points out in his magisterial study Martini,
3 or 4 dashes of orange bitters
peel of 1lemon Straight Up, urban, male, patrician, a businessman’s
medium-sized olive, to garnish drink. There was no romance about the Martini; it was
Shake all the ingredients, including the liquid equivalent of one of Hitchcock’s glacial
the lemon peel, over ice and blondes. Dave Brubeck’s sax player Paul Desmond said
strain into a chilled cocktail glass.
he wanted his tone to sound like a dry Martini, and it
Garnish with a medium-sized olive.
From Harry Johnson’s does - pure, skeletal, and ever so slightly soulless.
Bartenders’ Manual, 1888. Because ofthese conservative trappings, the Martini
began to disappear from the 1960s onwards. With vodka
THE MARGUERITE
in the ascendency, the gin Martini was virtually forgotten.
7/4; Plymouth Gin (see p.104)
It was as if in order to become popular again it had to die
¥s French vermouth
dash of orange bitters and be reinvented. In the 1990s, the revival began, firstly

Stir all the ingredients over ice and

with a vodka base and all manner of additions (“Martini”
strain into a chilled cocktail glass. in those days was another word for a white spirit drink
From Thomas Stuart’s Fancy ina cocktail glass) but with gin’s renaissance it has re-
Drinks and How to Mix Them, 1896.
emerged in classic form and also become slightly wetter.
When you drink a Martini, you inevitably become a
bore because you are the only person who knows how
to make it correctly. The Martini is yours in a way that
no other cocktail can be. It sets you apart. It’s a loner’s
drink. You see, the barman doesn’t make a Martini: the
customer does: What gin? What vermouth? What ratio?
Twist, olive, onion, or a dash of brine to make things
dirty? All the bartender does is have the ingredients at
hand and await your instructions.

184 COCKTAILS
COCKTAILS
RECIPE
30m! (1fl oz) gin NEGRONI
It goes like this. In the 1920s, this chap called Count
Camillo Negroni walks into Bar Casoni in Florence, Italy
at aperitivo time. Now, before we go any further, let’s
Build the ingredients in an ice-filled
just dwell on the fact that Italian drinking culture is so
rocks glass, stir, and garnish with an
advanced that time is set aside to take a specific type
orange twist.
of drink that will both relax you after a day’s work and
sharpen your appetite. That means the drink has to have
freshness, acidity, and a bitter edge. My favourite, since
VARIATIONS you're buying, is the Mezzo e Mezzo made with equal
parts of Nardini Rosso (an amaro-style vermouth) and
BEGINNER’S NEGRONI
Rabarbaro (a rhubarb liqueur) as served at the firm’s
25ml (fl oz) Plymouth Gin
eighteenth-century bridge bar in Bassano del Grappa.
(see p.104)
25ml (%fl oz) Gancia Bianco Anyhow, the Count was looking for a similar hit, and was
vermouth offered an Americano - equal parts Martini Rosso and
25m! (%fl oz) Aperol Campari, lengthened with soda. Whatever the reason,
pink grapefruit twist, to serve
he wanted something harder, so out went the soda and
Stir the ingredients over ice and
in went a slug of gin. It was his drink, so it got his name.
strain into a chilled coupette
glass. Squeeze a pink grapefruit For me, the finest is to be had at Star Bar in Tokyo,
twist over the rim of the glass Japan, where owner/master Kishi-san uses gin from
and discard.
the freezer, the fridge, and the shelf, which creates an
With thanks to Hannah Lanfear.
incredible 3-D textural experience on the palate. It’s
BELFAST BASTARD worth the price of the air fare, trust me.
60m (2fl oz) Tanqueray London Although you shouldn't mess with a classic, you can
Dry Gin (see p.110) work out your own variations on the theme - different
15ml (“fl oz) Combier Créme de
vermouths, different amari, the mix bottle-aged or
Pamplemousse Rosé
15ml (fl oz) Dolin Blanc vermouth cask-aged - but never stray too far from the idea of the
15ml (fl oz) Campari holy trinity. After all, gin, vermouth, and Campari are the
2 dashes of Regan’s Orange Bitters
booze equivalent of the celery, onion, and carrot soffritto
No.6
grapefruit twist, to serve that lies at the heart of great European cooking.
The Negroni is more than the sum of its parts. The
Stir all the ingredients over ice and
strain into a chilled coupette glass. gin provides the aromatics and can, if you use the Star
Spray a grapefruit twist over the Bar technique, add extra texture; while the Campari
surface and discard.
lends a bitter/sweet/sour/citric element. The vermouth
From Jack McBarry of The Dead
Rabbit Grocery and Grog, New York. spans these two extremes: sweet, fruity, bitter, rooty
and herbal. It creates Escher-like flavour bridges
Both recipes from Gaz Regan’s everywhere in your mind, forever looping back on each
The Negroni.
other, which is why the overall balance is so important.
SS
ED It’s the king of drinks.

186 COCKTAILS
COCKTAILS
Eee eee IE OT INO a oe RU SES

RECIPE
50ml (134fl oz) Old Tom gin or
JOKN (TOM) COLLINS
25ml (fl oz) simple syrup or Who knows what London’s Limmer’s Hotel was like
gomme (see below) in 1830? Yet three decades later, Captain Rees Howell
Gronow recalled it as being “the most dirty hotel in
London”. Grubby though it may have been, Limmer’s was
also, according to Gronow, “frequently so crowded that a
bed could not be obtained for any amount of money; but
you could always get a very good plain English dinner, an
excellent bottle of port, and some famous gin-punch”.
The gin punch had been the creation of Limmer’s head
Shake the first 3 ingredients with waiter in the 1830s, a cove called John Collins who was
ice and strain into an ice-filled famed for the quality of his libations. The one that would
Collins glass. Add the soda, stir, bear his name was a short, single-serve simple Gin Fizz
and garnish with an orange slice - made with Old Tom - which cocktail historian David
and a maraschino cherry. Wondrich believes would have been similar to the The
Garrick Gin Punch (see p.190). It was so good that Collins
even had a piece of doggerel written about his drink.
Like most of these proto-cocktails, this would
have started life as an eye-opener and hangover cure.
Limmer’s “gloomy, comfortless coffee-room” was
after all, according to Gronow, “where might be seen
many members of the rich squirearchy, who visited
London during the sporting season”. We don’t have
gin for breakfast much these days - although the
SIMPLE SYRUP strange routine of writing a gin book does mean | had
plenty of these at what polite society would consider a
Gently heat equal quantities of
white sugar and water until the disgracefully early hour. |can vouch for their efficacy.
sugar has completely dissolved. By the middle of the nineteenth century, the drink
You can flavour the syrup by
had jumped the Pond to America and by the 1870s had
adding mint leaves, citrus peel,
and so on. Alternatively, just buy changed its name as well. John Collins had become Tom
a bottle of gomme. - maybe after Old Tom, maybe due to a mishearing. It had
also been altered. The John Collins started off as a short,
shaken Gin Fizz (see p.212). The Tom Collins used the
same ingredients but became alonger drink, built over
ice cubes and stirred. It also, in time, shifted from being
an Old Tom drink to one made with dry gin. When you go
back to its nineteenth-century roots and make this with
Old Tom or oude genever (see p.172), it’s a revelation -
a drink with heft and richness, no matter what its name.

188 COCKTAILS
189 COCKTAILS
RECIPE
Serves 6

1 bottle of gin - try mixing

GIN PUNCH
Portobello Road (see p.105) and
Hayman’s Royal Dock (see p.91) Gin came slightly late to the punchbowl. Although there
are records of hot gin punch being quaffed in London
in the 1730s, gin was by then a low-class liquor (see
pp.14-19). No self-respecting punch-drinking gentleman
would be seen supping from a bowl of Mother’s Ruin.
They stuck to rum or brandy. By the late eighteenth
century, however, things had started to change. Gin’s
quality was improving and it was acquiring a certain
risqué cachet with London’s bohemian set.
No surprise, then, that the first gin punch to achieve
fame was that made at the Garrick Club, which had been
3 tbsp clear honey, plus extra
established in 1831 in the West End of London as a place
to taste as needed
where “an easy intercourse was to be promoted between
juice of 2 lemons, plus extra artists and patrons”, a phrase that probably read slightly
to taste as needed
differently at the time than it does today. Its manager
was an American, Stephen Price, and it was he, cocktail
Combine all the ingredients ina
historian David Wondrich argues, who was the first to
saucepan and heat gently. Cover
combine gin, ice, and carbonated water in a punch.
and keep at a very gentle simmer
The fact that William Terrington listed eight gin
for 20 minutes. Taste and adjust
with honey and/or lemon juice. punches in his 1869 book Cooling Cups and Dainty
Strain into bowl and serve warm. Drinks shows how gin punch’s elevation was complete
by the mid-nineteenth century (see pp.22-3). The
final seal of approval was its regular appearance
in the work of Charles Dickens (himself no mean gin
VARIATION lover), most famously in A Christmas Caro/, where
Bob Cratchit “turning up his cuffs... compounded
GIN PUNCH ALA HEPPLE some hot mixture in a jug with gin and lemons, and
2 parts Hepple Gin stirred it round and round and put it on the hob to
1 part Lemon and Seville Orange simmer”. As Terrington says:
Sherbet (see below)
1 part fresh lemon juice
“there is no precise rule for making punch, no
1 part pineapple syrup two persons agreeing on the exact proportions
3 parts chilled Sencha green tea of the ingredients... The great'secret is that the
2 parts Prosecco or demi-sec
mixture should be so happily compounded that
Champagne
nothing predominates.”
FOR THE LEMON AND ORANGE SHERBET
4 Seville oranges His own variant, by the way, is the Garrick with
6 lemons Green Chartreuse taking the place of the Maraschino.
250g (90z) caster sugar While in its element as a cooling and (fairly) dainty
summer drink when fruit and soda water are the order

190 COCKTAILS
Ea : punch also works
of the day to freshen the palate, gin
FOR THE GARNISH in winter. Since the Victorians invented what we now
borage flowers
think of as a traditional Christmas, it’s only right that we
lemon and orange wheels
pineapple sticks should include a Dickensian-style warm punch - a sort
To make the Lemon and Seville : Of mulled gin - as part ofthe festivities. It is alot easier
Orange Sherbet, grate the zest : _ tohave a bowl of this to dispense, rather than rushing
of the oranges and lemons, then around trying to sort out a myriad different requests.
squeeze 300ml (10fl oz) ofjuice
from the oranges and an equal If anyone complains, then you can retort in the manner
quantity ofjuice from the lemons. : of Fagin to Oliver, “Shut up and drink yer gin!”
Muddle the citrus zests and sugar :
together, then add the citrus
juices and mix until the sugar
has dissolved - gently heat if
necessary. Strain.
Mix the first 5 main ingredients
together, then top up with the
Prosecco or demi-sec Champagne.
Garnish with borage flowers,
lemon and orange wheels, and
pineapple sticks.
With thanks to Nick Strangeway,
Strangehill, London, who in turn
was inspired by William Terrington.

THE GARRICK GIN PUNCH

Serves 8
1lemon (or more if necessary
to yield 90mI/3fl oz juice)
25g (10z) caster sugar
60ml (2fl oz) Maraschino
230ml (8fl oz) gin (oude genever
or Old Tom)
600ml (1 pint) water (either as
water or as an ice block)
470ml (164fl oz) soda water,
chilled

Using a vegetable peeler or paring

knife, peel the lemon, being careful
to avoid the bitter white pith. Place
the lemon peel in a bowl or pitcher.
Squeeze the juice from the lemon
and measure out 90ml (3fl oz).
Add the sugar and Maraschino to
the lemon peel and muddle well.
Add the gin, lemon juice, and water
orice and stir well, then top up with
the soda and serve.
From David Wondrich’s Punch.

191 | COCKTAILS
RECIPE
40m (1%fl oz) gin THE BRAMBLE
20ml (%fl oz) simple syrup or
gomme (see p.188)
Funny the tricks that the memory plays, especially
when there is drink involved. How many great recipes
have been lost in the mists of a 4am post-shift
experimentation? Such is the case with the Bramble.
What we can say is that it was created at some point in
Shake the first 3 ingredients with the late 1980s in a bar called Fred’s in London’s Soho.
ice and strain into a highball glass And it was definitely the work of Dick Bradsell, who
filled with crushed ice. Dribble the
manned the stick at that particular establishment,
creme de mure down through the
which itself was the underground haunt of disreputable
ice. Garnish with a blackberry.
bohemian classic cocktail lovers, or BCCLs, when such
a thing was still, appropriately enough, underground.
It’s easy to forget how hard it was to get a great drink
VARIATION anywhere outside of the grand hotels in those days,
and since none of the BCCLs wore ties or jackets, they
For me, the Wibble is a better, more
couldn’t be served in most of those establishments
complex, grown-up version of the
Bramble that amplifies the sweet anyway. The answer was to create your own scene.
and sour elements while adding When that happened, Dick was its leading light. He is
layers of fruit. It was invented by
one of the very few bartenders to have three modern
Dick when he was at London’s Soho
bar, The Player, and named after the classics to his name - the others being the Espresso
always erect Nick Blacknell, then Martini and the Russian Spring Punch - in his lifetime.
marketing director of Plymouth
But anyway, back to the Bramble. | seem to recall
Gin. As Dick said, “it will make you
wobble, but you won’t fall down”. Plymouth being the gin that was used originally, but
| suspect that is my mind playing tricks... certainly it
THE WIBBLE was a time of excess. Maybe it’s because it is the gin |
25ml (%fl oz) Plymouth Gin would reach for, or perhaps |’m blurring the Bramble
(see p.104)
with the Wibble (see Variation), which of course is
25ml (fl oz) Plymouth Sloe Gin*
25ml (%fl 0z) fresh pink grapefruit another of Dick’s drinks. The man should have a statue
juice erected in his honour - an underground statue, waving
10ml (fl oz) fresh lemon juice
from a basement.
5ml (%fl oz) simple syrup or
gomme (see p.188) The important thing is that this works. That’s why
10m! (4fl oz) creme de mire it’s amodern classic. It refreshes, but the creme de
Shake all the ingredients with ice mure adds a sultry richness to the experience. It takes
and strain into a chilled glass, with me back to fuzzy long evenings and happenings that
or without ice.
best have a veil drawn quietly over them, but if we ever
*Recently I’ve replaced the
Plymouth Sloe Gin with Sipsmith meet, let me tell you about the potato gun standoff in
Sloe Gin (see p.168) or, even better, Louisville Airport.
Foxdenton Damson Gin (see p.166).

192 COCKTAILS
19 COCKTAILS
RECIPE
30m (1fl oz) Old Tom gin AVIATION
When you glance at the recipe for the Aviation, you
wonder what the fuss is about. It seems simple - too
Shake all the ingredients with
ice and strain into a chilled simple, perhaps, in the same way that jungles can be too
Martini glass. quiet just before the enemy attacks. On paper, there is
little more to this than a simplified single-serve Garrick
Gin Punch (see p.190). It’s a gin sour, it’s a gin Floridita
Daiquiri, and yet there is complexity lurking within.
The trick, as ever with drinks with so few ingredients, is
balance. The lemon juice needs to be fresh (of course),
the Maraschino atjust the right level, and the gin to have
a suitably amenable complexity.
Let’s have a look at the gin. The recipes say dry, but
| would be more specific and go for a style like Plymouth
(see p.104). Better still is Old Tom, as this gives the little
touch of sweetness that is needed; this can be too sour
otherwise. Hayman’s works excellently (see p.153), as
does Hammer & Son Old English (see p.152).
Maraschino and gin have a wonderful relationship.
The liqueur was a speciality of Zadar in Croatia, though
production post-World War Two switched primarily
to the Veneto region of northeastern Italy. It first
appeared in Britain in the 1770s, becoming a cult drink
and a favourite of the aristocracy. In the days when
people had fewer ingredients to play with, there is
little surprise that it began being used in simple mixed
drinks. Although a liqueur, it isn’t too sweet and has an
earthy note - which links with angelica and orris - along
with a deep fruitiness that brings to mind roses, cherry
pie (with slightly burned pastry), hay, and hill tracks.
Overload things and it dominates, but get it right and
your drink will fly, which is kind of appropriate.
Originally, the Aviation included créme de violette
as well as Maraschino, which gave it a cerulean hue and
amore floral edge. The colour alone would make it the
perfect accompaniment to have in lan Fleming’s “violet
hour”, were you not drinking a Vesper. Whatever way
you choose, this is another gin drink where it’s hard to
have just one.

194 COCKTAILS
196 COCKTAILS
 RAMOS GIN FIZZ
RECIPE
45ml (1%4fl oz) Old Tom gin

Where would the world be without New Orleans

drinks? - infinitely poorer, though probably slightly
clearer-headed. Henry C Ramos (known to all as Carl)
moved to the Crescent City in 1888 as the new owner
of the Imperial Cabinet Saloon on the corner of Gravier
and Carondelet, an establishment that would soon be
called “the most famous gin fizz saloon in the world”
by the Kansas City Star. In 1907, he moved further along
Shake all the ingredients, bar Gravier to the Stag Tavern and took his drink with him.
the soda water, ferociously over Carl Ramos was the King of the Fizz, and he made
crushed ice for a minimum of his differently. His Gin Fizz didn’t exactly fizz - it glided.
2 minutes. The drink should have It also took time to make, but in my experience people
the consistency of single cream.
always have time in New Orleans. He took the basic
Strain into a chilled cocktail glass
Fizz recipe (see p.212) and dolled it up with cream, egg
and top up with the soda water.
white, and orange flower water. As a result, it ceased
to be asharpener and instead became something
luxurious. It took time because the key to the Ramos
Gin Fizz is the length of the shake.
VARIATION Carl, famously, had shaker “boys” (i.e. African
Americans), up to six per barkeep, whose job was
Charles H Baker was a wealthy
simply to keep on shaking. Some reports say that they
American dilettante who cruised
around the world’s finest temples kept on shaking even if they dozed off; others recount
to food and drink in the twenties that as each shaker boy became tired he would pass
and thirties, and his libationary the drink along to his neighbour, who would keep the
recollections are a magnificent
encapsulation of a forgotten age agitation going until the drink was ready. How long was
of cocktails. His Gin Fizz Tropical that, you ask? Charles H Baker (see Variation) said one
takes the Ramos basics and minute, while others say three... or five... or more..., but
replaces sugar with pineapple
let’s hear it from Carl Ramos himself: “Shake and shake
syrup, the lemon juice with that
from 1% limes, and uses fresh and shake until there is not a bubble left, but the drink
mint for garnish. He drank it after is smooth and snowy white and the consistency of
running the Pagsanjan rapids in
good rich milk.”
the Philippines: “a rocky gorge of
towering walls hung with weird There is a certain sadistic pleasure to be had in
tropical growths, peopled with asking a hard-pressed bartender to make a round
gibbering monkeys and vivid
of them. Equally, if making at home and you have a
unnameable birds”.
smallish child, get them to shake it for you. They have
to learn sometime. Some say you can make this ina
blender, but that strikes me as low-down cheatin’.

197 COCKTAILS
RECIPE
30mI (1fl oz) gin SINGAPORE SLING
Gin became the favoured drink of those Dutch and
British empire builders who were posted to the East.
Genever would have been drunk from the eighteent
century if you were Dutch, and although it took longer for
British gin to shake off its low-class image (see p.20), by
the nineteenth century it had become the ideal spirit to
Build the first 4 ingredients in an
ice-filled glass, then stir, top up with sip when taking your sundowner in British-ruled colonies,
the soda water and add the bitters. a habit that carried on through the twentieth century
and, among the sensible, up until today.
Baker notes that “in other parts
A gin-based drink is perfect for those times when
drinkers often use ginger ale instead
of soda, or even stone bottle ginger your forehead is beading with perspiration and your
beer”. His Sling also uses 2 parts linen suit is losing its crispness. The best of them are
Old Tom to1 part cherry brandy deliciously, dangerously moreish. The night is young,
and 1 part Bénédictine. and the heat has ceased to be oppressive and instead
become like a silken blanket caressing your skin.
The greatest chronicler of this mode of drinking is
Charles H Baker (see p.197), and the gin drink that best
personifies it is that created in Singapore’s Raffles Hotel.
VARIATIONS Baker says of “The Immortal Singapore Raffles Gin Sling”:
“There are other good Gin Slings in the East... but the
Also, check out the Pegu Club
(see p.206). Raffles drink is the best. When our soft-footed Malay
boy brings the fourth Sling and finds us peering over
THE STRAITS SLING
the window sill at the cobra-handling snake charmers
60ml (2fl oz) gin tootling their confounded flutes below, he murmurs
15ml (4fl oz) kirschwasser
15ml (fl oz) Bénédictine
‘Take care, master’. The Singapore Gin Sling is a
juice of % lemon delicious, slow-acting, insidious thing.”
2 dashes of orange bitters The problem is how to make it. It started, cocktail
2 dashes of Angostura bitters
historian Ted Haigh attests, as the Straits Sling, but was
soda water, to top up
fruits of your choice, to garnish soon sweetened (with cherry brandy replacing kirsch) -
and lengthened, becoming more of a proto-tiki drink (the
Shake all the ingredients, bar the
soda water, over ice. Strain into a OTT fruity rum-based concoctions popular in the fifties).
chilled sour glass or Champagne As is often the case with famous drinks, their spiritual
flute. Top up with soda and garnish
home often ends up being the place where the worst
with whatever fruits you fancy.
From Ted Haigh’s book Vintage examples are made. Raffles’s Singapore Sling was, in
Spirits and Forgotten Cocktails. recent times, one of those. However, Desmond Payne,
the guru of gin and aman who belongs on that hotel’s
terrace (see pp.64 and 157), reported in 2015 that it was
back to its old standard. Mr Baker would approve.

198 COCKTAILS
199 : COCKTAILS
THE BRONX THE CLOVER CLUB (ign
This was invented by Johnnie Solon Another early twentieth-century mix, which sadly fell from
at the Waldorf-Astoria Hotel in fashion (probably because of its pink hue) when mixed drinks
Manhattan, New York City, at the were only for Real Men, but is returning to favour in these
turn of the twentieth century. more metrosexual times.

60ml (2fl oz) gin 40ml (114fl oz) gin

Shake all the ingredients with ice and strain into a chilled
cocktail glass.
Shake all the ingredients with ice
and strain into a chilled cocktail
glass. Garnish with an orange twist.

CORPSE REVIVER NO 2
As Harry Craddock (see p.28) wrote in his The Savoy Cocktail
Book of 1930, “four taken in quick succession will unrevive the
corpse again”. You have been warned.

30m (1fl oz) gin

Shake all the ingredients with ice and strain into a chilled
cocktail glass.
From Ted Haigh’s book Vintage Spirits and Forgotten Cocktails.

200 COCKTAILS
201 COCKTAILS
202 COCKTAILS
FRENCH 75 (en) THE FORD COCKTAIL
Although in New Orleans this is made The use of Old Tom shows this to be a nineteenth-century
with Cognac - appropriately enough, classic - it dates from 1895.
as it's named after a French field gun
30ml (1fl oz) Old Tom gin
- this has always been a gin drink.

60ml (2fl oz) gin

10ml (4fl oz) or 2 tsp simple syrup

or gomme (see p.188)

Stir all the ingredients with ice and strain into a chilled
cocktail glass. Garnish with an orange twist.
Shake the first 3 ingredients with
From Ted Haigh’s book Vintage Spirits and Forgotten Cocktails.
ice and pour into a chilled Collins
glass. Top up with Champagne.

ANGEL FACE MARTINI

25ml (%fl oz) Tanqueray No. TEN (see p.111)

Stir all the ingredients together and then serve ina frozen
coupe glass, garnished with an orange twist.
From Barrie Wilson, global brand ambassador, Tanqueray gin.

202 COCKTAILS
FAIRBANK COCKTAIL GIMLET (righttop)
This first appeared in Harry Seemingly simple, yet tricky to manage. This needs to be
MacElhone’s ABC of Mixing COLD. Adding equal amounts of lime juice and cordial helps,
Cocktails in 1922 and is named or lengthen with soda.
after the swashbuckling star
50ml (134fl oz) gin
Douglas Fairbanks.

50m! (134fl oz) gin

Shake all the ingredients with ice and strain into a chilled
cocktail glass. Serve with a lime wedge.

Stir in amixing glass with ice and

strain into a chilled cocktail glass.
Garnish with a cherry.
From Ted Haigh’s book Vintage
HANKY-PANKY (rightbottom)
Spirits and Forgotten Cocktails.
This cocktail was first created in the 1920s by Ada Coleman,
head bartender of The Savoy Hotel’s American Bar, London,
and named after actor Sir Charles Hawtrey (but not the one
of Carry On film fame).

45ml (1%fl oz) gin

Stir all the ingredients with ice and strain into a chilled
cocktail glass. Twist a swathe of orange peel over the
surface of the drink.

204 COCKTAILS
205 COCKTAILS
MONKEY GLAND ASTORIA BIANCO (ii
One from Harry's New York Bar An offering from Jim Meehan of New York's PDT bar
in 5 rue Daunou, Paris, guaranteed (see also pp.271 and 216), who adds: “Years before Old Tom
to revitalize parts that other drinks gin was reintroduced on the US market, | approximated the
do not reach. flavour profile by substituting bianco vermouth for dry
in his resurrection of the Astoria cocktail.”
60ml (2fl oz) gin
75ml (2%fl oz) Tanqueray London Dry Gin (see p.110)

Shake all the ingredients with

ice and strain into a chilled Stir all the ingredients with ice and then strain into a chilled
cocktail glass. coupe glass. Garnish with an orange twist.

PEGU CLUB
A colonial delight, this was created as a sundowner for the
denizens of Rangoon’s (now Yangon) Pegu Club, Burma
(now Myanmar), in the 1920s.

45ml (1%fl oz) gin

Shake all the ingredients with ice and strain into a chilled
cocktail glass.

From Ted Haigh's book Vintage Spirits and Forgotten Cocktails.

206 COCKTAILS
207 COCKTAILS
THE VESPER WHITE LADY (asi)
Invented by lan Fleming, this Another from the fertile mind of Harry MacElhone (see Fairbank
features in Casino Royale, the first Cocktail, p.204), this cocktail emerged in the Roaring Twenties
James Bond novel, and was named in Paris. These days, it’s most commonly seen being drunk in
after Bond's squeeze in the book, upscale bars in Tokyo.
double agent Vesper Lynd. It was
40ml (114fl oz) gin
originally made with the now sadly
discontinued Kina Lillet.

90ml (3fl oz) gin

Shake all the ingredients with ice and strain into a chilled
cocktail glass.

Shake all the ingredients with ice

and strain into a chilled stemmed
glass. Garnish with a lemon twist. TWENTIETH CENTURY COCKTAIL (ign
Created in 1937, this cocktail was not named after the new
century but the then newly designed Twentieth Century
Limited train that ran between New York and Chicago.

45ml (1fl oz) gin

Shake all the ingredients with ice and strain into a chilled
cocktail glass.

208 COCKTAILS
COCKTAILS
210 COCKTAILS
BREAKFAST MARTINI (i) SILVER FILL
40m (114fl oz) gin First made in the 1880s in either New York or Chicago (debate
rages), this was intended as an early morning picker-upper.
/ can vouch for its continuing efficacy.

50m (154fl oz) gin

Shake all the ingredients with ice

and strain into a chilled cocktail
glass. Serve with toast.
From Salvatore “The Maestro” Calabrese
Shake the first 4 ingredients long and hard with ice. Strain
of the Playboy Club, London.
into a chilled highball glass without ice and top up with the
soda water.

AFTER NINE
This comes courtesy of Jim Meehan of PDT cocktail bar,
New York City (see also pp.206 and 216), who comments:
“A fitting reward for a vigorous day on the slopes; this winter
warmer also delights those of us who spend more time
looking at mountains than scaling them.”

30m! (1fl oz) Monkey 47 Schwarzwald Dry Gin (see p.130)

Build the ingredients in a pre-warmed insulated toddy

mug. Garnish with a sprig of lavender.

241 COCKTAILS
CHOCOLATE NEGRONI HOUSE GIN FIZ (rightto)
30m! (1fl oz) Fords gin (see p.84) 50m! (134fl oz) London Dry gin

22ml (fl oz) Punt e Mes red

vermouth

Stir all the ingredients together,

then strain into a chilled cocktail
glass onto one large piece of ice. “Dry” shake (without ice) all the ingredients, bar the soda,
Garnish with an orange twist. together, then repeat with ice. Strain into a chilled sling
From Naren Young, Fork & Shaker, glass with no ice. Top up with a splash of soda and garnish
New York City. with a lemon twist.
From Ryan Chetiyawardana of White Lyan, Hoxton, London.

START ME UP (rightbottom)
45m (14%fl oz) gin

Stir all the ingredients over ice and strain into a chilled
cocktail glass. Garnish with a lemon twist.
From Rob Libecans of White Lyan, Hoxton, London.

242 COCKTAILS
Liat
COCKTAILS
JASMINE (er) AU THEVERT
45ml (1%4fl oz) gin 50ml (154fl oz) Tanqueray London Dry Gin (see p.110)

15ml (fl oz) simple syrup or

gomme (see p.188)

seasonal edible flowers - jasmine blossom if available,

to garnish
Shake all the ingredients together
and fine strain into a cocktail glass.
Garnish with a pansy, if available.

From Naren Young, Fork & Shaker,

New York City.

For the oak moss syrup, put all the ingredients into a
saucepan and heat until the sugar dissolves. Remove from
the heat and leave to infuse for an hour, then strain through
a Superbag strainer. Pour into a sterilized bottle, seal, and
date, then stick in the fridge. It will keep for a month.

To make the jasmine tea, brew the tea in the hot water
for 4 minutes. Add the cold water and quickly strain. Pour
into a sterilized bottle, seal, and date. Keep in the fridge for
2 days. The tea can be infused twice.

Add all the ingredients together to a chilled highball glass

with ice cubes and give it a quick stir. Garnish with flowers.
From Stuart Bale of Strange Hill for the Bulgari Hotel, London.

245 COCKTAILS
HOOK, LINE, AND SINKER OLO FRIEND (en)
30mI (1fl oz) West Winds Gin The One more from Jim Meehan of New York’s PDT bar (see also
Cutlass (see p.135) pp.206 and 211), who explains: “A distant cousin of the classic
Old Pal cocktail, this bright, sophisticated sour shares many
40m (114fl oz) Regal Rogue Rosso
of the attributes of a valued companion.”
vermouth
45ml (1%fl oz) London Dry Gin (see p.63)

Stir the ingredients together and

strain into a chilled coupette glass.
Garnish with a pickled black cherry.
Shake the ingredients with ice, then strain into a chilled
From Tim Philips of Bulletin Place, Sydney.
coupe glass. Garnish with a lemon twist.

PASTIS INA PEAR T(igh)

50m (134fl oz) Tanqueray London Dry Gin (see p.110)

Shake all the ingredients over ice and serve ina chilled
coupe glass. Garnish with a star anise.

From Barrie Wilson, global brand ambassador, Tanqueray gin.

216 COCKTAILS
VICTORIA CALLING PATCHOULI FIZZ (igh)
40m (11sfl oz) Melbourne Gin 40m (1%4fl oz) Beefeater London Garden Exclusive
Company (MGC) Dry Gin Edition gin

15ml (4fl oz) Seppeltsfield Flora

Fino (DP117) sherry

10ml (4fl oz) sugar syrup or

gomme (see p.188)

Put all the ingredients into a cocktail

shaker, shake, and Strain into a
chilled coupette glass. Garnish with
a strip of grapefruit peel.
From Tim Philips of Bulletin Place, Sydney.
Add all ingredients, bar the tonic, to a cocktail shaker and
shake over ice cubes. Fine strain into a chilled highball
glass and top up with tonic. Garnish with a lemon wheel
and micro basil.
From Nathan O'Neill, Dandelyan, Mondrian Hotel, London.

KUXU COOLER
8 seedless black grapes, plus extra to garnish

Muddle the grapes in a cocktail shaker, then add the rest

of the ingredients, bar the tonic, and shake. Strain into a
chilled highball glass and top up with the tonic. Garnish
with a lime wheel and split black grapes.
From Matt Linklater, Bulletin Place, Sydney.

218 COCKTAILS
249 COCKTAILS
BIBLIOGRAPHY
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ny ———————_————————

221 BIBLIOGRAPHY
 INDE
The Botanist 73 Edinburgh Gin 81
Boudier Saffron Gin 164 Edinburgh Gin's Raspberry
Bourbon Barreled Big Gin 156 Liqueur 165
Bradford A La Martini 184 elderflower 38
The Bramble 192 essences 44
Bramley And Gage Organic Sloe essential oils 33
Gin 167
Recipe titles for cocktails
Breakfast Martini 211 Fairbank Cocktail 204
and mixers are in /tal/ics.
Brecon Botanicals 74 Fifty Pounds Gin 82
Page numbers for illustrations
Broker’s 75 Filliers 44-5
are in italics.
The Bronx 200 Filliers 1992 Vintage
Burrough’s Reserve Oak Rested Graanjenever, First Release 170
6 O'clock Gin 59
Gin 157 Filliers Dry Gin 28: 120
1495 Verbatim 11
Filliers Dry Gin 28 Barrel
Cadenhead’s Classic 76 Aged 160
Adnams Copper House 60
Cambridge Gin Autumn/ Winter Filliers Oude Graanjenever, 8
ADSR (Attack Decay Sustain
2014: 77 Year Old 177
Release) 40
Campari 52 Finsbury Platinum 83
After Nine 211
Caorunn 78 flavour camps 48
almond 36-7
cardamom 37 Flemish Gin 20-3: 121
American Gin 39
Carter-Head Still 22, 42, 42-3 floral flavour camp 48
anethole 36, 37
cassia bark 36 The Ford Cocktail 203
Angel Face Martini 203
Cellier-Blumenthal Still 25 Fords 84
angelica 35
chamomile 38 Foxdenton Damson Gin 166
aniseed 37
Chief Gowanus 181 French 75: 203
Anno 61
Chocolate Negroni 212
aromas 33, 47 see a/so botanicals
cinnamon 36 G&T 50, 53
Astoria Bianco 206
Citadelle 20 The Garrick Gin Punch 191
Au Thé Vert 215
Citadelle 18 genever 39
Aviation 138
Aviation 194 Citadelle Reserve 2013: 158 history 11-15, 24-5
citrus 35-6, 48 production 44, 44-5, 45
The Clover Club 200 geranium 38
bartenders 26-7, 28, 29
base spirit 41 Coates family 19, 104 Geranium Gin 85
cocktails Gilpin’s 86
“bathtub gin” 27-8
Bathtub Gin 62 history 20-7; Great Britain 29; Gimlet 204
Bathtub Old Tom Gin 154 United States 26-8 The Gin Acts 16-17, 18
ratios 49 Gin Cocktail 54
bay (laurel) 38
Beefeater 63 Coffey Still 23 Gin Fizz 55
Beefeater 24: 64 Cold River 140 Gin Fizz Tropical 197
Beginner's Negroni 186 coriander seeds 34, 35 gin: legal definitions 39
Belfast Bastard 186 Corpse Reviver No 2; 200 Gin Mare 128
Belgium: history of gin 25, 28 Craddock, Harry 29, 200 gin palaces 27, 21
Berkeley Square 65 crock bottles: Bols 72 Gin Punch 190-1
berry trays 43 cubeb berries 37 Gin Punch A La Hepple 190-1
Big Gin 139 ginger 37
Blackwoods Vintage Dry Gin Darnley’s View 79 Gordon's 19, 22
2012: 66 Death's Door 141 Gordon’s 87
Bloom 67 Dickens, Charles 20, 21 Gordon's Export 88
Boé 68 distillation 33, 40-5 “Graanjenever” 39
Bols 13, 24, 25, 30, 171-3, 178 essences 44 grains of paradise 37
Bols Barrel Aged 173 and essential oils 33 Great Britain
Bols Corenwyn 178 genever production 44, 44-5, 45 history of gin: 17th century 14-15;
Bols Genever 171 history 70, 10, 11-12, 15, 19, 22, 25-6 18th century 16-19; 19th century
Bols Zeer Oude 172 one-shot versus concentrate 43 20-7; 20th century 28-9
crock bottles 72 Supercritical Fluid Extraction Greenall’s Dry Gin 89
Bombay Dry 69 (SFE) 44 Greenhook Ginsmiths American
Bombay Sapphire 70 vacuum 43-4 Dry 143
Bombay Sapphire East 71 vapour extraction 42-3 Greenhook Ginsmiths Beach Plum
Boodles 72 distilled gin 39 Gin Liqueur 169
botanicals 33-8, 34 Dodd's 80 G'vine Floraison 122
distillation 40-5 Dorothy Parker 142 G’vine Nouaison 123
individual distillation & “Dutch Courage” 15
blending 42 Dutch Courage Aged Gin 88: 159 Hammer & Son Old English Gin 152
steeping 42 Dutch Courage Dry Gin 119 Hanky-panky 204
vapour extraction 42-3 Dutch Courage Old Tom’s Gin 150 Hayman’s London Dry 90
Dutch East India Company 12-13, 73 Hayman’s Old Tom 153

222 INDEX
Hayman’s Royal Dock 91 Martin Miller’s 97 stills
Hendrick’s 92 Martin Miller's Westbourne Carter-Head Still 22, 42, 42-3
herbs & flowers 38 Strength 98 Cellier-Blumenthal Still 25
Hern6 Gin 124 Martinez 55 Coffey Still 23
Herzog G.I.N. 180 Martini 53-4, 184 glass vacuum stills 43-4
history of gin Mascaro Gin 9: 129 pot stills 47, 41-2, 45
17th century 12-15 mash bills 44-5 The Straits Sling 198
18th century 16-19; crazed meadowsweet 38 Supercritical Fluid Extraction
times 16-18; Gin Acts 16-17, 18; mixers 50-2 (SFE) 44
notoriety to acceptability 18-19 recipes 53-5 syrup, simple 188
19th century 20-7; America’s Mombasa Club 99
gift to the Globe 25-7; Monkey 47 Schwarzwald Dry Gin 130 Tanqueray, Charles 24, 110-12
class customs 20-1; Madam Monkey Gland 206 Tanqueray London Dry Gin 110
Genever’s reign 24-5; new gin Tanqueray No. Ten 111
styles 22-4 Negroni 49, 54, 186 Tanqueray Rangpur 112
20th century 27-30 Netherlands: history of gin 11-15, Tarquin’s 109
21st century 30-1 24-5, 28, 30 tasting gin 47
ancient remedy 9 New York Distilling Company 26, 181 Taylor, John 24, 63
cocktails 20-7 No. 209: 146 Telser Lichtenstein Dry Gin 132
development as an alcoholic No.3: 100 Temperance Movement 26
drink 11-15 Nolet’s Silver Dry Gin 131 Thames Distillers 31, 79
medieval panacea 9-10, 70 nutmeg 38 Thomas, Jerry 26-7
Hogarth, William Gin Lane 16, 18 tonic water 50
Hollands 14, 19, 20, 25, 26-7 Old Friend 216 Turf Club 55
Hook, Line, And Sinker 216 Old Raj 101 turpentine 20, 28
hops 38 Old Tom 23, 25, 27, 29 Twentieth Century Cocktail 208
House Gin Fizz 212 “one-shot” distillation 43 Two Birds 113
Opihr 102
Inverroche Amber 161 orris root 35 United States: history of gin 25-8,
Inverroche Classic 125 “Oude” genever 39, 45 29-30, 31
“Oude graanjenever” 39
Jasmine 215 Oxley 103 vacuum distillation 43-4
Jensen's Bermondsey 93 Van Wees Three-corner Dry Gin 133
Jensen’s Old Tom 151 Pastis in a Pear T 216 vapour extraction 42-3
John (Tom) Collins 188 Patchouli Fizz 218 vermouth 51-2
“Jonge” genever 25, 39, 45 Pegu Club 206 The Vesper 208
juniper 9, 33-4 see a/so history of gin PGI gin 39 Victoria Calling 218
ancient remedy 9 Plymouth Gin 104 Victoria Gin 134
development as an alcoholic Portobello Road No. 171: 105 Victoria Oaken Gin 163
drink 11-15 pot stills 47, 41-2, 45 vodka 30
flavour camp 48 production 32
medieval panacea 9-10 Prohibition 27, 27-8 Warner Edwards Harrington Dry 114
Junipero 144 water of life 11-12
quinine 50 The West Winds Gin The Sabre 135
“Korenwijn” 39, 45 White Lady 208
Kuku Cooler 218 Ramos Gin Fizz 197 Whitley Neill 115
Ransom Old Tom 155 The Wibble 192
Langley 31, 75 ratios (cocktails) 49 Williams Chase Elegant Crisp Gin 116
Langtons No.1; 94 reflux 41-2 wormwood 51-2
Larios 126 reflux condenser /0 Worshipful Company of Distillers
Larios 12: 127 Rowlandson, Thomas /8 14-15
legal definitions 39
lemonade, Sicilian 50-1 Sacred Gin 106 Xoriguer 136
Leopold’s Navy Strength 145 Schiedam 24, 24-5, 28
linalool 34, 37 Sicilian lemonade 50-1 Zuidam 44-5
liquorice root 36 Silver Fizz 211 Zuidam Korenwijn 1999: 179
London Gin/London Dry Gin 39 Singapore Sling 198 Zuidam Oude, Single Cask 10
London Hill 95 Sipsmith 31, 107-8 Year Old 176
London: history of gin 12, 14-15, 16, Sipsmith Sloe Gin 168 Zuidam Rogge 175
Is Ail, ZS) Sipsmith V.J.0.P, 108 Zuidam Single Barrel Zeer Oude,
The London No.1: 96 Smooth Ambler Barrel Aged 162 3 Year Old 174
Low Countries: history of gin 11-15, spices 37-8, 48
24-5, 28 St. George Botanivore 147
St. George Terroir Gin 148
MacElhone, Harry 28, 204, 208 Start Me Up 212
The Marguerite 184 steep & boil 42

INDEX
 THANKS This book has been long in gestation and could not have been
written without the help, input, friendship, broad shoulders, and
thirsty palates of many colleagues, friends, and family members.

To Desmond Payne, who showed me the way of gin all those

PICTURE CREDITS years ago and who has been a constant source of help - and gin
- ever since.
The publishers would like to thank
all the distillers and their agents who To Sean Harrison for Tales memories, help on chemistry, lunch
have kindly provided images of their ona train, and more.
gins for inclusion in this book. To Patrick Zuidam, who is taking genever into a new world.
To Jean-Sébastien Robicquet, Jamie Walker, and the team
Additional credits are as follows:
at G’Vine.

Alamy Anton Havelaar 24; Bon To Will Lowe for crafting me my own gin, organoleptic advice,
Appetit 38; Falkenstein/Bildagentur- and ants.
online Historical Collect 23; Jean- To Alexandre Gabriel, Alex Nicol, Darren Rook, Simon Ford,
Baptiste Rabouan/Hemis 31; Jeffrey Charles Maxwell, Jake Burger, and all who sent samples.
Blackler 33; Mary Evans Picture To Anistatia Miller for always being a sounding board, and Jared
Library 21; Museum of London/ Brown for the same, along with Sam and Fairfax for some great
Heritage Image Partnership Ltd 18;
juniper-laden memories.
Peter Horree 13; Tom Hanley 37;
courtesy Caorunn Gin 43; Corbis To Geoffrey Kelly for Flemish gin, Neil Mathieson for the
David J Frent/David J & Janice “boutique” tasting, and Michael Vachon for the same.
L Frent Collection 26; courtesy To Nicholas Cook at the Gin Guild, and the staff at the
of Dave Broom 11; Getty Images Schiedam Museum.
Brad Wenner 2; Chris Ratcliffe/ To Charles Rolls for piloting me safely so many years ago, and his
Bloomberg via Getty Images 34; colleagues Tim Warrillow and Saskia Meyer at Fever-Tree.
Florilegius/SSPL 9; Guildhall Library
& Art Gallery/Heritage Images 19; To Joanne McKerchar at Diageo Archive for immense help with
Imagno 15; Topical Press Agency historical detail.
27, 29; courtesy The Hendrick’s Gin To David T Smith at summerfruitcup.wordpress.com for ears and
Distillery Ltd 32, 42; courtesy Lucas laying on a great tasting.
Bols bv 12; courtesy NY Distilling To Sandrae Lawrence and Gary Sharpen, Gin Cocktail lovers and
Company 30; Shutterstock Nicku dear friends.
25; S1001 36; SidorovichV 35;
Sipsmith Independent Spirits photo To Ryan Chetiyawardana for once again doing the cocktail shoot
despite huge work pressures, and to Tristan Stephenson and
Alastair Wiper 41; Thinkstock iStock
55; Wellcome Library, London 8, 10, the team at Whistling Shop for allowing us to use their great bar,
16; Zuidam Distillers bv 44, 45. Barrie Wilson, the second-best bartender in Dunfermline, Tony
C, Tim D Philips, Naren Young, Jim Meehan, Stu Bale, the Lyan
Author photo, page 7, by Will Robb. Group barkeeps, Nick Strangeway and Cairbry Hill, Dick Bradsell,
and Seb Hamilton-Mudge.
Cocktails photographed by Cristian To Philip Duff for all his help on genever, Gaz Regan for his finger,
Barnett for Octopus Publishing. and David Wondrich for advice administered in various Canadian
dive bars - truly a sage who knows his onions.
To the members of the SKYC, for whom three Negronis is
never enough.
To the Octopus team, who once again have done a magnificent
job: Denise, Leanne, Giulia, Juliette, and Jo the editor.
To Tom Williams, my patient, helpful, and unflappable agent -
and fellow Negroni fiend.
Mostly, however, to my wife Jo, who not only has supported me
during the writing but has been a partner in the process. Without
her handling of research and logistics, this book wouldn’t be
here, or I'd be mad... or both. At least at the end of this she now
realizes that she likes cocktails, which, in another serendipitous
occurrence, can now be shaken like the devil by our daughter
Rosie, who may be too young to drink but can make a killer
Aviation. Long may you fly.

224 THANKS
ES
 F ah .

Dave Broom is an AWARD-WINNING AUTHOR specialising in

spirits. He has.been writing about drinks for over 25 years and
has twice won q Glenfiddich Award for Drinks Book of the Year |
and for Drinks Writer of the Year. In 2013 he won the prestigious
IWSC Communicator of the Year award. Dave is editor-in-chief
of Whisky Magazine: Japan, consultant editor to Whisky
Magazine (UK, USA, France, Spain) and a lead columnist on
Whisky Advocate (USA). He also.contributes to a raft of national
and international: magazines and is actively involved in spirits
education, SENSORY EVALUATION and training globally.

ISBN 978-1-84533-938-8

9 |8 7339388

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