Sangar Liberian White Rum – Review

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Sep 232019
 

If you doubt the interconnectedness of the modern world, let me relate this circular story. About three or four years ago Gregers Nielsen (now of the Danish company 1423 and someone I enjoy heckling in every rumfest I see him at) introduced me to Richland Rum from Georgia, which I thought was nice, if perhaps not a world beating standout. Fast forward a couple of years and I’m doing research on rums of Africa and in looking at Liberia I come across Sangar rums, made by an expatriate American who was consulting with – Richland Rum. Another year passes, and at the 2019 Berlin rumfest the very first stand I’m told to go to is a new rum from Liberia – Sangar.  And who told me this and pointed in their direction? Gregers…who then ended up working two booths over. I rest my case.

That amusing if irrelevant tale aside, here is some of the background of Sangar. My initial research a year or so back created some confusion – the application for equity  investment called it Sehzue Distillers; the contact email at the time said Nimba Valley Rum and the official site referred to Miseh Distilling even though the website is for Sangar rum – but in all cases the principal force behind it is Mike Sehzue, an American West Point graduate with an MBA whose father was born in Liberia.

Mr. Sehzue had no idea how to make rum, but on a visit to Liberia in 2010, he became more aware of the local cane juice alcohol with its long grass-roots history and, realizing that expertise and raw materials were on hand, he decided to open a medium sized distillery both to encourage industry in a country now recovering from a protracted and bitter civil war, and to showcase the potential of locally made rum.  A chance meeting led to an introduction (in 2014) to Erik and Karin Vonk of Richland Rum distinction and they provided him with the encouragement and technical advice which permitted him to open his distillery for business a few years later. The result is the only rum they make at the moment, the 40% Sangar White, sold primarily in Liberia, with the festival circuit raising awareness for export plans to the USA, EU and UK in later 2019 and 2020.

The rum is pot-still produced and derives from cane juice, not molasses. Sangar has no cane fields of its own, and contracts with seventeen or so local farmers in the surrounding area to source its cane, which is brought to the distillery and crushed within eight hours of cutting, with the juice put to ferment for five days.  Then it’s run through their copper pot still, and bar filtration for sediment, is bottled pretty much as it is, unaged, clear, at a relatively demure 40% (which I suspect is so that it can more easily be appreciated by the target audience in the USA).

For the hardcore rum junkie, 40% would not normally excite serious interest (although the prospect of trying a new and relatively unknown African rum absolutely should), but trust me, the combination of a rum incorporating magic words like “pot still” and “unaged” and “clear” was and is well worth seeking out when it comes to the festival near you because the aromas and tastes are barely held in check even by those softer standards. The nose, for example announced its potential badassery with an initial tantara of salt, wax, gherkins in vinegar and just enough bite to make one wonder if a red chili wasn’t hiding in there someplace. Brine and olives were at the fore, followed by crisp green apples, lemon zest, cinnamon, and cumin.

Tastewise, I would have preferred something released at a higher proof, because the profile was mild instead of forceful, slightly muddled instead of really crisp — and while that will allow anyone to drink it neat without an issue, it also muted the flavours, almost losing some, that could have used a little beefing up.  Clearly discernible were citrus, light fruit (papaya, white guavas, pears), sugar water, watermelons, sweet green peas (!!), and the rum retained just enough of the attitude to permit a good interaction with the brine and olives with the lighter components. Unsurprisingly the finish was short and wispy, mostly a mix of sweet and salt, soya, light fruits and a dash of cumin to close up the show.

So let’s sum up, then. The balance was excellent, the interplay of flavours spot on, and I was quietly impressed that so much could be packed into a package with so little aggro. Choosing my words carefully, I can say that this is a near perfect 40% white homunculus of a rumlet, and there will be an audience for it, no question – but it won’t be those who cut their teeth on agricole blancs north of 50%, for whom this will be an interesting diversion without replacing their pet loves.  That said, there’s nothing at all wrong with it – it delivers at its proof point for those who appreciate that, and for those looking for an interestingly taste-filled mild white sipper, it delivers there as well.

Sangar points to several developing themes in today’s rumworld, which I‘ve almost  inadvertently been following through my reviews and only become clearer in hindsight. First there’s the gradually increasing amount of micro-distilleries who aren’t seeking to make whisky or gin or vodka (or everything at once, as much as they can), but rum, full stop.  Bar the United States, these micros are in remote areas of the world far from the Caribbean, like Africa and the Far East. And they seem to have a near-unnatural love for issuing unaged white rums at higher proofs, which is a subset of rums drawing more attention in recent years, especially in the cocktail circuit

With respect to that last remark, Sangar is something of an outlier, since the white reviewed here is bottled at standard. And the agricole blancs from the old and proud houses of the French West Indies are not in danger of losing their pride of place any time soon, not to the Far Eastern micros, or to Sangar. But as I noted above, with the interconnectedness of the world and transmigration of skills to any place with enough desire and smarts to make a good rum, it’s possibly just a matter of time before Sangar becomes a rum producer who really does earn the use of both the words “artisanal” and “craft” … without turning the words into the meaningless marketing twaddle that afflicts so many others.

(#659)(82/100)

Other notes

Sangar has small quantities of rum ageing away in port casks in Liberia: it’s unknown when these will be released as aged rums to the market, but it does point to their long term development strategy.

Privateer Navy Yard Rum (Barrel Proof) – Review

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Sep 192019
 

Much of the perception of small and new companies’ rums is tied up in their founders and how they interact with the general public. Perhaps nowhere is this both easier and harder to do than in the United States – easier because of the “plucky little engine that could” mythos of the solo tinkerer, harder because of the sheer geographical scale of the country. Too, it’s one thing to make a new rum, quite another to get a Je m’en fous public of Rhett Butlers to give a damn.  And this is why the chatterati and online punditocracy barely know any of the hundreds of small distilleries making rum in the USA (listed with such patience by the Burrs and Will Hoekenga in their websites)…but are often very much aware of the colourful founders of such enterprises.

That said, even within this ocean of relative indifference, a few companies and names stand out.  We’ve been hearing more about Montanya Distillery and master blender Karen Hoskin, everyone knows about Bailey Prior and the Real McCoy line, Lost Spirits may have faded from view but has great name recognition, Koloa has been making rum for ages, Pritchard’s and Richland are almost Old Stalwarts these days, the Eastern seaboard has its fair share of up and coming little rinky-dinks…and then there’s Privateer and its driven, enthusiastic, always-engaged master blender, Maggie Campbell, whose sense of humour can be gauged by her Instagram handle, “Half Pint Maggie.”

Privateer was formed by Andrew Cabot after he walked away from his tech-CEO day job in 2008 and decided to try his hand at making a really good American rum, something many considered to be a contradiction in terms (some still do). In 2011 he opened a distillery in an industrial park in Ipswich, Massachusetts but dissatisfied with initial results sniffed around for a master distiller who could deliver on his vision, and picked a then-unemployed Ms. Cambell who had distilling experience with whiskey and brandy (and cognac), and she has stayed with the company ever since. The rum is made from grade A molasses, and is twice distilled, once in a pot and once in a columnar still, before being laid to rest in charred american oak barrels for a minimum of two years. The company’s ethos is one of no additives and no messing around, which I’m perfectly happy to take on trust.

So, all that done away with, what’s this Navy Yard rum, which was first introduced back in 2016, actually like?  

Well, not bad at all. Each of the three times I tried the rum, the first thing out the door was sawdust and faint pencil shavings, swiftly dissipating to be replaced by vanilla, crushed walnuts and almonds, salted butter, caramel, butterscotch, a touch of the molasses brush, and the faintest tinge of orange peel.  What is surprising about this admittedly standard and straightforward – even simplistic – profile is how well it comes together in spite of the lack of clearly evident spices, fruits and high notes that would balance it off better. I mean, it works – on its own level, true, dancing to its own beat, yes, a little off-kilter and nothing over-the-top complex, sure…but it works. It’s a solid, aromatic dram to sniff.

The mouthfeel is quite good, one hardly feels the burn of navy strength 57.1%…at least not initially. When sipped, at first it feels warm and oily, redolent of aromatic tobacco, tart sour cream on a fruit salad (aha! – there they were!) composed of blueberries, raspberries and unripe peaches.  Vanilla remains omnipresent and unavoidable, but it does recede somewhat and tries hard not to be obnoxious – a more powerful presence might derail this rum for good. As it develops the spiciness ratchets up without ever going overboard (although it does feel a bit thinner than the nose and the ABV had suggested it would be), and gradually dates and brine and olives and figs make themselves known. The rather dry finish comes gradually and takes its time without providing anything new, summing up the whole experience decently – with salted caramel, vanilla, butter, cereal, anise and a hint of fruits — and for me, it was a diminution of the positive experience of the nose and taste.

Overall, it’s a good young rum which shows its blended philosophy and charred barrel origins clearly. This is both a strength and a weakness. A strength in that it’s well blended, the edges of pot and column merging seamlessly; it’s tasty and strong, with just a few flavours coming together. What it lacked was the complexity and depth a few more years of ageing might have imparted, and a series of crisper, fruitier notes that might balance it off better; and as I’ve said, the char provided a surfeit of vanilla, which was always too much in the front to appeal to me.

I’ve often remarked about American spirits producers who make rum, that rum seems to be something of a sideline to them, a cheaply-made cash filler to make ends meet while the whiskies that are their true priorities are ageing.  That’s not the case here because the company has been resolutely rum-focused from eight o’clock, Day One – but when I tasted it, I was surprised to be reminded of the Balcones rum from Texas, with which it shared quite a lot of textural and aromatic similarities, and to some extent also the blended pot/column Barbadian rums with which Foursquare has had such success (more Doorly’s than ECS, for the curious). That speaks well for the rum and its brothers up and down the line, and it’s clear that there’s nothing half-pint or half-assed about the Navy Yard or Privateer at all.  For me, this rum is not at the top of the heap when rated globally, but it is one of the better ones I’ve had from the US specifically.  What it achieves is to make me want to try others from the company, pronto, and if that isn’t the sure sign of success by a master distiller, then I don’t know what is.

(#658)(83/100)

Opinion

After I wrote the above, I wondered about the discrepancy in my own perception of the Navy Yard, versus the really positive commentaries I’d read, both on social media and the few reviews others had written (94 points on Distiller, for example, and Drink Insider rated it 92 with nary a negative note anywhere on FB). Now, there is as yet no reviewer or commentator outside the US who has written about the Navy Yard (or others in the line), partly because its distribution remains there; those who did really went ape for the thing, some going so far as to call it the best american rum, so why didn’t I like it more?  

The only answer I can come up with that isn’t directly related to my own palate and experience tasting rums from around the world, is that they are not coming to Privateer with the same background as others are, or I do. The sad Sahara of what is euphemistically called “rum choice” in the US, a resultant of the three-tier distribution dysfunction they amusingly call a “system”, promotes a rum selection of cheap quantity, but so denuded of real quality that when the girl next door makes something so much better than the mass-produced crap that masquerades as top-drawer rum over there, it just overloads the circuits of the local tippling class, and the points roll in like chips at a winning table in Vegas. 

This is not in any way to take away from the achievement of Maggie Cambpbell and others like her, who work tirelessly every day to raise the low bar of American rumdom. Reading around and paying attention makes it clear that Ms. Campbell is a knowledgeable and educated rum junkie, making rum to her own specs, and releasing juice that’s a step above many other US brands. The next step is to make it even better so that it takes on better known Names from around the world which – for now – rate higher. Given her fierce commitment to the brand and the various iterations they’re putting out the door, I have no doubt there will be much more to come from Privateer and I look forward to the day when the company’s hooch muscles its way to the forefront of the global rum scene, and not just America’s.

Other Notes

I drew on Matt Pietrek’s deep dive for some of the biographical details, as well as articles on Thrillist, Imbibe and various posts about Privateer on FB. Details of the company, Ms. Campbell and the distillation steps can be found both Matt’s work and t8ke’s review, here.  This is one of those cases where there’s so much information washing around that a synopsis is all that’s needed here, and if your interest has been piqued, follow the links to go deeper.

Zafra Master Reserve 21 Year Old Panama Rum – Review

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Sep 162019
 

Going back to familiar rums we liked back in the day is something in the nature of revisiting the comfort food of our youth. The memories are strong and consoling, recalling a time of less snark, less cynicism and a whole lot more enjoyment. Surely such positively-associated, fondly-remembered rums deserve a place on the high-scorers list? The problem is, that’s all some of these are – memories.  The reality, informed by a more discerning palate and more varied experience, tends to deflate such candidates and show us both what we liked about them then, and maybe don’t so much, now.

Which brings me to the Zafra 21 Master Reserve which is almighty peculiar in that I tried it a lot in the early years, yet never took notes on it…and almost nobody else in the current rum-reviewing landscape has either.  Back then, I really liked Panamanian rums, before their overall placid sameness eroded my enjoyment and other, more exciting, forceful, original rums came to dominate my pantheon. Taste-wise, I always associated and linked the Zafra — perhaps subliminally — to Diplomatico, Zaya and Zacapa – and (to a lesser extent) to Dictador and Santa Teresa.  They all share certain similarities…a smooth velvety mouthfeel, sometimes solera production, with an oft-accompanying sweetness so characteristic of the type…and a kind of amazing longevity and popularity. I mean, just take a gander at the notes on Rum Ratings – almost 80% of the 201 respondents give it a score of 8 or better. That’s far from the massive 1,472 ratings of the Zacapa 23 or the 1,721 of the Diplo Res Ex, but it shows something of the way popular opinion bends for these soft Latin-style rums.

Still, it’s been many years, so has anything except my hairline and chubbier corpus changed in any significant way here? For example, is it still made the same way?  Does it still taste as easy-going and slickly-smooth as my recollections suggest? 

Based on research I had done at the time, and again for this essay, I’d say it is.  It remains a rum whose original blend dating back to 2009 when it was first released, has not appreciably changed.  It’s a Panamanian column-still rum created by Francisco “Don Pancho” Fernandez who is better known for both his moniker “The Minister of Rum” (not to be taken seriously, since there is no such position), and a true 21 year old aged in bourbon barrels – though trust issues such as those which afflict other aged Panamanians in these sadly suspicious times might make one take that with a pinch of salt.  In yet another odd thing about the rum, nobody has ever done a hydrometer test on it and post-2010, good luck finding a reviewer who’s written anything (back then the reviews were mostly positive, but of course Johnny Drejer had yet to upend the rumiverse for us).

Yet for its adherents the Zafra 21 YO remains a popular — if faded — star, and people like it, and trying the gold-brown rum makes it clear why this is the case.  At 40% it’s hardly going to blow your socks off, and when inhaled, there was nothing I wasn’t already expecting: caramel, creme brulee, dark fruit, leather, sawdust.  There were subtler notes of cinnamon, vanilla, brown sugar and ginger. The problem with it – for me at any rate – was that it was just too faint – it smelled watered-down, weak, with hardly any kind of serious enjoyment available for the nose, and complexity of any kind was just a vanished dream.

Nothing about the palate and mouthfeel greatly impressed me either, though I must admit, it was nice. Inoffensive might be the kindest word I can come up with to describe the faint driness, saltiness and sweetness, too vague to make a serious impression (and I was trying this first thing in the morning before a single rum greater than 45% had crossed my glass).  Caramel, vanilla, nutmeg, cinnamon led off, with some additional brown sugar, treacle, molasses. Trying to elicit and identify the fruity notes was as pointless as sniffing an orchard shut down for the winter. It simply had no edge, and stayed light, warm and smooth, with a finish that was short, sweet and light, with light oak, vanilla, pancake syrup and some peanut butter.  Big yawn. How 21 years of ageing in the tropics can impart so little character is the great weakness of the rum, and raises all kinds of flags to the wary.

Look, the Zafra 21 is a completely comfortable drink, like a worn pair of familiar slippers and if that lights up your wheelhouse, go for it, you won’t be disappointed.  The thing is, that’s all you get – it’s something of a one-trick pony, lacking in excitement or oomph of any kind. Thinking I was being unduly critical, I sampled nothing but 40% rums all day and then returned, but it still failed to impress. It’s one of those rums we enjoy for its unaggressive nature and decent profile, but sooner or later, when we have moved on and come back to it, we realize that the nose is anemic, the taste boring, the complexity a let down and the finish lacking any kind of fire.  Then we sit back and wonder how we ever loved it so much at all.

(#657)(75/100)

Saint James Pot Still Agricole White Rhum – Review

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Sep 122019
 

This is a rhum to drive you to tears, or transports of ecstasy, because it’s almost guaranteed that either you’ll regret you never tried it (though you’ll only know that after you do), or fall in lust with it immediately, then bang yourself over the head for not buying more when you did.  It’s a white rhum screwed tight to a screaming 60%, unaged, and made, Lord save us, from St. James’s old pot stills — which created a juice so unlike anything else from the island that people crossed themselves when they saw it, it couldn’t be labelled as an AOC, could not even be designated as Martinique rhum, and all we get is the almost embarrassed note that it’s made from “French Antilles.” 

White rhums like this have a strong and cheerfully disreputable DNA, going back right to the beginning when all the various estates and plantations had was leaky, farty stills slapped together from cast-aside copper, steel dinner plates and maybe a leather shoe or three. We’ve had primitives like this before – the Sajous and the Paranubes come to mind, Sangar from Liberia, MIM from Ghana, South Africa’s Mhoba, the Barik rhums from Moscoso’s jury rigged column still, and even Habitation Velier’s 2013 Foursquare and TECA whites, and that mastodon of the L’Esprit from Guyana.  Yet I assure you, this innocent and demure looking pale yellow-white was on a level all its own, not just because of its origins, but because it hearkens back to rum’s origins while not forgetting a single damn thing St. James have ever learned in over two hundred years, about how to make sh*t that knocks you flat.

And also because, man, did this thing ever smell pungent — it was a bottle-sized 60-proof ode to whup-ass and rumstink.  A barrage of nail polish, spoiling fruit, wood chips, wax, salt, and gluey notes all charged right out without pause or hesitation, spoiling for a fight. Even without making a point of it, the rhum unfolded with uncommon firmness into aromas of sweet, grassy herbals, green apples, sugar water, dill, cider, vegetables, toasted bread, a sharp mature cheddar, all mixed in with moist dark earth, sugar water, biscuits, orange peel. And the balance of all of them was really quite good, truly.

Could the palate live up to all that stuff I was smelling? I got the impression it was sure trying, and it displayed an uncommon lack of roughness and jagged edges for something at that strength (the L’Esprit 85% white had a similar quality, you’ll recall).  It slid smoothly across the tongue before hijacking it with tastes of sugar water, white chocolate, almonds cumin, citrus peel and brine. Then, as if unsatisfied, it added ashes, warm bread fresh from the oven, ginger snaps, cloves, soursop…in all that time it never crossed into something excessively sweet or allowed any one element to dominate the others, and while it lacked the true complexity of a rhum I would call “great”, it didn’t fall much short either, and the finish wrapped things up with a flourish – warm, really long, with ginger, cinnamon,  herbs, citrus peel and bitter chocolate and sea salt.

Until 2019, the Coeur de Chauffe — “the Heart of the Distillation” — was an underground cult rum limited to no more than 5000 liters per year, sold only on Martinique itself. It is, in point of fact, not an AOC rhum at all since it is a pot still product. Having tried it twice now and come to grips with its elemental nature, I think of it as a throwback, an ancestor, an old-style white agricole from Ago. I appreciate it’s a rhum that will likely find only a niche audience and is not for the sweet-toothed who love gentler products; but anyone who loves his juice should one day try sampling something like this, if only to experience new tastes, or old ones expressed in different ways.  I drank it with St. James’s own more traditional Fleur de Canne 50% and some of DePaz’s work — yet somehow, even though they were all good, all tasty, it’s this one I remember for its fire and its taste and its furious energy. Clearly something so pungent and unique could not be kept hidden forever, and for all those looking for something interesting, perhaps even an alternative to some of Jamaica’s funky bad boys, well, here may just be the droid you’re looking for.

(#656)(86.5/100)

L’Esprit Diamond 2017 “Still Strength” White Rum (2º Ed.) – Review

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Sep 092019
 

Usually, I don’t worry about not acquiring all those aged, rare or otherwise amazing rums that make the social headlines, since I know that most exceed the reach of my scrawny purse, my ability to beg, or the extent of my nonexistent wheedling skills.  Too, after ten years of this, I’ve been fortunate enough to try so many rums that many of my personal unicorns have been tried and written about. Therefore I know it will strike many as rather peculiar that for the last two years I’ve been hunting for two very special rums issued by Tristan Prodhomme – and this one was the one I wanted most

Why?  Because L’Esprit, in making the great white shark of the Diamond 2017, did Velier one step better, creating a rum whose stats would make just about every writer reflexively haul out the word “beast” and be correct to use it, whose profile not just encourages but demands adverbial density — and which I’m convinced will stand the test of time to become a baseline for all the makes-no-sense-but-by-God-we’re-glad-to-have-tried-it white rums that will be issued from now until the Rapture.  It’s nobody’s unicorn but my own, and I’ve been looking for it since the day it got issued.

The Diamond white was confirmed to me as being a Port Mourant unaged pot still rum; it sat there, dissolving a stainless steel tank between 2017 and 2018, until Tristan, in a fit of madness, joy, bravery or unbridled enthusiasm (maybe all these at once) engendered by the birth of his son Edgar in 2017, decided to commemorate the event by releasing 276 bottles at 85% (this is actually a second edition – there is a first one, with similar specifications) – and I don’t know what happened, but they seemed to sink without a trace. But with the rise of white rums as taste-stuffed forces in their own right, I certainly hope others will get a chance to try something as torqued-to-the-max as this one is.

I’ll get straight to it, then, and merely mention that at 85% ABV, care was taken – I poured, covered the glass, waited, removed the cover, and prudently stepped way back.

Which was the right thing to do because a rapidly expanding blast wave of rumstink assailed me without hesitation.  An enormously pungent cloud of wax and brine and tequila notes hit me broadside, so hot and fierce that somewhere in the basement I heard the Sajous weep. It was a massively powerful, sharp and meaty nose, squirting aromas with the cheerful abandon of a construction haul truck which knows nobody is likely to argue with it for the command of the road. Brine, olives, dates and figs and some sort of faintly rank meat was what I got straight off, batted aside by the smells of licorice, light molasses, sugar water and flowers, before bags and bags of fruit took  over. Ripe yellow guavas, mangoes, papaya, avocado, overripe oranges, pears…the rum just wouldn’t stop spitting out more and more as time went on.

As for the taste, well, wow.  My tongue was battered hard and fast with the sheer range of what was on display here. Being unaged and issued as a white didn’t hurt it or diminish it in the slightest, I assure you, because the integration was so well done that it actually tasted twenty proof points lower. It was redolent of brine.  Of salt fish with Guyanese chilis (ask Gregers about those, I dare ya). Of wax, floor polish, olives. Of licorice. Of fresh scallions in a vegetable soup (I know, right?). Only when these dissipated did more regular flavours timidly come out to let me know they existed…flowers, fruits, lemon meringue pie, raisins, pears, oranges, bitter chocolate, cucumbers and watermelon.  I had this glass going for two hours and it was every bit as pungent at the end as it had been at the beginning, and the finish – epic, long-lasting, hot, spicy – was similarly strong, diminished itself not one bit, and provided closing memories of sweet soya, brine, swank, pears and other light fruits. It was almost a disappointment when the experience was finally over. And lest you think my own experience is a little over-enthusiastic, Jazz Singh from Skylark got poured a shot of this thing at 4pm, and was still tasting, mumbling and drooling rapturously about the profile five hours later when we shoehorned him into an Uber. It’s that kind of rum.

The best thing about it may well be that it reminds us of the sheer range of what rums are, how over-the-top and off-the-scale they can be, even as so many rum makers try to inhabit the inoffensive centre. There are few indies or producers out there who would dare bottle something this feral as single mindedly as Tristan has done here – only the Habitation Velier whites immediately spring to mind.  It’s an unaged white badass that boasts an impeccable pedigree from one of the most famous stills in the world, it has a proof nearly off the scale, and is not for the meek, the beginner, or the careful. One either dives in and takes the entire shot, or not at all — because the Diamond white is a stunner, a slayer, a majestically vulgar shot of pure canecutter sweat, proofed and jacked to the max, and if it’s not one of the best rums I’ve had all year, I can absolutely assure you it will always rank among the most memorable.

(#655)(85/100)

Other notes

I keep score, and the Diamond takes its place among the growliest overproofs ever issued.  I’ve tasted the following:

Note: if you are interested in a list of some of the strongest rums in the world, here’s one for you.  All of the above rums are on it.

Diplomatico “Distillery Collection” No. 2 Barbet Still 6YO Rum – Review

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Sep 062019
 

If Diplomatico’s Distillery Collection No.1 (the one from the kettle still) was a garden sprinkler trying to be a fire hose, then this one is no more than a quick leg-lift against the tree.  It is a decent enough rum for the style, but lacks any kind of serious chops to make it rise above its more famous and distinct Distillery Collection siblings, or even that perennial favourite of the tippling class, the Diplo Res Ex. And that makes its price-point and supposed street cred a dubious proposition at best.

The Distillery Collection is an attempt by Diplomatico to capitalize on their various stills, much as St. Lucia Distillers or DDL do. The rums also function — maybe — to deflect attention away from their traditionally added-to products of the line, or even to break into previously untapped and dismissed niche markets for the more discerning rum drinkers. Unlike the No.1 which comes from a pot still, the No.2 owes its origin to a straight-out French-made Barbet column still, which leads one to wonder what the purpose was, because what came out the other end wasn’t anything we haven’t had before.

I’m not kidding. The nose was lighter than the No.1 — no shocks there, though the ABV was the same in both, 47%. Some smokiness, light oak, salt caramel ice cream, tobacco, molasses and some brine but it lacks any kind of acidic bite of (say) citrus, and there is barely any of the fruitiness that would have made it better.  You’ll sense the vague sweetness of bananas, squash, papaya, melons – those neutral fruits which add little to the experience – maybe an apple starting to go, and will have to be content with that.

Unsurprisingly, the palate dials into those same coordinates: it’s warm, light, smooth, unaggressive, with the musky tastes of muscovado sugar, molasses, caramel, toffee, toblerone (the white kind). Then it falters, not because of these things, but because of the stuff that’s not there, the tart balancing notes, the sharper parts of the profile that are notable only for their lightness or complete absence – florals, fruits, oakiness.  Sometimes a reasonably robust proof point rescues or bolsters such deficiencies – not here. It all leads to a lacklustre finish of medium length which displays no closing notes one would hurry back to the glass to experience: it had some salt caramel, light and overripe fruit notes, some vanilla, and it was all quite light and – dare I say it? – indifferent.

Ivar de Laat, the Dutch-born FB-commentator who recently began his own site Rum Revelations, made an interesting comment on the No.1 and Diplomatico – that they were light rum makers and it would be too much to expect them to make big and bold rums without a massive internal cultural change…which he felt was unlikely given that such rums are their style, the one upon which their revenues rested. And “as long as it’s making them money, I don’t see why they should change it.” 

That’s the subtle trap of these rums, because if producers only make what sells, then there’d be ten times as many dosed rums out there (pure rums at high proof have to be really good to be sellers to succeed, because their prices are higher). We are being offered incremental change at a premium, but without real improvement or major difference. It’s cosmetic. In the case of the No.2, it’s plain boring. I could live with such a deficiency in the pot still No.1 which was at least interesting, if ultimately stopping short of being a rave recommendation.  But in a column still product being marketed with pizzazz and hooplah and a tantara of trumpets…naaah.  

So I give it 75, which is on the median between good and bad.  It’s a rum that tastes like one and technically can be had without a problem — it would be incorrect for me to penalize what is not a really crappy product, and which many will like (assuming they can afford it, or want to). Its true failure lies in the expectations it raises and the price it commands, without deserving either. When it comes to the loosening of my purse strings, then, like Bartleby, I think I’ll chose not to.

(#654)(75/100)

Diplomatico “Distillery Collection” No. 1 Kettle Still 6YO Rum – Review

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Sep 042019
 

Outside the independents who release from all points of the compass, the rums du jour are the New Jamaicans, the pot still Bajans, the wooden-still Guyanese, the fancy St Lucian still-experimentals, French island aged and unaged rums, new Asian whites, grogues and of course the clairins (and we’re all waiting for Renegade).  In the maelstrom of so many releases, Latin rums as a class are less popular than in their heydey, outside their countries of origin, and even I tend to view them with some impatience at times, wondering when they’re going to get back in the game with some sh*t-kicking romper-stomper of their own.

Although Diplomatico’s Reserva Exclusiva sells well and remains popular, the company’s online buzz as a whole has sagged in recent years. Efforts to revive the global awareness of the Diplo-brand with exclusive premiums like the Single Vintage or the Ambassador may have succeeded —  but the absence of any stories or articles or reviews or gleeful “I got this!” photos on social media suggests a rather more downbeat story for the company that was once known as Problemático. Their success is therefore hard to gauge in an increasingly crowded and informed marketplace spoiled for choice at every price point (and every additive point, the wit suggests).

Things took an interesting turn around 2017 when No.1 and No.2 versions of the “Distillery Collection” were trotted out with much fanfare. The purpose of the Collection was to showcase other stills they had – a “kettle” (sort of a boosted pot still, for release No.1), a Barbet continuous still (release No.2) and an undefined pot still (release No.3, released in April 2019). These stills, all of which were acquired the year the original company was founded, in 1959, were and are used to provide the distillates which are blended into their various commercial marques, and  until recently, such blends were all we got. One imagines that they took note of DDL’s killer app and the rush by Jamaica and St Lucia to work with the concept and decided to go beyond their blended range into something more specific. 

We’ll look at the No.1 today.  This derives from cane “honey” (which is just rendered cane juice), aged for six years in American oak, a 5000 bottle outturn of 47% ABV. The question of course, is whether it deserves the cachet of “premium” and the price it commands, and whether it displaces the perennial front runner, the DRE (marketed as ‘Botucal’ in Germany).

So, briefly, tasting notes, then.  Nose: started off promisingly with some pencil shavings, fresh and damp sawdust, followed by brine, good olive oil and leather.  These aromas were balanced off with overripe cherries, citrus, apples, ripe grapes, which in turn provided a backdrop for heavier, muskier notes of caramel, molasses and oatmeal cookies. So definitely a step away from the more standard fare, and the 47% ABV helped give the nose a firmness and coherence that a lesser proof would not have.

I also liked the palate — up to a point. It was warm and fragrant and yeasty as bread fresh out of the oven. One could taste vanilla, treacle, oatmeal with chocolate chips and butter, a nice creamy/cereal-y sort of amalgam, and fruits then popped up — light apples, pears, watermelon, raisins, that kind of thing — combining with a delicate citrus line, leading to a short, arm, inoffensive finish that was mostly vanilla, faint brine and fruity notes, all vanishing quite quickly.

Out of six Spanish/Latin-type rums I ran past each other that day when I had nothing better to do, this Diplomatico surprised me by scoring, in aggregate right up there with the Santiago de Cuba 25 YO.  That was unexpected, almost unprecedented given the disparity in ages. The strength had something to do with it (40% SdC vs 47% Diplo), but overall the Diplo No.1 – even within its limitations – is simply more intriguing, and more original, while the Santiago was, well, very much in the vein of much we had seen before (though quite well done, let me hasten to add).

In the past, I expressed hope for a more aggressive, rough-n-tough new rum to elevate the Latin rum category. This isn’t it. For all its new-age thinking, even 47% isn’t enough, and neither is the pot still, not entirely — because although the rum is admittedly different,  one gets the impression that the creators are still too in love with their softer Spanish rums to abandon their more soothing profiles entirely, go the whole hog and aim for a growly glute-flexing pot-still brute clocking in at 50% or greater. In trying to be all things to all people —  gain credit for something uniquely new while not pissing off the loyalists — they steered a middle course which allowed for a decent new rum to emerge….just not one that blew up the stage, the stills and everyone within a radius of fifty yards. And that’s a shame, because that’s what I wanted.

(#653)(83/100)

Key Rums of the World: Damoiseau Rhum Vieux Agricole 5 Year Old (Guadeloupe)

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Aug 182019
 

The French islands provide a reviewer with a peculiar problem when trying to pick a single rum as being a “Key” anything. This is largely because Martinique and Guadeloupe are almost alone in the world in possessing such a gathering of world-famous rum distilleries in such a concentrated geographical space (a comparison to Islay, say, is not entirely out to lunch). Several Caribbean islands have a single large distiller (St. Lucia, Trinidad) or two (Grenada) or a few (Cuba, Barbados, Jamaica), and Haiti of course comes up for special mention — but none have so many whose names resound through the rumiverse.  So how to pick just one?

The selection of the first of what will be several candidates from the French islands – because to limit oneself just to one or two or even three is to do the entire subset of agricole rums an enormous disservice – is made even more difficult by the fact that Guadeloupe is not seen as a “pure” agricole maker. This is primarily because, of course, they sometimes mess around with both molasses and cane juice styles of rhum, and have never actively sought the AOC designation which so enhances the street cred of rhums from Martinique.

But even so, I like the rhums of Guadeloupe (Grande Terre and Basse Terre and Marie-Galante) — a lot. To me, the work of Gardal, Karukera, Bielle, Longueteau, Severin, Bellevue, Montebello, Pere Labat, Reimonenq, Capovilla and Damoiseau are as good as any the world over, and behind them all still reverbrates the majestic quality of Courcelles, the one that switched me on to agricoles all those years ago when the Little Caner was not yet the Big Caner and I was just getting serious about French island hooch.

So why start with Damoiseau?  The easiest answer is to say “Gotta begin someplace.” More seriously, it’s certainly one of the better known brands from there, the leading producer on Guadeloupe; back in 2016 I remember Josh Miller awarding their white 55% first place in his agricole challenge; years before that, Velier gained confidence to issue more full proof rums by releasing their excellent 1980 version at 60.3% (the first such strong rum in their portfolio); Matt Pietrek suggested the Damoiseau 4 year old Réserve Spécial VSOP was a great rum to have for under US$45 and a good ambassador for the country’s rum-making tradition; and lastly, I simply have good memories of most of their work I’ve tried.  But for me, the VSOP is a bit young and rough, and my affection is given to the very slightly older version which we shall get into without further ado.

Made from cane juice and then aged in ex-bourbon casks, Damoiseau has the occasional peculiarity (in my eyes, at least) of making aged rhums that don’t always or completely showcase the crisp herbal sweet grassiness we have come to associate with agricoles. Here, that isn’t the case at all…up to a point. The cane-juice-derived 5YO, which is near to standard strength (42% ABV) and therefore very approachable by those who want to dip their toes, is remarkably clean and yet still full-bodied for that strength. Immediately there is vanilla, a little oakiness, pears, prunes and the light notes of some pineapple slices.  Also cane sap and sugar water, flavoured with a dusting of cinnamon. And, oddly, a nip of molasses, brown sugar and caramel in the background, which I can’t explain, but find pleasing nevertheless.

The palate isn’t quite as sterling as the nose, though still a cut above normal: a little thin, perhaps – blame it on the 42%, which is, let’s face it, somewhat lacklustre against the shining vibrancy of the whites, so often torqued up to 50%. The rhum tastes a little dry, a little briny, with vanilla, dates, prunes, blackberries and dark grapes leading in, followed by some florals, crisp oak notes, breakfast spices, cereals…and again, that strange hint of caramel syrup and molasses poured over fresh hot pancakes flitting behind all the other tastes.  It’s a perfectly nice drink for all that, and the finish is a fitting conclusion: nice and long with oily, salty and tequila notes, to which are added light oakiness, vanillins, fruits and florals, nothing specific, nothing overly complex just the entire smorgasbord sailing into a serene conclusion.

Personally, I’d suggest that some extra strength would be useful, but by no means does that disqualify the Damoiseau 5 Year Old as a good all-rounder, equally at home in a mix of some kind or by itself. You can tell it’s been aged, it’s slightly sweet and has the requisite fruits and other flavours combining decently, and the rhum navigates its way between a light and heavy profile quite nicely. That slight touch of caramel or molasses was something I liked as well  — if memory serves, it was a similar ”contaminant” that prevented the 1980 from being released as appellation-compliant and that was why it was sold to Velier, but whether in this instance that’s deliberate or my imagination is anyone’s guess. All I can say is that for me it was there, and it did not detract but enhanced.

So at the end, the 5YO ticks all the boxes we look for in such a rhum. Young as it is, it’s a tasty, unique product from Damoiseau; it’s of reasonable strength — and therefore doesn’t frighten those now moving out of their comfort zones and getting into different styles, with some stratospheric ABV or a profile of off-the-wall lunacy; and best of all for those who just want to nibble at its edges without biting the whole thing, the price point is right on the midpoint between two other candidates for the position. It’s slightly more expensive than the VSOP, but more elegant; and cheaper than the 8 YO but more versatile.  Any of these three could be a rum that celebrates Guadeloupe, but for my money and what I want out of a rhum like this, the 5 YO is the one that nails it.

(#652)(83/100)

L’Esprit Diamond 2005 11 Year Old Guyanese Rum – Review

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Aug 142019
 

Damn but this rum is strong. Standard strength among the cognoscenti has been drifting up from 40% to nearly 50% (give or take), with the low sixties selling well, and the high sixties occasionally spotted running in the wild.  But over 70% ABV, and we’re entering more rarefied territory. When people see one of these, they cross themselves like Supes when he sees green kryptonite. A sip of one, and you know what it’s like to be t-boned by a fully-armoured SUV carrying a banana-republic dictator. And all his no-neck bodyguards.

What’s all the more astounding about L’Esprit’s Guyanese Diamond 11 year old which was released at 71.4% ABV and hit the shelves about three years ago (and sank without a ripple) is how really, surprisingly, forehead-smackingly good it is. It’s the sort of rum that makes me want to rush straight over to your table, babbling and drooling, waving my hands wildly in the air and suggesting — nay, demanding — that you take a sip, just to see if I was out to lunch, or telling you the God’s honest.

Think I jest?  Well, maybe a bit.  Still…just crack the bottle and give it a smell, if you please.  Release the halitotic pachyderm. What you immediately get from this is a thick bellowing snort of licorice, wood sap, chocolate and coffee, varnish, freshly baked bread liberally coated with salt butter, vanilla and molasses, all the thick and musky notes Guyana is famous for.  It’s just huge, solid as a sledge and as hard-hitting, and that’s before the sweet marshmallows and dark fruits kick in – dates, raisins, peaches, plums, black cake. Oh yeah, and in the background there’s some glue, paint, varnish, turpentine, all lurking behind like toughs in an alleyway, knuckle dusters at the ready.

As for the taste, well: that was suitably shattering, and humorous metaphors and masochism aside, the truth is that taking it neat is kind of fun. It’s thick and heavy and intense – of course it is – but by no means undrinkable, and one can spend a whole hour separating out the tasting notes: what I got was caramel ice cream, molasses, Danish butter cookies and maple syrup, followed by chocolate, coffee grounds, vanilla, licorice, freshly ground black pepper, a little brine, and with water these emerge much more forcefully.  The strength mutes the vague sweetness a bit, and the overall balance is excellent, with complex interlocking elements that I really enjoyed. When I got to the finish, I was almost sorry the experience was over: it was long and hot but not viciously sharp, exhaling chocolate, caramel, cocoa, raisins, and a vein of sweet dark sugar running through the whole experience like a blade.

Based on how it initially nosed, I started out believing this was a wooden still — by the end, I was no longer so sure. The profile actually reminded me more of the Uitvlught 1996, or even DDL’s new 2018 Skeldon and Albion Rares (and, perhaps in a stretch, the old ones). After all, although the rum is labelled “Diamond”, all the stills are located at the estate of the same name these days, so it could mean anything.  In the end Tristan did confirm that the rum was pure Diamond-column-still hooch, and given the flexibility of what can come off that thing, I can only assume that they dialled in the settings to “Uitvlught”, set it to “11” and pulled the trigger.  

DDL ceased exports of bulk rum from the wooden stills a year or two back, and the word has seeped out to the Rumiverse that we’d better get existing wooden still indie rums from Guyana quick time, because one day they’ll run out.  Yet if rums of such quality as L’Esprit has found here can come off the other still, and continue to be exported for independents to bottle and rum lovers to enjoy, then I think we need have no fear that one day we’ll be without pure, cask strength, unique rums from Guyana.  L’Esprit has almost never disappointed me with their selections, and this rum, if you can still find it with its limited outturn of 166 bottles, and take a risk with its power, is really damned good and worth seeking out, even if you do flatten a city block or two after you try it.

(#651)(89/100)

Other Notes

  • Distilled 31 May 2005, bottled May 2016. Confirmed as being column still. Red brown colour.
  • Ageing in Europe, not tropical
  • I think that L’Esprit’s sample bottles are really quite superlative, but that’s just me

Sammy’s Beach Bar White (Hawaii) Rum – Review

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Aug 122019
 

Last week, I remarked briefly on persons who are famous or excel in some aspect of their lives, who then go off an lend their names to another product, like spirits – Blackwell was one of these, George Clooney’s Casamigos tequila is another, Bailey Pryor’s Real McCoy line might be among the best known, and here is one that crossed my path not too long ago, a Hawaiian white rum made with the imprimatur of Van Halen’s Sammy Hagar who maintains a residence on Maui and has long been involved in restaurants and spirits (like Cabo Wabo tequila) as a sideline from the gigs for which he is more famous.

It’s always a toss-up whether the visibility and “fame” of such a rum is canny branding / marketing or something real, since the advertising around the associated Name usually swamps any intrinsic quality the spirit might have had to begin with. There’s a fair amount of under-the-hood background (or lack thereof) to the production of this rum, but for the moment, I want to quickly get to the tasting notes, just to get that out of the way.

First off, it’s a 40% rum, white, and filtered, so the real question is what’s the source? The back label remarks that it’s made from “first pressing of virgin Maui sugar cane” (as opposed to the slutty non-Catholic kind of cane, I’m guessing) but the YouTube video (timestamp 1:02) that promotes it suggests brown sugar (which is true) so, I dunno.  Whatever the case, it really does smell more like an agricole than a molasses-based rum: it starts, for example, with soda pop – sprite, fanta – adds bubble gum and lemon zest, and has a sort of vegetal grassy note that makes me think that the word “green” is not entirely out of place. Also iced tea with a mint leaf, and the tartness of ginnip and gooseberries.  It’s also surprisingly sharp for something at standard strength, though not enough to be annoying. 

In that promotional video, Mr. Hagar says that the most distinct thing about the rum is the nose, and I believe it, because the palate pretty much fails by simply being too weak and insufficient to carry the promise of the nose on to the tongue in any meaningful way. It’s sharp and thin, quite clear, and tastes of lemon rind, pickled gherkins, freshly mown grass, sugar water, cane juice, and with the slightly off background of really good olive oil backing it up.  But really, at end, there’s not much really there, no real complexity, and all of it goes away fast, leaving no serious aftertaste to mull over and savour and enjoy. The finish circles back to the beginning and the sense of sprite / 7-up, a bit of grass and a touch of light citrus, just not enough to provide a serious impression of any kind.

This is not really a rum to have by itself.  It’s too meek and mild, and sort of presents like an agricole that isn’t, a dry Riesling or a low-rent cachaca minus the Brazilian woods, which makes one wonder how it got made to taste that way.

And therein lies something of an issue because nowhere are the production details clearly spelled out.  Let’s start at the beginning: Mr. Hagar does not own a distillery. Instead, like Bailey Pryor, he contracts out the manufacture of the rum to another outfit, Hali’imaile Distilling, which was established in 2010 on Maui – the owners were involved in a less than stellar rum brand called Whaler’s which I personally disliked intensely.  They in turn make a series of spirits – whiskey, vodka, gin, rum – under a brand called Pau, and what instantly makes me uneasy is that for all the bright and sparkling website videos and photos, the “History” page remarks that pineapple is used as a source material for their vodka, rum is not mentioned, and cane is nowhere noted as being utilized; note, though, that Mr. Hagar’s video mentions sugar cane and brown sugar without further elaboration, and the Hali’imaile Distilling Company did confirm they use a mash of turbinado sugar.  However, in late 2016 Hali’imaile no longer makes the Sammy’s rum.  In that year the sugar mill on Maui closed and production was shifted to Puerto Rico’s Seralles distillery, which also makes the Don Q brand – so pay close attention to your label, to see if you got a newer version of the rum, or the older Hawaiian one. Note that Levecke, the parent company of Hali’imaile, continues to be responsible for the bottling.

With some exceptions, American distillers and their rums seem to operate along such lines of “less is more” — the exceptions are usually where owners are directly involved in their production processes, ultimate products and the brands. The more supermarket-level rums give less information and expect more sales, based on slick websites, well-known promoters, unverifiable-but-wonderful origin stories and enthusiastic endorsements.  Too often such rums (even ones labelled “Super Premium” like this one) when looked at in depth, show nothing but a hollow shell and a sadly lacking depth of quality. I can’t entirely say that about the Beach Bar Rum – it does have some nice and light notes, does not taste added-to and is not unpleasant in any major way – but the lack of information behind how it is made, and its low-key profile, makes me want to use it only for exactly what it is made: not neat, and not to share with my rum chums — just as a relatively unexceptional daiquiri ingredient.

(#650)(72/100)

Other notes

  • The rum is filtered but I am unable to say whether it has been aged. The video by Let’s Tiki speaks of an oak taste that I did not detect myself.

Blackwell Fine Jamaican Rum – Review

 4 Responses »
Aug 072019
 

The Blackwell Fine Jamaican rum is the result of another one of those stories we hear these days, about somebody with good intentions, oodles of spare cash, and some street cred in another creative field of endeavour (music, movies, TV, writing, master of the universe, Wall Street, take your pick), deciding they can make [insert product name here] just because (a) they always liked it (b) they have eaten / drunk / smoked / worn / read / watched / experienced it for many years and (c) they want to immortalize their own preference for said product.  “How difficult can it be?” you can almost hear them asking themselves, with a sort of endearing innocence. When that kind of thing is done well and with focus, we get Renegade. When done with less, we get this.

With all due respect to the makers who expended effort and sweat to bring this to market, I gotta be honest and say the Blackwell Fine Jamaican Rum doesn’t impress. Part of that is the promo materials, which remark that it is “A traditional dark rum with the smooth and light body character of a gold rum.” Wait, what?  Even Peter Holland usually the most easy going and sanguine of men, was forced to ask in his FB post “What does that even mean?” I imagine him nobly restraining the urge to add an expletive or two in there, because colour has been so long dismissed as an indicator of a rum’s type or an arbiter of its quality. 

Still, here’s the schtick: it’s a 40% ABV throwback to yesteryear’s mild rums, a blend of pot and column still rums from that little hoochery J. Wray, and no age statement: it has indeed been aged (in ex bourbon barrels), but I’ve heard 2-4 years ageing, one guy at the 2019 Paris fest  told me “around five” and in a review from back in 2014, The Fat Rum Pirate noted it was “only aged for 1 year”. We’re going to have to say we don’t know, here. Though I question whether it’s important at all, since everything about it suggests it is not meant as a sipping rum, more a cocktail ingredient, and some rough edges and youthful notes are tolerated characteristics in such a product.  

An inviting dark red-amber colour, the first sharp and hot notes out the glass are caramel, molasses, light vanilla, not much like the younger Appletons, any of them. There’s a wisp of seaspray whisking a single olive into your face, some raisins, black cake and cinnamon – but funk, rotting bananas, spoiling fruit?  Nah, dem ting gaan AWOL, don’ go lookin’. To be honest, as something that trumpets the fact that it’s a Jamaican rum, it seems to be in no hurry to actually smell like one. 

The palate is equally indeterminate, and its unique characteristics may be youthful sharpness and jagged edges, to say nothing of its overall rough feel on the tongue. Even at 40% that’s no fun, but once it relaxes (which happens quickly) it becomes easier – at the cost of losing what tastes it initially displayed into a vague melded mist of nothing-in particular. These were fruits, dark ones, black cake, molasses, cinnamon, lemon peel, fading fast into a rough and hurried finish that was sweet, with some licorice, bananas, lemon peel and a couple of  raisins. Frankly, I thought it something of a yawn through, but admittedly I say this from the perspective of a guy who has tasted growly old bastards bottled north of 60% from the New Jamaicans. Anyway, it reminds me less of a Jamaican rum than one like Cruzan or Gosling’s, one of those blended every-bar-has-one dark mixing rums I cut my teeth on decades back.

With respect to the good stuff from around the island — and these days, there’s so much of it sloshing about —  this one is feels like an afterthought, a personal pet project rather than a serious commercial endeavour, and I’m at something of a loss to say who it’s for.  Fans of the quiet, light rums of twenty years ago? Tiki lovers? Barflies? Bartenders? Beginners now getting into the pantheon? Maybe it’s just for the maker — after all, it’s been around since 2012, yet how many of you can actually say you’ve heard of it, let alone tried a shot?  

The real question is, I suppose, what other rum-drinking people think of it. I may be going too far out on a limb here, but my personal opinion is that Not much is the most likely answer of the kindhearted, and Nothing at all is the response of the rest. Me, I’m with those guys.

(#649)(69/100)

 

Other notes

  • The Blackwell brand was formed by Mr. Chris Blackwell (founder of Island Records) and Mr. Richard Kirshenbaum (CEO of NSGSWAT, a NY ad agency), back in 2012. The Blackwell rum derives from a blend of pot and column distillate made by J. Wray and Nephew, developed with the help of Joy Spence, and is supposedly based on a Blackwell family recipe (secret and time honoured, of course — they all are) which hails from the time the Lindo family (who are related directly to Mr. Blackwell) owned J. Wray & Nephew. In 1916 Lindo Brothers & Co. bought J. Wray, and picked up the Appleton sugar estate at the same time. The whole edifice was merged into one company, J. Wray and Nephew Ltd, and it existed for nearly a hundred years until 2012, when the Campari group bought the company.
  • The words “Black Gold and “Special Reserve” on the label are marketing terms and have no bearing on the quality of the rum itself, or its antecedents.

Karukera 2009 Select Casks “Black Bottle Edition” – Review

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Aug 052019
 

Last week when discussing the Karukera “L’Expression” I remarked that something of the agricole-ness, the grassy and herbal notes we associate with cane juice rhums from the French islands, was missing there.  To some extent the same thing could be said of the near-5000 bottles making up the limited outturn from various “select casks” (all fourteen of them) of this Black Bottle edition – but where I gave a guarded recommendation to the 2008 Rhum Vieux, here, I have to be more enthusiastic and say it’s one of the better rhums from Karukera I’ve tried — though not necessarily one of the best agricoles, for reasons that will become clear as we go on.

The brief stats behind it: a rum from Guadeloupe, made in Esperance distillery in the Domaine du Marquisat Sainte-Marie. Column still distillate aged seven years in ex-cognac casks, decanted into 4997 bottles in 2016 at 45%. I’ve also read that the distillate comes from the same canne bleue as the L’Expression, though the 2009 harvest here; and also that it’s grown on Karukera’s estate, not Longueteau’s (the two are neighbours and co-owned). And while I no longer pay much attention to appearance, I must comment on my appreciation for the black bottle and the striking black & white label design, sure to make it stand out on a shelf dominated by brightly-coloured labels from elsewhere.

Anyway, let’s begin.  How was it? Based on how it smelled, I know that some would say it’s weak because of its near standard proofage and initially faint nose, but when sniffing it, I would say it’s actually closer to subtle.  This is a rum that takes some concentration to come to grips with, because the aromas start quietly, gently and then become increasingly crisp over time, and the experience is the better for it. There’s wood and vanilla, strong black tea and anise, which gradually develops more fruity aspects, probably from the cognac barrels: pears, mangoes, oranges, both sweet and tart.  I particularly enjoyed the late-blooming, rather delicate spices – cinnamon, fennel, nutmeg, ginger plus more vanilla – and the twist of citrus zest and winey notes that suffused the overall aromas.

The palate is different though – not quite a one-eighty, but certainly a shift in direction.  Here the delicacy and subtlety was shoved aside and a more forceful profile emerged, warmer and firmer within the limitations of the proof, and all that in spite of the slightly herbal and grassy notes that were now more clearly discerned. Initially I tasted bitter chocolate, cherries in syrup, pears, mangoes, burnt sugar, black grapes, raspberries, cherries, nougat and even some background traces of molasses and honey and caramel.  Combined with those spices – nutmeg and vanilla and cinnamon, again – plus lemon zest and gooseberries, it melded tart and soft, intriguing enough to make one want to hurry through, and help oneself to more. I mean, there was really quit a lot going on here, if perhaps too much of the sweet influence of the cognac and the odd bitter tang of woodiness. The finish was fine — dry, again quite fruity, and rather short, mostly repeating the hits, more of the fruits than anything else, but always with that mellow chocolate and honey remaining in sight.

The Black Bottle 2009 has real quality and delicate sensibilities, and it adhered to many of the markers of a good rhum from anywhere: balance, complexity, a murmuring initial profile that builds to a reasonably complex palate and a decent finale. What it wasn’t was original, unique:  it didn’t showcase the island or the estate in any specific way, and the woodiness and cognac casks really held a dominance over the final product that could have been tamed more. It’s therefore too good to dismiss as “just another agricole” (as if that were possible with any of them): but just distant enough from perfect to deny it full admittance to the pantheon.

(#648)(86/100)

Other notes

Cyril of duRhum felt that the L’expression (89.5 points) was better and the Select Casks was too cognac-y (84). WhiskyFun really liked the Select Casks (88), more than L‘Expression (85)

Karukera Rhum Vieux Agricole “L’Expression” 2008-2016 – Review

 4 Responses »
Jul 312019
 

Karukera, that small distillery on the eastern side of the left wing of Guadeloupe also known as Basse-Terre (in the Domain of Marquisat de Sainte–Marie) used to release bottles with an AOC designation — it was clearly visible on the labels of the Millesime 1997 and the Rhum Vieux Reserve Speciale I went through some years ago.  However, by the time 2016 rolled around this apparently had been discontinued, since the “L’expression” 8 year old bottled in that year shows no sign of it. 

While Guadeloupe as a whole has always been somewhat ambivalent about going the whole hog with the AOC, no-one can doubt that their rhums do not suffer from any lack just because they are or are not part of the protocol.  The rhum under review today, for example, is quite a good product, made as it is from cane juice of the famed high sugar-content canne bleue (which also makes a rip-snorting white), column-still distilled, a firm 48.1% ABV, and released to some fanfare in early 2017, during which several prizes came its way.

That said, I did find it somewhat…odd. For one thing, though the nose initially presented as nicely sweet and deep — with pineapple, fresh baked bread, toffee, nuts, bon bons, nougat, vanilla, licorice and salted caramel in particular perking thinks up — there was a background hint of molasses that I couldn’t pin down – what was it doing there, y’know?  There was also some cumin, ginger, fennel and rosemary, a good bit of citrus zest (lemon), so it was a pleasant rhum to smell, but overall it displayed less of the grassy, sap and dry watery aromas that would normally distinguish any agricole. 

Unlike many aged agricoles that have run into my glass (and down my chin), I found this one to be quite sweet, and for all the solidity of the strength, also rather scrawny, a tad sharp.  At least at the beginning, because once a drop of water was added and I chilled out a few minutes, it settled down and it tasted softer, earthier, muskier. Creamy salt butter on black bread, sour cream, yoghurt, and also fried bananas, pineapple, anise, lemon zest, cumin, raisins, green grapes, and a few more background fruits and florals, though these never come forward in any serious way. The finish is excellent, by the way – some vague molasses, burnt sugar, the creaminess of hummus and olive oil, caramel, flowers, apples and some tart notes of soursop and yellow mangoes and maybe a gooseberry or two.  Nice.

So yeah, like I said, it’s good, but a little confusing too — initially, not much seems to be happening and then you realize it already has, and sorting out the impressions later you conclude that what you were getting was not entirely what you were expecting. For my money, it was not anything outstanding. I personally preferred the 2004 Double Maturation a lot more – that one was intriguing and complex, and navigated salt and sweet, soft and crisp, in a way this one tried to, but didn’t. The nose and the palate were at odds not just with each other but themselves, in a way, and it was overly fruity-sweet.  That’s not enough for me to give it a bad score, just to make me look elsewhere at the company’s rhums, for something that might erase the memory of a Hawaiian pizza which the L’Expression so effortlessly brings to mind every time I sip it.

(#647)(83/100)

Other Notes

  • Big thanks to Cyril of DuRhum for the sample
  • A smaller 1500-bottle outturn of the 2008 millesime was released for La Maison du Whisky’s 60th Anniversary in the same year, at 48.4%.  A 2008 Batch 2 was released at 47.5% with 3500 bottles but the year of bottling is unknown – it can be distinguished by a blue portion of the label, missing on the one I tried here.
  • My bottles from 2012-2013 show an AOC moniker on the labels, which is not there now.  The website also makes no mention of it, so I am left to conclude that it no longer conforms to the AOC designation. If anyone has some details, please let me know and I’ll update the post.

Compagnie des Indes Barbados 1999 16 YO Rum (Foursquare) – Review

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Jul 282019
 

If the proposed new GI for Barbados goes into force, it’s likely that rums such as this one will have to be relabelled, because the ageing will have to be done in Barbados, and it’s debatable whether a third party could be permitted to say it was a Foursquare rum(see other notes, below).  Still, even if that happens, that’s not a particularly serious problem on either count given the appreciation most have for tropical ageing these days; and one only has to see any independent bottler saying “Secret Distillery” on a label, for the rum pundits to work themselves up into a lather racing to see who can identify the distillery first, by taste alone.  It’s kind of fun, to be honest.

Be that as it may, we do in fact have this rum here now, from Barbados and from Foursquare, so it comes from Europe where it was at least partially aged (which strongly implies Main Rum, since [a] Scheer itself doesn’t do ageing and [b] Foursquare has had a long relationship with them), a near-brutal 62% ABV, and a 225-bottle outturn from a single barrel #FS9 (my sample was mislabelled, noting 186 bottles).  Unlike the TCRL line of rums from la Maison du Whisky, Compagnie des Indes do not show proportion of ageing done in different climes, which is the case here: 8 years tropical in Barbados, and 8 years continental in Liverpool; distilled April 1999 and bottled June 2016…a whisker under seventeen years of age, and a nice amber hue. About the only thing we don’t know whether it is pot or column still, although based on taste, I would suggest column as a purely personal opinion (and Richard Seale later confirmed that).

I don’t have any other observations to make, so let’s jump right in without further ado.  Nose first – in a word, luscious. Although there are some salty hints to begin with, the overwhelming initial smells are of ripe black grapes, prunes, honey, and plums, with some flambeed bananas and brown sugar coming up right behind. The heat and bite of a 62% strength is very well controlled, and it presents as firm and strong without any bitchiness. After leaving it to open a few minutes, there are some fainter aromas of red/black olives, not too salty, as well as the bitter astringency of very strong black tea, and oak, mellowed by the softness of a musky caramel and vanilla, plus a sprinkling of herbs and maybe cinnamon. So quite a bit going on in there, and well worth taking one’s time with and not rushing to taste.

Once one does sample, it immediately shows itself as dry, intense and rich.  The flavours just seem to trip over themselves trying to get noticed: honey, fruits, black tea, plus dark rye bread and cream cheese, but also the delightful sweetness of strawberries, peaches and whipped cream, a nice combination.  It’s sharper and rougher than the nose, not all the jagged edges of youth have been entirely sanded off, but a few drops of water sort that right out. Then it mellows out, allowing other flavours emerge – vanilla, cinnamon, prunes, providing an additional level of fruit that is quite pleasing. It ends with a dry, hot finish redolent of fruits and vanilla and honey (rather less cream here) that may be the weak point of the entire experience, because the integration of the complex profile falters somewhat and doesn’t quite ignite the jock as joyously as the nose and initial taste had done (for me, anyway – your mileage my vary).

Never mind, though. To be honest, even if bottled from a broker’s stocks by a third party independent, even if the Compagnie des Indes has a great rep for selecting good barrels, the truth is that I don’t see how this could not be seen as another feather in Foursquare’s cap…though perhaps not as long or brightly coloured as some of the others  The rum is well made, well distilled, well aged, well balanced, quite complex and a rough’n’tough-but-decent sip that may take some dialling down, yet overall a great advertisement from the distillery and island of origin. This is not to take any kudos away from Florent Beuchet, of course – I think his nose for a good rum doesn’t sneeze, and always sniffs out something interesting, even special – and here, both Foursquare and the Compagnie can walk away, leaving this bottle on the table, (me probably snoring underneath it, ha ha) tolerably satisfied that they made something pretty damned fine.  And if you can get one, I honestly think you’d agree too.

(#646)(85/100)

Other Notes

I requested further information from Foursquare, and Mr. Seale’s response was detailed enough for me to quote it in full here:

“This rum is 8 yrs at Foursquare and 8 years in Liverpool. It is all column.  We did unaged in the past and there are exceptions today where we ship unaged – but not for further aging.

The issue with the GI is complex and its a separate issue to the distillery name issue. I have taken the position that Foursquare should be named on the label. This has resulted in misuse of my trademark (not with malice) and I am trying to work with everyone to have our name present without misusing our trademark. Other distilleries have taken the easier (and perhaps wiser route) of simply prohibiting their name in any form – hence “secret distillery”.

As far as the GI goes, Barbados is a work in progress but Jamaica will only allow certification of age in Jamaica. The practical outcome of this would be a product like this could not say “16 years” and bear the Geographical certification. That is surely correct. How can something not aged in Jamaica be given a geographical certification.

That is not to say a product like this could not exist – as Lance says, it will be about labeling. The EU expressly provides for GIs and it expressly provides a work around. By Article 14, there is whisky aged in France, declared as a product of France that was distilled in Scotland.

The biggest threat to IBs like the excellent Compagnie des Indes is not GIs but availability of rum. If all small independent distillers fell into the hands of global corporations, bulk would dry up. Moving (age driven) value from Europe to the Caribbean is not a threat to rum from IBs, it is the only way to sustain it.”

J.M. XO Tres Vieux Agricole Rhum – Review

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Jul 252019
 

We hear a lot about Damoiseau, HSE, La Favorite and Trois Rivieres on social media, while J.M. almost seems to fall into the second tier of famous names. Though not through any fault of its own – as far as I’m concerned they have every right to be included in the same breath as the others, and to many, it does. 

Situated in the north of Martinique, J.M. began life with Pére Labat, who was credited with commercializing and proliferating the sugar industry in the French West Indies during the 18th century. He operated a sugar refinery at his property on the Roche Rover, and sold the estate to Antoine Leroux-Préville in 1790 – it was then renamed Habitation Fonds-Préville.  In 1845, his daughters sold the property again, this time to a merchant from Saint-Pierre names Jean-Marie Martin. With the decline in sugar production but with the concomitant rise in sales of distilled spirits, Jean-Marie recognized an opportunity, and built a small distillery on the estate, and switched the focus away from sugar and towards rum, which he aged in oak barrels branded with his initials “JM”. In 1914 Gustave Crassous de Médeuil bought the plantation from his brother Ernest (it would be positively karmic if Ernest was a descendant or relative of Jean-Marie, but it remains unknown), and merged it with his already existing estate of Maison Bellevue.  The resulting company has been family owned until recently, when Spiribam, the Hayot-family-controlled drinks conglomerate that also owns Clement and St. Lucia Distillers, bought a majority shareholding and put an end to one of the last independent single domaine plantations on Martinique.

The company makes various general blended rhums like the whites, the VO, VSOP and XO, as well as a ten and fifteen year old rum. The 45% ABV XO is one of the core range of rums JM produces, no particular year of make (otherwise it would be stated on the label and noted as being a millesime), always a minimum of six years old, made in quantity, consistent in taste and quality, and pretty widely available.

Right off, I enjoyed the smell when the bottle was cracked: luscious, well rounded ytet also a tad sharp – let’s call it crisp for now – with bags of soft tangerine zest, honey, vanilla and fudge.  It lacked much of that true herbal, grassy aroma which characterizes an agricole, yet its origin in cane juice was clear, hovering behind softer hints of marshmallow smores, caramel and white chocolate.

Palate, more of the same, with a few extra herbs and spices thrown in for good measure, quite firm and bordering on sharp.  So, some dill, cardamom, cloves, wet grass, dusky flowers (like lilies but thankfully fainter), plus softer tastes of peanut butter (the crunchy kind), caramel bon bons, rye bread and a sharp cheddar.  The finish was the bow tie, not adding anything much, just summing up the notes: medium long, warm, a tad sharp with less florals and more coffee grounds, oak and cinnamon.

This was good drinking, good sipping. I particularly liked the fact that the J.M.’s  inherent qualities kinda crept up on me without hurry: at first there was nothing bad about it, nor anything amazing, just decent quality – one could as easily mix it as sip it. Then a few extra notes began to sound, a few more joined in, and when it all came together at last I was left with a rhum that didn’t seem to have a whole lot of world-beating points of excellence – but what it had, it presented with aplomb. I finally came to the conclusion that the J.M. XO was a good rhum for both general audiences and those on a budget, a near perfect middle of the road product which didn’t seem like it was reaching for anything…but made one realize, after the party was over, that every target it was aiming for, it hit.

(#645)(83/100)

Mhoba Select Release White Rum – Review

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Jul 222019
 

South Africa has been making wine for centuries, backyard bathtub liquors are a local staple, and rums and rotgut of some kind (and quality) have always been made. Still, we may want to pay more attention to those rums going forward because in the last decade there have been quite a few small local companies starting up operations there, making small batch rums with little-stills-that-could and quietly garnering kudos for themselves for some interesting products, none of which I’ve tried (which is my loss). Companies like Copeland, Inverroche, Tapanga, Whistler, 25° South, DeVry, Distillery 031, Brickmakers, and the list goes on.

Another one of these is Mhoba, which Steve James of the Rum Diaries Blog brilliantly detailed a couple of months ago. Mhoba has been experimenting and playing around with making rums as far back as 2012, when the founder Robert Greaves thought of making a South African version of cachaca…but he changed his mind after a seminal 2013 encounter in a hotel bar in Mauritius introduced him to all the variety global rums possessed. This led to two years of trial and error, attempting to improve the quality of his spirit on a self-constructed pot still (he has a mechanical engineering background, which undoubtedly helped – in that way he’s a lot like Mike Moscoso of Barik in Haiti), as well as applying for a Liquor License, which all finally came together in 2015.  Samples went out the door in 2016 to the Miami Rum Festival which resulted in feedback and more tweaking, and 2017 at the UK provided an opportunity for a more serious intro of the company’s work to the public. It was successful enough that by 2019 it was being distributed in Europe and gained a lot of interest and word of mouth by being probably the only cane-juice derived rum in South Africa.

I’ll leave you to peruse Steve’s enormously informative company profile for production details (it’s really worth reading just to see what it takes to start something like a craft distillery), and just mention that the rum is pot still distilled from juice which is initially fermented naturally before boosting it with a strain of commercial yeast.  The company makes three different kinds of white rums – pot still white, high ester white and a blended white, all unaged. I tried what is probably the tamest of the three, the Select, which the last one, blended from several cuts taken from batches processed between October to December of 2018 and bottled at 58%.  All of this is clearly marked on the onsite-produced label (self-engraved, self-printed, manually-applied), which is one of the most informative on the market: it details batch number, date, strength, variety of cane, still, number of bottles in the run…it’s really impressive work. 

Ah, but how does it taste, you ask. What does it smell like? Well, it’s not a sharp as 58% might lead you to believe, but man, that pot still action is very nice indeed. The briny notes of a humid day at the seaside, combined with olives, acetones and sour fruit, showing that the still was alive and well, and that the esters retained their influence.  There was something nice and tart about it too, like macerated gooseberries mixed up with some soursop and then dropped into a can of paint or furniture polish, and the odd thing is, it gets sweeter and saltier the longer it sits in the glass, which is quite a trick for any rum to pull off. It relaxes after some time, and adds some lemon zest, cucumbers and pimentos to the mix, after which there isn’t much more to be found – but what there was was plenty, let me assure you. The blending doesn’t entirely take the edge off the rum, which retains a sort of youthful raw intensity to the aromas.

It tastes somewhat sharper than it nosed, which is fine, something to be expected.  Again, salt, brine, olives to begin with, plus the sour fruit, acetones, nail polish.  I enjoyed the background hints of lemon zest and cinnamon and the overall crispness of the profile, which was not an amalgam of melded tastes, but a procession of crisp, high-steppin’ flavour notes that were sharp and distinct as a bayonet. What is of interest is the overall herbal, grassy aspect to it which wasn’t quite as evident on the nose: in other words it tasted something like an agricole.  Too, there was some earth, musky spices in there lending a nice balance to the experience: tumeric, I’d say, and some masala. The finish was short and dry, but nicely balanced, sweet, salty and crisp, and summed up most of the action here: salty notes, some sweet, some spices, some earth. 

Overall, my general opinion is that it resembled Neisson’s agricoles more than most, or maybe a civilized clairin (if the comparison needs to be made at all, and it doesn’t, really). It wasn’t exactly a furiously complex hurricane of a jillion different things all wanting to get your attention at once: what it did do was focus on what it had, and crisply emphasized the notes it did play, without straying too far from its strengths. I didn’t get a chance to try the pot still or the high ester whites as comparators to this white rum, but I have to admit, the sheer rough quality of this one makes me wish I had. This juice is quietly badass, and I want me some more.

(#644)(82/100)

Bielle Millesime 2001-2015 14 YO Guadeloupe Rhum – Review

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Jul 182019
 

“This is a distillery … which deserve some serious attention” I wrote back in 2017.  I should have taken my own advice and picked up more from there, because this rhum is really well done, and one to share generously. 

Located just south of dead centre on the tiny island of Marie Galante (itself south of Guadeloupe), Bielle is a small sugar plantation dating back to the late 1700s, named after Jean-Pierre Bielle (he also owned a coffee shop), which went through a series of owners and went belly-up in the 1930s; the property was sold to a local landowner, Paul Rameaux, who had no more success than his predecessors in reviving its fortunes. 1975 marked a revival of Bielle when la Société d’Exploitation de la Distillerie Bielle (SEDB) took over the assets, and nowadays a nephew of Mr. Rameaux, Dominique Thiery, runs the distillery. So, it’s another small outfit from the French West Indies about whom only the islanders themselves and the French seem to know very much.  

This might be a grievous oversight on our part, because I’ve tried quite a few of their rhums (and wrote about one of them before this), and they’re good, very good — both this one and the Brut de Fut 2007 scored high. And if Bielle was not well represented in the medal roundup of the recently concluded Martinique Rhum Awards, it might just mean their work is as yet undiscovered while other, better-known estates hog all the glory.

The profile of this 2001 tropically aged 14 year old demonstrated clearly, however, that these were no reasons to pass it by. Consider first the way smelled, dense, fragrant, and rich enough to make a grasping harpy sign the divorce papers and then faint.  Plums, peaches, mangoes, blackberries, molasses, citrus, all jammed together in joyous, near riotous abandon of sweet, acidic, tart and musky aromas. I particularly appreciated the additional, subtle notes of molasses-soaked damp brown sugar, white chocolate and danish cookies, which added a nice fillip to the whole experience.

Even someone used to standard strength would find little to criticize with the solid 53.1% ABV, which provided a good, very sippable drink.  All the fruits listed above came back for a smooth encore, and adding to the fun were gherkins in pickling sauce, brine, anchovies…you know, something meaty you could almost sink your teeth into – a little denser and this thing might have been a sandwich.  But it’s the molasses, overripe bananas, caramel and vanilla combining with all that, which binds it all together (sort of like a rumForce). I thought it was excellent, delectable stuff, skirting a fine line between rich and delicate, dark and light, thick and crisp. And the finish did not disappoint — it was dry yet luscious, exhaling vanilla, molasses, bananas, olives, nougat, cherries and a dusting of nuts

The Bielle deepens my admiration for Guadeloupe rhums, which are sometimes (but not in this case) made from molasses as well as cane juice, Guadeloupe not being subject to the AOC regime. This liking of mine does no disservice or call into question Martinique, whose many distilleries make savoury rums of their own, as crisp, clear, and clean as a rapier wielded by le Perche du Coudray.  There’s just something a little less precise about Guadeloupe rhums that I enjoy too – something softer, a little richer, more rounded. It’s nothing specific I can put my finger on, really, or express in as many words — but I think that if you were to try a few more Bielle-made rums like this one, you’d know exactly what I mean.

(#643)(87/100)

A. A. Baker Jamaican Rum (1970s)

 1 Response »
Jul 152019
 

Rumaniacs Review #098 | 0642

Everything about this rum is fascinating, and while there are gaps in its provenance, there’s still more available than some other rums in this series we’ve looked at. Note that it comes from the same timeframe as the Sangster’s Jamaican (R-097), but this one is much better and has more convoluted historical antecedents.

A.A. Baker & Co was founded back in 1898 by Arthur and Arnold Baker (and their cousin George) in Trieste, which at the time was the fourth largest city of the Austro-Hungarian empire, and their main trading port and shipbuilding centre (it later got annexed into Italy, where it remains, for reasons too complex for a rum review).  These gentlemen were forerunners of today’s independent bottlers, producing various rums deriving from the West Indies, Australia and Central America (as well as cognacs and whiskies), which were sourced by trading with ships that stopped over in Trieste. It still exists to this day, producing the Battle Axe Jamaican and other blended rums, though the Bakers have long since sold out to other (Italian) owners and the company moved to Gorizia, a ways up the road.

This 2-liter bottle is tricky – Nicolai Wachmann, who generously provided me with the sample, was told it was from the 1960s by the person he had sourced it from, but most of the pictures found online from a recent auction, suggest it was from the 1970s.  Neither is the age mentioned anywhere, or which estate in Jamaica was the source of the rum, so what we are left with is the rather impressive proof, and questions we wish — not without regret — had more answers.

Colour – gold

Strength – 60%

Nose – Even if I didn’t know it was Jamaican going in, I would have guessed. Glue, acetone, funk, rotting bananas and orange peel, brine, paint, and that’s just the first ten seconds.  There’s also the damp sawdust of freshly-sawn lumber, ginger, nail polish, aged balsamic vinegar and some good soup under all that. But once it opens it also settles down and the fruits begin to take over, like apples, grapes, mangoes…and at the last, some slightly rotten meat.

Palate – Well, at that strength, it’s not a surprise that it attacks with ferocity; it’s hot and sharp and (oddly) even a little sweet.  Salt, brine, black pepper, olives, and the vague mintiness of a cough syrup, including the medicinal aspect of it. Fortunately the gaminess of the nose is very much in the background here, and what one gets after some time is a rich – if scrawny – panoply of sharp and tart fruit flavours mixed up with some oddball elements. A touch of toffee and blancmange, quite faint, complete this picture.

Finish – Long, hot and very spicy.  Lots of spices and herbs here: ginger, dill, thyme, as well as caramel, vanilla and unripe apples and other sharp fruits.

Thoughts – Not very full bodied or musky, presents as somewhat thin and very clear.  The strength for what is probably a rather young rum may be excessive for true appreciation, but even so, for the 1970s when light rums were all the rage, it took guts to make this thing at all. 

Obviously the production methodologies of the estates have changed somewhat since this rum was made, or it’s a blend of multiple marques.  Maybe both. Whatever the case, identifying which distillery in Jamaica produced it is not easy – I’d hazard a guess that there’s some pot still in here (but not all) and that there’s Longpond and maybe Worthy Park in the blend – but it’s all a guess, because, who knows for sure? And that’s a real shame, because with the ascendancy of the New Jamaicans these days, how cool would it be to say you had one of their rums, dating back fifty years or more?

(#642 | R-098)(83/100)

Ron Santiago de Cuba 25 Year Old – Review

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Jul 142019
 

It’s been some time since a current production Cuban rum not made by a third party crossed my path.  Among those was the Santiago de Cuba 12 YO, which, at the time, I enjoyed a lot, and made me anxious to see how older versions from the Cuba Rum Corporation’s stable would work out.  So when the 25 YO became available, you’d better believe I snapped it up, and ran it past a bunch of other Latin rums: a Don Q, the Diplomatico “Distillery Collection” No. 1 and No. 2 rums, a Zafra 21 and just because I could, a Kirk & Sweeney 18 YO.

The Cuba Rum Corporation is the state owned organization located in the southern town of Santiago de Cuba, and is the oldest factory in the country, being established in 1862 by the Bacardi family who were expropriated after the Cuban Revolution in 1960. The CRC kept up the tradition of making light column-still Cuban rum and nowadays make the Ron Caney, Varadero and Santiago de Cuba lines, the last of which consists of an underproof blanca and sub-5YO anejo, and 40% 12 YO, 20 YO and this 25 YO. The 25 YO is their halo product, introduced in 2005 in honour of the 490th anniversary of the city of Santiago de Cuba’s founding and is lavish bottle and box presentation underscores the point (if the price doesn’t already do that).

Could a rum tropically aged for that long be anything but a success? Certainly the comments on the crowd-sourced Rum Ratings site (all thirteen of them, ten of which rated it 9 or 10 points out of ten) suggest that it is nothing short of spectacular. 

The nose was certainly good – it smelled richly of leather, mint, creme brulee, caramel, raisins, cherries, and vanilla.  The aromas were soft, yet with something of an edge to them as well, a bit of oak and tar, some citrus peel and lemon juice (just a little), plus a whiff of charcoal and smoke that was not displeasing. Even at 40% (and I wish it was more) it was enormously satisfying, if unavoidably light.  Good thing I tried it early in the session – had it come after a bunch of cask strength hooligans, I might have passed it by with indifference and without further comment.

The challenge came as it was tasted, because this is where standard strength 40% ABV usually falls flat and betrays itself as it disappears into a wispy nothingness, but no, somehow the 25 year old got up and kept running, in spite of that light profile.  The mouthfeel was silky, quite smooth and easy, tasting of cinnamon, aromatic tobacco, a bit of coffee. Then came citrus, nuts, some very faint fruits – raisins again, ripe red grapes, kiwi fruits, sapodilla, yellow mangoes – that was impressive, sure, it’s just that one had to reach and strain and really pay attention to tease out those notes…which may be defeating the purpose of a leisurely dram sipped as the sun goes down somewhere tropical.  Unsurprisingly the finish failed (for me at any rate – your mileage may, of course, vary): it puffed some leather and light fruits and cherries, added a hint of cocoa and vanilla, and then it was over.

The Santiago de Cuba brand was supposedly Castro’s favourite, which may be why the Isla del Tesoro presentation quality rum retails for a cool £475 on the Whisky Exchange and this one retails for around £300 or so.  Personally I find it a rum that needs strengthening. The tastes and smells are great – the nose, as noted, was really quite outstanding – the balance nicely handled, with sweet and tart and acidity and muskiness in a delicate harmony, and that they did it without any adulteration goes without saying. It would, six years ago, have scored as good or better than the 12 year old (86 points, to save you looking). 

But these days I can’t quite endorse it as enthusiastically as before even if it is a quarter of a century old, and so must give it the score I do…but with the usual caveat: if you love Cubans and prefer softer, lighter, standard proofed rums, then add five points to my score to see where it should rank for you.  Even if you don’t, rest assured that this is one of the better Cuban rums out there, tasty, languorous, complex, well-balanced….and too light.  It’s undone – and only in the eyes of this one reviewer – by being made for the palates of yesteryear, instead of beefing itself up (even incrementally) to something more for those who, like me, prefer something more forceful and distinct.

(#641)(82/100)

Other notes

Pierre-Olivier Coté’s informative 2015 review on Quebec Rum noted the outturn as 8,000 botles.  One wonders whether this is a one-off, or an annual release level.

1423 S.B.S. Enmore 1988 28 Year Old Guyana Rum – Review

 2 Responses »
Jul 112019
 

Photo (c) 1423.dk

There’s another S.B.S rum from Trinidad I should really be writing about, tried on that magical evening in Paris when I ran heedless and headfirst into the Mauritius 2008 and the Jamaican DOK 2018, but naah – there’s this other one they made back in 2016, probably long sold out and gone, which I remember equally well.  And that’s the S.B.S. Enmore, distilled in 1988, bottled twenty seven years later, with the sort of solid 51.8% ABV strength that would make the near legendary Bristol Spirits PM 1980 nod approvingly and dab a single ethanol tear from its metaphorical eye.

1423, the parent company making the Single Barrel Selection series laboured in obscurity in Denmark for years, it seems to me, before coming to the attention of the larger world with startling suddenness.  All this time – ever since 2009 when they released their first rum from barrel #1423 – this small concern founded by four friends (now five) expanded. And although they were primarily into distribution, they never ceased sourcing and bottling their own rums on the side – this culminated around 2016 with the formation of the more exclusive SBS brand, which, as the name implies, does rums from single barrels.  The first year they bottled juice from Panama, Barbados, Trinidad, Jamaica, Fiji and Guyana, and haven’t stopped running since.

You’ll forgive me for having a soft spot for Guyanese rums.  The profile of the wooden stills’ output appeals to me more than most, when it isn’t dumbed down and tarted up with the sweet stuff (I move off fast when that happens because if I wanted a Tiger Bay strumpet I’d go there to get rolled, thank you very much).  Anyway SBS follows the indie maxim of not messing with what’s in the barrel, so we have something clean here, as I’d expect.

It smells perfectly fine.  It reeks of well polished leather, aromatic tobacco smoke, prunes and unsweetened dark chocolate, and that’s just for openers.  There’s also raisins, salted caramel, brine, an olive or two, some mild coffee and some moist brown sugar that still has the whiff of molasses in it. And behind all that is damp black earth, rotting bananas and a darkness that makes you think perhaps it’s trying to channel a HP Lovecraft or something.

I enjoyed the nose for sure, but it’s the taste that makes or breaks a wooden still rum.  Here, it was excellent – thick, dark, and almost creamy, like Irish coffee. Some licorice and mint chocolate led off, a bit of raisins, toffee, nougat, a twitch of ripe apples.  And then it opened up and out came the coffee, the leather, salt caramel, prunes, plums, blackberries, molasses … and was that ripe avocados with salt I was getting in the background?  Quite possibly – the richness of the rum, both in taste and in texture, could hardly be faulted. And the finish was excellent, solid and breathy, not giving anything new, but sort of summing things up – so, some leather, tobacco, stale coffee grounds, caramel and those fruits again, fainter this time.

Now, there’s no doubt in my mind that this was as Guyanese as pepperpot and DDL – the real question is, which still made the rum?  The label says it’s an Enmore from a pot still, all of SBS’s records (here and here) say “Enmore” and “pot” but the Enmore still itself is a wooden coffey, so that only leaves two options – either the label is wrong, or it’s one of the two other stills, the Port Mourant wooden double pot, or the Versailles wooden single pot. And since Marco makes no mention of the PM still ever going near Enmore (it was moved to Albion, then to Uitvlugt and then to Diamond), and since the Versailles still was in Enmore in 1995 (the last year that estate’s distillery made rum) then the balance of probability says it’s a Versailles, as Marius of Single Cask Rum stated without attribution in his own rundown of the SBS rums. 

Assuming my line of reasoning is correct, then it’s a Versailles-still rum (SBS are digging to clear this mystery up on my behalf after I contacted them about the discrepancy), but maybe this is all just pedantry and anal-retentive detail mongering.  After all, it tastes a lot like the Moon Import Enmore 1988-2011 which supposedly was a coffey still rum from there, and even if it was (or wasn’t), who that drinks this thing really deep-down cares? I thought that the rum was more solid and “thicker” than a true — and usually more elegant — Enmore, yet more civilized than the Versailles rums tend to be. It was deep, dark, and delicious, a very good rum indeed for those who like that profile, and if we can’t identify its origins with precision, at least we can drink it, enjoy it, love it — and thank SBS for bringing it to our attention.  We just don’t see enough of such rums any more and that’s reason enough to appreciate what they did, even without the business about which still it came off of.

(#640)(86/100)

Other notes

  • Distilled November 1988, bottled October 2016.  For my money that’s a 28 year old
  • Many thanks to Nicolai Wachmann, who sourced me the sample quite a while back. I seem to have lost my glass-and-sample-bottle picture, hence my using stock photos
  • The rum is red brown in colour, very pretty in a glass.
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