M&G Rhum du Cap-Vert Grogue Velha (Aged) – Review

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Jul 012019
 

M&G out of Cabo Verde, as noted in the review of their tasty little white, stands for Musica e Grogue, a hat tip to the love of island music and island rum that characterized the founders, Jean-Pierre Engelbach (with his fascinating involvement in the dramatic and musical arts over the decades), and Simão Évora, a local Cabo Verde grogue producer and music-devotee. Using one of the five grogue producers in the tiny village of Tarrafal (population = 450, stills = 5, a stat that fascinates everyone who’s ever read it) they produce two main products, the white, and a slightly more out-of-nappies version, the Velha which stands for “aged” in the local vernacular.

Essentially, the Velha is just their white grogue that’s been allowed to sleep a while longer.  It has the same 10-15 day natural fermentation of organic, cane-derived juice, and the same distillation in a fire-fed pot still, which is then collected and set to mature.  Now, back in 2017 they obtained eight oak barrels imported from a French winemaker from the Gaillac terroir (Brocol varietal), and not having a warehouse, proceeded to dig a cellar for them in the middle of the village (!!), and left the grogue to age there for 13 months, then bottled it in 2018 with an outturn of less than a thousand bottles — 604, to be exact — captured at a firm 44%.

With such a short ageing cycle we might be anticipating something a bit off the reservation, slightly tamed by the barrels and the sub-50% strength. Naah, not really. It smelled sweet and soft, of fanta and sprite and a bowl of red olives.  There was a whiff of anise and vanilla and oak and coffee grounds, and after some minutes, also raisins, dates, figs, and aromatic pipe tobacco, flowers and a sly little wine note set off by just a hint of lemon zest.

That was quite a medley on the nose, yet oddly the palate didn’t have quite have as many tunes playing. It was initially briny with those olives coming back, a little peanut brittle, salt caramel ice cream, vanilla, all held back.  What I liked was its general softness and ease of delivery – there was honey and cream, set off by a touch of citrus and tannics, all in a pleasant and understated sort of combination that had a surprisingly good balance that one would not always imagine a rhum so young could keep juggling as well as it it did.  Or as long. Even the finish, while simple, came together well – it gave up some short and aromatic notes, slightly woody and tannic, and balanced them out with soft fruits, pipe tobacco, coffee and vanilla, before exhaling gently on the way out. Nice.

Since I’ve started searching out and encountering these rums from Cabo Verde, I have been wondering about the dichotomy between how I had thought they would taste and how they actually tasted. That misconception – mine, at any rate – derived from an almost complete lack of familiarity with Cabo Verde grogues.  So far I’ve tried just a few, but those few have impressed me quite a bit.  While not yet world beaters, they show that the best new rums (or undiscovered old ones) are not always the biggest names or those with the loudest voices or even the best reputations, because we just don’t know enough about so many of them, even now. The M&G Velha and the Natural — quietly and cogently and without fuss — make the point that when these rums become available, it’s well worth giving them a try even if we never heard of them before,  just to see where else rums can go, how well they can be made, and how good they can taste.

(#637)(84/100)

Other notes

While the Velha and the white are the main products of the company, M&G also make a number of grogue-based punches at around 22-25 % ABV that are flavoured with local fruit.

Back label translation:

“This blonde rum comes from the terroir of Tarrafal of Mont Trigo on the island of Santo Antao (Cape Verde). For decades, our producers have been carrying on the tradition of making the Grogue, an artisanal rum with a surprising flavor, with tastes of fruit, cane and spices. Cultivated on a volcanic soil, without fertilizer or pesticide, the sugar cane benefits from dry tropical climate and good irrigation

It comes from a fair trade. Aged for more than a year in Bordeaux barrels available in our cellar, this grogue velha has acquired woody flavors that enhance the original taste and confer a beautiful roundness.

Exceptional cuvée limited to 604 bottles.”

Helios Distillery “Teeda” 5 Year Old Japanese Rum – Review

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May 302019
 

In any rum festival, if you are moving around with a posse or simply keep your ears open, there’s always one or two new or unknown rums that create an underground buzz. You drift from booth to booth, tasting, talking, writing, thinking, listening, and gradually you separate voices from the din, that quietly remark “Check out that one over there” or “Did you hear about….?” or “You really gotta try…” or a simple, disbelieving “Holy crap!”

The Whisper Antigua rum was one of those, Lazy Dodo another; in various years there was the Toucan white, the Compagnie’s Indonesian rum,  the first edition of Nine Leaves, the first new Worthy Park rums…and in Paris 2019, it was the Teeda five year old made by the Japanese Helios Distillery, which I heard mentioned up and down the aisles by at least five separate people on the very first day (along with the Madeirans, the Cabo Verde grogues and Mhoba)

Helios has been around since 1961, when it was called the Taiyou distillery, and made rum from sugar cane grown in Okinawa itself (the climate favours it and all rum made in Japan uses cane from there) to cater to the locally-based Americans of the US post-war civil administration – and so as not to use rice which was needed for food to make alcohols like sake. In 1969 as the fortunes of the company and Okinawa improved, the name was changed to Helios and over the next two decades it branched out and gained licenses to make sake, shōchū, awamori (an Okinawan local spirit made from rice), whiskey and, in 1996, beer, which became one of its primary products with amawori and for which it is now best known.  Yet they started with and always made a sort of cheap blended rum (both white and lightly aged), and in the last few years expanded that into an aged product they named Teeda (an Okinawan word for “sun” – goes well with Helios, doesn’t it?), which is a blend of rums of five to fifteen years old aged in ex-bourbon barrels, I am led to understand, and pot still distilled. No caramel or other additions, a pure rum.

I don’t know how much of the blend was five years old and how much was greater, but whatever they did, the results were great.  The pot still component was particularly aggressive right out of the gate (even with a relatively staid 40% ABV strength) – yes it had a pronounced initial rumstink of sweet fruits and rinds decomposing in the sun, rotting bananas and paint remover, but there was also fanta and soda pop, a clear sweet line of bubble gum and strawberries, apricots, cherries, very ripe yellow mangoes, all tied together with brine, olives, and a really rich vegetable soup chock full of noodles and green onions (seriously!).

Palate…hmmm.  Different, yet decidedly intriguing and original without straying too far from rum’s roots. It was supple and firm on the tongue, sweet and almost gentle – I sensed iodine, minerals, wet charcoal, ashes, redolent of that woody and yeasty fresh-baked sourdough action of shōchūs I’ve had, which worked…sort of. Gradually that released additional muskier flavours of licorice, molasses, vanilla, even red olives.  It was also musty, with all the pungency of a barn made from old wood and long abandoned. Whatever fruits there were took a back seat, and only really came into their own on the finish which, though short, was creamy and sharp both at once, and allowed final notes of ripe cherries and apricots to make a final bow before disappearing.

What to make of something like this?  A Caribbean rum it was clearly not, and it was quite separate from the light rums from South America; neither did it conform to India’s rich and sweet rums like the Rhea or Amrut, and it had little in common with the feral whites now coming out of Asia.  Given that in many cases Japanese rum makers are often adding rum to their lineup of whiskies or sake or shōchū as opposed to starting rum distilling from scratch, I argue that too often the profiles of those drinks bleed over into the way their rums taste (Seven Seas, Ryoma, Cor Cor and Ogasawara are examples of this, with Nine Leaves a marked exception).

Yet I liked this thing, quite a bit.  It was like a dialled-down Islay mixing it up with a Jamaican pot-still bruiser (with a Versailles acting as referee), and was, in my estimation, something of an original to sample, blending both the traditional “rummy” flavours with something new.  It skated over many of the issues mentioned above and came out at the other end with a really mellow, rich, tasty, different rum, the likes of which I have not had before. Even with the few weaknesses it had — the balance and integration of the disparate components were not completely successful, and it could have been stronger for sure — there’s nothing here that would make me tell you to walk away.  Quite the reverse, in fact – this rum is absolutely worth a try, and it makes me glad I listened to the buzz.

(#629)(83/100)

Other notes

  • Thanks and a hat-tip to Yoshiharu Takeuchi and Manabu Sadamoto for help with the background notes
  • A 2019 RhumFest masterclass video of Ms. Matsuda (grandaughter of the founder of Helios) can be found on FB in English, with a running French translation.  This confirms the pot still comment (it is stainless steel) as well as noting that fermentation is 2 weeks, leading to a 60% distillate from the still; white rum is rested in steel tanks for about six months, while aged rums are put in oak casks for the appropriate period

Sang Som Special Rum (Thailand) – Review

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May 092019
 

Like most rums of this kind, the opinions and comments are all over the map.  Some are savagely disparaging, other more tolerant and some are almost nostalgic, conflating the rum with all the positive experiences they had in Thailand, where the rum is made. Few have had it in the west, and those that did weren’t writing much outside travel blogs and review aggregating sites.

And that’s not a surprise. If you exclude the juice emerging from new, small, fast-moving micro-distilleries in Asia, and focus on the more common brands, you’ll find that many adhere to the light latin-style column-still model of standard strength tipple…and many are not averse to adding a little something to make your experience…well, a smoother one; an easier one. These rums sell by the tanker-load to the Asian public, and while I’m sure they wouldn’t mind getting some extra sales, restrict themselves to their own region…for now.

One of these is the Thai Sang Som Special Rum, which has been around since 1977 and has supposedly garnered a 70% market share for itself in Thailand.  This is a rum made from molasses, and apparently aged for five years in charred oak barrels before being bottled at 40% ABV. Back in the 1980s it won a clutch of medals (Spain, 1982 and 1983) and again in 2006, which is prominently featured in their promo literature…yet it’s almost unknown outside Thailand, since it exports minimal quantities (< 1% of production, I’ve read).  It is made by the Sang Som company, itself a member of Thai Beverage, one of the largest spirits companies in the world (market cap ~US$15 billion) – and that company has around 18 distilleries in the region, which make most of the rum consumed in and exported by Thailand: SangSom, Mangkorn Thong, Blend 285, Hong Thong, and also the Mekhong, which I tried so many years ago on a whim.

The rum doesn’t specify, but I’m going out on a limb and saying, that this is a column still product.  I can’t say it did much for me, on any level – the nose is very thin, quite sweet, with hints of sugar cane sap, herbs, dill, rosemary, basil, chopped up and mixed into whipped cream.  Some cinnamon, rose water, vanilla, white chocolate and more cream. Depending on your viewpoint this is either extremely subtle or extremely wussy and in either case the predominance of sweet herbal notes is a cause for concern, since it isn’t natural to rum.

No redemption is to be found when tasted, alas, though to be honest I was not really expecting much here.  It’s very weak, very quiet, and at best I can suggest the word “delicate”. Some bright ripe fruits like ripe mangoes, red guavas, seed-outside cashew nuts.  Coconuts, flowers, maybe incense. Also lighter notes of sugar water, watermelon, cucumbers, cinnamon, nutmeg – Grandma Caner said “gooseberries”, but I dispute that, the tartness was too laid back for that rather assertively mouth-puckering fruit. And the finish is so light as to be to all intents and purposes, indiscernible. No heat, no bite, no final bonk to the taste buds or the nose.  Some fruit, a little soya, a bit of cream, but all in all, there’s not much going on here.

All due respect for the tourists and Asians who have no issues with a light rum and prefer their hooch to be devoid of character, this is not my cup of tea – my research showed to to be a spiced rum, which explains a lot (I didn’t know that when I was trying it).  It’s light and it’s easy and it’s delicate, and it requires exactly zero effort to drink, which is maybe why it sells so well – one is immediately ready to take another shot, real quick, just to see if the next sip can tease out all those notes that are hinted at but never quite come to the fore. The best thing you can say about the matter is that at least it doesn’t seem to be loaded to the rafters with sugar, which, however, is nowhere near enough for me to recommend it to serious rumhounds who’re looking for the next new and original thing.

(#622)(68/100)

Inner Circle “Green Dot” Overproof Rum (Australia/Fiji) (2000s)

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Apr 212019
 

Rumaniacs Review # 096 | 0617

Inner Circle out of Australia is one of those rums originally made by a now-defunct company called the Colonial Sugar Refinery, which had a long history pretty much unknown outside its country of origin. Formed in 1855, CSR established refineries in Australia, New Zealand and Fiji by the 1890s, and in 1901 they opened a distillery in Sidney, using pot stills to make rums from Fijian and Australian cane. The Inner Circle brand name, which appeared in 1950, came from the limited high-quality rums they made for distribution to the favoured elite of the company and its clients, and around 1970 it got a broad commercial release in Australia: at that time it was bottled in three strengths, which in turn were identified by coloured dots – Underproof (38-40%, the red dot), Overproof (57% or so, green dot) and 33% Overproof (73-75%, black dot).

The distillery was sold off in 1986 (to Bundaberg) and the brand disappeared, though CSR remains as a company involved in manufacturing of building products, no longer rums. The Inner Circle brand was resurrected in 2000 by Stuart Gilbert (the Australian Olympic yachtsman) in concert with Malcolm Campbell, one of the distillers of the company who had the original recipe, and I believe they did so with the financial backing of the Australian VOK group, which also took over the Beenleigh Rum Distillery in 2003. The rums was resurreected and is now a Beenleigh product

The rum remains a pot still rum; and based on the label design, it was bottled just after 2004. Inner Circle confirmed to me directly that it was 2004-2007 (and if I could find the batch code on the label they could tell me the exact year), pure Fijian cane distillate (so not really Australian after all), minimum of two years ageing in bourbon casks, and this particular batch recipe is no longer being made – hence its inclusion in the Rumaniacs series. It’s still possible to find bottles for sale at reasonable prices, mind you — this one was bought at auction last year.

Colour – Amber

Strength 57.2%

Nose – Are we sure this is a pot still 57.2% rum? Very strange, because nothing much seems to be going on here at all. It’s slightly sweet, fruit forward (peaches, apricots, cherries, very ripe). Characteristic brine and olives and acetones of a pot still distillate seem completely absent, and so it is nowhere near as complex as even an entry level funky Jamaican. After half an hour of letting it stand, and then rechecking I got some sweet vegetables (carrots) and a bit of glue and nail polish, really faint.

Palate – Same vague wispiness as the nose. Glue and rubber notes, very faint. A bit sweet and salty with repeated sips diminishing the sweet. Some light pineapples, dried apricots, cinnamon. A bit of caramel and vanilla, not much but all things considered, it had more potency and pungency than the nose did (and for me usually the reverse is true). There’s a trace of iodine and seaweed in the background, which is odd, but by no means unpleasant.

Finish – Short, warm. Some vegetables, brine, fish soup and sushi (that would be that iodine coming back again – odd that it wasn’t discernible on the nose). A bit of vanilla and caramel.

Thoughts – Leaves me indifferent, largely because it’s as vague as a politician’s statements. Maybe it was filtered or something, but overall, it simply does not conform to what we might expect from the strength and still as noted on the label. Which is a shame, ‘cause I had high hopes for it, but also relieved, since I dropped out of the bidding.

(73/100)

Other notes:

  • A redesigned bottle and revised recipe of the Inner Circle line of rums continues to be made.
  • Thanks to Tatu Kaarlas and Inner Circle themselves, who responded in fine style when bugged for background information
  • Sample came from the same bottle whose label is shown at top, from Nicolai W. out of Denmark, who ended up buying it.
  • A more detailed history of the company can be found here.

Nine Leaves “Encrypted” II 2 Year Old Rum (2017 release) – Review

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Apr 172019
 

You just gotta love Yoshiharu Takeuchi, who hired a brand ambassador, travel agent, accountant, general manager, master distiller, janitor, chief cook and bottle washer, the cook, the baker and candlestick maker, and still only has a single employee in his Japanese rum-making outfit Nine Leaves – himself. And lest you think he’s a dour, serious, penny-pinching cost-cutting ninja who’d prefer to be making a Yamazaki single-handedly or something, you can take it from me that he’s a funny, personable, dynamic and all-round cool dude, a riot to hang out with in any bar in any country. Oh yeah, and he makes some pretty damned fine rums.

I’ve been writing about Nine Leaves since I first tried their various rums back in 2014: the Clear, and “Almost <<pick your season>>” French- or American-oak-aged rums (most of which were aged, at best, for six months and issued once or twice a year), and have gradually realized that due to the peculiarities of Japanese tax laws, it’s simply not in their interest to make rums greater than two years of age, and so probably never will. Yoshi-san has therefore always concentrated on making minute, infinitesimal improvements to these young ‘uns, until 2016 when he changed direction and put out the first Encrypted rum, riding the wave of finishes and double maturations that have almost come to define Foursquare and have been copied here and there by other distillers like DDL and English Harbour.

The Encrypted rums were subtly, quietly excellent. It surpasses my understanding that to this day they have not made much of a wave in the rumworld (unless you count Velier’s 70th anniversary edition, which Yoshi jokingly calls the “Encrypted 2½”), though sales must be brisk otherwise why would Nine Leaves keep making them, right? The Encrypted II from 2017 was a blend of copper-pot-still rums slightly over two years of age: some were aged in ex-bourbon casks, some in PX Oloroso, and then blended, with a resultant strength of 58% ABV. That’s it, and the results just keep getting better over time.

Consider the way it smelled. With pot still distillate and two different cask types, one would expect no less than an intriguing smorgasbord, which this provided, in spades: the pot still component was quite subdued, starting off with a little brine and olives, a light touch of nail polish remover and acetones; indeed, the vaguely herbal nature of it almost suggested an agricole wannabe than the molasses rum it actually was. Letting it open a little is key here: after several minutes the other aromas of light vanilla and caramel were joined by smells of apples, green grapes, cumin and lemon peel, and only after some time did heavier fruit like peaches in syrup begin to make their appearance, with a neat balancing act between the various components.

The real treat was how it tasted. Short version? Delicious. Much as the nose managed to make a curious combination of agricole and molasses rum work together without going too far on one side or the other, the palate took flavours that might have been jarring and found a way to make them enhance each other rather than compete: it was hot and briny, tasting of gooseberries, green grapes and unripe mangoes, then balancing that off with unsweetened cooking chocolate, licorice, nougat and bon-bons, which were in turn dusted lightly with cinnamon and almonds, before closing off in a nice long finish of nuttiness, caramel, vanilla, a hint of wine and even (I kid you not) tumeric.

It’s amazing how many flavours Nine Leaves wrings out of their distillate without messing around with additives of any kind. When I see major houses doctoring their rums and their blends in order to appeal to the sweet-toothed mass market, then justify their actions (assuming they bother) by mentioning lack of resources to age distillate for long periods, the desire of their customers, the permissive legislation etc etc etc, I want to sigh and just point them in the direction of a rum like this one, aged for so short a time, not part of any family tradition or national heritage, not needing any adornment to showcase its quality. This thing is simply a solid, tasty rum, familiar enough not to piss off the Faithful, while also different enough to elicit nods of appreciation from those who’re looking for a variation from the norm. Not many makers can find the balancing point between such different aspects of the production process — Nine Leaves has shown it can be done, and done well, by taking the time to get it done right.

(#616)(87/100)

Domaine de Séverin Rhum Vieux (1990s)

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Mar 212019
 

Rumaniacs Review # 094 | 0610

Séverin is a small distillery in the north of the left “wing” of Guadeloupe (called Basseterre), whose history can be divided into three parts: 1800-1928 when different owners held the small estate and grew various agricultural crops like pineapples and sugar, 1928-2014 when the Marsolle family held it and created the marque of Domaine de Séverin for their rhums, and the post-2014 period when the distillery (but not the whole estate) was sold to a local businessman called Jose Pirbakas. Although there was a cessation of operations after the takeover due to differences in management and operational philosophies (for one thing, all rhum prices were jacked up by 45% in 2014), rhums from Séverin are now once again available, primarily in France, and sporting a new, redesigned bottle and label.

That label is key, since the older ones such as on the bottle I had, are no longer in use and therefore serve as a useful determinant as to whether one is buying a pre-takeover rum (which is a Rumaniacs candidate), or a post 2014 version, which is not.

While it is not explicitly stated on the label, the Vieux is about three years old. Séverin have always played around with different casks in their aged rhums (cognac for the most part), but in this case it is very likely that standard oak barrels were used to age the rhum, which itself derives from a creole column still.

Colour – Gold

Strength – 45% ABV

Nose – Clearly Séverin, like many producers on Guadeloupe, played around with both molasses and cane juice for its raw material. Here, the deeper aromas of molasses, coca-cola and nougat steer us towards molasses as the base. There were hints of cinnamon and light coffee grounds, some smoke and vanilla, quite easy-going but also reasonably aromatic.

Palate – A very pleasing profile, if not quite as sharply distinct as anything you’re getting from Martinique with its strict AOC guidelines. Coke, molasses, bitter chocolate and nougat charge out from the gate. There is also some brine, olives and coffee, and coiling around in the background are some vague floral and light fruity notes which provide a pleasing backdrop for the heavier flavours

Finish – Somewhat weak, a flash in the pan, over quickly. Closing notes of cumin and cinnamon, caramel, damp brown sugar, vanilla.

Thoughts – Reminds me somewhat of rums from Mauritius or the Seychelles. I like these indeterminate products that steer an interesting line between a pure molasses product and one made from juice – it’s like they take a bit of the characteristics both without leaning to either side too much. That makes them good rums to drink, though this one is not so exceptional that I’d want it on my top shelf. Still, it was made recently enough that I suspect one can still find it, and if so, it’s worth picking up for more than just historical value.

(80/100)

Brugal Ron Dominicano Blanco – Review

 1 Response »
Mar 132019
 

By today’s standards, Brugal, home of the very good 1888 Gran Reserva, made something of a fail in the genus of white rums with this Blanco.  That’s as much a function of its tremblingly weak-kneed proof point (37.5%, teetering on the edge of not being a rum at all) as its filtration which makes it bland to the point of vanilla white (oh, wait….). Contrast it with the stern, uncompromising blanc beefcakes of the French islands and independents which blow the roof off in comparison: they excite amazed and disbelieving curses — this promotes indifferent yawns.

To some extent remarks like that are unfair to those who dial into precisely the coordinates the Blanco provides — a light and easy low-end Cuban style barroom mixer without aggro or bombast, which can just as easily be had in a sleepy backroad rumshop someplace without fearing for one’s health or sanity after the fact. But they also encapsulate how much the world of white rums has progressed since people woke up to the ripsnorting take-no-prisoners braggadocio of modern blancs, whites, clairins, grogues and unaged pot still rhinos that litter the bar area with the expired glottises of unwary rum reviewers.

Technical details are actually rather limited: it’s a rum aged for two years in American oak, then triple filtered, and nothing I’ve read suggests anything but a column still distillate.  This results in a very light, almost wispy profile which is very difficult to come to grips with.

Take the nose – it was so very faint. Being aware of the proof point, I took my time with it and teased out notes of Sprite, Fanta, sugar water, and watermelon juice, mixed up with the faintest suggestion of brine.  Further sphincter-clenching concentration brought out hints of vanilla and light coconut shavings, lemon infused soda water, and that was about all, which, it must be conceded, didn’t entirely surprise me.

All this continued on to the tasting.  It was hardly a maelstrom of hot and violent complexity, of course, presenting very gently and smoothly, almost with anorexic zen-level calm.  It was thin, light and lemony, and teased with a bit of wax, the creaminess of salty butter, coconut shavings, apples and cumin — but overall the Blanco makes no statement for its own quality because it has so little of anything.  Basically, it’s all gone before you can come to grips with it. Finish? Obviously the makers didn’t think we needed one, and followed through on that assumption by not providing any.

The question I alwys ask with rums like the underproofed Blanco is, who is it made for? – because that might give me some idea of why it was made the way it was. I mean, the Brugal 151 was supposed to be for cocktails and the premium aged anejos were for sipping, so where does that leave something as milquetoast as this?  Me, if I was hanging around with friends in a hot tropical island backstreet, banging the dominos down with a bowl of ice, cheap plastic tumblers and this thing, I would probably enjoy having it on the rocks. On the other hand, if I was with a bunch of my fellow rum chums, showing and sharing my stash, I’d hide it out of sheer embarrassment.  Because compared with the white rums which impress me so much more, this isn’t much of anything.

(#608)(68/100)

Other notes

Company background: Not to be confused with Dominica, the Dominican Republic is the Spanish speaking eastern half of the island of Hispaniola…the western half is Haiti.  Three distilleries known as the Three Bs operate in the DR: Bermudez in the Santiago area, the Santo Domingo distillery called Barcelo, and Brugal in the north coast. Brugal, founded in 1888, seems to be the largest, perhaps as a result of being acquired in 2008 by the UK Edrington Group (they are the makers of Cutty Sark, and also own McCallan and Highland Park brands), and perhaps because Bermudez succumbed to internecine family squabbling, while Barcelo made some ill-advised forays into the hospitality sector and so both diluted their focus, to Brugal’s advantage.  

There are other blancos made by Brugal: the Ron Blanco Especial, Blanco Especial Extra Dry, the 151 overproof, and the Blanco Supremo.  Only the Supremo is listed on their website (accessed March 2019) and seems to be available online, which implies that all others are discontinued. That said, the production notes are similar for all of them, especially the 2 year minimum ageing and triple distillation.

Appleton Special Jamaican Rum (2016)

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Mar 122019
 

Rumanics Review #93 | 0607

The Appleton Special is not yet a true Rumaniacs rum, since it’s still commonly available – it was, for quite a long time, one of the most common low-end starter rums available in North America and Europe, so it’s more than likely that one can still find a bottle.

However, in 2016 it was retired from active service and put out to pasture, to be replaced by the not-quite-as good J. Wray Jamaica Gold rum – I think they tweaked the blend somewhat since the taste is almost, but not quite, similar.  So, since it is no longer in production and gradually will disappear, I include it in this series rather than the main body of the reviews.

As far as I know, this is a blend of very young rums (less than five years old, and my own feeling is  two years and less), pot and column still blend, and an entry level rum made for mixing with whatever you have on hand.

Colour – Gold

Strength – 40%

Nose – Funk and dunder, warm bordering on hot.  Bananas, brine, olives, plus citrus peel, flambeed bananas, some nuts, molasses and faint rubber. Sharp and light at the same time. I suppose one could add some water to bring out the nuances, but at 40% I didn’t bother.  It’s meant for cocktails, so that’s where it shines more.

Palate – All the hits come out to play: vanilla, orange peel, watermelon juice, brine, avocados.  Some apple cider and green grapes, plus light underlying notes of bitter salt caramel and molasses.  Weak and undernourished, really, but they’re there and the longer one sticks with it, the more pronounced they become.

Finish – Short, mostly caramel, brine, vanilla and funk

Thoughts – Oddly, I liked it better than the new J. Wray Gold.  It’s a subtle kind of thing. Some of the rough edges the Gold retained were less evident here.  It was slightly better integrated, and it could – with some effort – be had neat (though I would not recommend that).  In fine, it’s a fully competent mixing agent, with enough character to wake up a cocktail, yet possessing a fine edge of refinement that incrementally lifts it above its successor.

(74/100)

Update June 2020: It was announced that the Appleton Special and White would be rebranded as Kingston 62 in the UK, but with no changes to the recipe.

J. Wray Jamaica Gold Rum – Review

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Mar 102019
 

In the previous review of the Florida Caribbean Distillers industrially-produced Florida Reserve 2 year old rum, it was treated and written about with some disdain, because as far as I was concerned, it had nothing to make it stand out at all.  It was a low rent mass-produced column-still rum that did exactly nothing to distinguish itself and could at best be used to spike a drink with alcohol, without leaving any trace of itself behind, not even a grin.

Move on now to another minimally aged rum marketed to the masses, cheaply priced, easily available (at least, in Toronto, which was where I sourced it), and you can see what a difference there is. I’m not talking about intrinsic quality so much as distinctiveness; nor do I contend that the J. Wray Gold is some kind of hidden masterpiece, because it rubs shoulders in the same sort of downmarket liquor store shelves where you might find the Reserve, and is a mass market rum just like it….but does have its points.

The J. Wray Gold is nothing particularly new – for years it was sold as the Appleton Special Jamaican rum, and this new version got issued in 2016 as a rebranding effort (though why they bothered escapes me – maybe it’s to distinguish it from the slightly more upmarket Appleton range of rums).  For what it’s worth, I tried them side by side, and felt they tasted somewhat similar, scored somewhat similar, but were definitely not the same – so the recipe was likely tweaked some in the rebranding. What is also peculiar is that there is actually not much information available on what makes it up: the most I can ascertain is that it’s a mix of pot and column still distillate, 40% ABV, and (my opinion) is probably very young – maybe two years old or so, maybe even less.

I make this last observation because of its unrefined nature. Even at standard strength, it noses rather raw and jagged, even harsh.  There are initial aromas of light glue, rotten bananas and some citrus, light in tone but sharp in attack. It also smells a little sweet and vanilla-like, with vague florals, apple cider, molasses, dates, peaches and dates, with the slightest rtang of burnt rubber coiling around the back there somewhere. But it sears more than caresses and it’s clear that this is not a lovingly aged product of any kind.

It is, however, somewhat more distinct on the taste.  The sharp and uncouth nature doesn’t abate, that’s a given, and funky notes persist – rotting fruit, ripe landfill steaming after a tropical rain (yeah, I know what that sounds like), overripe fruit and bananas, honey, brine, vanilla and some molasses and caramel.  It’s not very well integrated and though I mention these flavours, the truth is that they are still underwhelming (a function of the strength) and the roughness on the tongue makes it unsuited for any kind of sipping drink. The finish is unspectacular- short, salty, nutty with some citrus and vanilla thrown in, and overall, very faint, quickly gone.

This is not a ringing endorsement by any means — I can’t say I cared for it, really.  But for good or ill, it was a rum you couldn’t easily forget once you tried it because of those very same attributes. It excites opinion, not indifferent yawns. Sure it’s a rough ‘n’ ready backcountry bottom-feeder, perfect for a pick-me-up hip flask to be taken into the dodgy areas of Scarborough when you’re liming with your squaddies down at the local rumshop. It’s cheap, it’s raw, and doesn’t pretend to be anything other than an entry level hooch.

Yet at the same time you can sense the nascent quality it has, which emerges more fully as you work up the line of the company’s products. It has something, some small spark of artistry, of appeal, of uniqueness. Poor as it rates next to pricier upscale rum from J. Wray / Appleton, it does show what some distillation chops and blending ability can bring to the table with a set of people who know what they’re doing, even at the bottom end of the range. Oh sure it won’t class with an aged Hampden or Worthy Park, and I think even the old V/X exceeds it. So okay, it fails, maybe….but to me, it fails with authority. And that’s why, though scoring them almost the same,  I would prefer an honestly made piece of dreck like this, over something more smoothly anonymous like the FCD Florida Reserve.

(#606)(73/100)

Update June 2020: It was announced that the Appleton Special (which was supposedly rebranded already elsewhere as this “Gold”) and the White would be rebranded as Kingston 62 in the UK, but with no changes to the recipe.

Florida Old Reserve Rum – Review

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Mar 062019
 

So here we have a rum I’ve never heard of before, made by an outfit called Florida Caribbean Distillers (FCD) in (where else?) Florida. For those with better memories than mine, if the company name sounds familiar, it should be – this is the same one that is contracted to make the Noxx & Dunn 2-4-5 Florida rum I wrote about a few months ago.

FCD is located halfway between Orlando and Tampa: they control the Club Caribe Distillery in Puerto Rico, as well as distilleries in Lake Alfred and Auburndale (both in Florida – the latter distillery produces this rum).  They are the oldest continuously running distillery in the US, being formed in 1943, and (somewhat to my surprise) said to be the largest rum producer in the US, bottle all rum for Cruzan and several smaller labels for contract clients including cruise lines and duty free shops as well as providing distillation, storage, ageing and bottling facilities as part of their service.

They make a bunch of other spirits as well – liqueurs, wines, vodkas, whiskies et al, which means that focus on true batch and artisanal production is not part of the programme. So if you’re looking for some kind of pot-still originality from a leaky, farty backwoods micro-distillery run by a grizzled old salt legalizing his moonshine, or a spanking new copper thing bolted together by an eager-beaver yuppie with the ink barely dry on his MBA and a strong minor in ecological distilling, well, this isn’t really either of those things.

What it is, is a blend of “select rums” aged two years in sherry casks, issued at 42% and gold-coloured. One can surmise that the source of the molasses is the same as the Noxx & Dunn, cane grown in the state (unless it’s in Puerto Rico).  Everything else on the front and back labels can be ignored, especially the whole business about being “hand-crafted,” “small batch” and a “true Florida rum” – because those things give the misleading impression this is indeed some kind of artisan product, when it’s pretty much a low-end rum made in bulk from column still distillate; and I personally think is neutral spirit that’s subsequently aged and maybe coloured (though they deny any additives in the rum).

Anyway, tasting notes: the nose is the best part, stop reading if that’s all you need. Nutty cereals and salt crackers with cream cheese.  Citrus, flowers, brine and pickled gherkins in balsamic vinegar.. Soft and creamy, quite unaggressive, but tasty enough. Some white chocolate, brown sugar, cinnamon, but the overarching aromatic notes are the salt of maggi cubes and avocados.

To taste it’s disappointing, and leaves me wondering where the sherry influence went and hid itself. There’s some good stuff going on when you smell it, but to taste it wimps out and goes flat as spit on a hot rock.  There’s traces of oaken tannins, salt, caramel, a hint of white fruits, grapes, unsweetened chocolate. Also cereals, nuts, toffee, with a faint line of citrus twittering in the background, nothing really noticeable unless you concentrate.  All in all, it’s actually quite simple, and tastes very young, even a bit harsh, untamed (and not in the way an unaged white does). This jagged bite carries over into the finish as well, which really could use some taming, and gives little beyond some very light fruits and florals, and a last briny note.

For my money, the Florida Old Reserve Rum is not strong enough to make a statement, not old enough to demonstrate real complexity, not distinct enough in any way to perk up a cocktail; and the sherry cask ageing?….well, it’s something of a challenge to find traces of it at all. Tried blind, I doubt you’d notice its absence (or presence, or care). What it seems to be is something of a product that showcases what the distillery can do for others and maybe to bootstrap industrial scale rum making so effectively done by Bacardi.  Well, say what you will about The Bat, they at least can make decent rums. Here, I’d say that a lot more work needs to be done.

What really amazes me, in doing my background notes, is that the Beverage Tasting Institute gave the rum 93 points in 2014 and 88 in 2016.  Leaving aside the drop in scores over a two year span, one can only wonder what sort of sample set they had and what they were comparing it against, to give such a rating to something this thoroughly unexceptional. If it was up to me I’d never drink the Reserve neat, and mix it without ceremony — always assuming I bought a bottle in the first place, and that’s really unlikely, now that I’ve tried it.  

(#605)(72/100)

Dzama 3 Year Old Madagascar Rum – Review

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Jan 312019
 

More than four years ago I wrote about the Rhum Vieux Millésimé 1998 10 YO made by Dzama and concluded that I was pretty stoked to see what else the brand had in the larder.  It’s taken a long time for me to make good on that desire, so here we have something lower down on the totem pole from the same company, and I thought it was a good effort, for all its youth and in spite of the niggly questions it raised.

Let’s refresh the memory first: for the geographically challenged, Madagascar is that huge island off the south east coast of Africa; and the Dzama rums are made by Vidzar, formed in 1980 due to the efforts of Mr. Lucien Fohine, who noted that the small sugar factory on the tiny island of Nosy Be produced a distillate that had distinctive flavours which persisted into the final distilled products…mostly low level rum for local consumption, to that point. He concluded it came from the ylang-ylang plant (also known as the macassar oil plant, or the perfume tree) whose roots intermingled with that of the cane.

He formed a company Vidzar (a contraction of Vieux Rhum de Dzamandzar), which initially concerned itself with whisky bottling. It was located close to the sugar cane fields of Nosy Be, near to a village called Dzamadzar, but a few years later, as their operations expanded, they transferred production to Antananarivo (the capital, in the center of the island) The company, which now claims a majority of rum market share in Madagascar, makes a range of rums, including the Dzama Club, 3 YO and 6 YO, the Millésimé 1998 10 Year Old, Dzama 15 and 25 year old rums and a Cuvée Noire. Most of these are untried by the vast majority of rum drinkers, and remain relatively unknown, though many have won prizes between 2010 and 2015, in Miami, Paris, Berlin and Madrid.

All that said, there isn’t much on the company website about the technical details regarding the 3 year old we’re looking at today. It’s a column still rum, unadded-to, aged in oak barrels, and my sample clocked in at 52%, which I think is an amazing strength for a rum so young – most producers tend to stick with the tried-and-true 40-43% (for tax and export purposes) when starting out, but not these guys.

Now, the theory is that the oils and perfumes of the various botanicals to be found on Madagascar (vanilla, cloves, pepper are often cited) leach from their roots into the soil and are intermixed with the cane plants’ own root systems, into their stems, and thence to the ultimate distillate. I’m no chemist or botanist, but one could just as easily wonder why similar processes aren’t observed on the spice island (Grenada) for example, so I reserve judgement on that score.  

Be that as it may, the nose is quietly rich for a rum aged a mere three years – not Velier-Demerara-go-for-the-brass-ring rich, just more than one would expect going in. This nose was initially redolent of creamy feta cheese, brine, red olives and cashew notes, and had a nice line of rotting bananas and funk coiling about in the background which provided an underpinning of real character.  It also gave off subtler aromas of candied oranges, pears and other light fruits, just not enough to take over and make it a fruit bomb. But towards the end there was a more dominant element of toffee, coffee grounds and vanilla which I thought pleasant but overdone, especially since it was delivered with some real force.

Though it teetered right on the edge of being too hot, it presented a solid if sharp drink, an amalgam of salt and sweet…and a lot of brown sugar and vanilla  There were bananas, strawberries, cherries, and some of that tart and creamy sensation you get from an unsweetened fruit smoothie made from, oh, firm yellow mangoes and pineapple.  The vanilla remained, the coffee disappeared, and amusingly, I could actually taste sweet green peas. Much of the saltiness and nuttiness of the nose was gone, though still noticeable, and it did not unbalance the fruity aspects.  The finish was where it failed, I thought – it was medium long, somewhat spicy, just rather mild, with closing notes of fruits, vanilla, salted caramel, coconut shavings, and a little citrus.

Well, what to make of this? The nose was decent, the palate was nearly as good, a reasonable drink even by itself….particularly if you like the hints of spices. Does that mean natural or other spices have been added?  They say no, and hydrometer tests show no obscuration… but I can’t help but wonder.  Rums this young tend to be rather sharp and retain competing notes that saw across the palate, better off in mixed drinks than to have neat; the Dzama 3 YO was sippable and had the edge toned down, and for that to happen at that strength raises the eyebrow.  However, in the absence of more information, I’ll leave it there for now as a note for those who want to know.

That first Dzama I tried, the 1998 10 YO, had what at first sight seemed like an utterly standard profile that then expanded into something quite unconventional and interesting. The 3 year old is not on that level. The vanilla is a shade too dominant, and while fortunately having enough other taste elements in there to move beyond that, it remains ultimately straightforward.  But it is, nevertheless, a good drink for what it says it is, and demonstrates that a rum doesn’t have to be the latest Velier, Worthy Park or Foursquare juice, or from some independent’s minuscule outturn, to be a rum worth checking out.

(#594)(80/100)

Other Notes

Wes was much more disapproving of the spiced profile in his review.  It’s his hydrometer test I referenced.

Seven Seas Japanese Rum – Review

 5 Responses »
Dec 302018
 

Take this as less a review, than a description of my experience with a rum I didn’t know what to do with.

*

I have been sitting on this review for over a year, alternately confused and disgusted and wondering and puzzled.  It was a rum like nothing I’d ever had before, tawdry and smelly and meaty, an open sewer of a rum, a discarded tart’s handkerchief, yet I could not believe it could actually be so.  No reputable company – no company period – would willingly release such a product into the wild without reason, so what was I missing? Was it me and a degraded sense of smell and taste? Was it – as initially described in my notes – one of the worst hogo-laden bastards ever made, was it a contaminated sample…or a vanguard of the the taken-to-weaponizable-extremes dunder detonations of the New Jamaicans?

It took the Velier-issued NRJ TECA specifically for me to go back to this one sample (sent to me by that connoisseur of Asian rum junkies, John Go, who I’m sure is grinning at my experience) and give it another shot a year later, and perhaps it was also the complete faith I had that Luca Gargano would never release a substandard rum, which made me finally come to grips with the TECA’s Japanese equivalent and understand that perhaps they had been ahead of the curve all along. Or perhaps not.

Because for the unprepared (as I was), the nose of this rum is edging right up against revolting. It’s raw, rotting meat mixed with wet fruity garbage distilled into your rum glass without any attempt at dialling it down (except perhaps to 40% which is a small mercy). It’s like a lizard that died alone and unnoticed under your workplace desk and stayed there, was then soaked in diesel, drizzled with molten rubber and tar, set afire and then pelted with gray tomatoes.  That thread of rot permeates every aspect of the nose – the brine and olives and acetone/rubber smell, the maggi cubes, the hot vegetable soup and lemongrass…everything.

And much of that smell of sour funk persists on the taste (you better believe I was careful with it, even at standard strength), though here I must say it’s been transmuted into something more bearable.  It’s hot and thin and sharp, reminding me of Chinese 5-spice, coriander, aji-no-moto and ginger with a little soy and green onions sprinkled over a good fried rice, plus sugar water and watery fruits like papaya and pears.  Under it all is that earthy and musky taste, not so evident but always there, and that to some extent spoils the overall experience – or enhances it depending on your tolerance for high levels of dunder in your rum. The finish was relatively short and intermediate, with some teriyaki and sweet soya and very faint molasses…and the memory of that lizard.

All right so that sounds like crap right?  Sure it does. My initial sentiments were so negative I was afraid to score the damn thing.  I had never had an experience of such intensity before, of such off-the-wall tastes that I could not seriously associate with rums.  And for the record, nobody else I spoke to (those who had tried it) felt the same way about it.

So it became a question of seeing who made it and how it was made, to see if that shed any light on the matter. I talked to a few of my correspondents in Japan and came up empty.  Yes they knew of the rum, no they had not heard any reports of anything such as I described, and no there was nothing particularly unusual about the production methods employed by Kikusui Shuzo distillery on Honshu, using Shikoku sugar cane which they process on a column still and age for three years.  In fact, these boys are the ones making the Ryoma 7 year old rum, which I remembered having similarly odd (if not as feral) smells and tastes, but much gentler and much better integrated into the overall drink. Seven Seas rum is now imported into Germany, but I can’t entirely rid myself of the feeling that it’s really not meant for the export market, which might explain why it’s not mentioned much.  On the other hand, maybe rum reviewers are keeling over left and right after a sip but before they get anything to print, so who knows?

Anyway, enough of the snark.  Bluntly, I tried the Seven Seas in 2017 and didn’t like it and felt it was over the top, a badly made product that was off on balance, complexity and taste.  In 2018 Velier’s National Rums of Jamaica convinced me there was method behind the madness, I had perhaps been ignorant and too harsh and that something in the production methodology paralleled the high congener and ester levels of the TECA, even if I could find no confirmation of the matter.  Because of the uncertainties I’m going to officially leave it as unscored, because I feel my original 65 was too low but I don’t know enough and feel too ambivalent to rate it higher. Assuming my ideas are correct, then I’d ramp it up to 74….but no more. Even properly made as a true rum, it’s not enough to convince me I want to buy the bottle. I’m fully prepared to accept that my experience may have been unique to me; and I love the funky Jamaican style — but neither point is quite enough to make me want to risk this Japanese rum a third time.

(#585)(Unscored)

Balcones Texas Rum 2016 Special Release – Review

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Dec 222018
 

We don’t much associate the USA with cask strength rums, though of course they do exist, and the country has a long history with the spirit.  These days, even allowing for a swelling wave of rum appreciation here and there, the US rum market seems to be primarily made up of low-end mass-market hooch from massive conglomerates at one end, and micro-distilleries of wildly varying output quality at the other. It’s the micros which interest me, because the US doesn’t do “independent bottlers” as such – they do this, and that makes things interesting, since one never knows what new and amazing juice may be lurking just around the corner, made with whatever bathtub-and-shower-nozzle-held-together-with-duct-tape distillery apparatus they’ve slapped together.

Balcones, a central Texan outfit from Waco named after a fault line running through the southern half of the state, is a bit more than the kind of happy backyard operation my remarks above imply — they are a primarily whiskey distilling operation, started a decade ago, and their website has a great backstory about how it all started in an old welding shop under a bridge in Waco into which, after some refurbishment, they installed copper pot stills from Portugal, and shoehorned a whisky distillery inside. And after a few years, they began to make rum as well, because, well, “We like to drink rum so why not give it a shot?” as Thomas Mote the distillery manager cheerfully remarked to me.

Okay, so let’s see if they succeeded. Consider first the nose.  For all of the 63.9% it’s quite warm and smooth: it started out with a musky scent of damp earth, a sort of mustiness that reminded me a of a warehouse chock-a-block full of old cardboard boxes, brine, salt and sweet olives.  Then it became somewhat more bourbon-like – raisins, molasses, fleshy fruits starting to go off, then caramel, nuts, butter, vanilla and ice cream. It smells curiously indeterminate – which is why detailed fruity notes can’t be listed – you know there’s a lot of stuff here, but it’s tough to come to grips with them individually.

On the palate, after exercising all the usual precautions for a rum this strong (take a rather small sip until things settle down, because the taste is sharper than the nose leads one to believe and remember, it’s a 63.9% saloon brawler that does its very best to clean the bar counter and rip your face off at the same time), I sensed a salt-rye-fruit-bourbon soupcon of flavours on the palate: a combo of salt, sweet and sour — vegetable soup, sour cream, maggi cubes and deep caramel and vanilla notes, all at once, circling each other for dominance and advantage. The fruits – papayas, very ripe peaches in syrup – were set off by muscovado sugar and light molasses without much citrus lending a sharper note (though there was some) and to which was added hazelnuts, some sweet olives and brine, dark chocolate, cherries, fading out quietly (and lengthily) to a pleasant, warm, aromatic conclusion redolent of cherries, flambeed bananas and molasses, but nothing significantly different from the tastes that had preceded it.

Balcones was swiftly and remarkably forthcoming to all the usual inquiries, noting that it was 100% pot still and used a blend of Barbados-Style Lite Molasses and Blackstrap from Louisiana and Guatemala respectively, fermented for 4-5 weeks (much longer than anything else they make), and they play around a bit with yeast and an undisclosed dunder process to add to the flavour profile. Ageing is between 2-4 years and the rum is made in annual batches of a few thousand bottles at most, and no additives of any kind (“oak and time!” they told me proudly).

Still, taking apart those tasting notes, a number of things jump out. The caramel and vanilla and molasses notes are not precisely domineering, but very much in evidence, to the point of taking over — there’s a sort of dampening effect of the musky and more solid flavours which prevent sharper, crisper, clearer ones (fruits and citrus and florals) from emerging properly and engaging. The range of tastes on show lacked the complexities one expects of even a lightly aged rum, and yes, it actually has a profile reminiscent of a rye or bourbon, maybe a tad richer and sweeter and more congener-rich….more rum-like, if you will. It’s a pretty nifty drink for that strength.  It reminds me of my first encounter with Potter’s Dark, yet it also presents as simpler than it could have been, which makes me ask myself, as I always do with such a profile and which seems to be somewhat of a characteristic of many of the US rums I’ve tried, what is it they really want to be making and was too much whisky lore infusing the rum?

I’ve remarked before that most new and smaller US distilleries seem to be more interested in making whiskies and produce rums as something of an afterthought. Whether not not that’s the case here, Balcones has evidently given the matter quite a bit more thought than usual, and come up with a product that deserves real attention (the business with the yeast and dunder points there). It’s unquestionably a rum; it’s got real fire in its jock; it’s rum-like enough to please, while also original enough to encourage a double-take, and an all-round powerhouse fun rum. I think I’m going to keep an eye on these guys going forward – there’s some interesting stuff going on in Waco, and I hope that they expend their production to a larger stable, aged more, in the years to come.  Certainly their initial full proof rums give us a lot of reason to appreciate what they’ve done so far.

(#581)(81/100)

Other notes

The Special Release is issued annually since 2013 (twice in 2014), but identifying the year is difficult.  To the best of my knowledge, mine is from the 2016 season.

Samai Gold Rum (Cambodia) – Review

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Nov 292018
 

Now here’s an interesting standard-proofed gold rum I knew too little about from a country known mostly for the spectacular temples of Angor Wat and the 1970s genocide.  But how many of us are aware that Cambodia was once a part of the Khmer Empire, one of the largest in South East Asia, covering much of the modern-day territories of Thailand, Vietnam, Laos and Viet Nam, or that it was once a protectorate of France, or that it is known in the east as Kampuchea?

Samai is a Khmer word for modern (it has subtleties and shades of meaning beyond that), and is the name given to a rum brand made by the only distillery in the country, a relatively new effort from a young company. It was formed by Daniel Pacheco and Antonio Lopez De Haro, a pair of young Venezuelan expats in 2014, who (the storyteller in me supposes) missed their home country and wanted to make an effort to bootstrap a local rum industry in a place more used to beer and rice wine and teuk thnout chhou (a whiskey-like spirit similar to Thailand’s Mekhong).

Made from molasses derived from locally grown cane and distilled in a pot still and aged for between one and two years, it is also, I should note, added to – it’s actually something of a flavoured rum, since a touch of honey from Ratanakiri (a province in Cambodia known for its very tasty honeys) is also added.  Too, the ageing is done in american and french oak and sherry casks, and while the company website makes no mention of how this is accomplished, I am assuming that various barrels of rum with these various woods, are all married together for the final product, which gives it an interesting flavour profile, to say the least.

All right, so we have a new distillery, a new rum, and no notes.  Let’s run through it and provide some for the curious.

Nose first.  As befits the strength and the production methodology, it’s soft, salty, and reminded me of fish sauce and miso soup.  It was also musky, musty, dry and kind of thick, with aromatic tobacco, sweet soya and molasses coiling beneath it, sort of a combination of maggi cubes, brown sugar, and raisins – intriguing to say the least.  Some very ripe fruit (bananas, pineapples) that edged towards rottenness, without ever stumbling over into spoilage. I tasted it blind and thought it was a standard proofed (it was), and it reminded me of a cross between a cheap rough darker Demerara rum (say, DDL’s 5YO, Young’s Old Sam or Watson’s) and a low-ester Jamaican.

A higher strength might have not worked as well for this rum, and given it a harshness which would not have succeeded quite as nicely as it did – as it was, it tasted nice and smooth, warm and sweet, with just enough bite behind the demure and easy facade to show it wasn’t 100% milquetoast.  The palate suggested biscuits, cereals, molasses, brown sugar, vanilla, caramel, winey notes, a melange of difficult-to-nail-down fruits – not excessively complex, but enough going on to be intriguing. It accomplished the odd trick of seeming more sweet than it was, partly because of the thickish mouthfeel and texture, and was set off by a few sly touches all its own – some brine, sharpness and that background of syrup, probably from the sherry and honey influence.  It was, shall we say, very pleasant and unintimidating, ending with a quietly impressive and surprisingly long finish, dry, dusty, somewhat sweetish, with a touch of fruit salad set off by cumin and masala.

Well now, what to make of a rum like this? It does not line up directly with any style one can immediately pinpoint, which is part of its attraction — I’d say that it’s geared towards the softer South/Latin American / Cuban or eastern palates (I was reminded of the Batavia Arrack, Amrut and Mekhong rums, for example, but not Fiji or the Japanese).  The Samai Gold rum has perhaps more sweet than lovers of purer Jamaican, St Lucian or Bajan would prefer, but if you’re into DDL’s lower-proofed rums, Plantation rums or other Asian ones, this one would be right in your wheelhouse, and much as I usually sniff at sweeter rums these days, I can’t deny that with its slightly off-kilter tastes, it’s quite a nifty drink, partly because it is, in its own way, something of an original.

Rums like the Samai showcase again the pleasure one can have in exploring iterations in the spirit, in a way that is simply lacking in most others.  It’s like a voyage of discovery that encompasses the whole world — each continent, each country, each distillery that makes rum, has some interesting variation on the theme. The under-the-radar Cambodian rum written about here is intriguingly different, tasty to a fault and gentle enough to appeal to a broader audience.  And all that while maintaining a sort of unique taste profile all its own, adding yet another brick to the impressive and fascinating global structure that is Rum. 

(#572)(83/100)

Other Notes

  • Many thanks to John Go, who supplied the sample.

Noxx & Dunn 2-4-5 Florida Rum – Review

 1 Response »
Sep 292018
 

Having dispensed with the age-shattering, wallet-busting Heritage Rums of the Tasting of the Century, let’s go to something a little less aged, a little less up-market, a little less well-known, and not at the same level of age or quality — something from, oh, the US.  The resurgence of rum and concomitant explosion of small micro-distilleries there suggests that sooner or later we’ll find something from over the pond and south of 49 that’ll wow our socks off.

Certainly this rum suggests that it can and implies that it does — when you peruse the website for the Noxx & Dunn 2-4-5, it leaves you with the distinct impression that it’s lovingly handmade by a team of unsung experts working to redefine the category as we know it. There are glitzy photos, weather for various parts of Florida, notes that it is unadded-to and unadulterated, made from Florida molasses, aged in Florida in American oak barrels, and it’s all very positive.  “A team of craftsmen with almost a century of knowledge believe that a blend of 2, 4 and 5 years produces the most consistent and drinkable of spirits” they remark, evidently not believing either the names of these craftsmen or consistently good older rums from anywhere else are worth mentioning.

Well, never mind my snark, let’s just dive right in and taste the thing. Like many lightly-aged blends it was gold in colour and edged timidly above the standard strength with 43% ABV.  The initial nose presented crisply and with a light fruitiness (pears, apples and apricots). It didn’t develop much beyond that, though after half an hour I could sense some vanilla, nuts, brown sugar, flowers and raspberries – and it got sharper, edgier, over time, not less, which is usually the hallmark of a very young rum, or very active barrels (they use once-used ex-bourbon barrels for ageing).

Taste-wise, not bad.  It felt something like a cross between a light Spanish style anejo and a weak Demerara without distinctly adhering to the profile of either.  Dry and crisp, it was not entirely easy on the palate — that’s the uncouth youth coming through — tasting mostly of light white fruits (guavas, pears, that kind of thing), pecans, coffee, oak and leather, and gradually developed those fruity notes the nose had hinted at – raspberries and very ripe cherries, all overlain with tannins, breakfast spices and light molasses.  The finish, quite short and sharp, was more sweet-ish, with some bitter chocolate oranges, vanilla, brown sugar and quite a bit of oak bite.

My take is that the pot still part doesn’t provide a good balance to the lighter column still portion, the age is still too young, and I felt that the oak was really overactive, exacerbating the driness and slight bitterness beyond the point of being totally approachable – though I say this as an evaluator taking it neat (as I must), not a mixing guru, for whom such a profile would probably shine more. Not a rum to sip really, more one to mix up into a cocktail of some kind.  According to Robin Wynne, that sterling barman running Miss Thing’s in Toronto who spotted me the bottle in the first place, “…I [would make] an Old Fashioned with it, or swapping out bourbon in a Vieux Carre with it. Also makes a great rum negroni…” So there are some suggestions for those inclined in that direction.

When I started sniffing around, the reps in Toronto were very helpful in providing additional information which is not on the webpage, and the story behind the brand is  somewhat more prosaic (and to my mind, rather more interesting) than what’s on public display. Noxx & Dunn is a relatively new rum on the American scene, created a few years ago by a group of individuals who used to be part of Appleton’s salesforce and were let go when Campari acquired it.  They formed their own little outfit called The Tall Tale Spirit company, and this is their only product (so far). It’s meant, as far as I’m able to determine, as a barroom mixer. The rum is primarily (but not totally) column still distillate, the blend of which is a trade secret but kept reasonably constant in order to make for a consistent taste profile.  Note that TTS don’t actually own or operate a distillery, or grow sugar cane or anything – the distillation is done by Florida Caribbean Distillers and the source is molasses from the cane grown in that state (see “other notes” below). What we have at the other end of the process, then, is a blended two-year-old rum with added components of rums four and five years old, made under contract to TTS’s specifications. Also on the plus side, there are no additives, it’s 43% and it’s fully aged in Florida in the usual American ex-bourbon oak barrels.

Overall, this is the sort of rum that is fine in a bar – which is where I found it – but not for greedily savoured home-consumption or sharing with the rum chums to show off one’s incredible perspicacity in sleuthing out undiscovered steals. Not to diss the makers, who evidently are pouring some real passion into their work, but I think it’s like many other such rums from the USA that aren’t entirely multi-column-still flavoured ethanols: too afraid to go where the flavours might actually lead, too timid to amp it up a few volts and really provide a mixer with balls or a sipper with style. It’s just shy of being a true original and that’s a shame for something that’s otherwise quite intriguing.

(#553)(78/100)

Other notes

  • As noted, the Noxx & Dunn is a contract “private label” operation, not a cane-to-cork producer. The distillery of origin is Florida Caribbean Distillers, located halfway between Orlando and Tampa: they control the Club Caribe Distillery in Puerto Rico, as well as distilleries in Lake Alfred and Auburndale (both in Florida), and provide distillation, storage, ageing and bottling facilities as part of their service.
  • Only one other review of this exists, by the Rum Howler, here.  He liked it a lot more than I did, so his opinion is worth noting, given my own more middling score.

Doorly’s 5 YO Fine Old Barbados Rum (1980s)

 1 Response »
Aug 292018
 

Rumaniacs Review #083 | 0544

Here’s a Doorly’s five year old rum that predates their acquisition by Foursquare in 1992.  Note the Alleyne, Arthur & Hunte script at the bottom – they were also a merchant bottler in Barbados (they made the original Old Brigand and the Special Barbados Rum), who acquired Doorly’s in the 1970s and were themselves taken over by Foursquare in 1993. So the best we can date this specific Doorly’s rum is within that period (I’ll place it in the 1980s). The fascination is, of course, in how the product from back then compares against the Doorly’s 5YO made by Foursquare now, though unfortunately I’ve not tried the current iteration, so I’ll have to wait until I pick one up.

Colour – Gold

Strength – 43%

Nose – Warm and fruity, fairly similar in general terms to other Doorlys’ from modern times, or even the Real McCoy, though I think it may be a smidgen better – perhaps because its more straightforward, more simple, and doesn’t try for serious complexity.  Notes of peaches meld nicely with cherries, dates, molasses and flambeed bananas.

Palate – Intensity and clarity gets dialled down a notch, though it’s still quite flavourful, and dry. Sugar water and white fruits, pears, watermelon.  Cherries and peaches become evident after a while, with some saltiness (not much). There’s a nice hint of strawberries and unsweetened yoghurt in the background.

Finish – Short, dry, lightly fruity and creamy, with a dusting of crushed almonds thrown in.

Thoughts – I tried it alongside the Doorly’s XO and 12 Year Old, and it held up really well against those two.  Maybe it was made in simpler times, with less experimentation of the plates on the stills, less blending of pot and column distillate, I don’t know.  It just presented as a straightforward rum in whose simplicity lay its strength. I liked it a lot.

(82/100)

Opinion

The more of these short-form rum retrospectives I write and the further back in history I go the more my sense of frustration grows.  While it is certainly easier to do one’s research on current rums and companies than it must have been for the earlier book writers like David Broom or Ed Hamilton, what makes me despair is how much has already been lost. To name two off the top of my head, just try researching Dethleffson or Sangster-Baird in depth and see how far that gets you.

If nobody is on record as documenting (for example) when the Banks DIH 10 year old first appeared, or when this Doorly’s came out, or background notes on the Three Daggers Jamaican rums, then all we are left with is the labels on Peter’s site in the Czech Republic, the bottles in private collectors’ warehouses, these few write-ups….and nothing else.  My friends and colleagues in the rum world take a lot of time and care documenting distillery visits, estate histories, the development of rums in whole countries…but not many ever get into the granularity of the history of an individual rum or its brand.

As a lover of both rum and history, all I can say is that leaves us all poorer, and perhaps it’s time for producers, distillers, amateur and professional writers, to start taking this undervalued niche of the rumiverse more seriously and making it available outside of company archives (assuming those exist). Knowing who Foursquare and Doorly’s and Alleyne, Arthur & Hunte are and how they came together is one thing.  Knowing which rums they made and when they were issued, is quite another. And my personal opinion is that we need such details to be available publicly — because let’s face it, we can’t always be running to Richard every time we have a question on a Bajan rum.

Nine Leaves Angel’s Half (American Oak) 2 Year Old 2016 Release – Review

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Jun 132018
 

#520

Since we’re talking about Nine Leaves again, let me just issue this brief review of another of the 2016 editions, the American Oak 2 year old.  This was something of a departure for the company and its genially low-key one-man owner, master blender, accountant, chief salesman, procurement officer, distiller, bottler, secretary, and maybe even floor cleaner, and the departure is in that it’s aged for so long.  

Most of the time Yoshiharu Takeuchi (who holds all of the positions noted above plus maybe a few others) releases rums in a six month cycle for the Angel’s Half expressions, and annually for the unaged “Clear” ones. This one is, however, aged for two years – it was the first “real” aged edition he made, and it was put to rest almost at the same time Nine Leaves opened for business.  Why two years? Because it’s the maximum a rum can be aged in Japan, he told me, before heavier taxes start to kick in, noting also that this is why for the moment older rums will not be part of the Nine Leaves’ stable.

Be that as it may, the 50% 2YO pot still rum should be seen as a companion piece to the Encrypted, which came out in the same year, and was also two years old.  However, the Encrypted was a two year old finished blend (of four rums), and this rum was a straight two year old without any other barrels aside from the American oak. I tried it together with the that and the Angel’s Half 6-month from last week, at the same time… and somewhat to my surprise, I liked this one best.

The nose rather interestingly presented hints of a funky kind of fruitiness at the beginning (like a low rent Jamaican, perhaps), while the characteristic clarity and crisp individualism of the aromas such as the other Nine Leaves rums possessed, remained.  It was musky and sweet, had some zesty citrus notes, fresh apples, pears and overall had a pleasing clarity about it. Plus there were baking spices as well – nutmeg and cumin and those rounded out the profile quite well.

Palate, short version, yummy. Some sugar water, vanilla, cereals and those spices again, cider and apple juice.  No brine here, no olives, more like a kind of tartness, akin to unsweetened fresh yoghurt. And a minerally iodine peat-bog taste lurked in the background, which fortunately stayed there and wasn’t so aggressive as to derail the experience.  It was quite smooth, with some edge and rawness, but well controlled, closing things off with a finish that was quiet, clear and relatively easy, redolent mostly of acidic fruits, apples, cider, oranges and a bit of vanilla.  That’s a rather brief set of tasting notes, but I assure you, the experience was well worth it.

When I posted the Angel’s Half notes last week on reddit, one person asked me whether what I described was typical for Nine Leaves.  Based on these three Nine Leaves rums from 2016, I’d have to say yes – but even with rums so relatively similar and from the same tree, there were points of individuality that made them distinct in their own right.  Of the three, this one was my favourite – it provided reasonable complexity, clarity, enjoyment, retained its sprightly youth and vigour, while suggesting how the ageing sanded off the rough edges.  For a two year old rum made on the other side of the world, this thing is quite an achievement, and demonstrates yet again that a rum doesn’t have to be aged up to wazoo or come from a famed Caribbean estate to make a solid and favourable impression on anyone who tries it.

(86/100)

Other notes

The rum’s label could use some work.  It states it’s an Angel’s half but neither the year nor the ageing are clearly noted, which inevitably leads to some confusion.  Also, the only way to tell it’s different from the 6 month old is the yellow label for the 2YO, as opposed to the white one on the 6-month. I think Yoshi has corrected this in subsequent releases, though one remains perennially unsure what the release quantity is.

El Dorado 3 Year Old White Rum – Review

 3 Responses »
Mar 312018
 

#501

If there was ever a standard strength, filtered white rum that could drag the Bacardi Superior behind the outhouse and whale the tar out of it, this is the one.  I bought the thing on a whim, tasted it with some surprise and ended up being quietly impressed with the overall quality. I know it’s made to be the base for cocktails, and when it comes to badass white-rum-bragging-rights from Mudland the local High Wine is the Big Gun – but you know, as either a trial sipping experience, a cocktail ingredient or just to have something different that won’t rip your face off like Neisson L’Espirit 70⁰ … this rum is not bad at all.

Now according to the El Dorado site this rum derives from the Skeldon and Blairmont marques, which suggests the French Savalle still, not any of the wooden ones, or perhaps the same coffey still at Diamond that made the DDL Superior High Wine. Maybe.  I sometimes wonder if they themselves remember which stills make which marques, given how often the stills were moved around the estates before being consolidated at Diamond. Never mind though, that’s niggly rum-nerd stuff. Aged three years in ex-bourbon casks, charcoal-filtered twice — which to my mind might have been two times too many — and then bottled at a meek 40%.

Yeah, 40%.  I nearly put the thing back on the shelf just because of that.  Just going by comments on FB, there is something of a niche market for well made 45-50% whites which DDL could be colonizing, but it seems that the standard strength rums are their preferred Old Dependables and so they probably don’t want to rock the boat by going higher (yet). I can only shrug, and move on…and it’s a good thing I didn’t ignore the rum, because it presented remarkably well, punching above its weight and dispelling many of my own initial doubts.

Nose first: yes, it certainly reminded me of the High Wine. Glue, acetone and sugar water led off, plus some rubber, brine and light fruits.  Even at the placid strength it had, you could sense potential coiling around in the background, a maelstrom of apples, pears, vanilla, light smoke and unsweetened yoghurt, plus tarter, more acidic notes of orange peel, mangoes and a twirl of licorice. None of these was forceful enough to really provide a smack in the face or to elevate it to something amazing or original; they were just visible enough to be noticed and appreciated without actually emerging to do battle.  It smelled something like a low-rent Enmore, actually and kind of resembled El Dorado’s own 12 year old

Tastewise, there was certainly nothing to complain about.  It was reasonably hot, a little rough on the tongue, given to sharpness rather than smoothness. Vanilla, apples, green grapes, bitter chocolate, some indeterminate light fruits, sugar water, coconut shavings; and also a not-entirely-pleasant taste of almond milk, with the whole drink possessing the edge that made it more than a merely pleasant or bland or eager-to-please cocktail ingredient of no particular distinction. The finish, redolent of vanilla, brine, citrus and yoghurt, was actually quite good, by the way – short, of course, and faint, but nice and warm and with just enough edge to make it stand apart from similar whites.

Where the El Dorado white 3 year old succeeds, I think, is in having a certain element of character, for all its youth.  That was always the problem I had with the low end Bacardis or Lambs or other boring white stuff on sale in the LCBOs of Ontario (for example), with which this must inevitably be compared: they all felt so tamed and buttoned down and eager to please, that any adventurousness and uniqueness of profile — braggadoccio if you will — seemed squeezed out in an effort to appeal (and sell) to as many as possible. They had alcohol and a light taste, and that was it: bluntly speaking, they were yawn-throughs — and mixing them to juice up a cocktail was the best one could hope for.  

Not here. This rum has some uncouth street-tough edge, plus a bit of complexity from the ageing, and originality from the still which is lightly planed down by the filtration…yet retains the taste of something strange and barbaric. And it still doesn’t scare off those who don’t want a cask strength screaming bastard like, oh, a clairin. For any rum made at 40% to be able to tick all these boxes and come out the other end as a rum I could reasonably recommend, is quite an achievement, and makes me want to re-evaluate its stronger older brother immediately.

(81/100)

Other Notes

Avuá Amburana Cachaça – Review

 1 Response »
Mar 042018
 

#493

The other day I read that there are supposedly forty thousand cachaça producers in Brazil ¹ — if that statistic is actually true, then most are probably from small ops like the 500+ or so in Haiti – backyard moonshineries, rather than medium to large commercial operations. But there is no doubting that they represent a significant slice of the global volume of cane-derived spirits and it’s too bad that so few reviews of them exist (perhaps the lack of exports is to blame – most is drunk in-country; or maybe we need some Brazilian spirits bloggers).

A major characteristic of cachaças, when aged, is the resting in barrels made of local hardwoods. That peculiarity of local ageing is, to me, rather crucial when it comes to distinguishing an aged cachaca from any other rum. It’s what makes aged cachaças unique — most of us are so used to our hooch being decanted from ex-bourbon barrels, that to address a Brazilian rum for the first time can come over as a startling experience (note – I am using the term rum and cachaça interchangeably).

Take for example the Cachaça Avuá Amburana, made by Fazenda da Quinta, a small 3rd generation outfit founded in 1923, located just outside Rio de Janeiro. Their cachaça is made from two types of sugar cane, has a 24 hours fermentation period, and is pot still distilled.  As the name implies, it is aged in barrels made of amburana wood (which supposedly imparts an intense colour and flavours of sweetish vanilla) for up to two years and is bottled at 40%.

Does the amburana make for a uniquely different taste profile?  Yes and no.  It certainly presented aspects that were similar to young agricoles – fresh and crisp aromas of watery pears, sugar cane sap, swank and watermelon just to start with, clear without real sharpness.  It’s after opening up for a few minutes that it shows its antecedents more clearly, because other smells, somewhat more unusual, begin to emerge – cinnamon, nutmeg, bitter chocolate, sawn lumber, wet sawdust, freshly baked dark bread.  Not your standard fare by any means.  

The palate was quite firm for a 40% rum, stopping just short of sharp and marrying complexity with a variety of flavours in decent balance with each other. It had both red wine and muskier whisky notes, and bags of the aforementioned spices – cinnamon and nutmeg. Vanilla, ginger, sugar water, gherkins, cucumbers, a sharp cheddar, sawdust…and also a weird line of sweet bubble gum.  And, of course, some herbal grassiness – but overall the defining taste was mostly the cinnamon and swank with that slight bitter background.  This continued smoothly into a longish finish that again brought out the bubble gum, some Sprite (or 7-Up, take your pick), faint citrus, more cinnamon and vanilla, and a bit of sugar cane sap. A little dry, overall, but pleasingly complex and tasty for all that. I just wish it had been bumped up in proof a few notches – at ~45% it might just be amazing.

Tasting the Avuá Amburana blind, without some experience or comparators around, you’d be hard pressed to identify the country of origin (though the slight bitterness, woodsy taste and cinnamon background would likely give it away), and might even confuse it with an agricole – probably to the displeasure of any Brazilian. Be that as it may, I quite liked it, and since its introduction in 2013 it’s made a quiet splash in North America, as well as winning awards in 2015 (Berlin Rumfest) and 2016 (Madrid Congreso del Ron).

Brazilians involved in the production of cachaças are at pains to distinguish them from agricoles, but any casual rum aficionado would have some difficulty following the logic – after all, both derive from cane juice, distilled on either pot or column stills, the cane juice has a short fermentation time and is processed soon after harvesting.  Regulations are specific to each region: for example, a cachaça can only be called so if it derives from Brazil and at least 50% of the blend is aged for a minimum of one year, and for me that’s a naming and production convention and not a serious departure from agricoles (to use another example, calling only a rum made in Guyana a “Demerara” does not make it any less of a rum).  Also, as briefly noted above and more applicable to Brazil, a cachaça can (but does not have to) be aged in local woods like jequabita, amburana, carvalho etc, and not the more “traditional” oak barrels like ex-bourbon, ex-cognac, limousin oak, and so on – however, since the type of wood of the ageing barrel is not a disqualifier for any rum or ron or rhum anywhere in the world (except perhaps Cuba), this again seems more a local peculiarity, not a fundamental difference between the two types of rum.

So in other words, given the cane juice origin, then either cachaça is a Brazilian agricole, or agricoles are French cachaças.  To me such distinctions are geographical, not fundamental. Irrespective of the pride that the producing countries bring to their indigenous rums, production philosophies and heritage, both have interesting products that are cool to drink and make killer cocktails. That the French island rhums currently get more good press than cachaças do is no reason to ignore the latter – taken with their uniqueness and taste and wide applicabilty, something like the Avuá Amburana is good to experience if you want to go a little off the beaten track without heading into the jungle altogether.  It’s a pretty nifty cachaça that’s well worth checking out.

(84/100)

Other notes

  • ¹ Messias Soares Cavalcante, A verdadeira história da cachaça. São Paulo 2011 page 608
  • Uncoloured, unfiltered.  Small batch production.  Each bottle is numbered
  • Ralfy gave the Avua an in-depth look on his video in May 2017.
  • Matt Pietrek, the Cocktail Wonk, used this rum to provide an introduction to cachaças, back in 2015. It’s also got some good historical notes on the founders.

Renegade 2003 Monymusk 5 Year Old Rum – Review

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Jan 102018
 

#477

You’re going to read more about rums from the Monymusk distillery out of Jamaica in the next few years, I’m thinking, given how the island’s lesser-known products are emerging from the shadows; and distilleries other than Appleton are coming back into their own as distinct producers in their own right – Hampden, Longpond, Worthy Park, New Yarmouth, Clarendon/Monymusk are all ramping up and causing waves big time.  But aside from the Royal Jamaican Gold I tried many years ago (and was, at the time, not entirely won over by) and the EKTE 12 YO from a few weeks back, plus a few indies’ work I have yet to write about, there still isn’t that much out there in general release… so it may be instructive to go back in history a while to the near-beginning of the rum renaissance in 2009, when Renegade Rum Company, one of the first of the modern independent bottlers not from Italy, issued 3960 bottles of this interesting 5 year old from a pot still at Monymusk.

Even in the Scottish company it kept (and many such outfits remained after Renegade folded), Renegade was not a normal UK indie.  If one were to eliminate the dosing issue, they were actually more akin to Italy’s Rum Nation, because they married multiple barrels of a given distillate to provide several thousand bottles of a rum (not just a few hundred), and then finished them in various ex-wine barrels as part of their Additional Cask Evolution strategy. Alas, they seemed to have raced ahead of the market and consumer consciousness, because the rums sold well but not spectacularly, which is why I could still pick one up (albeit as a sample) so many years later. Moreover, as Mark Reynier remarked to me, finding the perfect set of aged casks which conformed to his personal standards was becoming more and more difficult, which was the main reason for eventually closing up the Renegade shop…to the detriment of all us rum chums.

But I think he was on to something that was at the time unappreciated by all but the connoisseurs of the day, because while agricoles aged five years can be amazing, molasses based rums are not often hitting their stride until in their double digits – yet here, Renegade issued a five year old Jamaican pot still product that was a quietly superior rum which I honestly believe that were it made today, aficionados would be snapping up in no time flat and perhaps making Luca, Fabio, Tristan, Daniel and others cast some nervous glances over their shoulders.

Anyway, let me walk you through the tasting and I’ll explain why the rum worked as well as it did.  It nosed well from the get-go, that’s for sure, with Jamaican funk and esters coming off in all directions.  It felt thicker and more dour than the golden hue might have suggested, initially smelling of rubber, nail polish, tomato-stuffed olives in brine and salty cashew nuts with a sort of creamy undertone; but this receded over time and it morphed into a much lighter, crisper series of smells – bananas going off, overripe oranges, cumin, raisins and some winey hints probably deriving from the finish. Tempranillo is a full bodied red wine from Spain, so the aromas coming off of that were no real surprise.

What did surprise me was that when I tasted it, it did something of a 180 on me — it got somewhat clearer, lighter, sweeter, more floral, than the nose had suggested it would.  Traces of Kahlúa and coconut liqueur initially, bread and salt butter, some oakiness and sharper citrus notes; this was tamed better with water and the fruits were coaxed out of hiding, adding a touch of anise to the proceedings.  Pears, cashews, guavas, with the citrus component quite laid back and becoming almost unnoticeable, lending a nice, delicately sharp counterpoint to the muskier flavours the fleshier fruits laid down.  It all led to a pleasant, tightly minimal and slightly unbalanced finish that was long for that strength, but gave generously (some might say heedlessly) of the few flavours that remained – cherries, pears, red guavas, a little more anise, and some salt.

In a word?  Yummy. It’s a tasty young rum of middling strength that hits all the high points and has the combination of complexity and assertiveness and good flavours well nailed down.  It has elements that appeal to cask strength lovers without alienating the softer crowd, and the tempranillo finish adds an intriguing background wine and fruity note that moderates the Jamaican funk and dunder parts of the profile nicely. Though perhaps the weak point is the finish — which did not come up to the high water mark set by both nose and taste and was a shade incoherent — that’s no reason not to like the rum as it stands, to me.

Anyway, in these days of the great movement towards exacting pure rums of distillery-specific,country-defining brands, it’s good to remember an unfinished experiment such as this Jamaican rum from Renegade, which pointed the way towards many of the developments we are living through now.  That may be of no interest to you as a casual imbiber, of course, so let me close by saying that it’s a pretty damned good Jamaican rum on its own merits — which, if you were ever to see it gathering dust somewhere on a back shelf, you could do worse than to snap it and its brothers up immediately.

(86/100)

Other notes

Compliments to Alex Van der Veer of Master Quill, an underrated resource of the rum-reviewers shortlist, who sent me the sample.  His own review can be found on his website and I’m nudging him gently in the ribs here, hoping he reads this and writes more, more often 🙂

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