Don Q Gran Añejo Puerto Rican Rum – Review

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Feb 242019
 

It’s a peculiarity of the sheer volume of rums that cross my desk, my glass and my glottis, that I get to taste rums some people would give their left butt cheek for, while at the same time juice that is enormously well known, talked about, popular and been tried by many….gets missed.

One of these is the Don Q series of rums out of Puerto Rico made by the Serrallés family who, like Old Facundo, hailed from Catalonia and came to Puerto Rico in around 1820.  In the 1830s they established a sugar plantation on the outskirts of Ponce in South-Central Puerto Rico and in a short time became very successful, exporting sugar to the US, France and the UK; in 1865 they started to manufacture rum on a pot still brought over from France (see “other notes” below), though the various brands they produced were short lived and not really big sellers.  In response to that, in 1932 they launched the Don Q brand as a way of breaking into the more premium sector, as well as expanding local market share, followed by new distillation apparatus installed in 1935 (one imagines the pot still was marginalized after this, if not discontinued entirely). The rums of the line proved to be enormously popular, overtaking Bacardi which was seen as a foreign brand and not as refined.

These days it is considered the best selling rum in its home turf, exported all over the world, and the recipe remains consistent with the original developed so long ago.  In the current environment where unadulterated rums get a lot of praise, it also grabs brownie points for having none itself.

Technical details: distilled on a column still, 40% ABV, gold colour, no additives. According to their website, the Gran Añejo “contains rums aged between 9 and 12 years, and solera rums aged up to 50 years” which means that by accepted parlance it’s a blend, 9 years old.

Given it’s a column still low proof, I would expect it to be a light sort of experience to smell, and indeed it was – so much so that it took real effort to disassemble.  The nose was almighty peculiar to start, redolent of charcoal, burnt wood, ashes, an overdone ox turning on a spit (seriously). I don’t know if that was intentional, just that it took me somewhat off balance; still, it developed nicely – gradually aromas of rotting bananas, overripe fleshy fruit, and even a little brine, combined with a delicate hint of orange peel.

The palate was pleasant and easy to sip, quite solid for the living room strength. Here notes of caramel, vanilla, lemon peel, apples, molasses and treacle abounded, nicely balanced. It was velvety, but also dry, vaguely sweet with some brine and well-polished leather.  What it lacked was force and emphasis, though that was to be expected, and the finish sort of limped along past the tape, providing closing notes of vanilla, nutmeg and pineapple, all very soft and light, nothing for the rum junkie to write home about, really. It’s soft and easy-going, overall.

For my money this is something of a low-rent Havana Club. Given that the main markets for Don Q are the US, Mexico and Spain (it’s exported to many more, of course), it stands to reason that over-aggressive high-ester profile and a Brobdingnagian strength are not on the cards — that’s not the Catalan style of rum-making brought over to the new world, or preferred in those markets:  That may guarantee it solid sales and great word of mouth where it sells, but I’m not sure it guarantees it future sales in places where there is already a surfeit of such rums, or where something with more character is the norm.

The Don Q, for all its understated quality and its audience in other parts of the world, demonstrates why I moved away from Spanish/Latin American column still rums.  They lack oomph and emphasis. They’re too easy, and too light (for me), require little effort and are no challenge to come to grips with. It may have taken years to come around to trying it, but now, having done so, I can’t honestly say that an amazing undiscovered gem has been missed out on.

(#601)(81/100)

Other notes

According to the company website, the still brought over from France in 1865 was a pot still, though this is odd given France’s love affair with the columns back then; but Tristan Stephenson’s 2018 book “The Curious Bartender’s Rum Revolution” mentions it as being a 5-tray columnar still. If I ever track the discrepancy down, I’ll amend this section of the post.

Destileria Limtuaco Very Old Captain Artisan Crafted Dark Rum – Review

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Feb 192019
 

Just reading the label on the Very Old Captain makes me think (rather sourly) of yesteryear’s uninformed marketing copy, Captain Morgan advertisements and the supposedly-long-debunked perception that rum is fun, a pirate’s drink, redolent of yo-ho-hos and sunny tropical beaches. Even after so many years of so many companies and writers seeking to raise the bar of quality hooch, we still get assailed by such pandering to the least common denominator and what’s perhaps more discouraging, there are many who’ll buy it on that basis alone.

Lest you think I’m just having a bad hair day, consider what the label says above and below that faux-piratical name: “Very Old” and “Artisan Crafted Dark Rum”.  Well, it’s not very old, not artisanal, crafted has very little meaning, “artisan crafted” is not what it suggests, dark is not an indicator of anything except colour (certainly not of quality or age or purity), and that leaves only one word that can be construed as true: “rum”. One wonders why it wasn’t just left at that.

Now, this is a Philippine dark rum, blended, which the company website notes as being “the equivalent of 8 years”.  Since they issue an actual 8 year old and 12 year old that are clearly stated as being such, what’s the issue with saying what this thing is without the waffling? The Philippine Daily Inquirer had an article dating back to 2015 that said it was actually five years old and no mention of a pot still was made either there or on Limtuaco’s wesbite, although the back label speaks helpfully to the matter (“We blend premium rum from molasses with pot still rum” – as if somehow the two are different things) and BespokeManBlog mentioned it the same year when writing enthusiastically about the rum. Limtuaco was clear in the blurb of the 8YO that it had some pot still action and did not do so for the VOC, so I think we can reasonably posit it’s a blend of pot and column, and the whole business of “batch” and age-equivalency can be dispensed with.

My snark on disclosure aside, what was the standard-proofed dark gold rum actually like to smell and taste and drink?

Well, somewhat better than my remarks above might imply. It nosed off the line with nail polish, some acetones and sharp flowery-fruity tones, and a lot of spices – ginger, cumin, cinnamon. This was followed by apples, green grapes and unripe peaches mixed in with vanilla and some caramel, but the truth is, it all seemed just a bit forced, not real (or maybe I was suspicious as well as snarky), lacking something of the crisp forceful snap of a true pot still product.

Palate? Sweet, with white guavas and green grapes at first. Warm and somewhat faint, which is expected at that strength, with gradually emerging notes of molasses, vanilla, masala, and peaches in syrup. It’s all very mild and laid back, little oakiness or tannins or bitterness, hardly aggressive at all, which raises additional questions.  The finish provided little of consequence, being soft and easy and gone in a flash, leaving behind rapidly fading memories of light acetones and watery fruits. And breakfast spices.

Given that our faith in the company’s background notes has been somewhat eroded, what it means is that we can’t tell if the rum is for real — and the tastes that seemed somewhat artificial and added-to have no basis in our mind’s trust, in spite of the company website’s denials that they indulge the practice.  Yet since it is positioned as something special and premium (“high-end”), I expect more disclosure from then, not less, and to tell me that it derives from blackstrap molasses and is 40% ABV is hardly a fount of information, now, is it? The fact that they make some of their spirits from neutral alcohol that’s then processed just ensures reviews like this one.

But that aside, let’s just rate the rum itself. I don’t feel it’s really anything near to the kind of high-end as they tout, and my personal opinion is one of relative indifference, sorry. I think it’s an eminently forgettable rum, largely because there’s nothing really serious to it, no depth of distinctiveness or character that would make you remember it. To its credit, that also means there’s nothing overtly traumatic about the rum either, but that’s hardly a ringing endorsement. For my money, it’s not a rum that would excite serious interest and enthusiasm from the hardcore, and even serious amateurs are likely to sip it, feel okay with it, and then move on to something with a little more oomph that they might actually recall the next day. Maybe like the Screech. 

(#600)(72/100) ⭐⭐½

Other Notes

  • My remarks above notwithstanding, one has to consider the audience for which it is made.  As far as I know it’s primarily for sale in Asia, where softer, smoother, sweet-profiled (and spiced up) rums are more common and liked.  
  • The score does not reflect my dissatisfaction with the labelling and marketing, only the way it tasted. 
  • The company was formed in 1852 by a Chinese immigrant to the Phillipines, Lim Tua Co, who began the business by making herb infused medicinal wines.  The family continues to run the company he started, and now makes over 30 different products, including local blends and foreign brands manufactured under license.  It has three bottling, processing and aging plants as well as many warehouses in Manila, though information on its stills and how they make their rums remains scanty.
  • As always, a big hat tip to John Go, who is my source for many Asian rums I’d not otherwise find.  Thanks, mate.

Excellence Rhum Diamond MPM 2005 11 YO Guyana Rum – Review

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Feb 142019
 

Photo (c) Excellence Rhum

Few profiles in the rum world are as distinctive Port Mourant, deriving from DDL’s double wooden pot still in Guyana. Now, the Versailles single wooden pot still rums always struck me as bit ragged and fierce, requiring rare skill to bring to their full potential, while the Enmores are occasionally too subtle: but somehow the PM tends to find the sweet spot between them and is almost always a good dram, whether continentally or tropically aged.  I’ve consistently scored PM rums well, which may say more about me than the rum, but never mind.

Here we have another independent bottling from that still – it comes from the Excellence Collection put out by the French store Excellence Rhum (where I’ve dropped a fair bit of coin over the years). Which in turn is run by Alexandre Beudet, who started the physical store and its associated online site in 2013 and now lists close on two thousand rums of all kinds.  Since many stores like to show off their chops by issuing a limited “store edition” of their own, it’s not an illogical or uncommon step for them to take.

It’s definitely appreciated that it was released at a formidable 60.1% – as I’ve noted before, such high proof points in rums are not some fiendish plot meant to tie your glottis up in a pretzel (which is what I’ve always suspected about 151s), but a way to showcase an intense and powerful taste profile, to the max.

Certainly on the nose, that worked: hot and dry as the Sahara, it presented all the initial attributes of a pot still rum – paint, fingernail polish, rubber, acetones and rotten bananas to start, reminding me quite a bit of the Velier PM White and a lot fiercer than a gentler ultra-old rum like, oh the Norse Cask 1975. Once it relaxed I smelled brine, gherkins, sauerkraut, sweet and sour sauce, soya, vegetable soup, some compost and a lot of licorice, vanilla; and lastly, fruits that feel like they were left too long in the open sun close by Stabroek market.  Florals and spices, though these remain very much in the background. Whatever the case, “rich” would not be a word out of place to describe it.

If the aromas were rich, so was the palate: more sweet than salt, literally bursting with additional flavours – of anise, caramel, vanilla, tons of dark fruits (and some sharper, greener ones like apples).  There was also a peculiar – but far from unpleasant – hint of sawdust, cardboard, and the mustiness of dry abandoned rooms in a house too large to live in. But when all is said and done, it was the florals, licorice and darker fruits that held the heights, and this continued right down to the finish, which was long and aromatic, redolent of port-infused cigarillos, more licorice, creaminess, with a touch of rubber, acetones…and of course more fruits.

While PM rums do reasonably well with me because that’s the way my tastes bend, a caveat is that I also taste a whole lot of them, and that implies a PM rum had better be damned good to excite my serious interest and earn some undiluted fanboy favour and fervor….and a truly exemplary score.  I started into the rum with a certain indulgent, “Yeah, let’s see what we have this time” attitude, and then stuck around to appreciate what had been accomplished. This is not the best of all Port Mourants, and I think a couple of drops of water might be useful, but the fact is that any rum of its family tree which I have on the go for a few hours and several glasses, is by no means a failure. It provides all the tastes which showcase the country, the still and the bottler, and proves once again that even with all of the many variations we’ve tried, there’s still room for another one.

(#599)(87/100)

Other Notes

  • Major points for the back label design, which provides all the info we seek, but forgot to mention how many bottles we get to buy (thanks go to Fabien who pointed me in his comment below, to a link that showed 247 bottles).
    • Distilled May 2005, bottled April 2017.
    • Angel’s share 31%
    • 20% Tropical, 80% Continental Ageing

Takamaka Bay Overproof White Rum (2000s)

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Feb 112019
 

Rumaniacs Review #091 | 0598

Overproof rums started out as killer cocktail ingredients, meant to boost anything they were put into by, I dunno, a lot. For many years they were pretty much the bruisers of the barflies — low-life, lightly-aged mixers (or occasionally unaged whites) which only islanders drank neat, largely because they had the least amount of time to waste getting hammered.  Still, as time passed and cask strength rums became more fashionable (and appreciated), the gap between the strength of a cool aged casker and an overproof shrank, to the point where a 75% bottling of a “regular” rum that’s not labelled as an overproof is not out of the realms of possibility – I know several that stop just a bit short of that.  

One of the old style overproofs is this rum from the Takamaka Bay rum company located on Mahe, the main island of the 115-island archipelago comprising the Seychelles, in the Indian Ocean off East Africa. The company is of relatively recent vintage, being formed in 2002 by the d’Offay brothers, Richard and Bernard d’Offay, and sourcing sugar cane from around the island – they are, according to their website’s blog, one of the few distilleries in the world that make rum from both juice and molasses.  They have two copper pot stills and a columnnar one, and this white rum, now discontinued and replaced with the 69 Rhum Blanc, is an unaged, unfiltered column still distillate with possibly a touch of high ester rum from the pot still. I’ve read on a Czech site that the rum is triple distilled from cane juice and then diluted, which was later confirmed by Bernard d’Offay.

Colour – White

Strength – 72% ABV

Nose –  Sweet and light soda pop, like a 7-Up…with fangs. Tons of herbs here, grass, thyme, mint, light lemon zest. Sugar water.  Light fruity esters. Bananas, nutmeg, cardamom.

Palate – Fruit juice poured into my glass, clean and light.  There’s the crispness of green apples, cane juice and red cashews, melding well with the tart creamy sweetness of ginips and soursop.  Herbs remained – parsley, dill and mint. It was hot and delicately sweet, presenting with force, yet it also reminded me somewhat of a tequila, what with a background of brine and olives and a faint oily texture on the tongue

Finish – Quite good. Long, dry, spicy, fruity, redolent of bananas, red currants, blackberries, watermelon and sugar water.  

Thoughts – It’s really quite a good rum, and I’m sorry to see it’s no longer being made. Before I got a response from Takamaka Bay, I thought the column still produced this from cane juice spirit (this proved to be the case). It’s a mixer for sure, though anyone who finds it and tries it neat won’t be entirely disappointed.  It’s a fiery, flavourful white which may now no longer be made, but lives on in its slightly lesser-proofed brother…which I have a feeling I’ll be looking for quite soon.

(84/100)

Velier Royal Navy Very Old Rum – Review

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Feb 082019
 

Velier has always had this way of sneaking in something obscure among all their major series of rums — some smaller or very individual bottling that doesn’t so much fly under the radar as not excite quite the same rabid fly-off-the-shelves obsessiveness as, for example, the old Demeraras or Caronis.  So there are those Basseterres from 1995 and 1997, for example, or the Courcelles from 1972, or that 1954 RASC army rum I’m still searching for.

Another may well be the Very Old Royal Navy rum released in 2017.  At the time, it got quite a lot of press (and Wes and Simon were the lucky guys who got to write about it first), yet it disappeared from our mental rum-map fairly quickly, and nowadays you’ll look hard on the social media fora to find mention of it.  Its place in the sun has been taken by the Habitation whites, or Foursquare collaborations, or the National Rums of Jamaica quartet, or whatever else emerges every month from Luca’s fertile imagination. Still – I submit that it may be a forgotten steal even at its price, and when I tried it, it impressed me quite a bit.

The specs are mentioned on the label, but let’s just quickly run through the data anyway. This is a full proof rum bottled at the old standard “proof” – “Navy” strength, or 57.18%.  The word Navy hearkens back not only to this ABV, but to the fact that it tries to recreate the original blend of island rums that was issued to the British fleet back in the day – given the change in the blend over the centuries it’s probably fruitless to try, but points for the effort nevertheless. So, inside of it we have the following components:  Guyanese rum, more than 15 years old, aged in Europe (said to be Enmore but I have my doubts); Jamaica pot still rum, fully tropical-aged, more than 12 years old (Worthy Park plus a few others); and a tropically aged Caroni more than twenty years old. Now, the label also notes an average age of 17.42 years, which suggests a somewhat higher proportion of the Caroni, and the continental ageing of the Demerara points to a rather lesser influence from that part of the blend.  I’d expect to have dominant notes of Caroni, some Jamaican funk hiding behind that, and the Demerara part bringing up the rear to round things off.

The nose suggested that this wasn’t far off. Mild for the strength, warm and aromatic, the first notes were deep petrol-infused salt caramel ice cream (yeah, I know how that sounds).  Combining with that were some rotten fruit aromas (mangoes and bananas going off), brine and olives that carried the flag for the Jamaicans, with sharp bitter woody hints lurking around; and, after a while, fainter wooden and licorice notes from the Mudlanders (I’d suggest Port Mourant but could be the Versailles, not sure).  I also detected brown sugar, molasses and a sort of light sherry smell coiling around the entire thing, together with smoke, leather, wood, honey and some cream tarts. Quite honestly, there was so much going on here that it took the better part of an hour to get through it all. It may be a navy grog, but definitely is a sipper’s delight from the sheer olfactory badassery.

That complexity was also evident on the palate, which started warm, sweet and darkly bitter, like rich chocolate, and remained dry throughout.  With coffee grounds and pickles in vinegar. The Caroni side of things was there (diesel, rubber, wax, all the usual markers) but somewhat less than their predominance on the nose, and this was a good thing, since it allowed the Demerara flavours to get in on the action – dark fruit, plums, wood, raisins, licorice, flambeed bananas, cloves and cinnamon.  Even the Jamaicans took a back seat, though the funk persisted, just without force. Overall, it tasted a little creamy, with flowers and honey that can be sensed but not quite come to grips with. And the finish? Totally solid, long and lasting, black tea, anise, plums, blackberries to which was added licorice, brown sugar, and caramel drizzle over vanilla ice cream.

Wow.  It’s tough to know what to make of this, there’s so much action in the tasting experience that it could be accused with some justification, of being too busy, what with three distinct and well known profiles vying for your attention.  But I know I liked it, a lot, though also feeling that the Caroni dominance at the inception could have been toned down a shade. Overall? A worthy addition to the canon. It gives the “official” thousand-buck Black Tot a real run for its money while leaving all the other pretenders in the dust.

I say that with some irony, because “Navy” rums of whatever stripe are a dime a dozen, and one of the more recognized monikers in the rumworld.  A sense of ho-hum permeates the more common offerings (they’re considered medium class tipple by many), assuming they’re even made at the proper strength or have the proper combination of Caribbean components. And those blends are endlessly tinkered with – even Pusser’s, who make much of their possession of the “true” Navy rum recipe (which is a blend of several nations’ grog) recently changed the recipe of the 15 YO and Navy rum to being principally Guyanese rum, and still issued that at below par strength.  So having another one on the market doesn’t exactly shiver the timbers of the rumiverse.

But speaking for myself, I now regret not having bought a bottle back in 2017; at the time I was buying a bunch of others, including the 70th Anniversary collection, and it didn’t rate that high for me.  Once I got into it, once I relaxed, let the combined flavours wash over nose and tongue, I couldn’t stop writing. It starts slow, builds up a head of steam, and then simply charges through your defenses to give an experience like few others.  It’s a terrific rum, and even if it wasn’t called “navy” and was just itself, it would still retain a special place both in my tasting memory, and on my shelf.

(#597)(88/100)

Other Notes

  • While it’s not stated on the label, and remains unconfirmed by Velier directly, one website noted the blend as comprising Caroni, Port Mourant and Hampden.  While the source was unattributed, it’s probably correct based on the tasting.
  • Other reviews you might like to read are The Fat Rum Pirate (4 out of 5 stars) and The Rum Shop Boy (85/100)
  • Nico from Coeur de Chauffe pointed me to the 2017 Whisky Live presentation video where Luca spoke about this rum (in French, see the 15:50 mark) and noted its Jamaican components as mostly Worthy Park 2005, with a touch of New Yarmouth and Hampden.  The other pieces are Enmore 1990, and Caroni 1996.  I still have my issues with the Enmore 1990, since at that time the Versailles single wooden pot still was there and the woody notes of the profile remind me more of that than the wooden coffey still with the Enmore name.

 

That Boutique-y Rum Co. O Reizinho White Agricole Rum (Batch 1) – Review

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Feb 042019
 

Last October, I ran into Pete Holland of the Floating Rum Shack at the Berlin Rum Fest (literally – I tripped and nearly fell into his shelf of rums, and he saved them by interposing himself so they would not be damaged, even if I was).  Although we, as long-existing rum bloggers, knew of each other — all of us know each other in the Oasis — we had only met once before, so I bee-lined over to see what he was doing. It turned out he was stewarding the line of rums from the cheekily named “That Boutique-y Rum Company” (hereinafter referred to as TBRC) a division of Atom Brands, which in turn runs the Master of Malt online spirits shop (and which also self releases and self reviews the Cornelius Ampleforth rum, if you recall). Pete steadied me, indicated the whole range on display, and asked what I wanted to try.

I looked at all the familiar countries, ignoring most, looking for the unusual, not the standard – something the brand has done that takes us into new territory to awe and enthuse (the way Foursquare has done with the ECS, L’Espirt is doing with its 2019 whites, Rum Nation did with the Supreme Lords, and Velier did with…well, just about everything).  These days, I want something weird, off-kilter, new, exciting, different – and still tasty.

Alongside the Bajan, Mudland, Jamaican and other suspects (all of which had arresting and brightly-drawn, brightly-coloured labels that took Bristol Spirits’ colour scheme out back and whupped it), there was one from Travellers (Belize) and Bellevue (Guadeloupe)…this looked promising.  But after five minutes of chatting, I was having difficulty making a decision so, I asked him: “If you had one rum out of this entire selection you’d want me to try, which one would it be?”

Now you could tell that Pete, who is a consultant for the company, not an ambassador, really liked pretty much everything, which is why he kept his glass on the go the entire time from different bottles (under the pretext of helping out the bright-eyed but inexperienced rum chums swirling around the booth). “Yes mon, me drinkin’ de same rum dat me showin’ you, so it gotta be good,” you could easily imagining him saying as he avoided braining passers-by with his tasting glass using graceful moves of the arm, never spilling a drop.  So I was curious what his own favourite was, shorn of the need to sell anything to me.

He hesitated, seeing the trap, but then grinned, sipped again, and then pointed at a bottle off to the side, sharing the same colour scheme as the Enmore and the Bellevue. It was from O Reizinho, a Madeiran outfit of which I knew nothing except that it was from Madeira (which, as an aside, is an EU-recognized agricole producer). “That one.”  And without losing his glass in the one hand, he proceeded to pour me a shot with the other, hefty enough to render me catatonic, then stood back to observe the results (much the way The Sage had done years back when I had tried my first clairin, the Sajous).

Strictly speaking, the rum is not that strong – “only” 49.7%, which is a couple of whiskers away from standard. It was made in Madeira, which intrigued me, as I really enjoyed the Engenho Novo rums made by Hinton and Rum Nation; and it was a pot still rum, an unaged rum, and a “white,” all pluses in my book.  And anyway, how could you not want to sample a rum named “The Kinglet”? I know I did, and not just because of his recommendation.

It didn’t disappoint, starting out with a firm aroma of salt and wax, very powerful.  Earth mustiness, cardboard, loam, olives, bags of salt. Like a clairin, but softer. Fresh and deep, edging “crisp” by a whisker, and while the herbal notes of dill and grass and fresh sugar cane sap were there, they were not so much dominant as coexistent with the other notes mentioned before. A really outstanding set of aromas, I thought, with an excellent balancing act carried off in fine style.

And the taste, the mouthfeel – wow, really nice.  Warm, sweet, dry and fruity, with raspberries, bananas, pineapple, papaya, salt olives all dancing their way across the tongue, without any sharp nastiness to spoil the enjoyment: I like rums north of 60%, of course, but there was no fault to be found in the strength that was chosen here because even at that low power, it thrummed across the palate and still managed to provide a clear demo of all the proper notes.  Excellent sipping dram as long as you’re okay with a not-so-furious amalgamation of sweet-brine-soya-miso-soup admixture. If it faltered some, it was on the finish – and for the same reason the nose and palate were so good, i.e., the muted strength. That didn’t invalidate it (to me), and it was pleasant, sweet, soft, warm, firm and fruity, with just a little edge carrying over to complete the experience.

O Reizinho means “Little King” or “Kinglet” depending on whose translator you use, and is a small distillery perched on a hillside on Madeira’s east coast by Santa Cruz.  It is run by Joao Pedro Ferreira, who returned from a sojourn in South Africa some years back to go into the rum business with his father. They source cane locally, crushing it in one pass only (no messing around with a 2nd pass or adding water) and then let it stand in a week-long fermentation period.  Then it’s run through a wood-fired steam-injected pot still, which on a good day can provide a dozen runs. So French island nomenclature notwithstanding, this is an agricole spirit, and it adheres to all the markers of the cane juice rhums, while providing its own special filip to the style.

Initially, to get things going for the first release, TBRC bought some of those rums from a broker (Main Rum) the way so many new and old independents did and do.  But this one was bought direct from O Reizinho, and the intention in the future is to continue to do so, and to go with both aged and unaged products from this tiny distillery.  If they keep bottling — and TBRC keeps issuing — juice as fine as this, then all I can say is that the future is a bright one for them both, and I look forward to trying as much as I can from TBRC’s extended range of rums generally, and O Reizinho specifically.  They’ve enthused me that much with just this one rum.

(#596)(86/100)

Other notes

  • Batch 1 of this rum is 487 bottles
  • Just for the record, I really enjoyed the brightly coloured, lighthearted design of the labels, which are a nice counterpoint to the minimalist “facts-only” labels currently in vogue. The artist is from the outfit Jim’ll Paint It (FB Link)(Website)- ATOM brands came up with the brief, then Jim brought it to life.  In his work he reminds me somewhat of Jeff Carlisle, who did “Another Night at the Warp Core Cafe.“

C.J.Wray Dry White Rum (2000s)

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Feb 022019
 

Rumaniacs Review #090 | 0595

We’re all familiar with the regular roundup of major Appleton rums like the Reserve, the 12 YO, the 15 YO, 21 YO and 30 (old version or new), as well as their halo rum du jour, the 50 YO. But the company also had and has distinct and not so well known brands for sale locally (or niche export markets), such as Edwin Charley, Coruba, Conquering Lion, JBW Estate and Cocomania.  And as the years turned, the company outlived some of its own brands – for example the previously well-known One Dagger, Two Dagger and Three Dagger rums which went out in the 1950s.  Another casualty of the times was the C.J. Wray Dry White Rum, which was launched in 1991 as a broadside to Bacardi; at the time there weren’t many light whites out there and the Superior was the market leader, so Wray & Nephew decided to take lessons from the very successful premium vodka campaign of Absolut (against Smirnoff) and launched their own, supposedly upscale, alternative.

But by the early-to-mid 2000s, the Dry was discontinued.  The reasons remain obscure: perhaps on the export market, it couldn’t compete with the vastly more popular poor man’s friend and bartender’s staple, the 63% overproof, being itself a meek and mild 40%.  Perhaps there was some consolidation going on and it was felt that the Appleton White was enough.  Maybe it just wasn’t deemed good enough by the rum drinkers of the day, or the margins made it an iffy proposition if it couldn’t sell in quantity.

Technical details are murky. All right, they’re practically non-existent. I think it’s a filtered column still rum, diluted down to standard strength, but lack definitive proof – that’s just my experience and taste buds talking, so if you know better, drop a line.  No notes on ageing – however, in spite of one reference I dug up which noted it as unaged, I think it probably was, just a bit.

Colour – White

Strength – 40%

Nose – Light, mild and sweet.   Dry?  Not for this guy’s schnozz.  Initial aromas narrow in on vanilla, nougat, white toblerone and almonds, with a little salt and citrus peel to liven up the party.  It’s very soft (no surprise), gentle, and warm, and going just by the nose, is perfectly acceptable to have neat, though I saw some fans posting back in 2008 who were itching to try it in a daquiri.

Palate – Not as interesting as the nose, really, but every bit as nice.  Tinned cherries and pineapples in syrup was the first thought that ocurred to me as I sipped it; a trace of salt and brine, with perhaps half an olive, vanilla, almonds, and – if you crease your brow, sweat a bit and concentrate – citrus, raisins, cinnamon and maybe a shaving of fresh ginger.

Finish – Short, mellow, slightly fruity, a little herbal.  Nothing to write home about.

Thoughts – For a low-end white, it’s actually quite an interesting drink.  Sales must have been low, margins too scrawny, reactions too muted, and it was put down as an act of mercy (or so the storyteller in me supposes).  That’s too bad because while the profile does suggest that it was doctored (entirely a personal opinion – it lacks something of the punch and edge of a clean and unmessed-with rum, though this may simply be over-enthusiastic filtration), it’s a neat little rumlet if your expectations are kept low and you like easy.  Maybe, had it been left in place to gather a head of steam, it might have found some legs — these days, good luck finding any outside an estate sale or an old salt’s collection.

(80/100)

 

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.

Compagnie des Indes Nicaragua 2004 11 Year Old Rum – Review

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Jan 282019
 

Speaking in general terms, my personal drift away from Latin- or South American rums over the last few years derives from the feeling that they’re a little too laid back, and lack pizzazz.  They’re not bad, just placid and easy going and gentle, and when you add to that the disclosure issues, you can perhaps understand why I’ve moved on to more interesting profiles.

Far too many producers from the region do too much unadventurous blending (Canalero), don’t actually have a true solera in play (Dictador), have a thing for light column still products which may or may not be tarted up (Panama Red), and are resting on the laurels of old houses and family recipes (Maya) whose provenance can hardly be established beyond a shadow of doubt (Mombacho or Hechicera).  Moreover, there is too often a puzzling lack of easily-available background regarding such rums (more than just marketing materials) which is out of step with the times.

Still, I have to be careful to not paint with too wide a brush – there are many good rums from the region and I’m not displeased with all of them. In a curious turnabout, my favourites are not always released by from or by Latin American companies — at least, not directly — but by independents who take the original distillate from a broker and then release it as is.  This avoids some of the pitfalls of indeterminate blending, additives, dilution and source, because you can pretty much count on a small indie outfit to tell you everything they themselves know about what they stuffed into their bottle.

That’s not to say that in this case the Compagnie is a poster child for such disclosure – the distillery on this one is noted as being “Secret”, for example. But I suspect that Florent was a bit tongue in cheek here, since any reasonably knowledgeable anorak can surmise that the 11 YO rum being reviewed here is a Flor de Cana distillate, column still, and aged in Europe.

Compared to the Mombacho 1989 that was being tried alongside it (and about which I still know too little), the nose was much more interesting – perhaps this was because the Compagnie didn’t mess around with a soft 43%, but went full bore at 69.1% for their favoured clients, the Danes (this rum is for the Danish market). Yet for all the strength, it presented as almost delicate — light, fruity (pears, guavas, watermelon., papaya), with a nice citrus tang running through it. When it opened up some more, I also smelled apples, pears, honey, cherries in syrup, and a pleasant deeper scent of aromatic tobacco, oak and smoke, and a touch of vanilla at the back end.

The palate was also very robust (to say the least). It was sharp, but not raw – some of the rougher edges had been toned down somewhat – and gave off rich tastes of honey, stewed apples, more sweet tobacco and smoke, all of it dripping with vanilla. Those light fruits evident on the nose were somewhat overpowered by the strength, yet one could still pick out some cherries and peaches and apples, leading into a very long and highly enjoyable finish with closing notes of gherkins, brine, cereals, vanilla, and a last flirt of light sweet fruits.

Perhaps it was a mistake to try that supposed 19 YO Mombacho together with this independent offering from France.  On the face of it they’re similar, both from Nicaragua and both aged a fair bit — but it’s in the details (and the sampling) that the differences snap more clearly into focus, and show how the independents deserve, and are given, quite a bit more trust than some low-key company which is long on hyperbole and short on actual facts.

As noted above, neither company says from which distillery its rums hail, though of course I’m sure they’re Flor de Cana products, both of them.  We don’t know where Mombacho ages its barrels; CDI can safely be assumed to be Europe. The CDI is stronger, is more intense and simply tastes better, versus the much softer and easier (therefore relatively unchallenging) Mombacho, even if it lacks the latter’s finish in armagnac casks. Beyond that, we get rather more from the Compagnie – barrel number, date of distillation and bottling, true age, plus a little extra – the faith, built up over many years of limited bottlings, that we’re getting what they tell us we are, and the confidence that it’s true. That alone allowed me to relax and enjoy the rum much more than might otherwise have been the case.

(#593)(84.5/100)

Other notes

  • Controls this time around were the aforementioned Mombacho, the Black Adder 12YO, and another Nicaraguan from CDI, aged for seventeen years.  I dipped in and out of the sample cabinet for the comparators mentioned in the first paragraph — not to re-evaluate them, just to get a sense of their profiles as opposed to this one.
  • Distilled December 2004, bottled April 2016, 242 bottle-outturn
  • We should not read too much into the “Secret” appellation for the rum’s source.  Sometimes, companies have a clause in their bulk rum sales contracts that forbids a third party re-bottler (i.e., an independent) from mentioning the distillery of origin.

Key Rums of the World – Barbancourt Réserve Spéciale 8 Year Old Rhum (Haiti)

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Jan 222019
 

Haiti is unique as a nation because it is where the only successful slave revolt in the world took place, at the turn of the 18th century. Sadly, it is now the poorest country in the western hemisphere, and successive dictatorships, foreign interference and natural disasters have left the place in shambles.

That any businesses manage to survive in such an environment is a testament to their resilience, their determination, their ingenuity….and the quality of what they put out the door. The country has become the leading world producer of vetiver (a root plant used to make essential oils and fragrances), exports agricultural products and is a tourist destination, yet perhaps it is for rum that its exports are best known, and none more so than those of Barbancourt, formed in 1862 and still run by the descendants of the founder.

Until the mid 20th century, Barbancourt was something of a cottage industry, selling primarily to the local market.  In 1949 they relocated the sugar cane fields of the Domaine Barbancourt in the plaine du Cul-de-Sac region in the south east, and by 1952 ramped up production, increased exports and transformed the brand into a major producer of quality rum, a distinction it has held ever since.  

The rhum, based on sugar cane juice not molasses, used to be double-distilled, using pot stills in a process similar to that used to produce cognac (Dupré Barbancourt came from the cognac-producing region of Charente which was undoubtedly his inspiration); however, nowadays they use a more efficient (if less character-driven) three-column continuous distillation system, where the first column strips the solid matter from the wash and the second and third columns serve to concentrate the resultant spirit…so what is coming to the market now is not what once was made by the company.

Haiti has no shortage of other rhum producing companies – but smaller outfits like Moscoso Distillers or LaRue Distillery are much less well-known and export relatively little, (and back-country clairins are in a different class altogether)…and this makes Barbancourt the de facto rum standard bearer for the half island, and one of the reasons I chose it for this series. This is not to dismiss the efforts of all the others, or the the artisanal quality of the clairins that Velier has brought to world attention since 2014 — just to note that they all, to some extent, live in the shadow of Barbancourt; which in turn, somewhat like Mount Gay, seems in danger of being forgotten as a poster boy for Haiti, now that the pure artisanal rum movement gathers a head of steam.

The current label of the 8YO

Barbancourt’s rhums are not issued at full proof: they prefer a relatively tame 40-43%, and every possible price point and strength is not catered to.  The company has a relatively small stable of products: the Blanc, the 3-star 4 Year Old, the 5-star 8 Year Old and the flagship 15 year old (Veronelli’s masterful 25 year old is a Barbancourt rhum, but not issued by them).  Though if one wanted to get some, then independent bottlers like Berry Bros., Bristol Spirits, Duncan Taylor, Cadenhead, Samaroli, Plantation and Compagnie des Indes (among others) do produce stronger and more exacting limited offerings for the enthusiasts.

Yet even with those few rhums they make, whatever the competition, and whether one calls it a true agricole or not, the rhums coming from Barbancourt remain high on the quality ladder and no rumshelf could possibly be called complete without at least one of them.  After trying and retrying all three major releases, my own conclusion was that at the intersection of quality and price, the one that most successfully charts a middle course between the older and the younger expressions is the 5-star 8 year old (I looked at it last way back in 2010, as well as one earlier version from back in the 1970s) which remains one of the workhorses of the company and the island, an excellent mid-level rum that almost defines Barbancourt.

It does display, however, somewhat of a schizophrenic profile. Take the nose, for example – it almost seems like a cross between a molasses based rum and an agricole.  While it certainly possesses the light, herbal aroma of a cane-juice distillate, it also smells of a light kind of brown sugar and molasses mixed up with some bananas and vanilla (it was aged in French oak on Haiti, which may account for the latter). There’s also a sly briny background, combined with a pleasant hints of nougat and well polished leather, plus the subdued acidity of green apples, grapes and cumin.  Not all that intense at 43%, but excellent as an all-rounder for sure.

What the nose promises, the palate delivers, and yet that peculiar dichotomy continues.  It’s soft given the strength, initially tasting of caramel, toblerone, almonds and vague molasses and vanilla (again).  Brine and olives. Spices – cumin, cinnamon, plus raisins, a certain delicate grassiness and maybe a plum or two (fruitiness is there, just understated).  Nope, it doesn’t feel like a completely cane juice distillate, or, at best, if feels like an amalgam leading neither one way or the other, and the close sums all that up.  It’s medium long, with salt caramel ice cream, vanilla, a bit of raisins and plums, a fine line of citrus, a little cinnamon dusting, and a last reminder of oaky bitterness in a relatively good,  dry finish.

What makes the Barbancourt 8 YO so interesting — even unique — is the way the makers played with the conventions and steered a center line that draws in lovers of other regions while not entirely abandoning the French island antecedents. It reminds me more of a Guadeloupe rhum than an out-and-out agricole from Martinique, with perhaps a pinch of Bajan thrown in.  However, it’s in no way heavy enough to invite direct comparisons to any Demerara or Jamaican product.

So, does it fail as a Key Rum because of its indeterminate nature, or because it lacks the fierce pungency of a clairin, the full grassy nature of a true agricole?

Not at all, and not to me.  It’s a completely solid rhum with its own clear profile, that succeeds at being drinkable and enjoyable on all levels, without being visibly exceptional in any specific way and sold at a price point that makes it affordable to the greater rum public out there. Many reviewers and most drinkers have come across it at least once in their journey (much more so than those who have tried clairins) and few have anything bad to say about it.  It’s been made for decades, is well known and well regarded — not just because it’s from Haiti, but because it also has a great price to value ratio. There’s a lot of talk about “gateway” rums, cheaper and sometimes-adulterated rums that are good enough to enjoy and savour, that lead to more and better down the road. It’s usually applied to the Zacapas, Zayas, Diplos and younger rums of this world, but if you ever want to get more serious about aged agricoles, then the Barbancourt 8 YO may actually be one of those that actually deserves the title, and remains, even after all these years, a damned fine place to start your investigations.

(#592)(84/100)

Other Notes

In a curious coincidence, a post on reddit that did a brief review of this rhum went up just a few days before this was published. There are some good links contained within the commentary.

Jack Iron Grenada Overproof Rum (Westerhall) – Review

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Jan 202019
 

The Jack Iron rum from Westerhall is a booming overproof issued both in a slightly aged and a white version, and both are a whopping 70% ABV. While you can get it abroad — this bottle was tried in Italy, for example — my take is that it’s primarily a rum for local consumption (though which island can lay claim to it is a matter of idle conjecture), issued to paralyze brave-but-foolhardy tourists who want to show off their Chewbacca chests by drinking it neat, or to comfort the locals who don’t have time to waste getting hammered and just want to do it quick time. Add to that the West Indian slang for manly parts occasionally being iron and you can sense a sort of cheerful and salty islander sense of humour at work (see “other notes” below for an alternative backstory).

Truth to tell, the Jack Iron is not strictly a Grenadian rum – even back in the 1990s and probably for long before, it was distilled and slightly aged (three years) at Angostura’s facilities in Trinidad, before being shipped to the Spice Island for final blending and bottling. It had its antecedents in local moonshine brewed in the Grenadines to between 70% and 90%, sometimes spiced up, sometimes not, with water used as a chaser, and was usually referred to as “Jack”. (Apparently there is a 99% version of this rum called “Carriacou 99%!” floating around as well, available only on the eponymous island).

Since we’re talking about an overproof column still product made in an industrial facility with minimal ageing, the pale straw colour is understandable, and one does not go in expecting too much. This makes the initial aromas of the Jack Iron somewhat surprising, because they’re actually quite good. It smelled light, sweet and almost delicate, like raspberries dumped into pear-infused water. However, this is deceptive: it lures you into a false sense of security, and actually it’s the fin of the shark that gotcha. Much more heated and forceful aromas become noticeable after the alcohol burns off – olives, brine, gherkins, some relatively mild fruit (watermelons, pears, papaya) but none of the heavy fleshy ones.

Everything turns on a dime when it’s tasted, where the full force of the proof is brought to bear. It’s hot, fiery, fierce. Alas, that heat also takes much of the taste away as well, so all you get is sharp bite without soft taste (the Neisson L’Esprit 70⁰ Blanc found a way around this, somehow, but not here). Essentially almost all the tastes bar a few that slip through, are killed cold stone dead and it takes some real effort to discern candy floss, very light fruits (same as the nose), vague vanilla, some florals, and even the Angostura 5 YO is better than this (while being much weaker). This does not appreciably change even when water is added, by the way, and while the finish is suitably epic, and you can pick out some marzipan and vanilla and watermelon juice (and that’s if you reach), at the end it’s just long and hot and sharp. And, I confess, boring.

To some extent this rum reminds me less of Angostura’s lightly aged offerings were they to be beefed up, than of the the Marienburg 90 from Suriname, and also St. Vincent’s Sunset Very Strong. The nose is really kind of nice – delicate, herbal, floral, like a velvet-wrapped stilletto; unlike the palate, which is just a sledge, simple, bludgeoning, direct, without subtlety or complexity of any kind. Of course it’s a mix, not a sip, and it would certainly ratchet up anything into which you dump it, so there’s that I suppose.

Like many overproofs, complexity is not what it’s about — it’ll never be an international festival favourite, being the sort of rum best had in the local backcountry or on a bartender’s back shelf. It goes down much better only after a couple of shots (with chaser), when just about everything somebody says becomes a masterpiece of scintillating wit or a blindingly intelligent insight. Just be aware that such a state of affairs doesn’t last into the next morning’s headache, which is really not the rum’s fault, but your own, if you had gone late into the night with your squaddies, daring to drink it like a Grenadian.

(#591)(74/100)

Other notes

When I listed the Jack Iron as one of the 21 strongest rums in the world, Vaughn Renwick on Facebook made this comment: “The history of Jack Iron is murky, but as far as I know from the mid 1900s at least and probably earlier, it was originally a ‘cask rum’ or ‘puncheon rum’ of high but indeterminate strength, shipped directly from Trinidad to Carriacou, a dependency of Grenada. Certainly it was the only place it was available until recently. I believe it was called ‘Jack Iron’ because if you were brave enough to drink it, it was akin to being hit by the iron handle used to turn a car ‘jack’. Because it was shipped in wooden casks it had a light straw colour. Possibly it spent some time in casks in storage after distillation.”

Clarke’s Court Superior Light Rum (2000s)

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Jan 172019
 

Rumaniacs Review # R-089 | 590

This spite of a light white — to give it its full name, the “Clarke’s Court Superior Refined Grenada Light Rum” – should not be confused with either the current version of the Superior Light being released at 40%, or the best selling and much better Pure White at 69%.  The one here is an older version of the rum, column distilled (Ed Hamilton’s 1995 book Rums of the Eastern Caribbean mentions a two-column still in operation around that time), aged for under a year, filtered to clarity and meant as a low level mixer.  You could argue that it’s meant to take on the Bacardi Superior with which it shares several characteristics, and perhaps it’s a holdover from the light rum craze of the sixties and seventies when cocktails made with such rums were all the rage.

As always when dealing with rums from even ten years back, there’s a dearth of information about the various iterations over the years and decades, and I lack the resources to go to Grenada and ask in person. Still, given that I bought this as a mini, and part of a single lot of rums dating back at least ten years, the “2000s” range of when it was made appears reasonable — and since there are other, more current 43% Superior Light rums from Clarke’s with Grenada shown as green on the label, it may even pre-date the turn of the century.  It’s unlikely that the recipe is seriously different.

Colour – White

Strength – 43%

Nose – Dusty herbal smell, very light, with faint notes of curry and massala. Fennel and rosemary, and a whiff of cardboard.  Provides some brine, sweeter fruity hints (pears, white guavas), and coconut shavings after some minutes.  Quite a vague nose, mellow, unaggressive, easy going.

Palate – Does something of an about face when tasted – turns slightly oaky, which is odd sicne it’s only been aged for a year or less, and then filtered to nothing afterwards.  As with the nose, probably best to wait a little – then some shy nuances of sugar water, apples and pears peek out, accompanied by coconut shavings again, and a touch of raw sugar cane juice.

Finish – Short, light, breezy, faint.  Mostly light fruits, flowers, and pears.

Thoughts – These kinds of whites are (or were) for easy beachfront sipping in a fruity cocktail of yesteryear, or in a local dive with a bowl of ice and a cheap chaser, to be taken while gettin’ tight in the tropical heat over a loud and ferocious game of dominos.  Nowadays of course, there are many other options available, more powerful, more intense, more pungent — and a rum like this is unlikely to be found outside back-country beer-gardens, tourist bars or in an old salt’s collection.  I mourn its loss for the lack of information on it, but not for its milquetoast taste.

(70/100)

Rum Nation Jamaica 1991 Supreme Lord VIII 25 Year Old Rum (Monymusk) – Review

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Jan 152019
 

Before considering the €300+ price tag, or grumbling about Rum Nation’s penchant for adding something extra to (some of) its rums, give the last Supreme Lord Jamaican rum from 1991 a whiff, a sniff and a snort. Sip a dram. Take your time with it. Enjoy. Because it’s simply outstanding, and even in concert with eight other Jamaicans that were on the table the day I tried it, it held up in fine style.  

Part of that derives from the extended “sherry finish” — though since it spent eleven years in oloroso casks I’d suggest it’s more a double maturation in the vein of Foursquare’s Exceptionals than a finish of any kind. And that influence makes itself felt right away, as scents of sweet rich honey, fleshy stoned fruits (peaches, apricots), raisins, leather, oak and vanillas in perfect balance boil out of the glass. There’s quite a bit of funk – sharp green apples mixing it up with rotting bananas – just less than you’d expect.  And here’s the peculiar thing — one can also sense molasses, caramel, a slight tannic tang and a flirt of licorice, and when that comes sauntering through the door, well, you could be forgiven for thinking this was actually a slightly off-kilter Demerara instead of something from Monymusk.

And for anyone who enjoys sipping rich Jamaicans that don’t stray too far into insanity (the NRJ TECA is the current poster child for that), it’s hard to find a rum better than this one.  The 55.7% strength is near perfect. It demonstrates great thickness, excellent mouthfeel, admittedly somewhat sweet, but very clean and distinct (which is to say, not near-smothered by a blanket of softening additives which so demeans many of El Dorado’s aged offerings) to allay my concerns about dosing. It tastes of Thai lemon-grass soup or a green curry (both for veggie saltiness and the sharper line of citrus), without ever losing the core heat and fruity over-ripeness of the bananas, soft fruit, black cherries, grapes and that faint whiff of licorice.  It has solid closing notes of hot black tea, more fruits (same ones), and is pleasantly, luxuriously long-lasting, reasonably firm, yet loses none of its snap and vigour.

What puts this rum over the top is the balance and control over the various competing elements of taste and smell; it’s really quite good, and even the finish – which sums up most of the preceding tasting elements – showcases that care and attention paid to assembling the profile.  It’s kind of a shame that only 750 bottles were issued and now, nearly three years after being issued, it retails for so much. But consider: when I tried it, it edged out the SL VII, held its own (and then some) against the Ping 9, Albrecht Trelawny, CDI Worthy Park 2007 8 YO, and cruised with ease past the AD Rattray 1986 25 YO.  If there was one rum that gave it serious competition, it was the EKTE 12, half as old and just as good (and also from Monymusk).

The rum continues along the path set by all the seven Supreme Lords that came before it, and since I’ve not tried them all, I can’t say whether others are better, or if this one eclipses the lot.  What I do know is that they are among the best series of Jamaican rums released by any independent, among the oldest, and a key component of my own evolving rum education.

It is with some sadness that I also note that just as it was the first cask strength SL, it is likely to be among the final ones to be issued, as it represented some of the last barrels of seriously aged Jamaican stocks held by Fabio Rossi.  He retained some Long Pond to make the superlative blended 30 year old a year or two back, and his attention is now more on the Rare Collection which supplant the Aged series…but whether you like the more recent offerings or the older ones, the pricier ones or the entry level iterations, there’s no doubt in my mind that the Supreme Lord rums (as well as their cousins the aged Demeraras), are among the top rums Rum Nation ever issued. And this one ranks right up there with the best of them.

(#589)(89/100)

Compagnie des Indes Jamaica 2007 8 Year Old Rum (WP) – Review

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Jan 122019
 

Hampden has been getting so much press of late that it’s only fair to have a look at the other products of the island, of which, these days, there are no shortages. For a long time these distilleries — with names geeks could recite in their sleep, like New Yarmouth, Innswood, Clarendon, Long Pond Monymusk, Worthy Park, Hampden — laboured in relative obscurity, living in J. Wray’s gargantuan shadow, selling mostly bulk rum abroad, or for the local market.

Somehow, though, the distilleries remained alive, and so did their names, their rums. While I’m by no means disparaging or downplaying the emergent reputations of these distilleries over the last half-decade or so as they began selling rums under their own brands, tropically aged and made in Jamaica (rather than just being a resource for others to tap), I think one of the reasons the layperson is even aware of them is because of the independent bottlers out of Europe, who for decades issued the occasional cask strength or watered down single-barrel release and kept the lesser-known marques of Jamaica alive.  (And that goes especially for WP, which was shuttered from 1960 to 2007.)

Most of the time, such bottlers never bothered with identifying the distillery of origin. Often it was just “Jamaica rum” and that was it. But in line with the recent interest in stills and distilleries (which perhaps originated in the Age of Velier’s Demeraras), the independents became more forthcoming with where their juice originated on the island.

This brings us to the Compagnie des Indes, founded in 2014 by Florent Beuchet, who, with the exception of their blends like the Dominador or Caraibes, has always placed rather more information than less on the labels of their rums – including that first set of cask strength bruisers marked “Denmark only”, which have caused nerds conniption fits and allowed the lucky Danes to preen unashamedly while glugging their personalized full proof juice. This one, distilled in 2007 (the first year of WP’s re-opening after being modernized) and bottled in 2016 at a solid 54.9%, was continentally aged and limited to 307 bottles, all of which ended up in Denmark.

Trying the rum in 2016, against its spectacular 7 year old brother (also from WP’s 2007 output) and again for this review, I was reminded how full proof Jamaican rums seem to step up their game and be ahead of living room strength rums by a country mile. It was lighter on the nose than the RN Supreme Lord 7 and Supreme Lord 8 which were also on the table that day; slightly funkier too, though restrained compared to the rutting jocks of the Hampdens or NRJ rums. Aromas of honey, dates, apricots, tart soursop and green grapes mixed it up nicely with some brine and olives, and a sly hint of flowers emerged after adding a few drops of water.

The palate was where it shone. It was warm, spicy and very clear, tasting immediately of brine, light nail polish remover, and also of lemon sherbet and mango ice cream. It presented firmly on the tongue, somewhat sharp without any jagged edges of confusing or conflicting tastes; as it opened it provided flavours of paint thinner, varnish and sweeter acetones, accompanied by light funk, vanilla, slightly bitter oaky tannins, which were in their turn superseded (but not eclipsed) by some caramel and brown sugar, dill and lemon zest. Really good balance, really well put together. It ended with a delightfully long and cruising finish, warm and solid, providing mostly tart background notes of half ripe mangoes, peaches, some caramel, and the vaguely bitter strength of some very strong black tea sweetened with condensed milk.

Worthy Park rums are interesting variations on the Jamaican style. Appletons are well made, elegant blends with a laid back sort of profile, while Hampdens are fiercely luxurious funk bombs, and Monymusk and New Yarmouth seem to exist on another plane of existence altogether (perhaps because they are relatively less well known). Worthy Park rums, though (those that I’ve tried, anyway) are light, crisp and clean, ester-rich, with delicate and precise lines of commingled flavour coiling through each and every one of them, only occasionally exploding into something more aggressive, and usually resting on a softer background that makes for a lovely sip.

Now, their own new tropically aged rums issued over the last few years are small masterworks (I think), yet we should not ignore the sterling efforts of the choices the independent bottlers made either, both before and during the current Jamaican Renaissance. This excellent rum is a good example of why that statement can be made, be absolutely true, and it burnishes and elevates the reputation of a distillery that is finally getting the respect it should have had long ago. I’ll be trying quite a few more of their rums in the months and years to come, that’s for sure.

(#588)(87/100)

Other Notes

  • For further reading on Jamaican rum distilleries, a good starting point is The Wonk’s Jamaican Cheat Sheet.
  • As far as I know the distillation apparatus is a Forsythe’s copper pot still

Rhum J.M. Vieux Millésime 1989 15 Year Old

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Jan 092019
 

Rumaniacs Review #088 | 0587

You’d think that a rhum issued less than fifteen years ago would still be reasonably available – you’d be wrong. This amazing leather-labelled, oak-aged 15 year old agricole from J.M. (Martinique) is almost impossible to find, and if you do, it’s not cheap.  It’s long since vanished from J.M.’s online shop, and I finally ended up tracking a bottle down in Switzerland, where it was a fetching a cool five hundred bucks or more, which just goes to show it’s not just other people’s money the Swiss are squirrelling away.  One can only wonder how many (or how few) bottles of J.M.’s juice made up this millésime, or how good it was, for it to disappear so completely.

Colour – Gold

Strength – 45.8%

Nose – Starts off with a small bang of rubber and acetones. Then sweet peppers, floral notes; turns out it’s also chock full of strawberry bubble gum, vanilla, herbs, apple cider, unripe papaya, cherries and something deeper and darker that stays well in the background….spoiled mangoes, maybe.  Really nice, but it doesn’t reveal its secrets easily.  You could nose this for an hour (which I did) and still come up with some last wispy and near-unidentifiable note.  Because it’s just lovely, a nice departure from heavier Jamaicans, Guyanese or Bajans.

Palate – Not quite as rich as the nose, which is a factor of the strength. Okay, I’ll cut it some lack for now, let’s see how that works out. Flowers, sweet fruits, vanilla, leather and aromatic pipe tobacco. Watermelon, grass and sugar water, also dill, rosemary and sage.  The rum’s textire is smooth and warm, there’s very little sharpness here, and the balance among all these subtle flavours is damned fine.

Finish – Not too inspiring, somewhat weak and nothing really new.  It’s light and breathless as if, having used up all its energy providing the nose and palate, it had little left to cough up.  Flowers, light fruits, watermelon and pears, and a little vanilla.

Thoughts –  Some concentration and work required here, but it’s rewarded right up to the finish.  It’s all very light, that’s all – and has a snappy sort of crispness that makes every flavour stand out clearly – you could spend a whole afternoon sipping casually away and then wonder when the bottle went dry. The close is disappointing though, and leaves one wanting more – it’s too good to be indifferent to it, but too indifferent to be really good.  Other than that, this is a really fine piece of work by J.M. — the way it smells and tastes, and possibly the limited outturn, goes a long way to explaining how come the thing is so rare…and so expensive.

(85/100)

Other notes

I’ve written about other J.M. rhums before this and provided some brief biographical notes of J.M.’s background in each, but if you want more details, the Wonk-in-Residence has his usual in-depth recap here, and here.

A1710 2017 “La Perle” Martinique White Rhum – Review

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Jan 072019
 

After the initial flurry of articles attendant on the forming of the first new distillery / rum brand in Martinique in, oh, I don’t know, forever, there’s been a surprising drop in attention for A1710. The big guns like Neisson, Bally, HSE, Trois-Rivieres, Depaz et al, with decades (or centuries) of brand awareness underlying their name and fame, continue to issue their excellent agricole rums, of course, but it’s almost like A1710 dropped by the wayside.  Yet this tiny outfit makes rums with a lot of zip, zap, zowee and swoosh, and should not be ignored just because it’s small.

A1710 is the first attempt in a long time to shake up Martinique’s well known rum industry, being created in 2016 as a micro-distillery for Habitation Le Simon (not to be confused with the distillery of Simon, though they’re close by), which rubs shoulders with Clement on the mid eastern side of the island.  The estate’s roots go back to 1710 when the founder, Jean Assier, arrived on the island (hence the “A” in the title) and founded the sugar plantation, which seems to have been family owned and operated as a sugar estate ever since. Yves Assier de Pompignan, the 50-year-old who created the brand and founded the distillery in 2016, first made a career in stationery and office supplies before accepting his True Calling, perhaps channelling the family heritage — a great-grandfather owned the current factory of Saint-James, a grandfather owned of rum brand, his father is a cane agronomist and he has connections with the Hayot family as well.

What distinguishes the small distillery is that it did not chase the AOC designation (they have creole column still, ferment juice for around five days and reap cane year round, to name some points of divergence), and its organic focus, which eschews the more mechanized bulk approach taken by bigger competitors.  I usually nod and smile at such statements, but when the results are as good as these, who am I to rain on their parade? Besides, it’s canny – there’s a market for such niche products made as free from technological interference as possible, and I’m sure A1710 knew and bet on that. 

And after all is said and done, the white rum they make is excellent.  Just nosing this 2017-issued 54.5% product makes that clear: it’s sparkly, sprightly sugar water with a light tinge of brine. Olives, nail polish remover, turpentine, floor wax, freshly sawn lumber and sawdust.  Cider gherkins and apple cider. Very impressive because it never loses sight of the creole still origins and even after half an hour it still coughs up some earthy notes, well polished leather and a lovely thread of green apples.

Moving on, the flavour profile on the palate is nothing short of impressive. It comes smooth and warm across the tongue, providing warm notes of sugar water, watermelon, papaya, licorice, sweet bonbons, grass, and pungent lime leaves in a thai curry.  The rhum displays real potency without overcrowding the taste buds with either too much power or excessive complexity, a perfect combo of sweet and salt and herbals in a complex interplay of citrus, grass, cilantro and 7-up. It’s almost cachaca-like, minus the bitterness of strange Brazilian woods. The finish was okay but things start to slow down here, and it (fortunately) stops just shy of being bland – the heat carries off some of the taste and closing aromas but there was lime leaves, gherkins and sugar water, getting sweeter and more delicate (but always crisp) over time. It reminded me a lot of the J. Bally Blanc agricole, but was a smidgen better, I’d say.

When Cyril of DuRhum rendered one the first online opinions of A1710 and both their 2016-edition whites and aged rum selection, he wrote honestly (and disparagingly) about the flowery marketing push and the price, especially the aged ones. Fast forward a year or two and the online-store costs for the 2017 white written about here are pretty much in line with others of their kind; and the marketing, well, every company under the sun trumpets its niche advantage and special something – I yawn through the usual adjectives and hyperboles anyway so it doesn’t trouble me unless it’s an out-and-out falsehood and has no real info behind it. Putting that aside, what I appreciated about A1710 was the courage it took to open the eighth distillery on the island at all, against some formidable competitors.  What emerged at the other end was a white rum of real quality which possessed a solid taste profile and whether known or not, can take its place without apology alongside all the other blancs that may be better known and sell more. That’s a real achievement, for a company this young.

(#586)(85/100)

Toucan Rhum Blanc Agricole – Review

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Jan 022019
 

There must be something about the French that just leads them into starting little rum companies in other countries. There was Hembert Achard and Anne-Francois Houzel who formed Whisper Rums from Antigua; David Giallorenzo of Issan; and Marine Lucchini and Thibault Spithakis of Chalong Bay. And of course there’s Toucan, which, if you recall from my posts of a year ago, is a relatively new entrant to the field of rums, yet distinguished itself (in my eyes at least) by making the really nifty-but-underpowered Toucan No. 4, as well as being from French Guiana, a place we have not seen or heard of enough when it comes to rums.

All these companies are small, discreet and self-effacing…almost humble.  Oh sure, they use social media and have slick, marketing-heavy websites and show up on Facebook feeds off and on – who doesn’t, these days? – but what distinguishes them (to me) is both their relatively low-key digital footprint, and their equally unhyped but surprisingly good young rums.  Especially the white ones, which I simply can’t get enough of. In this case, the 50% blanc.

Toucan makes a vanilla (I think this is No. 1), the Boco spiced rum No. 2, the No. 4 slightly aged rum and but for my money this 50% white is the best of the lot. It’s made from cane juice processed at French Guiana’s St. Maurice distillery, and then shipped to Toulouse where it stays in neutral steel tanks until ready for bottling, after being reduced to 50%.

What’s nice about it is immediately summarized by a nose of uncommon delicacy and (oddly) also of heft.  It smelled of sweet light fruit – pears, watermelon, green grapes – but also of salty brine and olives, furniture polish, and something barely noticeable yet also…meatier.  In that it reminded me of the Novo Fogo, though with rather more emphasis and braggadocio, due in no small part to the 50% ABV it was bottled at.

The palate continued that unhurried unfolding or flavour.  It was smooth and pleasant (with a little nip from the strength, no getting away from that), initially tasting of fanta and 7-up, light citrus peel, pears again, a few indeterminate ripe fruits, and (get this) those salt-and-vinegar pringles chips. It was aromatic and redolent of these, and the salt and the sweet and the fruity notes melded nicely in a minor key that didn’t overwhelm, just led slowly down to a gentle finish which gave last hints of marzipan, sugar water, toblerone and nougat.

I must admit that furiously raw clarity of flavour and a powerful terroire profile is not this rhum’s thing.  In fact, it’s rather restrained, almost demure, with each flavour shyly coiling out of the mix to tease and titillate before quietly subsiding, much like many of those Asian white rums I’ve been trying of late – Issan, Vientiane, Chalong Bay, Laodi. Like them, the Toucan white straddles the divide between too much and too little, between pillow and hammer, and finds the balancing point between them all.  It’s an unassuming but really good white rum, one of an increasing number of unsung heroes of the blancworld which one should try for no other reason than to be pleased by something that wants to do nothing else.

(#584)(83/100)

Seven Seas Japanese Rum – Review

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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)

St. George Spirits California Agricole White Rum (2014) – Review

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Dec 282018
 

Just as we don’t see Americans making too many full proof rums, it’s also hard to see them making true agricoles, especially since the term is so tightly bound up with the spirits of the French islands.

Agricole, let it be remembered, is the French term for agricultural rums made from pure sugar cane juice, and called such to distinguish them (not without a little Gallic disdain, to be sure) from traditionnels, or traditional rums, which are made from molasses, a by product of the sugar making process. For the most part, having much to do with the finances, molasses rums are much preferred by producers, because the issues of storage and spoilage which afflicts cane juice (it can go bad in just a few days) – that’s one reason why agricoles are closely associated with actual sugar estates with a distillery nearby – not always easy in a country the size of the USA where there is much greater separation between the two. (Note also: by EU law (but not that of the US) the term “agricole” can only be used by French Overseas Departments (Martinique, Guadeloupe, Reunion and French Guiana) and Madeira…nobody else. A lot of distilleries the world over ignore this in practice, until time comes to sell their product in the EU)

St. George’s, a 1982-established California distillery much better known for its gins, absinthes, vodkas and whiskies, get their fresh cut cane from Imperial Valley just to the east of San Diego along the Mexican border, and when a load comes in, they crush it immediately, add the yeast and ferment (duration unknown) before running it through a pot still (Josh Miller spoke of a hybrid pot/column still when he visited them in 2013 but St. George’s wrote to me and said “pot” for sure).  The resultant spirit is rested for a short while in stainless steel tanks, with some being drawn off to age for a few years in oak, the rest being bottled at 43%. My version was based on the 2014 harvest according to the sample info, and was therefore issued in that year.

On the nose…oy!  What was this? Vegetable soup, or (take your pick) meatballs, dumplings, dim sum or spring rolls…that kind of thing.  Also vinegar, soy, pickles and fish sauce, a pot of brine and what felt like three bags of olives. Behind all that is a sharp edge, like a red wine gone off somehow, and whatever fruits there were took a reluctant step back – so much so that the first thoughts that ran through my mind as I smelled the rum was it was a low rent clairin that tried for the brass ring but ran out of steam.  Still – nice. Adventurous. Different. I like that in a white rum.

Alas, the palate, after that jarringly original overture that so piqued my interest, seemed to go to sleep, a function of the 43% ABV maybe, and a reminder that pungent rums like unaged whites don’t always succeed when dialled down to a somnolent standard strength.  Still, it did wake up after I ignored it for a bit, and gave a twitch of sugar water and watermelons, fresh-cut pears, vanilla and citrus, very light and very pleasant. Yes there was a sort of creaminess and black bread, behind which lurked the brine and olives (lots of both), but the rum seemed to have problems deciding whether it wanted to be a crowd pleaser or something truly original such as the nose had promised, and the finish – long, dry, salty, lightly fruity, sweetly watery – just followed the palate into a docile conclusion.

Truth is, the whole experience was schizophrenic – it started off with fire and smoke and major f**ken attitude, then just lost its mojo and sagged against the wall.  For all the unbalanced helping of crazy with which it opened, I liked that off-kilter nose a lot better than everything that followed because it showed all the potential that failed to be realized later on. An unaged pot-still white should be a little off-base – anything else and you have a mere cocktail ingredient and there are already enough of those around.

That said, it’s not that I actively disliked the rum…just that I felt there was nothing serious here: nothing badass that dared to offend…or inspire (say what you will about the TECC and TECA rums from NRJ and their barking-mad taste profiles, they had real balles).  So, at end, it’s a light alcohol with great promise (how it smelled) and too little follow-through (palate and finish). Cyril of DuRhum reviewed this same edition, scored it at 77 and provided some great details on the company, and it was tasty enough to make Josh Miller wax rhapsodic in 2013 when he visited the place, tried some and recommended it highly both by itself and in a Ti-punch (you need to read his 10/10 scored review as a serious counterpoint to mine and Cyril’s) – but here I have to be somewhat less enthusiastic based on my own tasting five years down the road.

(#583)(76/100)

Other notes

  • Neither this rum or its lightly aged brother is listed on the St. George’s website.  When I touched base with them, they sadly informed me that because of the difficulty of acquiring fresh cane, they have ceased rum production for “a number of years,” though they remain on the lookout for new and stable sources.  For the moment, they’re not making any.
  • An irrelevant aside to this review is that I inadvertently tried it twice: once in 2017 based on a sample sent to me (totally blind) by John Go; and the second time in 2018, this time one I bought on a whim.  In both cases my tasting notes were practically identical, and so was my score.  I think this is an innovative, intriguing rum from the US which can and should be tried if possible.

 

Hampden Estate 8 Year Old Overpoof Rum – Review

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Dec 242018
 

My own personal memories of the Hampden Overproof will always be combined with the Tasting of the Century in London, where we tried those magnificent old rums the Harewood 1780, St James 1885, Bally 1924 and Skeldon 1978…and the two new Hampdens. Truth to tell, my focus was so fiercely on that geriatric quartet, that I had little time to pay attention to the twins….time kind of ran out on me, and I could barely do them justice. So knowing I had the bottles in Berlin, I waited until October and then dealt with them there again.

Velier, as is now quite well known, has dibs on the distribution of Hampden rums from 2018 (and, I think, 2019) through their new organization of La Maison & Velier.  Both the 46% and the 60% versions of the rum are the same, the former just being diluted down, so in this review I’ll be talking about the overproof version, although the notes are the same for either, with the strength being the only true variable.

Technical schtick for the rum curious: what we have here is a rum based on fermentation with wild yeast, distilled in 2010 on a double retort copper pot still; the ageing was fully tropical for eight years and it was bottled in 2018; the level of esters was not disclosed except insofar as to note it was “very high”; and of course, no additives of any kind, not sugar, not colouring, nothing.  All of which, by the way, is on the hugely informative label that in its graphic detail is somewhat at odds with the famed Spartan labels of yore, but never mind. One thing that isn’t on the label is the outturn, but the source was 31 barrels, so assuming a 6% angel’s share per year, we can estimate that around 10,000 bottles were released into the global market.

What always surprises me about Hampden rums is how relatively restrained they are, irrespective of the strength.  You expect that say, from an exquisitely blended Appleton, and certainly do not from Worthy Park offerings which cheerfully lunge out of the bottle like a hungry face-hugger, yet Hampdens find a sweet spot between the two that is nothing short of delectable.  The nose is a combination of soft and crisp, initially redolent of pencil shavings, paraffin, varnish and sawdust, bitter chocolate, unsweetened cocoa, damp, freshly turned earth and tar, and, like many such strong rums, rewards patience as these aromas develop, and then fade.  They are then replaced by green grapes, unripe mangos, and lots of sharper, unripe-but-sweet fruits, balsamic vinegar, sweet gherkins and a very nice background of aromatic tobacco and port-infused cigarillos.

Ah, and the taste – really nice.  Strong and bordering in sharp, yet even at 60% ABV it presents as amazingly controlled, even moderate.  The tastes are all there, deep and intense, rolling easily and crisply across the palate, yet not so ester-heavy as might be inferred from the label.  You’d laugh when I say that I tasted well-oiled leather and sweaty shoes, and then take comfort in more traditional flavours of brine, olives, maggi cubes, cardboard, black bread and cereals (there’s a sort of creamy aspect to the whole experience I found very pleasing), which formed a bed upon which dates, figs, crisp peaches and pears and mangoes rested easily, dusted over with a lovely hint of cumin and cinnamon and lemon peel, leading into a crisp, snappy finish that sumed things up nicely, mostly with sharper fruits and crushed hazelnuts, lemon zest and that odd bit of tar from the nose making a belated appearance (perhaps out of mischief).

It’s possible that gently diluting the rum to about 55% from 60% might make it more approachable and an easier drink: for my money, it’s damn near perfect for what it is, a really well blended Jamaican which even Sandor Clegane might like, something that enhances the street cred of both estate and country.  It requires, like all full-proof, dunder-squirting yardies, some patience; it’s a drink to savour, not swill, and is an exemplary rum in almost all aspects of its profile.

I’ve remarked on more than one occasion that my appreciation for righteously funky Jamaicans vacillates between Worthy Park and Hampden (though it must be acknowledged that Plantation is making inroads, and the Compagnie’s New Yarmouth rums also deserve a place at the table).  It’s when you try something as powerful and tasty as this that you understand why the comparisons can and need to be made. We are living in a Golden Age of new Jamaican rums, where pole position is being taken over and held by exactingly made blends produced by the distillery of origin, retaining all their unique heritage and profiles, rather than an unknown mix marketed under the uninformative sobriquet of “Jamaican rum”.

What seems to have happened is that after years and decades of somnolence, rum aficionados gradually got acquainted (or re-acquainted) with estate-specific rums from Jamaica that weren’t Appleton as a consequence of  the efforts of the continental independents.  Through the limited single cask releases of a few hundred bottles here and there, we began to recognize the individuality, the idiosyncrasy – the sheer dynamism – of Monymusk, of New Yarmouth, of Worthy Park…and of Hampden. That gradually-building groundswell of appreciation has turned into a roaring wave in 2018, and this edition of a really superlative rum is the result – thousands of bottles, not just a few hundred, all coming from Hampden, all made and developed and aged there, and meant for all of us who love the massive taste bombs out of the island. It is, in my own estimation, one of those rums whose reputation will only increase with the passage of the years, and to have tasted the first versions out of the gate was and remains nothing less than a privilege.

(#582)(89/100)

Other Notes

Luca Gargano has made it clear that these are not Velier rums – his company is just the distributor.  I chose to believe his fingerprints are on the bottles nevertheless, most likely in the selection of which 31 barrels made up the blend.  However, in accordance with his wishes regarding attribution, I have not referred to this as a “Velier Hampden Estate Overproof Rum.” Though I think many of us harbour our own thoughts on the matter.

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