Depaz Rhum Vieux Agricole “Plantation” – Review

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Mar 282022
 

Rum and rhum aficionados are no strangers to Depaz, the distillery on Martinique now owned by Bardinet-La Martiniquaise. The sugar factory and (later) distillery had once been a family operation — the Depaz family from Livorno in Italy had been part of Martinique society since the 1700s — and was in existence even before its destruction by the eruption of Mt. Pelee in 1902. The estate’s modern history can truly be said to have begun with the reconstruction of the distillery in 1917; their immediate success at rum-making could be inferred from their winning of medals at the Marseille expos of 1922, 1927 and 1931, at a time when French island rhums were hardly very well known (even Bally only started making the good stuff around 1924). In 1989 the head of the family at the time, André Depaz, allowed a long time customer and distributor, the Bardinet Group, to take over Depaz, and in 1993 La Martiniquaise, another major spirits conglomerate who already owned Dillon, bought a controlling interest in Bardinet, and so remains the current owner.

The technical specs for this rhum are quite normal: cane juice source, column still distillate, a blend of rhums aged three years or more, 45%. Although these core stats have changed very little over the decades, I have to be honest and admit I’d be interested to see what some 1960s or 1940s versions taste like and how they compare (like Olivier did, here). Because there’s little to find fault with in this rhum. It presents an opening nose that is very nice, almost delicate, redolent of vanilla, flowers, white fruit plus watermelon and cane juice and sugar water. The almost quintessential agricole profile, yet even the relatively brief ageing period allows deeper notes ot be discerned — caramel, peaches, peas, brown sugar, that kind of thing. Stays light and clean, adding some saline and bananas at the back end.

That’s quite an intro from a rhum positioned as entry level, not costing too much, and quite young. Admittedly, the palate is not quite up to that level, but it’s not too shabby either: it presents a bit rough and sharp and spicy at the beginning, until it settles down, and then it becomes softer and warmer, like a scratchy old blanket you use on the sofa while watching TV. Sweet caramel, coconut shavings, vanilla, sugar cane juice, pears, apples, very ripe cherries and black grapes, are all noticeable right bout of the gate. The edges have not been entirely rounded off with some further ageing or blending, so much of the young and frisky nature of the rhum comes through, like a half-grown long-haired mutt that hasn’t quite adjusted to its strength. The finish is sharpish, medium long, mostly sugar water, citrus, herbs, toffee, some fruits and a light hint of lemon grass.

Depaz’s rhums have always been available in France, but there were few reviews around even from the old stalwarts of the online reviewing ecosystem from that country, perhaps because people tended to go for the more upscale editions like the distillery’s millesimes and indie bottlings rather than the “standard” line which this is — yet for the budget-minded cognoscenti, Depaz’s starters of the blanc, the XO and the Vieux are actually really quite good and shouldn’t be dismissed out of hand. Fortunately, even for those who don’t want to spring for the full 700ml, gift sets in smaller sizes are available for the penny pinchers among us, such as the one I bought.

And I’m wondering if I shouldn’t have dropped a bit more coin on the whole bottle, because overall, although I feel it’s a rum better served in a Ti punch than on its own, it isn’t so bad that it can’t be had neat. It’s subtle and more complex than it appears at first sight, moves at an angle to the full-out grassy-herbal profile of a recognizable agricole, yet succeeds remarkably well – it explains why the aged offerings are so highly regarded and sought after, because if something this young can be made so well and taste so good, then what must they be like? To some extent, trying this rum is an affordable answer to that question.

(#894)(82/100) ⭐⭐⭐½

Other notes

  • You will observe that no controversy has ever been attached to the name of this rhum.
  • As with most other distilleries on the island, Depaz adheres to the AOC regulations so one can drink their rums with confidence that there’s been no mucking around with anything dodgy.
  • Other reviews one can find are the Fat Rum Pirate’s 2020 review (four stars), Rumtastic’s 2019 ambivalent and unscored review and Single Cask Rum’s evaluation from 2019 (85 points).

Killik Handcrafted Silver Overproof – Review

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Mar 022022
 

Photo (c) Killik Handrcrafted, from their website.

When reviewing the Gold (rum) produced by the Melbourne-based distillery of Killik Handcrafted, I was less than enthusiastic, grumbling and mumbling that the mildly aged rum would impress in five years but right now was mostly potential with not enough follow-through. I made those remarks because I knew there was a rum in their portfolio that proved the skills did exist and which really did impress me, and it wasn’t aged or set in a barrel or anything: it was their full proof 59% unaged white.

For the curious: Killik handcrafted is a small rum distillery started by the brothers Ben and Callan Pratt in 2019 (more background in a separate mini-bio here). They have a hybrid thousand-liter still that allows multiple configurations including that of a 4- or 6-plate column still, or a pot still; also make other spirits for cash flow; use molasses as the base; and have a local cooper help with getting barrels. They proudly represent themselves as the first hogo-centric distillery in Victoria (the Australian state in which Melbourne is located) because they love messing around with fermentation and cheerfully play with dunder and muck holes and wild yeast to see if they can bring some Cockpit to Killik.

Thus far the majority of the stocks they have laid down to age have been pot still distillates, and we have yet to see any of those aside from the Gold; on the other hand, the unaged whites of the Silver and the Silver Overproof are all column still spirits. Which is interesting because usually, when we hear of unaged whites dripping from a column still, we tend think rather more of the French Caribbean islands, or Reunion, even some of the new Asian outfits — not Australia. But that would be a mistake, because even if they don’t use the pot still for the unaged Silver, Killik is closer to those two badass Jamaicans, Hampden and Worthy Park… in spirit, in production and in results.

And what a result this was indeed. I can’t speak for the standard proof Silver which I haven’t tried, just the overproof, but I gotta say, it’s made so well that Jamaican rum lovers might want to cast a covetous eye over Down Under. Consider first the nose: “Damn!,” went my first notes, expressing some surprise, “Seriously, deeply, pungently, sharply fruity-sweet.” It’s redolent of the tip of a marker squeaking over a new whiteboard; strawberry milk shakes loaded down with extra vanilla ice cream; tart fruity yoghurt. There’s a bagful of sour-sweet fruits – apples, kiwi fruits, hard yellow mangoes (with an odd spicy scent that reminds me of those coming from Sri Lanka). In an odd reversal of standard, the glue, acetones and solvent come late to the party, swirling around a core of peaches and pineapples and very ripe apricots and bananas. They sure weren’t kidding about going for the hogo.

The heat of the 59% comes into its own on the palate. That sharp spiciness attendant on that strength is unavoidable, yet at no point is it really unpleasant: what it does is provide a rock solid foundation that makes each taste not some faint wispy sensation breathily experienced and instantly gone, but something of distinct force. It starts off with acetones, nail polish remover, flowers and fruit juice, and none of the undesirable rotting-midden scents that admittedly add character when assembled properly, but so often detract from the overall experience when not. It’s nicely sweet, displays some interesting spices – cinnamon, rosemary, cardamom, even a whiff of chamomile – plus musky fruity flavours that develope really well. Green peas, bananas, orange peel, bitter chocolate and coffee grounds, laban, slightly sour milk all get mixed into the taste profile, and it all comes to a long, dry and heated conclusion that is always crisp with distinct ripe fruity notes and some vegetable coordinates well dialled in.

This is one seriously good rum. I mean, it goes down so well — the flavours just pop, it hits all the high notes and at no time does it feel like it’s out of control and just hitting you with its junk because it can. It’s sweet but not too much; sour but not mouth-puckeringly so; musky within reason, sharp without cutting, and flavourful without throwing the spice cupboard at you and then following up with the kitchen sink. It’s a curiously cultured back-bar brawler that is unashamedly partisan in its inspirations, honestly hearkening back to its stated Jamaican antecedents without apology even as it goes its own way.

I tried the entire 2021 Australian Advent Calendar sample selection over a period of days in December last year, and this was the one that to me, of all the whites, stood out. It not only exceeded those in whose company I tasted it, but handily eclipsed its own siblings and proved once again (as if it needed to be proved at all) that unaged white rums of power are among the best value for money rums out there. With Killik’s Silver Overproof, unlike the Gold, I don’t want to wait five years to see what else they can do with it. I want another bottle right now.

(#889)(86/100) ⭐⭐⭐⭐

Other Notes

  • As with all the Australian rums reviewed as part of the 2021 Aussie Advent Calendar, a very special shout out and a doff of the derby to Mr. And Mrs. Rum, who sent me a complete set free of charge. Thanks, as always, to you both.

Mía White Rhum Agricole (Vietnam)(2019) – Review

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Mar 012022
 

Commercial publicity still

Rhum Mia is the product of a small distillery in Vietnam’s Ho Chi Minh City, run by two expatriate Frenchmen and which opened for business around 2017. I’m interested in eastern hemisphere rhums as part of my overarching fascination with all the branches of the rum tree, and while aged rums and rhums and rons not unnaturally get all the attention, the white rhums from that region are gradually beginning to gain more traction, and they exert a powerful fascination.

A few years ago I was gifted a sample by Reuben Virasami (the showrunner of Roob Dog Drinks which is well worth visiting) from this small outfit in Vietnam. I spent a fair amount of time on it and the backstory of the distillery, which I’ll add down below: but suffice to say, they continue to issue small batch cane juice rhums on their small column still, and these are then aged – I use the term carefully – in clay pots called chum which are also and traditionally used to hold local rice liquors during fermentation.

Clearly if there is any residual effect of these vessels, it would result in a taste profile that presents at an angle to more familiar agricole-style rhums, whether aged or unaged. I am not fully conversant with the way in which clay vessels impact the taste of a rum, since serious experience is lacking here, but at the least I would expect many of the herbal, grassy, “green” notes to be retained. The initial 2018 expression did have those but seemed too weak for its purpose, no matter how unusual and unique it was, and to some extent that continued a year later with the 2019 release which came into my hands via John Go in the Philippines (he writes most of the rum reviews for Malt-Review).

The rum retained the makers’ tradition of being bottled at 45%, and there were many similarities with the previous year’s rhum: the smell continued to reek of glue, bookbindings, and the newly cracked pages of a glossy French fashion magazine, rubber and plastic. But there was a rather unpleasant scent of damp cigarette smoke – the way it hangs in the air on a cold winter day, or smells when adhering to the latex gloves of your least favourite proctologist – and this did little to enthuse. It was only after some minutes that I could discern some sugar water, cucumbers, gherkins in light vinegar and one anaemic pear, and a curious minerally smell. Overall it seemed less a rhum than a spirit with some rummy components.

On the palate, that cigarette ash note never really went away, though thankfully it remained subtle, joined by damp drywall, glue and dust for a few minutes, and then fading gently away. From that point on, the dominant flavours were watery fruit – pears, watermelon, white guavas, kiwis, ripe soursop minus the “sour”, and yoghurt. Melons, papaya and some lemon-flavoured sugar water raised the profile a bit, though there was also an odd minerality sensed here and there, something along the lines of licking wet granite. The finish was all right – light watery fruits, a touch of lemon zest, some grassy notes, and a touch of rosemary and dill.

Second to last glass on the right…..

After this experience, I hauled the Rhum Mia from the previous year out of the sample box in the basement and tried it again. The notes were pretty much on point and my memory had not failed: that one was intriguing but not really exceptional and scored on the median, and because it was an early variation, it held the promise of improvement as time passed and experience was gained. Alas, the 2019 edition is more of a disappointment. It wasn’t as if it lacked interest, was bereft of originality and even some punch: not at all, it had what it had and was a touch more distinct than its predecessor…it was just not as pleasant to drink. Somehow the herbal grassiness and tart fruit part of the profile had been dialled down while allowing less interesting notes to make up the difference. That, I’m afraid, was not to the rhum’s benefit…or to mine.

(#888)(73/100) ⭐⭐½

Other notes

  • Thanks, of course, to John, who keeps sourcing interesting an offbeat rums for me to try and which he steadfastly refuses to label until after I’ve tried them.
  • We’ll take a look and see if the 55% bumped-up edition holds more promise in a week or two

Background Details

Saigon Liquorists — the name of the small company behind the Mia brand — is the formally incorporated enterprise of two expatriate Frenchmen Clément Jarlier and Clément Daigre, who saw the cane juice liquor being sold on the streets in Ho Chi Minh City and smelled a business opportunity. The fact that one was involved in spirits distribution in Vietnam while the other had both broker experience and knew about the distillation of cognac helped establish things, cince they already had some background in the industry.

Sourcing a 200-liter single column still in 2017 from China, they obtained fresh cane, then the juice, experimented for three months with fermentation, distillation, cutting, finally got the profile they were after, and rolled out the first Rhum Mia in October that year at a charity gala. In their current system, the sugarcane comes from Tien Giang in the Mekong Delta, just south of Ho Chi Minh City. The sugarcane is peeled (and that peel is discarded), and pressed once to get the first juice. That is then vacuum-packed in 5L bags and loaded into refrigerated trucks (this slows down fermentation), which transport the bags the 70km to the distillery.

There fermentation is begun and lasts about five days, before being run through the small column still – somewhat more heads than usual are cut, which reduces the flavour (but also the hangover, apparently), and what comes out the other end is around 77% ABV. The rum is rested in inert, locally-made traditional clay vessels (chums, used in rice liquor fermentation in Vietnam) for eight months and then slowly diluted with water over the final two months to 45% – a strength chosen to appeal to the local market where Mia’s initial sales were made.

 

Berry Bros. & Rudd 2004 9 YO Haitian Rum – Review

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Feb 072022
 

This is one of those times where I’ll circle back and fill in the detailed background later, since even a summary of more than three centuries of company life will still probably put the disinterested to sleep.

In brief, Berry Bros & Rudd (or BBR) is a London-based wine and spirits enterprise (they have branches in several other countries) who dabble in their own bottlings of rum from time to time. They were among the first indies to capture my attention back in 2012 or so with an extraordinary 1975 Port Mourant, but nowadays their star shines somewhat less brightly and few speak of their rums with the reverence they once were thought to command.

This rum sort of exemplifies why: it’s a rum from Haiti about which just about nothing can be found and is listed only in a few online shops which provide a bare minimum of detail. It’s never come up for auction, is not on Rum-X’s database and nobody has reviewed it as far as I can tell. Neither Single Cask Rum nor Barrel Aged Thoughts, in their company bios, have even listed it, but then, nobody has a complete listing of BBR’s rums.

Based on the label and other sources, it is distilled in Haiti in 2004 – this of course immediately implies Barbancourt, the major and most renowned rum maker on the half-island and the only one who exports bulk to Europe where BBR would have picked up a few barrels. As was customary a decade ago, the rum was released at 46% ABV and is column distilled, though whether molasses based or deriving from cane juice is unknown (I have little faith in the spelling convention of “rum” versus “rhum” on the label to determine the source).

That out of the way, what’s it like? It is, on initial nosing, quite pleasantly fruity and musky…but not herbal or grassy (suggesting but not confirming a molasses origin). Apples, raisins, dates and black grapes are the initial scents, followed by dark red cherries and a lingering ripe pineapple background that remains perceptible throughout. Once the rum settles down – it’s a bit thin at 46% and from time to time bites like an underfed, rice-eating, flea-bitten mongrel if one approaches it carelessly – there is a deeper note of honey, light molasses, pencil shavings and cream cheese on sourdough bread.

Some of this carries over to the palate, but not all. It tastes nicely of brine and a lightly salted trail mix of cashews and peanuts. Tart flavours of gherkins and sweet pickles creep in, leading to a firmer melange of crisp fruits and cough syrup (!!). Green grapes, unripe peaches and pears, some light orange zest and citronella. It feels watery at times, but there’s enough strength here to let more complex flavours seep through if one is patient. The weakest point is the finish, which is less salty, sweeter and has an easy sort of fruit salad vibe going on. It’s short, breathy, easy and not too exceptional at this point: the nose remains the best part of it.

So, not a bad rum, but conversely, nothing to really write home about either. It’s simply a competently assembled rum with no points of distinction and few weaknesses for which one might mark it down – maybe some more ageing, a few extra points of proof, would have elevated it. It’s too good to be anonymous blah, while unfortunately not staking out any tasting territory in your mind which would cause you to seriously recommend it to your friends as something they would have to try (as attends, say, every Hampden or WP rum ever made). Maybe it’s all down to BBR not having a serious rum department or in-house expertise to really select some good juice, but the upshot is that their 9YO Haitian rum from 2004 is no undiscovered masterpiece, just a forgotten rum that no-one will miss if it stays that way.

(#882)(83/100) ⭐⭐⭐½

Historical Notes

With the explosion of new and nimble independent bottlers on the European scene, some of the original bottlers we used to know a mere decade ago are fading from view, which is unfortunate. They, these older ones, kept the flame of pure rums burning at a time when the world was glutted with anonymous blends and pointed the way to the possibilities of the rumworld we live in now. That said, I was never entirely free of the suspicion that most of these outfits had their origins in, and kept their love for, whisky as their primary focus — and rums were, at best, an afterthought. Wilson & Morgan, Cadenhead, Moon Imports, Samaroli, BBR and others, all started bottling whisky before they moved into the good stuff – but whatever the case is, they were and remain the inheritors of the merchant bottlers of old who serviced the distribution of rum around the empires they served, many of which were bought out or went under or are long out of business…and all but unknown now.

Such merchant bottlers had their origins in distributorships and spirits shops, and probably the oldest of these is the firm of Berry Brothers & Rudd in London, which, as all rum geeks are probably aware, was founded in 1698 by the surviving wife of the prematurely deceased, sadly unmissed and completely unknown Mr. Bourne, who opened a general grocery shop in that year with (one assumes inherited) funds sufficiently impressive for her to take premises opposite St. James Palace. The intricacies of the family line and business development over the centuries are too complex for this review, but by the early 1800s the shop had already moved into wine distribution and by the beginning of the 1900s was exclusively a wine and spirits merchant, bottling their own wines, sherries and whiskies well into the 20th century and expanding carefully, but globally.

Rums seem to have been issued by BB&R on something of an irregular, ad hoc basis and the only ones predating the modern era that I know of, are a Jamaican rum from the 1960s which was auctioned in 2018, and another even rarer one from 1947/1948 that went under the hammer in February 2020 both at prices none of us can afford. Rums began to appear in the portfolio as a semi-regular thing in 2002, with a Long Pond 16YO from 1986 and a Versailles 1985 17 YO; these early editions were characterised by a simple, almost Edwardian-era label design ethos which (along with the bottle style) has now been changed several times over. Some of their modern bottlings have become very sought after, like the Jamaica 1977 or the Port Mourant 1975, but somehow the series as a whole never scaled the bar which others set so high, never got that cachet of “must have” attached to their initial work. Probably this was because of inconsistent releases and equally inconsistent quality…some were good, some were not, and some were simply okay.

BBR continues to release rums from time to time, with a puzzling lack of publicity which may also be part of the reason their visibility is less than it could have been. Nothing about their rum shelf is particularly impressive: not the selections, not the disclosure of what they do have, not the variety. And while they have expanded the original “Berry’s Own Selection” to now include an “Exceptional Cask” and a “Classic Range” series – sometimes distinguished, I suggest, more by price and rarity than by quality – there are never very many listed for sale or auction and no serious must-have rums to excite the cognoscenti as, say, Nobilis or Rom Deluxe does. It remains to be seen whether the company wants to increase its footprint of well-made, well-aged rums from around the world, harness the rum-geek crowd’s enthusiasms into new and exciting ranges of young or aged expressions…or just be content to follow everyone else and remain a top tier wine and spirits merchant with a third tier rum selection.

 

J.M. “Jungle” Rhum Agricole Blanc Edition Limitee (2017) – Review

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Dec 162021
 

Publicity photo from J.M.

These days I rarely comment any longer on a bottle’s appearance – there was a time when I actually scored it as part of the review, though common sense suggested that it cease after the pointlessness of the practice became self-evident – but here I really must remark on the striking distinctiveness of the design. In colour and form it reminds me of Henri Rousseau’s savagely childish yet iconic jungle scenes. You sure won’t pass this bottle on a shelf if you see it.

But what is it? The Martinique distillery of J.M. is of course not an unknown quantity – I’ve looked at several of their rhums in the past and in “other notes” below I repeat some of their background. Still, the rhums for which they are known are mostly aged agricoles, many of which are single cask or special editions. Surprisingly enough, this is the first of their whites I’ve taken the time to look at and it is not their regular workhorse blanc issued at 50º but a limited edition at 51.2% – what exactly makes it deserving of a special rollout and naming is somewhat nebulous. It may be something as simple as the distiller and cellar master, Nazair Canatous, coming up with a “blend of cuvées”1 which possessed a powerful set of aromatic profiles. How many bottles make it “limited” is not mentioned anywhere.

Since its introduction, the rhum has been rebranded: the simply-named “Jungle” is the first and only edition of that name, released in 2017 and then replaced the very next year by the retitled “Joyau Macouba” under which it continued to be marketed through to 2021 — but aside from some minor variations in strength, the two seem to be identical. They are also not really expensive, less than €10 pricier than the standard blanc which Excellence Rhum stocks at under thirty euros.

And that makes it, I think, somewhat of a bargain since there are five year old agricoles that cost more and taste less. The nose of the “Jungle” is really lovely – delicately sweet herbal sugar water…with mint and lime juice (not lemon). It displays notes of brine mixed with and soda pop, something like a salty 7-Up. Fruity smells are always hovering around – passion fruits, tart red currants, fine and faint lemon peel — and there are also some muskier notes of cereals and freshly baked bread lurking in the shadows, and they stay there for the most part.

If I had to chose, I think I’d go for the palate over the nose on this one: it’s just a shade better, richer (usually the reverse is the case). It tastes like a salty, creamy lemon meringue pie topped with caramel and a clove or two; the core of it is a solidly-sweet, crisp, citrus-y firm taste, with enough of an edge to not make it a cream soda milquetoast. Around that swirl the herbs: thyme, cumin, dill, rosemary and cardamom, plus the grassiness of fresh green tea with touches of mint. Olives and brine kept in the background and always seem to be on the verge of disappearing, but they’re definitely there. This all concludes with a medium long finish that coats the palate without drying it out – sweet, delicately fruity and floral, and with the spices and herbs gradually fading out to nothingness.

Overall, this is a good white rhum, and I liked it, yet the question remains: what makes it special enough to warrant the limited treatment? The tastes are fine and the overall experience is a little less intense than some of those 50º standards all the agricole makers have as part of their portfolio…perhaps that’s what was considered the point of distinction, since here it was tamed a bit more, while remaining equally complex.

Be that as it may, for a rested-then-blended rhum agricole blanc, it holds up very well. It is tart, tasty and tamed, and, within its limits, original. Strictly speaking, there’s absolutely no reason to buy it when there are so many other white agricoles of comparable quality out there (some of which are cheaper). But you know, we can’t always find relevance, catharsis or world-changing rhums every time we try one, and sometimes it’s simply a relief to find a bit-better-than-average product that eschews extreme sensory overload and simply aims for a little romance, and pleases at a price we can afford. That the “Jungle” manages to achieve that is something we should appreciate when we come across it.

(#872)(83/100)

Other Notes: Company Background

Situated in the north of Martinique in Bellevue, J.M. began life with Pére Labat, who was credited with commercializing and proliferating the sugar industry in the French West Indies during the 18th century. He operated a sugar refinery at his property on the Roche Rover, and sold the estate to Antoine Leroux-Préville in 1790 – it was then renamed Habitation Fonds-Préville. In 1845, his daughters sold the property again, this time to a merchant from Saint-Pierre names Jean-Marie Martin.

With the decline in sugar production but with the concomitant rise in sales of distilled spirits, Jean-Marie recognized an opportunity, and built a small distillery on the estate, and switched the focus away from sugar and towards rum, which he aged in oak barrels branded with his initials “JM”. In 1914 Gustave Crassous de Médeuil bought the plantation from his brother Ernest (I was unable to establish whether Ernest was a descendant or relative of Jean-Marie), and merged it with his already existing estate of Maison Bellevue. The resulting company has been family owned, and making rhum, ever since and was among the last of the independent single domaine plantations on Martinique until the Groupe Bernard Hayot, a Martinique-based and owned family conglomerate, bought it in 2002. Nowadays it (along with Clement and St. Lucia Distillers) is marketed by GBH’s spirit division, Spiribam.

 

Key Rums of the World – Clarke’s Court Pure White Overproof (Grenada)

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Dec 122021
 

There are four operations making rum in Grenada – Renegade (the new kid on the block, operating since 2021), Westerhall, Rivers Antoine and Clarke’s Court, the last of which was formed in 1937, operating under the umbrella of the Grenada Sugar Factory (the largest on the island) and named after an estate of the same name in the southern parish of St. George’s. This title in turn derived from two separate sources: Gedney Clarke, who bought the Woodlands estate from the French in the late 1700s, and a bay called “Court Bay” included with the property (this in turn was originally titled “Watering Bay” because of the fresh water springs, but how it came to change to Court is not recorded). The company sold rums with names like Tradewinds and Red Neck before the Clarke’s Court moniker became the standard, though the exact date this happened is uncertain. Pre-1980s, I would hazard.

The Clarke’s Court Pure White Overproof is a column-still, molasses-based blended white lightning made by that company, and is apparently the most popular rum on the Spice Island, best had with some Angostura bitters (the 43% darker rums made here are supposedly for the ladies, who “prefer gentler rums”). Local wags claim it’ll add hair to your chest, strip the paint off anything, and can run your car if you don’t have any petrol. Older women reputedly still use it as a rub.

When it comes to seriously pumped-up Grenadian rums, Westerhall’s Jack Iron is not in this rum’s league, though it’s admittedly stronger; and had Clarke’s more distinct, it would have given Rivers Antoine a run for its money as the first Key Rum from Grenada. It certainly buffs its chest and tries to muscle in on the territory of the famed white Jamaicans (I feel it was meant to take on J. Wray’s White Overproof, or even DDL’s amusing three-lies-in-one Superior High Wine…but it lacks their fierce pleasures and distinct profiles and at the end, is something of a cheap high proofed white rum shot with ‘tude and taste, a better Bacardi Superior with a dash of steroids.

This careful endorsement of mine does not, however, stop it from being something of a best-selling island favourite on Grenada, where it outsells Rivers (because of a larger facility that breaks down less frequently). As with other white rums across the Caribbean, it’s an affordable and powerful rum, a dram available to and drunk across all social classes — it’s always been made and probably always will be. It’s emblematic of the island and widely known in a way Rivers – which is far older – is only now becoming, and local denizens with a creative juice-it-up bent cheerfully adulterate, spice up or make “bush” variations (such as the one I originally tried back in 2010) at the drop of a hat and in every rum shop up and down the island.

Now, it’s torqued up to 69% ABV, but sources are unclear whether it has been aged a bit then filtered, or is released as is, and while I can’t state it with authority, I believe it to be unaged: it has a series of aromas and tastes that just bend my mind that way. The nose, for example, is redolent of minerals, dust, watery salt solution, the smell of the ocean on a seaport where the fish and salt water reek is omnipresent. Some sweet swank and sugar cane juice – there’s a weird and pleasant young-agricole vibe to the experience – plus a delicate line of fruits: sharp, ester-y, unripe, tart and pungent, without the rich plumpness of better-made aged variants. Kiwi fruit, and one of those cheap mix-everything-in fruit juice melanges. Honestly, I got a lot here, and had walked in expecting a lot less.

69% is strong for a rum, but not unbearable, and it’s just a matter of sipping carefully and expecting some heat for your trouble. Tastes of apples, cider, pears, all sour, begin the experience. These initial flavours are then muscled aside by tequila and brine and olives, not entirely pleasant, very solid; this then morphs into a sweet and sour soup, yeasty bread, cereals, sour cream, cream cheese, all very strong and firm, reasonably well developed and decently balanced. The fruits are also well represented – one can sense a fruit salad with cherries in syrup, plus gherkins and the metallic hint of a copper penny. Overall, surprisingly creamy on the tongue, almost smooth: not what one would expect from something at this proof point. It leads nicely into a hot, long finish, with closing notes of fruits (bananas, watermelon, mangoes) and some salt-sour mango achar, miso soup, and sweet soya.

When considered against the other big-name, well known, badass whites from the non-agricole, non-151-proof world, it’s easy to see why it gets less respect than the howitzers from Jamaica, St. Lucia, St. Vincent and Guyana (for my money, Cuba, T&T and Barbados have no overproof white rums that stand out, are as well known, or are so visibly a part of local culture in the way these are, though I’m sure I’ll catch some heated protests about that). It’s not exported in quantity, lacks a solid presence on the American bar and cocktail circuit, doesn’t often come in for mention and has no superstar brand ambassador or cocktail-slinging badass to champion its praises – many people reading this review will likely never have tried it.

That said, I think it may be an undiscovered steal. Grenadians, to whom it’s a cultural institution, will swear by the thing and embrace anyone who speaks positively of the rum like a brother. Few will drink it neat: I do it so you don’t have to, but really, it’s not made to have that way, and that leaves it to boost a mix of some kind, like the locals who have it with a soda, juice or coconut water (when they don’t throw back shots in a rumshop, or nip at the backpocket flattie all day). The tastes are nothing to sneeze at, there’s enough raw flavour and bombast and attitude here to satisfy the desire for something serious for the rum junkie, and the bottom line is, it’s really and surprisingly good. It’s a worthy entry to the canon, and one can only hope it gets wider international acclaim. We can always use another one of these.

(#871)(83/100)

Other Notes

  • This review is based on two separate sample tastings – a mini from the 1990s and a more recent sample bottle bought from Drinks by the Dram. The tastes were similar enough to suggest the blend has stayed the same for a long period.
  • The label has remained relatively unchanged for decades. It is unknown when the rum was first introduced though.

Bielle Rhum Vieux Agricole Brut de Fût 2003 – Review

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Dec 022021
 

Photo (c) John Go

2003 was clearly a good year for the small Marie Galante distillery of Bielle, since there are several different editions of that year’s rhums on the market: a Hors d’Age 52.9%, a Vieux 9 YO at 49%, a Millésime 2003 Brut de Fût 8YO at 52.8% and yet another special release at 53.1%. Varying ages and strengths, but one doesn’t release that many iterations of a single year without some sort of belief in the underlying quality of the distillate made in that year.

Taking this version out for a spin demonstrates that that belief is not mere wishful thinking or misguided optimism. It’s really quite interesting: for example, wood, paint, glue and sawdust start the ball rolling, with a certain hogo-y sourness of spoiled fruit. This is fades away in almost no time, leaving honey, cheerios, cereals, salt caramel and vanilla in an uncertain truce with the opening aromas. It does develop nicely from there, becoming surprisingly complex with additional fruits and citrus and cinnamon, while retaining the characteristic clarity and cleanliness of agricoles. And then, as if bored, it adds a queer ashy, metallic, medicinal filip to the back end which is truly unusual – I went back through all my previous Bielle reviews and found nothing quite like it.

Taste-wise it continues that above average quality and parallels the nose almost exactly: it’s hotter than expected (but okay, 55% is not exactly tame), and again, here, the paint thinner, fresh-sawn planks and varnish lead the way: it’s almost like walking through Home Depot’s lumber section. This is followed by cereal, caramel and vanilla, with fruits apparently taking a vacation at this point, because the impression it laves is one of caramel-toffee saltiness rather than crisp fruity acid-sweetness. There’s some watermelon and light pears coiling around the background, but that’s about it. Oh, and the finish is excellent: long, dry, almost smoky, a hint of ash and iodine, and then a faint recap of the slightly sour fruits mixed in with caramel and cinnamon…plus what sure seemed like maple syrup, but that may be reaching.

The distillery: located just south of dead centre on the tiny island of Marie Galante (itself south of Guadeloupe), Bielle is a small sugar plantation dating back to the late 1700s, named after Jean-Pierre Bielle (he also owned a coffee shop), which went through a series of owners and went belly-up in the 1930s; the property was sold to a local landowner, Paul Rameaux, who had no more success than his predecessors in reviving its fortunes. 1975 marked a revival of Bielle when la Société d’Exploitation de la Distillerie Bielle (SEDB) took over the assets, and nowadays a nephew of Mr. Rameaux, Dominique Thiery, runs the distillery. As recently as six years ago it was another small outfit from the French West Indies about whom only the local islanders, rum deep divers and the French seemed to know very much … but my experience with their output (and not just Capovilla’s) over the years suggests they really know what they’re doing.

Still, back to the rhum: I’m not entirely sure how old it is: there’s no mention on the label or the box and other 2003 vintages are a rough guide at best; and no online resources I’ve found make any age statement. My guesstimate is about 6-8 years, (if it was double digits it would likely be much more expensive). It’s a cane-juice derived agricole, column still produced, and a really good all round rhum for any purpose. I particularly enjoyed its departure from the norms usually exhibited by cane juice rhums – not much herbals or clean green grass here, just real complexity, solid assembly and a construction that allows each note its individuality. These days I think it’s more likely to be found at auction or in a private sale than on a store shelf, but however it crosses your path, if you find a bottle at a decent price, you wouldn’t be losing out.

(#868)(86/100)

Other notes

  • On FB in 2018, there was a comment that the “2003 has been spotted with ~10g/L sugar in it…” deriving from Cyril’s work over at DuRhum. It’s not this one, but then, this 55% version was not tested as far as I am aware.
  • I was provided this unlabelled and unidentified sample by my cheerfully sneaky rum chum from the Philippines, John Go – he was testing me, I think, since he mixed it all up with a bunch of other unmarked samples of wildly varying quality). So those tasting noters are unedited and completely blind.

Rum Nation Panama 2008 10 YO Limited Edition Rum – Review

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Nov 292021
 

It’s easy to sneer at standard strength rums in a time of sullen cask-strength hoods issued north of 60%, 70% or even 80%. Those have tastes that attack and maul your extremities, aromas that lunge into your nose with intent to maim, and profiles that burst at the seams with all sorts of…well, something. Badassery, maybe. In contrast, forty-percenters are considered meek and mild, barely sniffable, weak, easy and not altogether “serious”. Best leave them to the Spanish style roneros. They can have ‘em – here we deal in proof, pard.

Rather than simply issuing such soft multi-country blends, Rum Nation takes a different approach to standard strength rums – they merely consider them as entry level rums, made for the audience that wants something better than merely another Bacardi wannabe, but doesn’t appreciate some rude over-muscled Trenchtown brawler invading the living room. So a number of their lower cost rums from around the Caribbean continue to be released at that strength and are a complement to their more exclusive, up-market Rare Cask editions.

One of these is the Panama ten year old limited edition from the 2018 season (it had been introduced the year before – this is the second iteration). The bottle’s presentational and informational ethic is something of a victory of style over substance, because pretty as it is, we don’t actually get much data: it tells us Panama, 40% ABV, 10 YO and 2018 release on the front and back labels, and that’s it. Everything else is fluff, and given what fans of today almost demand on their labels, it’s an odd omission to leave out the distillery of make or the still type. Based on past experience with Rum Nation, I’d suggest they continue to source distillate from Varela Hermanos (home of the Abuelo brand), and given it’s from Panama the likelihood of it being a column still product is high. Aged in ex-bourbon barrels, diluted to forty, and there you are. We’re still in the dark as to what “limited” means, though — how many barrels are involved and what the outturn is, remain unknowns.

I’ve made no secret of my initial liking for Panamanians a decade back and how I gradually fell away from their soothing, silky style. That’s not to say they do not remain approachable, and very likeable: they are, and remain so. Here for example, the nose was light, clean and smooth, medium sweet, redolent of vague florals and bubble gum. Some fruits, caramel, raisins, vanilla, and a touch of molasses and toffee, nicely blended, but not standing out in any way.

The palate continued in that vein of niceness and weakly indeterminate everything-is-in-here tastes. It was sweet, and one can taste caramel, vanilla, flowers, bubble gum, and even sour cream. Also molasses, toffee and the damped down taste of soft bananas, dates, and a plum or two, leading to a short and meek finish which does not exit with a statement or exclamation point of any kind, just kind of sighs and walks off the stage.

This is my issue with Forties generally and to some extent rons in particular. Because they are made on an industrial multi-column still more often than not, and exit the still at a very high ABV, too many congeners and esters are stripped away. Therefore the relatively neutral starting profile off the still can only be enhanced by long ageing, good barrel management, secondary cask maturation / finishes…or additives. Here, I was told that 18 g/L of sugar was added, which explains a lot.

So for me, right now, it’s too faint, a touch too sweet and too mildly inoffensive. It lacks distinctiveness of any kind and is easily forgettable. It’s a good enough rum to drink when no thought is required (and the brief one-line tasting notes on rumratings show others have a similar experience), although with its added extras and weak-kneed pusillanimity, I don’t think I’d drink it much unless it was my intention to just have a tot of anything passable in the glass. There’s little beyond “nice” that you can use to describe it, yet it’s important to understand that if you think this way, the rum is not meant for you. It’s a decent enough rum made for those at this stage of their rum journey, and on that basis, Rum Nation really did provide all the info needed for such persons to chose it.

(#867)(74/100)

Velier Caroni Extra Strong 1998 17 YO Blended Trinidad Rum – Review

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Nov 252021
 

What is there to say about either Velier or Caroni, that hasn’t been said so many times before?

It seems almost superfluous to repeat the story but for the sake of those new to the saga, here’s the basics: Caroni was a Trinidadian sugar factory and distillery which, after many ups and downs related to the vicissitudes of the sugar industry, finally closed in 2003. In late 2004 Luca Gargano, the boss of Velier, came upon and subsequently bought, many hundreds (if not thousands) of barrels that had been destined for auctioning or fire sale disposal (for the sake of completeness, note that many others did too).

Previously, either on their own account or when managed by Tate & Lyle (a British concern which operated the establishment for many years), Caroni had made rums of their own, but they were considered low quality blends and never thought to be very good. Now, however, Velier issued them in tiny lots, often single barrel releases, cask strength and quite old. Though initially sold only in Italy, by 2010 they had already acquired an underground following, with a reputation that only grew over the years – and this is why prices on secondary markets for the very first releases dating from the 1970s or 1980s can go for thousands of dollars, or pounds.

These days, with the prices and number of variations of the early Caroni rums ascending out of reach of most, the blended aged expressions may be the best value for money Veliers from the canon we can still afford, or find. What they provide for us is something of the tar and smoke and petrol portions of the profile that characterize the type, without any of the miniscule variations and peculiarities of single barrel expressions. They are, in short more approachable overall to the curious layman who wants to know what the Godawful kerfuffle is all about. Granted, many other indies have gotten on the bandwagon with their own Caronis and they are usually quite good, but you know how it is with Velier’s cachet and their knack of picking out good barrels even when making blends.

So, this one: distilled on a column in Caroni in February of 1998 and aged in situ until September 2015, when it was shipped to Scotland for blending and bottling at 55% ABV. All this is on the label, but curiously, we don’t know the total outturn. In any event it’s one of a progressively more aged series of blends – 12 YO, 15 YO, this one and 21 YO – meant for a more consumer facing market, not the exclusive Caronimaniacs out there, who endlessly dissect every minor variation as if prepping for a doctoral thesis.

Those who spring for this relatively cheaper blend hoping for a sip at the well, will likely not be disappointed. It has all the characteristics of something more exclusive, more expensive. Initial aromas are of petrol, an old machinists shop with vulcanizing shit going on in the background, rubber, phenols, iodine. Gradually fruits emerge, all dark and sullen and sulky. Plums, blackberries, dates, plus sweet caramel and molasses. Some herbs – dill, rosemary. And behind it all coils the familiar scent of fresh hot tar being laid down in the summer sun.

The taste is very similar. Like the nose, the first notes are of an old bottom-house car repair shop where the oil has soaked into the sand, and rubber tyres and inner tubes are being repaired everywhere, and the occasionally pungent raw petrol aromas makes you feel like you’re passing an oil refinery. But this is all surface: behind that is also a more solid and lasting profile of brine, olives, dates, figs, and almost overripe peaches, prunes, even some coffee grounds and anise. It’s dry, and a touch bitter, redolent of aromatic cigarillos, damp black tea leaves. Nice but also, on occasion, a little confusing. No complaints on the finish, which is reasonably long, thick, with notes of caramel, nuts, licorice and dark fruit. It’s a peculiarity of the rum that although sweetness is really not in this rum’s DNA, it kinda tastes that way.

It’s been bruited around before that Caroni rums, back in the days of Ago, were failures, implying that these rums today being hailed as such classics are a function of heritage and memory alone, not real quality in the Now. Well, maybe: still, it must be also said that in a torrential race to the lees of anonymity and sameness, they do stand out, they are in their own way unique, and the public has embraced their peculiarities with enthusiasm (and their wallets).

On balance, I liked it, but not quite as much as the 21 YO in the blended series. That one was a bit better balanced, had a few extra points of elegant distinction about it, while this one is more of a goodhearted country boy without the sophistication – but you know, overall, you would not go wrong picking this one up if you could. There is nothing wrong with this one either, and it represents Caroni’s now well-know tar and petrol profile quite solidly, as well as simply being a really good rum.

(#866)(84/100)

Other Notes

  • The label is a facsimile of the original Tate & Lyle Caroni rum labels from the 1940s

Scarlet Ibis Blended Trinidad Rum – Review

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Nov 222021
 

The Scarlet Ibis rum is not as well known as it was a decade ago, but that it continues to be in production at all is a testament to its overall utility and perceived worth in the bar scene. That said, it remains something of an unknown quantity to the mass of rum drinkers, sharing negative mindspace with, oh, say, Sea Wynde or Edwin Charley, which had their moment in the Age of Blends but have now fallen from common knowledge. In a few more years they’ll join all those other rums that recede into vague memory if a greater push isn’t made to elevate customer awareness and sales.

Where does one start? First of all, it is a rum made to order, commissioned by the New York bar Death & Co. The exact year it arrived is unknown, but since D&Co was established in January 2007 (it opened on New Year’s Eve) and since the first note I can find about the rum itself related to a 2010 MoR festival (so the rum had to have been available before that), then it’s been around since 2008-2009 or so, with short observations and reviews popping up intermittently at best ever since. 2. Eric Seed, the NY importing rep for the European distributor Haus Alpenz (which also helped source the Smith & Cross, you’ll remember) seems to have been instrumental in being point man for its creation and subsequently bringing into the US.

Production is intermittent at best, paralleling the equally inconsistent geographical availability. Facebook is littered with the detritus of occasional comments like “Where can I find it?” “Is it still being made?” “Like the new one?” or “When did it become available again?” Most who have tried it and have commented on the rum think it’s very nice, and the extra proof is appreciated. In earlier posts some suggested that the original blend had some Caroni, but Alpenz denied that, and also noted that there was an error in the press materials and it was and always has been a completely column-still product, a blend of 3-5 year old stocks, bottled at 49%.

So, a youngish rum blend, made to order. That makes it an interesting rum, quite different from most others from the twin island republic which are either overpriced Caronis (on the secondary market) or Angostura’s own decently unexceptional blends. It’s light and sharp (what some refer to as “peppery”) on the initial nose, kind of sweet and cheeky, like the playful towel-snap your older brother used to like flicking in your direction. It had notes of ripe red cherries, soft mangoes and a touch of lemon juice, honey, butterscotch and brine, which went well with some aromatic tobacco and a very faint hint of a rubber tyre.

Even at 49%, I’m afraid that it didn’t live up to the suggested quality the nose implied. Initial tastes were honey, unsweetened molasses, Guinness stout, olives and pimentos (!!), with some slowly developing fruits – dark grapes, raisins, gooseberries – plus red wine, chocolate and coffee grounds. The finish was short, not very emphatic, quite warm: mostly tobacco, light fruits, olives, toffee and a last hint of citrus. It doesn’t last long, and just sort of sidles out of the way without any fuss or bother.

Overall, it’s good, but also something of a let down. Even at 49% it seems too mild for what it seems it could present (and this from a relatively young series of blend components, so the potential is definitely there). There’s more in the trousers there someplace, the rum has a lot more it feels like it could say, but it is hampered by a lack of focus: leaving aside the proof point, it’s as if the makers weren’t sure they wanted to go in the direction of something darker (like a Caroni), or a lighter blend similar to (but different from) Angostura’s own portfolio. In a better designed rum it could have navigated a surer path between those two profiles, but as it is, the execution only shows us what could have been, without coming through with something more memorable.

(#865)(78/100)

Other Notes

  • As always, hat tip and appreciation to my old QC Rum Chum, Cecil, who passed the sample on to me.
  • The first remarks on the rum came from Sir Scrotimus in 2011. There’s a positive bartender’s blog review in 2012, the Fat Rum Pirate picked up a bottle in the UK and wrote quite positively about it in 2015, and Rum Revelations did an indifferent pass-through in 2020. Redditors have done reviews about it here, here and here. Overall, the consensus is a good one. The rum definitely has more potential than its makers seem to grasp.
  • The Scarlet Ibis is the national bird of Trinidad & Tobago and is featured on the coat of arms
  • The new edition of the rum which came out around 2019-2020 has a pair of ibises on the label. These are far more prominent than the grayed out bird on older editions such as the one I am reviewing here.

Rom Deluxe RDL #1 – Dominican Republic (2016)

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Nov 042021
 

Photo courtesy of Rom Deluxe

Rumaniacs Review #128 | 0862

Few outside Denmark will know or even remember what Rom Deluxe issued back at the beginning of their existence. The Danish company made its international (or at least European) debut in 2019 with the stunningly designed and smartly chosen “Wild Series” (now into R.19 which I call “Po”), and for most people, its history begins there. However, it has been in existence since 2016 when three friends — Claus Andersen, Thomas Nielsen and Lasse Bjørklund — came together to establish the small hobby-company and their very first release was the anonymously titled rum of RDL #1.

This was a cask strength rum from the Dominican Republic (Oliver & Oliver), issued at 65%, dating from 2004 and bottled in 2016, so a 12 Year Old. Unsurprisingly it’s molasses based, column still, and it was sold not with any fancy printed label glued on to the logo-etched bottle, but a tie-on (!!) which for sheer originality is tough to beat. It’s unlikely to be found in stores these days, and I’m not even completely sure it ever got a full commercial distribution.

Colour – Gold

Age – 12 Years

Strength 65%

Nose – Quite sweet, redolent of ripe dark fruits with a touch of both tannins and vanilla. There is a trace of molasses, brown sugar and cherries in syrup, plus attar of roses and some other winey notes. Nosing it blind leads to some initial confusion because it has elements of both a finished Barbados rum and a savalle-still Guyanese in there, but no, it really is a DR rum.

Photo courtesy of Rom Deluxe

Palate – Soft and easy even at that strength: caramel, vanilla, almonds, nougat, tinned cherries and syrup. It’s relatively uncomplex, with some additional brininess and dryness on the backend. Nutmeg and ginger lend some snap, and herbs provide a little extra, but not enough to get past the basic tastes.

Finish – Completely straightforward now, with vanilla, unsweetened chocolate, some caramel and molasses. Very ho hum by this point and once you get here you no longer think it’s either Bajan or Mudland. You know it’s Spanish heritage juice.

Thoughts – Starts out decently with intriguing aromas, then falters as each subsequent step is taken until it remains as just a touch above ordinary. The strength saves it from being a fail, and the sweetness – whether inherent or added – mitigates the strength enough to make it a tolerable sip. For that alone you’ve got to admire the construction, yet it’s a rum you sense is a work in progress, selected for ease of use rather than brutality of experience. Three years later, that would change.

(79/100)

Other notes

  • Thanks to Nicolai Wachmann for the sample, and Kim Perdersen of Rom Deluxe for the bottle photographs
  • The background on the company was too long to include, so I wrote it as a separate “Makers” series article, and tucked it over there. It includes as exhaustive a list of their bottlings as possible.

Savanna Lontan 57° Grand Arome Unaged White Rum (Batch #2 2018) – Review

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Oct 312021
 

In the previous review I wrote about the Reunion-made Savanna HERR Blanc 57º White Rum (second batch, from 2018), and was surprised and pleased at the reaction it elicited: quite a few comments were made on various platforms, showing a really positive feeling about the rum. Today we will, as promised, go deeper into its brother rum, released in tandem with it each time one was issued, also 57% ABV, and also stuffed to the gills with an ester count that leaves the rum geek crowd with slightly trembling knees, quivering hands and clenching…well, you get my drift.

The “57” series of rums was part of a skunk works project which the Indian ocean island distillery of Savanna initiated back in 2005 where they let their Maître de Chai off the leash without any clear directions beyond “go”. The gentleman took them at their word, messing around with every variable of the production process he could — and what came out the other end was so off the reservation that when management peeled themselves off the floor, found their voices and timorously looked around for buyers, they realized that none existed if they wanted to sell it as a rum. And so the pungent distillate was left to rest in a steel tank for over a decade, until the rise of the New Jamaicans and a renewed appreciation for high ester rums squirting raw funk from every pore showed that yes, there was indeed a market for the thing. The first edition was trotted out in the 2017 festival season, followed by this second one in 2018 with a limited run of 1500 bottles, all issued at 57% ABV (the pot still and column still versions were released concurrently).

The Jamaicans would probably sniff rather tolerantly (if not disdainfully) at an ester count of a “mere” 578.7 g/Hlpa which places the rum somewhere between the odd no-man’s land of Wedderburn (200-300) and Continental Flavoured (700-1600). And they would nod with distantly polite appreciation at a column still distillate generated from an experimental long fermentation of six days. On the face of it, they would hardly worry that their own street cred was in danger of being superseded and just on the basis of the numbers, they’re right.

Except that, not really…because the rum turned out to be really rather good, which is why it and its brothers have become sort of underground rumdork cult classics. Consider the nose: it was intense and sweet and tart, and started off, oddly enough, with an aroma of fresh sawdust and pencil shavings 3, combined with a freshly disinfected hospital room, iodine and pine sol. It morphed to sweet fruit infused water, redolent of watermelons and very light Thai mangoes – there were times it was almost delicate. Bags of strawberries, red grapefruit, bubble gum, kiwi fruits and green apples. Behind all that, there almost seemed to be a sort of whisky finish to the whole thing and overall, what I got was a lot of florals and a lot of fruits, and those easily shouldered aside any other subtle notes.

The palate had an equal quality, though perhaps not as complex. Here the pencil shavings took something of a back seat and just chilled out (maybe they were sulking), leaving some nice florals, ripe apples, lemons, pineapple, strawberries, grapefruit and licorice to carry the show, backed up by some cereal, cardboard and lightly musty tastes of varnish and damp tobacco. The fruitiness of the whole thing was a constant throughout, until it all came to a conclusion in a finish that was long, fruity, tart — almost sour — and just intense enough for government work. Like the 57 HERR, it gained from being left alone to open up, because it didn’t do the old soldier thing and fade away, just gathered its forces and presented as solid and complex even an hour later.

So, a funny thing happened as I was tasting this Lontan 57 – I really liked it. What it lacked was some of the take-no-prisoners machismo of the pot still HERR 57, which seemed to revel in its own puissance (and afforded writers the rare opportunity to use the word “puissance”). That did not, however, mean it didn’t have some of the offbeat notes of Boomerang’s Strangé (or her perfume commercial), just that they were better controlled: it moved easily and elegantly through its paces, had a nice balance and just a few off notes. It shared and showed a similar line of descent with the HERR 57, while at all times being its own thing. This column still, molasses-based rum reminded me somewhat of Haitian clairins, even Mexican charandas, but its closest comparator might actually be another artisanal spirit we don’t get enough of yet, the oddly refined Cabo Verde grogues.

Tasting two 57s from the same year — the HERR and the Lontan — side by side, reveals their differing natures, showcases their differing origins, and the differing ways they were made. It also demonstrates that if you have a maitre de chai who takes “go” to mean “where no-one has gone before,” then with some imagination and cheerful bombast, you can make a really sterling and tasty rum of firmness, originality and serious flavour. Sort of like this one. It’s definitely a rum worth having on the shelf.

(#861)(86/100)

Other Notes

Savanna very helpfully classifies its rums using various words which tell the curious what its rums are:

  • Lontan (Grand Arôme / high ester rhums based on long fermentation times of up to 15 days, source can be either molasses or juice),
  • Creol (aged and unaged agricoles from cane juice),
  • Intense and/or Traditionnel (molasses based, occasionally finished, aged and unaged),
  • Métis (blends of agricole and molasses rums).

Cavalier White Antigua Rum – Review

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Oct 142021
 

“Cavalier” was once the brand name of rums released by the Antigua Distillery on the island of the same name. Even the predecessor to the famed-but-faded English Harbour 1981 25 Year Old 4 was originally a Cavalier branded rum, and a very good one, too…for its time, anyway. But somewhere in the ‘aughts the English Harbour brand was created to be the basket for more upscale, upmarket rums – starting with the five year old and moving up in age – and the Cavalier moniker was left for the company’s “entry level” gold and white and 151 rums….which of course meant the bar scene.

There is nothing particularly exceptional about the production process here: made from molasses, fermented with a commercial strain of yeast over a period of days to a solution of 7% ABV which is then run through a columnar still and drawn off at a strength of around 90-95% ABV, tested and then barreled. In this, then, the process is more akin to Spanish heritage style rum making, where, although some aromatic compounds make it past the distillation process, the real emphasis is on the barrel strategy and wood management that make up the final product. Antigua Distillery uses charred 200-liter American ex-bourbon barrels to which a handful of oak chips are added to boost the profile and after the appropriate time (and depending on which rum is being made), the desired aged rum from selected casks is blended in a large oak vat and diluted over a period of weeks to the final, bottled result.

From the preceding details, that result is not difficult to predict: it will likely be light, slightly sweet and have some fruity elements to it, balanced off with some salt or sour. That was the way the 1981, the 10 YO, the 5 YO, even the puncheon all tasted, with greater or lesser quality (and success). And indeed, that’s what you get with the current white rum, bottled at 43%: on the nose, it’s very crisp and clean, and resembles a dialled down version of the 65% puncheon’s violence. Raspberries, red currants and strawberries provide the major fruity elements, backed up by very ripe gooseberries and watery pears, and offset by a trace of vanilla, salt, brine, olives, and some varnish.

The palate is more intriguing: dusty cardboard and decaying sheetrock, light glue, varnish. This is contrasted, as the nose had been, by much of the same fruitiness (pears, guavas, strawberry bubble gum) and saltiness (brine, anchovies, sweet soya sauce), plus a bit of vanilla. Not a whole lot beyond these primary tastes. Even the finish displays that solid simplicity: some sweet, some salt, some vegetable soup, ho hum. Overall, there’s not a whole lot going on here, and the rum is really a straightforward kind of drink, without much in the way of a subtlety of flavour, or any intensity in what you do get.

Current label design

What the rum lacks is a certain amount of heft, and this is why, to my mind, the puncheon, for all its strength, is really the better rum. The Cavalier White is aged two years, filtered to clear, and then takes its place right where it is aimed at – the back bar shelf for cheap mixers, alongside Lamb’s and Bacardi whites and all those other anonymous bland cocktail feeders. That doesn’t make it a bad rum, precisely, just an uninspiring one: a rum whose makers never cared to let off the leash, so it could be more than the sum of is age and colour.

(#858)(76/100)

Other notes

  • My mediocre assessment notwithstanding, for those whose attentions and purchases remain limited to Jamaica, Guyana, Barbados and a few favoured indies, I’d strongly recommend taking the time to try a few of Antigua’s rums, even from the starter kit. They’re familiar enough to be comforting, good enough to surprise, and different enough to warrant more attention. Their newer rums with finishes and higher proof points are particularly worth checking out.
  • The mini on which the review is based comes from the early 2000s, but I’ve been told that batch variation aside, the rum is the same to this day; just the bottle label design has changed – and this is why I decided to not class it as a Rumaniacs entry. The 43% strength implies it was made for sale in Europe, not America.

Westerhall Plantation 5 Year Old Grenada Rum – Review

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Oct 112021
 

Unlike the White Jack rum which is definitely a Rumaniacs entry due to its reformulation, the Westerhall Plantation Rum remains recognizably the same as when it was first released in 1989, and there seems to be no movement afoot to change the title either (even after the brouhaha over Maison Ferrand’s rum brand name in 2019 and 2020). The Plantation Rum is a five year old product, the first to be exported, beginning the year of its introduction: previously, all rums were either for local consumption or for bulk export. Oddly, though, it’s referred to on their site as their “flagship” rum which makes one wonder what they consider their 10 YO to be — Ultra Premium Vintage Better-Than-Flagship-Best-Ever-Ever, maybe?

Westerhall has long since ceased distillation. It’s possible this was due to a downturn in sugar cane availability as sugar prices kept falling in the 1990s, or perhaps it was the poor economics of their in-house distilled, aged and blended rums not selling well enough to justify their continuance in a time pre-dating the 21st century Rum Renaissance. Since 1996, then, the company has imported rums to produce its well-known blends: initially this was from Angostura in Trinidad, and in his 2020 Cheat Sheet on the distillery, the Cocktail Wonk remarked that recently they also began importing from two distilleries in Barbados.

This rum, issued at a relatively sedate 43% ABV, dates from the early 2000s, and is therefore from Angostura stocks only: aside from some batch variation, there’s little to distinguish it taste-wise from either earlier or later rums, and consistency has been maintained quite well. The nose is probably the best thing about it: thin, distinct enough, redolent of brine and olives, and set off by a crisp, light, fruity aspect. Behind it lurk notes of paint, acetones, nail polish, and a nice blend of tart-sour fruits like five-finger, star-apple, gooseberries and green mangoes, with just enough sweet to mitigate the lip puckering. It does become somewhat lighter and sweeter as it opens up, and there’s even a trace of sugar water at the tail end.

Palate is nice, just uneventful – much of the nose is lost in the light easiness of the way it tastes and “watery” is not a word that would be out of place here. There are traces of peaches, apricots, bananas and green peas(!!), and some of the brininess and olives carry over; also dates and some very light citrus and vinegar-like hints, not enough to derail the experience. It retains the light sweet crispness that the nose promises, and if the finish was kind of brief – warm, dry, salty with a touch of fruits and sweet soya – well, you know what, as a whole the rum kind of works, and is not a disappointment.

What it does, is actually remind me somewhat of the Whisper Antigua rum, also an unpretentious rum aged a few years. Perhaps that’s because it doesn’t try too hard to be some kind of uber-sexy blend from a world famous distillery backed up by a snazzy marketing campaign sporting a celebrity (from within or without the rumworld) to raise awareness. It’s just a reasonable, light five year old, closer to people’s memories to the Angostura 5YO, or some of their other such offerings.

With the usual crystal-clear 20-20 hindsight, Westerhall might have done better to take a more visionary long term view and kept their options open by maintaining the stills they did have, because the rumiverse did change in the years after 1996, opening up other possibilities others are now capitalizing on. But even if they declined to become a pure single-rum distilling force in Grenada, clearly the expertise they’re willing to hang their hat on now is that of of blending and ageing, and in this they are akin to Banks DIH in Guyana, which also lacks a still and makes rum from external imports. Let Rivers Antoine and the New Renegade distillery go for the artisanal rum crown, Westerhall will, for now, continue with what works for it.

And the Plantation rum shows that what works for Westerhall isn’t all that bad. When you really get down to it, this is an unpretentious hot-weather light rum of some originality…not much, just some. Even if it never ascends to the tables of the rich, there’s nothing really wrong with it…as long as you’re not looking for anything particularly great, or from Grenada itself.

(#857)(81/100)

Westerhall White Jack Rum (Grenada)(2010s)

 1 Response »
Oct 042021
 

Rumaniacs Review #127 | 0855

To be clear, there remains a Westerhall White Jack rum in current production. It’s not this one. It has been suggested that it’s the same as the Jack Iron rum, just made into a white. That’s a harder call, but I doubt that too, because there’s a bit more complexity to this one than the Jack Iron where the reverse might have been expected.

In any case, this version has been discontinued. Even by 2015 when The Fat Rum Pirate penned one of the only reviews of this 70% white Grenadian overproof, it had already undergone reformulation and rebranding that led to a sexier bottle and a one-degree proof reduction in strength. The current stylish ice-blue-and-white bottle is rated 69%, and it’s not a stretch to suggest that this was done to go head to head with the much better known and well-regarded Clarke’s Court White Overproof or Rivers Antoine white popskulls which were also at that strength, and perhaps also to steal a point or two of market share the pack leader, the Wray and Nephew 63% version (although good luck with that, ‘cause in my view they had and have nothing to worry about). Then again, it might also have been to make it more easily transportable on airlines ferrying tourists in and out, who often cap their spirit strength allowances at 70% ABV.

Old and new variants of the White Jack. The one reviewed here is the bottle on the left.

That said, it’s useful to know that Westerhall in Grenada is no longer a distillery: though a distillery did exist since the mid-1800s, it was all about the bulk export market — Westerhall’s own brand, Rum Sipper Strong, was created to service the islanders’ demand only in the early 1970s. It took another decade and a half or so, before the Westerhall Plantation Rum 5 was formulated specifically for export – however, the sales couldn’t have been strong enough to justify the distillery, because by 1996 Westerhall ceased distillation completely and started buying bulk rum itself (mostly from Trinidad’s Angostura), leaving its distillery to rust – it was destroyed by Hurricane Ivan in 2004 and the ruins can be seen to this day on the grounds

Colour – White (from filtration)

Age – Unknown; suggested to be unaged but I doubt it – like many early white rums were, it’s likely lightly aged, a year or so, and then filtered to clarity (unaged rum is already clear).

Strength 70% ABV

Nose – Initially there’s a certain heavy meatiness, like yeasty bread dipped into a thick split pea soup; salt, brine, olives, fresh bell peppers. Also citrus and herbs, grass, sugar water – there’s an element of cane juice here that is completely unexpected. Surprisingly it develops very nicely, with some estery background notes and sharp fruitiness of strawberries and bananas.

Palate – Very intense, unsurprising at the strength. Nuts, cream, butter, quite creamy, and tasting both of sweet and salt; lemon zest, apples, bananas, red currants and some spices – cumin and cardamom. There’s more but the strength kind of eviscerates any subtler notes and this is what you’re left with

Finish – You wouldn’t think there’s more than a hot last of spicy fumes, but actually, it’s not bad: toast and cream cheese, chives, olives which gradually transmutes into a nice sweetness of green grapes, bananas and some other indeterminate fruits.

Thoughts – No competitor to the more aggressive, individualistic, funkier and all-out better J. Wray. It’s a column-still, barely-aged rum, with all that implies, and strong enough to cure all that ails you (from a broken heart to your stalled jalopy, it’s rumoured) — and it’s surprising that as much taste has come through as it has. Not entirely a bad rum, just not one of much real character, and best for its intended purpose, a mix of some kind.

(78/100)

SMWS R10.1 Trinidad Distillers 1991 25 YO Rum (“Carnival Concerto”) – Review

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Sep 272021
 

Just in case rums that have mated with a two-by-four are not your thing, kiss your significant other tenderly and take a deep heaving breath before sipping SMWS’s first Trini offering, because at 63.4% and with this profile, you’ll need a fall-back plan. I mean, there’s an enormous expanding blast radius of sharp aromas and tastes billowing around this thing that makes such prudence not just an option, but a requirement. Reading the stats on the bottle gives rise to some serious anticipation, which makes it all the more peculiar that it ends up being so…ordinary.

Take a careful sniff. You’ll probably find, like me, a fair bit of “traditional” rummy aromas here: vanilla and caramel, blancmange, coffee, creme brulee. The slight bitterness of oak and wood varnish. Raisins, kiwi fruits and orange rind, a touch of mild salt. And….and… well actually, that’s pretty much it. What the…? For sure the nasal assault is strong and sharp and hot, yet that proof point, that quarter century age, does suggest that it should do more than simply giving the impression of still being in short trousers. It feels washed out.

How’s the profile when tasted, then? Better, yes…up to a point. The hot bite of oak tannins leads in and never quite lets go. Some shoe polish, iodine, glue. Coiling behind that are salted caramel ice cream, vanilla (again, annoyingly obstreperous) and white chocolate, almonds, and where the hell are the fruits gone? At best, if you strain you might pick up some black tea and with water and I dunno, peppermint gum, a green apple, maybe half a pear. Water helps tone down that acrid tone, but this just – paradoxically enough – calls attention to the fact that it’s there to begin with. Finish is assertive and spicy, then fades fast, leaving behind memories of spices – marsala, cumin, more vanilla, brown sugar and again, oak and black tea.

By now you’ve probably come to the dismayed realization that this is not a rum eliciting paeans of praise from choirs of angels who’ve gotten high on their share, and you’d be right, because it fails on a number of levels. The strength obliterates subtlety: not always a bad thing when done right, but on this occasion all it does is dampen down what should be a more complex, dense series of tastes. Even with 25 years of continental ageing there should be more going on — instead, we get a fiery shot that could as easily be five years old. The vanilla is like a guest that won’t leave and between that and the oak, the result is a rum overwhelmed by hot simplicity.

The SMWS, which was formed in 1983, is primarily a whisky society, though in recent years they have branched out into armagnacs, cognacs, bourbons, rums, and even gins. So far they have rums from Guyana, Barbados, Jamaica, Panama, Nicaragua, Belize and Trinidad and it’s all a bit hit or miss, with mostly Barbados, Jamaica and Guyana rums holding up their end when rated against other indies doing the same thing. From T&T they have several Caronis (the R13.x series) and only two from Trinidad Distillers, the R10.1 and R10.2, issued in 2016 and 2017 respectively. That distillery is of course the home of Angostura, and always struck me, what with their industrial stills and barrel focus, as closer to the Spanish heritage production ethos than that of the English.

Personally, I’m not always won over by Trinidad rums aside from the Caronis (this is a purely personal thing). Angostura, though more informative than the Panamanians, too often shares something of their overall ho-hum, good-’nuff anonymity and deserves an occasional suspicious look. Sort of like “Okay, it’s a rum, so what?” That can work with blended releases issued to the broader market where “cheap and decent” gets the sales, but for a more exacting audience exemplified by those people whom the indies serve, that can be fatal, as it is here. The R10.1 is a strong blast of nothing in particular, a big show with no go, showcasing far too much of the barrel and not enough of the booze.

(#853)(79/100)

Other notes

  • Initially the rum sold for £195 but subsequent auctions on WhiskyAuctioneer and Catawiki came in lower than that.
  • Aged in refill ex-bourbon barrels between December 1991 and 2016, with a final outturn of 228 bottles.
  • A comprehensive list of all the SMWS’s rum bottlings can be found at the bottom of the biography.

Velier Uitvlugt 1988 17 Year Old Demerara Rum – Review

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Sep 222021
 

€57. Think about that for a minute. That’s how much this rum cost when it was first released in 2005. Good luck finding it anywhere near that, now. By 2019 the bottle price had already climbed past £1800 and as of this writing it is closing in on three grand on the auction listings. And it’s not even the most famed or the best of the Demeraras, because the unicorns most avidly sought after and collected tend to be the PM and Skeldons, and maybe the Albions and UF30E. For some reason, Diamond, LBI, Blairmont and Uitvlugt rums from the canon, even those from pre-1990, are occasionally deemed as “less” — whatever that can possibly mean in this day and age — though of course still appreciating nicely on secondary markets.

Photo (c) Velier

The French Savalle-still Guyanese rum released by Velier may not be one of the top-tier three-decade-old grail quests (unless it’s being sourced by a canny and knowledgeable investor-fan who knows better), but I submit it certainly has the pedigree to be included in the pantheon. Distilled in 1988 and aged in Guyana until 2005, it’s a robust 52.9% 17 year old rum whose origin still was housed at Uitvlugt at the time, and four barrels came together to produce 1091 bottles, which, if they used ex-bourbon American Standard barrels, implies an angel’s share so measly as to be impossible – Luca Gargano got back to me and said it was four 200-liter refilled (i.e. consolidated) barrels.

The aromas of this thing were certainly of that rich thickness that marked out others from that far back. The nose was initially spectacular – plasticine, furniture polish, fresh paint over new wood; briny and olive-y, offset by a wonderful scent of autumn leaves after a rain, damp aromatic tobacco, and the deep smell of ripe, fleshy fruits. As it opened up molasses and salt caramel ice cream came forward and were joined by darker and oversweet prunes, blackberries, red cherries…they teetered right on the edge of going off altogether before pulling back from the brink. Crisp and musky at the same time, the nose had just a trace of tannins at the back end, and was, after some time, even faintly bitter – the fruits were there, but so was the hint of something sour, like an almost spoiled lemon.

The palate was a curious beast, again quite briny, which I thought unusual for an Uitvlugt. Too, there were these peculiar – if faint – notes of tar and petrol, then the sour-sweet taste of freshly-grated ginger. However, after these badasses came, sneered and then departed, we were thankfully in more familiar territory: molasses, caramel, and burnt sugar took over the stage, to be joined by lemons, chocolate oranges, a freshly baked meringue pie, raisins, dates and prunes. You might think that such notes would present as somewhat oversweet, but the rum never quite overstepped the mark and stayed crisp and flavourful without too much excess in any department. I particularly loved the lingering finish, which was a touch sharp, fruity, warm, redolent of breakfast spices and some olives, as warm and welcome and sweet as Mrs. Caner’s kisses when I promise to buy her that Prada purse she’s been after for so long.

It’s become almost conventional wisdom that the Age’s Demeraras are the pinnacle of everything a Demerara rum could ever aspire to be. Few rums from anywhere equal them, fewer surpass them and they are both summit and baseline for any Demeraras ever made. Given the mania to get one, and the aura of near mythical invincibility surrounding the series, it is difficult nowadays to be objective about any of them…though cold reason suggests that statements of their magnificence are unlikely to be true in every single case.

Still, we have to face facts – the early rums distilled in the ’70s and ’80s really were and are a cut above the ordinary, and there are few weaklings in the bunch, which is why a rum like this can now be found only on secondary markets for four figures. Even parking my cynicism and experience, I have to concede that the Uitvlugt 1988 is so good and so tasty and so approachable – and so limited – that in the years to come, it might go the way of the Skeldons and bankrupt a third world nation. It was and remains a rum seething with the richness of a great spirit in any category, and has added luster to the annals of the Demeraras.

(#852)(87/100)

Other Notes

  • Angel’s share calculation: 1,091 bottles x 0.7 liters/bottle ÷ 4 barrels = 191 liters/barrel, which works out to a loss from the maximum 800 liters (4 x 200 liters for the “standard” ASB) of around 5%. Luca Gargano confirmed (a week after this article went up) that several 200 Liter barrels had been consolidated into the four which were mentioned on the label..
  • The marque on the barrels is SP-ICBU. Tech details from Velier’s site.
  • Not many reviews out there. Single Cask Rum was really enthusiastic about this one (96 points), much more so than I was, while Marco, in one of the first such reviews back in 2014, was less positive in his unscored review and as usual, his historical detail is impeccable. Gregers Nielsen, one of my rum chums, was so horrified by my “measly” score that he nearly unfriended me on the spot, since he felt it to be one of the top five Velier Demeraras ever made.

Velier Caroni 1996 21 YO Extra Strong 100º “Imperial Proof” Rum – Review

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Sep 062021
 

By now, the story has entered into the folklore of rum: in October 2004 Luca Gargano and the (late) photographer Fredi Marcarini, sniffing out rums from around the Caribbean to round out Velier’s rum portfolio and being dissatisfied with Angostura’s offerings, decided to visit the Caroni distillery, even though it had already been closed for a year. Arriving at the premises and being let in, they were shown a warehouse where several thousand barrels dating back more than twenty years had been stored (and implied to be overlooked, if not actually forgotten). Most of the barrels were bought by Velier in several tranches over the following years, and always presented as some sort of exotic treasure, an undiscovered, unappreciated and unheralded jewel in the mud brought to light through intrepid and personal Indiana-Jones-style sleuthing that reaped the benefits — which larger and less adventurous rum bottlers who safely bought from European brokers, could and did not.

In the ensuing years beginning in 2005, Caroni rums were carefully released in limited batches to the market, primarily Italy. Just as with the Demeraras, these releases broke new ground – for one, the barrels were not always blended into huge consistent outturns of several thousand bottles, but were often released as they were, a few hundred at a time: at best maybe two or three barrels of similar provenance or age or strength might be combined. And this is why there are so very many Velier Caroni rums in existence – at last count I have about sixty-plus (the Hampden “Endemic Birds” series follows the principle of multiple bottle releases, though I submit it is for completely different reasons). Sometimes there are bottles from the same year, the same age, but a few proof points apart; in others, it’s a “Heavy” or a “Light” edition. Blends began to be issued in larger quantities.

The rum from today is from the middle of the Caroni era (which we are still living through, even if the end may now be in sight) – distilled in 1996, blended and bottled in 2017 at “Imperial” proof of 100º (57.18%), a massive angel’s share of some 86%, resulting in an an outturn of about 7,000 bottles. The decision to bottle at this strength is supposedly to showcase the heavy character of the rum and perhaps genuflect to the Navy tradition, but I suspect this is more a convenience than anything else, as various lesser and greater proofs have always characterized the Caroni line without any such romantic explanations. The red and white label, it should be noted, like the gold-white-blue Tate & Lyle facsimile adorning some of Velier’s later Caroni editions, is a replica of the style of a 1940s original. Tracking that down proved elusive, unfortunately.

So, to the tasting then. By now the heavy, tarry and fusel-oil profile of the Caronis is one of the most recognized taste markers in the rum world, so it comes as no surprise to find it here: the rum presents opening aromas of rich caramel and tar, deeply intense, with petrol held way back. There’s licorice and dark fruits – raisins, prunes, plums and blackberries – plus a nice sharpish and lighter cognac kick that is far from unpleasant. The real characteristic of the nose seems to be less the diesel machinery than the garden, however – black grapes, very soft mangoes and all manner of overripe fruit. There’s just little tartness to balance that off…unsweetened yoghurt, maybe.

Tasting the thing reveals powerful tar and petrol notes by the bucketload, dry, oily and amazingly mouth coating. The profile is nicely solid, hardly sharp at all, and displays a touch of brine and olives, as well as — initially — an oddly metallic, medicinal sort of taste.

Once it settles down a richly dark, perfumed profile emerges for real: licorice, tar, dates, raisins, prunes, dark unsweetened chocolate, black grapes, blueberries, that cognac line again. There’s a delicate sort of citrus background that lends a nice counterpoint to the duskier, heavier tastes. It’s not a rum to hurry through, even on the finish: this is dry, long, aromatic, phenolic, leaving behind mostly sweet thick caramel molasses notes and some burnt rubber, plus a last flirt of exhaust fumes as it roars away into memory.

As a blend, it’s really kind of spectacular – there aren’t many of these deep, surly rums around any longer, and even the New Jamaicans’ high ester rums tend towards the fruity and sharp notes, not the brutal stomp-it strength of the Clydesdales that are the Caronis. That said, not everyone will like the heaviness of the experience: agricole lovers or those who prefer soft Spanish light rums will find little to enthuse them here, and that’s Caroni for you — not everyone is in tune with the steampunk esthetic and industrial farting of this long shuttered Trini style.

But I like it, and think that even if the prices of the smaller, older and rarer editions of Velier’s Caronis are too high, there’s still good quality and interesting tastes to be found in the high-outturn blends like 12 year old, or the 15, 17 and a few others. The appeal of the Caroni line of rums lies in their miniscule variations from one batch to the next (no matter who issues it), which allows any curious enthusiast to sample just a few and get a good sense for what it’s all about. The 21 year old from 1996 is among the oldest of these blends, and while it does cost a bit, it is, in my opinion, also among the best.

(#848)(86/100)

Other Notes

  • It is often believed that Velier first released the Classic Demerara rums, and as their availability declined and the price ascended (sometimes beyond all reason), the Caronis came in to supplant them as the second great series of rums which made Velier’s reputation. But strictly speaking, this is not true – the awareness of the Caronis peaked much later, but they began to be released in 2005, just around the same time as the first “true” dark-bottled Demeraras from the Age began to hit the market.

Additional Background

The myth of the “discovery” of these thousands of barrels may be true, but others dispute it, claiming that it had always been known that the rum stocks were there and they existed and were for sale. This goes as far back as 2000 when the distillery was already in perilous financial straits and courting buyers, and one local story held that a foreign consultant valued the year 2000 existing stocks of eighteen thousand barrels at between TT$1 billion (about US$160,000) and TT$6 billion (~US$935,000) depending on whether they were sold as aged or bulk rums. Both numbers were seen as implausibly low (US$935,000 for 18,000 barrels works out to US$52/barrel), as the writer was at pains to point out.

The distillery shuttered in 2003, and as is now well known, independents like Velier et al, and Scheer/Main Rum, bought out the stocks over the next few years – it was not done all at once, nor was it only Velier, and it went through Government officers (one could hardly get an export license without them). What is missing from all accounts is the pricing asked for and paid, and for what volume. In 2018, by which time Caronimania was a well established (if misunderstood) phenomenon, Raffique Shah (the author of the original 2000 article) returned to the theme and scolded the politicians of the day for ignoring or not even understanding the rum stocks’ pricing given their elevation to the “Blue Label Crowd.” He suggested that they disdained their own country’s rum, couldn’t be bothered to do any due diligence, and allowed a huge potential windfall to slip through their fingers. He all but accused them of skullduggery and corruption.

Whether any of this is true or not is, at this remove, probably impossible to tell. Commercial entities are under no obligation to disclose such matters and since we know neither the volume of barrels sold nor the amount paid for each, or by whom, anything beyond this point is just uninformed speculation that hopefully will one day be replaced by facts. But it’s a good case study in how rums (or any local third world resources for that matter) get bought and sold.

 

Rum Nation Réunion 2009 7 YO Rhum Agricole (2016 Release) – Review

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Aug 052021
 

Most independents who release rhums from Savanna, that distillery on Réunion which until five years ago was practically in rum’s ultima Thule, stick with their agricoles – the cane juice rhums, for which the distillery (and indeed the island) is best known. Once in a while a more adventurous indie will go and check out what they can do with their molasses based rums (like Rum Nation did with that badass 2011 7YO Traditionelle in 2018). Those occasional oddballs do succeed, but it’s the cane juice rhums that turn heads, because Savanna boosts and amplifies and juices them up to “12” by running them through the high ester still those boys use with such aplomb. And at the other end, some really good hooch gets wrung out.

Aside from Savanna’s own stable of rhums — their expressions have bred like concupiscent lapines — the indies and their audiences are having a field day with them. Rum Nation, as far back as 2016 and way ahead of the curve, had this one on the grid, and it was a good complement to their Caribbean expressions – laid down to rest in 2009, aged seven years and released to the festival circuit in 2016 and 2017. Surprisingly, almost nobody has reviewed the thing, which may simply be because of the lion’s share of the attention directed at Rum Nation was on other serious hooch on display that year: the Rares, the presentation-level Caroni 21 YO and that amazing 30 YO blended Jamaican, as well as the brawny 60.5% Traditionnelle, a year later.

So on the face of it, it seems to be another one of those really neat Rum Nation products that Fabio Rossi, the former owner, used to wryly refer to and toss off as “entry level”. 45% ABV, agricole, medium-youngish, nothing to write home about, Mommy would probably not be interested. And yet, and yet…it’s really quite a nifty piece of work.

Take, for instance, that lovely little nose it has. It is sweet, light, aromatic, with occasional whiffs of bubble gum and strawberries. There’s a touch of sweet rosewater and sugar cane juice, light caramel, nougat, almonds and marzipan. And as it opens up over the minutes (I kept this on the go for the best part of half an hour), it happily provides even more: citrus peel, pears, mangoes and green grapes. The estery touch of Savanna is there, never outsized or excessive, out to seduce not to bludgeon, and in that sense the strength is exactly right for its purpose.

The taste is where many rums show their chops and sink or swim: because not everyone really bothers to spend an inordinate amount of time nosing what is, in any event, a social drink. Happily, I can report that all is good here also: initial tastes of cereal, malty cream, seeming to be a dampened down and not as tightly crisp or tart as the nose suggests it might be. There are notes of fanta and citrus based fruit juices, hanging around with light vanilla, tamarind (this was a surprise), more marzipan, almost but fortunately never overstepping the point of vague bitterness. I must particularly mention the mint chocolate, oranges and a nice sweet creaminess at the back end, and the way it closed up shop: because that is where is many rums, satisfied they’ve given what they needed to, don’t think they need any kind of enthusiastic finale. Here we have a finish that is light, crisp, sleek, sweet and dry, nicely fruity (light cherries and pineapples slices in syrup), maintaining a delicate citrus action, adding some cereal hints, and ending the sip on a fading, demure note

This is a very impressive dram for something so relatively young and standard-proofed. It lacks the rough-hewn brutality of a full proof rum clocking in over fifty, yet it’s tasty as all get out, softly solid as a Sealy posturepedic, while paradoxically retaining a light and crisp character throughout all those fancy labial and olfactory perambulations. I think of it as an unappreciated little gem, and if still available, it’s a good buy. Sure, Savanna’s own Lontan and Grand Arome series are quite good (and the 2006 10 YO HERR remains spectacular), but you wouldn’t do yourself a disservice to try this one. It’s an approachable and affordable mid-range rhum that reeks esters while trying hard to pretend it doesn’t, all while serving up a strikingly lovely and winsome profile with sweetly understated verve and panache.

(#841)(86/100)

Other notes

  • Lots of unknown on this. The location of ageing is not precisely identified, though the “Aged in the Tropics” on the back label strongly implies full Reunion ageing. Outturn is not mentioned, nor, surprisingly enough, is the distillery noted anywhere on the label. I was told Savanna back in the day (not Riviere du Mat or Isautier, the only other two distilleries on the island), and have an outstanding email to Fabio Rossi asking about the other details

 

Key Rums of The World – Rhum de Père Labat Rhum Doré

 2 Responses »
Jul 262021
 

Having gone through their aged expressions, millesimes, and young blends from the Poisson-Pere Labat distillery on Marie Galante over the last few years, it is my considered opinion that when it comes to the best intersection of value for money, the surprise standout is not either the 3 year old or the 8 year old (which, since they sit smack in the middle tend to be shoo-ins for the honours of this series), or any of the more upscale millesimes (though those are quite good) but the rather unremarked and seemingly unremarkable two year old called the Doré, which I can only assume means “golden” in French. Certainly its light golden colour explains the name, though one could equally wonder why they didn’t just call it an Ambré, as most others do.

Rhums with names, that are not “premium” – by which I mean “highly priced” in this context – tend to be blends which stay constant for extended periods. The Doré is considered one of the youthful “Elevés sous bois” (‘aged in wood’) series of rums from Poisson, accompanied by the “Soleil” (Sun) 59º and 55º both of which are aged for six months: they are all supposedly a rung underneath the quality ladder of the 3 YO and 8 YO, and the millesimes and premium editions above that.

But I disagree, and think it is something of an unappreciated little gem that defines Poisson and Marie Galante — as well as Bielle or Capovilla or Bellevue, the other distilleries on the island. Let me walk you through the tasting of the rhum, to explain.

The nose, to put it simply, was just plain lovely. It was crisp, creamy and citrusy, like a well made lemon meringue pie fresh out of the oven. It smelled of ripe peaches, yoghurt, ripe Thai mangoes, red grapefruit and oranges, and the acidic, tart elements were nicely balanced off by softer, more earthy tones. Even for a rhum whose youngest components were 18 months old, there was no harsh stinging notes, no roughness or jagged edges flaying the inside of one’s nose. In fact, the whole experience suggested a rhum much lighter than the 50% it was actually bottled at.

The taste was reminiscent of that dry, crisp Riesling I remarked on with the 8 YO. That one was gentler and smoother as a consequence of the 42% strength. Here this was transmuted into firmness, a certain tough clarity, and made the wine feel jacked up and boosted (but in a good way). It was a veritable fruit smorgasbord – apples, pears, cashews, guavas, star-apple, passion fruit, peaches all tramped across the stage at one point or another. And then there was the herbal grassiness of citrus peel, green grass after a rain on a hot day, cinnamon, a trace of coffee and bitter chocolate…I mean, what on earth gives a two year old rum the right to taste this fine? Even the finish didn’t drop the ball – it was long, fruity, and brought everything to a fitting conclusion of crushed walnuts and almonds, lemon zest, ripe fruits and even that pie we smelled at the inception made a small bow.

I don’t know about you, but I felt this rum to be a quiet little stunner and it remains one of those favourites of mine that stays in the memory and keeps being bought, in a way its cheaper and more expensive cousins up and down the line do not. It samples really well, has a good proof point for what it is, and while it is understood that it’s is made to be a mixing drink, I feel it transcends such workmanlike blue-collar origins and somehow excels at being a downright tasty sipping drink also. And it’s nicely affordable as well being in the less-than-premium segment of Poisson-Labat’s range

What it doesn’t have, is widespread acknowledgement, or awareness by the larger rum-drinking public. It’s crowded out by more popular and better known distilleries like Bielle, Damoiseau, Saint James, Neisson, Bally, and is perhaps perceived to be on the level of the smaller and equally little-known outfits like Bologne, Severin or Montebello.

In a recent interview on the subject of Key Rums, I remarked that that when it comes to a large country with lots of distilleries, how does one pick just one? Admittedly, Marie Galante has only four (a far cry from the 500 or so in Haiti or the thousands in Brazil), but when it is lumped together with those of Guadeloupe, the problem remains…which one to chose? The smallness of some of these distilleries makes their rhums fail the criterion of being known, talked about and coming up in the literature. It’s particularly problematic considering that for too much of the rum drinking world, agricoles barely register at all, let alone get seriously discussed. I submit that this is a mistake and it’s long past time that the blinkers came off. We should recognize that cane juice rhums, whatever their sources – and perhaps especially those from the tiny distilleries – are deserving of greater acknowledgement and respect than they get from outside Europe or the cognoscenti.

And that being the case, I pick another one here, from the small island of Marie Galante; and have to state flat out that even though you may not aware of it, for the intersection of taste, availability, longevity, age and all round taste, the Dore really is rather remarkable precisely because it doesn’t seem to be anything of the kind. The Soleil 59º and 55º show their youth in their rough edges and wildly untamed exuberance, and so to some extent do the unaged blancs, though they are really fine in their own bailiwick. The older mid-range 3 YO and 8 YO expressions are too weak to be serious contenders as they fall flat or fly away if one doesn’t pay close attention, and the high-end millesimes are too pricey. The Dore somehow, against all odds, even young as it is, finds its niche with effortless ease, shows its quality and retains its place in the mind…and is, I believe, completely worthy of inclusion in this series as a result.

(#839)(85/100)

Other Notes

  • For those who want more detailed background information, the company biography of Velier and the brief history of Pere Labat are both in the “Makers” section of this website.
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