The Curious Bartender Volume II E-Book

Tristan Stephenson

• Herausgeber: Ryland Peters & Small
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Beschreibung

"His practical experience blends perfectly with his academic knowledge in this informative and entertaining guide to making the perfect cocktail." Review for The Curious Bartender Volume I, The Daily Mail. Tristan Stephenson is back to shake up the cocktail world once more, perfecting classic cocktails and offering his signature reinventions using his world-renowned mixology skills. The Curious Bartender Volume II: The New Testament of Cocktails is the sixth book by bestselling author and legendary bartender Tristan Stephenson. You'll find 64 of the finest cocktails there have been, are or will be: 32 perfected classics and 32 game-changing reinventions of classics. Tristan makes you discover tastebuds and talents you never knew you had. He'll show you the tools of the trade, the techniques he swears by and how to experiment to create your own cocktail sensations. Tristan's done all the hard work for you, selflessly trying every drink known to man to uncover what partners perfectly. All you have to do is leaf through the pages of this – the holy grail of cocktail books.

Leseprobe

THE CURIOUS

BARTENDER

VOLUME II

Designer Geoff Borin

Editors Nathan Joyce and Julia Charles

Head of Production Patricia Harrington

Picture Manager Christina Borsi

Art Director Leslie Harrington

Editorial Director Julia Charles

Publisher Cindy Richards

Prop Stylist Sarianne Plaisant

Indexer Ingrid Lock

Illustrator Selina Snow

First published in 2018 by Ryland Peters & Small

20–21 Jockey’s Fields

London WC1R 4BW

and

341 E 116th St

New York NY 10029

www.rylandpeters.com

10 9 8 7 6 5 4 3 2 1

Text © Tristan Stephenson 2018

Design and commissioned photography © Ryland Peters & Small 2018

All photography by Addie Chinn except for cover image and images on pages 12–13, 24–25, 60–61 wepix/Getty Images. Illustrations on pages 62–63 by Selina Snow.

The author’s moral rights have been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher.

ISBN: 978-1-84975-893-2

eISBN: 978-1-78879-139-7

A CIP record for this book is available from the British Library.

US Library of Congress CIP data has been applied for.

Printed in China

A note on sourcing blood for the Claret cocktail on page 196: when using fresh blood you really need to trust your source and be 100% sure that the product has been packaged under strict sanitary conditions. Fresh blood must be used within 24 hours of slaughter. It’s also worth noting that a small amount of blood isn’t harmful to your body, but overconsumption (as with most things) can be dangerous.

CONTENTS

INTRODUCTION

How to use this book

THE BASICS

Basic Equipment

Advanced Measuring Equipment

Thirteen Bottles

Kitchen Ingredients

TECHNIQUES

Introduction to Chilling

Shaking & Stirring

Sugar & Syrups

Seasoning Cocktails

Infusions & Extraction

Juicing & Drying

Fermentation

Filtering

Blending

Clarification & Centrifuge

Distilling

Liquid Nitrogen

Smoking

Maturing

Carbonation

THE COCKTAILS

Flavour Map

Brandy

Vodka

Gin

Rum

Whisky

Tequila

Wine

Buying Guide

Equipment & Suppliers

Glossary

Index

Acknowledgments

About the Author

INTRODUCTION

Hello there and welcome to the latest instalment of the Curious Bartender series. I’m glad you could make it.

Since The Curious Bartender: The Artistry & Alchemy of Creating the Perfect Cocktail was published in 2013, the series has sold over a quarter of a million copies and been translated into multiple languages. Following the success of the first book, I have gone on to write a further four books, which adjusted the focus of the original and took aim at spirits (whisky, gin, rum) and coffee. Although all of these books included a few cocktail recipes, they are mostly works dedicated to specific categories of drink rather than pages of instructions on how to make drinks.

But in the back of my mind I always knew that one day, another cocktail book would need to be written.

To start with, the original book was ready for an update. Trends come and go quickly in this era of craft cocktails and mixology. Drinks ascend into and fall out of favour with the changing of the seasons. Some trends that were the epitome of cool ten years ago now seem crass or just plain boring. That’s not to say that the first instalment of this series is not a piece of work I am proud of. It is, in my humble opinion, a fine representation of the slightly awkward adolescent period that bar craft was going through five to ten years ago.

Between 2005 and 2010, the bar industry experienced an incredible period of self-discovery as classic cocktails were revived and new, culinary techniques found their way behind bars. Some of these practices, such as sous vide (see page 38), have, I hope, found a permanent home there. Others, like hydrocolloid caviar pearls, have found themselves homeless.

And then there are the new trends. It’s amazing to think that a mere eight years ago you would struggle to find a cocktail bar that carbonated its own beverages on-site. Nowadays, carbonated cocktails are a common feature of bar programs and a whole range of different strategies have been developed to implement them (see pages 57–61). The growing movement towards low-environmental-impact food and drink has led many to take on a locavore approach to cocktail creation (see Tiger’s Milk on pages 80–1) and rediscover traditional preparation and preservation practices such as smoking (see pages 50–51) and fermentation (see pages 43–4), and these techniques have broadened the flavour gamut of mixed drinks. At the cutting edge, liquid nitrogen (see pages 49–50) continues to be as useful for making things cold as it is for extracting flavour from plants, while distilling (see pages 48–9) behind bars has graduated from the status of ‘extremely rare’ to ‘niche’. Perhaps the most radical trend that is currently affecting the bar industry is that of non-alcoholic cocktails. Mixed drinks comprising herbs, juices and sodas littered menus for years, but a new breed of non-alcoholic ‘wines’, ‘spirits’ and mixers are taking the bar world by storm and opening up new avenues of alcohol-free mixology (see pages 120–21).

As well as the need to document recent advances, a new cocktail book has also proved to be a good chance to explore a new selection of classic cocktails. This book includes detailed recipes and descriptions for 31 ‘new’ classics that I have not previously explored in my other titles. Most of these drinks were already very familiar to me, but mixing them with a fresh set of eyes and a well-practised palate (that’s one way of putting it…) has been extremely rewarding, especially on occasions where I have shared and discussed drinks with the team members at my bars.

Speaking of bars, when I began writing the first Curious Bartender title I had just opened my second bar: The Worship Street Whistling Shop. Since then, I have opened a further four bars in London, including a dedicated whisky bar by the name of Black Rock and a sherry bar called Sack. I’ve also become a restaurateur, opening Surfside – a seafood restaurant in Polzeath, Cornwall. I’m also now the director of a bottled cocktail company, and have more recently branched out into e-commerce with a whisky subscription club called WHISKY-ME.

All these wider business endeavours mean that these days most of my work is done in front of a laptop screen rather than behind a bar. The slightly unexpected side effect of this change of workplace is that I now spend more time mixing drinks and experimenting with alcohol at home. Most of the classic cocktails in this book have been tested in my home kitchen, and I developed many of the original drinks in this book at home too. This rings true to the ethos of The Curious Bartender series, which has always been about building excitement through the exploration of great cocktails and delicious spirits, whether you are an amateur at home or a professional in a bar.

Indeed, this urge to explore, test and create drinks should not be limited to the world’s best bartenders. It is something that anyone can do anywhere, and it is my hope that this book can play a role in this creative movement.

Above all, this book is a story about what makes cocktails great and how to go about making great cocktails. It is a book that equips the reader with the knowledge needed to develop original drinks, and perhaps even perfect some of mine. It is a book that links the amateur and the professional as never before. Before you get started, there is just one important precondition that must be met – you have to be curious.

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HOW TO USE THIS BOOK

The first section of this book covers the basic equipment, glassware and ingredients you will need for mixing drinks. You might not need all of this stuff, or you might need all of this stuff plus extra bits that are covered later on. This section is a primer, and essential reading of you’re just starting out in the world of cocktails.

The second section covers a wide range of techniques. To begin with, we will take an in-depth look into ice, chilling, and what happens when a cocktail is shaken, stirred or blended. It’ll get a bit scientific here, but I can promise you it’s worth it and your tongue will thank you for it later. This section also discusses basic taste principles, like sweet, sour and salty. Then we’ll look at various preparation techniques in detail, all the way from making infusions through distilling and barrel ageing. It’s all there.

The third section of the book is by far the biggest, and this includes all of the cocktail recipes. You will see a flavour map at the start of this section, which plots cocktails according to their alcoholic intensity and how sweet or dry they are. This is a great visual tool for deciding which drink you want to make next, and I personally wouldn’t be without it. The cocktails section is organised by base spirit (the main spirit in the cocktail). This isn’t the way I would normally organise a cocktail menu, but I’ve done it this way so that those with only a limited selection of spirits can quickly dial down to those drinks that are within their means. The cocktails themselves are listed in pairs. First comes the classic version of the drink, with all the associated history and commentary, then comes my interpretation of the drink, typically involving more advanced techniques and abstract flavours.

PART I

m

qTHE BASICSr

l

BASIC EQUIPMENT

There are means and ways of mixing drinks with no equipment whatsoever, but unless you’re either a well-practiced bartender or someone who doesn’t care about whether a drink tastes good or not (in which case this might not be the right book for you…) this kind of cavalier approach to mixology is best avoided. So you’re going to need some equipment.

JIGGER

The jigger is to the bartender as the knife is to the chef: dependable, always close to hand, and always personal to the individual.

That said, the jigger is really only used to make one or two cocktails at a time, rather than batching large volumes of ingredients, which should be done on a set of scales (see right). The most common type of jigger is made of steel and consists of two cone-shaped measuring vessels joined at the apex. This design gives you two measures for the price of one as well as a way of standing the item on your countertop.

Jiggers come in a whole variety of sizes, which are reflective of imperial and metric measuring conventions and the specific tastes of different nations. Some jiggers also have lines engraved into the inside of them that indicate the level of fill for smaller measurements. Beware of the accuracy of these markings, though, because they have been known to tell lies. It’s always worth testing the measurements of your jiggers on a set of accurate digital scales to remove any possibility of doubt.

Scales will also demonstrate what a ‘full’ jigger looks like – a few millimetres difference in fill height can be the difference between multiple millilitres of volume in the finished drink. This inconvenience is exacerbated by low, stumpy jiggers where a pour that is too high or low results in an even greater error in volume.

Somehow, I managed to get through most of my bartending career with only a 25-ml/50-ml jigger and don’t ever recall feeling ill-equipped. But since there are so many jigger models on the market these days, there really isn’t any reason (besides cost) not to have a range of measuring options available to you. As a minimum, I would encourage the purchase of a second set that measures 20 ml/40 ml. If you’re in the US, you are likely to be more used to measuring in ounces and you may prefer to use a 1-oz./2-oz. jigger. I’ll say it now though – and not for the last time – metric measurements are more accurate, and far better suited to scaling recipes up for batching.

SCALES

Scales are one of the less obvious components of a bartender’s arsenal, but they are also one of the most important. Liquids can (and should) be weighed in the same way as solids are, and you’ll find weight trumps volume, especially when measuring very small and very large quantities.

With that in mind, it’s advisable to buy two sets of scales: one set that is accurate to one-tenth of a gram and therefore good for measuring potent ingredients like powdered acids, hydrocolloids (compounds used to thicken liquids and create jellies, jam and gels) and salt; and another set for batching large volumes, accurate to 1 g and able to weigh up to 5 kg.

BAR SPOON

Once upon a time, not so long ago, a bar spoon was a barspoon and that was that. Nowadays there is no end to the range of lengths, weights, finishes and aesthetic qualities you can find in the humble bar spoon. All good spoons have one thing in common, though: they’re good for stirring drinks. And if I’m honest, that’s where there repertoire of tricks should end.

Find a bar spoon that is sufficiently long to fit into a tall mixing glass (30 cm/12 inches is usually long enough) and choose one with a good weight to it so that it sits comfortably in the base of a glass without floating to the top. The actual bowl of the spoon is, quite frankly, abysmal for measuring, but it can be handy for scooping condiments from jars or for taking small measurements of liquid from a mixing beaker for taste testing. The neck of the spoon is typically twisted – a design artefact from bygone days when bar spoons were used to float ingredients – but straight necks are becoming more popular these days. The end of the spoon may have a flat disc on it (for layering), a fork (for picking up things like cherries and olives), a round weight (for cracking ice cubes), or a simple teardrop shape (for looking pretty). For more about stirring drinks see pages 29–30.

CITRUS PRESS

You’ll not get far in to your cocktail journey without a citrus press close to hand. Don’t bother with handheld reamers – they’re both messy and inefficient. Instead, get yourself a levered citrus juicer, also known as a Mexican elbow. For more on juicing see pages 40–2.

SHAKERS & BEAKERS

The primary function of a shaker is to chill cocktails quickly. The secondary function is to keep that cocktail contained and not splattered all over the walls. Barring the cheapest and nastiest examples, pretty much any shaker costing more than £10/$14 will probably meet the above criteria.

So the decision on which type of shaker to buy (broadly speaking, there are three types) becomes a matter of personal preference.

The cobbler shaker (AKA three-piece shaker) is probably what you think of when you close your eyes ad picture a shaker in your head. Although they range in size – from single-serve to comically large – they always consist of a ‘tin’ (just like a ‘tin can’, these are in fact made from steel), which is the part that holds everything, a lid with a built-in perforated strainer and a removable cap.

These shakers had fallen out of fashion when I first started bartending, but thanks to the recent renaissance of classic bartending practices brought about mostly by the emergence of Japanese bar culture, they have become popular once again. I like them because they are self-contained units that don’t require additional peripherals (you can even use the cap as a jigger), but some people criticise them for being slower and more fiddly than the alternatives.

The Boston shaker is a two-piece arrangement that usually comprises a reinforced 1-pint glass and a 28-oz steel tin (I refer to the imperial measurements here because that’s the standard they conform to). Now, you wouldn’t think a glass beaker and a metal tin would click together and stay together while being shaken around violently, but they do and it’s all thanks to the physics.

When you throw ice in a shaker you’re not just chilling the liquid inside the shaker, but the air as well. As the air cools, the pressure drops, which is what keeps the two vessels stuck firmly together. In fact, they can sometimes become so firmly stuck that it requires quite some effort to separate them again.

The trick to separating them is to hold the large tin with one hand and to hit the top of the tin where the two vessels join with the hard, bony bit at the bottom of your other hand. Boston shakers remain very popular in the US, as well as in bars that tend to serve a high volume of cocktails. This is probably because they have a larger internal volume than cobbler shakers but also because they are inexpensive, almost unbreakable and easy to clean. The downside of this type of shaker is that you need a strainer to go with it.

The third style of shaker is the Parisian. These shakers are a bit of a hybrid between the cobbler and the Boston, although the word ‘hybrid’ is misleading, as it suggests that it is better in some way. What you actually end up with is a two-piece shaker where one tin slides neatly inside the other but that become nearly impossible to separate after shaking. And while we’re at it, I’ve also noticed a trend towards ‘tin on tin’ Boston shakers, which suffer from the same sticking problems as the Parisian. The issue with these designs stems from the fact that steel flexes slightly when you press it. Flexibility is actually a good thing when it comes to getting a good, watertight seal. But it becomes problematic when you try and separate the tins using the ‘wrist slap’ manoeuvre, because both vessels flex on impact and remain firmly stuck.

For stirred drinks, you are more than welcome to use the ‘tin’ part of any of the above shakers, but I personally opt for a glass beaker with a lip for pouring. Glass mixing beakers have the advantage that you, and the person you are serving the drink to, can see the mixing and chilling of the liquids. This can be handy if you need to correct a drink because it appears to be the wrong colour or has insufficient volume, perhaps because of a forgotten component. From the perspective of a thirsty recipient, it’s difficult to measure the impact that stirring in crystal glassware may have on their final appreciation of the cocktail, but it’s likely to be a positive one.

STRAINERS

The purpose of a strainer is to separate a chilled cocktail from the ice that was used to chill it. Even when you’re making drinks that are served over ice, it’s good practice to use fresh ice cubes, since they will look better and melt slower (see pages 26–8 for more on ice).

There are three types of strainer that bartenders use, plus of course the strainer that you find built into the lid of a cobbler shaker.

The hawthorn strainer is the classic steel strainer that is used in conjunction with a Boston shaker tin. These strainers comprise a metal plate with a handle (mostly useless) and a long spring that serves as a kind of pliable barrier, which allows the strainer sit snugly against the inside of the tin. Then, with your index finger placed securely on top, you can lift the tin and strain with one hand.

The one hand thing is important, because in some instances (see right) you may need to use an additional ‘fine’ (or ‘tea’) strainer to remove troublesome flakes of ice. Your spare hand then becomes responsible for holding the fine strainer above the glass.

The third type of strainer – the julep strainer – is to some extent optional, but I quite like to use them when I am preparing stirred drinks. The julep strainer was originally served on top of a julep cocktail (which contains lots of crushed ice and mint) but has subsequently found a better home for itself as a general strainer of stirred drinks.

The relatively large, but sparsely placed holes on a julep strainer make it a poor strainer of shaken drinks, but just about right for drinks that are stirred. Stirred drinks flow more freely than shaken ones on account of the large, uniform cubes of ice and the fact that they don’t require the fine filtering of a shaken cocktail. Also, there is a certain elegance in the simple one-piece design of the julep strainer that lends itself well to more discreet preparations.

Depending on the method used to make your drink (shaking or stirring) and the required presentation of the final serve (served over ice or served straight up), I would use the following straining strategies as a basic rule of thumb:

shaken, served over ice:

Hawthorn strainer/cobbler strainer

shaken, served straight up:

Hawthorn strainer/cobbler strainer + fine strainer

stirred, served over ice:

Julep strainer

stirred, served straight up:

Julep strainer

ADVANCED MEASURING EQUIPMENT

Jiggers are great for turning out drinks quickly, but only an amateur would rely on a jigger when developing new drinks or to batch large volumes. For accurate work I would recommend buying a set of plastic, graduated measuring cylinders. Cylinders are cheap, indestructible, and a lot more accurate than a jigger or – perish the thought – a bar spoon. While you’re at it, grab a set of plastic syringes too. These are useful for transferring small volumes between vessels quickly, accurately and with minimal mess.

For those of you with unlimited budgets who are really looking to geek out on volumetric measuring equipment, I present to you the micropipette. These little devices are basically souped-up pipettes with a volumetric display that typically ranges from 1–5 ml – great for super accurate measurements of powerful ingredients. As they’re intended for laboratory use, you can pretty much name your price on this one, but expect to pay at least £100/$140.

REFRACTOMETER

Another useful piece of equipment that’s finding its way into more and more bars is a refractometer. This piece of kit measures how much light is bent as it passes through a liquid (think the artwork for Pink Floyd’s Dark Side of the Moon), which is known as its ‘refractive index’.

Depending on how the refractometer has been calibrated, the refractive index can tell you things like how much dissolved sugar or salt a liquid contains, or even the alcoholic strength. If you’re wondering if this is another extremely expensive piece of lab equipment, the answer is: it can be. It is, however, possible to pick up a perfectly good refractometer for under £20/$28. The important thing to remember with refractometers is that – with the cheap ones, at least – they are only good for performing one task, e.g. measuring the percentage of sugar (or Brix) in a syrup. And as it happens, that’s exactly the sort of piece of kit that I would recommend getting. Measuring Brix with a refractometer is the best (and perhaps the only) way to standardise the sweetness of your homemade syrups and give room to adjust for consistency where necessary. Look for a refractometer calibrated from 0-80°Bx, as this will see you good for even the sweetest of syrups.

There are two important things to remember when using a refractometer to measure Brix. The first is that a Brix measurement tells you what percentage of a substance’s total weight is sugar. This means that a sugar syrup of 50°Bx would be equal parts sugar and water, while a syrup of 66°Bx would be two parts sugar to one part water.

The second thing is that a refractometer assumes that there no other substances in your liquid other than sugar and water. This limits the refractometer’s use to only syrups that contain little or no salt, and absolutely no alcohol. Liqueurs are off limits, I’m afraid.

SERVICEWARE

Ok, let’s get one thing straight: 90 per cent of cocktails can be served in one of three glasses: the coupe/Martini glass, the highball glass or the old-fashioned/rocks glass. Settle on a sensible-sized coupe that can handle both a tiny Martini or a shaken higher-volume drink like a Sidecar. Quantity-wise, 150 ml/5 fl. oz. is usually about right – it won’t look like a short serve with 80 ml/2¾ fl. oz. of Vodka Martini in it and it won’t be overflowing when mixing a White Lady.

Your highball and old-fashioned glasses will usually be around the same volume, only one will be taller and more narrow (highball) and the other more squat and wider (old-fashioned). Think about what drinks you like to make the most often and consider which size will suit them. I’m a big fan of sticking to a glass that fits the need, rather than shopping around and varying the collection.

All that said, I quite contentedly consume cocktails from tea cups, egg cups or mixed directly back into the bottle. If the drink tastes good, it is good. Serviceware makes it possible to enhance a great-tasting drink but cannot correct the misgivings of a bad one.

It’s also contextual. If I’m sipping a Rob Roy on a camping trip in the Scottish Highlands, I’d rather use an enamel camping mug than a crystal Martini glass.

For cocktails served without ice, your glass should always be chilled before use. Serving a cold cocktail in a room-temperature glass is like serving hot food on a cold plate – it becomes impossible to retain the serving temperature. I like to use glasses from the refrigerator for most drinks. These glasses will be at around 1ºC/34°F, which is an acceptable level above the common temperature range of most drinks (0ºC/32°F to -5ºC/23°F). Glasses from the freezer work too (and look cool!), but can often be colder than the cocktail itself, which has the paradoxical effect of making the cold drink seem warm. This effect wears off after a minute or two, though.

Forgotten to put glasses in the fridge (I do)? You can also chill glasses on the fly by adding a few lumps of ice and some water, then quickly stirring for a minute or so.

Taking the time to ensure the glass is at the correct temperature can have a profound effect on your or your guests’ drinking experience.

THIRTEEN BOTTLES

All ingredients are equal, but some are more equal than others. It’s true that some cocktails require highly specific brands or styles of drink, but most of the time the exact product you choose won’t be of critical importance. It’s a common understanding that a cocktail is only as strong as its weakest link, but in reality not all links in the chain are of equal size.

If you’re making a Martini, the gin is an important consideration because it is at the forefront of the flavour profile, so care in selection is required. In a cocktail such as the Negroni, where the gin battles against far more powerful flavours than that of dry vermouth in the Martini, there is clearly less need to be fastidious about the brand of gin. Unless you’re using a gin with extreme botanicals, or one that tastes bad, in all likelihood your Negroni will taste nice with most brands of gin. I liken it to cooking. If you’re making spaghetti bolognese, the cut of minced/ground beef is not as important as the tomatoes, cooking time, pasta quality etc. If you’re frying a steak, however, the cut of beef becomes an extremely important factor.

What I’m trying to say here is that in most cases it’s all right to select a single brand from each of the main spirit categories and stick with it for the majority of your cocktail making. My main piece of advice when selecting a brand is to make sure you pick one that is versatile, of a premium quality and pleasing to drink neat. For most drinks a generic spirit from the given category will do, but in some instances certain cocktails call for quite specific spirits (you can’t put a Navy rum in a Mojito, for example), so I will do my best to point out any drinks where I believe that a specific style, age or brand of liquor is required.

GIN

More classic cocktails have gin as their base than any other spirit. Indeed, if you were a bartender practising your trade in the 1920s, the vast majority of the drinks you would be asked for would contain gin. For me, gin is all about juniper, so opt for a classic style such as Beefeater or Tanqueray. There are, of course, many newer brands that will also fit the bill.

RUM

A spirit derived from sugar cane, rum is a key component of many classic punch drinks, most notably those from Cuba and drinks that fall under the category of tiki.

It’s difficult to buy a one-size-fits-all bottle of rum, because some drinks call for lighter styles (unaged or lightly aged) typical of the Spanish-speaking Caribbean islands, while others require much heavier styles that you might find in Jamaica or Guyana. A good compromise is a light Barbados or St Lucia rum, such as Doorly’s or Chairman’s Reserve.

SCOTCH

A decent blended Scotch is what we’re after here and it needn’t break the bank. Avoid anything too smoky as this may unbalance the cocktail, and look for fruit and malt characteristics. Johnnie Walker Gold Reserve, Dewar’s 12, or Chivas 12 will all do the job fine.

BOURBON

American whiskey is a staple ingredient of many a pre-Prohibition cocktail. Drinks of that era also used rye whiskey as a base, which takes on a slightly more spicy flavour when compared to the slick sweetness of bourbon’s higher corn content.

A good compromise is Woodford Reserve or Bulleit, both of them bourbons that contain a healthy measure of rye in the mash bills (the mix of grains used).

COGNAC

French brandy was the original mixing spirit in the mid-19th century, and it remains a fantastically versatile cocktail ingredient. A good VSOP (Very Superior Old Pale) from any of the major Cognac houses will work perfectly well, though if you want my recommendation I would suggest looking at Pierre Ferrand.

TEQUILA

The golden rule when buying tequila is to only buy a bottle that says ‘100 per cent agave’ on the label. If it doesn’t say ‘100 per cent agave’, it means the spirit contains some corn or wheat-based distillate, which serves to boost the alcohol content and dilute the natural vegetal flavours of the plant upon which the drink should be based. Aged tequila can taste quite different from the unaged stuff, so to cover all bases I suggest buying a reposado (‘rested’) which will have been aged for between two and 12 months.

VODKA

Let’s not sugarcoat it – nine times out of ten it’s difficult to discern the difference in a vodka once it’s been mixed into a cocktail. That one time, however, such as when you mix a Vodka Martini or a Vesper, will demand a decent liquid, so on that occasion, it’s worth buying something you’d be happy to sip on. My recommendation is for a rye vodka like Belvedere or Vestal, or a potato vodka like Chase.

TRIPLE SEC

Triple sec (meaning ‘extra dry’ in French) is similar to Curaçao, which has its origins in the Dutch Caribbean island by the same name. Both are orange liqueurs made from the peel of bitter oranges, but Curaçao tends to be sweeter. I would recommend a triple sec such as Cointreau, and the recipes I provide are based on a spirit of that sweetness.

AMARI

Bitter aperitifs like Campari or Aperol are fantastic ingredients to keep around because they make delicious long cocktails like the Americano. They are also as the chief component of the legendary Negroni cocktail.

VERMOUTH

If you’re looking for a one-bottle solution to vermouth I suggest plumping for a bianco style, which is light in colour but still rather sweet. If your budget can stretch to two bottles, get one extra-dry (French style) and one sweet, aka rosso (Italian-style). Always store vermouth in the fridge and aim to finish the bottle within 30 days. Tip – mix it with soda and ice for a delicious alternative to a white-wine spritzer.

ABSINTHE

Contrary to what you might have heard (or perhaps experienced), absinthe is not the hallucination-inducing poison that it is sometimes labelled as. It is typically quite high in alcohol (this is to stop the liquid from looking cloudy as it contains oils that fall out of solution in low-alcohol conditions) but is not designed to be consumed neat. Absinthe is best consumed with plenty of ice-cold water, or in such classic cocktails as the Sazerac and Corpse Reviver No. 2. The best brands are those produced by Jade, as well as Butterfly and La Clandestine.

MARASCHINO

This cherry-flavoured liqueur is arguably just as important as triple sec in the field of cocktail modification. It became popular around the same time as its orange counterpart. Maraschino has miraculous mixing powers, and the ability to pull a poor-tasting drink out of a nosedive. Luxardo is the go-to brand here.

DRY AMONTILLADO SHERRY

Yes, I am a bit of a sherry fiend, but it’s also my belief that a small drop of sherry will have the effect of improving virtually any cocktail it comes into contact with. It often works well in place of vermouth too, and there are great classic cocktails such as the Sherry Cobbler that rely on sherry as the base ingredient.

KITCHEN INGREDIENTS

Unless you’re content with cocktails made entirely from booze (which can be nice sometimes), you’re going to need a basic catalogue of kitchen ingredients. Now, there’s a good chance you’re holding stock of this stuff already, but it’s worth taking the time to check before embarking upon an evening’s cocktail making.

SUGAR

Caster sugar is a staple product that can easily be converted into sugar syrups for cocktails, or as a base for flavoured syrups. You may wish to experiment with darker sugars too, such as demerara and muscovado – these work very well in cocktails that call for aged rum.

SALT

Salt performs a similar role in mixed drinks as it does in food, elevating flavour and softening bitterness, sweetness and acidity. Cocktails rarely taste salty, but a touch of salt will improve most drinks. Keep table salt for making syrups and infusions, and flaked sea salt for rimming glassware and garnishing.

SODAS

It may sound simple, but keeping a good stock of sodas can be a bit of a challenge, as they tend to lose their fizz quite quickly. This is something that you can let slide when it’s just a glass of fizz you’re after, but a G&T without the bubbles is a sorry affair, just as a Mojito without that lick of spritz can also feel a bit flat.

Soda water, tonic water, ginger beer and cola make up the four pillars of your carbonated world.

HERBS

Fresh herbs can be used as visually attractive and aromatically pleasing garnishes as well as components of the cocktail. Fresh herbs can be tricky to store, though. Too much moisture can make the leaves go slimy, and too little moisture makes them dry out, while excessive light turns them yellow. Store soft herbs like mint, coriander/cilantro and basil in the fridge, but arrange them like a bunch of flowers in a glass jar with water in the bottom. Woody herbs like rosemary, thyme and sage should also be refrigerated, but last longer when wrapped in damp kitchen towel and placed in a sealable container.

HONEY

A great modifier that can be used in place of sugar syrup in almost any cocktail, assuming you like the flavour of honey, of course. Honey plays especially well with grain-based spirits like gin, vodka and whisky.

MAPLE SYRUP

Similarly to honey, maple syrup can add a buttery, candied note to mixed drinks, and works rather well with American whiskey.

AGAVE NECTAR

Disproven as a health food it might be – but you’re not drinking Margaritas because they’re healthy, right? – agave nectar certainly has a strong affinity with agave spirits (tequila, mezcal) as well as cachaça and agricole rums.

EGGS

The use of eggs, egg yolks and egg whites in cocktails has a long history. Many old-fashioned drinks like flips, possets and syllabubs require a whole egg to add both flavour and texture to a drink. Lots of cocktails that emerged from the golden era of mixed drinks (1860–1930) also call for egg white.

CITRUS FRUITS

See page 35.

PART II

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qTECHNIQUESr

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INTRODUCTION TO CHILLING

All of the liquids on a bar store heat energy, and when you mix them with ice, an energy tug of war starts and it doesn’t finish until the last gram of ice melts. As the battle unfolds, the liquid chills, the ice melts, and at some point along the way you get a cocktail that is sufficiently cold and not overly diluted. But for the super-curious among you, there’s a lot more detail to be explored here.

HOW CHILLING WORKS

The chilling of a cocktail occurs by two physical processes that take place simultaneously. The first is the direct conduction of heat from the liquid to the ice. In other words, the liquid gets colder because the ice is cold. Turns out that it takes 209 joules of energy to warm 100 g/3½ oz. ice up by 1°C/34°F (this is known as the specific heat of ice), and that energy is ‘stolen’ from the liquid in the form of heat, resulting in a colder drink.

Of course, this exchange of energy only works so long as the cocktail is warmer than the ice cube, and ice normally melts at the same temperature it freezes at: 0°C/32°F. But most cocktails are served at subzero temperatures, and some drinks may be as cold as -10°C/14°F. This low temperature is achievable because alcohol-and-water mixtures have lower freezing points than water. Nonetheless, how can the 0°C/32°F surface of a melting ice cube chill a drink below 0°C/32°F?

The clue was in the question: melting. While it takes just a paltry 209 joules of energy to warm 100 g/3½ oz. of ice by 1°C/34°F, it takes a whopping 33,400 joules of energy to melt 100 g/3½ oz. of ice into 100 g/3½ oz. water. This is known as the heat of fusion of ice. Just like in the specific heat process, the energy needed to melt the ice cube is drawn from the heat of the liquid, which subsequently chills the cocktail.