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Good Bars Need Lead Bartenders

I am now writing for FSR Magazine, an industry magazine for full service restaurants. In my first feature I tackle the topic of why a head bartender is essential to a successful cocktail program. 

If a drink menu is out-of-date or overly-simplistic and the bartenders can’t speak intelligently about the cocktails, I know two things about a restaurant: That there is no lead bartender in place, and that I’ll be ordering a beer.

In ths story I write about promoting-and retaining- lead bartenders. I interviewed Leo Robitschek from Eleven Madison Park and Benjamin Schiller of Chicago's Boka Restaurant Group. 

Read the story here. 

And if you're working in the full service restaurant business, you can get a free subscription here. 

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First White Whiskey, Now Brown Gin: Beefeater Joins the Unusual Aging Trend

Today Beefeater annouced the launch of Burrough's Reserve, a gin aged in Lillet barrels. It comes as part of a larger trend of reversing the traditional aging times of spirits and cocktails. 

White whiskies have been a huge trend for several years, mostly led by the craft distilling movement. The small batch distillers couldn't afford to wait for their whiskies to fully mature before selling them, so they all started selling young, barely, or not-at-all-aged spirit. The trend became so big that the major brands couldn't ignore it. Even Jack Daniels and Jim Beam released young/unaged whiskies at the end of last year. 

Meanwhile, in the mixology world, bartenders are taking things that are usually not aged and aging them: cocktails. This trend has also become too big to ignore, with even Vegas casino bars offering barrel-aged drinks. Bartenders are aging  straight spirits in small casks as well; sometimes to make them woody, sometimes to absorb the previous spirit soaked into the wood into the current spirit aging in it (the equivalent of cask 'finishing' frequently used in scotch whisky).

A couple months ago, word leaked about Absolut Amber, which is "a 40% abv vodka that has been aged for a minimum of six months with a variety of wood, including ex-Bourbon barrels, American oak and Swedish oak, as well as a variety of roasted American and French oak chips."

That was a pretty big departure for a company with mostly fruit and spice flavored vodkas, and seems to acknowledge the barrel-aging trend.

So too does the new Burrough's Reserve Gin from Beefeater, which is "distilled in a small historic copper still from the 19th Century, then uniquely rested in Jean de Lillet oak barrels. " (Jean de Lillet is a vintage reserve version of Lillet aperitif.) It will launch first in Spain in June, then the UK, then the US in October 2013. 

These are not by a long shot the first aged vodka and gins on the market. There was a big spike in aged gins several years back, after the launch of Bols Genever and Hayman's Old Tom, with other distillers deciding to create vintage-styled spirits. And some aged vodkas, like Starka from Poland, go back centuries. 

But with some of the world's biggest spirits companies now getting behind the unusual aging trend, many more people will be exposed to it, and perhaps more people will consider  how and why spirits are aged, and what that does to create the flavors of their favorite brands. 

 

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Designing Bars that Make Money

During Hawaii Cocktail Week I attended a seminar called Designing Bars that Make Money at the cafe/gallery Loft in Space. The seminar was lead by Tobin Ellis of consultancy Bar Magic, Kate Gerwin of the bar Imbibe in Albuquerque (and also of Bar Magic), and Julian Cox of Rivera and several other bars in Los Angeles.

Here are some notes on what I thought was interesting - with some of my thoughts at the end. 

Design and Philosophy

• Tobin Ellis says, "Everyone is saying 'I love craft cocktails but my next bar will be a sports bar that makes money.' You will never pay your bills on cocktail aficionados. You gotta get the Cosmo drinkers, and you gotta get the Bud Light drinkers." 
• Most people talk about the menus and cocktail program first, but Bar Magic believes in business plan first - market analysis, concept, feasibility, and then design the cocktails. 
• A lot of clever bar designs have the bartenders turn their back to the customers when making the drink - which is the opposite of what you want; the interaction.
• For cocktail bars Julian Cox recommends batching, cocktails on tap, bottled cocktails to speed up service. Note that these techniques aren't legal in many states.
• If you're a small bar opening, the one place you can save a lot of money is by not buying an expensive POS system.  
• Don't share all your recipes: having specialty cocktails/ingredients gives people a reason to come to your bar versus one down the street.
• Customers who follow drink specials aren't loyal customers. Have drink specials if you want, but don't expect that to increase business over all.
• Working with food trucks can save all the effort of having a food program. 

Equipment

• For cocktail bars, some time/space-saving equipment can include approved open-ingredient refrigerators (a new thing, apparently), and refrigerated garnish/ingredient drawers.
• Spindle mixers can make your Ramos Gin Fizzes a lot faster than you can shake them.
• The reason Hoshizaki doesn't sell the freezers that make 2"x2" cubes in the US is because they are not energy-compliant, not because they don't exist. 

Ingredients  

• According to an experiment by the French Culinary Institute, the best time for citrus juice is 4-8 hours after squeezing, so there is no need to squeeze to order. 
• If the menu supports it, consider making lemon and lime sour mixes in advance of shifts - the sugar extends the life of the citrus juice by a few hours,plus it's like mini-batching.
• Use shitty vodka in your well as it makes the most profit. "If your crowd doesn't care, you shouldn't care," says Gerwin. She also said they don't make much effort to up-sell to premium vodka brands, because they make more profit on the well vodka than they do on the premium brands. 

Staffing

• Let bartenders bartend (read: sell). Hire bar backs and janitors for everything else and let bartenders just focus on making drinks and talking to customers, not cleaning things.
• Consider having a back-of-house service bar for seated/served guests, as they don't need to see the bartenders.
• Kate Gerwin says that having consistent drinks between all bartenders is more important than having one person who makes "the best" version of some drink. All drinks should be made to the same standard unless it's an up-sell.
• That said, at Imbibe most of the bartenders are pros at speed and accuracy, not at arcane cocktail knowledge. Thus when a cocktail nerd asks for a drink, the bartender may ask Kate or the other expert; likewise when it comes to bachelorette drinks Kate may hand the order to another bartender. 
• Consider having a chart of what each bartender rings nightly and how much they collect in tips - this encourages healthy competition and reduces employee theft.
• Give every bartender working that night a bonus on any night where a sales record is broken. 

My Opinions on All This

• First I should note that the speakers for the most part were talking about building bars from the perspective of profit. As a consumer, I don't care about the bar's profit, so these are my opinions from the cocktail nerd consumer perspective.
• High-volume bars cater to the lowest common denominator of customer.
• If your well liquor is crap, I don't care if your mint is fresh. Your bar serves crap drinks.
• If every bartender isn't of the same quality at a venue, then I'm not a fan of a bar, I'm a fan of a bartender and will follow them to the next place when they leave for a better job. 
• A bar is as good as its worst bartender. 
• Fast bartenders are concerned with speed and profit, not with quality. Cocktails at high-volume bars, even ones that claim to be perfect with their speed pouring, are never as good as they are at craft bars. 
• I'd rather pay extra for the luxury of time for bartenders to do it right, and for the space in which to enjoy it.
• I think this would make a fun debate at a cocktail convention....

 

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Global Booze Brands Embrace Small-Scale Strategies: Absolut's Our Vodka Program

Diageo is experimenting with crowdsourcing and Absolut has set up a boutique distillery in Berlin.

The following story comes from Mixology Magazine in Germany. It was written by Helmut Adam and was originally published in German here. It was translated into English by Kirstin Müller. Below is an edited version of the translation.

Bartenders participating in Diageo’s World Class Programme [in Europe] are encouraged to submit their ideas for a [new spirit or liqueur]. In May 2013, a jury of Diageo professionals and industry heavy-weights such as Salvatore Calabrese and Jörg Meyer is going to evaluate the submissions and select a winner. The prize is a 5% share of earnings after tax or an installment of £ 25.000 (about € 29.000) alternatively. 

Pernot Ricard, Diageo’s strongest competitor in many markets, is taking a different route.  Last Friday, a boutique distillery producing a new vodka has opened its doors in Berlin’s trendy hot spot Kreuzberg.

The new product is called “Our/Berlin”. The distillery is run on its own terms, independently from Pernot Ricard Germany. Initiators behind the “start-up”  are The Absolut Company and the international holding of the corporation, the Pernod Ricard Group. In order to simulate start-up-criteria, the new vodka is not available via the usual distributing channels of Pernod Ricard. At the same time, Berlin clubs and bars are major target markets, as the company’s website states. With 37,5 % Vol. and at 350 ml per bottle, “Our/Berlin” is obviously meant to cover a different segment than Absolut Vodka, its bigger brother in the cooperation.

From a PR-Agency with love

An agency called „Paul Sanders“ is Pernod Ricard’s partner in crime. They list “consulting, production, press relations and guest management” as their main areas of expertise and have so far been involved in fashion and lifestyle projects. On their website, the agency describes their cooperation: “Pernod Ricard provides the distillery, the recipe and the ingredients. Paul Sanders are in charge of production, sales and marketing.”

Can corporations reinvent themselves as start-ups?

Åsa Caap, „Director for Global Innovation Projects“ at Pernod Ricard and in charge of the project – in spite of the theory described above – believes her company grew from innovation. In an interview with MIXOLOGY ONLINE, she said: "Since I've been working in that position I've seen a lot of innovation inside Pernod Ricard. The origins of Pernod Ricard are entrepreneurial, as both Ricard and Pernod were innovative entrepreneurs."

The idea for „Our/Vodka“, as the project’s umbrella brand is called, came to life over two years prior. According to Caap, developing a strategy on how Pernod Ricard could locally produce a vodka, that would have actual local market relevance, was a lengthy process.

„We decided very early that Berlin was a good market to start from”, Caap explains. The German capital is indeed the first major city to test the concept. If successful, „Our/Stockholm“, „Our/Detroit“ or „Our/Paris“ might soon follow suit.


The production process of Our/Vodka

How exactly is “Our/Berlin” Vodka produced? According to Åsa Caap, the final product is part locally purchased alcohol of regional descent, part centrally produced distillate using a secret type of yeast (“Low wine”) and part local water. The distillate is then refined to drinkable alcohol (“High wine”) in the Our/Berlin Distillery. The pure grain alcohol may consist of various agricultural bases, such as sugarcane or grain, depending on the market. Further details are not yet being disclosed. The 350 ml bottle of Berlin Vodka is sold for € 13.

Caap is surprisingly open when addressing the obvious reservations to a major cooperation meddling with grassroots craft: "Probably it is a contradiction and the only way to get around it is to be totally transparent." In her opinion the fact that the project is “one part global and one part local” makes it so special. “No other brand has that”, Caap says. In Berlin, “Our/Berlin” Vodka is produced and marketed by the Tioli Gmbh & Co. KG. Tioli is a wholly owned subsidiary of V&S Vin and Sprit AB, the Swedish branch of Pernod Ricard, which also owns Absolut Vodka.

It is vitally important, Caap says, that the project be co-run by locals, who get their fair share of the profits. The partners are independently responsible for sales and marketing. Hence, the market positioning of the brand will vary greatly from city to city.

Landmines at the Berlin testing grounds

Is this new type of „global boutique distillery“ going to prevail? The direct local environment for the first edition of Our/Vodka definitely has it’s stepping stones. The very area, where the new distillery was set up, is currently under fire as a major battlefield in gentrification-conflicts. In Schlesische Straße, a residential building was squatted recently. Plans for the Guggenheim Lab, which was set to occupy the open space in Cuvrystraße were overturned by local residents. And close by at the East Side Gallery, demonstrations are condemning plans for tearing down parts of the longest remaining stretch of the Berlin Wall. Everything reeking of “upgrade” is at best met with skepticism by the local population.

Will Pernod Ricard’s balancing act succeed to break into Berlin’s sub and club culture? Can a global spirits company really mask as a start-up? Will people see the product as a trendy party accessory or as a corporate wolf in sheep’s clothing? Since last Friday, when the showroom of “Our/Berlin” officially opened, industry professionals and barflies can make up their own minds. And for those looking to enter the micro distilling vodka business themselves, Pernod Ricard has put up a message on their global Our/Vodka website: “Are you interested in opening an Our/Vodka distillery in your city, let us know!”

Go here for more information (in Egnlish) about Our Vodka.

 

This article first appeared in MIXOLOGY magazine. MIXOLOGY is a bar and beverage magazine based in Berlin, Germany.

Author: Helmut Adam http://about.me/helmutadam
Translation: Kirstin Müller http://oeaeue.wordpress.com/

 

Cocktail Menus: Giving Credit Where Credit is Due

Recently on Facebook, I was engaged in a mostly-healthy debate about giving recipe credit on cocktail menus. 

 

Rye's cocktail menu from 2007

When we see a classic cocktail section of a cocktail menu, we know that the drinks in that section have not been invented in-house. But some cocktail menus are a single list of both classics and house creations, and that's where things get complicated. 

 

I have seen many cocktail menus that list modern classic cocktails like the Penicillin by Sam Ross and the Old Cuban by Audrey Saunders with no mention of the drink creators' names. When the cocktail menu is divided into sections indicating modern or vintage classics vs. house creations, even people who have never heard of the modern classics would have a clear indication that the drink comes from elsewhere even if the cocktail is uncredited. But when a lesser-known drink is mixed in with house recipes, it is easy for a customer to assume that the drink was created on-site. 

Say a cocktail menu lists the following drinks: Martini, Bijou, Red Hook, Lynchburg Buck, Window Washer. Some of those drinks are house creations, some are vintage classics, one is a derivation of a classic, and one is a modern classic. But without the menu indicating which are which, the customer could easily assume that most of the drinks on the menu are made in house. In this case, does the bartender have an obligation to credit each recipe, lest it appear that he is claiming that those recipes are his own creations? 

Last year, a restaurant publicist forwarded me some house cocktail recipes after I requested some for a story I was writing. Included among them was a recipe for a modern classic from their menu. I quickly informed her that it was not a house creation, but the fact that even the publicist for the restaurant couldn't tell which recipes were house creations and which were originals was a bad sign.

Had I published that modern classic recipe and credited the bartender who put it on the menu rather than the drink's creator, not only would I get called out as a dummy, the original drink's creator could be justifiably mad that someone else was taking credit for his cocktail. 

This was actually the case at another cocktail bar: the menu was a mix of modern classic and house originals, with no indication of which was which. The drinks' creators heard about this menu and were nonplussed. The menu was later revised and now credits drinks not created in house with the bartenders' names, while the house creations are uncredited. 

As the debate on Facebook went on, some people argued that the original drink's creators could always be found thanks to the internet, so it isn't neccesary to put everyone's name on every drink and clog up space on the menu.

My counter-argument is: Look at the Cosmopolitan. We often credit three people now: the drink's creator, the person who refined the recipe to its modern form, and the person who did the most to popularize it. But for most of the past 30 years, credit has been given to the person who made it popular. It just took two decades to sort that out.

A very worthy counter-argument to the 'all drinks must be credited' theory is what happens when you add variations? As with the Cosmo, drinks take on new forms as time goes on and ingredients change.  If I'm a bartender who puts a Cosmo variation on a cocktail menu with a different name, do I need to add a line saying "Version of the Cosmopolitan", and/or do I need to name it a variation of the original drink, like Neopolitan?

If I call my drink the Camper Amazingness with no explanatory line on the menu am I guilty of implying that the drink was a 100% original thought, or is it fair to assume that every cocktail is based on every other cocktail and therefore we don't need to credit anything anymore?

And since nobody (that I know of) makes royalties off cocktails, does it matter? 

I think my opinion on that matter is pretty clear - give credit where it's due, by placing drinks in a section that indicates they were not created in-house (such as "classics" or "from our friends"), by listing the name of the drink's creator on the menu, or by citing the drink as a variation either by giving it a variation on the original cocktail's name or just by stating "a variation of...".

But I'm wrong a lot of the time. What do you think? 

 

 

When Pot Distilled Whiskey Is Not Pot Still Whiskey

What is pot still whiskey?

The obvious answer is "whiskey that's made in a pot still," but apparently that's not true if you're in Ireland.

I was on a trip recently with whiskey writer/expert/class clown/author Dominic Roskrow and was showing off my sexy Irish whiskey distillery diagram, when he called me out on it. He said that the Cooley distillery makes no pot still whiskey.

"But they have pot stills in which they make whiskey, so obviously they make pot still whiskey," I said. It went back and forth for a few days, but the argument comes down to this:

In Ireland, "pure pot still" whiskey has long meant whiskey distilled from a combination of malted and unmalted barley. Thus "pot still Irish whiskey" doesn't tell us the type of still used to make it; it tells us the barley blend used. They claim if you distill another type of whiskey in a pot still (such as all-malted barley) in Ireland it is not pot still Irish whiskey.

That's like a basketball player arguing that an soccer ball is not a ball because it's not a basketball.

But apparently there is no use arguing logic in Ireland... so let's look at the law. 

In his efforts to prove me wrong, Roskrow turned to someone with even more expertise in Irish whiskey, Peter Mulryan. Mulryan filled us in on how they've changed the legal definition to fit their local definition of pot still Irish whiskey. Mulryan wrote in an email:

Until very recently there was no legal definition of what constituted a Pot Still Irish whiskey, this allowed John Teeling [of Cooley distillery] to say that his single malt was a pot still whiskey, as it was distilled in a pot still. This was of course nonsense, as the traditional industry definition of a pot still whiskey has nothing to do with the distillation process itself; it was and is, all about the mash. A pot still whiskey is made from a COMBINATION of both malted and unmalted barley. Simple.
 
The industry and the Irish Government have recently clarified this new definition and it is now certified by the EU, John Teeling has backed down and he too now endorses this new legal status. At the same time the word 'Pure' was dropped from packaging, as the word had no standing in law, it was replaced by the word 'Single', this now appears on all Irish Distillers bottlings and literature.

So from the start of 2012 a single pot still Irish whiskey is one made on the island of Ireland, from a mash of malted and unmalted barely, which has been matured for at least three years in oak. However that was always accepted as the norm, the law simply enforces best practice.

But here's the thing: in order to conform to international standards, they had to drop the word "pure" from "pure pot still Irish whiskey." So apparently you can't just completely make things up in Ireland after all!

It's just too bad their also-historically-accurate-but-logically-nonsensical definition of "pot still" made it through legislation.

 

Liquor Product Trends Seen at the WSWA Convention 2012

Last week was my third year attending the Wine & Spirits Wholesalers Association Meeting in Las Vegas. This event is where wine and spirits producers (brand owners) come to meet with their distributors.

It's also the place many new brands come to try to find distributors in the first place.

On the main floor is where much of the new or newly-imported brands show their wares in hopes of luring a distributor to pick up their products. And that's where you see what new spirits people think they can sell.

Many fall into categories: luxury bottlings of spirits (often just really nice bottles with wholesale vodka, tequila or other spirits inside), ethnic imports (strange spirits that are hugely popular in Bavaria or other places imported to please those countries immigrant populations in America), lower-cost copycat products of popular-selling spirits like Jagermeister and cake-flavored vodka. And then there are some entirely new flavors and products. 

Here are some product trends I noticed this year.

• Flavored whiskies and whisky liqueurs. I tried a couple of honey-based ones but there were several flavors. I think these are following the success of Jim Beam's Red Stag.
• Western and tattoo-themed bottles. Many of these bottles were holding the above-mentioned flavored whiskies.
• Tequila. There was a lot of tequila on the floor, divided into three different types for the most part. 1. Rustic bottlings right from Mexico, some in ceramic craft bottles, some in just plain glass with plain labels from the home country. 2. Americanized and/or hip-looking tequila brands. 3. Luxury tequila brands in very expensive bottles. 
• Interestingly, there weren't many mezcals there. 
• Luxury vodka. (Why??) Though I didn't look too closely, I didn't see any interesting gimmicks other than having nice bottles. 
•  Irish Whiskey. There were more brands than I remember seeing last time, but with the Cooley distillery being purchased by Jim Beam who knows how many will be around in a year? 
• Bai Jiu. There were only two brands that I saw this year but I've never tried Bai Ju (the top-selling spirit in the world, from China) before. It's incredibly stanky. 
• Cake/candy/cream flavored vodkas. We saw these last year also, but the year in between has seen the massive success of these flavors. In one of the later seminars, the speaker mentioned that sales of whipped cream flavored vodkas are over a million cases. 
• Not much pisco. I only saw Porton there. Surprising. 

I also tried a few things that were new and/or interesting to me. 

• Dzama Rum, from Madagascar. They have a few bottlings including a 104 proof.
• BonFun - A cognac/grape must blend; basically a pineau des charantes in a hipper bottle. 
• House Spirits new coffee liqueur is delicious.
• Dictator Rum from Columbia. Have 12 and 20 year old products (average age, not minimum).
• B Honey Cachaca. Nothing fancy but could take advantage of the expected cachaca boom over the next few years.

So there you have it. What spirit categories or flavors do you think will be popular in the next year? 

The 50 Best Bars in the World

I chose and polled most of the judges for this list of the 50 best bars in the world. It's the cover story for Drinks International, an industry magazine based in the UK. 

The rules were that the judges had to have visited the bar within the past two years and couldn't have a financial stake in them (so, no voting for your own bar). Each judge chose their top three bars and we averaged them together.  

I think when you see the list of judges (not online yet) you'll agree that it's a very fair poll. For the most part the judges are people who travel extensively (so there are a lot of brand ambassadors), and we made an effort to include people in far flung places. These are people who have been to a lot of bars.

I have visited 29 of these bars, which is really good but still makes me feel inadequate. All of my top three picks made the list.  

Now it's your turn: If you were the judge in this contest what would be your top three bars in the world? 

The 2011 World’s 50 Best Bars list has been published, in partnership with sponsor Stolichnaya. This year, New York speakeasy PDT (Please Don’t Tell) took the top spot, with London hotel bars The Connaught and the Artesian in second and third place. 
Back to New York for number 4 with Death & Co. A full list of the Top 50 can be seen below.

The poll was conducted by World’s 50 Best Bars editor Lucy Britner and US drinks writer Camper English. The pair canvassed around 100 bar professionals including the Playboy Club’s Salvatore Calabrese, King Cocktail Dale DeGroff, Esquire US’s David Wondrich and diamond ice-carver Hidetsugu Ueno. We believe this is the first time that the top names in the industry have come together to vote for their favourite bars – making it our most authoritative list to date.

These votes were coupled with global votes from 100 bars polled or featured in the 2010 list. Votes were received from every continent and bars in 16 countries made the top 50.

Lucy Britner said: “This year, voters have walked through phone booths and wardrobes, rung bells on unmarked doors and called to book appointments in order to file their nominations for the World’s 50 Best Bars. The list seems to pay homage to the speakeasy- style bar, which goes hand-in-hand with knowing how to create the classics, unearth old recipes and recreate forgotten ingredients.

“At the same time, voters are romanced by exquisitely decorated hotel bars that serve beautifully prepared drinks, made by immaculately turned-out bartenders.
The wealth of diversity and expertise in the bar scene makes this one of the most exciting lists to date.”

1. PDT, New York
2 Connaught, London
3 Artesian, London
4 Death & Co, New York
5 Milk & Honey, London
6 American Bar at the Savoy, London
7 69 Colebrooke Row, London
8 Drink, Boston US
9 Harry’s New York Bar, Paris
10 Black Pearl, Melbourne, Australia
11 Pegu Club, NY
12 Dry Martini Bar, Barcelona
13 Eau De Vie, Sydney
14 Bramble, Edinburgh
15 Employees Only, New York
16 La Capilla Bar, Mexico
17 Merchant Hotel, Belfast
18 Nightjar, London
19 Smuggler’s Cove, San Francisco
20 Buddha Bar, Paris
21 Skyview Bar, Dubai
22 The Varnish, Los Angeles
23 Tippling Club, Singapore
24 Milk & Honey, New York
25 878 Bar, Buenos Aires
26 Der Raum, Melbourne
27 Callooh Callay, London
28 Clover Club, New York
29 Door74, Amsterdam
30 Tommy’s, San Francisco
31 Floridita, Havana
32 City Space, Moscow
33 Matterhorn, Wellington, NZ
34 High Five Bar, Tokyo
35 Le Lion, Hamburg
36 LAB, London
37 Boadas, Barcelona
38 Dutch Kills, New York
39 Worship St Whistling Shop, London
40 BarAgricole, San Francisco
41 Papa Doble, Montpellier
42 Quo Vadis, London
43 Lounge Bohemia, London
44 Mayahuel, New York
45 Mutis, Barcelona
46 Ruby, Copenhagen
47 Rules, London
48 Hemingway Bar, Paris
49 Zuma, Dubai
50 Star Bar, Tokyo