When I first started bartending in Melbourne as a brash teenager, I felt like I had a natural style and rhythm behind the bar. I loved this new-found attention and I played to it; I was a slave to it. I quickly worked out that I could get even more attention from putting weird things into my cocktails and lighting things on fire. Squid ink was utilised, along with fresh sage, coriander and basil. But there was no foundation for any of this.  

All of our drinks at Ginger tasted great (in my opinion) but there was no consistency between them, no underlying principles that linked them together. They were just a bunch of recipes that were tweaked and added to enough that they balanced out and tasted good. But could you identify each nuance and ingredient in each drink? Certainly not. It was slightly out of control chaos but in frozen glass form. 

My opinion changed when I walked into Milk & Honey. Everything about that experience changed me.

I didn’t know of Milk & Honey, Sasha Petraske or Michael McIlroy when I moved to NYC in the spring of 2004 as a cocky little 21-year-old with ridiculous hair. I actually wasn’t very impressed with the cocktail scene when I first arrived either. Yelp didn’t exist, neither did World’s 50 Best Bars or any accessible list of the city’s top cocktail bars.  

In my limited experience, the cocktail bar scene in London and Australia was quite a bit more advanced than NYC’s at that time. But that opinion changed when I walked into Milk & Honey. Everything about that experience changed me. Walking through the heavy velvet curtain and into a candlelit den with jazz lightly playing and the heavy ka-chunk-ka-chunk sound of a Daisy being shaken on one solid block of ice transformed me.  

After initially being denied a seat as I was reservation-less, I came back half an hour later when I received the phone call. I sat at the bar and watched in awe. The cocktails seemed so simple but the attention to detail and methods of preparation were mesmerising. I needed to work here.  

My experience and skill set didn’t count for shit. I had to consume everything that this bar embodied. I enquired about a job after I spent more money than I had on two drinks and by chance, Sasha himself picked up the phone the next day when I called. We agreed to lunch and even though he forgot about the meeting initially, he met me, a little late, and we chatted over French dip sandwiches and drip coffee for nearly three hours – in which time I convinced him to hire me. 

Over the next few years, I learned from a slew of older bartenders that had been helping Sasha tighten up everything about drink making, from refining old recipes to tightening up orders of operation. We all had one goal: to make drinks as fast as possible whilst never compromising the end quality of the drink.  

Maximum chill and optimum dilution were paramount. I asked a lot of questions from these incredibly talented bartenders. I probably annoyed them with my eagerness. In fact, fuck it, I hope I annoyed them with my eagerness.  

My experience and skill set didn’t count for shit. I had to consume everything that this bar embodied.

The underlying theme with the drink-making process, though, was simplicity. The cocktails we were making for the world were so simple but so delicious. Three to five ingredients were used at most (bitters, egg white or club soda were usually not counted as an ingredient). They were all based on classic recipes from cocktail books we had found on eBay and in second hand bookstores.  

We compiled everything into a few categories: Sours, Collins, Gimlets, Rickeys, Manhattans, Martinis, Old Fashioneds, Flip/Dessert. Each category had an underlying formula that applied to 95% of the drinks in that category. The mission for new bartenders was to learn those formulas. Learn how to identify which category new drinks could be assigned and be consistent about the recipes. It gave great insight into how to prepare the drink during the crunch of service if your fellow bartender asked for a spec refresh. It also made learning the 100s of cocktails a lot more manageable when there were consistent and underlying formulas. 

Sasha didn’t love new drink creation. He believed that there were enough old drinks to learn without the need for the creation of new ones. But he grumpily would try whatever we were working on and critiqued the hell out of them. Man, he was tough! He also didn’t like a lot of the more popular drink styles that the modern bartender pushes these days, particularly bitter and smokey. Nope, he was not a fan of the Penicillin or the Paper Plane. He once famously told McIlroy that his Thumbs Up cocktail had too much Angostura in it (there was no Angostura in it).  

But each new drink needed to fit into this mould. Could it be assigned into one of these categories? Did the formula match other drinks in this category? Would you order another one directly after? Does each ingredient stand out and have an important place in the drink? Were there other, better drinks that fulfilled this request in said category? If you answered no to any of the first four questions, the drink was scrapped and it was back to the drawing board.  

If you want these drinks to be replicated at homes and bars around the world, keep it simple!

These are still principles we live by at Attaboy and any other affiliated properties. And, let me tell you, we have not exhausted all of the possibilities available to us. With a constant plethora of new ingredients coming to market every month, there are constant opportunities for new drink creation that still adhere to these principles. I’m still doing it 20 years later and so are the very talented members of our teams in both Nashville and NYC.  

If you want these drinks to be replicated at homes and bars around the world, keep it simple! As much as we all love interesting infusions, rotovapped ingredients and milk washed everything, if you want your creations to be spread and recreated everywhere, use readily available syrups, ingredients and spirits. Emphasise technique, ice, chilled glassware and high-quality ingredients and make sure you’ve mastered the above formulas. All drinks can be based and built off of these, even the weird ones with squid ink in them.  

After 12 years working behind other operators’ bars – including Audrey Saunders’ Pegu Club and a little-known landmark in Madison, Wisconsin, Paul’s Club – I got my first opportunity to design my own work stations for PDT in 2007. I included renderings of it, along with the bar’s first and second level floorplans in The PDT Cocktail Book in 2011. I got so much positive feedback about this section that in 2017, I wrote a whole chapter on bar design in Meehan’s Bartender Manual. 

Since most bartenders don’t design their own bars on an unlimited budget, I got to thinking about how they play a key role in bringing bar design to life.

I divided the chapter into sections on location, concept, branding, interior design and décor with five floorplans of bars that exemplified these concepts and a home bar I helped design. As I reflect upon the usefulness of this chapter, I must confess that the information I’ve included in my book is probably better suited to a well-funded operator about to embark upon an ambitious bar project with a kitchen designer, architect and experienced bar manager than most bartenders, who have to make do with someone else’s setup.   

Since most bartenders don’t get to design their own bars on an unlimited budget, I got to thinking about how owners, operators and bartenders each play a key role in bringing bar design – whether your own, or someone else’s – to life. In this context, I’ve framed design as the plan you hand over to the builders (operators once a space is constructed).  

While great design has the capability of making an object or place’s use more enjoyable and memorable, like driving a Ferrari or sitting in an Eames lounge chair, achieving its full potential requires skill and imagination by its users. 

For owners 

Undoubtedly, the easiest time and place to get bar design right is well before the business opens, when the owners take over a space, hire an architect, contractor and kitchen designer to build their dream venue. Inviting a bar manager with service experience into the initial meetings with the owners and builders, which almost always occur with the GM and chef, helps ensure that front-of-house needs, like shared walk-in refrigerator and dry storage space, are allocated equitably.   

Major equipment and appliance purchases, along with the layout and orientation of where service hubs (like a host stand, bar, kitchen and manager’s office) will be only typically happen once; and that’s sometime between the owners taking the keys from the landlord and the business’s opening day.  

The importance of these decisions cannot be overstated. Making them in meetings with the key stakeholders who will oversee operations is crucial so the space can be designed to facilitate its operator’s intentions.  You tailor the suit to the person, not vice versa.  

The cost of closing a busy or underachieving restaurant for multiple days after it opens to remodel it with improvements can be avoided if electricity and plumbing are installed during the buildout to not only achieve a business’s ambitions, but grow it.  

This means investing in plumbing and electricity hook ups in spaces where costly machinery such as ice machines or refrigeration may be added later if the conservative estimate of a business’s potential is exceeded. Installation of new equipment and machinery can be completed over a short holiday weekend, or even at night: if permitted, messy construction and busy contractors can be avoided.  

The key to designing a successful bar for operators is having the vision and experience to imagine it operating at full throttle.

The key to designing a successful bar for operators is having the vision and experience to imagine it operating at full throttle. If you design a bar to handily accommodate its staff when they’re stretched to accommodate their busiest service, you’ll set them up for success. This includes everything from amenities like a coat check near the door, to essentials, such as a short distance from the service bar to the tables.  

The two areas of design that have changed the most since my book was released are adequate ventilation and outdoor seating options, which sure come in handy during a respiratory pandemic and will remain vital in the future.  

For management 

My book is oriented towards design decisions for owners, but what about bar managers and beverage directors, who frequently get brought in after the chef has spent the lion share of the opening budget (right after the architect finished designing another bar with no space for garbage bins, recycling or adequate plumbing for sinks and installed a proper dishwasher)?  

While it’s typically too late to rectify these oversights, management must still make the most of the bar design they inherit from the opening team.  

The three key features (which are installed as part of the design) of a bar that every savvy operator adjusts throughout service are lighting, temperature and the volume/playlist of music. Surely, the owners installed lights on dimmers (hint hint, owners) and tested them over the course of a full day before opening so they could be programmed for the gradual changes in natural light from sunup to sundown?   

And for hot or cold environs, the thermostat must be monitored to keep each HVAC zone of the room at the ideal temperature for harried servers and cooks and nattily dressed guests occupying the same space.  Most crucially, the volume and type of music must be tinkered with to maintain the right energy.   

There’s a whole chapter on the cocktail menu – because it’s that important – but from an operational standpoint, the menu is one of the most important design elements for a bar venue, as it’s the user’s manual customers rely on to construct their experience.  

Guests are looking for clues when they consider what to order: merchandising should guide them to it instinctively.  

From the staff’s perspective, a menu can break service by either being too broad and ambitious, causing too much churn, or too esoteric and mundane, yielding too little. Merchandising menu items through product placement and service rituals that call attention to what you want to sell (and are most capable and successful doing so) is good restaurant design. Guests are looking for clues when they consider what to order: merchandising should guide them to it instinctively.  

One last design consideration for managers is customer flow and capacity. Do you seat the entire restaurant or bar all at once, or stagger reservations or walk-ins to allow orders to be placed and executed for an even service? Do you start a line when your bar is at capacity, tell people you’ll call them when there’s availability, or allow a bar to become overcrowded?  

While packing a venue might seem like a good idea from financial perspective, there’s a sweet spot between a bar and kitchen achieving their potential (and growing from it) and utter chaos, which leads to disappointed customers and staff disaffection. This dynamic sweet spot is a design challenge on a nightly basis.   

For staff   

While it’s tempting for some bartenders to write off a bar for its poor design, the fact of the matter is that most bars aren’t well designed to begin with, or have major challenges due to unavoidable structural issues like supporting beams in an old building. Approaching each bar with the intention of making lemonade with its design lemons is how I’ve approached my career, with mise en place being the key tool to get the job done.   

Mise en place, which is the configuration in which staff set up their station with tools, bottles, garnishes, menus, napkins, glassware, cutlery and other items for service is crucial for success.  While most bars and restaurants will standardise their set ups as a point of service, there’s always room for customisation to improve everything, from the way towels and napkins are folded to where water pitchers are stored and refilled for easy access.  

Creative mise en place shaves seconds off each move a server makes, which leads to time saving that can generate a whole extra turn of a dining room over the course of an evening.  

The other essential and easy-to-overlook design element bartenders hold the power to unlock is service. Great service can make up for the most difunctionally designed bar or restaurant. Bartending is a (functional) show put on for the customers, and as the star of that production, a great bartender can hide a lot of questionable design decisions in the darkness around their spotlight if they keep their composure and expertly guide their guest through the experience they want their guests to have.  

Great service can make up for the most difunctionally designed bar or restaurant.

One of my favorite quotes from my interviews for Meehan’s Bartender Manual is from Jack McGarry, who told me that: “As soon as I walk into a bar I can feel whether there’s negativity. Obviously, the first thing is, is this bar good? Do the operators care about it? But from there, you also sense the operator’s attitude. Are they an optimistic or positive person? You’ll quickly see that trait mirrored in their staff.”  

I couldn’t agree more: positivity in the form of a sense of hopeful possibility is what each and every guest is looking for when they sit down in front of your bar. Knowing this, and preparing yourself mentally, physically and emotionally each day before you open the doors is the operational equivalent of putting gas in a car or plugging in the fridge.  

Design must be animated in this way, as a well-designed bar should function intuitively, but the imagination and heart to make the most of it must come from its users.

It might sound like a cliché, but rarely will you find a saying that applies so perfectly to the bartending craft: practice makes perfect. 

Though tending bar is much more than just concocting delicious drinks, it is undeniable (and quite obvious) that tasty cocktails are a pivotal element for the success of a bar. And being able to consistently deliver the best drinking experience is a task that can only be accomplished by perfecting recipes, movements and ultimately service.  

Some will focus on muscular memory, repeating the same pouring routine over and over to get to the perfect sequence; others will train their palate religiously. Appreciation of the work that goes into honing a craft is something that trickles out across our industry, from the bar to people who work around our industry.  

We sat down with three craftspeople and asked them about their approach to their respective trade: their beginnings, the time it took them to master it and the importance of dedicating themselves to practice.  

Brent Bowie, co-director, Oakwood Cooperage, Scotland  

Brent Bowie has been involved in cooperage for the past 30 years, and launched Oakwood Cooperage in 2018, joining forces with director Graham Hamilton. Renowned as one of the most skilled coopers in the business, Bowie approached the role through school programmes, working one day a week while still a student, before going full time in 1995. 

Growing up in Speyside (home to the most whisky distilleries in Scotland) working in whisky was almost inevitable, be it at a distillery, at a cooperage or at a service provider for the industry. “My main interest was working with wood,” he explains of where his journey began. “There were lots of broken barrels available and distilleries required them. Although barrels are needed to be the same, they are naturally all different and this allowed me to see all their nuances, so my skill set was enhanced.” 

Training at Glenfiddich distillery, Joseph Brown & Sons and Dufftown, Bowie recalls how his profession evolved throughout the years: “When we started, we only used hand tools, but over the years machinery got much better: that’s why we believe that if the electricity goes off and you’re still able to work properly, you are a good cooper.”  

But to become one, it takes time and practice: “It took a month of broken fingers and hand-cuts to get the coordination needed. Still today, for any trainee the first year is key: it’s when you are slow and still unaware, and as with everything, you need to walk before you run, remembering that there’s no stupid questions.” Once you get through your first year, Bowie assures, improvement is easier.  

This job is not for everyone, but it grants a good lifestyle. If you put hard work in, you’ll get benefits out.

The industry has completely open doors and experience is minimal: “To become a cooper you don’t need any initial qualifications, you just have to be prepared to work hard and have common sense, since we use many sharp objects and heavy machinery.” You also get paid by the barrel, so being good with numbers is an advantage. 

Newly hired workers at Oakwood Cooperage begin with a tour of the plant to witness the processes and are then employed for short periods in every department with a mentor, learning everything about the barrel and the skills to work safely. Apprenticeships last four years, but after the third year, skills and trade tests are provided by the members of the Cooper’s Federation of Great Britain. 

According to Bowie, new energy is coming through: “We have invested a lot in having youngsters come into the industry. We are open minded: if someone is keen and interested to learn, we will spend the time to train them. This job is not for everyone, it’s very physically demanding, but it grants very good money and a good lifestyle. If you put hard work in, you’ll get benefits out.” 

Cooperage is a craft that has been practiced for centuries. Is there anything left to be learned? “You stop learning when you stop doing,” he says. “It is important to understand, though, that there is not one single way to do things properly, so not one single rule that you should learn to succeed. Certain things can’t change. I have worked in lots of cooperages, and the way we are is different from any other, not necessarily better or worse.”   

Hugh Scott Moncrieff, director, Cake Architecture, London  

For the past 10 years, Hugh Scott Moncrieff has been pursuing his passion for architecture and design. His Cake Architecture business features work in a variety of sectors, including cocktail bars, having designed the interiors (and not only that) for A Bar with Shapes for a Name in London.  

“I have had a fascination with the design of space since I was very young,” he explains of his route into his career. “I studied architecture at The Bartlett in London and at the Cooper Union in NYC. I don’t think it is absolutely necessary to have formally studied architecture to get involved in designing space, but at certain scales it is helpful.” 

Moncrieff began taking internships whilst at high school to get a feel for architecture, before looking up to professionals that helped him shape his approach to work: “I’m always particularly grateful to my professor Diane Lewis from the Cooper Union who taught about space through the lens of a poetic imagination. She was an incredible architect.” 

The switch towards being a professional architect and business owner was fueled by a consistent search for education and inspiration, resources that have been extremely important along the way. “I find interest in books, walks to look at buildings, looking at buildings, drawing buildings! Also just keeping a curious and open mind as you walk around the city.” 

I guess AI is making some pretty big impressions on things. I don’t believe you will ever be able to replace the creative instinct though, because it’s about joy and passion and that’s not available to a machine – yet.

This, plus a daily practice in drawing (the hardest skill to master, according to Moncrieff) translates into an essential, direct and concrete approach to his craft, also implementing technology: “Technology is of course constantly evolving and changing. I guess AI is making some pretty big impressions on things. I don’t believe you will ever be able to replace the creative instinct though, because it’s about joy and passion and that’s not available to a machine – yet.” 

Designing is a living and breathing thing. Practicing is fundamental, but nobody really knows how long it takes to master it to perfection, not even Moncrieffe: “I think it’s a lifelong effort really. I would say we ourselves are just getting started, and hopefully through some great projects we will be able to pass on our passion and dedication to the next generations. I’d like to teach someday too.”  

Is it true then that practice makes perfect? “Well, I’ll let you know…” 

Michele Giuman, glass master, The Glass Cathedral, Murano 

Entering The Glass Cathedral on the island of Murano is quite the experience, and a deconsecrated church is today home to a glass furnace, as well as being an event-hosting venue. Here, glass master Michele Giuman has been learning, mastering and demonstrating the rare craft of glassmaking for the past 30 years.  

“I still perfectly remember my first experience with glass,” he recalls. “It was my first fondita, the process through which glass crystalises. I was with my father, and he was concocting his signature combination of silica sand, potassium, potassium nitrate, limestone and soda, to put it in the oven.”  

Glassmaking has been the pillar of Murano and Venice’s economy since the 10th-century, with its produce still to this day known the world over. It’s a unique craft, filled with tradition and unwritten rules: “I started because I’ve always been very passionate”, Giuman explains. “I was pretty much born in a furnace. It takes dedication to become a glass master: you begin as a serventino (helper) and then move up to levare (taking the glass outside of the oven). With time you can become a servente (the glass master’s right arm) and if you are good enough you rank up to be a master. Otherwise, you stay a servente for life.”  

A solid mentorship and a natural artistic instinct can go a long way, according to Giuman’s experience, as he describes what new apprentices do when they begin: move the newly made glass objects into the tempering oven. “I learned from my father and a few masters like Fratelli Serena, Alessandro Barbaro, Mario dei Rossi. I can’t even count the amount of tries I had to undergo, before getting the gist of it, though everyone needs their own time. It allowed me to understand that we need to have a clear idea of what we want to achieve, much before starting the production process: a glass master visualises the object they want to create and the technique they need to create it.”  

Perfection? It does not exist. What we can do is put everything we have in our job and try to get as close as possible to being perfect. 

That’s because with different techinques come different tricks: the globally renowned soffiato (blowing) techinque is the one that grants less room for error, while the massiccio process makes it easier to adjust and re-work possible mistakes. It’s a variety of possibilities that The Glass Cathedral showcases daily: “We create new work every day, and every piece is unique. We often work on request, and we cooperate with artists coming from different branches (painting, ironwork, woodwork, sculpture).” 

Technology has been a fundamental support for glass masters and their creativity. The ovens switched from being wood, coal or oil powered, to the modern gas or electricity-based ones. But some things can’t be changed by technology. “Tools such as muffole (mittens) or tempre (to make glass resistant) are the ones that improved the most,” explains Giuman. “The process never really changed, as it is not influenced by technology.” 

A craft that witnessed centuries of evolution is sadly now facing extinction, though: “On one hand, it is an activity that needs constant practice, we learn every day. On the other, we struggle to see a new generation of glass makers,” laments Giuman who is one of the youngest at 55. He hopes one day he can pass his knowledge down to the younger generation. Is he still in pursuit of perfection? “That does not exist. What we can do is put everything we have in our job and try to get as close as possible to being perfect.” 

The idea of owning my own bar was not foreign to me. I’d opened a couple bars alongside my partner in my twenties, and before I moved to Hong Kong I knew that I didn’t want to open a bar in Portland, or at that time. I also didn’t want to move to New York to cut my teeth. I had already diligently earned my stripes and after a brief consulting trip in Singapore opened my eyes, I was ready for a global change.  
 
In 2015, I was recruited to become a sweat equity partner at what is now The Pontiac. Sweat equity is when you either get a discounted rate on your shares or they are given to you by the directors of the company in return for your added value to the business. This can look like a percentage of the company over time or based on financial goals and so forth.  

The legal implications of owning a bar change from state to state and country to country. It also depends on how much of the company you own. Ultimately, if you’re the majority shareholder and all the licences are in your name or the company name (which you would also own) the buck stops with you, metaphorically and literally. You are the one responsible.  

I think one of the biggest misconceptions of being a bar owner is that there is taking ‘ownership’ and being the actual owner.

In 2022 my wife and I created our parent company Hungry Ghost under which we’ve now opened our other venues. We partner with investors that have the same vision and are earnest about wanting to see the business succeed. I am stepping away from other business relationships where I am not the executive.   

I think one of the biggest misconceptions of being a bar owner is that there is taking ‘ownership’ and being the actual owner. I have been in a couple situations at this point where I am a minority shareholder at best but have built the venue from the physical ground up and taken full ownership of it. The brand, the team, the culture, the cocktails and the heart were built by my hand.  

Front-facing the audience, I am the owner for the purposes of needing to transfer and sell the vision but I was not the owner. It happens a lot in sweat equity scenarios. I think if we continue to be open about our experiences, then we can educate the next generation on how to navigate these opportunities. Achieving sweat equity can still be a vital and invaluable chance to learn and build your career.   

 There are real challenges that make the job a constant learning curve which is exhausting. I am tired after the 2019/2020 political demonstrations and riots (in 2019 HK saw its first recession in over a decade) followed by the turmoil, occupational whiplash and need for endless endurance and from covid.  

Not only did we adhere to bizarre and unwarranted social distancing mandates, but our borders were also closed from March 2020 to April 2023. It’s been a long five years and though she is undeniably iconic and a force to be reckoned with, Hong Kong has not fully ‘bounced back’, so maintaining a state of survival instead of relishing in a state of thriving is hard after putting in all the work.   

It is impossible to make sure you won’t ‘get burned’. At the end of the day this is business, and our most effective tool is communication.

But it is all hard. If you want to be an owner, you need to swallow that reality and use it to empower you. I love nurturing people through hospitality and art. It is the way I transfer my energy and I need to be able to do that in my own way on my terms.  

If you want to educate yourself on the back-of-house of ownership, get a good lawyer and involve yourself with mentors, both peers and/or otherwise in multiple professions outside of F&B. Ask all the questions. If you are the creative person, get someone that is business savvy. A functioning business doesn’t run on creativity, it sells it. Then protect that creativity in writing. Don’t let anybody steal your shine! For real.  

It is impossible to make sure you won’t ‘get burned’. At the end of the day this is business, and our most effective tool is communication. Parties often feel like they have been done wrong when there isn’t communication or transparency. And often they/we are done wrong. Unfortunately, that is a part of the learning process.  

As we grow our companies moving forward it is important that we do our best not to repeat the mistakes that we have learned the hard way. (In hospitality we tend to learn most things the hard way, so I know that statement goes against the grain a bit.)  When in doubt ask for help, look for guidance and be open to the process. And get a lawyer and have some fucking fun!

Sometimes considered a hindrance by un-educated guests (who publicly bash bars for using too much of the stuff for either watering down their drink or taking up too much space in the glass), ice can be a real cornerstone of a cocktail. Think of a smooth Old Fashioned, or a sharp Negroni: they would not give you the same excitement and satisfaction if they were not stirred with high quality ice, and served with an ice chunk that contributes to the proper dilution.  

Though tracing the origins of ice itself can prove to be quite the task (the oldest ice sample on earth is 800,000 years old, excavated by the EPICA Antarctica project) it never ceases to stop the bar industry going down the rabbit hole of how it entered and dramatically changed the course of drinks history. Articles abound, entire books have been written, and YouTube videos explaining the science behind the magic are plentiful to keep professional bartenders (and home bartenders too) up-to-speed on what is cool in ice right now. It’s also a market that, according to CNN, was worth more than $5 billion in 2022. So, what’s the hype? 

Ice through history 

When it comes to ice’s origins, they are unsurprisingly storied and full of characterful personalities. One such person was Frederic Tudor – otherwise known as the Ice King. When his brother William (an enlightened literary man) joked about shipping ice all over the planet during a picnic, Tudor saw an opportunity that would make him one of the first American millionaires.  

In the middle of the 1800s, Tudor built a fleet of ships to transport huge ice blocks from his native Boston’s lakes to places as far as India, the Caribbean and Hong Kong. Far from succeeding at the beginning (his first shipment almost entirely melted during the journey, and once docked he was struggling to find buyers) Tudor found himself incarcerated several times in debtor’s prisons, before honing his method and establishing a valuable market.  

Bar professionals are still on the quest for the perfect ice.  

He would go on to experiment with better stocking methods, using hay or grains, and once a fellow Bostonian, Nathaniel Jarvis Wyeth, invented a horse-powered sawing system that allowed Tudor to quickly cut and mass produce ice blocks in 1825, his business was flying. From then on, Tudor’s ice empire, which accounted for ice houses (stocking venues) all over the world, would go on to reach Hong Kong in 1845 – and the rest is history. 

A long way we came, from those pioneering times: when ice first became regularly available, bartenders would keep a huge block of it on their counters, shaving off the amount they needed to cool down their concoctions. Technological evolution then led to ice machines and ready-to-use ice cubes, while in the meantime bartenders re-discovered techniques and temperatures for perfect recipes. Now, bar professionals are still on the quest for the perfect ice.  

Entering the market 

In 2003, Shintaro Okamoto began what would become his main and major activity: ice-making for the bar world. It was the beginning of an incredible snowball effect: “I already knew quality ice was cherished and praised in Japan,” Okamoto says, “where restaurants would have ice blocks outside to invite people in, and bartenders worked with it. But around 2007 or so, I had a visit from some key players from the bar world, like Don Lee or bartenders from PDT, and we started talking about what we could do with ice and how we could scale it. 

“When we did, no one was doing it in the USA, or thinking about investing in it. We experimented cutting ice from large blocks to certain sizes, understanding which ones would work in different glassware. Don would take dilution ratios – it was amazing to see it unraveling. Once people tried it, there was no coming back and from there was a chain reaction.” 

We have to educate bartenders and bar owners on how to keep their freezer, how to optimise their stocking area. We need constant communication and adjustment.”Shintaro Okamoto

Fast forward to the present day, and the ice-making market is bursting with new companies popping up at fast pace, according to Okamoto. This leads to the creation of a solid system, that needs consistent attention: “There’s a global ice community where a sensible amount of knowledge is shared. We discuss the degrees of attention one must keep for the business to thrive: once you have the product, how do you take care of the client? And how do we continue educating our client? There are a lot of things that need to be maintained to make the transaction consistent, a lot of different ways to care about our product, to deliver it perfectly to the bar doors. But we also have to educate bartenders and bar owners on how to keep their freezer, how to optimise their stocking area. We need constant communication and adjustment: it is, in a way, our idea of customer care.” 

In a market that saturated almost immediately, there’s only one secret: “The difference is set by ice vendors who understand bar culture and bartenders: they open late, they accommodate to bars hours, they deliver large shapes depending on the buyers’ needs, not theirs.” 

Modern times 

Today’s bar scene focuses on clear, transparent ice: “During the pandemic a lot of people started making cocktails at home,” says Camper English, journalist and author of The Ice Book. “They realised by sharing on social media how ugly cloudy ice looks.”  This, says English, is what created a massive increase in awareness in the value of good clear ice in cocktails, which impacted bars too. “It’s almost a standard now, and big, cloudy chunks stand out – not in a good way.” 

Drinks prices post-pandemic also went up, along with expectations. This tracks with a much deeper understanding of the topic by bartenders: “Only in the past few years have bartenders outside of Japan got hands-on with ice again,” explains English. “There are many more options, people understand that each drink has its own chilling and dilution, and more bartenders are customising every drink with ice.” 

Let’s not punch down cloudy ice too much, though: according to Dave Arnold, author of Liquid Intelligence, in terms of a strict final outcome, there is no difference in texture, dilution or flavour profile, as long as you are mixing correctly. This comes with a caveat: “If your ice is very cloudy, when you shake it shatters in your tin, then it changes the surface area the liquid is in contact with, and that can change things.”  

We drink with our eyes first, and clear ice looks so much better.Camper English

It’s also true, he says, that sometimes cloudy ice stored in a bad smelling freezer can retain that smell. Needless to say, as English points out: “We drink with our eyes first, and clear ice looks so much better. Guests’ perception benefits from it too: to make a comparison, you can drink fine Champagne out of a simple cup or a using fine crystal flute – the experience is completely different, yet the liquid does not change.” 

Dos and don’ts 

Arnold also points out a few common mistakes and suggestions to keep in mind while handling ice, to achieve the perfect serve of a cocktail: “When you shake you need one large chunk at least, to provide an appropriate texture,” he explains. “When serving a cocktail on the rocks, ice sitting in a glass for a long time translates into less dilution, so a big chunk will keep the liquid cold while not watering it down: as a rule of thumb, the wider the surface area, the more the dilution.” 

Ice can also be too cold, he explains, leading to unwanted results. “If your ice is too cold and you pour a carbonated product over it, you will yield a lot of foaming.” Mastering the so-called tempering temperature is one of the secrets that allows a cocktail to be chilled to perfection. “Tempering temperature should be a couple of degrees below zero, the exact spot where ice is not quite wet, not melting, not frosting.”  

Due to a substantial number of reasons, ice can also play a very important role in a bar’s costs spreadsheet. It is true that an ice machine is essential for any cocktail bar, but don’t dismiss the possibility of buying the ice you need. “In Japan you can find very small bars with small freezers,” explains English, “so they opt for regular, daily delivery: not necessarily ice cubes, but clear pieces of irregular shapes, it’s a very long tradition.” 

There are many facets you can explore to keep costs under control, he says, such as the size of the bar and, if there are other bars in the portfolio, you could have an ice-cutting lab for several bars to lower the cost. Not all markets will have a huge amount of suppliers, he admits but it could work out cheaper, “compared to the labour cost or equipment or space for making your own.” 

Yes, chef! 

Ice has definitely been understood as one of the most (if not the most) important ingredients in cocktails, and there’s a very specific role you can now find at bars which is helping them expand the guests’ experience: the ice chef. Raul Arcayo is the ice chef at pioneering Peruvian cocktail bar Carnaval in Lima, uses his knowledge of the raw material (aka water) to create experiences with ice, through cocktail making. “These experiences can involve all the senses or just a single one,” he explains, “depending on what we work with (dilution, temperature, dryness, shape and color, sounds).”  

Right from the beginning of his career, Arcayo was challenged with the task of creating the first ice programme for bars in Latin America. “It was a constant surprise and learning based on trial and error. Many hours of practice, understanding and investing in resources to achieve my goals.”  

Major challenges would include the lack of equipment, tools and technical service, the necessary consistent controls of purity and cleanliness of raw materials, and the lack of spaces designed to provide an experience of that level: “Not all bars are designed or equipped for an ice programme and an ice chef,” admits Arcayo, “but all bars today can have and display correct and adequate ice for a high-level cocktail menu.” 

Always be aware of your machines, and know what type of treatment the water with which you produce the ice needs.Raul Arcayo

Having an actual ice programme includes key steps that cannot be overlooked, he explains. Firstly, you need to be aware of the type of bar you have, the style, concept, size and operational spaces. Secondly, you must have the clear conviction of wanting to take the cocktail making to the next level: “investment and consistency will be the two elements you will never have enough of.” Finally, you will need training or advice from an experienced expert and knowledge of the subject, because it not only depends on the equipment, but an understanding of risk factors is also required for the prevention and efficiency of the service. One more precious piece of advice: “Always be aware of your machines, and know what type of treatment the water with which you produce the ice needs.” 

Trends & the future 

Thanks to its social media appeal, renewed interest from bartenders and scientific progress, ice has been in the center of a steady trend for the past couple of years. Bu what’s next? We are witnessing ice shipments from arctic planes to deserts, but how sustainable and planet-friendly can this be? And how can we be sure our ice is being sourced safely? Recently, the online community was stormed by the news of an ice company shipping ice from Greenland to Dubai, in order to provide it with ‘pure’ ice.  

It’s a dichotomy Arnold recognises. “I was in Iceland in 2018, and I was surprised people weren’t going at the glacier to get it. It is a cool story when it is in your backyard, but shipping it is just crazy. It’s not going to make the drink taste any better, just make it cost more, and give it exclusivity… It’s tone deaf, though, because I don’t think people want exclusive experiences if they’re not green or quality driven.”  

I don’t think people want exclusive experiences if they’re not green or quality driven.Dave Arnold

Okamoto pinpoints the matter: “It’s trending in a way, but I would describe it more as a point of legitimation. Once you experience quality and a range of possibilities, that’s a point of no return. We are here to stay, I think it’s amazing that what we have created has become a global standard. The Dubai thing is an expression of what’s going on, though I think people don’t realise that glaciers have not the cleanest water, because of all the time it took for them to develop. At the end of the day, we are in the service industry, and that’s what will always matter the most.”  

Last week, as I worked behind the bar as usual – mixing drinks, engaging with guests, and tackling a mountain of dishes – I found myself reflecting on the journey that led me here. Next month marks 28 years of full-time bartending for me, during which I’ve witnessed decades of trends, innovations, and significant industry-wide shifts.

Throughout my tenure, I’ve encountered nearly every imaginable approach to bartending, many of which I’ve gratefully discarded. I’ll never forget my early days when, at my first job, the manager tasked with training me insisted that limes were simply unripe lemons. It took me some time to recognise the fallacy in that assertion, but I’m glad I eventually did.

My foray into bartending began modestly, as it did for many during that era, driven not by a passion for knowledge or hospitality, but by a pressing need to cover my rent while attending university.

Initially, I approached my work at the bar with minimal effort, simply aiming to enjoy myself and make a little money. However, that initial experience sparked something in me, and within a few short years, I found myself immersed in studying every available resource on bartending and cocktails. Soon, I developed a genuine passion for hospitality, cocktails, and bartending techniques.

Over the past three decades, I’ve had the privilege of working in some of the most renowned bars in the industry, ranging from bustling nightclubs to cosy speakeasies. At each juncture, I’ve endeavoured to share my knowledge, initially through my website and eventually through my book, The Bar Book: Elements of Cocktail Technique, which has been embraced by bartenders worldwide since its release a decade ago.

One of the most significant lessons I’ve learned is the importance of mastering the basics. Whether it’s precisely measuring ingredients or skillfully shaking and stirring, every aspect of cocktail technique contributes to crafting the perfect drink. Despite their fundamental significance, these basics are often overlooked by aspiring bartenders eager to showcase their creativity.

I remain steadfast in my belief that excellence lies in the meticulous pursuit of perfection. As hosts, I believe it’s our duty to stay informed, challenge assumptions, and continually refine our craft. Thus, whether you’re a novice or a seasoned veteran like myself, I hope you’ll find value in the following sections.

We’ll delve into several key techniques which I believe every bartender should master, from assembling a cocktail to preparing and serving it to guests. It’s important to note that this is merely a foundational overview, and for those eager to delve deeper, I recommend exploring the wealth of reliable resources available on the subject.

1. Measuring and building

The first step to making a cocktail seems like little more than getting ingredients into a mixing vessel, but I implore you to take measuring seriously. With a shaker or mixing glass in front of me, I take the utmost care in precisely jiggering every ingredient – denying the urge to rush the process.

At some point in your educational travels, you’re going to hear that you should always build a cocktail starting with the smallest volumes, in case you make an error and need to start over you won’t be throwing expensive ingredients down the drain. I appreciate the sentiment, but I disagree.

I don’t think of an Old Fashioned as a drink made from syrup and bitters, bolstered with whiskey. I think of an Old Fashioned as a whiskey cocktail that I’m subtly modifying into something sublime with the addition of sugar and aromatics. Therefore, the idea of starting the drink with a couple of dashes of bitters is confusing to me and would likely lead to more errors on my part. If you find this odd, backwards method of building drinks as confusing as I do, then I suggest finding the system that works for you.

Not wasting the bar’s valuable product is indeed important, but a well-constructed and delicious cocktail will encourage your guests to come back time and time again.

2. Working with egg whites

Egg whites, an ingredient steeped in tradition yet revitalised by the cocktail renaissance, are sure to feature in your bartending repertoire. At my bar, it’s not uncommon for guests to favour egg white cocktails over other options, underscoring the enduring appeal of this classic ingredient.

Egg whites are most commonly incorporated into Sours, cocktails featuring lemon or lime juice. Bartenders of the mid-19th century recognised that egg whites imparted a rich, creamy mouthfeel and softened the bite of high-proof spirits and citrus. Early recipes called for a mere ‘dollop’ of egg whites; contemporary recipes typically specify ½oz/15ml.

The resurgence of egg white cocktails has spurred bartenders to employ various techniques to achieve a thick, white ‘head’ atop the drink; from special tools that are placed inside the shaker, to help aerate the whites, to battery-operated milk frothers, and even complicated systems of shaking the drink without ice, either before or after chilling and diluting the drink. All of these methods require extra steps and/or equipment to achieve the desired effect.

I have found that these affectations can mostly be dismissed by following three simple steps. First, make sure your eggs are the freshest possible. Second, lightly beat your egg whites after separating to make them easy to measure and quick to froth. And finally, using a proper shaking technique will ensure that your egg white cocktails are consistently frothy. The most important of these steps, I feel, is a proper shake.

3. Shaking

Shaking a cocktail is perhaps the most iconic technique in bartending, often associated with the profession and garnering significant attention. If you don’t believe me, just treat yourself to a quick image search for the word ‘bartender’ sometime, and tell me how many of those pictures feature someone standing behind a bar, wielding a cocktail shaker, and grinning like an idiot. However, given how iconic and important this technique is, it’s surprising how frequently I encounter bartenders who lack proper training in this fundamental skill.

On its face, shaking seems pretty basic: get the drink cold, and get those ingredients combined. Simple, right? But when we sit down to blind taste an array of cocktails that have been shaken using different methods, it becomes clear to us that some just look, feel, and taste better than others.

One can quickly disappear down a rabbit hole of videos on the internet, learning all sorts of mystical techniques from experts who will tell you that you need a certain shape of ice, or perhaps an elusive wrist motion that will result in a ‘smoother’ cocktail with less ‘sharp edges’, whatever that means. But I’m here to tell you, from someone with a degree in physics, that all it takes is a lot of very cold ice and some very vigorous wrist snaps to get that shaken cocktail where you want it: ice cold and very aerated.

Nine times out of 10, the simplest and most effective solution is the one that’s overlooked: the shaker doesn’t contain enough ice. So if you feel like your shaken drinks are missing something but you can’t quite put your finger on it, try filling your cocktail shaker to the top with ice – it might just be the fix you’re looking for.

4. Stirring

I love stirring a cocktail. Compared to the brute-force method of shaking, stirring a cocktail is elegant and refined. And while stirring is the mixing method that requires the least amount of technical skill to accomplish successfully (the drink should be well-chilled and incorporated, there isn’t much else to it), I have found that a beautifully executed stir has the power to enrapt the entire bar, as the spoon dances gracefully in the mixing glass at the hand of a master.

Since it’s nearly impossible to describe the subtle technique required to command that sort of attention, I’ll share my personal experience. During my journey of mastering this art, I dedicated downtime during my shifts to the practice of stirring. I’d begin by filling my mixing glass
three-quarters full with ice and adding water to mimic the volume of a cocktail; 3oz/90ml works perfectly. Then, with the spoon tucked between the ice and the wall of the mixing glass, I would practice turning the spoon with the flick of a wrist. It takes some time to perfect, but after practicing for a week or two I am confident you’ll be able to master this simple and beautiful skill.

5. Peeling citrus garnishes

Now that our cocktail is complete, it’s time to finish it with a flourish – and often that comes in the form of a citrus peel twist whose oils have been expressed over the surface of the drink. You can make that twist with a knife, but the current industry standard is a horizontal peeler, often called a ‘Y peeler’ because it’s shaped like the letter Y.

Now, while the Y peeler is designed for removing the soft peel from vegetables and fruits like apples, it’s not ideal for citrus. First of all, it’s engineered to remove the bare minimum of peel, which is great if you want to peel a potato while preserving the most amount of flesh, but less so if you’re trying to get a nice thick swath of orange peel for an Old Fashioned.

A couple of years ago someone at a training I was doing at a local wine bar offhandedly mentioned using the bar’s cheese slicer to peel citrus. You know these tools, they’re typically one solid piece of metal shaped like a tiny spatula, with a long handle and a slit in the blade that you use to peel hard cheeses. I nearly laughed the suggestion off but instead I tried it and found it made the most beautiful citrus. Since that day, the cheese slicer has been the only peeling tool we use in my bars. It’s faster, it’s easier, it produces a better end result, and it’s safer: since switching over not a single one of our bartenders has accidentally peeled off a fingertip – a common and very painful side effect of the classic Y peeler.

The goal here is to create an even ribbon of peel, with enough of the white pith underneath to give the peel some structure and firmness. Hold the fruit firmly in your nondominant hand and start the peeling process. Once the blade is engaged, use your nondominant hand to turn the fruit , always remembering not to move the blade, but the fruit. Being able to maintain precise control over the blade is important not just for the appearance of your peels, but also for the safety of your fingertips.

Korean drinking tradition is dominated by a term that comprises the impressively wide variety of local products, whether fermented or distilled: sool. Etymologically, it derives from the terms ‘soo’ (‘water’) and ‘bool’ (‘fire’), referring to how traditional Korean generations would describe the effect of fermentation. 

Sool is based on a very simple mix of water, rice and ‘nuruk’; the latter being the most used fermentation starter in Korea, first implemented in the third century. It’s a disc made of moistened wheat, rice, or barley, dried in a heated room (‘odol’) until it starts to generate mold. Recipes used to make sool today have little to no differences from the ones implemented 1,700 years ago, showcasing how deeply sool consumption is rooted in the country’s history and tradition.  

“Sool have one for any style and any personality,” comments sool sommelier Dustin Wessa, owner of Namsan Sool Club in Seoul. “Once you try it, the chase for the perfect one begins.” A staple in Korean culture, sool plays a key role in the local social fabric, being a pivotal element in celebratory gatherings (such as public holidays, commemorations, ceremonies), as well as in daily life. Drinking is recognised as an important social lubricant, and sharing drinks with colleagues and employers is a well-established habit to strengthen personal bonds.  

Hundreds of products are available under the sool category: here are a selection for you to begin with to sample some authentic Korean liquid history. 

Makgeolli 

One of the oldest alcoholic beverages known to be created in Korea, makgeolli is named after the combination of the Korean words ‘mak’ (‘just now’) and ‘geolleun’ (‘filtered’). Despite being seen as a cheap product for decades, makgeolli has recently been on the rise both in quality and availability, thanks to younger generations of brewers, and it is today one of the most loved and consumed sools.  

Rice, yeast and water are left to ferment in clay pots, for a variable amount of time (usually around three weeks); this creates ‘won-ju’, a rice-based generic beverage. Within this, the rice sediment (‘tak-ju’) settles, and a lighter, clearer layer forms on top of it: it’s the ‘cheong-ju’, which is also sometimes distilled to make ‘soju’ (see below). When tak-ju is diluted, it yields the makgeolli.  

Given its low-class origins, Wessa explains how a lot of the farm-working class were paid in makgeolli from the aristocracy. Depending on the grain it is made of and the technique, makgeolli can express various flavour notes, all of them gathering very interesting nuances: rich and creamy, sour or sweeter, plain or carbonated. 

Cheong-ju 

Following the aforementioned process, cheong-ju can be produced too: it’s a refined rice wine, often made with the addition of other grains (barley in particular) to add depth and flavour, and spices such as cinnamon or ginger.  

After the fermentation, the whole product is filtered and smoothed out: “Unlike the murky makgeolli, cheong-ju goes through an additional filtering process, resulting in a cleaner taste,” adds Pat Park, owner and bartender at Pine&Co in Seoul. “As I entered my thirties, I found myself seeking out cheong-ju more often due to its crisp flavor.”  

Once a treat reserved for royal bloodlines, it is today largely consumed during meals, and works wonders as a cooking ingredient in marinades or condiments. It tends to be more dynamic than the other products, with a higher abv and a more defined character, and some varieties are very viscous and juicy. “Cheong-ju pairs exceptionally well with seafood, so I highly recommend trying it with Korean-style sashimi,” suggests Park. 

Soju 

The Korean national beverage, and the best-selling spirit in the world (a soju brand borders 65 million cases sold per year), soju is a distilled liqueur, ranging from 20-25% abv, mostly consumed paired with food.  

It was introduced by the Mongolians during the 13th century: “They had arak, and taught Koreans how to make it,” recounts Hwi Yun, bar manager at Bar Cham in Seoul. Originally made from fermented rice, it witnessed dramatic change in the midst of the 20^th century: as rice was too precious of a resource to feed the population during the Korean War, soju began being distilled from other grains such as wheat, potato and barley. 

Literally meaning ‘alcohol with fire’, due to its link with distillation, soju can be enjoyed in two ways: “Traditional soju is distilled using clay pot stills,” Yun explains. “But most Koreans drink diluted soju, the so-called green bottle soju. It is a base of neutral spirit with added sweetener, and can originate from potato, tapioca and so on, distilled up to 95% abv. Soju companies buy the spirit from designated neutral spirit companies and dilute it down by 16-21%, depending on their target. We call these alcohols soju but ingredient, method and taste are completely different from one another.”  

Julia Mellor, founder of The Sool Company, expands on the two categories of the spirit: table-strength soju and spirit-strength soju. “Table strength is anything below 25% abv, and is often designed to be enjoyed with food. Whereas spirit strength soju is complex and distinct in flavour, with a diversity of aroma profiles. The concept of high-proof soju is still finding its feet in Korea, and we are working to promote it internationally to discover its yet-unlocked potential in the cocktail market.”  

Soju’s aromatic sip is also the protagonist of one of the most beloved drinks in the country: ‘somac’, also known as a soju-bomb, in which a shot of the spirit is sunk in a local lager.  

Bokbunja-ju 

‘Rubus coreanus’ is the scientific name for the bokbunja, a Korean native blackberry, known to the indigenous population for at least one millennium, and heralded for its health properties (high in vitamins and calcium, and very commonly consumed due to its supposed aphrodisiac qualities).  

It was traditionally infused in a neutral spirit (often soju) and combined with sugar, to create a liqueur called bokbunja-ju; recent versions use the same name for an actual fruit wine, obtained by fermenting the berry with yeast. Flavour notes vary accordingly: “It is not as widely consumed as other sool giants such as soju or makgeolli,” Mellor comments, “but it is often an alternative at the dinner table for those who don’t like either.” The flavour profile of bokbunja, she says, is often sweet, earthy, with a heavy body, and has an abv usually between 14% and 19%. It also tends to be less acidic and sweeter compared to the varieties commonly found elsewhere, yelding a rounder product. 

*** 

Alongside the better known sools Korea is fond of, you could find a series of lesser-known alternatives that will conquer your palate and interest nonetheless.  

Gwaha-ju 

Literally translated as ‘summer passing alcohol’, gwaha-ju is Korea’s answer to port wine, according to Mellor. “As sool brewing was traditionally something done on a smaller scale in the home, recipes and styles were often developed to reflect the seasons. In the summer, Korea is hot and humid, which does not lend to optimal brewing conditions. As such it was a time for fermenting nuruk, and also the compounded alcohol gwaha-ju: it is made by adding high proof soju to the mash early in fermentation in order to protect it from failure due to high temperatures.” The result is a stronger and sweeter alcohol, which can be enjoyed cloudy like tak-ju or can also be clarified and drunk as a clear cheong-ju, Mellor explains.  

It’s also a relatively rare expression of sool to keep your eyes peeled for while in Korea. “This category was all but lost in the modern sool industry, and even today there are very few producers of gwaha-ju due to the aging time, effort and cost to produce. However, it is one of the most richly flavoured and aromatic sool experiences to be had, and if you find yourself in Korea, don’t miss it!” 

Sogok-ju  

According to Wessa, there are 62 breweries still operating in Korea, all of them being 500 years old and still producing sogok-ju house to house: “There are quite intense rivalries between families,” Wessa recounts. Rice, water and nuruk constitute this traditional drink, but other ingredients like ginger. chili peppers, and angelica roots can also be added. “Every sogok-ju is a signature product for each brewer. In terms of minerals and umami, which are key aspects of sools, this is one of the most perfect expressions.” 

Sungnyung 

This non-alcoholic drink closes our list, and it’s an interesting one in terms of traditions and renewed popularity. With its first known trace being found before 1400, sungnyung has kept its original, homemade nature intact: it is made by pouring warm water onto the layer of grains that sticks to the bottom of a pan after cooking rice. The infusion gathers the rice flavour, and is then served as an after-meal drink, to aid digestion.

Born over 3 centuries ago, the Trois Rivières Plantation has become an integral part of Martinique’s historical heritage. Founded in 1660, the plantation is bordered by the Caribbean Sea and Atlantic Ocean – where the sun beats strong and the sugarcane stalks grow in clay soils that are rich in magnesium. From this truly unique terroir, Trois Rivières creates its crafted A.O.C rhum. In 1996, Trois Rivières obtained the “AOC” label – which means every single step of the production is highly regulated. The AOC board even samples the liquid at every single stage of production, to guarantee its quality. Trois Rivières is also unique thanks to its skilled cellar blender, Daniel Baudin – awarded ‘Best rum master distiller’ in 2019. As one of the most awarded agricole rhum brand in the world – with a collection of 250 awards in the last 5 years – Trois Rivières is a truly unique portfolio of spirits in the world rum.

Production

There are 2 methods of producing rum: The first and most common is molasses rum – produced by fermenting and distilling molasses, a byproduct of the sugar industry. The rums from Trois Rivières however, are mainly Agricole rhum – or pure cane rum – produced by fermenting and distilling pure & fresh sugarcane juice. Trois Rivières Cuvée de l’Océan has been developed solely from the juice of sugarcane raised on the waterfront of the sunny plot of Anse Trabaud – located in the extreme south of Martinique. This unique terroir – together with fermentation techniques specially designed by Trois Rivières’ Master Blender – gives the spirit its particular taste and aromatic style: It’s colour is crystal-clear. It has enticing notes of sugarcane flowers – with notes of bread and yeast coming forth after airing. Its taste is robust, rich, dense and amazingly mineral. Briny ocean flavours perfectly mingle with green notes of sugarcane. Trois Rivières Cuvée de l’Océan has a finish that is long, unique – and sure to stay with you long after you drink.

Hero Cocktail

The Daiquiri is a global favorite – and perfect cocktail to taste the complexity of white rum. Fill a shaker with plenty of ice – and add:

6cl of Trois Rivières Cuvee de L’Ocean

2cl Fresh Lime Juice

1.5cl of cane sugar syrup.

Shake hard – and then strain into a coupe glass – – and garnish with a lime coin Salute!

In 1840 – brothers John and James Grant sought Scotland’s perfect location for whisky making in the heart of the Speyside region. With an abundance of quality two-row Scottish barley – they built their distillery on the banks of the Back Burn, a tributary of the River Spey – and source of pure, mineral rich water. Founding the northern railroad through the Spey valley, they were able to easily transport essential supplies and build the foundations of what became a legendary name in the Scotch whiskey industry. In 1872, the famously charismatic and innovative James “The Major” Grant, inherited the distillery from his father and uncle, and set out of his search for Whiskey perfection. He became one of the first distillers to use water cooling purifiers, together with tall, slender pot stills of his own design for an elegant spirit character. Today Master Distiller Dennis Malcolm, is guardian of The Major’s legacy. He has followed the footsteps of his father and grandfather before – and was even born on the distillery grounds. He still lives there today, and is still using those same techniques as The Major did, back in 1873.

Production

Master Distiller Dennis Malcolm OBE is the longest serving distiller in Scotland. He keeps The Glen Grant’s tradition alive by crafting whisky in the exact same way as it was in 1873. Old fashioned wooden fermenters, made from Oregon pine, are still used to allow more flavour to develop – instead of modern stainless steel now commonly used in the industry. Once filled, casks and barrels age silently in traditional stone dunnage warehouses rather than the modern concrete warehouses commonly used in Scotland these days. Dunnage warehouses are made from stone and create a constantly cool and consistent temperature and humidity all year round – making ideal conditions for a slow pace of interaction with the oak all year round To further certify the quality – from barley milling to bottling – every drop of The Glen Grant is produced on the distillery grounds – using the pristine mineral rich Back Burn water. The Glen Grant is one of the only distilleries in Speyside to bottle every drop of spirit on site – giving the benefit of full control over all aspects of quality. Such is the legacy of Glen Grant – that the new bottling hall was officially opened by his Royal Highness Prince Charles, Prince of Wales in 2013.

Portfolio and Tasting Notes

Glen Grant has an extensive portfolio of incredible spirits:

The Arboralis has a floral, fruity nose – with hints of lemon citrus, the palette reveals oak notes, butterscotch and touch of spice

The 10 Years Old is the flagship expression of the Glen Grant range – and has aromas of sweet pastry, pear, vanilla – and is rich on the palette with orchard fruits, malt notes, with a long lingering finish.

The 12 Years Old has complex aromas of fruit, nuts, malt notes and vanilla – with lingering caramel and slight spice notes on the palette

The 15 Years Old is aged in first fill ex-bourbon barrels and is non-chill filtered. The aroma reveals a bouquet of ripe apples, vanilla and toffee notes elevate in the glass.

The 18 Years Old is a classic sipping malt whisky glorious layers of barley sugar and butter scotch that linger long on the palette.

Explore the full Glen Grant portfolio – and discover its full, rich history

Key Message on the Product

A few key points on The Glen Grant, to keep in mind. “Elegance engineered by nature” is the essence of The Glen Grant – a Victorian distillery with a history of ingenuity and innovation. Master Distiller Dennis Malcolm is the longest serving distiller in Scotland – following in the footsteps of his father and grandfather. Traditional methods of production remain integral, such as using local Scottish ingredients, wooden fermenters, and stone dunnage warehouses. Ex-bourbon and sherry casks age the entry level expressions, such as: Arboralis, 10 year old and 12 year old. Every drop of The Glen Grant is processed – and bottled on site by local people. The Glen Grant is an ultra-premium brand – scoring consistently high awards across the range at the world’s most prestigious judging competitions.

Hero Cocktail

The Highball, also known as a “Scotch and Soda” – is a long refreshing mixed drink that works very well with Glen Grant – owing to its top fruity and malty aroma. Start with… A tall chilled glass – and fill with ice cubes. Pour over 60ml of The Glen Grant Add carbonated water to top of glass And garnish with citrus peel Enjoy!

Rum is simply defined as a spirit distilled from the fermented products of sugar cane. It is the most diverse spirit in the world – capable of infinite variations in style, colour, age and body. The first rum distillation likely happened on Caribbean sugar plantations in the 17th century – though the spirit’s exact origins are up for debate. Throughout the 18th and 19th centuries – Jamaica became a huge exporter of rum and was known for its rich flavour. By the late 19th Century, there were nearly 150 rum distilleries in Jamaica making just over seven million litres of rum per year. Today, there are 6 distilleries producing just over 20 million litres of rum per year. There are a few key factors that influence the variations of Rum: Raw Materials, Fermentation, Distillation, Ageing, and Blending – But there’s a few common factors that all Jamaican rums have – they’re produced from molasses – made using Jamaican limestone filtered water – and with no additives allowed.

In 1749 – the Appleton Estate began producing rum from the Nassau Valley – in the heart of Jamaica. The Valley’s unique topography, climate and elements make up the terroir that gives Appleton Estate rum its distinctive character. Naturally filtered through limestone, the spring water is exceptionally soft – which helps give the rum its smooth texture and sweet taste. Guardian of Appleton Estate’s production is Master Blender Dr. Joy Spence who, upon graduation from University returned to her homeland of Jamaica and, in 1981, joined Appleton Estate. Joy found a passion for distilling and blending, fine-tuning both her artistic talents and scientific proficiency. And after holding a series of key positions – she was appointed Master Blender in 1997 – becoming the first female Master Blender in the world.

Production

All of the ingredients that go into making Appleton Estate rums are cultivated on the Estate itself – in St. Elizabeth, Nassau Valley. The Estate’s unique geology provides the distillery with a terroir that no other rum can claim – with over ten varieties of sugar cane cultivated on site. During fermentation, molasses – natural spring water – and a proprietary, cultured non-GMO yeast – are mixed together. The natural qualities of the yeast and the pure, limestone-filtered water are part of what gives Appleton Estate Jamaica Rum its unique character, taste and aroma – including its distinctive orange peel finishing note. The fermented wash is then slowly distilled in traditional small-batch 100% copper Forsyth pot stills and in column stills. Once the rums have been aged to perfection – each Appleton Estate expression is then created by Master Blender, Dr. Joy Spence. Joy selects and blends the aged pot still and column still rums to match the desired flavour profile of a given expression. After they are blended, the rums are set to rest, which allows them to marry into a spirit unlike any other. – and all of Appleton Estates rums are bottled in Jamaica – making the entire process 100% Jamaican from cane to cup.

Portfolio and Tasting Notes

Appleton Estate has a wide portfolio of spirits – each expression unique in its own way – but all rich with flavour and brand heritage.

Appleton Estate signature is a blend of pot and column still rums aged for an average of 4 years, with aromas of dried apricot, fresh peach and a subtle hint of sweet molasses.

Appleton Estate 8 year old reserve is crafted by Appleton Master Blender Dr.Joy Spence to commemorate the brand’s 250th anniversary. This blend of pot and column still rums are aged for a minimum of 8 years. It is Appleton Estate’s most versatile expression – revealing aromas of spicy fruit and oak, followed by hints of honey, vanilla, holiday spice and Appleton’s signature orange peel note.

Appleton Estate 12 year old rare casks are a blend of rare and handselected pot and column still rums –all of which have been aged for a minimum of 12 years. It reveals aromas of toasted oak, dried fruit and hazelnut – followed by notes of dark cocoa, delicate molasses, orange peel, rich vanilla and hints of coffee.

Appleton Estate 21 year old Nassau Valley Casks are a tribute to the Estate’s lush and fertile home. A blend of rare and hand-selected pot and column still rums are aged for a minimum of 21 years – gradually developing notes of deep vanilla, mellow orange peel, rich nutmeg, vibrant almond, warm coffee and cocoa – with a long and dry finish.

Key message on the product

When we speak about Appleton Estate, there are a few key points to keep in mind: Appleton Estate is authentic Jamaican rum made in the Nassau Valley since 1749 – a unique, lush, and fertile terrain in the heart of Jamaica. Through a meticulously managed ‘Cane to Cup’ approach – Appleton Estate own and manage every step in the production process – – from harvesting sugarcane in the valley – and sourcing spring water from the Estate – to meticulously managing each step in the fermentation, distillation and ageing processes. Due to Jamaica’s tropical climate – Appleton Estate’s rums age roughly three times faster than spirits in cooler climates – enriching its flavour quicker. Every barrel of rum is personally picked by Master Blender Joy Spence – the spirit industry’s first female Master Blender with over 35-years experience at Appleton Estate. Appleton Estate has over 270 years of expertise in the art of making rum – has been granted numerous prestigious awards – and remains an integral ingredient for bartenders around the world. Mai Tai anyone?

Hero cocktail – Mai Tai

The Mai Tai is a popular classic cocktail – but when combined with Appleton Estate’s 8 Year Reserve Blend – this ordinary drink is transformed into something truly extraordinary. Start with…

• 2 parts of Appleton Estate 8 YO
• 0.5 parts fresh lime juice
• 0.5 parts Orange Curaçao
• 0.5 parts orgeat (almond syrup)

Combine all ingredients in a shaker filled with ice. Shake until chilled and pour into a double old fashioned glass. Garnish with lime shell and mint sprig. Cheers!

Vodka is one of the most popular global spirits – and is produced all over the world. Since there is so much variety possible when it comes to vodka – most producers tend to highlight their source materials, distillation style, and filtration methods in order to differentiate themselves. Vodka can be made from any fermentable sugar source – but is traditionally sourced from cereal grains like corn, rye, and winter wheat. It is commonly made in a column still – and most producers distill more than once, as the goal is a clean distillate – free of most congeners. Laws about vodka production vary around the world. For example, in the U.S, vodka must be distilled above 95% ABV and then water must be added to reduce the proof no lower than 40% ABV – however, in the EU that limit is 37.5%. Vodka can also be filtered through any material that cleans impurities including limestone, diatomaceous earth, carbon, quartz, sand, paper, charcoal, and cellulose – among many other things. The possibilities are endless!