60 Minutes of Epic Tasting – Part 1 “1985 Van Winkle Family Reserve Rye”

I got the text towards the afternoon, “I’m in town, can you meet up? I brought a few things you have to try.”

“Absolutely,” I replied. “Good stuff?”

“Does a certain rye from 1985 sound like good stuff?” was the response.

In the 80’s this would have been a person to person call, and the only sound my buddy Adam would have heard on the other end would be that of a plastic phone hitting the floor, then a dragging sound as the coiled cord tugged the phone back across the linoleum.

I just responded, “I’ll bring glencairns.” Dot. Dot. Dot.

Adam only had an hour to spare in his busy schedule, and frankly I was happy just to get to that little bit of hang time. 60 short minutes, which I assumed (correctly), would be filled to the brim with all the most fantastic distilled and aged liquid my heart could flutter over.

We sat down, exchanged pleasantries, etc. while I simultaneously pulled out two clean glencairns without breaking eye contact or interrupting the conversation. As time was short, we wasted none of it, and got right down to the business at hand; drinking epic bourbon…and rye. Specifically rye, actually.

The first pour out was one I was sure to be smitten with, the “1985” Van Winkle Family Reserve Rye. If you recall from past blogs, I’m not a rye guy, but I sure do love/crave the VWFRR. The 2015 edition was my first foray into the world of Van Winkle rye, and I gave it high praise.

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But the 1985 was a completely different animal. Made at the request of French client, this is the 100 proof, non-chill filtered juice that is the stuff you dream about. There is some bit of argument about whether this is a 13 year, or a 14 year. Technically all VWFRR up until last year came out of the same tank, and recent releases have been labeled “13 Years Old”, therefore this should be 13 too. But others say, since this was released in 1999, it’s a 14 year. Yet Julian Van Winkle himself says the 1985 was 15 years old. 13, 14, or 15, I find that fascinating. I’d give anything to sit with Julian Van Winkle and discuss the in’s, out’s and majestic magic of his various bottlings, and listen to his words without so much as cutting in with a question. But until that happens, all I can do it stick to profiling the flavors of the bottles I try.

Adam had diced his bottle into 4oz Boston rounds, exclaiming that he feared the bottle going stale. He tossed me the little brown bottle and said “Pour it out”. I did. Heavenly aroma filled the immediate vicinity of my nose.

I can only describe the color in the glass as “Bruce Brown Sunset”. It reminded me the final scene of one of my favorite movies, On Any Sunday, (made by Bruce Brown). Steve McQueen, Mert Lawill and Malcolm Smith are blasting their XR 750’s up and down a lonely southern California beach at sunset, and you can only make out their silhouettes in the golden wash as the sun sinks slowly into the Pacific.

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“Dear Lord,” I said as I nosed the leggy beast in the glass, “this smells fantastic.” The nose is so creamy and rich. It was the biggest bear hug of vanilla. Mixed into the wash was a component of cinnamon spice, and a faint, sugary fruitiness. The glass was like a miniature confectionary, turning out the loveliest baked sweets. It was really complex, and I sat for a long time deciphering the flavors. I turned to my friend and said, “I can’t get them all, I’m trying but I can’t. There is so much going on here.” He laughed and agreed, ‘Good, right?”

I said, “This is literally liquid luxury.”

The flavor is scrumptious, and classy. Extremely developed, given the moderate proof, but a testament to the maturation. More of the vanilla, mixed with a breath of oak and spice of the classic rye variety. Ah, that oak. A fine, thin layer of cocoa dusted over the top of the pile. There is nothing astringent, pungent or over-alcoholic. But just to remind you of the refined nature of this juice, there is pepper present that keeps the sweets in check. It’s just so composed. This really has more in common with the well-mannered releases of the era; extra smooth, the flavor and proof working together instead of independently. None of the flavor components step on each other, rather they build on each other, like a layered spice cake with butter cream frosting. I commented that there would have been no reason to fill Boston rounds in my house, for the simple reason that this bottle would not have lasted long. The mouthfeel is just so incredible, very syrupy.

The journey from flavor to finish was the whiskey equivalent of the grand symphony build at the end of the Beatles “A Day in the Life”. So much flavor and mouthfeel to enjoy, building, building, building. Then BOOM, that sharp tonal smash on the piano keys delivers a moment of finality, which holds and rings out. In this case the “ring out” is the finish, revealing its purpose with a great, warmhearted burn. Nowhere near the atomic, tear inducing explosion I usually enjoy. It hit all points throughout my entire palate, complimenting and amplifying the lingering flavors, dissipating slowly. The sun sets behind the pacific. The light dies. End of scene.

The post nose gives up all that heady rye and sweet old oakiness, choco-yumminess and soft spice. I sat for many minutes, huffing them empty glass. I caught Adam looking at his watch, and I snapped out of my Van Winkle induced brain fog, remembering that the moments were fleeting, and there were more bottles to sample.

I said before that I believed this rye would be one I was smitten with. I was. I am still. In fact, I am ruined by it. I’m not a rye guy, but I am now a 1985 VWFRR, 100 proof non-chill-filtered guy. The most telling part of the tasting was this: I didn’t stop smiling the entire time I was sipping the 1985 VWFRR. I was actually aware of that. This rye just made me….happy.

Wash the glencairn. Swig some water. On to the next pour.

Part 2: Willett Bonili 16 year, Barrel 470 “Lord of Dankness”.

Dreaming About Old Crow Distillery and the Magic in That Dusty Old Bourbon

So I actually wrote this piece over the course of weeks, and not all in succession. I’d write some, leave it, come back to it….write some, leave it, and come back to it. Always sipping a little Old Grand-Dad along the way, leaving the world with a little less delicious bourbon… It’s not a piece based upon absolutes, and not every word is rooted in fact. I can’t offer any facts. Unfortunately when it comes to facts and Old Crow Distillery, there is simply little to be had. We can find the bottles of bourbon, taste and cherish them. We can scour the internet and regional historical societies for photos and stories, and come up with nothing. It’s quite similar to the situation an archaeologist would find his or herself in while studying the lives and traditions of the ancient Egyptians or Mayans. There are a few things written down, and artifacts to be studied, but when it comes down to figuring out how the hell they moved those 500 ton blocks into pyramids located in perfect relation to modern latitudes and longitudes as they related to the earth and stars; no idea.

What I offer you here is a stream of conscious writing, thinking, and dreaming about Old Crow Distillery. These are my opinions and thoughts, the ideas that flitter around my mind while sipping. Nothing more, nothing less. Just me trying to understand the magic in that dusty old bourbon. I used a few fictional characters for the purpose of setting scenes. Maybe you get something out of it, maybe not. Be forewarned, it’s a long piece…

I’m sitting here now, sipping one last pour of a magical Old Grand-Dad 100 proof Bonded bourbon by National Distillers at Old Crow Distillery, age stated 8 years old, bottled in 1987. I just shared some of this amazing bourbon with a friend who lives up the street, a guy who isn’t as familiar with the ins-n-outs and history of bourbon as I am (I don’t even claim to know a tenth as much as some, but I’m in constant pursuit of knowledge). Nor does he probably care, looking at the fat little glass filled with brown liquid, watching as I get overly excited and nearly philosophical about the OGD, pontificating what it means, why it’s important, and why exactly it can never happen again. I preach. I extol. In my mind’s eye I am weaving an enraptured tapestry of virtue about a distillery that will never again pump white corn mash through its tail box. “Sip up” I say, “This is pure liquid treasure.” We talk for a while, dragging out the pour. After a bit my buddy heads home, I’m certain wondering how on earth someone can be that obsessive over a product that in 45 minutes will be making its final descent to the Water Treatment Plant before taking a fun filled journey down the Mississippi, waving as it passes Jackson Square in New Orleans, plunging headlong into the Gulf of Mexico.

The house is quiet, other than the warm squeak of oak on oak that comes from the gentle sway of the rocking chair next to my bourbon crypt and the wood floor. I pour myself one more glass. I need to think about this Old Grand-Dad a little longer. Experience it one more time. I look at the glass the way Good Will Hunting looks at a seemingly unsolvable math equation on the chalk board at MIT. I dissect the flavors. The heady, powerful butterscotch that dominates the nose and palate. The finish that is so smooth, it’s the bourbon equivalent of satin. Swish and slosh around my tongue. The mouth-feel, dear Lord. It actually has a temperature, and I say this every time I drink OGD BIB; it’s cool to the touch and taste. I swirl the juice in the glass, inhaling its body. I gaze through the honeyish, golden liquid; soft lights beaming radiantly through the glass. I taste the pour and let it filter through me. The soft oaken caramel, dense with syrupy, sugary sweetness and a breath of antiquity. You can taste the summer humidity from the fields of sweet yellow corn that rose from the ground decades ago. The finish is mellow and fleeting, a solid 100 proof burn doing the subtle pirouettes on my mid-palate. To me, it’s perfection.

But how did this come to be? There is just so much to consider in the question “what makes this juice so special?” I am a self-professed disciple of all things single barrel and high proof. So how could I possibly be so smitten with this batched 100 proof liquid dream? I keep saying to myself, “There is nothing else like this in the world.” And really that’s true. It’s like nothing else I’ve ever had.

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I got to see Old Crow up close recently, on my yearly springtime pilgrimage up to southern Indiana. Kentuckiana. Traveling through the heart of Kentucky bourbon country is always one of the highlights of the trip for me. Typically we stop at one of the distilleries to let the kids stretch their limbs before the final 100 mile push into Indiana. When my wife asked where I wanted to stop this time, I said I’d like to do something a little different, and maybe look for the remains of the National Distillers facilities, specifically Old Crow, and by extension Old Taylor, since it’s only a stone’s throw away. If you have never seen it, I highly recommend the drive. It’s in the middle of nowhere. Rat shacks with busted siding revealing hewn logs underneath, derelict fishing boats, the odd goat, piles of scrap metal and wild flowers dot the banks alongside Glenn’s Creek as you meander up and down the carved hills of the river valley. The road is so narrow, literally a one lane road marked for two. My initial thought was “How the hell did they ever manage to drive two lanes of big rigs loaded down with corn or bottles of whiskey on this road?” As you crest a hill, the smoke stack pokes up just over the tree line, like an elderly relative, oh so happy to see you, but too old and feeble to get up. “That’s OK pop. You stay there, I’ll come to you.” It’s surrounded by rusty, broken chain link fencing that blends into the scrubby brush and overgrowth, almost unnoticed. Halfway over the hill, before you get to the actual employee entrance, you can poke through the fence and get a good look at the grand old fellow. The ancient, cavernous confines of Old Crow. It sits empty and derelict now, a 5-star aviary resort for pigeons and crows basking in the rays of dull sunshine that burn through frosted glass. Still proud and fighting against collapse, though wearing the time ravaged, sun bleached, rain soaked, snow covered, weather beaten wrinkles and scars of age. To my eyes, even in this state of decrepit decay it couldn’t be any more stunning. It has a kind of masculine grace, like one of the great old cathedrals of Europe that is slowly rotting away. I just stood looking at it for a long time, trying to re-imagine it in better days, bustling with activity, barrels rolling in and out. Employees running out the door when the dinner whistle sounded to choke down chicken salad sandwiches, then running back in as they wiped the remnants on their sleeves. I snapped a couple photos and then nodded in knowing recognition, out of pure respect. It was an awesome moment.
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Photo courtesy of Sherman Cahal – Abandoned http://www.abandonedonline.net

As I sip this bourbon that was distilled when I was four years old, I mentally juxtaposition the differences between NOW and THEN. In today’s distilleries that employ multi-degreed chemists and engineers in the front line trenches of the taste wars, and outfit their labs with machinery that can break-down and deduce the exact chemical make-up of any whiskey in the world, why can these flavors not be duplicated? This bourbon is damn near perfection, why wouldn’t a master distiller or whiskey producer recognize this and at least try to recreate the past?

My only answer is they can’t. It’s just not possible, because the magic that was captured so many years ago cannot be extruded out of complex computer codes and proprietary yeast strains. No chemist can coax or conjure that heady butterscotch out of the barrel any more than Gargamel could throw Smurfs into water and stir them briskly until they turned into gold nuggets.

Perhaps I just want it to be that good? No, there has to be more.

So how did National Distillers do it? By accident?

There are eras when they got the formula perfect. I have friends that will swear by and only drink the stuff made before the 1960’s facility expansion. After that there was a period when the distillation process was off, and according to many the juice lost a bit of its magic, and the brand took a hit. Apparently there was a known problem with the mash process, but production could not be stopped. It’s reminiscent of Harley Davidson motorcycles manufactured after the AMF buyout. Not all of them were garbage, you still see them on the road, and there is nothing as cool as a chopped down shovelhead. But as the company line goes, “there are some that Harley wishes they had kept on the line a little longer.” Then Harley got the name back, and fixed the problems. Same with ND. As far as the era’s, I’ve tasted a few of them, and for me personally, I like the late 1980’s. The butterscotch is just SO pronounced, the bourbon so sweet and rich, thick and oily. I have a bottle from 1975, and while there is a distinct difference, and the flavor of that one can best be described as “sharper” than the 1987 version, with less butterscotchy aura, I still enjoy it. It’s still classic.

In my opinion, the rich quality and immense flavor of this bourbon lies in a confluence of factors:

Equipment, Technology and Craftsmanship: Take into account the old manufacturing line. By 1979, the distillery had already done generations upon generations of living. Even when Old Crow was middle aged in human years, young men got their first jobs there, got married and supported families there, retired from there and died. And still the old boilers kicked and pinged and boiled and chortled. Old Crow Distillery as it stands today started operation around 1872, and was put together well before the movement of tolerances and standards that took grip after WWII, almost 60 years later. There were no cookie cutter designs, no off-the-shelf turn-key systems. All engineering happened on site and was completely customized to owner preferences. Craftsmanship abounded. Men with true skills, who spent their career formative years not in college, but in apprenticeship, cut, bent and soldered by hand every pipe and plate of copper in the facility. Every copper rivet. Every flared joint. Every bevel weld. Every beaded solder joint. Every calibration. Nothing was done by robot or micrometer. This would have been the case even when the distillery was refurbished nearly 100 years later. The distillery got an upgrade in the 1960’s, and though I’ve done my best to research, converse, pick and decipher any information and lead I could find, there just isn’t any information to be had. I can’t tell you if the original still was kept in production, if they just added a second line, or if they got a bigger still altogether. There are no pictures I can find. No blueprints. No documentation. No engineering schematics or markups stamped “As Built”. Nada. Zip. Zilch. And in my opinion that speaks volumes about how the bourbon was produced. These were the days before ISO standards. When records and important numbers were filed in Lee Roy’s head and a wadded piece of note paper in the front pocket of his mash smattered coveralls. When Charlie and Putt, doing everything by hand and eyeball, were the Quality Control and Measurement apparatus.

Every piece of equipment had a personality and could never adhere to modern tolerances or standards. Maybe a pipe fitting that had a tiny pinhole that allowed some of the distillate to take on a micro-breathe of air. Just a little bubble in the mix every now and again that caused a minutia oxidation. Maybe over time those air bubbles added up, the sum of which was the equivalent of a dry line in corrosion, leaving a kind of aged aftertaste in the juice. Everything stretches with time, and copper lines would be no different. Think about, over the course of 50 or 100 years, a copper line that is supposed to be a flat 8 feet starts to sag just a little. Decades of water hammer and steam hammer, deforming and contorting the lines. The run is longer, and it starts to creep ever closer to a nearby heat source. How does that impact the distillate? I’ve read lots of theory and conjecture from a technical side. I’ve been told that the equipment has nothing to do with it. So confident must Beam have been that the process could be replicated anywhere after the purchase of the Old Crow facility that they trashed the equipment, leaving it to the circling vultures of the salvage trade. (Old Taylor suffered the same fate.) Maybe they just didn’t care, as the bourbon aficionado didn’t really exist at the time, outside of a small number of people, and they probably weren’t looking at OGD like it was rare Bordeaux. Either way, every bit of copper was turned into pennies of profit. And the recipe? Gone. The yeast strain? Gone. Supposedly it’s made in the spirit of the original, but I would be the worst riverboat gambler if I tried to bluff you and say that I get the same kind of heart fluttering elation drinking Old Grand-Dad distilled in Clermont as I do the Frankfort variety. By recipe, I’m talking about more than just the ratio of corn to rye in the mash, but rather everything that went into the batch, from the selection of raw materials to the influence exerted by the quirks and character of the distilling equipment. Antiquated dials that weren’t as accurate as they could have been. Settings that were just slightly off but close enough. You get the picture.

And what about the production line? The men that produced this bourbon cared about their craft and were dedicated to the product. Think about the way men used to be. Every man was Mickey Mantle. A hard ass, hard living sum’bitch. A sun-up to sun-down time clocker. Serious as can be about work and life and drinking and family in that order. Men like my grandpa who woke up every day stretching his broken body, filling a thermos with percolated roofing pitch and confidently snarling, “Let’s do some God damn good work, God damnit.” That was his way of saying “good morning”. To add to that, the men that worked there became intimately familiar with the equipment they were running. Some might spend 30 years doing the same tasks, day after day, year after year. No thoughts of envy or delusions of promotion. Only the job that needed to be done. They knew their machines, how they were operating, and if something was wrong, they fixed it themselves. A job to be done and men paid to do it right. There was only QUALITY and PRIDE. Production was not stopped. Every man was a highly-skilled self-taught maintenance technician, capable of keeping his station operating to its peak potential. Or close to it. I mean, some things can be fixed with baling twine, duct tape, gum or leaning on them.

In my mind, the corn dust that hung thick in the air must have been absolutely tremendous, pushed and pulled through a first edition HVAC system that counted open windows as air conditioners. The dust would have gathered in a dense, soot-like blanket over everything in the building, even the bottling line. Distilleries now are so clean you can eat off of nearly any surface. But Old Crow was a production facility in the vein of every other factory at that time. The big boilers used coal, burning it bright and hot, like parking massive Union Pacific mogul locomotives in your living room, puffing and chuffing. The idea of clean rooms and hermetic sealing was still years into the future. Don’t believe me? Thumb through NASA photos from the mid 1950’s and look for guys in white coats that were smoking while assembling mock-ups of the Project Mercury capsule. Even the boys in the Mission Control were lighting up cigarettes in the control room during the Gemini and Apollo flights. That was the cutting edge of technology in those days as far as the world was concerned. It’s doubtful any distillery in Kentucky was adhering to such stringent guidelines. When the mash was bubbling and rolling over itself in the tanks, and Bud took a stroll up the catwalk to check its progress, how much of that vintage corn dust did he kick up? Did he accidentally bump his shoulder into the railing above the tank, sending a dusty plume billowing towards the open tank like a reverse mushroom cloud? How would that impact the flavor?

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Photo courtesy of Sherman Cahal – Abandoned http://www.abandonedonline.net

The aging warehouses themselves are still in use, some anyway. Beam had the good foresight to keep any and all storage on hand. They are huge, brick structures, sunk deep into the valley. If you look at the aging barns at Heaven Hill, Four Roses, Willett and Beam, they are pretty much all out there in the open. Especially Heaven Hill, whose rick houses are literally on a hill. Maker’s Mark has theirs all over the countryside. But all of them are heavily sun exposed, no shade. I’m a firm believer that different warehouses are magical, and that bourbon aged in one warehouse is simply better than bourbon aged in others. It’s another situation where I’m told it makes no difference, the product is consistent from barn to barn, but my taste buds know different. Those old brick monsters are tucked deep into the nape of the valley, and it seems to me they would only get 3/4 the sun exposure of all other brands as the sun dove behind the hill. What I also noticed was how cool and moisture-saturated the area was. It just seemed like I was in shade everywhere. It was hot and sunny outside, but the road was damp. The grass was damp. The leaves were damp. It was as if Old Crow was built in the center of a dense rain forest, a steamy sauna of the earth’s breath, saving for the fact that the air temperature felt cool. I imagine the interior of those big brick barns was chilly, to say the least. In the winter, would the valley shield and cradle the rickhouses against the Alberta Clippers that come screaming out of Canada, over Lake Michigan, across the frozen desert of northern Indiana and down the I-65 corridor? The barrels, tucked into that warm mist, soaking in the flavors of the landscape, expressing themselves into the whiskey. Cooking down for 8 years. It’s the same process every distiller uses, but with a distinctive, unequaled result.

So how did they do it? At the end of the day, and the end of this pour, I don’t know. Maybe no one does.

And maybe, the mystery of it all and how it sparks our imagination is the secret ingredient…..the real magic in that dusty bourbon.

1792 Full Proof Review

When I was sent the original press release for the new 1792 Full Proof bourbon, I was pretty excited.

Over the last year I have enjoyed watching Barton 1792 brand stretch it’s legs with new releases outside of the standard small batch offering. There isn’t a lot of trickery going on, and the releases are straight forward, both in formula and appearance. For instance the Sweet Wheat bourbon, which lived up to it’s name and got better the longer the bottle was open. Then there was the Port Finish, and the Single Barrel. I find it neat that Barton didn’t come out with all kinds of slick Swedish packaging or do any kind of re-branding at all really. They haven’t forgotten their stock in trade.   No fancy shmancy graphics. Just that simple 1792 in gold block lettering, the distinctive rounded trapezium shaped glass bottle with the classy gold cap.

That brings us around to the Full Proof.

For a refresher, Barton distillery came across a batch of nearly nine-year-old barrels. A smart decision was made to bottle them at the same proof in which they had entered the barrels, 125. They didn’t go through the standard chill filter process, but rather were run through the plate and frame method, which left a lot more of the flavor and body intact.

I poured the juice into my glencairn and gave it 10 minutes or so of air. The color was honey golden. I held it up to the tip of my nose and gave it a good, strong, deep inhale. Boom. There was the proof! But the alcohol quickly made way to something else, these delicious and fragrant notes of sweet cherry. But the cherry was being supported by something stronger underneath. Another swirl and deep inhale revealed a sturdy foundation of rich vanilla. The flavor gave off all the classic bourbon notes of charred oak that puts its cards on the table of your palate as sweet caramelization. Almost like cola without the fizz.

But I kept coming back to that nose.

It’s a fact that vanilla combined with anything will absolutely boost its potency, which is why it’s used in so many cooking and baking applications. That’s exactly what was happening to the cherry. Vanilla is also a benchmark fragrance, one that your mind uses as a marker when it catalogs events that happen over the course of your life, almost like an enhanced flavor indexing system. A comfort fragrance.

For me, all that vanilla and cherry gave me flashbacks to when I was 17, a summer of joyriding around country roads with my friends, driving too fast, trying to tune in the rock station being broadcast on the FM band out of Louisville. The signal went in and out of static as we coursed through the hills and valleys chock full of limestone. Eventually we’d find our way into town. We had a local ice-cream hangout, a drive-in type of place, and in the evening eventually everyone would end up there. Carloads of restless teenagers on a summer night, hanging out of windows, reliving the events of the day with a great bluster of laughs. The pulsing neon glowing from the sign out front lit the scene. It was like a beacon. It still is. The drive-in served all manner of frozen treats; hand churned ice cream, shakes, slushies, splits, sundaes and colas. You could order any kind of cola you wanted, like blueberry, pineapple, etc. If you dreamt it, one of the girls behind the counter could make it a reality for $1.25. Anything that came in pump-syrup form could be added to cola. I myself loved cherry cola with a nice dose of vanilla. I had a friend who worked there named Anna, who would comp my friends and me almost anything we wanted. Asking for a small of anything most assuredly meant you would get a large of everything. That place must have lost a fortune on us. On my birthday I asked her to create for me the most supreme vanilla cherry coke known to man. Through the window came a massive Styrofoam tanker filled with a cola potion that must have required advanced training at Hogwarts, brimming and sloshing with brown liquid that had been run through a cold fusion atomizer with cherry and vanilla syrup. I tasted it and my eyes almost rolled back in my head. It was simply a vanilla cherry coke overload.

1792 Full Proof is the perfect version of this moment for me.

At 125, the proof is exactly where it needs to be. When you get bourbon up into the 120’s, it always has a zing about it, the power and punch to take the flavors beyond the edges of the envelope. I tasted gobs of rich, buttery oak. There was also a component of fruitiness that revealed itself like a treat.

The finish hangs on, burns, simmers and cooks in the mid-palate. It has a sustained expression of smoky flavor and a sweet oak character as it fizzles out.

For $45, this is a lot of good bourbon for the money, and the trigger for a lot of good memories.

Cheers!

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