Mixologist: The Journal of the European Cocktail, Volume 3
Format: PDF / Kindle (mobi) / ePub
THREE YEARS AND THOUSANDS of miles have passed since the last time we visited the cocktail and spirit world with you. Our move to the UK, in 2007, has given us a new perspective on the bartending world and the people that inhabit it. Ever since the profession was born, mixologists and drinks writers have travelled the globe in search of new experiences, different ingredients, and inspiring combinations. We’ve looked at the industry in America. Now it’s time to look at the world beyond the United States to see how cocktails developed in Europe. In this volume, the third, of Mixologist: The Journal of the European Cocktail, our intrepid travelling cocktailians take us on a tour of the path of the bartender as seen through the eyes of drinks guru Gary Regan. Sue Leckie details why the legendary master Peter Dorelli is such an inspired spirit. Albert Montserrat pays tribute to is mentor and her father, Maria Dolores and Miguel Boadas. A charmer in his own right, Phil Duff discloses the essential secrets of cultivating bartender-right charm. Brief histories of two highly-regarded guilds, the UKBG and the IBA, are presented by Lynn Byron and Domenico Constanzo, respectively. Master Salvatore Calabrese sets the record straight about the crystal-clear, potent Dukes Martini. Sue Leckie returns to prove that not all of Britain’s best bars and bartenders reside in London. A century of German bar culture is eloquently presented by Stefan Gabány. And as a finale, a century of Spanish cocktails is presented with all the passion and ecstasy of a true aficionado by Alberto Gomez Font. Naturally, we had to put in our two pence. This time, we uncover a few surprises in the origins and bloodline of the world’s favourite morning pick-me-up, the Bloody Mary. We take you through the halls and the history of Exposition Universelle des Vins et Spiritueux, a place that is very near and dear to our hearts. Hope you enjoy your grand tour of Europe and its cocktails.
way, copying the other person’s body language, breathing rhythm, blinking rhythm, word choice and speaking rhythm. Don’t copy the other person’s moves exactly—that gets creepy quickly—but if the person you’re speaking to runs her fingers through her hair, you could scratch your neck, that sort of thing. She smiles, you smile. After a while of this you can start to match the other person’s breathing and blinking rhythm. You can even mirror word choice: Her: “…and I was just looking at this guy,
German-speaking mixology, not only because of his enormous knowledge, but most notably for establishing bartending as a serious profession in times when working behind the bar was widely attributed to rip-off joints and fraudulent red-light-activities. What had influenced Schumann most was Schraemli’s emphasis on quality. This does not only include the use fresh fruits and top quality spirits—at that time a somehow unreasonable demand for many barmen—but also doing his best to meet the
to be able to follow a conversation about current events, to know always who is fighting a bull, where the next soccer match takes place and what the next big event is. Then, knowing the combination of the beverages in itself is secondary. It is better to know only a few drink mixtures and behave this way than to know ten thousand formulas and be unfriendly and lacking interpersonal skills.” In the basement of his bar in the Gran Vía, he built the beverage museum where he ended up with more than
Martell’s first venture in the world of Cognac was as a smuggler. By the start of the 18th century, smuggling had grown into a big business. However, Martell’s future lay in production rather than smuggling Cognac. In 1715, he moved to Cognac and established a successful and legal trading house, trading a variety of items such as groceries, seeds, and knitted goods. Martell also married into two of Cognac’s leading brandy-producing families. Martell himself entered the trade, at first exporting
inauguration of EUVS, three of these young talents received an additional Jury Prize for their work. Hurtu received 100,000 francs for “The New Wine”, Bonnet and Remy accepted 50,000 francs for their frescos. The Entry Foyer From the early 1950s to the 1970s there was an artisanal glassworks, Verrerie de Bendor, housed on the island. This was part of the artists’ colony Paul Ricard created. As a young man, Ricard’s first dream was to be an artist, and though his father pressed him to make his