New Orleans, Tales of the Cocktail, Absinthe. And more absinthe.

"Ranked #1 in the Nation in Liver Transplants?" Yes, that's the sign at New Orleans Airport. We can't claim we weren't warned!

"New Orleans has always been the centre of absinthe culture in the United States." (Source: The Absinthe Encyclopedia). That sounds more like it.

New Orleans: the home of Tales of the Cocktail, probably the world's biggest event for bartenders, drinks brand ambassadors and owners, and anyone else who is interested in cocktails. The word "probably" may not be needed there.

Yet after more than 20 years in the drinks business and after nearly nine years promoting absinthe, 2013 sees my first visit to Tales and my first visit to New Orleans. And for my first visit, I'm privileged to have been chosen to run a seminar in front of 170 people who probably know a whole lot more about cocktails than me. Luckily I will have help for that!

MONDAY

I arrive in New Orleans a full three days before our seminar, because I want to absorb the atmosphere, see some of the bars (especially those selling absinthe), and attend a couple of other seminars to see how the more experienced Tales presenters handle the event.

I start slowly.

The Old Absinthe House is about 100 yards from my hotel (the Monteleone) and I don't want to exert myself in the legendary New Orleans July heat and humidity. I'm pleased to say it was hotter in both New York and in London, and NOLA had nothing like the humidity I experienced living in South East Asia.

Absinthe fans have been rather dismissive about the Old Absinthe House which apparently has a record of burning absinthe. I came back here several times during my stay, and I didn't have or see a single burnt absinthe all week. The range available is not enormous, but there are two or three higher quality absinthes ...

As well as the classic drip, the Old Absinthe House offers absinthe cocktails, including the Absinthe Frappé that was created here.

but I decided to have my first NOLA Absinthe Frappé at one of the most famous mixology bars in New Orleans: Cure.

A great bar with wonderful cocktails and a good selection range of quality absinthes: La Clandestine, Vieux Pontarlier, Nouvelle Orleans and Ridge Blanche.

TUESDAY

A working day, finalising my presentation. Later I had my first Sazerac in NOLA at Sainte Marie. Made with Herbsaint as seems to be the norm in New Orleans.

Later that evening we went to the Copper Monkey Grill in the French Quarter. Quite a big range of absinthes including La Clandestine, Nouvelle Orleans, Lucid and Kübler. They also carry Grande Absente, Mata Hari, and La Fée. Classic drip used.

WEDNESDAY

The first day of Tales, so I attended a couple of seminars, mainly to learn from other presenters how they managed the combination of entertainment and content. The Art and Philosophy of Hospitality had a star-studded cast, led by Jacob Briars. The cast were both entertaining and very interesting, and I saw a lot of notes taken by the audience. Midnight in Paris: Cocktails of the lost generation closely ressembled the theme of my seminar, and I enjoyed seeing how Philip Greene made the seminar highly relevant to a bartender audience AND interesting to a student of Hemingway and Paris.

In between these two seminars, I had a very liquid lunch with some customers at Stanley. Since the 1900's Butterfly Absinthe is on the page facing New Orleans in the Absinthe Encyclopedia, this was a fitting place to break open one of the first US-legal bottles of the re-launched Butterfly (now made in Switzerland),

as well as the very interesting barrel-aged version of La Clandestine (not yet legally available in the USA).

Wednesday evening: no bars visited. I was inspired by the seminars I had seen to amend our own presentation, so had too much work to venture out. Or maybe I went out for a quick drink at the Old Absinthe House? Much of this week has become a blur when looked at two weeks later, so maybe I did ..

THURSDAY

More than 8 months after submitting our seminar proposal to Tales of the Cocktail, the day to deliver it had finally arrived. Hundreds of emails, Facebook messages, texts, conversations, and meetings; hundreds of hours of research; all would all come down to 90 minutes that afternoon. And I was doing just one seminar. Imagine all the work done by Ann Tuennerman and her team at Tales to put on more than 50 seminars and hundreds of other events..

But first one more seminar to watch: Modifiers: Eternal Life for Cocktails, led by the irrepressible Philip Duff, followed by the Indie Spirits that Rock mini-exhibition. How strange to run into Simon Difford here, and to have the opportunity to discuss my absinthe with him briefly: we'd both had to fly in from London to meet up in NOLA! And, of course, that's what makes Tales so special: the meetings planned and unplanned with colleagues, customers, and competitors: I met customers - and prospects - from all over the USA and the UK at Tales (and from a few other countries I won't reveal here since my competitors may be reading).

I've already covered part of the seminar I presented with London's Savoy Hotel in a previous post, In addition to the Maid in Cuba, we tasted three relatively unknown 1930 Savoy cocktails presented by Erik Lorincz: the Blackthorn, the Atty and the Jeyplak.

The Blackthorn is one of several Savoy absinthe cocktails I had not tasted before: the ingredients worked well together.

The ATTY and the Jeyplak are just two of many absinthe cocktails from the Savoy that also have gin and vermouth. The addition of Creme de Violette in the former enhanced the cocktail from both taste and visual standpoints, and hopefully inspired the audience to think again about many of the cocktails in the Savoy: as fresh and original today as they were 83 years ago.

Some of my readers will know that our seminar was sponsored by Pernod as well as by Plymouth Gin and Drink Up New York. I told our audience that Harry Craddock didn't make as much use of lemon/lime juice with absinthe as he could have. Modern mixologists agree with both Pernod and La Clandestine in making some great cocktails with absinthe, lime juice and sugar or simple syrup.

In Pernod's case: the Green Beast. In La Clandestine's case: the Clandestino.

Talking of which, it was nearly time to let my hair down and celebrate the completion of our seminar and turn to some refreshments. But firstly I had the opportunity - and the pleasure - to meet and share a drink or two with César Giron, Mathieu Sabbagh and Anne-Louise Marquis of Pernod, along with Brian Robinson, Review Editor of the Wormwood Society and Maxwell Britten from Maison Premiere, probably the best absinthe bar in the USA.

Brian and I tasted the "Original Recipe" Pernod Absinthe; the Pernod team tasted La Clandestine. 

As others have commented elsewhere, Tales is the type of event where one puts aside all competitor issues, so it was good to put faces to names and to have a good chat and share drinks with the team at Pernod. Santé!

After that, it was off to a Spirited Dinner, organised by my friends at Montanya Rum. I couldn't resist the opportunity for some low key branding!

Not too sure about what happened later that evening. It definitely included a visit to the Carousel Bar at The Monteleone and the Old Absinthe House ...

FRIDAY

My last working day in NOLA, and two more very interesting seminars.

Grape's gaint leap towards immortality featured a stellar cast, while Camper English presented Water World: Water in Spirits and Drinks by himself. I had mistakenly thinking that a seminar on water would give me a chance to "dry out," but walked into the seminar room to find a 4.5 oz glass of Bowmore Single Malt in front of each place! Oh well, duty calls ...

Between seminars, I went to Cane and Table (at the old site of Pravda), and owned by the owners of Cure, featuring a pop-up bar operated by the team at Dead Rabbit, NYC. I had had the opportunity to go to Dead Rabbit twice the previous week and loved it: so it was great to meet new/old friends again. The Dead Rabbit would go on to deservedly win several awards at the Spirited Awards dinner the following night. Cane and Table currently stocks Pernod, while Dead Rabbit NYC stocks Pernod, La Clandestine, Duplais Verte, Vieux Pontarlier, Kubler, Lucid and Nouvelle Orleans.

My work in NOLA, however, wasn't quite finished. I found Pirate's Alley Café and Absinthe House in the French Quarter

and enjoyed a drink or two there ..

Nice to see that they can get some great theatre into absinthe without resorting to fire. Pirate's Alley stocks a good range including La Clandestine, Kubler and Lucid, and prices are very reasonable.

For my last evening in New Orleans, I joined Brian Robinson, Kris (also from the Wormwood Society) and Chrissie, and later Ted Breaux and Jenny Gardener for a tour of famous bars. We started at the Roosevelt, 

 with its famous Sazerac Bar:

Now what did you expect me to drink?

Again served with Herbsaint.

Next stop was the Boubon-O Bar run by the amazing Cheryl Charming.

Creativity is very much alive here: we enjoyed a bucket of pre-mixed, carbonated Sazeracs. Cheryl tells me that the Sazeracs are "CO2 carbonated Perlini Sazeracs in 1960s - 1970s Coca-Cola bottles dug up in the grounds of NOLA. It took several cleanings and sanitizing to get them ready for the Sazeracs!"

Bourbon-O only carries Lucid "in honor of Ted (Breaux)'s hard work and money getting it into the US." So it was good to enjoy Bourbon-O with Ted himself.

Cheers, Cheryl!

We headed back along the famous Bourbon Street

to the Monteleone's famous Carousel Bar. Photos don't really do this justice: I enjoyed this time lapse video (a 360 degree trip in fact takes 15 minutes):

We enjoyed Macallan and some more barrel-aged absinthe, and I thought briefly about packing for my early departure the next morning. And had another drink ...

................................................

So that was my working week in NOLA. Delta seemed determined to extend my stay in the USA, so I returned from NOLA via Nashville, Atlanta and JFK to Heathrow. My suitcase took another 3 day holiday in Boston. Maybe we just couldn't bear to leave.

NOLA and Tales were amazing. The best experience of my 24 years in the drinks business in a great city with wonderful food and even better company. People I had never met before became life-long friends. And the Tales team from Ann and Paul, the full-time staff and then the Apprentices: all played their part in making the event unforgettable.

And the absinthe in NOLA? Lucid, Nouvelle Orleans and La Clandestine were in most of the bars I visited, although some of the more traditional bars prefer to serve Herbsaint. There is nothing like the element of burning absinthes that I had been led to believe. Maybe the battle to get good absinthes served correctly has nearly been won in NOLA.

Maybe I'll go back in 2014. Just to check.

What makes the "Green Fairy" green?

I love discussing absinthe with fellow absinthe fans, with so-called "absinthe virgins," and with customers, and I have the opportunity to do so nearly every day. I have done so in North America, Europe (including Russia), Asia and Australia.

And one question that is commonly asked wherever I go is "What makes the Green Fairy Green?"

That's an interesting question to ask, having just gone past mid-summer's day (in the Northern hemisphere), and as I look out at our garden which remains a beautiful natural green. Which is more than can be said for many of today's vertes.

In the USA, the addition of artificial colours in absinthe has to be declared on the label. This is what is declared on three absinthes that are available in the USA:-

Absinthe 1:

Contains caramel color & certified colors FD&C Blue #1 & FD&C Yellow #5

Absinthe 2:

Contains FD&C Yellow #5 and Blue #1

Absinthe 3:

Alcohol with natural flavors, certified colors and FD&C Yellow #5 added

And this is what one of those looks like (removed from the bottle to spare their blushes).
Now it is true that in the 19th century some absinthes were artificially coloured, but these were the lowest quality absinthes that were available. So there is a precedent for artificial colours in absinthe. What's the difference, then, between these artificially coloured absinthes and those vertes made without artificial colours?

Naturally Green Absinthe

I'll use the Wikipedia description:

"The distillation of absinthe first produces a colourless distillate that leaves the alembic at around 72 percent ABV. The distillate can be bottled clear, to produce a Blanche or la Bleue absinthe, or it can be coloured using artificial or natural colouring. Traditional absinthes take their green colour from chlorophyll, which is present in some of the herbal ingredients during the secondary maceration. The natural colouring process is considered critical for absinthe ageing, since the chlorophyll remains chemically active. The chlorophyll plays the same role in absinthe that tannins do in wine or brown liquors. This is done by steeping petite wormwood, hyssop, and melissa (among other herbs) in the liquid. Chlorophyll from these herbs is extracted giving the drink its famous green colour. This process also provides the herbal complexity that is typical of high quality absinthe."

This process can take 24 hours and produces an absinthe with complexity, one that change subtly in the bottle over time. Just like fine wine.

Artificially Green Absinthe

The process to add artificial green colouring to a clear absinthe is very different. It is simply added in the way that cassis is added to champagne to make a Kir Royale. Instant visual effect, but no added complexity. In fact adding colouring in this way has been likened to adding red colouring to white wine, and then declaring it as ... "red wine."

I am grateful to Ted Breaux for helping me with these notes on artificial colouring:

"The colours that are almost always used to create an artificial green are what are formally known in the U.S. as FD&C Blue #1 and FD&C Yellow #5 (FD&C = Food, Drug, and Cosmetic). U.S. labeling requirements mandate that artificial colors be disclosed in the USA market, although this is not generally so elsewhere.

FD&C Blue #1 in the USA is E133 in the E.U., “FCF Brilliant Blue” in commerce, or to the scientific community: N-Ethyl-N-[4-[[4-[ethyl[(3-sulfophenyl)methyl]amino]phenyl]2-sulfophenyl)methylene]-2,5-cyclohexadien-1-ylidiene]-3-sulfobenzenemethanaminium hydroxide inner salt, disodium salt. First discovered in 1896, it is commonly used as a textile dye and wood stain. The Wikipedia article is quite informative. It is a synthetic dye that is produced from petroleum, was previously banned in most of Europe, and remains a subject of debate where health is concerned.

FD&C Yellow #5 in the USA is E102 in the E.U., “Tartrazine” in commerce, or to the scientific community: 4,5-Dihydro-5-oxo-1-(4-sulfophenyl)-4-[(sulfophenyl)azol]-1H-pyrazole-3-carboxylic acid trisodium salt. It was first patented in 1949, and has also been used in textiles. Of the synthetic azo dyes, this one carries the greatest possibility for allergic reactions. Again the Wikipedia article is well worth reading, revealing a very questionable track record for this synthetic dye, which has raised some serious concerns in the UK."

Caveat Emptor

Of course consumers can make up their own minds whether to choose blanche absinthes (like La Clandestine), naturally coloured verte absinthes, or artificially coloured absinthes. The use of artificial colours does not make an absinthe "not real," although some of the artificially coloured brands do also add sugar to their recipes. Using artificially colours in a pre-sweetened product delivers a product that is much cheaper to make, but, in most cases, not much cheaper to buy.

Maybe some of the poorer 19th century poets and artists drank lower quality artificially coloured absinthes sometimes. But they were clearly in a minority. For 21st century consumers looking to enjoy the drinks enjoyed by most people in France, Switzerland, the USA and the UK back then, you might want to check the ingredient list if you live in the USA. Or just hold your absinthe up to the light if you live elsewhere ...

Absinthe: the movie

THIS REVIEW HAS VARIOUS MOVIE QUOTES AND REFERENCES. SEE IF YOU CAN SPOT THEM ALL!

“Absinthe,” a new documentary about our favourite drink, was launched too late for an Oscar in 2011 (of course the competition was quite tough with “The King’s Speech” winning much of the glory and “Inside Job” winning the best documentary prize).

However, for absinthe fans and for those wanting to find out more about this mysterious spirit, Chris Buddy’s new film, now available for download in the USA from Amazon, will certainly win many friends, and maybe prizes in the future.

With my association with Claude-Alain Bugnon, I was fortunate enough to get a DVD copy of the film by airmail directly from Director Chris Buddy (global distribution has still to be announced), and I can only agree with the claim that it is, for now at least, the “Definitive Film on History’s Most Notorious Drink.”

Buddy rounds ups the usual suspects with a cast featuring many of the “Who’s Who” of modern absinthe, including the producers, sorry, I mean distillers, Ted Breaux, Claude-Alain Bugnon and Francois Guy, Lucid CEO Jared Gurfein, and many notable absinthe historians including Marie-Claude Delahaye, Barnaby Conrad III, Benoît Noël …. and, speaking via webcam (which made it sound like he was 20,000 leagues under the sea), David Nathan-Maister. Nice to see friends Peter Schaf, Nico Tripet, Luc-Santiago Rodriguez and Jean-Luc Tucoulat too (but no absinthe bloggers, unfortunately!).

Intriguingly, there was no trace of those responsible for artificially coloured and/or pre-sweetened absinthe, and no trace of products the absinthe community calls “fauxsinthes.” Nothing other than 100% distilled absinthes, the stuff that dreams are made of.

And, except for some fleeting shots of Combier, hardly a single distillery shown from outside the Val-de-Travers or Pontarlier (respectively the birthplace and 19th century capital of absinthe). Others would say that is the film’s only real omission but it’s certainly representative of historic absinthe production centres.

The movie progresses from the birth of absinthe (clearly explained by Marie-Claude Delahaye to be in Couvet in the 1790’s, and NOT anywhere else in 1805!). So much for a famous movie quote: “In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock.” How about absinthe, Mr Welles? Marie-Claude is famous within the absinthe community, but she disarmingly tells us later that she doesn’t drink (so no point in thinking "I'll have what she's having").

Absinthe then details the drink's steady early growth, and its then more spectacular growth in the late 19th century Paris (“We’ll always have Paris”). The ban and the 20th century underground manufacture in Switzerland are covered in a lot of detail, bringing Claude-Alain Bugnon into focus, as large as life and just as humorous on film as in the flesh, as he bids for possible Oscar 2012 glory!


One can almost hear him saying “"I love the smell of wormwood in the morning!" By comparison, Ted Breaux comes across


as positively poetic, with Viridian’s Jared Gurfein, in detailing the US re-legalisation, playing the straight man to the famous absinthe distillers.

I’d be hard pressed to find many factual errors in the film, although I was surprised at the minimal references to the phylloxera blight which played a big part in absinthe’s explosive growth. And it is only recently becoming clear that absinthe was not actually banned in the USA in 1912, although importation and transport across State lines were (so production in some States, and sales within those States, could well have continued until much closer to prohibition).

A great way to watch Absinthe would be to sample some of the absinthes shown in the film at the same time they (or their inventors/owners) are on screen. So get the absinthe fountain out, invite some friends and share one of the Jade absinthes while listening to Ted Breaux talking about 19th century absinthe. Crack open a bottle of La Clandestine while listening to Claude-Alain Bugnon talking about the moonshiners of 20th century Switzerland. And then enjoy a glass of Lucid while Jared Gurfein describes the battle to legalise absinthe in the USA.


After all that, it is recommended that you only watch and imbibe the matching absinthes once every evening. Tomorrow is another day and Absinthe will definitely repay second and third viewings.

I leave almost the last word to Claude-Alain Bugnon as he brings the film to a close ...

In fact, he goes on to say a little more, but far be it from me to reveal the film's dénouement!

Here's the film's trailer:



In the spirit of movies, let's close with some fun. When you’ve watched the film, please let me know which of its stars might have said:

"I am big! It's the pictures that got small."

"Keep your friends close, but your enemies closer."

"If you build it, he will come."

"Made it, Ma! Top of the world!"

At $3.99 for 3 days' rental from Amazon, Absinthe is a must-have; at $14.99 to keep the movie it's great value. Enjoy the film, and to Chris and all the others involved in producing Absinthe: santé!