CONTENTS THE BAR & THE COUNTRY
ix
Map xii | Timeline xiii
TH E REQU I REM ENTS & TH E M ETHODS
1
Barware 2 | Glassware 5 | Ingredients 6 | Syrups & Infusions 10 | Techniques 14
TH E S P I R IT & TH E CO LO N IA L
16
Stirred Cocktails 18 | Punches 40 | Flips & Fizzes 84 | Hot Concoctions 102
C I T R U S & T H E G O L D E N AG E
112
Daiquiris 114 | Sours xx | Swizzles xx | Rickys & Other Highballs xx
T H E T I K I & T H E C O L D WA R
XX
Tiki Drinks xx
THE MODERN & THE FUTURE
Contemporary Interpretations xx
AC K N O W L E D G M E N T S FU RTH ER READING INDEXES
XX
XX
XX
XX
COCKSPUR & BULL SPECIAL In 1941, John Morgan, owner of the Cock ’n’ Bull Restaurant on Sunset Boulevard in Los Angeles and a ginger beer company of the same name, John Martin, president of Heublein Spirits, and Rudolph Kunett, president of Heublein’s Smirnoff division, invented the Moscow Mule at the Chatham Hotel on East 48th Street in Manhattan. Ten years later, a recipe for the Cock ’n’ Bull Special, which uses bourbon as the base spirit, appeared in Ted Saucier’s Bottoms Up, published in 1951. For the base of our Cuban-inspired variation, we substitute Cockspur Rum, first produced by a Dutch sailor named Valdemar Hanschell in 1884. 1 OUNCE COC KSPUR 12 YEAR RUM
rocks glass
¾
OUNCE BÉNÉDICTINE
½
O U N C E C O G N AC
¼
O U N C E C O I N T R E AU
O R A N G E FO R G A R N I S H
Stir all ingredients over ice, and strain into a double rocks glass with big ice. Garnish with an orange twist.
THE SPIRIT & THE COLONIAL
μ
21
ERNESTO This punch interprets the Hemingway Daiquirí (page 120) and adds Fernet Branca, an Italian amaro that provides a bitter, herbal undertone. Making cocktails with Fernet Branca often proves difficult because of its powerful nature, much like this punch’s writerly namesake. 12 OUNCES EL DORADO 3 YEAR RUM 2
¼
OUNCES FERNET BRANCA
1
½
OUNCES MARASCHINO
4
½
O U N C E S S I M P L E S Y R U P ( PAG E 1 2 )
3 OUNCES GRAPEFRUIT JUICE
punch bowl
4
½
OUNCES LIME JUICE
6 OUNCES RED WINE O R A N G E , L I M E , A N D G R A P E S FO R G A R N I S H
Stir with ice cubes in a large pitcher for 20 to 30 seconds. Strain into a punch bowl with 3 large ice cubes. Top with a float of red wine, and garnish with orange slices, lime wheels, and grapes.
SINGLE SERVING 2 OUNCES EL DORADO 3 YEAR RUM
punch glass
⅜ ¼ ¾ ½
¾
OUNCE LIME JUICE
OUNCE FERNET BRANCA
1 OUNCE RED WINE
OUNCE MARASCHINO
ORANGE, LIME, AND GRAPES
O U N C E S I M P L E S Y R U P ( PAG E 1 2 )
FO R G A R N I S H
OUNCE GRAPEFRUIT JUICE
Shake all ingredients except red wine with ice, and strain into a punch glass. Float red wine on top using the underside of a teaspoon held just above the drink’s surface. Garnish as above.
52
μ
C U B A N C O C K TA I L S
HEMINGWAY & CUBA In 1938, when Ernest Hemingway’s notoriety began interfering with his personal life, he left Key West and moved ninety miles south to Havana. A productive alcoholic, Hemingway completed For Whom the Bell Tolls, Across the River and into the Trees, The Old Man and the Sea, and A Moveable Feast during his time in Cuba. In time he considered himself a “Cubano sato,” a garden-variety Cuban. He regularly visited Bar La Florida, where he instructed El Constante in the creation of what became the Papa Doble (page 121), which he consumed while standing because “you can drink more that way.” Hemingway’s record was fifteen consumed in one standing. It had “no taste of alcohol and felt, as you drank them, the way downhill glacier skiing feels running through powder snow.” When El Constante wrote the Bar La Florida cocktail book, he returned the ingredients to their original proportions. Toward the end of his time in Cuba, Hemingway had become a prickly drunk plied with booze by a lackey, obsessed with his virility, easily provoked into violent rages. His personal turmoil foretold the political unrest about to overtake the island. But for more than twenty years, Hemingway was an integral part of Cuba, and his legacy continues. Today, a whole Hemingway industry exists there. A statue of him stands in his regular spot in the corner of El Floridita, and his home outside Havana has become a museum. 123
EL FLORIDITA NO. 1 The Classic Daiquirí
The bar that the world knows now as el Floridita opened in 1819 as la Piña de Plata, the Silver Pineapple, originally selling fresh juice. Beverage sales boomed, a bar and restaurant joined the ranks, and in time la Piña de Plata became Bar La Florida and then El Floridita, which means “little flowery one.” Under the ownership of Constantino Ribalaigua i Vert and the game-changing patronage of Ernest Hemingway, La Florida earned its reputation as la cuna del daiquirí—literally “the cradle of the daiquirí,” but in better English, the birthplace of the legendary cocktail. 2 OUNCES WHITE RUM
coupe
¾
OUNCE LUXARDO MARASCHINO
¾
OUNCE LIME JUICE
L I M E O R B R A N D I E D C H E R R Y FO R G A R N I S H
Shake with ice, and strain into a chilled coupe. Garnish with a lime wheel or cherry.
EL FLORIDITA NO. 2 This variation emphasizes the citrus components of the drink. 2 OUNCES WHITE RUM
coupe
¾
O U N C E C U R A Ç AO
½
OUNCE LIME JUICE
½
OUNCE ORANGE JUICE
B R A N D I E D C H E R R Y FO R G A R N I S H
Shake with ice, and strain into a chilled coupe. Garnish with a cherry. 116
μ
C U B A N C O C K TA I L S
PENINSULA SOUR This rum-based ode to the New York Sour needs a full-bodied rum to provide a similar heaviness as the whiskey in the original drink and is named for the Peninsula Hotel on 55th and Fifth, an elegant and luxurious staple of New York City life. The same can be said of this frothy concoction. 2 OUNCES BRUGAL EXTRA VIEJO RUM
rocks glass
¾
O U N C E S I M P L E S Y R U P ( PAG E 1 2 )
¾
OUNCE LEMON JUICE
1 EGG WHITE F R U I T Y R E D W I N E , P R E F E R A B LY P I N OT N O I R
Dry shake all ingredients except red wine (without ice) to emulsify; then shake again with ice to chill and dilute. Strain into rocks glass with ice, float red wine on top, and garnish with an orange and lemon twist.
μ NOTE μ The different densities of the parts of this drink create a nice layered effect. Make it when you want to impress.
CITRUS & THE GOLDEN AGE
μ
147
ZOMBIE Donn Beachcomber infamously instructed of this cocktail: “only two to a customer.” The original recipe remained a mystery until Jeff “Beachbum” Berry uncovered it in a notebook belonging to Beachcomber’s headwaiter Dick Santiago. 1 OUNCE BARBANCOURT 4 YEAR RUM 1 OUNCE EL DORADO 3 YEAR RUM
½
OUNCE EL DORADO 151 RUM
½
O U N C E A P P L E TO N V / X R U M
½
OUNCE CORUBA JAMAICAN RUM
½
O U N C E C U R A Ç AO
¾
OUNCE GRAPEFRUIT JUICE
1 OUNCE LIME JUICE
collins glass
¼
O U N C E O R G E AT ( PAG E 1 3 )
¼
O U N C E C I N N A M O N S Y R U P ( PAG E 1 2 )
½
O U N C E PA S S I O N F R U I T S Y R U P ( PAG E 1 3 )
4 DASHES ANGOSTURA BITTERS 4 DASHES MARASCHINO 4 DASHES ABSINTHE PINEAPPLE, LIME, GRAPEFRUIT, MINT, A N D S E A S O N A L B E R R I E S FO R G A R N I S H
Build in a shaking tin, and dry shake. Pour over crushed ice, and garnish with pineapple, lime, grapefruit, mint sprigs, and berries.
μ
NOTE
μ
Turn the page for more about the genesis of the Zombie.
210
μ
C U B A N C O C K TA I L S
PUB DATE OCTOBER 2015 From the renowned rum bar Cienfuegos comes this spirited collection of 100 recipes that celebrate Cuba’s rich history and culture. It features timeless classics, such as the Cuba Libre, El Floridita DaiquirĂ, and Mojito; a bevy of punch recipes to share with friends and family; new takes on familiar favorites, such as the Isla Tea, Por Avion, and Rum Old Fashioned; and modern craft concoctions, including the Havana Harbor Special, Imperial Fizz, and One Hundred Fires. But Cuban Cocktails offers more than just a collection of delectable recipes. It captures the tropical elegance and unďŹ ltered energy of old Cuba, brimming with beautiful, evocative images of the drinks and the places where they came to life. Features shed fascinating light on the country’s cocktail history, its legendary bars, and the famous cantineros who ran them, while notes and tips make it easy to create a tantalizing taste of the once-forbidden Caribbean island. ĆœĆżOĂ?“Ă?Ă&#x;‰´¼Š}ڼŸƿº“Â?ÂĽ}ƿ“Í“ŸÚƿ}Úƿ ¼“ŸÂ?Ă&#x;“žÂÔ
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