plattetude

2 tbsp Pimento dram! That seems like it'd take over, even with all that Suze. But it sounds pretty amazing.

Right? Saw a 375 a few weeks ago and couldn’t say no.

For fun, a 2x2 matrix of Negronis tonight. Mostly in the interest of sussing out interplay of two distinct vermouths and two distinct apertivos. (Campari+Vya was most compelling to this palate, though the combo of Forthave Red+Lustau was definitely pretty cool.) Followed by some taste bud numbing pair-wise tastes of Campari vs Contratto Bitter, vs Bruto Americano, vs Forthave Red. For science!

Everyone on this thread cares one way or another. If I remember right. It’s was Punch Drink that posted about it early last year and that was my first knowledge of it.

I stumbled on it about a year ago. But good stuff, right?

Like so!

I'm about to dive into cocktail hour with a repeat of wacky, old skool Waldorf Astoria drink from earlier this week that just hits all the spots, The Chauncey. Triple-split base, equal parts Old Tom gin, cognac, rye, and sweet vermouth. (Orange bitters and expressed orange peel to finish.) It's magic how the cognac bridges the rye and Old Tom.

To mark National Margarita Day yesterday (really? that needs to be a thing?) I had a margarita (La Gritona Reposado) laced with a barspoon of Salers. Would definitely repeat!

Last night, a Delmonico. 1 oz cognac 1 oz gin 1/2 oz sweet vermouth 1/2 oz dry vermouth 2 dashes ango lemon twist

What's funny is that looking at the specs with a modern lens, you'd see that and think "oh that'll be too sweet." But yeah, it's just so crazygood.

Nope! But loved all the same.

Namesake cocktail. (Which is to say Bobby Burns and not the differently-formulated Robert Burns.)

Not attended but performing... Gig coming up this Sunday, 12/19, at Grace Rainey Rogers Auditorium at the Met Museum -- Dessoff is presenting Margaret Bonds "Ballad of the Brown King" (texts by Langston Hughes) alongside Mary Lou Williams "St. Martin de Porres", a wild choral jazz piece that's way out of our comfort zone but that's really amazing fun to sing. Plus some carols to amp up the seasonality and approachability (but man, the two featured works are sublime).

Grant's Tomb.

Guettel is a weird case. He seems to have lost the drive to full-on musicals. Floyd Collins was astounding, Light in the Piazza very good, and diminishing returns (some amazing songs in Myths and Hymns too)... Latest thing he's done, the incidental music for To Kill a Mockingbird, well, I guess it's something? I don't think Ricky Ian Gordon has been interested in writing for Broadway stages so much as opera.