How to choose the right tonic for your gin

It’s hard enough to keep on top of all the new gins that are coming out without having to master the burgeoning world of tonics too.

So how on earth do you decide the right one to pick?

Hoping for insights I went to a tasting organised by The Distillery at Bellita in Bristol in which we tried four different gins* on their own and in a gin and tonic. (The Distillery is the new home of Portobello Road gin and has several labels of its own.)

First off Old Tom, a traditional, slightly sweeter style of gin that tasted to me like a cross between a grain whisky and a grappa. Apparently it was aged in old sherry barrels. That was partnered with East Imperial’s tonic water from New Zealand, a tonic they also recommend with a pink gin (with added bitters). I wasn’t mad about the style - too sweet for my taste though I suspect it would be better on the rocks.

Second their ‘celebrated butter gin” which actually has unsalted butter added to the still. Nevertheless this was much brighter and more citrussy than the Old Tom with a hint of licorice. That was enhanced by a licorice-flavoured tonic from Ledgers, a combination I didn’t think I’d like, not being madly keen on licorice but which I thought worked really well bringing out fennel, anise and caraway notes in the drink. It was also perfect with a matching nibble of smoked salmon and taramasalata.

The third gin was called King Theodore of Corsica, a Mediterranean style gin not dissimilar from Barcelona’s famous Gin Mare and pot-distilled with rosemary, basil, olive oil and seasalt. This was right up my street - I loved all the herbal notes and there was plenty of juniper but wasn’t mad about the combination with Double Dutch pomegranate and basil tonic (too sweet) and garnish of rosemary and black pepper which I found detracted from the taste of the gin (although it was very good with the accompanying cucumber sandwiches!). Just a bit too much going on.

And finally Director’s Cut no 2, a really smoky gin created to celebrate the 350th anniversary of the Great Fire of London which was infused with smoked juniper, Mexican chipotle pepper and lapsang souchong. Being a fan of Islay whiskies this really rocked my boat but again I wasn’t totally convinced by the combination with Merchant’s Heart pink peppercorn tonic and an over-dominant garnish of smoked cardamom and fresh basil.

We were also encouraged to mix our own G & Ts with the standard Portobello Road gin. I went for Merchant’s Heart Floral Aromatics ‘spirit enhancer’ (as one must apparently call them these days) with a garnish of fennel seeds, lemon and thyme which miraculously resulted in something I wanted to drink - a bit of a win for an amateur.

But I also tried a couple that weren’t entirely in my natural register - cranberry tonic with hibiscus flowers and crushed mint and cinnamon tonic with pink peppercorns and coriander and enjoyed both which goes to show that it pays to experiment.

So is there a secret? Obviously it’s a question of personal taste but I’d say the more complicated the gin the less complex your tonic and garnish should be. Leave the fancy tonics to liven up less interesting gins. Or as one of my notes from the evening said. you can turn a gin you like into one you don’t. Be warned!

This would be a great event for restaurants and bars to replicate - or even for you to try at home. For further inspiration visit The Distillery’s bars and ‘Ginstitute’ at 186 Portobello Road. (It also has three rooms if you like to sleep as near your gin as possible.) There’s also a useful little book just out from my publisher Ryland Peters & Small called Gintonica which features a selection of Spanish style gins, matching tonics and garnishes.

As a footnote some of these tonics would make interesting soft drinks though some are a touch sweet for my taste at least. Lots of ice (as should be the case with a gin and tonic) would help.

* which I think must be limited releases as I can’t find most of them in their online shop

From the archives: Can water assist your appreciation of food and wine?

"Apart from it being the basis for all known life, I have long harboured an interest in the nuances of H2O, visiting Buxton and Vittel’s bottling plants and Bath’s Roman Spa" writes Douglas Blyde. "I was thirsty, therefore, to see what the ‘Best Sommelier in the World’, Andreas Larsson had to say on the subject at his presentation at the recent Identita conference at London’s liquid theme park Vinopolis. (This post was first published in 2009)

The basis of the sharp-suited Swede's masterclass, which was sponsored by ‘San Pellegrino’/‘Acqua Panna’ was that sipped in succession with wine, the minerals, texture and acidity of bottled waters could influence its feel and enjoyment.

Facing three glasses of water and four of wine, we began by nosing San Pellegrino, which is drawn from Bergamo limestone. Filled one third full, the stylish glass was thin and stemless, to allow a little warmth to transfer from hand to liquid. Larsson said that this not only helps ‘make scents’ but ‘cold fluids aren’t good for us’ anyway. With the utmost solemnity he asked the room of journalists, PRs and sommeliers, ‘what comes to mind?’ The aromas seemed so anonymous that I closed my eyes in concentration. When no one answered, he almost blew the word into the air, ‘Purity!’

Thankfully, things became easier on the palate. I noticed bite and acidity at the sides of my tongue, and plenty of sensations from the periodic table. Chalk, calcium, a hint of granite? Romantically, I briefly glimpsed Cartizze Prosecco. And there was a plume of bubbles – the ‘perlage’ – tiny bullets with creamy centres. This being a relatively ‘full-bodied’ style, Larsson advised that it sips best with, and scythes through, beef, risotto and creamy pasta.

Up next, I drew air through sister brand, Panna, an uncarbonated water percolated through the sandstone and clay of the Apennines above Florence. With less acidity, Larsson found its finish shorter, although to me it was much longer: the bubbles of Pellegrino seemed to curtail its own finish. Despite a less expressive minerality, Larsson said this gentler style works in harmony with cuisines where you might drink a nervy Chablis – real carpaccio, oysters on the half shell and white meats like veal. It is a water ideal for ‘maintaining elegant flavours on the palate’.

The final example ‘was not for truffles’, containing humble SE1 Tap. Despite the unfair ploy of serving it lukewarm from a chunky glass, it was clean, bright and firm but the least mineral.

It was by now time to investigate how these waters worked with very different wines. Despite Larsson’s instructions that we must appreciate ‘the style rather than producer’, all four were excellent.

Wine 1: Monte Rosa Franciacorta Prima Cuvee N.V. (85% Chardonnay, P. Bianco; 15% P. Nero; two years on lees).

A rich nose of truffle, brioche, with a palate of lime, celery salt and plentiful, pinprick, soft bubbles. Larsson favoured the Panna for its softer acidity and lower mineral content - which didn’t interrupt the wine’s bubbles. Whilst I am no expert in this field (noting that bubble specialists do exist) I found Pellegrino provided the most complimentary exchange. Put simply, when drank in succession, the bubbles flattered one another. With tap, an unlovely hardness prevailed, working against the creamy bubbles.

Wine 2: Martellozzo Terre Magre, Friuli ‘08 (Pinot Grigio).

A fresh, pear and sherbet-scented wine with a pervasive, mineral, oily palate. The San Pellegrino quite obviously restricted aromatic nuances. Larsson preferred the Panna, but it seemed too vague and ‘damp’ for me. Balancing somewhere in between the mineral waters, I thought the tap worked best. Interestingly, few, if any of the other tasters bothered to taste London water with these wines. Prejudice, perhaps?

Wine 3: Sacravite D’Angelo, Basilicata ‘06 (Aglianico).

Aromas of dark cherry, and black pepper continued onto an approachable palate with a lick of sweetness and soft tannins. Again, Pellegrino’s bubbles appeared cutting, dissolving tannin and sweetness regrettably fast. Larsson echoed this, ‘full-bodied sparkling waters can become intrusive to a wine taster.’ The Panna cleansed more patiently. But the biggest surprise came on tap, which became distastefully surgical alongside, chemicals being emphasised. The wine being unoaked, I would have liked to have seen a barrel-matured bottle alongside.

Wine 4: Chateau La Rame St. Croix du Mont ‘05 (Smillon, Sauvignon Blanc).

An enticing perfume of honey and candy-floss interlaced with a little botrytis. The sweet, nectar-like palate was underpinned by an architectural, strict acidity. Taking a sip of the San Pellegrino after the wine revealed two issues: it was like taking blotter paper to ink and pitching acid against acid. ‘Hardly the match for Chteau d’Yquem,’ said Larsson. Being the weakest in body, Aqua Panna maintained the sweetness of the wine, whilst the tap took the longest time to dry out its sweetness. Personally, I would avoid cutting its charms with water.

In questions afterwards, Larsson launched an intelligent attempt to counter the campaign by London’s Mayor and the Evening Standard that tap water should be provided in restaurants on ethical grounds. According to the Mayor’s figures, bottled water can create up to ‘300 times the CO2 emissions per litre in the case of some imported brands’. Larsson responded, ‘it depends how and where we transport it from’, adding that consumers are ‘happy to import other bottled goods, like wine and beer from all over the globe’. He stressed that ‘mineral water is a different product’, often ‘beneficial for digestion.’ [but he was obviously being sponsored by San Pellegrino! FB]

Larsson is against the intrusion of the ‘ice and slice’ in mineral water because they ‘destroy the structure’. He joked, ‘I take my J. D. (Jack Daniels) on ice - not my water.

When I asked him where he had tasted good tap water, I was unsurprised to hear a bias in his answer: ‘My home town of Stockholm – it is incredibly pure.’

Incidentally whilst Larsson got into water, or rather ‘tasting bottled water’ late, he has become such a fanatic that if ordering fine wine in a restaurant, for fear of contamination by ‘off odours’, he would refuse to drink tap if ‘that’s all there was.’

An interesting experiment, which could no doubt be related to other drinks like beer, and feature a wider range of waters.

Douglas Blyde describes himself as "an allergy-free epicurean and an enthusiastic communicator on food, wine and travel" He currently writes about drink for the Evening Standard.

How cream can help a fine wine match

It’s become fashionable these days to vilify butter and cream but if you want your wine to shine bring them into play. There’s almost nothing better than a rich creamy sauce to show off a fine white burgundy and whisking a little butter into a red wine sauce will set your Bordeaux off a treat.

The reason, of course, is simple (if unglamourous): fat is palate-coating which means it diminishes the effect of both acid and tannin in wine. It also makes a dish milder and more mellow allowing the character of the wine to shine through.

It can mitigate bitterness or sharpness in other ingredients: creamed or buttered spinach (or spinach combined with cheese or cheese sauce, for that matter) is much easier to match than a side of spinach on its own as is a tomato sauce with a touch of cream.

Compare or contrast

Cream also illustrates the principle of compare or contrast that many people talk about in food and wine matching. An oaked chardonnay has a creamy quality of its own that mimics the creamy quality of a sauce. Or you can go for the contrast of a crisp (but intense) wine that will freshen the pairing. Unoaked Chablis, for example, tastes good with creamy sauces too (especially with ham - a favourite dish from the region).

Cream added to a fruit dessert will also help bring a dessert wine into play. The sharpness of lemon, for example, can often play havoc with dessert wines but with cream folded into or served with the dessert you have many more options.

Buttery sauces like hollandaise or beurre blanc also support heavyweight whites. Meursault for example is a fine match for eggs benedict - if you can face it at that time in the morning! They will however strip the character from lighter, sharper whites - a Pinot Grigio or Albarino won’t benefit from a buttery sauce and vice versa. And a classic French-style purée of potatoes into which lashings of butter has been beaten will make a tannic red taste more mellow.

You’ll also find that the addition of cream, butter or yoghurt can help match a wine to a spicy dish like a curry, diminishing their heat. Kormas, butter chicken and other curries served with yoghurt stirred in or served alongside are all more likely to be wine-friendly. It seems to have a particularly good effect on riesling, accentuating its sweetness and floweriness.

Image ©littleny at fotolia.com

What kind of food should you serve with fine wine?

Most of the time we’re pairing wine and food it’s the food that comes first but for people in the trade it’s more often about what food will flatter the wine. But how do you ensure a successful match?

I went to two top end wine dinners last week which took different approaches to the task. The first a tasting and dinner hosted simultaneously in Brussels, Hamburg and London by the Bureau Interprofessionel des Vins de Bourgogne showcased premier crus, especially Chablis, Meursault and Gevrey-Chambertin.

They decided on a four course menu with effectively two main courses - roast breast of chicken with pearl barley and vegetable risotto to showcase Maison Albert Bichot’s Domaine du Pavillon 2010 Meursault les Charmes and seared rump of lamb with borlotti bean, marrow and confit tomato cassoulet to go with a 2013 Gevrey-Chambertin Clos Prieur from Maison Louis Max.

The first course, which was paired with Nathalie and Gilles Fèvre’s 2010 Chablis Vaulorent was a a dish of very lightly cooked smoked fish with chive and lemon creme fraiche and ‘young leaves and shoots’

Picking out the flavours of the wines

Clearly the thinking had been to come up with pairings based on the flavours that could be found in or which complemented the wines. A trace of smokiness in the Chablis, for example, mirrored that in the fish, the cream offset it and the citrus picked up on the still fresh acidity of the wine. Chicken is invariably a safe bet with chardonnay so they were on solid ground with the Meursault, though the glazed shallot was an imaginative touch which particularly flattered the wine.

Interestingly a similar ingredient appeared in the other dinner, a very glamourous affair hosted in the Berry Bros & Rudd directors’ dining room. Here the caramelized note was provided by the glazed endive that was served in the first course with duck pastrami and crisp little gorgonzola fritters which picked up the rich golden character of the two 2004 burgundies they served, a La Sève du Clos Meursault from Arnaud Ente and a Le Montrachet Grand Cru from Domaine des Comtes Lafon. A particularly bold pairing that could only have come from road-testing the match with the wine or one very similar to it.

Should you save the best wine for the cheese?

Given they had both red burgundy and bordeaux to show off they went for the classic French solution of serving the burgundies - a 1999 Jacques-Frederic Mugnier Chambolle Musigny and a 1999 Gevrey-Chambertin Clos St Jacques from Domaine Armand Rousseau - with the main course (roast saddle of lamb with anchovy, parsley and mint) and the bordeaux with the cheese which I seem to recall, though things were slightly hazy by this stage, were a Rollright, a washed rind cheese made in the style of a Reblochon, a punchy Lincolnshire Poacher and a Shropshire Blue. Personally I found they didn’t really do the wines - a fragile 1945 (NO, that’s not a misprint - 1945!) Clos Fourtet St Emilion and an utterly glorious 1990 Chateau Margaux (for me the wine of the evening) many favours but what do you do? The sort of people who dine at Berry’s (mainly chaps of a certain age, I imagine) no doubt both expect cheese and to drink the best reds in the house with it. Personally I’d rather go with beef or lamb and if I had to serve cheese pick just one but again guests expect a proper cheeseboard, regardless of whether its contents detract from the wine or not. It’s a dilemma.

The burgundies did work beautifully with the lamb however.

Should you serve a sweet wine?

Desserts were also handled differently. Given that burgundy doesn’t produce sweet wine the BIVB didn’t serve anything with the refreshing lemon and honeycomb mousse they picked, which was accompanied by poached fruit, brown sugar meringue and almond brittle. It worked fine - you didn’t really need one - but an alternative might have been to serve a liqueur from the region from someone like Gabriel Boudier.

At Berry Brothers they decided to use the dessert course as a platform to show off a very special port - the Graham’s 90 Very Old Tawny Port that had been specially bottled to celebrate the Queen’s 90th birthday that happened to be that day (what a treat!). They boldly paired it with a chocolate delice with passion fruit curd and ginger ice cream which worked surprisingly well - it was still extraordinarily vibrant - though the cheese - especially the Shropshire Blue - would have worked too.

Apart from the use of caramelisation, one of the other interesting things I noted was the use of bitter ingredients, particularly in the main course lamb dish at the burgundy dinner which included olives, capers and preserved lemon - all of which tend to heighten the fruit in older wines. Other dishes employed anchovy, cavolo nero and rosemary to similar effect. Care was taken though not to overwhelm any of the dishes with over-flavourful vegetables or intense jus which could have knocked the stuffing out of these spectacular vintages.

Ideally you would have a run-through before a dinner of this kind but with old, rare and possibly priceless wines that might well not be possible. The key thing I think is to make sure the chef and front of house team both try the wines being poured with the food so they can consign it to their palate memories for a future occasion.

(Incidentally a neat trick from Berry Bros. They marked both the menu and the glasses with coloured dots so you could remember, in your befuddled state, which glass was which!)

I attended the dinners as a guest of the BIVB and Berry Bros & Rudd respectively.

Main image credit: Kerstin Riemer from Pixabay