I’d say I “invented” this one, but I’m fast learning that claims of beverage authorship rank among amateur drinksters’ most dangerous lies, along with “I’ve only had two” and “I picked up the check last time.”
More about this below.
But here’s the story: I began playing around with an “Italian Manhattan” over a year ago, when I discovered the lovely Italian apertif Cocchi Americano, collected a few Italian amari, and fell into mixocological rumination.
The right amaro, I reasoned, could plausibly stand in for red vermouth, the Cocchi for white, yielding a kind of Manhattan Perfetto. [A “Perfect Manhattan” is a version of the classic whose vermouth dose is equally split between dry and sweet. A more complex version, an acquired taste.]
This turned out to be harder than I hoped — even to my palate, weakened by years of actually drinking my failed experiments instead of dumping them in a shoe like a proper gentleman.
The Cocchi comes across like a herbal, slightly citrus-y vermouth with a surprising bitter finish that to me “dries” it out.
This led me to seek balance with what turned out to be either too much amaro, the wrong amaro, or both. I tried Averna, Cynar, Ramazzotti, and the unpalatable [I don’t care what “they” say] Fernet-Branca. The vermouth stand-ins swamped, overwhelmed, or disrespected the rye, all without bringing much sweetness to the effort. The whole thing was just a lot of bickering in a glass.
So I got out of the Italian Manhattan business entirely for about six months. [Into the creative vacuum rushed among other things the Hillbilly Martini, which I’m not sure was a productive diversion.]
But then, not long ago, I made an Old Fashioned sweetened with Maraschino liqueur. I loved it. Back into my brainpan oozed the Italian Manhattan Project. Maybe if I relieved the amaro of the burden of sweetening… Continue reading “The Italian Manhattan Project: Un Cappello da Uomo Perfetto”