Notes from Ansley: Early Germain-Robin Part 1

The Beginning 

In the summer of 1981, I picked up a hitchhiking Hubert Germain-Robin, whose family had produced cognac since 1781. He told a sad tale of industrialized production, and wanted to return to ancestral methods. He went back to Cognac to look for an old hand-operated still. In June, 1982, I dug the foundation for a small distilling shed up on my ranch. We had zero money: I dug the footings and leveled the site with a mattock and shovel, and poured a slab.


In August, Hubert arrived and helped me put up the shed.

Frame AJC

This is me cutting into a stud for a diagonal brace. I found that old metal-cased Craftsman skillsaw in the ranch shop in 1973. I used it for 20 years.

5.frame 2

Hubert is holding a center rafter (notice the notch) while I get some nails.

6.Frame 3

Nailing the rafter.

7. The distillery

We used old-fashioned, channel siding and a metal roof, and found old sliding barn doors at a junk-yard.


Here’s how it looked in November, 1982.

Notes from Ansley: Sauvignon Blanc


We’re close to an end of the second distillation of a batch of heavy-solids wine we bought from Fetzer. Sauvignon Blanc (a rarely-used but legal grape in Cognac) has an unusual “savage” (I say “feral”) overtone, especially on the palate. “Untamed” is another word. I was once shown an aged cognac from Sauvignon Blanc which had the same ferality. The photos show Joseph Corley checking to see how close we are to the end of the “seconds”, the chalk label on the tank that we make the fresh brandy into (later moved to barrels), and me smelling one of the best Sauvignon Blancs we’ve made: very clean, very aromatic, and pretty soft for fresh distillate at 71%. We like working with these grapes that are rarely or ever distilled: Chenin Blanc, Riesling, Semillon, Muscat. They lend unusual complexity to our blends. Some of today’s brandy will end up in the Old Havana.20150922_12535220150922_12541220150922_125435




Notes from Ansley: Giving Birth to Russell Henry


One of the first bottles of Russell Henry London Dry just before getting its label. It got there from countless hours of creative work: adjusting a unique mix of botanicals, finding the right GNS, making the right cuts on the small cognac still, choosing the bottle/cork/foil, designing and printing the label: the cumulative input of 10 human beings, plus the crew that is running the bottling line. In a way it’s like a birth, all that effort focused into this one glass full of a unique distilled spirit. Here’s footage of the bottling day.

Here is footage of the bottling line in motion



Notes from Ansley: Straight Talk about Johnnie Walker Blue

Don Sutcliffe of The Exceptional sent me this. As he says, brilliant. This brand and others like them are what keep distributors running: without them, no trucks, no salespersons, no warehouses, no way of reaching more than a handful of consumers. On the other hand, such brands are like a pervasive dense fog between the consumer and genuinely great craft spirits. What Ralfy says about brands seems obvious but it’s not widely understood.