Thank you for joining us for The Pipes Magazine Radio Show

Tonight’s show is sponsored by SmokingPipes.com, Missouri Meerschaum, 4noggins.com, and MeerschaumStore.com, Please give them some consideration when making your next pipe or tobacco purchase.

We hope you enjoy our 45-minute show produced just for you—the pipe smoker and collector. The following link will launch a pop-up player. Alternatively, you can download the show in iTunes after the initial broadcast is complete here.

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Website Links for this show:

http://www.castello.net/

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In this shoot, Gabrielle is sporting a beautiful pink smoking jacket from SmokyJoesClothing.com. They have gorgeous high quality smoking jackets for men, women, and even dogs! They are not only a great high quality smoking accessory, but also great for dressing up an outfit for a night on the town.

The pipe Gabrielle is smoking is Pipes Magazine Publisher, Kevin Godbee’s 2007 Dunhill Rubybark 4110 Straight Billiard with Sterling Silver band.

Gabrielle at Ruby’s Elixir Sporting a Pink Smoking Jacket & Dunhill Rubybark

The most popular material for making tobacco smoking pipes is by far—Briar. The Comoy family started making briar pipes in Saint-Claude, France in 1856 when they found that it was far superior to other woods and clays being used at the time. There are other woods used to make smoking pipes, but briar is considered the best because of several qualities—resistance to burning, density that withstands moisture produced from smoking, porosity that reduces heat, and the flavor that the wood itself adds to the tobacco in some cases. Briar comes from the Heath Tree, which looks more like a shrub than a tree, and is actually a flowering plant. It is small and grows in the Mediterranean Basin, coming from countries such as; Spain, France, Algeria, Morocco, Italy, and Greece.

The briar wood actually comes from the root system of the plant. There is a large roundish burl that is formed underground, below the trunk, from which the individual roots then spread out. It is this burl that is harvested, boiled and cut into rough pieces of wood called ebauchons. The ebauchons, or briar blocks eventually get delivered to factories or individual pipe makers to be crafted into actual pipes.

The Achaiki Amadeus briar block processing plant was kind enough to provide this 10-minute video that shows what happens with the burls after harvest.

Chris Stout
Since the summer of 2011,

Pipe Making Seminar
The Pipe Making Seminar was held from 9am to 5pm on May 1st and 2nd at the Pheasant Run Resort Mega Center Annex. Participants had the opportunity to create a pipe with guidance from expert pipe makers. The show officer in charge was Rex Poggenpohl, with moderator Brian Ruthenberg, and instructors: Mike Butera, Rad Davis, Lee von Erck, Alex Florov, and Andy Petersen of Quad City Pipes. There were also appearances by Teddy Knudsen, Kent Rasmussen, and Romeo Domenico of Mimmo Briar on Thursday.

Over the course of two days, we massaged pre-drilled briar blocks with molded stems into our very own finished pipes. Each pipe was truly one-of-a-kind, having the influences of so many masters of the trade who donated their time, resources, and knowledge to make this seminar an experience we will never forget. After the seminar had ended and we were admiring our new creations, Lee von Erck reminded us of the important last step, "Stuff it and puff it!"

Pre-show
After the completion of the seminar, it was a wonderful feeling knowing that the show was just getting started. Friday morning kicked off with the Smoke and Swap pre-show inside the smoking tent. Every table at the pre-show was packed and it was bustling all day. The pre-show seemed even larger than the Columbus show last August! The tent remained busy until event coordinators had to ask vendors to pack up so they could prepare for the evening events. It was hard to believe this was just the tip of the iceberg.

Welcome dinner
The Friday evening Welcome Buffet Dinner held in the St. Charles Ballroom was a complementary meal sponsored by Sutliff Tobacco Company and the CPCC. This delicious seven-course dinner not only had a dessert selection that would satisfy any sweet tooth, but each guest also received a tin of Sutliff Private Stock tobacco.

Kevin Godbee & Brian Levine PipesMagazine.com Presentation
After dinner, we headed to the smoking tent to have a bowl and listen to the presentation by Kevin Godbee and Brian Levine. Having listened to the Pipes Magazine Radio Show from its inception, it was very interesting to hear the history behind the show and how the format was developed. I think Mr. Subliminal’s review on Middleton’s Cherry Blend couldn’t have been more accurate. Link

We spent the rest of our evening smoking and chatting with Russ Cook, Wayne Teipen, Andrew Staples, and several other new friends at our table. You may want to avoid looking at your watch in the smoking tent, as it will be the wee hours of the morning before you know it.

Entering the show
Upon entering the Pheasant Run Mega Center Saturday, I couldn’t believe my eyes. We had been forewarned of the sensory overload that would be inevitable. I would definitely heed Brian Levine’s advice in episode 27 of the Pipes Magazine Radio Show. By making some simple preparations in advance, you can avoid stumbling around like an extra on The Walking Dead. It would be impossible to cover the show in its entirety within this article. Instead, I will cover of a small portion of the 200-plus exhibitors in attendance.

Educational Displays
The educational displays near the entrance are the first indication of the stature of this show. George Amron was kind enough to display over 150 of his bamboo stem pipes. His collection included pipes from a number of makers, such as Chonowitsch, Gracik, Todd Johnson, Tokutomi, and Tsuge. Dave Peterson’s Castello collection featured many pipes with their unique Epoca and Sea Rock finishes, while Mark Berman’s collection of Perry White and other American pipes was equally impressive. The following CPCC members also kindly displayed portions of their collections: Paul Bender, Michael W. Reschke, Judd Perlson, Lee Murphy, and Pat Velkavrh.

Silent Auction
Some of the financial support for the show comes from the donation and sale of items in the silent auction. From 11am until 3:30pm on Saturday, attendees placed bids on items by simply writing their name and bid on the appropriate bid sheet. When auction manager Mike Gaffney blew his whistle, bidding was over and the highest bidder won their respective items. Donations ranged from cigars, pipes and tobaccos to artwork, clothing and even pipe smoking gnomes. Donor and buyer participation is open to everyone and is highly encouraged! PipesMagazine.com Forums member, Undecagon (Anthony) won the G.L. Pease donation for the second year in a row.

Cornell & Diehl
As we approached the Cornell and Diehl display, the aroma coming from the massive selection of open tins was incredible. All of the staff were extremely friendly and generously offered up samples. I had the pleasure of speaking briefly with Chris Tarler, CEO of Cornell and Diehl. We were excited to hear about the introduction of the second blend in their "Working Man" series. "Lunchtime Blues" is a blend of red Virginia, bright Virginia, lots of Burley, and a little bit of Turkish. The first blend, "Morning Drive Time", is a light English / Burley blend with red and bright Virginias, and a little bit of Perique which was introduced in February at the St. Louis show. The third blend in the series, "Five O’ Clock Shadow", is scheduled to be released in October. According to Tarler, Cornell and Diehl manufactures close to 300 blends including G.L. Pease and Captain Earle’s.

Missouri Meerschaum Company
A new, but very familiar name at the show was The Missouri Meerschaum Company. They have been manufacturing cool-smoking corn cob pipes since 1869 in Washington, Missouri. I had the opportunity to speak with general manager Phil Morgan. He introduced me to some hardwood pipes they began making in response to the heat and drought that severely impacted last year’s corn crop. There are three different designs of the hard maple pipes based on popular corn cob shapes. Although not new, the "Morgan" corn cob nose warmer has been popular and is available in natural or polished finishes. The most exciting news is they are intending to reintroduce the bulldog style shape that was discontinued about 20 years ago. Get ready to add some more cobs to your collection!

Neatpipes.com
Hailing from Milano, Italy it was delightful to meet Luca di Piazza of Neatpipes.com. I remember purchasing my first pipe from Neatpipes.com in 2011. My Pease/di Piazza Clear Junebug #007/100 was my first experience with Luca and it couldn’t have been better. What really took me by surprise was that Christmas to find a handwritten postcard in the mail from Italy wishing me a Merry Christmas! Launched in March, the Radice Chubby Aero Billiard has been selling out nearly as soon as they are listed on the website. Luca had a selection of 30 Aero Billiards, including the first ever Morta Aero Billiard. These reverse calabash pipes provide a cool, dry smoke in a compact package. Also on display from pipe maker Tonino Jacono were two special pipes. One cut from the largest piece of briar and one cut from the best piece of briar he had ever used. Luca also had pipes from artisan makers Alex Florov, Scott Klein, Vladimir Grechukhin, and several others.

SmokingPipes.com
SmokingPipes.com had their usual large island of tables with a huge selection of just about every kind of pipe imaginable. There were also several expert staff members to help with any questions. An especially intriguing line of beautiful leather accessories from Claudio Albieri from Italy was on display. This included tobacco pouches, roll-ups, pipe bags, and a stylish and classy leather brief case. It’s the perfect accessory for today’s modern pipe smoker on the go. You can fit your laptop or tablet along with six pipes, and of course everything else you need. The briefcase comes with six leather pipe bags (each fitted with a button to allow it to snap securely into place inside), and loops and pockets for pipe cleaners and accessories.

PipesAndCigars.com
PipesAndCigars.com is known for announcing new products at the Chicago Pipe Show, and this year was no different. I had a chance to chat with Hearth & Home master blender Russ Ouellette about some of the upcoming blends from PipesAndCigars.com. The reintroduction of Mel Feldman’s "The Smoker" blends from the 1990’s received most of the attention at the show. Along with the 14 original blends, Russ also released the private blend that Mel tinned for his friend and collector Fred Goldring. Two more exciting blends are also in the works for this year. A first for Ouellette, a powerhouse Perique blend which will be primarily Virginia with a healthy dose of Perique and Dark Fired Kentucky. The second is scheduled for release around fall and will be a cousin to "Black House" called "White Knight". “If you know what Black House was supposed to be, then you can probably figure out what White Knight is supposed to be,” Russ says. By the end of the year PipesAndCigars.com will have their bases covered with their take on 3 of the Sobranie’s: Original, 759, and Virginia No. 10. (Pictured below is PipesMagazine.com Publisher, Kevin Godbee, and Mel Feldman, the creator of The Smoker blends that have been re-introduced to the market by P&C.)

Quad City Pipes
In less than 5 years, Andy Petersen of Quad City Pipes has had quite the experience as a relatively new pipe maker. Getting to work with pipe makers such as Michael Parks and Alex Florov, winning a place in the 2010 Kansas City Pipe Making Competition, and now being a mentor to others through the Pipe Making Seminar at the Chicago Pipe Show. Petersen mentioned that he has received so much help and advice throughout his journey, he wanted to give back to the community by volunteering as an instructor. Andy’s talent definitely shines through in his work and attention to the small details. I eagerly await to see what the future brings from the Quad City Pipes workshop.

TheBriarPipe.com
Joel Shurtleff started selling pipes online through his eBay store in April of 2003. Two-and-a-half years later he made the move to TheBriarPipe.com where he continues to provide a great selection of pipes and accessories. One of the newer carvers being offered on Joel’s site is Klaus Zenz from Austria, a classical cabinet maker who began making pipes a few years ago. Sergey Cherepanov and Gregor Lobnik pipes were also available along with some of the classic names such as Castello, Ardor, Il Duca, and Paolo Becker. To receive updates when new pipes arrive in his inventory, head over to TheBriarPipe.com and sign up for his newsletter.

The 2013 Chicago Pipe Show was the most fun I have had in a very long time. There was so much to do and see, but most important were the new friendships that were formed with some of the greatest people. There really are no other people like our brothers and sisters of the briar. I hope to see you all at the next show and definitely next year in Chicago.

Photo of Kevin Godbee & Brian Levine © 2013 Sally Drees Gottliebson. Used by permission.
All other photos © 2013 Chris Stout and PipesMagazine.com

Thank you for joining us for The Pipes Magazine Radio Show

Tonight’s show is sponsored by SmokingPipes.com, Missouri Meerschaum, 4noggins.com, and MeerschaumStore.com, Please give them some consideration when making your next pipe or tobacco purchase.

We hope you enjoy our 45-minute show produced just for you—the pipe smoker and collector. The following link will launch a pop-up player. Alternatively, you can download the show in iTunes after the initial broadcast is complete here.

Click Here to Play the Show

Listen & Download With These Apps as Well
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Chris Morgan

Photo courtesy of MorganPipes.com

Check out Chris’ site at the link above, and also see Tom Spithaler’s review of the Morgan Briar Cigar Here.

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G. L. Pease
Some really interesting questions fell out of the mailbag this month,

Eric writes: I use the small "Immerse Humidifier" in my tobacco pouch to keep the tobacco from drying up too much. It says to immerse in cold water; however, I have some Propylene Glycol solution I use for for cigar boxes and have used that to moisten the humidifier. It seems to work fine. But I have noticed you speak of PG as a agent for sweetening tobacco. Am I inadvertently sweetening my British blends? Should I just use water?

A: Using PG in humidifying devices is not the same as applying the stuff directly to the tobacco itself. The vapor pressure of PG is much lower than that of H2O (about 0.1 mm Hg vs. 17.5 mm Hg at 20˚C), so any moisture added to the tobacco by the device will be predominated by plain water, so, the PG isn’t likely to cause any noticeable change to the flavor of your tobacco. But there’s no real advantage to using the stuff, so why not just use water, or for that matter, nothing at all? A well-made pouch should maintain your tobacco in fine smoking condition for at least a couple of days unless you are in a very dry environment. And, remember that if you’re losing moisture, you’re also losing aroma and flavor. If your pouch isn’t sealing well, it might be time to replace it.

It’s also important to remember that tobacco must not be allowed to get too damp; mold is a much bigger problem than dryness. When the moisture content rises above a certain level, usually too damp, really, for good smoking, any spores that are present may germinate, and in a matter of days, depending on conditions, you might find yourself with a moldy mess, necessitating discarding the tobacco, and cleaning the pouch thoroughly. It’s probably best just to keep your pouch filled with a day’s ration, and keep the rest in a well sealed jar.

Kaos, and a few others wonder about red virginia: I’m a young Italian pipe smoker and I’ve enjoyed so much many of your wonderful blends I had the luck to purchase during my travels. I still have many at home preserving them carefully. I’m fond of every sort of virginia and I’m now just curious to know: Are red virginias from specific seeds, or are they a specific kind of cure of virginia leaves? Thank you so much for your reply and for your great tobaccos!

A: It would sure make everyone’s life easier if the growers could just plant a seed that guaranteed a specific end result, but unfortunately, it’s not so simple. What follows is a very brief look at some of the factors involved. A more complete discussion would require at least a full column, and if there’s sufficient interest, I may do something more in-depth in the future. (And how will I know there’s interest, you may ask? Use the comment section down there at the bottom…)

Seed stock, soil type and fertilization methods, climate and environmental factors, stalk position, agricultural management practices, harvesting method, such as priming (picking individual leaves) or stalk cutting, curing and post-processing all have influences on the final color, sugar level, nicotine content and smoking characteristics of the finished product. In other words, there’s not one factor that determines color; every step from seed selection to finished mixture plays a part.

Some seeds, of course, are better suited for producing bright yellow through orange tobaccos, while others are chosen for their darker finished shades. Additionally, stalk position plays a part, with darker leaves growing towards the top where sun exposure is greatest, but, a plant selected for bright leaf won’t generally produce dark reds or brown grades, and vice versa.

Climate is a significant factor, as well. Wetter years will produce tobaccos with higher sugar and lower nicotine, while drier years will result in opposite qualities. The higher the sugar content, generally, the more likely the leaf is going to color-cure to a brighter shade, but there are also some very sweet reds grown.

Longer cures tend to produce darker shades, at the expense of sugar levels. (One aspect of curing that is particularly difficult with brighter, sweeter brights is that the leaf must be "killed" quickly enough to maintain its high sugar levels and set the color, but not so quickly as to prevent complete yellowing. Brights that are cured too quickly may remain green, and even if they survive the following aging process without rotting, won’t be suitable for smoking.)

Of course, there’s some confusion on the consumer side about how "red virginia" is defined. At the point where the tobaccos are aged and ready for purchase, they’ll have shades ranging from bright yellow through orange to deep red or brown, but once blended, pressed, cake-aged, steamed, toasted or otherwise processed, they will often darken significantly; what began its journey as a yellow or orange grade might end up masquerading as a red. Confusing, innit?

From a blender’s perspective, it’s the taste that matters more than the actual color of the leaf. Brights can be characterized as being sweet, slightly sharp, with additional citrusy, sometimes grassy or hay-like characteristics, while reds tend to present a deeper, more complex sweetness with a sometimes noticeable earthiness and more plummy or berry-like fruitiness. Of course, further fermentation and aging will result in changes to the finished blend, as well, with more fruity and wine-like characteristics becoming increasingly dominant, and often cocoa, coffee and spice flavors finding their way to the party. The point is, what’s red in the tin might not have been red in the shed.

Jim is a woodworker who wants to know about other woods for pipes: I recently purchased a Plateau Briar pipe kit and had a great deal of fun creating, what is fast becoming, my favorite pipe. Being a retired scroll saw artist, I have many beautiful exotic hardwoods in my shop. So naturally I have thought of creating some home made pipes, but one thing bothers me. Many of the hardwoods I have caution the woodworker to wear a mask when cutting & sanding these woods due to harmful byproducts contained in them. While I realize the precautions apply to working the wood & breathing in the dust, I wondered if these woods, Bocote, Cocobolo, Zebrawood, etc. might be harmful when used for a pipe. Could you give me any information on this?

A: This is a tough one. As you note, many exotic and common hardwoods have some level of toxicity when handled and worked, either as a result of exposure to their sawdust, or to handling the saps and resins in the wood itself. Though there’s quite a bit of information available regarding relative toxicities, this information applies primarily to working with these woods or in some cases to eating/drinking from utensils or vessels made from them, not to smoking pipes made from them. These toxins can cause symptoms ranging from mild itching/irritation to rather more dramatic reactions. The list of woods with known toxicity is surprisingly long, and few lists are extensive. One excellent resource can be found in the Health and Safety Executive report, Toxic Woods.

"It is an ascertained fact that travellers’ vessels, made in Gaul of this wood (Yew), for the purpose of holding wine, have caused the death of those who used them."

-Pliny the Elder, "Naturalis Historia" circa 77 CE

Finding reliable information on the potentially harmful effects of these woods if used in pipe making is more difficult. Those listed as "direct toxins," such as mangrove, yew and others, can be hazardous or even fatal under some circumstances, and they should obviously be avoided. Woods listed as irritants can result in itching, dermatitis or respiratory discomfort from exposure, while those listed as sensitizers are like allergens; there may or may not be an immediate reaction, but over time, symptoms may develop, often becoming worse with increased exposure.

Fruit woods, like apple, cherry, olive and pear are probably the safest of the non-traditional woods, but they tend to burn fairly easily, often chip or crack, and probably aren’t ideal for pipes with long life expectancies. But, even briar, the king of pipe woods can be an irritant or sensitizer to some individuals, and some pipe makers have developed a reaction to its dust over the years. As a material for smoking pipes, though, it seems relatively harmless.

If you’re going to use exotic woods for pipe making, do thorough research, and proceed with caution. Looking up what the potential toxins are in a particular wood, and researching those would be a good start. Safe is better than sorry. And, of course, good dust collection and protective clothing and eyewear is always recommended, especially important if you’re predisposed to sensitivity.

From Arno: Recently a friend of mine opened up a 6-year old tin of Samuel Gawith’s Navy Flake. The flakes were speckled with white spots. First we thought, yummie, sugar crystals! But we really could not see any flickering of light from the crystals when we held the flakes in the sunlight.. So how do we know the difference between sugar crystals and mould?

A: First, it’s not clear those shiny jewels sometimes found on tobaccos are "sugar crystals," though they’re often referred to as such. Several times when I’ve discovered these glistening indicators of potential yumminess, I’ve done some rudimentary playing with them, though no full-scale analysis, and found them not sweet, not very soluble, and not very likely to be sugar. More likely, they are organic acids that have precipitated as a result of pH or other changes in the leaf’s chemistry as it ages. Nevertheless, the presence of these crystals usually indicates something good has happened to the tobacco that hosts them, and we’re generally rightfully excited to see them.

Mold, on the other hand, is rather different. How can you tell if it’s there? Your nose will offer the first clue. Moldy tobacco stinks in a way that is difficult to describe, but once you’ve smelled it, you’ll never forget it, and, most people wouldn’t even be tempted to smoke the stuff. Imagine the aroma of mildew combined with the ammoniac scent of soft, ripe cheeses well past their prime. If it was mold, I’m pretty sure you’d know it by nose alone.

From Russell in NYC: Hi Greg! My question is about how to add flavor to tobacco I’ve purchased from various vendors. I’m interested in buying some basic unflavored leaf, and then adding some aromatic oils (food grade!) to make my own flavored blends. For example, I bought some bergamot oil and added about a teaspoon to a 50gm tin of tobacco, then let it sit for a week to allow the oil to soak into the tobacco. The result had a great aroma and a very nice flavor when smoked, especially with a cup of Earl Grey tea. I wonder if this sort of experimentation is safe, and also if there are aromatic oils that are better for this type of home-made blending. I’d love to try this with almond oil, and maybe even spearmint or other flavors. I don’t like very sweet blends like cherry, or candy-flavored tobacco, but there are many oils that might make a nice custom blend. Any suggestions?

A: Suggestions? Sure. First, be careful. Some essential oils can be toxic when ingested, and it’s pretty easy to find out about toxicity by doing your due diligence, looking up their MSDS, researching as much as you can before playing with them. For instance, almond oil (not extract) may contain cyanide (prussic acid), and is potentially lethal if ingested. These oils will volatilize in the smoke stream and precipitate in the mouth or the lungs. Anyone who has ever been near the smoke of a poison oak fire will know far too well how sinister oily smoke can be.

Almond essence, on the other hand, has had the cyanide removed through an alkali wash, but this has largely been replaced with synthetic flavoring. Even food grade flavorings are not necessarily safe when used "off label."

Of course, in most cases, the dose makes the poison. Wintergreen oil (methyl salicylate), for instance, can be used in minute quantities (up to 0.04%) as a flavoring agent, but in larger doses can be quite dangerous. Generally, food grade flavorings are used in such small amounts in tobacco blending that it’s unlikely that we need to worry much about them. A teaspoon (5ml) of bergamot essential oil, though, is quite a heavy application. I once, as an experiment, jarred up about 50g of virginia ribbon with a single Earl Grey teabag for a few weeks, and the presence of bergamot was quite pronounced in the tobacco’s aroma and flavor. Those volatile aromatics are pretty intense. (Keep in mind that essential oils are added by drops to alcohol to create things like after-shave lotions and Eu du Colognes. It doesn’t take much!)

Food-safe additives are less concentrated than essential oils, but caution should still be the watchword. On the rare occasions when I use these in blends, the quantities are measured in tenths or even hundredths of a percent by weight. For example, I might add 2% of a sauce to a blend, only a small fraction of that sauce being a natural flavor extract. Then again, I’m usually after subtle effects, not a full scale aromatic assault. Candy-shop blends use much more in comparison.

Thanks to the anti-tobacco zealots, there’s been full-disclosure by the big tobacco companies regarding additives, so it’s not hard to find on-line references on the myriad enhancers used in the tobacco industry, and often the maximum quantities regarded as safe are given. Again, do your research and proceed advisedly.

Arno asks: At home I like to blend my own mixtures. An ingredient that I often use is deertongue. Especially in English/Balkan blends it really shines. Most people who smoke my mixtures agree that deertongue adds a special element to a blend that they really like. Some kind of old-fashioned element. So why are there almost no mixtures with deertongue on the market and why did you never create one? I know in Europe (where I live) that it is a forbidden ingredient (you may eat it but not smoke it…) but in the States it is legal as far as I know.

A: The main problem with deertongue is finding a good, clean source of the stuff that isn’t hugely expensive. On a home-blending scale, it’s not such an issue, but on a commercial level, things get wonky. It’s much more expensive than tobacco, and by the time it’s cleaned, stripped, cut and made ready to blend, the cost increases significantly. To compound things, sources are not as reliable as we’d like them to be; if the hobby-blender can’t get an ingredient for a while, it’s inconvenient, but he can go on to other things. If a manufacturer can’t get it, on the other hand, it can reflect a significant hit to business.

The primary useful component in deertongue is coumarin, a flavoring agent with a somewhat notorious reputation. Some manufacturers who once used the herb replaced it with coumarin outright, then later faced problems when, in several countries, the use of coumarin as a tobacco additive (in the US, this was limited to cigarette tobacco) was banned. (If you want to read more deeply into this, or are just looking for a good sleep aid, click over to A Comparison of US and Norwegian Regulation of Coumarin in Tobacco Products.) So, though it’s still a useful ingredient for hobby blending, its commercial viability remains questionable.

Stephen wants to try blending, too, and looks for advice: I’ve returned to pipes which I haven’t tried since college in the early 80’s. Growing up I watched my father buy all sorts of razors notably looking for the elusive ‘perfect shave’. I feel the same with pipe tobacco. I’ve spent hours and hours reading at tobacco reviews, including your articles in Pipedia.com, and I want to try my hand at blending some pipe tobaccos, no doubt in the family tradition, only this time for the ‘perfect smoke’. I purchased various pure tobaccos, virginia, perique, latakia, burley, oriental, etc., bought clay pipes on ebay to use for tasting, etc. I would appreciate any suggestions from you regarding methodology and your suggestions on your blends so I can enjoy the pipes, rather than cigarettes in the meantime.

A: This is actually a popular question. Unfortunately, there is no methodology apart from hard work and careful note-taking. Blending tobacco is like cooking. You have to know your ingredients, and get to know how they interact with one another. It takes time to cultivate familiarity. Anyone can learn to cook, following recipes, maybe adjusting them a little to suit their tastes, but fewer have the discipline or the desire to become chefs. Tobacco blending is no different. Though the palette of flavors is more limited, there are time-consuming practices such as steaming, panning, toasting, pressing to learn about, plus the effect that time will have on the finished product. Something you may like when freshly blended might taste like lawn clippings a week later. (I’m not kidding. It’s actually remarkable how much change some mixtures undergo even within the first few hours of being brought together.)

With tobacco blending, there are no shortcuts, no culinary schools, no shelves of cookbooks or well tested formulae to follow. If you enjoy this sort of journey, which I suspect you will, you’ll probably find some pleasure in it whether or not you end up with your "perfect smoke." If you find that you do not, you may be better off buying something close to what you’re chasing from someone who has already done the hard work, adapting it to your tastes using what you’ve learnt from your experiments. Did I mention taking copious notes? Good luck, and enjoy the ride!

That’s it for this month’s edition. Hope you enjoyed it, and as always, keep those cards and letters coming. (And please, take a moment to comment below. It’s always great to hear from my readers.)
-glp

SUBMIT QUESTIONS HERE

Since 1999, Gregory L. Pease has been the principal alchemist behind the blends of G.L. Pease Artisanal Tobaccos. He’s been a passionate pipeman since his university days, having cut his pipe teeth at the now extinct Drucquer & Sons Tobacconist in Berkeley, California. Greg is also author of The Briar & Leaf Chronicles, a photographer, recovering computer scientist, sometimes chef, and creator of The Epicure’s Asylum. See our interview with G. L. Pease here.

E. Roberts
How does one describe the Chicago show?

The size and scope of the show is truly overwhelming. Officially titled the Chicagoland International Pipe and Tobacciana Show, it was held again this year at the Pheasant Run Resort in St. Charles, perhaps because it is the only place large enough to accommodate a show this size in the entire Midwest, and accommodate they do. The entire trip was my usual last-minute affair, and I arrived at the front desk asking if they had any cancellations—they’d been booked solid for the show as early as two months back. Fortune smiled on me, however, and I not only procured a tower room, but also was upgraded to a king single because it was the only clean one available. Throughout my stay the staff was attentive and friendly, and I only regret that I didn’t have a longer trip planned so that I could avail myself of the resort’s other amenities like the golf course and spa. I begin telling myself that there’s always next year.

The first connection I make is with our own Kevin Godbee and Brian Levine. Though I’ve been writing for the magazine for over a year, Kevin and I had only corresponded through email or by phone. Amazingly, his teeth are even whiter in person. The three of us sat down for a quick lunch before heading in to the pre-show, and got to know each other a bit better. I’d had a great time chatting with Brian on the phone for the radio interview, and we shared that kinship of fellows who have the same favorite tobaccos. When I showed him the tin of late 50s Escudo that I’d brought to share, I knew I’d made a friend for life.

The staff at Pheasant Run was attentive and friendly, to a person. Taking a breather from the already hectic Friday night schedule of meetings and introductions, I dropped in to the smoking tent and struck up a conversation with the bartender, Nick. He’s been working the show for the last 5 years, and actually requests to do so. He’s not a pipe smoker, and doesn’t love bartending, but ever since his first show he’s been coming back because he finds the craftsmanship amazing, the people friendly and interesting, and the entire atmosphere of the show to be relaxing and almost a vacation for him.

The Friday pre-show in the smoking tent was comfortably small, and it occurs to me that it’s about the size of the entire New York pipe show. Not to knock the NY show, but it’s not even in the same league as Chicago. Kevin and I meandered through the aisles, indulging his latest collection of Comoys and meeting the vendors. I stopped to chat a bit with Andy Camire, a.k.a. DocWatson on the forum, to whom I owe my first taste of vintage Escudo. I originally met Andy through PipesMagazine.com, and have subsequently seen him at the New York show and the annual Kaywoodie Christmas event, and he strikes me as always being the happiest guy in the room. People that you run into once or twice at these events quickly become old friends, and that’s what this brotherhood of the briar is all about.

There was more than a little trepidation that I was going to see some pipes that I simply couldn’t live without, pipes that would call to me from across the room, break down all my willpower, and empty my bank account. Of course, this happened pretty early on in the pre-show. I was immediately entranced by the work of two Greek artisans, both from Athens. Their work was polished and precise, showing a firm grounding in the classics and yet displaying a playful, exuberant side that was extremely appealing. I had a brief chat with them and made plans to follow up with a more in-depth interview the following day. It took all my resolve to walk away from their table, still trying to convince myself that I wasn’t going to buy anything on this trip.

Kevin and Brian had a PipesMagazine.com radio show presentation in the smoking tent to round off Friday’s events, and I was not surprised that the most avid attendees were in the younger age bracket. It’s quite apparent that the website has really struck a chord with the Internet Generation, I suppose myself included. The scheduled events completed for the evening, it was time to sit and relax over a few bowls with my fellows from the New York Pipe Club contingent. Hank Saatchi, one of our members and a well-respected reseller in the community, has been coming to the show for the last 13 years, so I tapped him for some veteran advice about carvers to look out for; he was excited to see Rad Davis, Bruce Weaver, Scott Klein, and as always, Tom Eltang. Joining the NYPC contingent was another first-time attendee, Tyrone Griggs. Though he was primarily a cigar smoker, he’d been drawn to the world of pipes from chatting with us, and had some great observations to make about the differences between them. He was amazed at how open and ready to talk about their passion pipe smokers were, a bit of a difference from the one-upmanship of the cigar world. Cigars, he noted, are “all about the band”, and once you’ve enjoyed them, they’re gone. With pipes, though, there is the instrument itself, which can easily outlast its owner, not to mention the plethora of accoutrements and ancillary items that are part of the hobby. Pipes have a built-in legacy of sorts; they are contrivances with which memories are made. After talking with him a bit, it occurred to me that I’d met him a couple years ago during our annual International Pipe Smoking Day celebration at De La Concha tobacconist in New York, where he was a regular. We had been talking about the same thing way back then, and had a laugh at how our paths were now again crossing in Chicago.

Saturday was the main event, and it was a whirlwind of pipes, tobaccos, and meeting people. It really is too much to try to put into words; nevertheless, I’ll make an attempt to. I’m most eager to share my “discovery” of the two Greek carvers, Kostas Gourvelos and Konstantinos Anastasopoulos. This was also their first trip to the Chicago show, in fact their first visit to the US, and their excitement was palpable. When asked what they thought of America, they responded with one voice, “Pipes!” They were kind enough to let me sit down with them and take a load off my feet, and I took the opportunity to grill them a little about their experience thus far. Their work was getting a lot of positive feedback, and deservedly so. Several of the more eye-catching numbers really drew people in for a closer look—for example Kostas’s Witch Hat, or Konstantinos’s Tulip.

It’s obvious that they both have strong foundation skills in engineering, as well as the artistry to execute such innovative interpretations of the old standards. What cemented my appreciation of their work was how they arrived at pipemaking. Konstantinos said that he liked smoking a pipe but wanted something a bit more modern, something that appealed to his personal aesthetic—so he apprenticed under Kostas and learned how to make his own. Kostas has a background in engineering, and more than a decade’s experience on both metal and wood lathing; he came to pipe carving, and in particular the invention of a novel condensation barrier he calls “Aspida”, because he wasn’t satisfied with what anyone else was making and so designed his own solution. Here were two men of separate generations but a single mind when it comes to the artisan’s compulsion to create and improve. And then it called to me—the siren song of a pipe that needs a home. It sat there on the table, looking up at me with its lone puppy-dog eye, preening for my appraisal. Officially designated the 1513 Smooth Free Form, it’s a breathtaking zephyr of a pipe that might be called an inverted volcano; for me, it’s the logical continuation of the feeling of my old favorite, the Medico Jet Stream. It was in a price range that I could justify to myself, and so I did just that.

There was never any question that this acquisition was to be a smoker; after talking with the Greeks at length I excused myself to the smoking tent to have a proper introduction to my new favorite. Though I had been smoking London Burley Blend voraciously the last couple weeks in preparation for its review here, and consider it a great smoke to break in a new bowl with, this little gem was calling for a different flavor—something light yet spicy, something with a little pizzazz of its own. Lucky for me Hearth & Home had their full array out at the show, and I helped myself to a chunk of another favorite of mine, our own NY Pipe Club Bedloe’s Island. Believe me or don’t, but this stuff would still be a favorite even if I didn’t have such a personal connection to it—it’s a wonderfully rich blend, and I apologize to anyone who came after me and found an empty tin. Speaking of Russ, it was great to catch up with him, first for an inside scoop about the recreation of The Smoker blends, and then for an evening bullshit session with Kevin and Steve Morrisette. We began discussing pipes, of all things, but the conversation quickly veered into music, another shared passion common among our ilk. Music was again the topic with a couple of the PipesMagazine.com forum members I spoke with, and it was great to put the proverbial face on a few of the screen names I regularly see.

Now that the PAD fever was sufficiently quenched, I was able to meet with a few people I had on my official itinerary. Per Jensen was kind enough to chat with me for a bit about the history of some Mac Baren blends I’ve slated for review, as well as a sneak peek at some forthcoming projects. Rest assured you’ll hear it here first. Premal Chheda gave me the low-down on the Smokers’ Haven blends, also slated for review, and our conversation somehow veered into home-cooked food and an invite to dinner with his parents the next time I find myself in Ohio. I tried to tell him I’m the guy that really will cash in on that free meal invite, probably at the most inopportune time imaginable, but he insisted, so I eagerly relented. Yet another reason to attend the Columbus show, as if I needed one.

Another highlight was running into Mark Ryan of Daughters & Ryan tobacco. Being able to personally thank the guy that single-handedly saved Perique tobacco was a real treat for me, and we had a great time hearing about all the news from Saint James. Unfortunately, all the cool composure I had later in the day was absent in the morning, when I ran into the maestro himself, Paolo Becker. If you don’t know, I’m an ardent admirer of his work; his pipes speak to me deeply, and the several I own are the most treasured among my collection. However, my caffeine-deprived and somewhat star-struck system was only able to stammer a garbled, "Uhm, hi, it’s really great to be here!" when I found him at his table. I really can’t blame him for looking at me like I had two heads, and in my sudden panic I reasoned it was better to run off and appear busy rather than stand at his table and continue to drool on his pipes. Hopefully he won’t remember me at the next show; thank God I didn’t try to ask him for his autograph like I’d intended.

To be honest, I’m firmly in the curmudgeonly camp of introverts. I generally eschew the noise and bustle of crowds and unknown faces, preferring to keep quiet company and my own counsel. All that was out the window, though, at this granddaddy of all pipe shows. I couldn’t tell you how many times the phrase "like a kid in a candy store" was used, and it was certainly apt for everyone there. I’m glad I made the last-minute decision to attend Chicago, and am already planning next year’s trip—not to mention Kansas City, and maybe even Columbus. On the return flight I had a moment of doubt about spending a bit more money than I had anticipated—then I reached to my breast pocket to have another look at the pipe I’d bought from the Greek. It was strikingly beautiful when seen against the backdrop of the clouds, its graceful form suggesting a creature in flight. It reminded me that in this pipe, this simple wooden sculpture, were now reposited all the memories of my first Chicago pipe show, all the friends I met and made there, and every future smoke I enjoy from it will rekindle that connection.

E. Roberts
“Burley doesn’t age”

Tin: Breaking the seal of the new tin releases a smooth, sweet chocolaty top note, as promised from the description. It is a subtle and earthy tobacco aroma with a faint sweetness that bespeaks its refined nature. Popping the lid of the almost thirty-year-old tin reveals a surprising depth, with top notes of honey, white wine, orange peel, pastry, and (dare I say it?) a chocolate croissant from a particular local bakery. With a few minutes’ time to air out, the blend develops much like a good wine; the confused tangle of top notes calms to a deep, rich tobacco aroma, redolent with hints of tawny Port wine and the unmistakable dry, bittersweet scent of baker’s chocolate. Visually it’s rather unassuming; with its broken flake presentation of a decidedly chocolaty brown, very evenly colored and lightly tumbled, easy to pull apart and portion into your pipe as-is. As evidenced in the photos, the aged tin has developed a much darker luster that perfectly describes the deepening of the flavors in the blend—think raw cocoa bean. A few pre-light pulls on the pipe affirm the pleasant suggestion of chocolate, though in an entirely non-aromatic way.

Char: On the light it’s a deceptively standard burley fare, with slightly acrid dryness and the very definition of ‘tobacco’ flavor. The Virginia perhaps comes forward a bit more in the aged blend, with a slight grassy sharpness and fruit note lent to the char. After the first few pulls, though, it is apparent that this bowl offers a lot of subtle, gentle flavor if one is willing to slow down and savor it.

Top: Through the top of the bowl, there is an ever-so-slight edge of sweetness that tempers the burley perfectly, and gently highlights its natural taste. Familiar Virginia notes of citrus and wheat waft through the deeper, bready baseline of the burley, and set the stage for the heart of the smoke to shine. It should be noted that this tobacco is remarkably easy to light and keep burning, bowl after bowl, no matter the pipe or chamber—so easy, in fact, that several times I’ve smoked through to the heel on a single light, with minimal tamping.

Mid: As the ember settles, the body of the smoke develops into a rich, hearty baritone of earthy flavors—olive, date, damp soil, even some truffle oil are readily apparent. The Virginia has had its moment on the top of the bowl, and now the burley takes over like a steady, insistent wave. With some tart sharpness on the retrohale, a full mouth feel and creamy body, it sings with a unified voice and comes into its own with aplomb. Sweet on the bottom with savory overtones, it also responds remarkably well to the Delayed Gratification Technique. It’s a style of preparation that is admittedly not my preferred method, and more often employed on Latakia blends, yet with Burley London Blend it elucidates a striking intensity and piquancy, becoming a very meaty, contemplative smoke when returned to after several hours’ rest.

Finish: Too often the bowl finishes before I’m ready to stop smoking this tobacco; fortunately, it responds well to repeated refills after a short wait for the pipe to cool. The flavors hold steady through mid-bowl to finish, leaving a pleasant cola aftertaste on the palate, and it consistently burns down to a dry, clean ash. When slightly moist, or with a well-prepared DGT, it continually deepens with salty-sweet notes of pecan pie or molasses, wisps of well-oiled saddle leather, even sometimes a fragrant gamey note like venison or a Churrasco-style steak. For such a seemingly simple blend, it certainly delivers on subtle flavor.

Room Note: Mild with hints of pastry and chocolate, Burley London Blend shouldn’t overly offend non-smokers, and may have some fellow pipe enthusiasts asking for a bowl.

Overall: For some reason, perhaps owing to its rather aristocratic name, Burley London Blend always calls to mind Beethoven’s string quartets, notably Nos. 6 and 16, particularly in the cello voicings. On the surface a rather plain and straightforward blend, it develops nuance and character if you attune yourself to its soft delivery. Mild to medium in nicotine, and very well balanced, it also makes an excellent blending base for home experimentation. In the interest of full disclosure, this blend is a regular addition to my own cellar, ever since I was offered a sample from a fellow PipesMagazine.com forum member (thanks, Tommy!). Rising head and shoulders above the more common OTC burley blends, this is a truly refined pleasure.

RATING: 90.5
15 points are available for presentation, and Burley London Blend takes 13. The tin art is simple, and the newer design is actually rather more appealing and "classic" than the older one. The broken flake is the perfect cut for this tobacco, marrying the leaf well and evincing the refined mélange of flavor, and it needs no further preparation to enjoy. The fact that it’s available in bulk, at a price point that beats some OTCs, only makes it better.

I’ll award a startling 34.5 of 35 points for the draw and burn, if only because I am hesitant to give it a perfect score. Perhaps the one thing this blend could do to improve its burning characteristics would be to pack and light itself—it’s really that easy, and my technique is far from flawless. I find it superb for breaking in a pipe as well, as shown with the vintage Dunhill in the accompanying photos.

From a possible 50 points for flavor and aroma, I’ll score this at a solid 43. Although I’m quite fond of it in the current production, realizing how well it ages and develops makes it all the more enticing, and worthy of a few bonus points. Soft enough for all day, and with enough character for contemplative moments, this is my benchmark burley.

Cellar or Smoke?
I think this one has been resoundingly answered in the review; the opportunity to experience what several decades’ development has done to the tobacco really opened my eyes to the longevity of a quality burley. London Blend certainly proves that it’s got legs, and long, sexy ones at that. Very notable is the extreme consistency of the blend, too—it is apparent that painstaking care is taken to produce the blend true to profile, and the quality of the leaf is evident in its ability to go the distance. I would not be surprised to find this tobacco still great at fifty and beyond, which the first production tins from 1965 are approaching.

Brand: Mac Baren
Blend: Burley London Blend
Blender: Mac Baren
Type: Burley 
Country: Denmark
Cut: Broken Flake 
Tobaccos: Burley, Virginia
Strength: Mild-Medium
Room Note: Mild
Tin Size: 100g
Tin Ages: 1980s / 2012
Tin Description: This beautiful tobacco was developed in 1965 and consists mainly of carefully selected Burley tobaccos. Just a little Virginia tobacco has been added to give the blend a natural sweetness. You will notice the slight natural chocolate note, which is found in all good Burley tobacco. The very special top flavour in combination with the tobaccos gives you a very distinct smoking pleasure. ( - from the current production tin)

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