Wrapper: Ecuadorian Habano
Binder: Honduran Corojo
Filler: Honduran Corojo and Dominican Piloto Ligero
Strength: Medium to full
Size: Trucha (6.5 x 30 x 50 x19)
Price: $10.00-$12.00 Each
This is a Camacho cigar from its Room 101 division. It is an exotic stick. The name of One Shot One Kill does not come from a military sniper school lesson. It refers to the photographer, Edgar Hoill’s method of nailing that one indisputable shot at exactly the right moment.
Only 3000 cigars are rolled per month. And only the best torcedores can roll this Figurado shape.
The wrapper has notes of spice, wood, and leather. The foot also has notes of spices, and leather, but I can also smell hay or barnyard..
I carefully clip the tip off with my Palio. The cold draw produces a flavor of leather, cedar, and spice.
The first third starts with enormous amounts of smoke. And a rich flavor of cedar, oak, and pepper. There is an immediate small blast of pepper.
Construction is excellent with a few minor veins here and there. It is very firm in the hand. Right off the bat, the burn line is perfection. The cigar is a beautiful dark, oily chocolate brown.
Unusual to a Honduran cigar, is the taste of baking chocolate. And a bit of sweetness. It reminds of the La Palina Pasha. A rich, meaty smoke. Complexity that begins immediately. It has a very woody aroma. I shall continue to smoke and enjoy this stick and pick up the review at the second third.
The second third brings out a rich herbal taste. The little notes of cinnamon, pepper, wood, and cedar. The flavor is super complex and perfectly blended.
Also during the second third, a wonderful cocoa and coffee profile unveils itself. The coffee and chocolate are mild along with the spice that’s only noticeable in the aftertaste.
It’s during the final third of the OSOK, that the spicy profile begins to dominate. None of the previous flavors have dissipated and make a nice ancillary attack to the palate. A gentle sweetness raises its head reinforcing the delightfulness of the cocoa and coffee.
This is a grand cigar to treat oneself to on the occasions that one feels I need to surprise my palate. The price point on this cigar is pretty accurate. I have smoked much more expensive cigars that do not attain the richness of the OSOK. I highly recommend this stick to anyone wanting to make their cigar smoking moment an experience.
And now for something completely different:
If you’ve read me, you know I’m a musician…a bassist…both upright and electric bass guitar. Been playing 47 years. Bliss can be attained in music. But only in special moments does it appear magically and without reason.
I had my own recording studio back in the 80’s in Long Beach, CA. It was near the ocean…downtown. I did a lot of session work prior to this but once I had a studio, I found myself working nonstop as a player for other people’s work.
Since I couldn’t produce and play at the same time, I was most successful at convincing a client that we would record the band and then late at night, when we were closed, I would sit in the booth by myself and record the needed bass lines.
I usually played my 1980 Schecter fretless for the sessions. It has a booming, rich, big sound. Flatwound strings will do that…in addition to state of the art electronics…but I never used effects like so many bassists do. I find them intrusive and take away from the natural sound of the bass. Of course, I must add that my bass is made of 100% Brazilian Rosewood. Now illegal for at least 20 years in this country. Killing the rain forests and all of that.
That rosewood resonates like almost no other wood. It is a piece of art.
I would dim the lights in the studio. Get out my charts I had written during the day while I was producing the band and use them as guidelines, but allowing for my muse to make the final decisions.
I sometimes used head phones, which I found restrictive, so most of the time I played along with the music coming out of studio monitors. Fortunately, my timing is excellent and can play on the beat, behind the beat or after the beat. No miracle…just comes from experience.
When I recorded, I would think of which of my favorite bassists the song needed? And then I would try to mimic that style with my own 2 cents added in.
After getting down the basics of a tune, I would hit the record button. Back then we used 2” tape on a big reel to reel machine. Digital was only a dream.
Upon recording, I already knew the changes. So I closed my eyes while I played. It allowed me to get into the zone. It was dead quiet in the booth. No sounds to distract me. Just the music to be played.
Most bands are foolish and refuse to play to an electric metronome...called a click track. It’s a must for most bands because 90% of the players (Drummers) could not play in time throughout the entire song. So it became my job to seek out those out-of-time moments and make sure I did the same, pulling the song togehter.
I would usually nail the song within 4-5 tries. My eyes closed….I could feel a smile on my lips and I knew this was the final take. A wonderful feeling.
This would go on for hours….sometimes until morning. I would start the session tense and anxious. By the end of it, I was relaxed and blissful.
I miss those days. But fortunately, I have a great memory and those times serve me well in stressful situations. I will meditate on recordings, or even live playing, that were special to me. Most of my friends, growing up with me, gave up their instruments as hard reality entered their lives. I am fortunate. I never stopped playing. It’s one of the few of God’s gifts given to me that I cherish.