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A few quick things about cru Beaujolais, the smaller, distinctive growing areas of Beaujolais.
1. The Burgundy producers are coming! Prices are relatively low for grapes and real estate. That fact has attracted investment to the region from producers looking to expand: Earlier this year the Champagne (and Burgundy) house Henriot purchased the Chateau de Poncie, a key property in Fleurie. When I asked Joseph Henriot earlier this year about the motivation for the purchase, he pointed to the distinctive terroir (he loves Moulin-a-Vent and Morgon as well as Fleurie) but also the tremendous discount the property had compared to land in Burgundy.
2. Cru Beaujolais can age, maybe even longer than you think Louis Jadot was one of the earliest notable Burgundy producers to acquire property in the Beaujolais region, notably in Moulin-A-Vent. I tried their Chateau des Jacques 1996 a few months ago and was wildly impressed. Jacques Lardiere, the winemaker (pictured right), told me that the best wines can last decades! 3. I’ve got a cru Beaujolais vertical going–in magnum Magnums, twice the size of regular bottles, are generally baubles for captains of industry. But you can get a top cru Beaujolais in magnum for less than a lot of second label Bordeaux. Combine this price appeal with the age-worthiness and you can understand why I have several magnums of Deccombes, Desvignes, and a mini-vertical (three vintages!) of Clos de la Roilette cuvee tardive. Cru Beaujolais magnums also make great gifts; to wit, I just got a magnum of Lapierre Morgon 07 at Appellation Wine and Spirits yesterday.
4. Gamay is wildly food friendly! And at 12.5 percent alcohol, you can have a couple of glasses too and still be able to function after dinner.
5. It’s mostly less expensive than red Burgundy!
6. How would you change the region? In 1395, Duke Philip the Bold outlawed the humble gamay grape from Burgundy, protecting the premium pinot noir by fiat. What would you do differently if you were the Duke of Beaujolais? I asked Jacques Lardiere what he would do differently if he made his wine in Moulin-a-Vent outside of the appellation system, which mandates certain controls, such as planting the grape gamay. He said, “I would plant pinot noir.”
Don’t forget to join us tonight at 8 PM on Twitter Taste Live raising a glass of local wine or a cru Beaujolais! use #ttl in your comments or follow me.
SIPPED: too much As G-20 leaders met in Washington this weekend while the economic world burns, they sipped Shafer Hillside Select 2003, a $250 Napa cab (find this wine). This raised the hackles of bloggers at CNN (perhaps because they could only find it for $500?). The era of the teatotaler-in-chief is soon over! (Thanks, Arthur!)
SPIT: too little An eagle eyed publicist at Kendall-Jackson spotted a mention of their Chardonnay in an interview the Obamas did with People magazine. The maker of this supermarket staple then sent “a few congratulatory cases of the brand” to the Obamas, care of the Democratic National Committee. Celebrate a historic victory such as his with a $12 chardonnay? But what did Shafer send them?
SPIT: Sauvignon blanc NYT restaurant critic Frank Bruni goes public about his dislike of Sauvignon Blanc as he tasted one from California, “he offered a grimace and a cry of anguish.” And what did his colleagues do to him after that. Why, laugh at him. Get the full story and their wine picks for turkey day in Eric Asimov’s column.
SPIT: 2008 Hospice de Beaune The climate, both meteorological and economic, put a damper on the annual charity auction for barrels of red Burgundy. [Reuters]
SPIT: celebrity wine Michael Vick’s 22 dogs will appear on a new wine line called “Vicktory Dogs.” A portion of the proceeds benefit the shelter in Utah where the dogs now reside. [ESPN]
Posted by 1 Much to my horror, my recent trip to the United States and Canada revealed to me that some people have actually been reading this blog. While it was not a shock that people visit WineSpectator.com, the fact that anyone would labor through my heavy prose and factual notes was a total revelation.
It's time to talk turkey again--and what wine goes with it. (image from Carolina Morning)
Every year, new visitors come to this site in search of a delicious, affordable, and available bottle of wine to pair with their holiday meal. Old friends visit, too, sometimes to suggest their own picks for the year and sometimes to take issue with something I've picked. It doesn't matter why you're here--I'm glad to see you, and hope that what follows will be helpful to you as you plan for the big dinner.
If you are looking for general advice on Thanksgiving wine and hospitality, I'd encourage you to check out this article I wrote a few years ago on issues facing the host/hostess and the guests. If you are wondering what to drink with your meal, and with leftovers, you're in the right place. Here are my picks for 2008--all of which offer great taste and great value in an easy-to-find package. Clicking on the wine's name will take you to the winery's site where you can find more information about the wine and its makers. Many of the wines I picked this year are made with organic grapes, are farmed with sustainability in mind, and/or are made by families with great stories of how they got in the business of grape-growing and wine-making. Clicking on the range of prices will take you to a list of retailers who stock the wine. Maybe one will be near you.
Sparkling Wines What's a holiday dinner without some bubbles? These two picks are great for toasts, appetizers, brunch the morning after, or drinking with the main meal. Sparkling wine has great acidity, which means it pairs with most foods and there's no doubt that sparklers are festive. NV Roederer Estate Brut ($15-$20). For my money, this is the best value around in domestic sparkling wine. Expect tiny bubbles, aromas of brioche and Meyer lemon, and flavors of apples, toast, and nuts. Just as good with food as without.
NV Domaine Allimant-Laugner Cremant d'Alsace Rose ($16-$19). If you're looking for a pink sparkler, try this one. It' made with 100% Pinot Noir and has knockout fresh strawberry aromas with light berry, mineral, and citrus flavors. Like the Roederer Brut, this wine is as good with food as it is without.
Rosé Wines Rosé wines are perfect for turkey and all the side-dishes that make us groan afterwards. If you feel that rosé wines are too "casual" for a fancy dinner, don't forget the leftovers. Wouldn't a cool rosé be perfect on Saturday with your turkey sandwich? These rosé winesare dry, not sweet, and very refreshing. 2007 Fort Ross Pinot Noir Rosé($12-$16). Fort Ross makes some of the best Pinot Noir out there, and this is the rosé version of their wine. It's a beautiful color, with raspberry and strawberry aromas and flavors and a delicious stony note that keeps it complex and interesting. 2006 Jeriko Estate Rosé ($9-$13). This is a round and full rosé, with aromas and flavors of strawberries and minerals. If you don't like watermelon notes in your wine, you'll like this. Made with organic grapes.
White Wines I'm a fan of white wines for Thanksgiving. I like their freshness, and the way that they pair so beautifully with stuffing, gravy, turkey, cranberries, Waldorf salad--you name it, these whites will go with it. They're versatile and flavorful, but won't overwhelm the food. 2006 Brooks Riesling ($14-$19). This is not a sweet wine. It's dry in style, with aromas of lime, apple, Meyer lemon, petrol, and stone. You will taste lime, slate, currants, and a touch of honey which makes it ideal if you are serving smoked turkey or a turkey made with lots of spices. Exceptionally complex for the price. 2006 Adelsheim Pinot Gris ($14-$20). Delicious aromas of peach, honey, and a kiss of caramelized sugar, but there's lots of bright acidity to keep the peach and apple flavors in balance. This aromatic wine would be perfect if you are serving sausage stuffing, and while it may give a sweet impression it finishes dry. 2006 Mauritson Sauvignon Blanc ($13-$17). One of the best domestic Sauvignon Blancs I've had in a long time, made with no oak and no assertive aromas or flavors. Warm melon, Meyer lemon, and clementine aromas and flavors accompany fresh, grassy notes. 2007 Clif Bar Family Winery The Climber White ($13-$15). This white blend has a core of Sauvignon Blanc with the addition of Pinot Blanc (12%), Chenin Blanc (4%) and Muscat (3%). The result is a wine with good acidity but an impression of softness. Aromas of pink grapefruit and nectarine, and flavors of Meyer lemon, nectarine, and peach. 2007 Cupcake Vineyards Chardonnay ($11-$13; also available in CostPlus World Markets). A new label to me, this wine had clean and fresh apple and citrus aromas and flavors. There is a lovely creaminess to this wine, and a touch of mild oakiness. Very much like a white wine from Burgundy at a fraction of the price.
Red Wines There are a lot of people out there recommending Zinfandel for Thanksgiving. Unless you are very, very careful you may overwhelm your food with a jammy, high-alcohol wine. That's true for many other red wines, too. If you are serving turkey and lots of different sweet and savory dishes, red wines may not be your best bet. However, the ones below will not overwhelm your food--and the flavors may be just right for you if you like dark meat, or are serving something smoked or (gasp!) not serving turkey at all.
2006 Domaine du Vissoux/Pierre-Marie Chermette Vieilles Vignes Cuvee Traditionelle ($12-$16). Gamay is a low-alcohol, high-acid grape that produces fresh, zesty reds. You will smell cherries, berries and some chalk in this wine, and the flavors are pure, juicy Bing cherry with an earthy undertow and some mineral notes. 2006 MacMurray Ranch Pinot Noir Sonoma Coast ($12-$27) A great bargain in Pinot Noirs, this wine has high-toned cherry and raspberry fruit aromas, with a touch of allspice. There are flavors of cherry, raspberry, allspice, and fresh-baked cobbler with a terrific, silky texture.
2004 Quivira Zinfandel Dry Creek Valley ($18-$20). If you must, this is the Zinfandel to get. With aromas of black cherry, allspice, and cedar, and flavors of cherry, baker's chocolate, and pepper it has beautiful acidity and is very food friendly. This Zin feels and tastes more old fashioned and restrained--just the way I like them. The 2005 is also in the market, and while I haven't tasted it, ordinary drinkers on CellarTracker! seem to give it thumbs up, too. 2004 Bodegas Montecillo Rioja Crianza ($7-$12). If you think I'm nuts to suggest Tempranillo with turkey--trust me. I'm not. This is one of the great bargain reds, from Osborne's Bodegas Montecillo. There are aromas of roasted herbs and spicy berries, and nice, high-toned red fruit. Beautiful acidity and some dusty tannins make for a long, juicy aftertaste.
Whatever you serve on Thanksgiving, remember to relax and enjoy your friends and family. That's what the holiday is really all about!
Disclosure: The Adelsheim, MacMurray Ranch, and Clif Bar Family Winery bottlings were samples; I tasted both the Cupcake and Osborne wines at tastings. All other bottles were purchased by me over the last eleven months in a variety of brick-and-mortar and online stores.
Every fan of Pinot Noir will undoubtedly know the name of John Haeger.
As author of the highly acclaimed “North American Pinot Noir,” John literally wrote the book on the fascinating history and evolution of Burgundy’s illustrious grape variety here in the United States. John’s academic approach to both the research and the writing created an instant hit and a must-have treatise for most wine lovers. But, more than anything, it was destined to become THE book for domestic Pinot fanatics. Of course, its appearance at booksellers just months before release of the movie “Sideways” didn’t hurt sales either.
Now, four years later John Haeger has written another wine book, “Pacific Pinot Noir.” Since, as he notes, “96% of North America’s Pinot Noir comes from an area I call the Pacific Pinot Zone,” it was only natural for him to focus on an area extending from mouth of the Columbia River in Oregon to Santa Barbara in California and extending up to thirty miles inland.
Pinot Noir’s rise in popularity over the last several years owes much to the different personalities of the grape itself. Join us as we talk with author and lecturer John Haeger about Pinot Noir, and discover its unique place in the world of wine.
Brilliant article from the recent issue of Wine Spectator written by Matt Kramer (winespectator.com):
Recently I found myself in one of those wine wrangles that, truth to tell, I usually try to avoid. (Check out any wine chat board on the Internet if you've got a taste? for this sort of thing.)
The wrangle was with, natch, a winemaker?, while at a social event. It involved the winemaker's assertion that "fine wine is art." I pointed out, as modestly as I could, that there's no denying that nature surely doesn't make wine on its own, let alone fine wine (vinegar? is more like it). I then went on to say that fine wine is, at best, a high craft both in the vineyard? and the cellar?.
Probably, if I had stopped there, the discussion would have proved amicable. But I took the matter one step further. (You're shocked, I know.) I submitted that saying that winemaking, and therefore its result, is "art" was self-aggrandizing. You can imagine how that was received.
Now, I admit that the self-aggrandizing bit was a low blow. Still, it's true. If winemakers can get you, me and, especially, their employers to see them as artists, you know what'll happen: Their salaries will rise, and producers, for their part, will start pricing wine as "art." And you know what that means.
So why isn't fine wine "art"? The answer is surprisingly simple. Art is creation; wine is amplification. The big? difference between an artist and a winemaker is that an artist starts with a blank sheet while a winemaker works with the exact opposite. A grape arrives at the winery? with all the parts included, a piñata stuffed with goodies, just waiting to be cracked open.
Is there a craft to doing that? You bet there is. But where an artist conceives of something out of the proverbial thin air, no winemaker anywhere in the world can do any such thing.
For example, when my wine heroine Lalou Bize-Leroy bought the former Domaine? Noëllat in Vosne-Romanée and transformed it into Domaine Leroy, she did not create her magnificent wines from scratch. It was all right there in the hallowed ground and old vines? of her newly acquired pieces of Richebourg and Romanée St.-Vivant. She didn't create something from nothing. Quite the opposite.
Fine wine is not creation. It is refinement. If it were otherwise, then everybody would be "creating" Lafite Rothschild or La Tâche or any other wine masterpiece of singular, irreproducible expression and high price. Counterfeiting aside, I don't see anybody doing that, do you?
They don't because they can't. That's precisely why fine wine is not art. It comes from all the forces that create a particularity of site. Great winemakers?which is to say, expert practitioners of winecraft?tease what they can from the sites that are available to them by planting the right grapevines, growing them astutely, harvesting the fruit at an ideal moment (a problematic issue today given some winemakers' and critics' preferences for ever greater ripeness) and handling the fermented juice? in the cellar with deft control.
This is no small charge, and I, for one, do not seek to diminish it in any way. But art? Not a chance. The poet E.E. Cummings put his finger on it better than anyone else: "A world of made is not a world of born." Wine is no more a blank canvas than the Grand Canyon.
Why does this distinction matter? Because abstract though it is, if winemakers and, yes, wine lovers, see wine as art, then the essential connection between what a grape expresses from its site and what we expect is severed. If a winemaker is an "artist," then he or she, by artistic right, can and should modify the result to suit a personal vision separate from a "mere" expression of place.
However, if the finest winemaking is seen as a high craft, rather than art, the expectation changes subtly yet substantively. Where art presumes a blank slate upon which a personal vision necessarily is writ large, the notion of craft is more deferential. Like great parenting, it's a guardianship of something already largely complete. The goal is refinement and amplification of what's inherent. Think of what happens when parents do otherwise.
So it is with wine. All sorts of technological deconstruction and reconstruction now occurs in many wineries today, especially ones creating high-end?or at least high-priced?wines. They see themselves as artists and would like to convince you of same. If they can, well, you know how distorted the results can be?and who pays.
Matt Kramer has contributed regularly to Wine Spectator since 1985.
It seems obvious on reflection but it remains an important distinction to make, especially given the widespread labeling of wine making as an art form, particularly in wine marketing circles.
CHICAGO (MarketWatch) -- On a hot, sunny Friday here in September only days after the first Monday market meltdown, two well-heeled wine buyers battled each other at a private auction for the privilege of shattering a world-record price for a single case? of 1982 Chateau? Lafite Rothschild.
A Chinese buyer who flew in from Beijing for the Hart Davis Hart Co. auction won with a final bid of $54,970 -- a whopping $4,580.83 a bottle. At its release in 1984, a single bottle would have sold for roughly $100. A case of 1990 Romanee-Conti Domaine? de la Romanee-Conti that was released at about $500 a bottle sold for $179,250, or $14,937.50 each. A case of 2000 Chateau Petrus was bought for $57,360, or $4,780 a bottle. At its release, the price was $750 a bottle.
Such dramatic price appreciation is not the norm for wine investments, but it does underscore how lucrative and resilient investing in fine wine can be -- particularly so at a time when market volatility is deflating 401(k) accounts and retirement nest eggs, and low interest rates are choking returns on cash and other investments.
It seems appropriate that the mythical figure of the phoenix should enter my imagination when searching for metaphors that could describe the variable fortunes of Verdejo throughout Spain's history. Wine production in general suffered during particularly crippling plague outbreaks, the Moorish Invasions, Reconquista, Wars of Succession and more recently under Franco, among several other trials. Not unlike the development and refinement of viticulture in Burgundy and the Rheingau, however, Verdejo cultivation in the Iberian Peninsula has distinct monastic roots. This is not by coincidence either, as the Castillian countryside, including the more important towns such as Segovia, Ávila and Valladolid gave Europe culturally transcendent figures such as Sts. Juan of the Cross and Teresa of Ávila.
Famous saints aside, the Sanz family has been involved extensively since the revitalization initiated in the region since the 1970?s and 1980?s, along the likes of larger houses such as Marqués de Riscal. Rueda wines, having achieved D.O. status around that time, in 1980, allow for Verdejo to be blended with other local and international white varietals. Sanz produces another (orange label) Con Class Rueda, which represents this type of blend, though I personally find the 100% Verdejo much more exciting and interesting.
I?m quite thrilled that consumers in export markets are now able to find stand-alone bottles of Castillian Verdejo from resurgent Spanish D.O.?s such as Rueda. Along with the producers? adoption of a more updated, state-of-the-art approach towards regional varieties that the Spanish Institute for Foreign Trade (ICEX) people are striving to convey to foreign markets, I find it altogether more noteworthy to see the producers? attitudes themselves skewing towards their own tastes when it comes to the fork in the road that producing for said markets represents. The producer wonders: "What balance do we strike between what we believe regional, indigenous varieties such as Verdejo can achieve, and what North Americans or say, the Chinese and Japanese markets prefer in terms of taste and style?"
Argentines like myself are keenly aware of these issues, particularly when contemplating our neighbors from across the mountain range. The progressive viticultural methodologies and embrace of technology in and of themselves are assets that ultimately yield no rewards if utilized to please foreign sensibilities only. Heavy investment and updated production methods, in this case, however, have done well by Rueda producers?really well in fact. Wines like my pick for this week?s recommendation strike the balance needed to please all palates as well as embody the regional pride that has become a winning formula for many Italian and Portuguese producers (Vinho Regional and IGT appellation schemes, respectively). These artisan producers craft impressive wines where the regional varieties play center-stage roles, and more importantly, in which the style of the wine?s expression is crisp, delicious and sincere?pleasing to local and open-minded foreign palates alike.
My notes follow for the 2006 Con Class Verdejo Rueda D.O. by Sitios de Bodega:
This fine Rueda shows through as a clear lemon hue in the glass. The nose is pronounced and clean, staying true to the nature of this aromatic varietal, with green treefruit (green apple and pear), lively citrus, fresh grass, slight minerality, spice and floral hints. Don?t be fooled by the nose, this wine is from Castille and not Marlborough. Bearing in mind its aromatic profile, though, I?m not at all surprised that wines like this Verdejo are often blended with Sauvignon Blanc. Palate-wise, this one packs a serious amount of flavor into a pale, unassuming little transparent lemon appearance, with thick glycerin and ripe green apple slashed through with intense, lime-citrus acidity. The perfumey floral and grassy fumes here are not to be taken lightly, as they mimic an Altoids-like strength and shoot up behind the nasal passages and subsequently haunt the afterbreath. The lovely finish sticks around quite a bit, with added minerality, warm spice and a grassy angle of pear-green apple flavors lingering in the afterbreath. My last impression that I?d like to convey would be to think twice before pairing this beautiful, personality-packed Verdejo with a crab dish or some other white meat that doesn?t intrinsically hold up much in the way of concentrated flavor.
It seems appropriate that the mythical figure of the phoenix should enter my imagination when searching for metaphors that could describe the variable fortunes of Verdejo throughout Spain's history. Wine production in general suffered during particularly crippling plague outbreaks, the Moorish Invasions, Reconquista, Wars of Succession and more recently under Franco, among several other trials. Not unlike the development and refinement of viticulture in Burgundy and the Rheingau, however, Verdejo cultivation in the Iberian Peninsula has distinct monastic roots. This is not by coincidence either, as the Castillian countryside, including the more important towns such as Segovia, Ávila and Valladolid gave Europe culturally transcendent figures such as Sts. Juan of the Cross and Teresa of Ávila.
Famous saints aside, the Sanz family has been involved extensively since the revitalization initiated in the region since the 1970?s and 1980?s, along the likes of larger houses such as Marqués de Riscal. Rueda wines, having achieved D.O. status around that time, in 1980, allow for Verdejo to be blended with other local and international white varietals. Sanz produces another (orange label) Con Class Rueda, which represents this type of blend, though I personally find the 100% Verdejo much more exciting and interesting.
I?m quite thrilled that consumers in export markets are now able to find stand-alone bottles of Castillian Verdejo from resurgent Spanish D.O.?s such as Rueda. Along with the producers? adoption of a more updated, state-of-the-art approach towards regional varieties that the Spanish Institute for Foreign Trade (ICEX) people are striving to convey to foreign markets, I find it altogether more noteworthy to see the producers? attitudes themselves skewing towards their own tastes when it comes to the fork in the road that producing for said markets represents. The producer wonders: "What balance do we strike between what we believe regional, indigenous varieties such as Verdejo can achieve, and what North Americans or say, the Chinese and Japanese markets prefer in terms of taste and style?"
Argentines like myself are keenly aware of these issues, particularly when contemplating our neighbors from across the mountain range. The progressive viticultural methodologies and embrace of technology in and of themselves are assets that ultimately yield no rewards if utilized to please foreign sensibilities only. Heavy investment and updated production methods, in this case, however, have done well by Rueda producers?really well in fact. Wines like my pick for this week?s recommendation strike the balance needed to please all palates as well as embody the regional pride that has become a winning formula for many Italian and Portuguese producers (Vinho Regional and IGT appellation schemes, respectively). These artisan producers craft impressive wines where the regional varieties play center-stage roles, and more importantly, in which the style of the wine?s expression is crisp, delicious and sincere?pleasing to local and open-minded foreign palates alike.
My notes follow for the 2006 Con Class Verdejo Rueda D.O. by Sitios de Bodega:
This fine Rueda shows through as a clear lemon hue in the glass. The nose is pronounced and clean, staying true to the nature of this aromatic varietal, with green treefruit (green apple and pear), lively citrus, fresh grass, slight minerality, spice and floral hints. Don?t be fooled by the nose, this wine is from Castille and not Marlborough. Bearing in mind its aromatic profile, though, I?m not at all surprised that wines like this Verdejo are often blended with Sauvignon Blanc. Palate-wise, this one packs a serious amount of flavor into a pale, unassuming little transparent lemon appearance, with thick glycerin and ripe green apple slashed through with intense, lime-citrus acidity. The perfumey floral and grassy fumes here are not to be taken lightly, as they mimic an Altoids-like strength and shoot up behind the nasal passages and subsequently haunt the afterbreath. The lovely finish sticks around quite a bit, with added minerality, warm spice and a grassy angle of pear-green apple flavors lingering in the afterbreath. My last impression that I?d like to convey would be to think twice before pairing this beautiful, personality-packed Verdejo with a crab dish or some other white meat that doesn?t intrinsically hold up much in the way of concentrated flavor.
An amazing dinner at Tetsuya’s last weekend to celebrate a friend’s birthday, I’ll let the tasting notes and the pictures of the wine then food tell the story.
1981 Krug This is a wine that I have always wanted to try (being my birth year) and I was very lucky to get the chance on this night. Golden coloured, with a lazy, meandering bead. Powerful ginger, spice, earth, toffee, creme brulee and cedar aromas on the nose. Incredibly deep flavour and complexity, with fresh acidity sweeping over the palate into a long and memorable finish. Kept improving the longer I left it. 97/100
1982 Krug A year and a half ago I had this wine from the same source and it looked a touch awkward (while still being excellent), but tonight it was much improved. Light gold colour with straw highlights, an insanely fine bead - probably the finest I’ve ever seen. Aromas of almond, coffee, black truffles, vanilla and ginger came to the fore as the wine warmed up in the glass. The palate is vibrant, with great acidity laid over complex flavours. Still developing, another 5 years and I think it will be close to maturity. 95/100
1990 Domaine Zind-Humbrecht Hengst Gewürztraminer Vendange Tardive Golden coloured, this wine possessed an ever shifting, evolving nose of spices, honey, lychee, pineapple and rose petals. The palate possesses an astonishing balance between weight and refreshment. Rich, complex, deep and softly sweet, but with superb acidity, focus and purity of fruit. None of the oily or warm alcohol characters I often get from this grape and region. Close to the best Alsatian wine I’ve ever had. 96/100
1965 Lindemans Bin 3110 Hunter River “Burgundy” (classic release) This is one of the legends of Hunter Valley and Australian wine. Still deeply purple coloured, fading slightly to red at the rim. The nose is intoxicating and layered with notes of earth, tobacco, liquorice, leather, blackberries and five spice. The palate is so composed and well balanced. Harmony reigns among the various elements right up to the long finish. Very different in style to some other great old Australian wines I’ve tried, but superb in its own right and very representative of the Hunter Valley. 97/100
1953 Domaine J. Faiveley Nuits-Saint-Georges 1er Cru Les Saint-Georges Very lightly coloured. The nose on this wine was one of the most unique I have ever seen, along with cherry, earth and spices there was a beguiling character that I followed for some time, in the end only being able to describe it as akin to tropical fruit! The palate has superb definition and the structure that has allowed it to live to this age is still clearly evident. If there is one shortcoming, it is that the fruit is a touch thin, but otherwise the balance is very good - it seems that those famous Faiveley tannins do eventually integrate (it just takes 55 years! ). 94/100
1990 Domaine Leroy Clos de Vougeot This wine is a strong argument in favour of the excellent reputation of this fine estate. A bold, brooding nose of cherry, strawberry, liquorice, black tea, game and forest floor. There is a richness to the palate, but it is finely textured and exists alongside the structural elegance of the wine rather than pushing the palate around and dominating. Drank well tonight, but will continue to improve over the next 10 years. 95/100
1966 Château Palmer (Margaux) Youthful in colour. A nose that has both primary and secondary characters wound together with raspberry, cedar, tobacco, cinnamon, violets and graphite. The palate is velvet smooth, this is an absolute pleasure to drink. The elements of the palate are resolved in full and work together in harmony. Classic top-shelf Bordeaux. 96/100
1975 Château Lafleur (Pomerol) Corked A few were brave enough to taste this and proclaimed that underneath the taint it was exceptional, but I was not willing to try. NR/100
1990 Gaja Barbaresco Sori Tilden (Piedmont) Deeply coloured. One of the most complex, haunting and evocative noses I have ever had the privilege to experience - there were aromas of blackberry, rose petals, anise, pine, smoke, plum and layers more - with every sniff there was something new uncovered. There is a wonderful intensity to the palate, it is as though all the elements have been magnified but somehow remain in balance with a wave of pure fruit, striking acidity and the finest of tannin. On a night of legendary wines, this wine somehow rose above and was my favourite wine of the evening. I don’t give out 100 point scores often (4 wines so far) … and I’m not going to for this, but I really feel like I could, it is so very tempting. 99/100
1982 Penfolds Grange A nose of blackberry, cedar, liquorice, vanilla, red and black currant. Youthful and very fresh with bold and bursting with flavour, but maintains its balance across the long length of the palate. Drinking beautifully well now. Consistent with the previous bottle I tasted a year prior, one of my favourite Granges. 95/100
1990 Lindemans Sesquicentenary Release Coonawarra Cabernet Sauvignon (magnum) 91% Cabernet Sauvignon, 9% Shiraz. An aroma of tomato leaf dominates the nose, behind it are some notes of raspberry, blackberry and a touch of briar. The texture of the palate is good with elegant primary fruit characters and good balance. Drinking well now but will develop and improve over the next 10 years. Was not shamed among some of the great wines from around the world. 91/100
1928 Marc Brédif Vouvray A dazzling light straw-golden in colour. The aromas were surprisingly fresh - lots of pear, apple, honey, blueberry, ginger, oats and cloves. Amazing acidity and depth still present on the palate. It actually got better after an hour in the glass, taking on extra weight of flavour. This wasn’t showing any signs of falling apart, maybe good bottles will live forever! 94/100
1981 Jakob Gerhardt Niersteiner Frauenkirchner Bouvier and Traminer TBA (Austria) Deeply coloured, almost like a tokay, but with strands of gold. Deep scents of apricot, marmalade, honey and apples. Great depth on the palate, with strong sweetness and a viscous mouth-feel balanced by very good acidity. Great persistence. Drink now. 93/100
1968 d’Oliveira Reserva Boal Madeira (Portugal) Nutty, burnt toast, caramel, banana and a very familiar medicinal aroma from my childhood (possibly amoxicillin). There is a bitterness to the palate and the alcohol stands out. It is very long and intense, but I couldn’t really get into this. 86/100
Chestnut Mushroom Soup with Truffle Salt
Italian White Roll and Truffle Butter
Smoked Ocean Trout and Avruga Caviar with Scallop Mousse and Quail Egg
Leek and Crab Custard
Grilled Scampi Wrapped in Pancetta
Scampi in Sea Water and Lemon Scented Olive Oil
Marinated Scampi with White Miso and Passionfruit
Confit of Petuna Tasmanian Ocean Trout with Konbu, Apple, Fennel and Witlof
Antarctic Black Cod with Globe Artichoke and Yuzu Vinaigrette
Roasted Breast of Quail with Soft Polenta and Shiitake Mushrooms
Slow Roasted De-Boned Rack of Lamb with Blue Cheese and White Miso
Grass Fed Angus Beef Fillet with Blewitt and Chestnut Mushrooms
Cheese
Apple Sorbet with Apple Jelly
Mont Blanc
Apple Tarte Tartin with Calvados Cream Ice Cream
Chocolate Terrine with Mascarpone and Cognac Anglaise
Au Jardin Les Amis (”The Friends, In the Garden”) is situated in the tranquil Singapore Botanic Gardens, on the second level of an 1920s home. We were seated on a glass enclosed balcony with a relaxing view of the gardens. It is a wonderful setting and was a great place to spend some time on my last day in Singapore.
The service was attentive, professional and was invisible except when needed. The food was very good, it wasn’t innovative - but with clean, elegant and pleasing flavour profiles it was memorable for the taste and technique. I have read that this venue can have good and bad days, and I think this must have been a good day as everything seemed to go well.
Like Iggy’s, the price was more than fair - the meal consisted of an amuse bouche, an entree, consommé, main course, dessert, les mignardises and coffee and cost $52 AUD (including 7% GST and a mandatory 10% service charge) per person plus wine. I guess when every corner of the city has wonderful (and cheap) food, you have to be fair to stay alive.
The wine;
The wine list is extensive and full of very special bottles, as well as being generally well above my budget!
Donnhoff Oberhauser Leistenberg Riesling Kabinett 2006 (Nahe, Germany) - 8.5% alcohol - Donnhoff is very quickly heading toward the top of my favourite Riesling producer list. This had aromas of sea salt, pears, tea leaves and mandarin. Delicate and long on the palate, there is some lovely fruit sweetness balanced by superb acidity. Lovely drinking now, but will age well over the next 10 years. 91/100
Bonneau Du Martray Corton Charlemagne Grand Cru 1992 (Burgundy, France) 375ml - 13% alcohol - Golden straw coloured. Butter, sesame, toast and honey aromas on the nose. Rich and creamy mouthfeel, with enough acid to keep the palate from being flabby. Very good length and texture. Drink now and over the next couple of years. 91/100
Tecnorati
2. Cru Beaujolais can age, maybe even longer than you think
SPIT: too little
).
A few were brave enough to taste this and proclaimed that underneath the taint it was exceptional, but I was not willing to try.
