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Here is a really fantastic recommendation for those of you who may already enjoy Austrian whites, as this wine has the capacity to detonate or reignite even the faintest bystander?s interest in Grüner Veltliner. If you have had Grüner and did not think much of the variety, I highly recommend giving Hofer?s an honest chance.
The label on this favorite of mine, in the spicy-white category, reflects Austria?s recent experimental appellation system of DAC?s, standing for the Latin, Districtus Austrić Controllatus. Notwithstanding the seemingly imposing, archaic or superficially impressive appellation name (depends how you wish regard it), the crucial element to consider here is that Hofer?s wines are crafted seriously, so enjoying them turns out to be quite effortless. This Grüner sees time in stainless steel and is sourced from their Freiberg site in Weinviertel, one of Austria?s largest and most significant wine producing regions, in the northeast of the country. Should organic wines be of interest to you, Weingut Hofer belongs to Bio Ernte, a group whose producers operate on slightly different, some would argue higher, organic cultivation and production standards than even those dictated by say, the EU.
My notes: Pale, clear and golden. Clean nose with lovely stone fruit, spice, as well as mineral and floral elements. The palate is dry, with fresh, zesty lime acidity and slightly Riesling-like stone fruit, rocky minerality and spicy white pepper. These flavors, particularly the great peach/apricot flavors and white pepper, pervade the aftertaste.
Sitting in front of the computer preparing to sum up my experience at the European Wine Blogger Conference, I literally feel speechless. Are there words for my emotions, my feeling of warmth and excitement for what’s occurred, along with a touch of sadness and depression I’ve been feeling now that the conference is over? It’s like using an instant camera with the intention of capturing the breadth and beauty of the Grand Canyon. Unless you were there, feeling the hot canyon winds come across the 1,218,375 acres that dip down an average of 4,000 feet deep; smell the rich evergreen and sandalwood aromas in the air; or touch the blazing hot iron soils which kick up fine, red dust under your feet, pictures nor words can never fully describe your experience.
On one hand, I feel a warmth in my heart that has lasted for four days, and I expect it will last well into the future. To see 40+ people from all over the world come together and bond in literally, moments flat, was something we wish would happen among nations everyday. From Friday to Sunday, voices were always raised, bubbling with curiosity and excitement; because how often do you get to speak with someone who blogs in another language as to their perceptions, desires, hopes and fears about wine blogging? For me, not often enough. Instead, I am typically caught in a whirlpool of voices from my own culture, an incestuous conversation that circles around the same view point over and over again. But to have so many different ideas as to what wine blogging is, what we need to do to better our profession, how we can solve our problems, and where we can find solutions was beyond a breath of fresh air, was astonishing! And although we never came to any solid conclusions, we did solidify trust among us, breaking down both cultural and language barriers that hinder our communication to form a cohesive and passionate group willing to continue the conversation well into the future.
Just to give you an idea of the depth of conversation we were able to share, I had a great discussion during dinner on Saturday night with David Cray from Carleton University in Canada on how he can blog about his research on the structure and organization of wine bloggers, allowing us to see step-by-step what has worked and what hasn’t worked in his research. All six wine producers from Portugal, France, Germany and Italy chatted about how they are interested in both tasting and blogging about each others wines to emphasis the fact that even wineries drink other peoples wines. With Justine Keeling, a winery owner out of Tuscany, spoke of her genuine desire to have wineries speak honestly and openly about the daily experiences in the vineyards, rather than promoting only the positive events. Giampiero Nadali offered us some wonderful and innovative ideas on using hedonistic, rather than traditional, tasting notes. And Thomas Lippert offered up his insight on how wine bloggers can increase their credibility by separating themselves from spam and wine aggregators. Granted, this is only a tiny percent of the conversations that were dissected and debated, but it at least gives you a general notion of how receptive many people were in sharing their thoughts. We’ll be going into more detail in the coming days regarding many of these topics.
Oddly, despite these incredible feelings regarding the conference, I am also going through post conference depression (PCD). When I went to drop off our gigantic van filled to the hilt in leftover wine (no complaints, mind you), I literally broke down in tears in front of the Hertz attendant. Among a cloud of exhaustion and excitement, I felt an enormous sense of loss. I wanted my 40+ new friends back. I wanted to have the ability to call someone up and go out for a drink. I missed their kindness, their positive attitudes and the hours upon hours of belly aches I had from laughing nonstop. Look, I’m tearing up again!
I’ll stop before I get my cast wet, but please know that we couldn’t have done this without your belief in us and your willingness to come hundreds, if not thousands, of miles to La Rioja.
Saludos,
Gabriella Opaz
Here are a few pics from Ryan’s camera of what happened, enjoy!
At the recent Albany event at the Desmond, I had a chance to meet Chris Reno of Chateau Lafayette Reneau. I chatted with him for a while, and tasted some of the exciting new varietals. Always a personal favorite, I wanted to try their riesling.
The riesling did not disappoint. It had a wonderful nose and an excellent balance between fruit and acid. Still one of my favorite rieslings.
They also had an exquisite dry rieslign as well. Absolutely fabulous!
There are a lot of things that I would like to change about wine in America. I'd love to lower the prices, reduce the influence of scores on buying patterns, increase consumption, broaden the varietal mix, and on and on. I've got a long list the next time any omnipotent being comes along and asks my opinion on the situation.
But if I had to choose one thing, above all else, that really needs changing when it comes to America and wine, I would choose to destroy the association between wine and the upper class. The fact that wine continues to be thought of as the beverage of the elite does more damage to the future of the industry in this country than any other phenomenon, in my opinion.
America, it must be said, did not get off on the right foot when it comes to wine. The religious zealots that founded this country were notorious teetotalers, of course. But those who followed the Puritans were Europeans of all stripes and colors, and most had a common familiarity with and appreciation for wine. Indeed, on the face of things, America could very easily have inherited their cultural predisposition for wine on the dinner table.
But it didn't for one primary reason. No one could get the damn grapes to grow right. Attempts were made for years with both imported vines as well as the many various native vines that got the early colonists so excited when they arrived. For a while, America was thought to have the potential to build a wine industry that would flourish by exporting wine back to continental Europe.
But even with the help of the many Huguenots and other wine savvy folks who arrived on American shores with no shortage of expertise in viticulture, very little progress was made. The climate was just all wrong.
Which meant that any real quantity of wine had to be imported, and that meant money, and therefore ensured that for the most part, the upper classes had the means to drink wine, and the masses made do with the products of the bountiful grains and apples that flourished here. In short, most everyone drank a lot of beer, cider, bourbon, and whisky, while the Thomas Jeffersons, Ben Franklins, and other early statesmen of America nursed their imported collections and did their best to encourage local efforts to make wine, but to no avail.
And so, if you'll forgive me squeezing and reducing a lot of complex history into a few sound bites, after about 200 years of this sort of social division, it's no wonder that, for the most part things just stayed that way. The industrial revolution widened the gap between rich and poor, engineering an even greater difference between the consumption habits of the upper classes and the lower classes. There were upswings of interest in wine, especially when people actually started to figure out how and where to grow grapes properly, but by then it was too late. Prohibition (and the rapid recovery of beer and whisky production upon repeal) put the nail in the coffin, and set the stage for people like Robert Mondavi to come along and make the valiant effort to remind everyday Americans that wine belongs on the dinner table every day. And they're still trying.
Meanwhile, wine to many people represents the intimidating, elitist, and snobbish rich. Sarah Palin's quips during the recent campaign about the wine and cocktail drinking elite perfectly illustrate the way that many people think about wine. So too do the many comments on a recent New York Times blog about the words that are used to describe wine. I can't tell you how sad it makes me to see how many people think that attempting to describe the flavors and aromas of wine is an exercise in pretension and snobbery.
But it gets even worse. It's bad enough that the average beer loving American (whoever that is) at best thinks that wine is really just for special occasions, and at worst believes that the people who drink it are rich, stuck-up, pedants. But unfortunately, a lot of wine lovers actually act that way.
In many ways the culture of wine appreciation in America encourages this sense that wine is a luxury for the knowledgeable few. We have the specialized stores. The pomp, ceremony, and mystery that surround wine in conjunction with fine dining. The astronomical prices of top wines in the market. And of course, we have the Big Boys. You know the ones I'm talking about, right? The wine assholes.
Men who feel like they own the province of wine are just the start of our problems. Worse are the ones who also like to reel off the great wines of the world they have drunk with the same gusto as they might bedroom conquests. These are the ones that recoil in horror at the thought of sharing a bottle of 1989 Lafite with their "know-nothing cousins from Des Moines" and instead prefer to save their best bottles for wine dinners that attempt to be the oenological equivalents of an evening with Annabel Chong.
But as much as I sometimes want to punch some of these people in the mouth, I don't see the wine snob as a clear perpetrator of the problem. They're just as much another symptom of the basic travesty -- that somehow we've gotten to the point where wine is far too special. And just as with anything that has cachet, wine in America has become something that many Americans think is only for certain kinds of people. Those wine people.
Of course, this rant of mine paints a rather stark, divided world, which belies the true reality of the marketplace. America is not just a collection of beer drinkers vs. wine drinkers any more than it is a collection of red states vs. blue states. And the country is slowly coming around to wine, thanks to many different factors, not the least of which are the backlash against carbohydrates and the media hype about resveratrol.
But we've got a long way to go to get to an American wine scene that I'll be satisfied with. There are a lot of myths to shatter, a lot of attitudes to adjust, and a lot of evil distribution monopolies to crush before Americans get used to having good wine on their tables every day. But perhaps most importantly, there's a lot of wine that needs to be shared among friends -- a lot of wine that needs to be enjoyed without the trappings of ceremony or status, but instead with the simple appreciation for the fact that we are all so very lucky for what we have.
Go forth and drink without fear, and spread the wine love.
Another summer is quickly coming to an end, and I hope everyone got a chance to visit their favorite local vineyard for a tour or a wine tasting. The highlight of my summer is always being able to visit the northern Michigan wineries. This summer, I got a chance to go up to the Leelanau Peninsula several times, and each time was memorable.
Leelanau Cellars is, by far, my favorite place to visit up north, especially because of the tasting experience. You don’t feel limited of how many wines you can taste, and the staff working the tasting room are VERY knowledgeable and friendly. I left with about 16 bottles of wine the last time I visited! If you are looking for some odd fruit wines, this is the place to go.
The wine: I shared a bottle with my new roommates in Grand Rapids. All three of us loved it.
Matt: “Delicious with chips and dip” Casey: “It would be a good winter wine. Surprisingly smooth!”
I enjoyed this 5 dollar bottle of wine with a thin-crust pizza and it was great. The wine was rich, and had a lot of flavor. I could taste the typical hints of cherry that most Michigan wines boast.
Summary: Great job, Leelanau Cellars! I look forward to coming back next year! Rating: 9/10 - Excellent! Price: 5 bucks Winery Information: Leelanau Cellars Leelanau Wine Cellars 12683 E. Tatch Rd (County Rd. 626) Omena, MI 49674 (231) 386-5201
Zinfandel a desert wine? If it's from the masters of the zen of the zinfandel grape--you betcha!
Dark black cherry pigmentation with raisin, currant, black cherry, coconut and prunes--and that's just in the bouquet.
Palate--rich, sweetness of each of the fruits mentioned above but all in wonderful harmony. This was a surprise.
I had only one other late harvest Zin (fromTemecula, Ca.) and it was not appealing. Of the Rosenbluml I wrote in my journal, "Delicious! Delicious! It will run you around $24 for 375ml but I'd have to say it was, uh--delicious--so raise a glass!
The New Facility, open to the public--NOW! This Fantastic New Facility is Designed Exclusively for the Creation of Napa Valley Cabernet Sauvignon; Featured at the Oakville Tasting Room are Vertical Tastings and New Offerings for all Guests.
Silver Oak Cellars, producer of Cabernet Sauvignon from both Napa and Alexander Valley, has announced the opening of its new winery and tasting room in Oakville. Re-built from the ground up after the original facility suffered a fire in 2006, the winery is designed to produce one wine only, the Silver Oak Cellars Napa Valley Cabernet Sauvignon. Its first grapes were received September 1st. The new timber-framed tasting room features reclaimed stone, oak and redwood and is evocative of the original tasting room built in 1981. Open September 29th, the winery is certain to remain a beloved Napa Valley destination.
I've just finished going through a clutch of Hollick reds. I always think of them as one of Coonawarra's better producers, though clearly in recent years they've invested more and more in the nearby Wrattonbully region. I tasted through the following wines:
... and I was expecting that the Hollick Coonawarra Cabernet Sauvignon 2004 would come out clearly on top. It didn't. Indeed it wasn't even a Coonawarra wine that I preferred the most.
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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 pińata 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.
My first selection for these troubled times is the second most popular wine reviewed here by pageviews, the Petite Sirah by Crane Lake. This label is made by Bronco Wine Company who also produce the Charles Shaw brand for Trader Joe’s. Crane Lake is offered to independent retailers and typically sells for a couple dollars more than the more famous “2-buck Chuck.” Another difference is that more than just the typical varieties are offered, including this Petite Sirah and even a Sangiovese.
Petite Sirah is a good variety to look for in value wines these days as it flies a bit below the radar of most consumers. Many of the best examples can be found for less than $20 a bottle but I was interested in what you could get for $4. I picked up the 2004 vintage a while back but did not review it was a bad bottle, but I was able to track down the 2005 vintage for this tasting.
Tasting Notes:
Crane Lake, Petite Sirah 2005 ($4) - Dark purple-black color with aromas of blueberry compote and white pepper. Simple and juicy blueberry and plum flavors with some black pepper finishing with plush tannins and good acidity. Clean and surprisingly varietally correct.
Composite cork closure 12.5% ABV Rating: 3 out of 5 stars
As the summer turns up the heat and the sounds of BBQs, street festivals and music, sweet music waft through the air, the chiming of Mojito glasses can be heard. To celebrate this classic drink, Tidings has commissioned two recipes...
It is home to over one third of all vines planted in France. Yet, how the Languedoc adjusts to world glut in grapes will have a profound effect on its future. Once responsible for massive amounts of low quality grapes, growers in the France's south have had to make a choice as competition from other countries have made this a less viable business.
Faced with the option of simply pulling out vines, a new generation of winemakers have chosen to make higher quality wines. While lower yields have improved the wines, putting more emphasis on more marketable grapes like Syrah and Grenache have no doubt made them more attractive to today's varietal conscious consumer. However, this second decision has come at a price.
The Carignan grape, indigenous to the south, has suffered as many growers have switched to Syrah and Grenache. Carignan can do wonderful things if given the opportunity, adding color, structure, depth, as well as dark cooked fruits, licorice and earthy aromas. However, since it is often relegated to the more fertile plateaus where it over produces, it can become rather innocuous.
At a recent tasting of Languedoc wines, the bottles that had appreciable levels of well-grown carignan were the ones that stood out. If you place a value on the importance of regional ?distinctiveness,' look for those Languedoc wines with higher percentages of this grape. Coteaux du Languedoc 2001, Mas Jullien One of my favourite producers is Olivier Jullien. His estate, Mas Jullien, is spread out over 15 acres around the village of Jonquiers, just north of the Mediterrean coast and the city of Montpellier. I have already reviewed his Mas Jullien Blanc, a six grapes blend that includes Grenache Blanc, Viogner and Chenin Blanc, and to my taste is one of the most distinctive and interesting whites in France that requires years of cellaring to reach it's apogee.
His red, a blend of Carignan, Syrah and Mourvedre, is no less interesting. Like many carignan based wines, it requires a couple of years of cellaring to iron out some of the rougher edges, but it rewards patience like few wines from the region. This was my fourth bottle (I still have two left).
Drunk to the tune of a big juicy steak.
Deep purple in both color and style. Like Richie Blackmore's guitar playing, Jullien combines virtuosity with power, beauty without being very pretty. It smells and tastes of dark plums, marinated in licorice and sweet spices. Rich and concentrated, the tannins melted away to a dense, powerful and harmonious finish. This is not the new dulcimer Blackmore, but the Richie of Old.
Following the theme of my last post about Americans? increasing awareness of the quality wines that many artisan producers of Argentina are exporting, I?m pleased to post the first installment of my interview with Ed Lehrman of Vine Connections. Along with his business partner, Nick Ramkowsky, they formed a company that not only imports the wines of artisan Mendoza producers, but selectively forges meaningful, long term relationships with them. As Ed Lehrman explains in the interview, this type of involvement encompasses much more than shipping and distribution, extending into representation, consulting, label design and many other crucial aspects which in the end, bring American consumers the types of genuine artisan wines that multinationals couldn?t even conceive of delivering.
Based out of Sausalito, CA, Vine Connections has been at the forefront of the changing of the guard, in terms of tastes, that I described in my last post. Their portfolio includes excellent California, New Zealand and Japanese Saké producers, alongside the wines of star Mendoza winemakers Susana Balbo and Pedro Marchevsky, along with others to look out for, such as Mapema, Tikal and La Posta del Vińatero. If you really want to know what Argentines really like to have at the table and moreover, the breadth that Argentine wines are capable of achieving, I encourage you to explore the types of artisan producers that Vine Connections represents and whose work, over the coming years, will ultimately triumph over the characterless, corporate-backed South American wines saturating our shelves.
I would like to thank Ed Lehrman for taking the time to provide his in-depth responses concerning Vine Connections, its vision and inspiration. Our conversation unfolded over e-mail:
*What is the vision behind your company and what were some of the key experiences that led you and your business partner to get started?
- My partner, Nick Ramkowsky, and I have both been in the wine business since 1986 (we started very young), and we could have done any number of things together. Nick was a small California distributor at the time, and I had just sold my direct-to-consumer wine business where he had been one of my suppliers. A fateful trip together in May of 1999 launched us into the importing/national sale & marketing business. We spent about a week in Mendoza on that trip tasting wines from bottle, barrel, tanks?you name it?and we met some incredible winery owners and winemakers. By the end of the week, we were looking at each other and asking, ?How does the 5th largest wine producer in the world hide incredible wines like these from the US?? It seemed like this must be the opportunity of a lifetime for wine guys like us to lead the charge in introducing Argentine wine to the US, and in a way that they would be fully appreciated for their quality and authenticity, and not just their price. As an aside, of the first 12 wines we imported from Argentina, the LEAST EXPENSIVE wine was $22 retail! So in fact, Vine Connections was originally formed in order to be an Argentine wine importer. *Compared to other importers, what is the depth of Vine Connection's involvement with the producers its represents? (in terms of consulting, marketing, other assistance, etc.)
- It is hard to speak about other importers, since some do quite a lot and some just taste and buy. As for us, we take the approach that we are the winery?s own sales & marketing department and they can use us for as little or as much as they need. That may mean writing back label copy, helping with label design, or determining whether a new blended wine is even a good idea to add to their portfolio.
For all of our wineries, we do the copywriting for all printed materials since we can communicate their stories in English more effectively, and along the same lines, we handle most press relations since we are here and readily available. And I guess the most valuable thing we do would be called ?consulting? since we offer our advice on many topics based on our 40 years of working in the U.S. wine biz. *How does your company forge relationships with producers? In this vein, what is the process like for you when considering an addition to your portfolio? Do the producers come towards you in the way of trade events, do you travel to areas to scout, so to speak, or some combination thereof?
- We are very careful in this regard since our objective as an importer is to build brands and not just sell wine. That requires long-term relationships, so besides tasting backwards and forwards through a winery?s production, we spend as much as time as we can with the owners and the winemakers to see whether there is a good fit for working closely together. When we meet people who already think they know it all about winemaking, marketing, etc., we politely walk away no matter the wine quality. Our initial screen is the wines?they have to be particularly good since that is what we are known for importing. Then we start talking about their philosophies, their dreams, their business objectives, and where we should all eat dinner together (a meal with a potential supplier is always a good way to gain more insight).
This process means that while we have run into some wines that we like, we have sometimes been unwilling to take the winery on. The most common stumbling block for us seems to be that the winery lacks a strong winemaking philosophy, and often because they have abdicated this cornerstone to a consulting winemaker (and most often to foreign winemakers). As time has passed, we have pretty much settled into the idea of only representing wineries owned by Argentines and with Argentine winemakers since the winemaking vision is usually clearer and more grounded in expressing what makes Mendoza so special compared to other regions.
From the first moment that we meet a winery team, it usually takes about 18 months before we come to an agreement, do the ground work, and then start selling the wines in the U.S. It seems to work--we have never lost an Argentine winery and every brand that we represent has achieved a significant level of success.
I wish I could say that finding these producers followed a particular recipe, but in truth, all of our brands have come to us via different sources. The key is to have your radar on all the time so that the best ones don?t slip by accidentally.
*You represent Susana Balbo and Pedro Marchevsky's Dominio del Plata Winery?how did that relationship come about and how far back do you go?
- Well, if it weren?t for the ?dynamic duo? of Mendoza, we may never have been Argentine wine importers. We met them on our first trip to Mendoza in 1999, and they were so obviously talented and knowledgeable that they got us thinking a lot about the possibilities. We also formed a trusting relationship so quickly that it became obvious that we would work together, and together push forward a common vision of making Argentine wine part of the daily American fine wine conversation. That seems like an ominous task looking back now?we had no company yet and they were renting a very small winery at the time?but at the time it just seemed like destiny.
I had an excellent California Pinot Noir last week at 1 restaurant in West Hollywood on the recommendation of the sommelier, Rory Harrington. The 2005 Ambullneo Vineyards Pinot Noir Santa Maria Valley was rich and luscious, with loads of ripe strawberry, light earth character and hints of smoky oak.
What does it take to be a pioneer in the wine business? Vision, drive, a great love of wine, and of course, money. Dr. Piya Bhirombhakdi found himself in possession of all of these prerequisites and so in 1989 he fulfilled his dream and started PB Khao Yai Winery.
The Bhirombhakdi family are no strangers to the beverage industry. They founded Thailand's first brewery in 1933 and so it is only fitting that they should also lead the way in wine making. Today the PB Winery produces over one million bottles of wine annually from 130 acres of vineyards.
The ubiquitous Syrah and Chenin Blanc are well represented, but PB's Tempranillo which is not widely planted in Thailand, it is also amazingly good. This Spanish grape seems an obvious choice for the warm climate of these southern latitudes. I expect to see more of it from other producers in the future.
The large area of plantings allows PB to source grapes from a myriad number of micro-climates. This not only gives the fruit a variety of characteristics, it helps to mitigate the chance of disaster. Mildew may pop up in one side of the vineyard, but down the dell and around the corner chances are the vines are safe.
The banana trees that can be seen from the vineyards are the only indication you have that this is not your ordinary grape growing region. One of the first of the "New Latitude Wines" as they refer to themselves in Thailand, PB's vineyards are among the most mature and healthy of those we witnessed.
The entry level of wines go by the charming name of Sawasdee, which means "hello" in Thai. True to their name the wines are welcome and a good place to start. The Pirom line is in the middle, with PB Reserve taking the top position. Chenin Blanc can be found at all three levels, and Shiraz at the top and bottom, but Tempranillo is only used for the Pirom wines.
The winery and vineyards are open for tours and the Great Hornbill Grill is the on site restaurant. We had quite the feast when Piya himself hosted us, but any visitor will enjoy their selection of Thai and Western dishes. In the mood for something simple and familiar? A wood fired pizza and plenty of Singha beer on tap may be just the thing you are looking for.
400 people a day on the weekends come to marvel at this wine estate. Set among the jungle growth of this tropical locale, it is situated less than two hours outside of Bangkok. If you prefer to skip the crowds come out during the week and take in the sights and flavors of Thai wine country. To make tour arrangements or for more information, visit their web site at http://www.khaoyaiwinery.com.
Hmm, that’s a very similar label! What I find more interesting is, that given the development of prices in the last two vintages, this 06 villages costs the same as the 04 ‘Lachaux’ Clos St.Denis of yesterday. There can be only one winner at the same price-point and despite the high quality of this wine, [...]
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