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This merry band of merchants, flying the flag for small, artisanal wineries with distinctive, regional wines came to Fulham last week to give both press and public a chance to see what they have to offer.
The lower and upper ends of the wine market are well served by supermarkets and the "establishment" but there is increasing demand for wine between these extremes. The best value for quality of wines with integrity and interest. These merchants are really passionate about their lists and usually have personal relationships built up with the producers so they have fairly extensive knowledge of the vineyards, wineries and vintages.
Some of the listings are inevitably idiosyncratic and not all the wines will be to everyone's taste but these are dedicated people who will help you find treasures you will come back for again and again.
Jim Monks from Decanter Wines is a private collector who started by bringing in pallets for his own cellar, his approach is unashamedly personal (all the wines are aged in his cellar until he feels they are ready to drink and only then offered to the public) and any commercial success is second to his goal of providing himself with the kind of wine he wants to drink. Luckily, his taste seems to be shared and his wines show very well.
Also showing was Nick Dobson a self-proclaimed "niche player" with some outstanding and unusual wines from Switzerland, Austria and Germany. With these countries slowly garnering a following for their wines it is worth knowing where to track down some great examples.
Also well-represented were Amordivino, Italian importers; The Big Red Wine Company showing mainly the Southern Rhone on this occasion; Abbe Arrous whose "Cyrcée, Collioure 2002" was the outstanding wine of the day for me; and Leon Stolarski with a wonderfully diverse selection of regional French wine.
The full list of tasting notes will be put up on this site but have a look at their website and sign up to their free monthly newsletter asdw.org.uk it is always going to be worth finding something a little bit different and a little bit special.
Is wine food or alcohol? Most Americans would immediately choose "alcohol," perhaps laughing at the question.
In Europe, though, that wasn't the case for centuries. Before water purification became widespread, wine was safer to drink than water. The idea that wine is primarily an intoxicant is relatively recent, and like so many influential memes in the world today, it comes from the United States.
Paul Lukacs' book American Vintage: The Rise of American Wine was inspired by the author's realization at an Italian wine event that U.S. wine has become not only the best in the world (as measured by critics' ratings), but that U.S. wine -- fruit-forward, big-bodied and high in alcohol -- is changing the style of wine throughout the world. Even those who vehemently oppose the former idea must concede the latter.
If all Lukacs, chair of the English department at Loyola College in Maryland, was interested in was those two points, he could have started his timeline as late as the 1960s, perhaps with the opening of the idea lab that was Robert Mondavi Winery. In fact, he expends a lot of verbiage assuring us that American wine, until the end of the 1960s, almost invariably reached its highest peak at "serviceable."
Instead, digging into the history of American wine, Lukacs found himself fascinated by its relationship to alcohol. This continuing theme of the book ends up far more interesting than another retelling of how Mike Grgich and Warren Winiarski proved, in Jim Barrett's words, that "kids from the sticks" could make wines better than the best of France, and a helluva lot more useful than one more polemic about high-alcohol wines.
Prohibition was a defining time in America's relationship with wine and liquor, as well as crime and honesty. Lukacs points out that if the wine industry had been smarter, Prohibition could have been an era when Americans became wine drinkers.
Here's why: When Thomas Jefferson opined about the benefits of wine, one of his strongest points was that it led to temperance. What Jefferson meant by temperance was not teetotalling, but drinking wine in moderation with dinner, the way it had been consumed in Europe for centuries. Like many citizens of this always-culturally-conservative country, Jefferson didn't want to see his neighbors getting blasted at the saloon on bourbon and rye.
Prohibition could easily have gone in a different direction. Home winemakers were allowed to make a fairly large amount of wine for their own consumption, and some California grapegrowers actually did better shipping their grapes to the East Coast than they had selling to the California Wine Association monopoly that had dominated the industry for more than 20 years before Prohibition. A few politicians argued that wine should be entirely exempt from Prohibition. Imagine how that would have changed the roaring '20s: no speakeasies, no culture of lawlessness, less corruption, less capital transferred to criminal enterprises.
Instead, the country got a dozen years of bathtub gin that promoted the sanctimonious-in-public, sin-in-private behavior we still exhibit regarding sex and media. For the most part, unlike French, Spaniards and Italians, Americans don't drink to appreciate the beverage; they drink to drink.
Lukacs blames the wine industry for not promoting its product as one of temperance and culture, instead selling it in saloons as just another flavor of booze. He points out a number of occasions in the late 19th century when the wine industry had a chance to differentiate itself from liquor purveyors, but chose not to.
The disturbing thing about this observation is that little has really changed regarding wine's place in American culture. Those of us who write about wine or work in the industry are a step removed from the way middle America sees it.
I'm writing this from San Francisco, where wine does belong on the dinner table for the most part. But I read this book while on vacation in Honduras. The island of Roatan is dominated by American tourists, many from middle America. People who drank wine there didn't stop at one bottle; they stopped at near-unconsciousness. When I told people I work in the wine industry, the inevitable reaction was not "Do you get to taste a lot of good stuff?" but "How great it must be to get wasted every day!"
I'll get off my high horse now (horse riding makes my butt hurt). Lukacs' other main point of interest, which is far less convincing, is his respect for and concentration on non-West Coast wines, and even worse, wines not made from vinifera grapes. It's interesting to read a book on American wine history that's not focused on California, but if you're writing a book about American wine's "rise" by world standards, you're wasting your time talking about wine from Ohio and Indiana and Missouri. And please, hold the Catawba and pass the Cab and Pinot.
Lukacs is a very polite writer; he reads like a courtly and well-read man who would be pleasant company at the dinner table. The downside of this is the constant feeling that he's keeping a soft focus on the foibles of wine celebrities.
For example, he cites Ellen Hawkes' excellent "Blood and Wine" as a source on the Gallo brothers, but doesn't use her many hard-hitting and fascinating anecdotes. Thus I found the book most interesting in sections when it discussed people about whom I know little, like Nicholas Longworth, whose Ohio-grown pink Catawba made him the first commercially successful winemaker in America. I also was interested to learn that former preacher Thomas Welch invented non-alcoholic grape juice because he was, in words I would use but Lukacs never would, a teetotalling zealot and insufferable prig. Seriously: Jesus could work miracles, yet He didn't see the need to turn water into non-alcoholic grape juice. (Oops, high horse again. Sorry.)
But for sections about Mondavi or the Gallos or Grgich, among others, what's not written here is more interesting than what is.
I can't finish this review without pointing out something that threw me off at the beginning: Page 3, to be exact. About the famous Judgment of Paris tasting, Lukacs writes, "Since Spurrier and Gallagher had promoted the event extensively, a crowd of spectators, including a number of journalists, came as well."
That's not true, and it's not a minor mistake. To be fair, Lukacs wrote this five years before the one (1) journalist at the event, George Taber, published his own book. But the fact that Taber was the only journalist present, and that he could speak French fluently, was crucial to the event's historic importance, because Taber got complete access to the judges' comments, while a flock of journalists would probably have been held back.
Sadly, I spent the next 359 pages doubting the veracity of everything. Did Thomas Welch really invent a system for simplifying spelling? Was Warren Winiarski really inspired to make wine by a winemaker in Maryland? If there's ever another edition of this book, that early error needs to be corrected.
Paul Lukacs, American Vintage: The Rise of American Wine, W.W. Norton 2005, $13.56, (Paperback).
W. Blake Gray is a San Francisco writer and Chairman of the Vintners Hall of Fame Electoral College. His high horse is named Trigger Happy.
I wanted to leave this post because over the coming days, I'll be completing a move to the UK. Heaven knows by when we'll have broadband and some of the other essential amenities set up, so please bear with me. I look forward to posting again, hopefully in the near future. Turning the spotlight, however, to my more recent current of thoughts... Just how much do I have to look forward to in London, in terms of my wine habit? It would likely be an outrageously long post, though here are some of my thoughts, in brief:
1. I'm very eager to peruse the Oddbins and other shops we may have nearby in central and SW London, hopefully turning up new artisan wines to discover and write about in this venue. Should anyone have any suggestions about some favorite, hidden gem London wine shops, please do not play "keep away" and do e-mail me at enotheque@gmail.com.
2. Another wonderful factor I couldn't count on before was having convenient and relatively inexpensive access (thank you low cost carriers) to any wine region of Europe, should I need to travel for any reason, from personal enjoyment to meeting with client producers.
3. The impressive business hub that is London...Every major trade mission or regional/national wine interest in the world has offices and trade events in London. No more worrying about which event I am able to make or not, be it Chicago, San Francisco, Boston or New York. At most, I will usually be a couple of trains away from an exposition or seminar that I would have otherwise not attended in the U.S. I've been looking over LocalWineEvents.com's London section, but if any locals or otherwise knowledgeable readers have any other suggestions for finding wine-related classes, events, seminars (you name it) in the general London area, I would be very appreciative if you posted a comment or e-mail me.
4. Do I have to mention the cheaper subscription rate for Decanter?
Again, lists really don't do any justice to the dozens and dozens of ideas that propel themselves electrically from my dendrites when it comes to how much fun a wine geek can have in London. For now though, I leave you with a warm, albeit brief goodbye, and a reassurance that I'll soon return for more on artisan wines and the people behind them.
If you need to stock up on wine, Tesco start their Wine festival from Monday, 25% off all wine when you buy any 6 bottles or more. Includes champagne, vermouth, port, sherry and boxed wine too. I'd expect their competitors to start similar deals in the coming weeks too.
Domaine Daniel-Etienne Defaix Chablis Grand Cru Les Blanchots 1997 Oxidised, very tired. NR/100
Tyrrells Vat 1 Semillon 1999 So young! Appealing nose of lemon and quince. Structured palate with a great line of acid and very good length. Plenty of potential to improve and develop here. 92/100
Rousseau Gevrey-Chambertin Village 2002 Quite “new world” in style with cherry and strawberries on the nose. The palate is on the thin side, with the flavour slightly dilute. Decent, drinkable, but uninspiring. 86/100
Ksara “Cuvee du Troisieme Millenaire” 2004 From Lebanon, made from Petit Verdot, Cabernet Franc and Syrah. Interesting nose of Raspberry, herbs and spices, ceder, smoke and cherry. The palate is well structured and balanced, with medium intensity of flavour, a supple texture and good length. Will improve over the next 5 years. 89/100
Seppelt St Peters 2002 Spice, red berries, some vanilla and some hinted floral characters. Concentrated palate, quite bold and ripe without being overwhelming. Tannins are quite soft, I wonder if they’ll hold up. Good, but not nearly as good as a bottle a couple of years ago that was exceptional. Might just be in a bit of a awkward spot at the moment, I will leave the next bottle for 4-5 years before trying again. 89/100
Clonakilla Syrah 2006 Complex, bright nose of floral elements, five spice, chocolate and bacon fat aromas. The palate is charming and almost impossible not to love, great length and balance between oak, fruit and acid. World class and a brilliant wine. 95/100
Domenico Clerico Barolo Pajana 2001 Nose of tar, pine, roses and cherries. Required food to tame the tannin on the palate. The fruit on the palate is bold and serious without being too over the top. Very good now, but patience will be rewarded. 91/100
Dönnhoff Oberhäuser Brücke Riesling Auslese 2006 Honey and a touch of spice to the nose. The palate is not as sweet as I expected, quite refined, minerally and subtle. Tasty and easy to drink. 90/100
Inniskillin Vidal Sparkling Ice wine 2004 Unusual if nothing else! Peaches, nectarine, honey and pineapple aromas on the nose. The light spritz cut through the sweetness somewhat but it still finished sweet. I think I’d rather it without the bubbles but glad to have tried it. 88/100
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.
Wine started flowing through taps in dozens of homes during an Italian grape festival in Marino, south of Rome.
At the heart of the town's famous Sagra dell'Uva??, or Grape Festival, is the moment when sparkling white wine flows from the fountains in the main square.
But this year locals and tourists had to make do with water, as bad plumbing meant the wine supply was switched by mistake to local homes.
...
"But this year," Mr Palozzi said, "Due to a technical error, instead of connecting wine to the fountains, we accidentally channelled it into some local homes.
"Apparently the people living around the square who got the wine coming out of their taps were very surprised, they thought that it might be some kind of present from the local council! It only lasted three minutes, we corrected it straight away."
I helped out at a trade event in London devoted to Sauternes and Barsac the other week. Entitled ?Sweeties with Savouries? it set out to show how both Sauternes and Barsac can be drunk not only with the usual foie gras and desserts but also with all the courses of a complete meal. With courses ranging from roquefort crème brulee with figs (see picture) through roast Moroccan quail with sweet potato mash to blue cheese cheesecake, the food was absolutely wonderful. Attendees were then asked to vote for which wine made the best match with which course. There was quite a lot of agreement about which of the 16 wines went with which of the 5 courses but there were also many individual opinions. As with wine tasting there is no definitive answer in the area of food and wine matching.
Tasting through the 16 wines was an education in itself. Considering they were all the recently bottled 2005 vintage, there was a range of aromas from honey, peach, minerals and smoke to flavours on the palate of marmalade, peach, citrus and honey. There were also subtle but significant differences in the weight and texture on the palate. The differences can be understood when looking at the percentages of grapes with everything from 90% semillon and 10% sauvignon of the premier cru classe Chateau Clos Haut-Peyraguey through to the 70% semillon, 25% sauvignon and 5% muscadelle of Chateau d’Armajan des Ormes. The aging process whilst broadly similar in length of between 18 and 24 months, varies according to the percentage of new barrels used.
The key to good Sauternes and Barsac, apart from the terrroir, is the botrytis that is required to shrivel up the grapes and concentrate the sugar in the grapes. From talking to several of the producers the 2007 vintage was going to be a worry as the summer was cool. However the autumn was as hoped with cool misty mornings followed by sunny afternoons, the perfect environment for the ?mushroom? spores of botrytis cinerea to develop.
There is a much history associated with the ownership of the chateau in Sauternes with many of them having been in the same family for generations. Check out the web site of Chateau Dudon if you want some history of a typical family owned Sauternes producing chateau.
In 1980, Barbara and Jim Richards were living in Midland, Texas, and began thinking about a second home. They had an interest in wine and started looking for some property in the Napa Valley to build a home and plant a small vineyard. They realized their dream in 1983 when they found a property located five miles west of St. Helena and over 2,000 feet above the Valley floor near the top of Spring Mountain. Vineyard exposure is generally east with many variations, and the soils are derived from the Sonoma volcanics and from Franciscan sandstone. Total acreage is 20 acres with 15 acres planted.
In 1985, after clearing, ripping, and terracing about ten acres, they planted 3,555 bench graft Merlot vines, and 945 Cabernet Sauvignon vines. By 1987, the Richards? recognized their previous absentee landlord role was insufficient to monitor the vines. So, Barbara came to manage things from January through harvest, while Jim would come to help when he could get away from his business as a petroleum geologist. Their first small harvest was sold to Conn Creek Winery. In 1988, they planted another 2,300 Merlot vines in their last five acres of vineyard.
The early ?90s were momentous for the Richards?. By 1993, Barb and Jim had moved into their new home in the vineyard, and Pride Mountain Winery released a 1991 Merlot, made from their grapes blended with Pride?s Cabernet Sauvignon fruit. The Richards? agreed to sell their grapes to the Prides beginning in 1994 and their wine maker, Bob Foley, agreed to make wine from part of the grapes into Paloma Merlot for the Richards? new label, debuting their Merlot-based blend in 1996. Also, Barb and Jim decided to plant a block of Syrah to see how it would do, and by 1996, they started making the wine commercially as well. Unfortunately, they?ve since pulled up the small Syrah vineyard, and replanted with Cabernet Sauvignon.
In 2000, the Richard?s finally decided to construct their own winery on the property. A few years later, their son Sheldon joined them in the business, and to this date the Richards? Paloma Merlot still stands as one of the enduring benchmarks of the variety in California, and indeed the world.
Join us as we talk with Barbara Richards about Paloma ? their early years, and what it was like to basically become pioneers on Spring Mountain, and well as Merlot?s place in Napa Valley.
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 Viñatero. 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.
A few wines earlier this week at Atelier in Newtown.
Vilmart C?ur de Cuvée 1997. Light straw colour with a fine bead. Lemon, pear, brine and earth on the nose. There is subtle fruit sweetness balanced with excellent acidity on the palate. Long and intense, this is an excellent wine and one of the better 97s I’ve tasted. 92/100
Domaine Servin Les Blanchots 2000 Corked. NR/100
Louis Michel et Fils Grenouilles 2000. Behind the huge amount of sulfur was pear, marmalade and peaches. The palate is medium weight but very simple. 84/100
Bonneau du Martray Corton-Charlemagne 1999. Nutty, pineapple, tropical fruit, lemon rind and subtle oak aromas. A ripe, expansive palate without being too overbearing. Acid is good enough to focus the palate. Long length. 91/100
Marquis d’Angerville Clos des Ducs 1999. Earth, cherry, blood and chocolate aromas on the nose. Firm palate, with some sweet fruit in the background, the acid structure is a highlight. Powerful and very impressive. Starting to come around to drinking well. 92/100
Sylvie Esmonin Clos St. Jacques 2001 Rich, lifted nose of raspberry, cherry and a touch of earth and chocolate. The palate is more restrained than the nose but is still tightly wound and full of power. Good potential to improve from here. 91/100
Château de Beaucastel rouge 1990 A lot of complexity on the nose with smoke and smoked meats, cherry, spice, cedar and a fair bit of funky brett. Good intensity to the palate, but the brett affects the length of the finish. I would have rated this 2-3 points higher if the brett hadn’t affected the palate so much. 92/100
Dalla Valle Maya (Napa) 2000 Bold nose, with blueberry, chocolate, vanilla, autumn leaves and grassy characters from the Cabernet Franc. Very intense and youthful on the palate with good length and the ripeness is never out of balance. Primary, but surprisingly approachable and I think it will be at its best over the next 5 years. 93/100
Dr. Loosen Ürziger Wurzgarten Auslese 1995 Lemon, spice, floral notes and light honey aromas comprise the nose. The palate is excellent with light sweetness and refreshing acidity. Great balance and lingering length. 89/100
Claude Cazals Clos Cazals 1997. Green apple, honey and pear on the nose. The palate is awkward, it is almost both bitterly acidic and broad at the same time. Good, but I had this two and a half years ago and much preferred it then. 87/100
Christina Rowan of Washington DC thought quickly and calmly when a gunman crashed a backyard barbecue and held a gun to a 14-year-old girl's head. Moments later, the gunman left with a glass of wine and a smile. Read the whole story.
With English wines now winning awards over and above some of their more established competitors and many international wine companies buying up acres of southern England now’s a very good time to find out what you might have been missing.
If you feel a bit in the dark about what English wines have to offer English Wine Week from Saturday 26th May to Sunday 3rd June provides the perfect opportunity to find out more. With events taking place throughout the country at vineyards, restaurants and local fairs there’s sure to be something in your area that will give you the opportunity to taste a drop or two or learn more about this emerging industry.
Firm, focused and juicy, with good density to the plum, berry and dark cherry flavors. The spicy finish features medium-weight tannins. Drink now. 20,000 cases made.
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
The 2004 vintage of this wine received a bronze medal at the Decanter World Wine Awards last year (2006). I’ve only been able to find the 2005 vintage in Belgrade wine shops. It has an intensive and complex aroma with hints of flowers. Dominant tastes are those of melon and slightly of apricots. However, I wasn’t impressed, perhaps I expected more due to all the hype. Or perhaps there’s a significant difference in the two vintages. We should note that this winery has a good reputation. The Simcic Sivi Pinot 1990 was awarded the Cordon d’Excellence; their Chardonnay has won two gold medals at the Ljubljana Wine Fair and the 1994 vintage was declared Champion by the Knights of the Burgerland-Pannonian Order.
This weekend, we built a wine rack. When we first moved to Terrassa almost 3 years ago, we were regularly lacking in wine as a result of less income, less samples and less travel. Consequently, we never had a formal wine rack. But when you change any one of these factors, you end up with a lot more wine. Now imagine if you changed all three like we have?! We not only needed to figure out where to store it all, but also how to inventory it. I still have most of my cellar in Cellartracker, though I quit putting in my tasting notes. I like Snooth and Adegga as well, but they both need better cellar management for me to move to them exclusively. Since this past weekend we created the wine rack, maybe next weekend we’ll inventory the wine. Let’s see what happens.
As for building the wine rack, it actually turned out to be much easier than we expected. Odd note though: untreated, uncut, plain wood costs more than planed, beveled whole sheets of wood here in Terrassa. So instead of needing to sand and polish it, we simply bought nice sheets of solid, shelving wood and then cut it to fit. Yet, we still need another. So later today, I’m off to buy some more wood for wine rack number two!
Enough about housing. Next Monday, we’re off to judge wine blogs! It feels a bit odd to mention, after we realized at the EWBC that judging a wine blog is quite subjective once you get past the aggregators and plagiarizers. Once into the meat of the blogging world, where the hard work and effort is being spent, judging wine blogs is a bit of a silly endeavor. What’s good for you is not always what’s good for me. But none the less, we’ve been asked to judge Spanish and Catalan wine blogs this coming week in Reus, Spain, a short train ride from where we live. The grand prize is 3,000 euros, which seems a bit excessive and makes me wonder if we’ll see a lot of blogs that were “recently” launched. Oh well, anything to promote more social media in the Spanish wine world can’t be all that bad. We’ll keep you informed. DO Catalunya is hosting it, and while their website is a nightmare to look at, let’s hope this initiative leads to some good ideas.
In other news, we still want to talk to you about the wines we tasted at the EWBC2008; however, it may take some time. At the end of this month, we’ll be retasting several of the wines with an American Importer who will be staying with us for a few days. But remember, for our Keynote tasting, our intention was to select wines that we had either tasted before or that we respected. And on the night of the event, I tasted through the wines a few times; and while they all showed well, I didn’t take the time to write notes or analyze the wines. So this past Friday, I did analyze one of these wines, and I’m sad to say, it just pissed me off more than anything else. Dominio DosTares Leione 2005 - Prieto Picudo, is a wine that I have loved in the past. Now, maybe it’s as a result of the vintage, or maybe I’m drinking this too young since it does still have some stuffing to it, but I’m sorry, Oak is not a Fruit! This wine has so much going for it with the funky fruit notes and exotic touches of spice, but over it all sits a river of vanilla, syrup and sweet oak. I have a few bottles left to celler and taste again in the future, but even after 3 days being open, the wine is still bugging me. Note to Spain(rather wine makers everywhere): OAK is NOT a FRUIT. Just to be clear here are the aging and oak stats from the Dostares website (a well done website, that deserves mention!):
Pre-fermentation maceration: 3 days at 12ºC Alcoholic Fermentation: Duration: 12 days Temperature: 27ºC Malolactic Fermentation: in French, American and Hungarian oak
Ageing process in barrel: Capacity: 225 litres Age of barrel: New & second-fill. Type of oak: French, Hungarian and American Toasting level: Medium and medium+ Ageing time: 9 months
What stuns me is that I assumed this wine saw 100% new oak, and as you can see it is not. Now for contrast, we were just in Miguel Merino’s winery, who is using 100% new oak, (mixed barrels, American Staves, and French tops and bottoms). That is a lot of new wood, and a lot of American wood influence and yet his wines are perfumey, full of terroir and complex fruit, without the sickening vanilla oak sheen.
Too many factors go into winemaking to pinpoint anything specific as the problem, but in the end, 100% new oak is not always a bad thing, despite the bad reputation people give it. If you hear anyone ever say 100% new oak is evil, well tell ‘em to shove off, or at least explain what wine they are talking about. Sometimes they are right, sometimes their not, Almond Joy’s gots nutz, Mounds don’t…sorry…
Other than that, the weather here is starting to chill down a bit, which is nice and sad at the same time. I unfortunately, have not had enough sherry this year. Too busy? Not sure why that is an excuse, but it is somewhat true. Therefore, I’m making up for it with a steady intake of Osborne’s Fino Quinta and a new cheap Manzanilla I picked up a couple of days ago that is quite nice, Bodegas Barbadillo’s Muyfina. Full of honey notes, and light nuttiness, I really have to say this is a treat, and pairs great with a late afternoon siesta!
Tecnorati
Attendees were then asked to vote for which wine made the best match with which course. There was quite a lot of agreement about which of the 16 wines went with which of the 5 courses but there were also many individual opinions. As with wine tasting there is no definitive answer in the area of food and wine matching.
The aging process whilst broadly similar in length of between 18 and 24 months, varies according to the percentage of new barrels used.
My 
The 2004 vintage of this wine received a bronze medal at the Decanter World Wine Awards last year (2006). I’ve only been able to find the 2005 vintage in Belgrade wine shops. It has an intensive and complex aroma with hints of flowers. Dominant tastes are those of melon and slightly of apricots. However, I wasn’t impressed, perhaps I expected more due to all the hype. Or perhaps there’s a significant difference in the two vintages.
