Merlot is Back

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Picture source: Pixabay

Up until I had that 21st birthday bottle of Delille Harrison Hill 1998, a gift from a family friend, merlot dominates my wine-associated memories. My mother kept a bottle of merlot – the winery, I don’t remember, but I imagine a rotating selection of places like Chateau St. Michelle, J. Lohr, Mondavi and Charles Shaw – in the refrigerator with some frequency. I never took much interest in its presence there. I wasn’t one of those kids who stole pulls from the liquor cabinet, adding a quick stream of facet water to the half-full bottle of vodka in a futile effort to deceive my parents. I didn’t keep a six pack of Busch Light in my closet.

The merlot sitting in the refrigerator never tempted me, either. I just wasn’t into drinking in my youth. I know I tasted it, once in a while, but with my mom’s approval. I remember that it was cold and a little bitter, and not to my liking. It had a mysterious bite that today I can recognize as the alcohol. That’s about it. To my young palate, it wasn’t anything to crave. It was red liquid that my mom liked.

I preferred orange juice. My mother didn’t drink juice, too much sugar. I had to cut mine with water or my mom wouldn’t allow it in the house. Unlike the wine, I cheated with the orange juice when I could get away with it. No watering it down for me. That’s where I went off the reservation. Not the easiest child, I know.

When I was in my middle teens, a couple moved into the neighborhood and began having us over for dinner. The husband was a wine collector and opened wine whenever we came over. My mom enjoyed drinking it, though my dad wasn’t a wine fan (he remains unimpressed). And even though the merlot in the fridge back home never captured me, our friend’s wine did. Over the following several years, I was introduced to what I would find out later was some of the best wine made in the world. Depending on how one looks at it, my palate was either spoiled rotten or ruined for life before I was old enough to purchase any of it from a store.

The bottle of 1998 Delille Harrison Hill was a gift from this neighbor, and it became the first great wine that I associated as my own. Delille is one of Washington’s most respected and awarded wineries known predominantly for Bordeaux-style wines. Harrison Hill is one of its flagship blends, and routinely includes 25% merlot. As one of my early introductions to great wine, it set a personal benchmark for blends that lasted at least a decade. Though I didn’t know it at the time, it helped me form the respect I have today for the role merlot plays as a blending grape.

Fast forward to 2013. I had been unemployed for about five months at this point, having lost a job I didn’t much like and taking my time, albeit stressfully, finding a job I would be excited to start. As money was tight, I made it through this period satiating my wine needs with a small wine collection I had been building for the previous five years (inspirational, I know). I decided that since I had the time, I would find a winery nearby my apartment in Virginia where I could intern and learn firsthand how wine was made.

After scouting a number of wineries, I approached one and made my offer: I would work for free in the cellar a few days a week if they schooled me in winemaking and paid me to work in the tasting room on the weekend. They accepted. I did this for two consecutive harvests, and learned a ton about wine. It remains one of the most rewarding experiences of my life.

During my first harvest there, we unexpectedly received a few extra tons of merlot from one of the vineyards where we sourced the grapes we needed beyond what our estate vineyards produced. The truck showed up, the man got out and asked a stupid question: did we want this extra merlot? In a state with a growing wine industry where grape demand far surpasses supply, you say yes. Even if the grapes aren’t great, you make a bad blush out of it because it will sell out once the temperature is high enough for picnicking and stoop-sittin’.

Thankfully, this was good merlot, so our affirmative answer was delivered with extra enthusiasm. As I helped unload the bins off the truck, an idea struck. I asked the winemaker if I could take a small amount of the juice from the extra merlot and make a side batch of my own wine. After consulting with the owner, I was given the green light and three 6-gallon carboys (glass jugs) of merlot juice was mine.

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With the winemaker’s guidance, we made three different merlots. Each carboy was inoculated with a different strain of yeast and given a different wood chip treatment. We went low-ish sulfur (40ppm), only once, and after about 8 months of aging in a dark corner of the cellar with the carboys covered by boxes, I syphoned the contents directly into bottles and hand corked them. I made eight or nine different wines from the three carboys: a case of each carboy was bottled, and then I started blending. We ended up with eighty-something bottles if memory serves.

All but half a dozen bottles were drained within a year of bottling. I was down to just a single bottle remaining until this article; I used the occasion to open it with my wife and in-laws. It is my greatest wine achievement to date because I didn’t screw it up; it’s actually a decent wine. I know this because I threw it into several blind tastings with legitimate wine people and got a range of reviews, none of them bad.

Making my own merlot is the true source of my appreciation of merlot: in the hands of a first time and under-trained “winemaker,” it graciously allowed me to make it into wine. It did its very best with what I gave it, maybe more than its very best, and I am eternally grateful. This article is dedicated to that batch of wine.


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2014 Aaron Menenberg Merlot #6 – The nose offers a compelling combination of floral, funky and crunchy red fruit notes, including aromas of wet saw dust, moist fungal dirt, cherry, raspberry, dehydrated strawberry, baking spice, rose water and spring flowers. The body is barely medium in stature, and the structure is driven by keen acid and scattered fine-grained tannin. The balance is essentially there, but the acid pulls the wine a bit out of its comfort zone. The flavors are similar to the aromas, featuring floral, fruit and funk. Specifics include dry dirt, mirepoix, tart strawberry and raspberry, cinnamon, rose hips and sautéed portabello mushroom. 88 points. Value: N/A.


Beyond my own appreciation of merlot, and certainly in spite of it, the noble grape deserves a good deal more credit and appreciation than it receives for all the hard work it does in wineries across the world. A perpetual performer, it is prized by many winemakers and largely disregarded by consumers. It is a classic example of the consumer doesn’t know best.

I recently published a Try this Wine post on Rutherford Hill’s 2018 Rosé of Merlot, one of the best rosé’s I’ve ever had. A press person from Rutherford’s parent owner sent me this note a few weeks later:

“I was in the Rutherford Hill tasting room the other day and a customer was bragging to his friends that he doesn’t drink “wimpy pink wine” (referring to our rosé of merlot, of course).  Right then, our tasting room manager pulled up your story and had him read it.  Not only did he change his mind, he purchased a few bottles.  So AWESOME!!!!!!!!”


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Best Surprise: 2018 Rutherford Hill Rosé of Merlot

This has a wonderful nose that combines the richness of merlot with the spryness of a rosé. Aromas of strawberry, cherry concentrate, candied fennel, sweet vanilla and Sprite lemon-lime. It’s on the fuller side of the rosé spectrum in terms of body, but it’s balanced brilliantly with bright acid that adds welcomed tension to the mouthfeel. The flavors hit on strawberry nectar, lime mint sorbet, chalk minerality and celery seed. This is among the most complex and complete rosés I’ve had, it’s a stunner equipped to handle a heavy meal. I’d love this with mushroom risotto. 92 points. Value: A.


The case for merlot goes well beyond a great rosé, though that bottle does make a statement as one of the best rosé’s I’ve ever had. Well before the Rutherford rosé, though, I decided that I wanted to take a stab at exploring merlot after hearing an extemporaneous diatribe on merlot from one of the grape’s very best producers earlier this year.

When I decided on doing this profile, my mind naturally went to the movie Sideways, a popular Hollywood movie released in October of 2004 assumed by many to be the death nail of merlot’s profitability and popularity because of a well-acted and entertaining scene demonizing merlot and the timing of it its release coinciding with a period of steep decline in merlot sales. “I am not drinking any fucking merlot!” is the famous line. Miles, the main character played brilliantly by Paul Giamatti, is on a trip to Napa with a friend, both of whom are escaping various aspects of their lives. In a pivotal scene, Miles screams this line.

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Part of what I wanted to get into with this piece was industry views of whether this Sideways correlation was also causation, and so my first element of research was to ask. Over the course of the last six or so months, I’ve had the privilege of speaking to some of America’s, and the world’s, very best merlot producers. The orator of the aforementioned merlot diatribe was Chris Carpenter of Lokoya, Cardinale, Mt. Brave and other great wineries fame.

“[Sideways] wasn’t a bad thing from the perspective of what it ended up doing to merlot in general,” Chris said when I spoke to him on the phone a few months post-diatribe. “Did I go through the history of merlot with you?” He asked, somewhat dauntingly. Merlot has been around for a while, so I wondered how far back he would go. Nevertheless, I opened the door. “No,” I said, and off we went.

Thankfully, his starting point was California: “At one point back in the mid-1990s, the wine industry was looking for the next silver bullet as far as a wine that would be the starter wine for another generation that was coming onto wine. They had had white zinfandel for a while – a lot of people started drinking wine because white zin was on fire and it was tasty and accessible and not too expensive – and it made the industry a lot of money. So, people were looking for what the next white zinfandel was going to be because its popularity was starting to decline and the industry needed something to fill that gap,” he explained.

The industry tried a number of things. “They started planting sangiovese,” one example he told me about, “but that didn’t go over well because they made it too much like cabernet [sauvignon] and sangiovese just doesn’t react that way. They went through a number of iterations like this and eventually hit on merlot.” It had a number of positives going for it: “it’s easy to pronounce, it’s fairly easy to grow from a tonnage perspective, it grows in places across a bandwidth of temperatures and sunlight that are different enough but allow it to get to a certain ripening point. And so you can grow a lot of it.”

The California wine industry ran with it. “They went out and planted merlot every in Napa, particularly in the Carneros region.”  Today, Carneros is dominated by pinot noir and chardonnay, so it’s hard to believe it was once the center of the California merlot scene. “Carneros is on the cooler side and doesn’t get a lot of sunlight,” Chris explained. “Merlot is an early ripener, and so they figured they’d put it down there. It doesn’t get a lot of sunlight, but they thought they could still get it ripe.” Problem was, they couldn’t.

“They forgot that merlot needs a certain amount of light to get past the green flavors. The change in flavor character from vegetative to fruit is driven by light energy, and there just isn’t light energy in Carneros. A lot of how grapes gain weight and develop depth is by heat reaction and it doesn’t get the heat down there.”


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Best In Show: 2015 Mt. Brave Merlot

What a killer, earthy and penetrating nose: sour cherry, strawberry, mesquite charcoal, bitter cocoa, sawdust and emulsified dandelion. It’s full bodied in a way that fills the palate, but the acid is juicy and alive and prevents the wine from settling and cloying. The tannins are fine and focused. The fruit is beautifully layered, with muddled cherry, mountain strawberry and boysenberry that go for ages, and are followed by ground espresso and cocoa beans and graphite. The tail end of the flavor profile features tanned leather, tobacco leaf and a small dose of menthol. This does very well with a couple of hours in the decanter, but I imagine it can go through tremendous evolution over a decade or so. 94 points. Value: A.


Renée Ary, winemaker for the esteemed merlot producer Duckhorn Vineyards, noted additional considerations for merlot when I spoke with her. “Merlot is susceptible to heat stress, so water is a big issue. Because of that, it likes to grow in soil with better moisture-holding capabilities. Clay works well, but if you have a good vineyard team that can stay on top of irrigation, you can do it with better draining soils. They wanted to grow merlot like cabernet, but it’s not the same.”

At this point, though, the industry had invested a lot of money in planting merlot vineyards. “So, they pumped out a lot of merlot and put it on the market, and a lot of people drank a lot of bad merlot.” Chris said, adding that “it was lean and green, and it wasn’t very interesting. It didn’t have weight, it didn’t have complexity, it was very unidirectional. And then the movie (Sideways) came out.”

But it wasn’t what you think. This is when Chris turned into a movie critic, and an astute one at that. “The movie wasn’t really speaking to the bad merlot out there. What Miles’ comment was reflecting on was the [troubled] relationship with his wife. His wife drank a lot of merlot. So, when he went into that tasting room and said he wasn’t drinking any merlot, it was because merlot is what his wife would’ve drank. It had nothing to do with the industry. But, it came at a time when people were starting to react to this wine that wasn’t that good.”

When Miles makes his comment, the industry had already spent a solid decade, or more, laying the groundwork for the merlot market to crumble. Chris noted that “when Sideways drops, merlot falls apart as far as a varietal people are taking seriously, and pinot noir rockets. Nobody was drinking pinot noir back then, but suddenly it just took off. And the good thing that happened was that a lot of that merlot that was planted in the wrong places went away, and they replanted it with pinot noir.”

Enter winemaker Adam Lee, a prolific California pinot noir wizard responsible for great wineries like Siduri and Clarice. “I don’t buy [the theory that Sideways ruined merlot]. It’s true that a lot of bad merlot was being made in the 90s, so when Sideways came out there was a lot to hate about merlot already,” he said.

As an aside, in a cruel twist of fate for lovers of traditional pinot noir, the timing of Sideways’ pinot praise was terrible. “When Sideways came out,” Adam pointed out, “the current pinot releases were 2003 and 2004, both bad vintages in my opinion. They were very warm and we had big, ripe wines that were out of character. People who were supposed to like merlot because it was being made big and ripe, and hadn’t had pinot before, went nuts for the 03’s and 04’s, and in the subsequent years many wineries mainstreamed that big, jammy style, and it’s still around.”


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High Performer: 2016 Rutherford Hill Atlas Peak

Poured this through a Venturi into a decanter, and it showed nicely right away. The dark nose offers saturated aromas of mocha, cherry preserve, dark chocolate bark, graphite, black plum and boysenberry that draw your nose deep into the glass. It’s full bodied with thick, polished tannin and bright acid that runs the full length of the wine, forming a really luxurious mouthfeel and structure. Flavor comes by way of plum, cherry, strawberry, dark cocoa, graphite, cassis and nutmeg. If this wine were a person, it’d be a soldier-scholar: broad statured and muscular with a high intellect and high society manners. With another three to five years it will develop some real grace. 93 points. Value: A.


As Carneros transformed in the wine region we know it to be today, those winemakers still in love with merlot had to turn to smaller pockets around Napa Valley. “These little gems of vineyards that were ideal for merlot” became the hot finds, Chris told me. “When I found gems, more often than not, they were high up in the mountains. There are some things about mountain viniculture that go well with merlot.”

Duckhorn’s Ary referenced these gems herself. “[Sideways] ended up being a positive for merlot. The unserious producers threw it to the wayside. It helped us get access to new vineyards [that were great for merlot] that we hadn’t had access to previously.”

One reason merlot does well in the mountains is because as you gain elevation, the volume of what’s called “radiant energy” increases. If you remember back to Chris’ point about Carneros not getting a lot of sunlight, we’re coming full circle here because one of the types of radiant energy is sunshine.

“You’re higher up [in the mountains] so your volume of radiant energy is much greater and you’re going to have, theoretically, more of the light reactions happening,” Chris explained. “You get a very different expression of merlot than what they were getting in the Carneros, which in some days never sees the sun. Heat drives sugar, it drives acid, it drives tannins. It does not affect flavor to the extent that radiant energy does. Radiant energy drives the change in the flavor compounds.”

The portfolio of wineries that Chris covers with his winemaking is focused on mountain fruit. “We have vineyards on Howell, Spring and Veeder [mountains] that have exceptional merlot and I was, for a while, blending it into cabernets because it adds interesting things,” he said. Explaining the evolution to varietally-labeled merlots, he continued, “but I like underdogs, and merlot is an underdog, and I realized I had some outstanding wines that were 100% merlot and I wondered why we were blending them away. Why do the French and the Italians have a monopoly on really expensive bottles of merlot at the quality level that really can carry that price point? Here in the States [we couldn’t do that]. And so a lot of what I’ve tried to do is to reintroduce merlot at that same level as we think about brands like Petrus or Masseto or Cheval Blanc to a certain degree, because we have those kinds of vineyards. If you’re growing it and making it right, you have the kind of quality here [in Napa] that we do with cabernet.”


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Case Buy: 2014 Freemark Abbey Merlot

This really benefited from a 3 hour decant, which allowed the tannins to smooth and integrate nicely. The modest nose features cocoa dusted cherry, light roast ground espresso bean, graphite, blood orange and faint camp fire. This is full bodied on the palate with juicy acidity and tannins that are initially broad and densely grainy, but which smooth around the edges with air. The structure has achieved a uniform feel. The flavors ride the boisterous acid with evident joy as they hit on red currant, plum, cherry, strawberry, graphite and dry dirt, finishing with a small floral flourish. 91 points. Value: A.


Pahlmeyer, a member of this pantheon of benchmark merlot producers in California, is like Carpenter keen on producing merlot that competes with the quality of the great merlots of the world. Cleo Pahlmeyer told me she believes that Sideways wasn’t the catalyst for the merlot market’s collapse, but rather just well-timed with a saturation of bad merlot in the marketplace. Cleo is now the general manager of the winery, which was started by her father.

“Our first vintage at the winery was 1986, and my father’s dream was to make a Bordeaux-style red wine. Back then, Napa wasn’t known as place for cabernet, so this was a relatively novel goal,” she said. “We made our first merlot in 1988 or 1989 after a barrel tasting with our then-winemaker Randy Dunn. He and my father came across a barrel of merlot [that was going to be blended] that blew them away. It was a complete wine.”

“There’s one merlot descriptor that I hate,” Cleo said. “It’s my snobby wine self saying this, but it’s “smooth” and I hate it.” She hates it because “smooth” implies a level of simplicity that merlot can surpass. Benchmark bottles offer more complexity and texture than the simplistic profile that merlot used to carry when “smooth” first became a widespread attribute of the grape.

Pahlmeyer grows their merlot at the higher elevation points in their vineyards, just like Chris’ wineries. “We grow our merlot on the upper part of our estate vineyard,” Cleo explained. “It’s at about 2000 feet of elevation and sits on top of the mountain. You can see it from vantage points along Highway 29. It gets a lot more sunlight and it stays above the fog. The soil has relatively poor natural nutrients and we keep the yields low by dropping fruit. The clusters are small, the berries are small, and so it develops great tannin and body and quality.”

In Washington State, north of California, merlot has held a special place since the early founding of the industry there dating back to the 1800s. “In Washington, they stayed the course on making quality merlot. They didn’t rip out vines, just kept growing and going. What goes into varietally labeled [Washington] merlot is the best of the best.” This is what Constance Savage of Washington’s historic L’Ecole No. 41 told me.

“Washington State is a great producer of Bordeaux varieties. We are actually a more consistent supplier of those wines at better prices than California. We have no coastal weather issues and because we get no rain, we can control the vines’ water intake [through irrigation]. We have great wind, our soil is well-draining. We’re further north so we get more light and our grapes ripen every year. It’s the perfect place for merlot. As merlot comes back, Washington is going to be the leader in quality.”


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High Value: 2016 L’Ecole No. 41 Merlot Columbia Valley

The reticent nose offers an array of red and blue fruit, baking spice, vanilla and hot cocoa. It’s full bodied on the palate as the tannins are fine grained, dense and mouth coating. The acid is bright and juicy. It boasts an engaging texture. The flavors include blueberry, strawberry, plum, boysenberry, cinnamon, cassis, black currant and graphite. The more serious of the two L’Ecole merlots, it offers some upside with three to five years of aging. 92 points. Value: A.


Those are fighting words, but Washington State has been producing high quality merlot for decades, and L’Ecole as long been recognized as being at the tip of that spear. Washington wine industry people have long praised L’Ecole’s role in the industry but they’ve long been recognized well outside the state as well. Wine & Spirits Magazine put L’Ecole on its list of the top-100 wineries of 2019, the 15th time that L’Ecole has been placed on that list, making it one of 15 wineries to be included in it that many times.

“We’ve been in merlot since 1983 [at L’Ecole]. That was the first vintage at the winery, and we led with merlot and semillon.” Located in the southeast corner of the state in Walla Walla, L’Ecole remains one of the most consistent produces of high quality and reasonably priced wines in the state.

Coming from over two decades in the importing business, Savage feels that “Sideways obliterated the market for merlot. It was really tough until four or five years ago. But it improved the quality of merlot everywhere.” Five years after the movie, she began to realize it was time to start re-ordering merlot again because wineries “were really putting their best wines forward.”

“When I worked with the producers, we would talk about what to do with their merlot vines. [A common discussion was whether they] should they rename their bottles with proprietary names rather than varietally? Yet every year, when I would get my sales team of over 100 people together and get their feedback, in the early 2010s, there was noticeable turn-around for merlot.”

Ary from Duckhorn also noted the five year mark as an important one. “The last couple of years, merlot sales are way up – they are starting to plateau, I think, but the last five years, the number really rose, especially in the luxury merlot tier. Super premium merlot is selling better and better.” In 2017, Wine Spectator made Duckhorn’s 2014 Three Palms merlot it’s wine of the year. “The number one award helped push [sales] along, but it had been trending that way previously. It gave a nice boost.”


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Worthy Cellar Buy: 2015 La Jota Vineyards Merlot W.S. Keyes Vineyard

A nose more reminiscent of Saint-Julien than most of Napa Valley, the fruit is just spectacular. It’s as if an entire farmer’s market fruit section comprised of perfectly ripe fruit has been bottled in this wine. This vision is augmented by kirsch liqueur, cassis, cardamom, pencil lead and light roast coffee. It is full bodied with dense and well-tuned fine-grained tannin. The acid is similarly precise, and the balance stands up to some of the finest of the Old World. The flavors pop in an unusually juicy manner with blackberry, boysenberry, licorice, cherry jam and charcoal. This has two decades of positive evolution ahead of it. I’d wait at least six years to crack this one open. 94 points. Value: C.


An important element of L’Ecole’s business model, especially with merlot, is to “keep the price point low” and the quality high, Constance told me. “We produce 45,000 cases per year, which is pretty big for Washington in terms of family-owned, mid-sized wineries. We want to be able to move and sell our wines so we know the quality-to-price ratio needs to be great.”

Another top tier merlot house is Rutherford Hill, located in Napa Valley, where the grape comprises 75% of wine production. I spoke with their winemaker, Marisa Taylor, who started at Rutherford “right around the time of Sideways” and had come from making pinot noir. “Like pinot drinkers, merlot drinkers are very loyal,” she explained. “They seek you out, they hold you to a standard, and they’re rarely disappointed.”

“Merlot used to be a generic word for red wine, especially in a tasting room, like “Burgundy” or “Bordeaux,”” Taylor observed, noting that it’s still important to dispel this myth. “We try to show the diversity that merlot can develop by farming it in different locations and bottling single vineyard designates. For example, our Atlas Peak is very different from our Oakville. Our tasting room pourers do a lot of education – they actually approach it like a bartender by asking about preferences and choosing wines to pour.”

Cleo Pahlmeyer and I discussed the Napa price points and bang for the buck, and she offered a point of view I consider very on-point. “If you’re looking for a good wine with a budget around $75 and you want to buy a Napa cabernet, don’t buy it. Buy merlot because at that price point you’re going to get so much more quality and better wine with a merlot at the price point.”

Duckhorn’s Ary made a similar argument when I spoke with her. “Merlot has become really polarizing out there [because] there is not good mid-[price] range quality merlot. There is either really good, well-made merlot, or the flip side of that. Sideways was good in a sense that it helped weed out the less serious producers.”

On the topic of sales, Palhmeyer note that “we’ve never had a problem selling out merlot. It has a following that’s remained steady of the years in part because it is regarded as a classic Napa Valley wine.” Giving a nod to the role Duckhorn has played in promoting merlot, she said that because of what Duckhorn has done for the varietal, “Palhmeyer doesn’t have to do much.”

With merlot having rebounded significantly over the last five or so years, I wanted to ask the people I spoke to for this article about the grape’s prospects for the future. It has been well documented that Millennials, now the largest purchasers of wine in the United States, have very different buying habits from their predecessors: they spend less, are more experimental, care less about winery and vineyard prestige, want unusual grapes and seek out wines made using unusual techniques or technology. Merlot is expensive, traditional, found among prestigious producers and anything but unusual. It seemed to me that there is reason for merlot producers to be concerned about the long-term commercial prospects of the grape.


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Classic Example: 2016 Duckhorn Vineyards Merlot

A slight reticence on the nose tells me this needs at least another two to three years in bottle to come out of its shell. So far, it’s giving muddled cherry and blackberry, clove, nutmeg and scorched earth. An elegant medium-plus body, the tannins are nicely refined and line up well with the smooth and integrated acid. This has a serious structure that demands some patience. Serious loam and dry earth mineralilty goes well with cherry, blueberry, blackberry, dried seaweed, tobacco and blood orange zest. Already very tasty, this offers great promise with short to medium-term aging. If drinking in the next two years, decant this for an hour or two if you can. 92 points. Value: A.


Ary was the first to admit that Millennials are “a different market. They are looking for different things.” She explained that Duckhorn is more traditional than trendy, and that is in part because “wines tend to represent their winemakers. I’m more traditional of a person,” even though she knows traditional wine “doesn’t always appeal to Millennials.”

Nevertheless, Ary and Duckhorn are not planning to change the way they make wine in any big ways. “If our tastes didn’t evolve,” Ary noted, “then we would still be drinking sweet wine,” a reference to America’s preference for sweet wine for the better part of its history. “[Tastes] may ebb and flow, but ultimately if it’s a classic wine then it’ll stick around.”

Carpenter had similar thoughts. “Millennials are drinking different, more esoteric wines,” he said, which certainly seems true if you read the wine blogs and visit the hipster somm wine stores and bars popping up across America. “But there are not a lot of people producing these esoteric wines [relative to the size of the industry], and those that are don’t do it in big volumes. You can speculate as to what variety is going to go where and how Millennials will jump on it, but the fact of the matter is there isn’t any one variety or style that has started to dominate the Millennial demographic.”

Chris made an important point about not just what grapes go into these “esoteric” wines, but also how the winemakers approach them. “The wines I produce focus first and foremost on the land. These new wines that appeal to Millennials, however, are more about techniques than terroir. If you start to involve techniques or technology [that go beyond basic winemaking] , what you’re doing is you’re changing that understanding of the land. A lot of natural wines I’ve tasted, they don’t taste like the vineyard; they taste like the winemaker. Some of them are good, but my style is to highlight the land [rather than myself].”

This fundamental difference is key to understanding where merlot is going as a commercial product. If we look at France, where wine has been around much longer as a mainstream consumer product than in the United States, Chris noted that “traditional grapes and winemaking have done well for a couple hundred years. That’s because Bordeaux is the right place to grow cabernet and merlot, and Burgundy is the right place to grow pinot noir and chardonnay.” His larger point: long-term success in wine is about finding the right match of varieties with locations.

Every winemaker consulted for this article shared an appreciation for merlot as a blending grape as well. Carpenter blends it into several hugely successful blends and cabernet sauvignon-designates under various labels. “I use merlot to add complexity and another layer of experience [for the consumer].” One way it’s useful is in the tannin department as a way to smooth out, or “mitigate” to use Chris’ term, the heavy and sometimes grippy sensation of cabernet tannin. “It helps make it a little more texturally silky.”

Ary stated boldly that “it takes a good merlot to make a good cabernet. Merlot is good for midpalate, weight and plushness. It is the go-to for filling out a holey cabernet.”

Carpenter explained that “merlot has different phenolics, and by blending it you’re layering those in. That’s what I use all my blenders for [regardless of grape]. I don’t blend just for fun – though blending is kind of fun – I’m doing it because each one of those [five Bordeaux grapes he uses across his portfolio] adds something unique to the base blend of cabernet. It’s like a spice component in cooking.”

Many cooks have their go-to spices that they are always sure to keep on hand. For producers of Bordeaux (and Bordeaux-style) wines, merlot is certainly one of them. If you start taking a look at how much merlot is in the wines you already drink – especially if you drink varietally-labeled cabernet sauvignon – you may feel a bit remorseful about the last bad thing you said about merlot. It is one of the most important red grapes grown today.


Decoy

Crowd Pleaser: 2017 Decoy Sonoma County

A very fruit and oak-forward nose, giving cherry, black currant, plum, and toasted oak. It’s full-bodied with a smooth combination of tannin and acid, it delivers in the structure department and with just a bit of grip is made for a burger. Flavors hew close to the nose: cherry, black and red currant, black plum, baking spice, black pepper spice and a small hint of sweet mint on the back end. Enjoy this over the next two to three years with some simple red meat or barbecue. 89 points. Value: A.


And if you haven’t had a high quality merlot recently, you might be surprised. The wines I tasted for this article demonstrated compelling varietal typicity, senses of place, layers and complexity, refinement, elegance and, yes, intrigue. Some of them are better than many, if not most, similarly priced cabernet sauvignons. I make this last point because when it comes to food pairings, the Venn Diagram of merlot and cabernet shows a lot of overlap. If you placed the wines reviewed in this article in a blind tasting with cabernets of equal quality, the merlots would do better than many would expect.

So, heading into the winter when temperatures drop and we start reaching for heavier reds, it is the perfect time to give merlot another try. Let go of your previous notions of the grape, open your mind and head for the merlot isle (or section on the website). Take a deep breath, put a few in your cart and share them with your family and friends. And, pay attention to the role merlot places in the red wines you drink; it’s not by accident that talented winemakers everywhere use it in their best wines. Let the final few months of 2019 be the time you reacquaint yourself with merlot.

Other merlot reviews:

2014 Alcance Merlot Gran Reserva (Chile) – The dark nose boasts penetratingly deep sweet oak, maraschino cherry, smoke, black plum, black currant and cassis. It’s full bodied and lush on the palate with fully integrated tannin and surprisingly tart acid, which throws the balance a bit on what is otherwise a nice structure. Flavors are a combination of raspberry, strawberry, tar, tobacco leaf and ground slightly bitter espresso bean. It finishes with a slightly floral note. Were it for less sharp and better integrated acid, this would be a really enjoyable wine. 88 points. Value: C.

2016 Duckhorn Vineyards Merlot Three Palms Vineyard – The exquisite nose offers aromas of lilac, rose petal, crushed Sweetarts, dehydrated strawberry, boysenberry, loam, pink peppercorn and graphite. It has a plush full body with sweet, fine grained Earl Grey tannin that blankets the palate and fine, precise acid that establishes needed tension. The structure is elegant and refined. The flavors are deeply layered and more confrontational than the nose, offering sweet plum, strawberry, tar, bitter cocoa, loam, black pepper and cassis. This is an expertly crafted with great potential to elevate itself over the next 10-20 years. 93 points. Value: C-.

2015 Freemark Abbey Merlot Bosché Vineyard – The aromas carry a sensual air about it, offering sweet cherry, mountain strawberry, crushed gravel, smashed flower petals and potting soil. On the palate, it has a full and svelte body with tightly-woven tannin and well-balanced acid. The structure holds a lot of promise with more age. The flavors check in with bruised cherry and blackberry, mocha, clove and pipe tobacco. While enjoyable now with a few hours in the decanter, I think this will improve demonstrably with at least five more years of bottle age. 92 points. Value: B.

2016 Hickinbotham Merlot The Revivalist (Australia) – A boisterous nose, it wafts sweet hickory smoke, eucalyptus, chewing tobacco, boysenberry, cherry preserves and orange zest. It hits a medium plus stature, the tannins are long, dense and restrained while the acid is slightly elevated. The structure and balance are professional and suggest the making of a wonderful steakhouse wine. The flavors balance nicely between cherry, strawberry, plum, iron, wet dark soil, toasted oak and unsweetened peppermint that collectively produce a deep, penetrating wine. This needs a few hours in the decanter, or better yet, at least five years in the cellar as there’s more there to develop. 92 points. Value: C.

2014 Kendall-Jackson Merlot Grand Reserve – The nose boasts toasted oak, wet gravely soil, strawberry and cherry. Its medium bodied with bright acid and weighty, but fairly imperceptible, tannin. The structure is solid and mouthfeel smooth. The flavors mostly ride the juicy acid and come in slightly sweet: fruit punch, finely ground dark roast coffee bean and cocoa powder. The finish adds sweet orange zest. Easy drinking. 89 points. Value: B.

2016 L’Ecole No. 41 Merlot Estate Walla Walla Valley – The deeply saturated nose wafts dark cherry sauce, black plum, cassis, beef jerky, graphite minerality and smokey black pepper. It’s not quite full-bodied, featuring round and broad tannins that are well integrated and nicely balanced with modest acid. The structure is classic high quality merlot. Flavors are as much savory as sweet due to strong doses of saline and dried tarragon. On the fruit side there’s cherry pit, strawberry, Acai, red plum and dried goji berry. Structurally this wine is ready to go, I say drink over the next five years. 90 points. Value: B.

2015 La Jota Vineyards Merlot – The nose offers really bright red and black currants and plums, red beat juice, graphite and mocha. Just short of full-bodied, this is a flirty wine on the palate due to lip-smackingly juicy acid that feels a few years shy of full integration. The tannins are just slightly chewy and sneak up on you with time in the mouth. The components and stuffing are there to build a top-shelf structure with another 5-10 years of aging. Flavors hit on cherry, plum, currant, bitter cocoa, graphite and wet, dense soil. The finish brings a tangy and incense-driven twist. 93 points. Value: B.

2015 Matanzas Creek Winery Merlot – A very plummy nose that also offers graphite, black tea bag and muddled cherry. Medium bodied with modest, smooth tannin. The acid, unfortunately, is bracingly sharp and seemingly volatile. It’s just off. Fruit flavors are on the darker and purpler sides with blueberry, plum and firm blackberry, while strong doses of cigar tobacco and graphite provide variety. The acid being off doesn’t make for a pleasant experience. 84 points. Value: F.

2014 Matanzas Creek Winery Merlot Jackson Park Bennett Valley – The nose has a nice combination of black plum, boysenberry, muddled and mulberry-spiced blueberry and violet, though it has a slightly alcoholic kick at the very end that I imagine will fade with time. Its medium bodied with slightly thin acid and diffuse, fine-grained tannin. The structure has everything it needs to be complete but isn’t actually cohesive or substantive. Similar to the nose, The fruit flavors are blue, though the blueberry far out plays the boysenberry here. Mocha swirls around the fruit, as does pencil shavings and purple florals. There are attractive elements to this, but it’s hard to get past what feels like a missed opportunity to build a more substantive structure. 90 points. Value: D.

2016 Pahlmeyer Merlot – This is a stiff, tight wine. I ended up decanting it for 24 hours and it’s still very closed. This needs years. At the moment, it has a subdued nose of muddled cherry, loam, graphite, tar, turkey jerky and mountain strawberry. On the palate, it’s full bodied with dense and fine-grained oak tannin that coats the mouth and finishes slightly bitter, all the while overpowering the juicy acid. This has the structure of a wine that can evolve over two decades. Flavors hit on cherry, espresso, black pepper, cinnamon and dark chocolate. I wouldn’t touch this for another seven years (at least). It has tremendous upside. 91 points. Value: D.

2016 Rutherford Hill Merlot Cask Reserve – A potent nose delivers hedonistic aromas maraschino cherry, fruit leather, sweet dark cocoa, wet soil and graphite minerality, black pepper and sweat leather. It’s full bodied with significant fine grained tannin and juicy, sharp acid. The fruit is quite pure, dominated at the moment by red varieties of plum, strawberry, tart cherry and rhubarb. There are shadows of blood orange, cigarette tobacco and espresso grounds. This is showing a lot of promise, it will grow into something really impressive in another five plus years. 92 points. C-.

2015 Rutherford Hill Merlot Napa Valley – The nose features sweet aromas of spiced cherry and blackberry compotes, leather, cola and vanilla. The full body offers refined grainy tannin that is well integrated with modest acid that combine to produce a seamless and velvety mouthfeel. Raspberry, cherry, orange zest, spicy black pepper and bitter cinnamon. It’s a complete if singular merlot. 91 points. A.

2014 Rutherford Hill Oakville Merlot – This does benefit from decanting. The nose is perfumed and elevated, quite beautiful and delicate. It offers red currant, red plum, holiday fruit cake, loam, well-worm leather and violet. The full body is built on a dense and cocoa powder-dusty tannin structure and moderate acid. The flavors include raspberry, strawberry, under ripe boysenberry, dark cocoa, graphite minerality and a blood orange kick on the finish. This is tasty, but it needs 3-5 years to unwind and really express itself, and will then evolve nicely for another 5-10 years. 92 points. Value C.

2013 Rutherford Hill Merlot Atlas Peak – The reserved but elegant nose offers cassis, pipe tobacco, dark chocolate cocoa powder, cherry compote, violet and high toned blood orange. The medium-weighted body offers densely packed fine grain tannin that oozes class. It balances beautifully with broad acid. The flavors are only starting to delineate: ripe strawberry, red plum, red currant, moist dark earth, graphite, unsweetened baking chocolate and a tomato leaf burst on the finish. This needs a few more years to fully unwind. 93 points. B+.

Try this Wine: Contrasting Food & Wine Pairings

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Pairing wine and food can be daunting, even for the well-trained. The most famous guidance, to match red wine with meat and white wine with seafood, actually turns out to be relatively true in theory but also misguided in reality. It’s too unscientific to be universal, and misses the critical factor that how something is seasoned and cooked is as, if not more, important than what it is before it’s cooked.

One of my favorite pairings is steak au poivre with a really well-aged dry or semi-dry riesling, which is a perfect example of why that famous guidance is misleading. In general, wine should be more acidic than the food. This is especially true when the food is fatty, like this steak example, because the acid helps our taste buds and digestion process the fat, allowing more flavors to be detectable while making the meal go down a bit easier. Also, white wine tends to provide more contrast to the food, any food, than does red wine, so if you want the wine to stand up to, and stand out from, the heavy steak, a white is better suited to do that.

This last point on contrasting versus complementary wine and food pairings is really the main point of this post. When people think about pairing food and wine, they often default to finding the complementary pairing. Not only is it easier, but it’s more natural – we tend to look for compatibility in nearly every aspect of life – and can be very satisfying if achieved.

However, what I want to suggest in this post is that successful contrasting wine and food pairings can be both more fun and more satisfying. Here is another example: there’s nothing better than a fried fish sandwich with a good bottle of trousseau to wash it down.

I'm glad we're the kind of people who aren't above pairing wine with nachos.

Source: someecards.com

Pre-planned pairings aside, sometimes you get lucky and stumble on a good pairing. One of my wife’s favorite games to play is getting through dinner and a glass of wine, and then asking if she can have (insert random snack) with another glass. It can drive me crazy, especially when it’s a special bottle of wine and she asks about a poorly fitting snack.

Earlier this week, I opened a bottle of 2015 Wind Gap Gap’s Crown chardonnay, a nice bottle from a now non-operational winery using grapes from a phenomenal vineyard. I had made a big salad topped with sautéed radishes, roasted acorn squash, tomatoes, apples and shrimp. The wine was a bit too acidic and lean for the salad, so the plan became to enjoy the wine after the meal was over.

When we finished the salad, Kayce began her game. She asked if the wine would go with Goldfish crackers. My instincts kicked in and I nearly defaulted to “no,” but I hesitated as I thought about it. “You know what, that might actually work.” She grabbed the Goldfish, and oh man, it was awesome. We had stumbled on to brilliance.

Let me show you what I mean by comparing the tasting notes of the wine pre and post Goldfish. Here’s a note on the aromas, which don’t change with the food, just to get it out of the way: a high-toned and slightly austere bouquet combining sharp lemon and lime zests, slate and crushed gravel, spring flower petals and honeysuckle.

Pre-Goldfish palate: barely medium-bodied with very crisp, slightly juicy acid that is quite long and precisely linear. Flavors include Meyer lemon, tangerine juice, slate minerality, Kaffir lime leaf and starfruit.

Now, here is the post-Goldfish palate: medium-plus in body with rounder, softer and buoyant acid that cuts through the cheese flavor nicely. The palate broadens, adding just a bit of sweetness and more acidic grip to the texture. It’s a more pleasant version of itself with the Goldfish pairing, and more enjoyable to drink.

I had so much fun with the pairing that I posted the above picture of the bottle with the Goldfish on Instagram and had a back-and-forth with friend and fellow wine blogger Isaac Baker of Terroirist.com. Isaac has done this kind of pairing before, and added that Goldfish go particularly well with Champagne. I’m curious to try that combination, and experiment with other cheesy crackers and bright white wines.

These unexpected wine-food combos that work because they contrast each other, rather than complement each other, are really satisfying because they are surprising and don’t hew to normal comfort zones. Try some contrasting wine-food pairings because no one should live their culinary lives according to what they already know. To provide some motivation, here are a few good places to start:

  • A sharp chardonnay with a cheesy cracker – look for wines that are lightly oaked or made in stainless or concrete. Quality producers in go-to regions make this easy. You can find these wines really anywhere in the world, but for short cuts check out Chablis, Oregon and the following spots in California: Santa Barbara, Santa Cruz and Sonoma.
  • Fried fish sandwich with trousseau – there isn’t a lot of trousseau out there, but from my experience those who make it do it in the traditional fashion (i.e. light to medium bodied with good acid and fine tannin), which is what you want for this. We had a 2017 Arnot-Roberts trousseau from the North Coast of California with our fried fish sandwiches last weekend, and the duo brought the house down with my in-laws. Traditionally most trousseau comes from the Jura region in France, but there are good producers of it elsewhere. For the record, we make our fried fish sandwiches with lightly breaded and pan-fried white fish (catfish, porgy and cod all work well), processed cheese, Portuguese rolls and a sauce made in equal parts of ketchup, whole grain mustard and mayonnaise. Don’t dare use real cheese, I promise you it isn’t nearly as good.
  • Fried chicken and Champagne (or other acidic sparkling wine) – this is one of those under-the-radar classic food pairings. The acid and bubbles cut through the fattiness and crispiness of the chicken beautifully and can help you put down that last drumstick you wouldn’t otherwise consider a smart move. The beauty of this pairing is you can be flexible with the chicken and the wine. For the chicken, even the KFCs and Bojangles deliver in very real ways. For the wine, you need good acid and bubbles. You can’t go wrong with Champagne, but Cremants from Burgundy, Loire and Jura work beautifully as well, as do some of the better sparkling wines made elsewhere.
  • Steak au Poivre and an aged dry or semi-dry riesling – this isn’t easy to pull off, but if done right the fattiness and pepper of the steak goes just perfectly with the acid and nuttiness of an aged riesling. For this, quality matters because cheap beef tastes bad and cheap riesling can’t reach the point of maturation needed. The cut of beef matters less than the quality and preparation, but for my money I go with hanger steak. On the wine side, go for trusted producers with at least ten years of age (15 or more is preferable) that have been properly stored the entire time. Don’t go sweeter than German’s Kabinett classification (maximum 188 grams of sugar per liter).
  • Potato chips and Champagne (optional: and caviar) – late night snack craving meets fine wine meets decadence. In an ideal world, I’d start every dinner party with a plate of potato chips topped with caviar and glasses of Champagne.
  • Dry sparkling wine with mac and cheese – this works best if the cheese is a soft and creamy variety.
  • Full bodied chardonnay and bacon – I’ve not tried this yet, but a friend of mine swears by it. I’m told it’s critical that the chardonnay be rich enough to stand up to the saltiness and smokiness of the bacon, which makes good sense. Just make sure not to lose chardonnay’s acid as it is key to handling the bacon’s fat.

Mosel’s Exciting Steep Slope Producer: Markus Hüls

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Markus Hüls of Mosel’s Weingut Markus Hüls

When it comes to the Mosel, I feel like seeing is believing. Not that Mosel’s reputation as the riesling mecca requires an eyewitness experience to confirm – tasting alone can make someone a true believer. But reaching an inherent understanding of what makes so special does necessitate a physical experience beyond the wine itself. I draw this distinction from my own recent experience. We spent a few days there earlier this summer, and though I have no brilliant idea of how I’m going to adequately convey my own Mosel journey in writing, I’m going to try because now I get it.

Riesling itself can be a hard grape to get, which complicates things for Mosel (or any other riesling region). I, like many people I think, didn’t immediately get its appeal. It can be made in so many different styles that it’s hard to think about how to think about it. That it’s made in sweet, semi-sweet and dry styles, and aren’t labeled clearly as to which level of sweetness is in the bottle, is the first obstacle, and a major one.

Flavors and aromas can throw one off as well. Some smell like petrol – which is a hard thing to grasp in wine – while some don’t. How am I supposed to know how lanolin tastes? What bizarre descriptors those two are. The acid can be bracingly strong, which isn’t always managed well and doesn’t always appeal. This can lead to dominating and biting citrus flavors, which aren’t everyone’s cup of tea. And the stuff from Germany, man, good luck reading the label, let alone understanding what you’re getting (this can be true even with American riesling). Is it more accurate to classify Alsace as German or French given its history and the people who live there? The questions abound.

By comparison, understanding more popular white grapes like chardonnay can be done in your sleep. Because riesling doesn’t easily fall into simple dichotomies or straightforward categories, it can be intimidating to approach. No wonder riesling has a hard time selling.

Going to Mosel doesn’t make riesling more approachable so much as it organizes the learning process in a way that makes it more manageable. Being able to match a word from a label with the place you’re standing in helps a great deal, and being able to compare where you are to the vineyards across the river (while putting a name and image on those vineyards as well) helps ground you – and the label – in reality. It’s like finding an anchor word or two for an otherwise empty Friday New York Times crossword puzzle. It’s like finally putting a face to that name you’ve emailed with many times over, only the face isn’t what you expected and that 60 second interaction EXPLAINS SO MUCH (amiriiiiiight?).

Even still, Mosel is itself a complicated place, and it begins with the name. The region was referred to as Mosel-Saar-Ruwer, the names of the three rivers in the region, prior to 2007, when wines were categorized that way regardless of which river valley they came from. However, in a pyrrhic victory for consumer education, wines from any of the three river valleys are now all called Mosel.

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A map of the Mosel river from 1897

In any given wine region, terroir within that region can differ enough from locale to locale to impart differences, small and large, among the region’s wines. When it comes to Mosel, there are significant differences across the region; we’re dealing with one of the more diverse regions out there. The geography is as physically striking as it is challenging to understand from a wine perspective. The rivers form incredibly curvy spines that leave little flat land available for planting grapes, and it’s downright crazy that people prefer to use what limited flat land there is to build, you know, towns, instead of plant vineyards. So up the incredibly steep slopes the vines go.

Many of the vineyards are planted on these slopes. Over 40% of Mosel’s vineyards are planted on slopes at least 30 degrees in pitch. That’s ridiculous, and also breathtaking. The northern Mosel is home to the Bremmer Calmont vineyard, which leans upwards of 65 degrees in slope, making it Europe’s steepest vineyard (which makes me very curious as to which vineyard outside of Europe goes steeper). Further, many vineyards are broken up by small cliffs, a nice little complicating factor for vineyard work. Spoiler alert: there will be a follow up post about Bremmer Calmont because we hiked through it and tried several wines from it.

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As the vineyards track the curvature of the rivers, they are planted on all aspects of orientation with the sun. Further, the soils change as one travels from one end of the Mosel to the other. Here’s how the industry group describes Mosel’s soils:

“Clayish slate and greywacke in the lower Mosel Valley (northern section); Devonian slate in the steep sites and sandy, gravelly soil in the flatlands of the middle Mosel Valley; primarily shell-limestone (chalky soils) in the upper Mosel Valley (southern section, parallel with the border of Luxembourg).”

That’s some serious range. When combined with slope, orientation and other factors, it’s no wonder Mosel produces such diverse rieslings.

These vineyards appear unbelievably difficult to harvest. Incredibly, it’s done by hand – though perhaps it’d be more incredible if machinery could be configured to work on such steep and narrowly-planted rows of vineyards (the spacing I saw on the steeper slopes was around two to three feet, which is objectively narrow). Both seem impossible.

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For thousands of years, Mosel has been and continues to be one of the most human-intensive places to grow and harvest wine grapes. Despite the intimating geography, winemaking in Mosel dates back to the Roman times and some of the cities that dot it date back even further to the Stone Age. Wine is a significant part of Mosel’s history and identity.

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Notice the monorail running straight up the middle of the vineyard

Many wineries have installed “monorails” in their vineyards to make harvesting grapes easier, safer and more efficient. These are long metal tracks that wind their way up and down the vineyards with small “cars” that carry 1-2 people and several baskets of grapes. Though picking the grapes requires getting off the monorail to walk the rows (the monorails bisect the rows rather than run parallel with them), the monorail allows workers to get from one area of the vineyard to another with greater ease, and makes transporting the grapes easier as well. This video from Wine Enthusiast’s Anne Krebiehl and this one on Youtube give POV perspectives of riding these monorails. Both are must-watches, so go ahead and click them. Just promise to come back, pretty please.

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As we hiked through the 65 degree slopes of Bremmer Calmont, I had to fight to keep my fear of heights in check and my vertigo in hibernation. Walking by (and under) these monorails made the thought of riding them damn near mind-blowing. I just can’t imagine riding these metal slides, built for small people, on such steep slopes while handling containers of such delicate and prized contents. How there aren’t deaths every year during harvest is beyond me, and helps the case of those who argue for the existence of an omnipotent and merciful creator.

We tasted a number of wines while in Mosel, but it was the experience we had with Markus Hüls of Weingut Markus Hüls that connected the visuals with the grapes and the winemaking in a way that made sense (“weingut” means “winery” in German). Hüls is a Weygandt-Metzler Importing discovery, which is a good indication that the wine carries a unique and precise personality.

The slogan on Hül’s website is “A 100% passion for steep slope wines,” which is more or less how Markus began describing the genesis of his winery during our tasting. Markus isn’t the first generation winemaker in his family; his dad makes wine as well. After interning for the highly esteemed Weingut Markus Molitor and working for his dad, Markus struck out on his own with the 2012 vintage. Part of his decision to start his own label came from disagreement with his father about where to plant vineyards: he wanted to find the steepest slopes he could while his father preferred the (relative) ease of flatter vineyards. Hence the slogan. Markus’ three vineyards – Kirchlay, Letterlay and Steffenberg, respectfully – are on steep slopes.

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The author with Markus

Hüls is set up in the village of Kröv, with the winery and tasting room in town by the river and the vineyards on the hills that rise up from it. Markus does everything organically, and puts an immense amount of attention into maintaining healthy vineyards. He made the decision to go organic because it “produces the best wine – nature does the best winemaking by itself. It needs time, not intervention, to do this.” To this end, Markus does native fermentation and allows it to kick off on its own. While most big Mosel producers go from harvest to bottling in around three weeks’ time, Markus’ fermentations alone take 2-4 weeks just to start. Low and slow. While the majority of his production is riesling, he has 0.7 hectares of spätburgunder, the German name for pinot noir. In total, Markus produces 40,000 bottles (about 3300 cases) of wine.

Riesling lovers tend to have at least one thing in common: they like acidic wines. Acid is integral to good riesling, so let’s discuss it for a moment because the most impressive theme of Markus Hüls’ wines are the acid they carry, and despite the region being known for acidic wines, Markus’ deliver a particularly engaging and twitchy version that adds really cool texture and structure. As the coffee roaster in Syracuse who I bought beans from every week while I was in graduate school there once told me, acid means flavor, and this as true in coffee as it is in wine. Though far from chemically accurate, the comparison of acid to salt in this context helps. Salt not only brings its own complex flavors, but also elevates other flavors that it comes into contact with and adds brightness to the situation.

Note: If you ever find yourself in Syracuse and in need of a good cup of coffee or coffee beans, The Kind Coffee Company delivers more than anyone else in town.

Acid is also part of the physical structure of a wine, which means you can feel the acid as well as taste it. Since white wine doesn’t carry tannins like red wine does, it means acid is the most important component of the physical structure. Good acid levels and integration lead to a complete wine that dazzles the taste buds while poor acid levels or integration can put one off riesling for life.

Riesling is naturally high in acid, which means every winery making riesling has to deal with it. The ideal situation is that the grapes are grown such that they get to the winery with desirable levels of acid and the winemaker doesn’t have to intervene by either acidulating (adding acid), deacidifying (removing acid) or moderating (e.g. doing at least some oak aging, which adds tannin and therefore reduces the percentage of the structure that is acid). I harped on the role of good farming in winemaking in the Emidio Pepe post a few weeks ago and in my Cork Report profile of Virginia’s Barboursville Winery recently, and Hüls is another case-in-point: as Markus said, if you grow good grapes then you don’t need to intervene. The evidence of this theory can be found in the wines of Hüls, Pepe and Barboursville.

I’ve also said in multiple Good Vitis posts that when it comes to tasting wine, it’s often times best to start with the lower acid wines and move to the higher ones, even if that means going from red to white (e.g. pinot noir before chardonnay in Burgundy or Oregon). The same holds true for Mosel, and I was thankful when Markus pulled his pinot noir first.

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Enjoy8ing Hül’s Spätburgunder

We started with the single vineyard Spätburgunder 2016 from the Letterlay vineyard, which comes from French vines planted at fairly high density (over 3,200 per acre) with the aim of building greater complexity and concentration. These vines, like all those that Markus cultivates, receive zero irrigation. The earthy nose has a lot of crispy red fruit on it – think strawberry, rhubarb, plum and cranberry – and funky soil and fungus aromas. The palate is very fresh and spry with a variety of crushed red berries that suggest they will get sweeter with age, and modest bell pepper. I’m rarely a fan of German or Austrian pinot noir largely because they seem to lack depth or complexity, but I could crush a bottle of this now while letting a case age for another five to ten years because it has enough guts to develop into something more.

We also tried the 2017 Spätburgunder, which I found very special. It offered a nose that reminded me of my favorite Oregon pinot producer, Cameron, who is known for beautiful combinations of spiced fruit and funk. The nose offered ripe and spiced red and black fruit that comes off beautifully sweet to go with a variety of damp and dry soils and rose hip. The light body has spry acid that is slightly tart at this stage, which carries the mineral-driven profile that balances red and purple fruit with scorched earth and a taste I couldn’t pinpoint, but called “almost peppermint.” These are the first grapes harvested in any of Hüls’ vineyards.

As we tasted the Spätburgunder, Markus prepped the rieslings, explaining the differences between the 2017 and 2018 vintages as we were going to try wines from both. The earlier vintage produced more acid and resulted in wines made for the long haul. By comparison, 2018 was a riper year (read: less acid, more sugar, bigger wines) and led to wines better for immediate drinking.

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We began with a side-by-side of Markus’ entry-level rieslings that illustrated the vintage difference. The 2018 Riesling has a very fruit-forward, very ripe nose. The high alcohol (12%, so high is relative to region) really boosts the ripe cantaloupe, tropical fruits and baked pear. It’s full-bodied and round with soft streaks of acid that carry banana, pineapple and green and red apples. It’s a pure, very clean and enjoyable wine. The 2017, though, is more complex (remember, higher acid vintage, and acid means flavor). The nose is higher-toned with a profile that has a distinct lees character. Sharper citrus aromas, less tropics and more stone minerality (flint stands out) than its younger sibling. The acid carries some wonderfully sweet citrus and perfumed (think potpourri) flavors. Starfruit, mandarin and green papaya feature as well. The somewhat chalky texture speaks to the elegance of the acid and build of the wine. This one has good a good ten+ year life span. At around $20, this is an unbelievable value.

We moved on to the 2017 Schieferspiel, a blend of the Letterlay and Steffensberg vineyards. The nose is very concentrated and wrapped up tightly, indicating the wine’s youth. Stone fruit, grapefruit, white flowers and flint are just starting to emerge. The palate, which is exceptional, balances banana, young coconut, perfume, white pepper and green apple. It carries an acidic tension that pulls the wine along the sides of the mouth, a sensation that captivates the mind as the finish carries on for ages.

From there we went into the single vineyard wines – which he refers to has his cru wines –  starting with the 2017 Steffensberg. Markus said this vineyard, he believes, has the best promise of his holdings. The nose offers a basket of stone fruit aromatics, dominated by apricot and nectarine, dusted in nutmeg. The palate is dominated right now by a big variety of citrus – lemon, lime, under ripe orange and Buddha’s Hand – that is kept in tantalizing tension by the bright, juicy and tense acid with starfruit and green apple. This one offers a strong promise of developing that profound nuttiness that the best rieslings take on with significant age. Among the best of the tasting.

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Next came the 2017 riesling from the Letterlay vineyard and vines around 45 years of age. In the summer, Markus drops around half the fruit in these blocks, and at harvest takes the grapes closest to the vine where the flavors are the most concentrated. Then, during sorting, he takes the best 10% of the clusters, destems them, and does whole berry fermentation. This process results in a compelling profile of citrus, sweet and tangy apricot and pear, and bit of skin tannin that adds weight and another dimension to the structure while slightly reducing the acid’s prominence, which remains taught and long. It also has a small amount of residual sugar, but it’s barely perceptible. Though the grapes for this wine are grown only 300 meters from Steffensburg, it is distinctive from the other site in more ways than just the procedural differences.

At this juncture, Markus introduced the 2017 Alte Reben, which at 30 grams of sugar per liter that registers a four out of ten on Markus’ sweetness scale (each Hüls wine is labeled with a number on this scale in an effort to educate the consumer, a labeling feature I believe every winery should adopt with riesling). The aromas are mouthwatering and dominated by a variety of peach and peach dishes: fresh peach, preserved peach, peach pie, peach stewed with vanilla, the list goes on. The palate is very tropical with juicy mango, pear and lychee that are highlighted by honey and vanilla. It finishes with juicy peach and pear sprinkled with baking spice. This was my favorite wine of the lineup.

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We then moved on to the 2018 Kabinett, a classification of wine under a designation called Pradikatswein that refers to the ripeness of the grapes when they are harvested, and is applied to wines typically with some residual sugar. Kabinett is the least sweet of the six Pradikatswein classified wines. Hüls’ opens with a nose dominated by Asian pear, candied lime peel, vanilla and sweet cantaloupe. The fruit on the palate is honeyed in nature, featuring banana, limesickle and carmel-vanilla flavors. At 9% alcohol and 48 grams of sugar per liter, Markus pointed out that this is very “true to the type for Kabinett from Mosel.” It’s a killer wine, and was my wife’s favorite.

We finished with the 2017 Auslese bottle, Auslese being third of six levels of harvest brix (a measurement of sugar content) in the Pradikatswein classification. High quality Auslese wines famously age well for decade after decade after decade. One of my notes on this wine is that I would love to come back to it thirty years from now. Depending on the vintage, it carries between 100 and 115 grams of sugar per liter, which limits the alcohol to around 8%. The acid is remarkably sharp given these other figures, which only adds to its complexity and ability to improve with time. The nose smells tantalizingly wonderful with an array of dry and sweet notes that suggest botrytis, though I did not ask for confirmation. Markus selected the grapes for this specifically with making this wine in mind. At first it seems a bit unsettled – it needs time in bottle to become one with itself – but the juicy acidity does wonders for the honey and sweet fruit and vanilla. This will eventually be a real stunner.

Our time in Mosel was a very fun learning experience for us. Riesling continues to wow me. As I try more versions of it I taste, I’m internalizing how it’s one of the most diverse wine grapes in existence. Its ability to be produced in so many different styles and its natural tendency to take on terroir-specific characteristics combined with the ability of higher quality riesling to develop wildly cool characteristics with age make it one of the most exciting and surprising wines in the world today (despite the fact it’s been around for centuries). Within this context, Markus Hüls is a revelation in steep slope Mosel wine that delivers an acid profile defining something both unique and exceptional. Whether you have a chance to visit or purchase the wines closer to home, it’s all worthwhile when it comes to Hüls.

Try This Wine: A $34 Rosé

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Here are two things most people don’t buy: merlot, and rosé that costs $34. I’m going to try to convince you to do both, at the same time, with the 2018 Rosé of Merlot from Napa’s Rutherford Hill. Rutherford is one of the most respected merlot houses in the United States, and they graciously sent me six different merlots for my research on the variety and the upcoming merlot article I’m writing. Tucked among this half case was the rosé, like an oasis amongst the sand. I opened it with some friends and after polishing off the bottle in no time, knew it deserved a stand-alone piece.

Part of the reason I’ve been focused on merlot recently is that the variety has gotten a terribly unfair shake, and though its reputation has improved among aficionados, it hasn’t recovered in the mainstream consciousness despite the ratio of good and bad merlot in the market having flipped, in a positive sense, over the last decade or so. People are missing out on terribly good wine.

The problem, to certain extent, starts with the polarizing reaction to the word “merlot.” This knee jerk reflex often comes from one or both of two factors: what we associate mentally when we hear the word, and what we expect to taste when it is poured for us. If the mental association is off, it’s hard to get the taste right, and so it begins with what we say and think.

Terminology gives us words and creates thoughts, and in the wine business terminology is confusing and complicated, which is unfortunate because it is crucially important to connecting customers with wines that meet their preferences and standards. Americans have never been great about this, a great example being that in America in the early 1900s to even as late as the 1980s, “Chablis” meant white wine and “Burgundy” meant red wine for many people. Though wholly inaccurate and also illegal given the French laws governing the use of those names, it wasn’t baseless in the sense that Chablis, France, produced white wine and Burgundy, France produced red wine.

Though our wine parlance has come a long way since then, becoming substantially more specific and accurate, in the interim period merlot was commonly used as a generic reference to red wine as much as it was intended to refer to the specific variety, leading people to associate merlot with generic red wine. Merlot’s market saturation in the 1980s and 1990s, a conscious industry choice because it was cheap to mass produce, led to copious amounts of generic-tasting red wine made from the grape, which didn’t do many positive things for the variety’s reputation.

Now, though, thankfully and finally, it’s because of high quality, diligent and passionate producers like Rutherford Hill (and Duckhorn, and Mt. Brave, and Leonetti, and others) that merlot has a reputation specific to itself (at least among those paying attention), affording it a greater opportunity to shape what people think about it rather than the other way around.

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Rutherford Hill

Merlot not only makes a complete and complex wine on its own, but it fulfills two really critical additional roles: a blending work horse and a savior for many a cabernet sauvignon. Many of the best red wines, whether labeled as a single variety or a blend, significantly and uniquely benefit from merlot’s participation. Even if you don’t buy wines labeled as merlot, you likely get your fair share of it if you’re drinking other reds. Where it doesn’t show up very often, though, is on the label of rosé. And if the 2018 Rosé of Merlot from Rutherford Hill is any indication, that’s a real shame.

In the same way that merlot can be a complete and complex red wine, it can be a complete and complex rosé as well. Rutherford’s winemaker, Marisa Taylor, walked me through the winemaking process, which begins by a goal of making an intentional rosé. It’s unsurprising that the start of any good rosé’s story begins with the winemaker’s intent to make rosé. Many wineries produce their rosé with the leftover wine from their red wine production, which is the first step in making bad rosé. The reason for this comes down to acid and sugar. Red wine is served best by less acid and more sugar in its grapes that rosé, so the point of grape maturation is important for both. Ideally, a rosé comes from grapes harvested earlier than grapes harvested for red wine, when acid is higher and sugar is lower.

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Marisa Taylor (second from the left)

Like they do in the rosé mecca of Provence, a region known for pale-colored rosé with bright acid, juicy red fruit flavors and floral aromas, Marisa harvests the grapes for this wine on the early side, at night when the temperature is cool, and puts them straight into the press where they receive a very gentle pressing (on par with Champagne-level pressure) so as not to extract too much color or tannin. This is the ideal genesis story for many who love rosé wine.

The block where the grapes come from was specifically chosen to make a special rosé because of Marisa’s association of drinking rosé by the water while relaxing with family and friends on vacation. She honed in on this specific block because it is boarded on two-and-a-half sides by a pond and blankets a rise in the terrain, a setting that she described as very peaceful. The grapes from it are known to produce wonderful aromatics as well, a key component of a compelling rosé.

The concept and execution pays off. The wine manages to offer both a substantive and complex profile and the refreshing brightness and juiciness of a stellar rosé. This is likely every bit as rewarding and compelling as your favorite $34 white or red wine. Try this wine because substantive rosés are rare in availability and especially good, and because it’s a great way to experience an unfairly stereotyped grape.

Tasting note: This has a wonderful nose that combines the richness of merlot with the spryness of a rosé. Aromas of strawberry, cherry concentrate, candied fennel, sweet vanilla and Sprite lemon-lime. It’s on the fuller side of the rosé spectrum in terms of body, but is balanced brilliantly with bright acid that adds welcomed tension to the mouthfeel. The flavors hit on strawberry nectar, lime mint sorbet, chalk minerality and celery seed, and form a wonderfully layered palate. Among the most complex and complete rosés I’ve had, it’s a stunner equipped to handle a heavy meal if you can wait long enough for the meal to be made. I’d love this with mushroom risotto. 92 points. Value: A.

Where to buy:

Simple: direct from the winery. It’s available in-person and online.

A True Oregon Estate: Left Coast Cellars

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Left Coast’s Latitude 45 vineyard

I’ve been to all shapes and sizes of wineries. One of my first winery visits in Virginia was to a small producer whose tasting room was the top floor of the small farm house with a nice view where the owners lived, and the winery an adjacent utility building. Outside my hometown of Seattle, I’ve been to the two-million-cases-per-year Chateau Ste. Michelle, which sits on acres and acres of land manicured for visitors’ delight. I’ve been to Napa’s Castello di Amorosa, which is an enormous authentic rendition of a 13th Century Tuscan Castle that takes several hours to fully explore. In Oregon, I’ve gone to the large and stately Domaine Serene, and hung out on the hillside perch that is the tiny Martin Woods. My favorite Israeli and (Republic of) Georgian wineries are effectively in the homes of the owners.

Some wineries source all of their grapes from vineyards they don’t own, while others produce all their wine from grapes they grow themselves (the term for the latter is “estate”).

The lesson I’ve taken from this range of experiences is that good wine is made by dedicated people independent of their winery resources. That said, while the quality of wine is one thing, it’s not the only thing that makes for interesting wine. There are loads of business models variables that are interesting in and of themselves that add to the intellectual experience that can come with wine. Through a range of samples and a conversation with winemaker Joe Wright, I’ve started to get to know Left Coast Cellars, which is located in the Willamette Valley, and their business model. They do it all themselves, and then some.

Founded in 2003, the 500 acre property has 160 acres under vine, which is farmed under both LIVE and Salmon Safe certifications. This effort to farm in environmentally-friendly ways is indicative of an approach to managing the entire property with an eye towards responsible environmental stewardship.

Two projects, encompassing 170 non-vine acres, are managed in partnership with the US Fish and Wildlife Service with the goal of turning them into a permanent wildlife refuge. The first, measuring 100 acres, is an ecological compensation area, while the remaining 70 acres are dedicated to an old growth oak forest restoration effort. Every year, the winery hosts a 5 and 10k race called the “Run for the Oaks” to support this latter project. Further, a good portion of the estate runs off electricity produced by solar panels mounted on the winery. The estate also produces honey, and offers customers a $1 credit for each empty Left Coast wine bottle that is returned.

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Run for the Oaks 5/10k

Speaking of customers, Left Coast offers a variety of “experiences,” including a wine and pizza pairing, property tours in a 1950 Chevy flatbed truck and live music, that allow visitors to turn winery visits into a time to enjoy the property and atmosphere. This is all in addition to a wide array of wines produced exclusively off estate fruit and the tasting room where wine is the focus. The whole Left Coast package, if you will, is a responsibly-run comprehensive business that takes not just the wine into account, but also the health of the property and how it can provide enjoyment, tranquility and sustenance to humans and nature alike for the long term.

The vines stretch out over nine different vineyards on the property, which yielded about 350 tons of fruit in 2018, good enough for about 20,000 cases of wine. Pinot noir represents 65-70% of production in a given year (which is made into pinot noir rouge, rosé and pinot noir blanc), with the remainder spread across pinot gris, chardonnay, pinot blanc (not to be confused with pinot noir blanc), viognier and syrah. This gives winemaker Joe Wright and his team a lot to play with.

Joe has been making wine for 23 years in Willamette Valley, and counts himself quite lucky to be at Left Coast. “I’m sick and tired of manipulating wine,” he told me when we spoke, adding that “I want to make them in the vineyard,” meaning that the focus is on harvesting the best grapes possible. “I get to do that here,” he said.

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The Orchards vineyard

As our conversation continued, he proved this point several times over. When asked about tannin development, he explained that the vineyards produce grapes with naturally thick skin, which means naturally high tannin potential, and that means ensuring that crop levels are low enough to produce ample space around the clusters for air to circulate and cool the grapes, which keeps the skin tannin at bay. It means picking enough leaves to allow airflow to get in to the backside of the clusters so they ripen similarly there as they do on the frontside, which helps produce higher ratios of anthocyanin to phenolics, the former being the more pleasant and interesting of the two types of tannin.

While on this subject, Joe told me (and the samples I received supported him) that Left Coast’s wines are capable of decades of positive evolution. He had recently opened a 2002 pinot noir and it was brilliant. “Wines aren’t wine until they’ve been bottled for five or six years,” he said. “When wine goes into the bottle, it’s basically just fermented juice. If you taste base wines, they’re not complete. It’s the things that happen over time during aging that makes it wine.” Right now he’s drinking Left Coast’s 2008s.

I was sent eight different bottles: four whites, one rosé and three reds. Two stood out above the rest: the 2018 White Pinot Noir and the 2015 Right Bank pinot noir. The 2018 Rosé of pinot noir was also impressive. Based on these three alone, it’s evident that Left Coast is making serious wine while also spending considerable time and resources on non-wine related projects. This balance, to say the least, is impressive.

Tasting notes and scores:

2018 Left Coast White Pinot Noir – A white wine made from pinot noir, the reticent nose offers aromas of tangerine, yellow and white florals and white pepper. Full bodied with a slightly zesty, or twitchy, sensation. The acid is well-defined, but spreads out wide and really coats the mouth nicely. Flavors are slightly sweet-edged, though the lemon zest and stony minerality are both strong and welcomed balancing agents. Strawberry, sweet banana, Sprite, lemon curd, cherry blossom, green herbaciousness and orchid. An unusual, interesting and serious wine. This would be interesting to revisit in a year or two. 93 points. Value: A+.

2015 Left Coast Right Bank pinot noir – This has a dark and hedonistic nose. The aromas are saturated cherry, blackberry and strawberry compote, baking spice and graphite-laced smoke that is polished by blood orange zest. This is full-bodied with enormously juicy acidity. The tannins are effectively seamless and highly polished. The structure on this is complete. The flavor profile is slightly bloody in nature, which highlights red plum, strawberry, raspberry and huckleberry fruit. There is a dose of saline to go with bacon fat on the back end. This is an impressive wine with an in-your-face orientation. 93 points. Value: A.

2018 Left Coast Rosé of pinot noir – The nose is a summery concoction of strawberry, cherry, watermelon and wet crushed rock. Nearly full-bodied, this lush and brightly acidic rose gives generous doses of sweet cranberry, strawberry, orange peel and mean and steely streaks of flint and white pepper. Nudges towards the serious end of rosés, this could handle a wide array of even more serious food. 91 points. Value: B+.

2015 Left Coast Truffle Hill pinot noir – This is a very young 2015. I put it through a Venturi four times and then decanted for two hours, and it still seems a bit closed and young. The nose offers blackberry, raspberry, kirsch, red currant and Allspice. It is medium bodied with well-integrated and smooth tannin and slightly bright acid. The structure is refined. Flavors hit on a bunch of red berries and plum and are highlighted by slightly tart Acai. Hard to call this a fruit bomb given its structural finesse, but it is fruit-forward at this stage with only a slight undercurrent of baking spice. I suspect this will start to reveal itself around 2022 and impress in 2025. 91 points. Value: B.

2016 Left Coast Cali’s Cuvée pinot noir – Not the most saturating of noses, but it’s a touch hedonistic. The fruit is dominated by blackberry, with undertones of boysenberry and strawberry. There’s a theme of spiced mulberry as well that’s really nice and works well with the black pepper. It’s of medium weight. While it’s smooth on entry and exit, the tannins break out a bit and give it some nice gritty texture while it’s in the mouth. The acid is a touch sharp, though it doesn’t ruin the wine. The flavors are on the darker end of the pinot spectrum and balance dense fruit with restrained spice nicely. The fruit is brambly and plummy and saved from saturation by the acid. The baking spices really come in strong on the mid palate and finish. This is a great value among pinot from anywhere, especially Oregon. 90 points. Value: A.

2017 Left Coast Truffle Hill chardonnay – A slightly reserved, if prototypical nose of Meyer lemon, key lime pie, white pepper spice and flint. It’d medium bodied and quite round and smooth. The acid is well-placed. Flavors are light and delicate and very pleasant: sweet lemon, sweet white and yellow floral notes, honeysuckle and key lime. A very enjoyable everyday chardonnay. 89 points. Value: B-.

2017 Left Coast The Orchards pinot gris – A very reticent, high-toned and linear nose, it wafts stone minerality and citrus zest. On the palate it’s a juicy medium body with well-fitted acid. Flavors are strawberry nectar-forward, touching on Meyer lemon, orange zest, banana peel, slate and white pepper as well. The finish holds a nice juiciness for an extended period of time, turning slightly savory at the end. 88 points. Value: C+.

2017 Left Coast Queen Bee Bubbly (of pinot noir) – A surprisingly honeyed nose of…honey. Like, straight from the jar honey. Beyond that it’s slightly perfumed by way of jasmine and sweet Thai chili sauce. Quite pretty if a bit monolithic. It’s medium-bodied with bright and streaky, linear acid that the fine bubbles accentuate. Flavors hit on tart cherry and huckleberry, limesickle and slate/crushed gravel minerals. A fun, easy wine sparkling rosé. 88 points. Value: C.

 

 

 

Try This Wine: Captûre Tradition Sauvignon Blanc

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Note: Several of these pictures were lifted straight from Captûre winemaker Sam Teakle’s Instagram, which is a great IG follow.

It happens to the best of us: you think you don’t like X, and then you have an X, and it’s really good, and you kick yourself for being close minded. I didn’t like mushrooms growing up, but something happened in college (not what you’re thinking) and I turned the corner. I’m sure everyone has a story like that. For years, I hated sauvignon blanc unless it was blended with semillon and aged in oak for a bit. Then, in 2017, I got to try Ehlers Estate’s sauvignon blanc from Napa and, poof, epiphany moment. Eat crow, Menenberg.

Since then, I’ve been more open to sauvignon blanc, which is to say, I’ve tried many more, and been disappointed a great many times. I’ve had a few compelling ones from Sancerre, but the next great sauvignon blanc came by way of the New Zealand project Loveblock by Erica and Kim Crawford. This was the sauvignon blanc that captured (no pun intended) me intellectually: it was tremendously interesting and very tasty. It represents a new, exciting and wholly welcomed rendition of New Zealand sauvignon blanc after an overwhelming wave of green and lean stuff from the Kiwis. Eat crow, Menenberg.

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A Captûre vineyard

That said, the best sauvignon blanc I’ve had to date is an even more recent revelation to me: the 2017 Captûre Wines Sauvignon Blanc Tradition. Captûre was founded in 2008 in California’s Mayacamus Mountains, and includes some of the most remote and high-elevation vineyards in California. In 2015, Australian Sam Teakle took over winemaking responsibilities. Earlier this year, Kayce and I had the chance to have dinner with Sam and taste his wines along with our friend Ryan O’Hara of The Fermented Fruit.

Sam came in to dinner star struck over a recent chance encounter with the Australian womens hockey team. Though it took a glass or two of wine, and many laughs, to move on from this airport run-in to politics to a good number of other entertaining conversations, we eventually and reluctantly got down to wine business. We talked tannins, Napa viniculture, oak programs and a good number of other items.

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We tasted one of his sauvignon blancs, but quickly moved on to the stellar red blends and cabernets, which use fruit from high elevation and often steep vineyards and are made with traditional winemaking methods and a light touch. I found them to be elegant and refined and are wines I’d be happy to have in my cellar for a decade or two. Sam had a good deal to say about them, but when he asked me at the end if I wanted to revisit any of them, I found myself wanting to go back to the sauvignon blanc. Eat crow, Menenberg.

Captûre’s Tradition sauvignon blanc, like the Loveblock I had tasted a few months earlier, offered more substance, weight and depth than I had been accustomed to finding in the variety. I had always thought of sauvignon blanc as a lean, citrusy and acidicly- sharp wine that was simple and even sometimes unpleasantly bitter. The Captûre Tradition proves all this wrong – it proves the haters wrong – at an incredibly reasonable price of $25. It will over-deliver as a pop-and-pour summer white wine, and sufficient seriousness and complexity to be decanted for an hour and enjoyed over the course of an evening. Try this wine for an incredibly refreshing AND substantive white wine.

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Picture Credit: wine-searcher.com

Tasting note: This has a wonderful, rich nose of pineapple, green apples, flint shavings, green mango and green pepper corns. It’s full bodied for a sauvignon blanc, with precise and slightly gritty acid that plumps up the juiciness of the fruit, which comes by way of apricot, lemon curd, sweet mango and just a slight kick of blood orange. It maintains great salinity to balance the sweet fruit, and finishes with wet slate, marjoram and white pepper. The mouthfeel on this is spectacular, with a round plumpness and lean, slightly twitchy acid finding harmony with each other. A very impressive wine. 94 points. Value: A+.

Where to buy

The most obvious place to get this wine is direct from the winery itself, which ships. The current vintage available on the website is the 2018. The 2017 can still be found at a few places courtesy of wine-searcher.com.

Berkley, CA: Solano Cellars

Minneapolis area, MN: Ace Wine, Spirits & Beer

Nationally: Wine.com

You can find the 2016, which I’m sure is still singing beautifully, here:

Los Angeles, CA: Mission Wine & Spirits

Chester, NJ: Shop-Rite

Clark, NJ: Wine Anthology

Metuchen, NJ: Wine Chateau

Bronx, NY: Skyview Wine & Spirits

New York, NY: Sherry-Lehmann

The Legend of Abruzzo & Beyond: Emidio Pepe

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When Kayce told me she booked us for two nights during our honeymoon at the Emidio Pepe agritourismo in Abruzzo, Italy, I thought, ‘no way.’ Seemed too good to be true. Emidio Pepe is a legendary wine producer. Legendary Montepulciano d’Abruzzo red wine, and legendary trebbiano white wine. It’s essentially the winery of Abruzzo, at least according to what I know, and it’s not always easy to find bottles in the United States. I had heard great things, but had never actually verified them since I’d never tasted any Emidio Pepe. I was hoping this wasn’t going to be too good to be true.

Months later, as we drove up the winding road on our final approach to the winery, I allowed myself to transition from skeptical to hopeful; if my first step inside the place carried any trepidation, I’d jinx it. The Pepe estate, which consists of the family home, winery, vineyards and an agritourismo (essentially a full service boutique hotel serving food grown on and near the property), is perched on top of one of the many hilltops in the rolling countryside of Abruzzo. The property has an idyllic setting: affixed atop a hill with a roughly 270 degree view of the surrounding rolling hills, which are mostly draped in vineyards and topped with either agricultural estates or small villages. Beyond them are large mountains, some of which go into the several thousands of meters above sea level.

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The view from our room

Even though our stay at Emidio Pepe was part of our honeymoon, Kayce was understanding in recognizing that, given the weight of Emidio Pepe in the wine world, it should be leveraged for a Good Vitis piece, and so I sent an email ahead of time asking for some one-on-one time with a representative of the property in order to collect information for a post. We were paired with Gianluca, who runs the commercial side of the property, for a tour and tasting the day after our arrival.

A side note on Gianluca: He appears to be a true asset for the company, and for its visitors. Though not part of the Pepe family, he was hired to run the agritourismo and represent the winery around Italy. Having spent time in England for work previously, he speaks very good English and knows how to connect with Anglos, an important skill for Pepe because of the high percentage of visitors they get from the US, UK and other countries with whom the common language with Italians is English. He is a gracious and warm host who cares about every visitor’s experience.

A second side note on Gianluca: He also really knows his wine stuff. He took us on our tour of the winery, explaining numerous aspects of the process and providing answers to questions that are only known by people who study the craft. We had a great discussion with him about skin contact wines from Italy, and he wrote down several suggestions that we are eager to pursue. It’s clear he’s a true wine lover.

As a wine region, Abruzzo hasn’t had much recognition in America, at least the type of recognition that a winery focused on quality and uniqueness like Emidio Pepe would want. Most of America’s experience with Abruzzo comes by way of inexpensive and fairly simple wine, the three most common of which are made as varietally-labeled wines from the signature grapes of the region: white grapes pecorino and trebbiano, and the red Montepulciano d’Abruzzo. In Washington, DC, where we live, it’s much easier to find these wines on a bar’s happy hour menu for $8 a glass than it is in a wine shop for more than $15 a bottle. Abruzzo is vastly overshadowed by Italy’s better known region, though Emidio Pepe is one that transcends this reputation of simple wine.

Part of what sets Emidio Pepe apart is the focus they have on making wines that transcend themselves with significant aging – we’re talking twenty-plus years for the better vintages of montepulciano and five-plus years for trebbiano.

To say “transcend” with age rather than “improve” or “evolve” is to imply more gravity, namely that there is a significant transformation that happens from an early stage of the wine’s life to a later stage. This kind of change can be exemplified by two tasting notes, two experiences, that are almost, if not completely, different: the structure, aromas and flavors show little resemblance to each other as the structure becomes more regal and the common themes are reduced to (critical) things like quality and style. Transcendence on this scale is limited to the best wines in the world – some, but not nearly all, Bordeauxs, Burgundys, Barolos, Brunellos (lots of B’s now that I think about it), Riojas, Vouvrays, etc. Pepe’s transcendence puts it in the most elite of company.

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Gianluca and the author walking the Emidio Pepe cellar

Nearly half of each year’s production is placed in Emidio Pepe’s cellar for future release, and when I say “future release,” I’m talking five to twenty years later depending on the vintage and variety. Each year, these older vintages are made available to a maintained list of collectors. America is the biggest destination of these library releases.

I’ve come across serious library programs before, but none come close to this level of dedication to releasing “wine that is very good and elegant,” as Gianluca put it. Walking the cellar is an experience: rows and rows of unlabeled bottles segregated by vintage. Every vintage since the first in 1964, save the eight they skipped due to poor quality, are there. Finding the section reserved for a personally important year is a lot of fun. I scoured the room for 1983, my birth year, while Kayce was disappointed to learn that her birth year, 1989, was one of those skipped.

To go even further, the wines are bottled unfiltered and made in a very reductive manner, which are factors that contribute to the wine’s ability to improve with age. “Reductive wine” refers to wine that is made with techniques that limit its exposure to oxygen. Because oxygen inherently and irreversibly kills wine (it ages wine to death just like it does humans), the less the oxygen exposure, the longer-lived the wine. Also, oxygen exposure forces a wine to release its aromas, flavors and textures, and so if you’ve had a wine that becomes significantly more interesting as it sits in your glass or decanter, you’ve likely experienced a reductive wine opening as it takes in oxygen for the first time.

When the older Pepe vintages are released, it is because the winery believes the vintage is beginning to hit the early part of its drinking window. Before bottles of old vintages are shipped, each wine is opened, decanted and re-corked with a new cork. This process helps rid the wine of the significant amount of sediment that has built up. Given the amount of reductiveness in Pepe wines, the brief decanting does little to stunt its growth. By the time a bottle of 2000 Montepulciano d’Abruzzo makes its way to a customer in 2019, for example, it’s beginning to reveal its promise. I can attest to this example as the 2000 was one of the wines we tasted.

Making wine for the long haul is centered on the belief that when good wine ages, it gets better. While “good” is the operative term in that sentence, the underlying premise is that the wine is made in a way that allows it to become better with age. “Good,” therefore, carries the implication that the winemaking is done intelligently and purposefully with the goal of the final product being better later than it is sooner. This leads to practices in grape growing and winemaking that may not otherwise be followed. I point this out because unless this conscious choice is made, the wine likely won’t improve much beyond a more limited amount of time.

This is the starting point from which Emidio Pepe makes its wine. At the winery level, there seems to be some correlation between interest in making reductive wines and interest in making what is being referred to these days as “natural wine,” an approach characterized by minimal human intervention and minimal use of “unnatural” products (e.g. synthetic pesticides, fining agents, etc.). Emidio Pepe is often considered a “natural” wine producer. Though there is no definition of natural wine (a fact that in my view undercuts the argument for natural wine), when a wine is good, it’s good, regardless of how it’s made.

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A Pepe vineyard

Natural wine proponents argue that following minimalist techniques, like limiting pesticide use in the vineyard or refraining from additives in the winery (some go so far as to exclude all additives, including sulfur, a natural element and effective preservative in even small doses) produces a wine more inclined to taste like the terroir and vintage than if more human intervention and manipulation were used, and is better for nature and human health.

This means that unless someone really, really knows what they’re doing, a poor vintage of natural wine can taste like a poor wine. It also means that if something goes wrong in the vineyard or winery, the winemaker has few tools to correct it. I’ve had truly terrible natural wines that would’ve been better with some human intervention, and I’ve had great natural wines that would’ve been worse under a heavier human hand. I see no reason why natural winemaking is inherently better. If a property can produce better wine by following some natural winemaking process, I’m all for it. If they can’t but still chose to, then they should re-evaluate the business.

We had an interesting discussion with Gianluca about the topic of natural wine during our tasting with him because Emidio Pepe is often categorized by others as a natural wine producer. We got an answer not that different from the paragraphs above. It effectively went like this.

Part one: We’ve been making wine from these vines for a long time (the trebbiano vines are 35 years old, the montepulciano are 50) using the same vinicultural and winemaking techniques, and so we’ve learned what we need to do to get the best harvests. Further, because all these vines and our winemakers know is what we’ve always done, both have learned how to adapt effectively to nature’s various curveballs.

Part two: Because we love our grapes so much and want to show them off, we only do what is necessary to showcase them as they are, and nothing more.

Part three: If at any point we decided a change in the vineyard or winery would lead to better wine, we’d probably make it, but only after serious study.

Part four: This process is the original winemaking process – it is organic and biodynamic by its own nature, not by a desire to get a certification – and we like its outcome. If this happens to fit someone’s definition of natural wine, great.

Though Pepe could easily be called natural wine and few would argue with it, I think a more appropriate term, if we need one, is old school winemaking. Emidio Pepe was established in 1964, and though today’s vines aren’t the originals (the montepulciano is 50 years old and the trebbiano is 35 years old), it is easy to maintain organic and biodynamic methods, as they do, when that’s all the vines have known their entire lives. Pepe has effectively been organic and biodynamic since 1964 in practice, though actual certifications came later (when organic and biodynamic became a thing requiring certification to commercially claim). The idea is a “natural expression of the viniculture” as Gianlucca explained it.

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Gianluca explaining the foot treading phase over one of the wood vats

The winemaking process is similarly straight-forward and consistent from year-to-year. All grapes are handpicked and foot tread, which represents the entirety of the pressing process. The whites and reds are tread in different vessels, both made of wood. The skins from the white grapes are not reintroduced to the juice, while the red goes through fifteen to twenty days of maceration. Naturally occurring yeast is allowed to initiate and complete fermentation. Tightly-trimmed stems are included with the white grapes in the treading, but removed for the red. The whites are aged in temperature-controlled stainless steel while the red is aged entirely in concrete.

These aging vessels are critical to their respective varieties because of Abruzzo’s searing heat and the desire to make reductive wines. While we were there in mid-June, temperatures were consistently in the mid-90s. They rise through July and August. It is imperative that the whites go into cold jacketed tanks in order to maintain safe temperature, and the concrete tanks that the reds age in are fantastic for maintaining low temperatures on their own. Given Abruzzo’s heat, it shouldn’t be surprising that canopy management in the vineyard is imperative as well to protecting the grapes from sun burn and keeping sugar levels reasonable, which can build quickly in this kind of heat. Vines in Abruzzo are allowed to maintain thick layers of leaves across their tops to provide shade and protection for the grapes.

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Pepe vines

Additionally, because montepulciano is so strongly expressive and naturally inclined to produce big wines, concrete is preferred at Pepe because it tames this tendency by allowing little oxygen to come into contact with the wine compared to what oak barrels would allow (more oxygen means bigger wine in this context). Punchdowns are used once per day, and no batonage (stirring of the wine while aging) is performed. This combination of stainless steel for whites and concrete aging for reds (versus oak for either), a small amount of punch downs (versus pump overs) and zero batonage (versus some) are all reductive techniques relative to their alternative methods.

The moral of the Pepe story is that the two things that do not change from vintage to vintage is the unique qualities that come from this approach and Pepe’s terroir. What does change is the influence of the vintage on the wine. The dinner we ate the first night of our stay included the current releases of the pecorino, trebbiano and montepulciano. Later, when we met with Gianluca, we tasted some different vintages.

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We started with the 2016 Trebbiano, which pours a dark, golden honey color that belies the absence of skin contact in the winemaking process. The aromatics are tropically themed with a linear spice that cuts through the center. Pineapple, mango, marzipan, Key Lime and a petrol-like quality not unlike that found in high quality riesling waft at first sniff. Over time, a gorgeous sweet aroma develops as well. So saturated, the bouquet has its own structure, a quality I’m not sure I’ve experienced before and one that blew me away. On the palate, it is medium bodied with round and sturdy acid that creates great tension. The flavors lead with a crisp mineral Key Lime pie, followed by peppery spice, saltiness and pineapple. It broadens with as it takes on air, coating the mouth with sweet peach and vanilla spice notes. This brilliant wine is among the very best I’ve had, red or white. 95 points. Value: A+.

From there we moved to the 2015 Pecorino. This variety is normally planted at 500-700 meters in elevation in Abruzzo, but Pepe put theirs at 250 meters because it packs on sugar very quickly. This lower elevation helps with limiting direct sun exposure on the grapes, and they harvest the pecorino before their other grapes to keep sugars low as well. Aromatics are tricky when producing pecorino, and Pepe actually shuts fermentation down a bit early in order to do that. Given all this, I know now why I’ve never had great pecorino until I tried Pepe’s, which is phenomenal.

The nose starts off slightly funky and a bit muted, but with air it takes on mushed banana, lanolin, apricot, orange plum, orange marmalade, sweet Thai chili sauce and Kiwi. The body is plush and soft, offering less acid than the Trebbiano. The flavors are similarly soft and a bit salty. Citrus carries the day despite the preponderance of tropical flavors, including banana, quince, passion fruit, zesty lemon peel and white pepper that really pops. It has a wonderful light oiliness sensation. 93 points. Value A+.

At this point, we transitioned to the Montepulciano d’Abruzzo. Gianlucca opened the 2000 and 2010, both exceptional vintages for the estate that he called “among the best for Abruzzo.” The 2010 will be re-released soon. There are six sectors of the oldest vines on the property, and the grapes from them are made into a separate batch that goes into the lot that is held back in the cellar for future release. The 2000 and 2010, taken together, exemplify the transcendence I discussed earlier. You’ll see in the tasting notes below a number of differences that could suggest two different wines. I had a difficult time picking a favorite as each has so much to offer and left me wanting nothing more than another glass. What was evident in tasting them side-by-side is that 2000 was a warmer year: the body, structure and alcohol are all more significant than the 2010.

The 2000 Montepulciano d’Abruzzo has an exquisite nose showing signs of sweet tertiary aromas with a sherried/carmelized note. I also picked up roasted and jarred piquillo peppers, sweet mint and canned cherry. The palate remains quite robust in structure and weight; in fact, it appears to just be hitting puberty. The flavors are similarly sweet as the aromas, but the spice is really taken up a notch. The fruit is mostly red and crisp, but somehow also saturated and dense. The acid and tannin spine is keeping everything perfectly framed and structurally integral, developing a slight chewiness as it takes on oxygen. There are strong elements of scorched earth and wet pavement, with smaller doses of tomato paste and mint. This is a perfectly balanced wine with serious depth and elegant structure. It has another ten-plus years of great life ahead of it. 96 points. Value: A.

We finished with the 2010 Montepulciano d’Abruzzo. The nose offers an interesting combination of primary, secondary and tertiary notes with some funk thrown in for very good measure. Nevertheless, it remains a bit muddled and needs time to delineate and develop clarity. The palate delivers a full-bodied wine that is quite broad, but also surprisingly soft for its youthful age compared to where the 2000 is right now. A funkiness similar to the nose is found in the mouth, and and pairs nicely with red fruit, tomato leaf, blood orange and loads of pepper spice. Extended oxygen brings out fine, slightly chewy tannin and elevates the peppery kick. Those who decide to buy this should consider laying it down for at least another ten years. 96 points. Value: A.

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Some old and new vintages that are ready for release

We were completely taken with Emidio Pepe’s wine (as well as the agritourismo, which we can’t suggest strongly enough). Putting aside the romanticism added by the fact that it was our honeymoon, the tranquility and beauty of the estate and surrounding area, and some of the best food we’ve ever had, I don’t remember a winery that I’ve been more excited to follow and collect since my discovery of Oregon’s Cameron in 2017. Pepe has immediately jumped into my top-5 favorite producers, maybe even top-3. Their wines are especially appealing for me as my favorite wines are those built to age, and then aged. Emidio Pepe deserves the highest marks on quality, personality, process and business model. If only more wineries did it this way…

Try this Wine: Good Memories Juice

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I’ve mentioned many times on this blog that I love aged wine. The really good stuff transforms into something beyond its constituent parts, taking on flavors and aromas of complicated dishes rather than mere ingredients – Christmas spiced-poached pear with caramel sauce, for example, rather than simply pear or even yellow pear. And the structure becomes otherworldly as the years, or decades, smooth the edges and melt each part into a single, glorious sensation.

Wine can’t do this when it’s young. Tannin needs time to smooth out and integrate, that’s why we sometimes refer to tannin “integration.” Acid magically “mellows.” Flavors fascinatingly “develop.” Wine needs time to mature and evolve, not unlike we do as humans. Sure, all the bits are there when a wine is first bottled to become something great, but many bottles need years and years to improve, just like us.

Some wine doesn’t get better with age, because it’s made to be its best right away. It’s big and it’s bold, or it’s enjoyable in a simple way that time destroys. I’m not sure there’s a great human parallel to this, perhaps a student athlete who flames or burns out before their chance to go professional comes along could be comparable. For the purpose of this Try this Wine post, though, this type of wine doesn’t qualify.

Count me as someone who appreciates the wisdom of elders who have something important to share from their life’s experiences. Maybe that’s why I appreciate the story that older wine tells, a story it needed a lifetime to develop.

I recently undertook an unintentional experiment with aged wine when I bought a 2004 Delille Doyenne Syrah from Winebid.com, an online auction website. As I was removing the foil to pop the cork, it dawned on me that in 2004 I turned 21 years of age and could buy good wine for the first time.

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Mean Girls was released in 2004

A whole host of memories flooded my mind from that great and transformative year in my life. That was the year I became a college senior, and I was living with one of my closest friends, dating someone who remains a close friend and entering my first real year of retirement from serious competitive cycling. Everyone – and I mean everyone – was learning the words to Usher’s “Yeah.” And because I could finally buy alcohol from stores, it was the de facto first year of my self-guided path to wine snobbery.

Delille Cellars was my gateway. Founded in 1992, Delille has been one of Washington State’s wine industry staples since. Robert Parker once pronounced Delille “The LaFite Rothschild of Washington State.” It helped to pioneer the Bordeaux-style red (and white) blend in the state, and also makes very good wine from Rhone varieties under the Doyenne label. The fruit comes from vineyards that are among Washington’s very best, the oak program is serious and well-resourced, and the winemaking talent is champion-level.

I was introduced to Delille before my 21st birthday by a neighbor who gifted me a bottle of their Harrison Hill blend, which became my favorite wine for the next decade or so. I joined their wine club before I could responsibly afford it, and before I realized how getting a case each year of wine that demands serious aging can lead to storage nightmares. Yet I looked forward to each shipment as it meant growing a collection that mattered to me.

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Delille and Doyenne wines are built for serious aging, and Harrison Hill is among their wines that require the most aging to reach their peak. I’m still sitting on Harrison Hill and other wines from the 2008 vintage that I received while in the club that won’t be opened for at least another two or three years. When I saw a bottle of 2004 Doyenne Syrah on Winebid.com a few months ago, I pounced on it because it was a chance to jump the line on aging wine myself and drink a properly-aged Delille now.

As I mentioned earlier, only after getting the wine did I realize its significance. It added an incredible amount to the experience. The wine was good, which was to be expected, but it was better because of the significance of the vintage and producer in my life and wine story. It was essentially experiencing my history from a perspective that was not my own, but complimentary to it; not from a personal point of view, but from a wine’s point of view. In 2004, although I didn’t know it to the extent that I do now, what happened in the creation of the Doyenne that year was part of my wine creation story.

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Don’t worry, I’m not going to suggest that people try to find a wine that is now nearly impossible to acquire (though if you can, it’s worth getting). My recommendation is to find a wine from a producer and vintage that both mean something special to you. Relive the memory, but from a different angle, through some combination of a place or winemaker and a year when something special happened in your journey.

Tasting note: The nose is just the other side of vibrant, but beautiful in its refinement and subtleties: signature Red Mountain graphite minerality, crushed cherry and strawberry, violet and crushed rock. This is a saturating medium bodied wine with integrated bright acidity and smooth and refined tannin. The structure strikes a brilliant balance between forgettable and dominant. It offers flavors of texturally-driven graphite minerals, brambly red and purple and black fruits, loads of currant, kirsch, black pepper and licorice. It’s probably two or three years past it’s prime, but it’s still damn good. DeLille really does hit another level with significant age. 94 points. Value: A+.

Where to buy:

Ha! Like I’d know what wine was right for you… Here are some means for finding that special bottle:

First, check out online wine auction websites. The one I use is winebid.com, which is an online auction site with auctions that begin on Monday and end Sunday evening. The inventory is refreshed weekly. The website, which is easy to use, is currently selling more than 8,000 wines with opening bids from $7.99 to $16,995 (a 1.5 liter 2005 d’Yquem), which is all to say, there’s something for everyone. Other online auctioneers include Sokolin, K&L, Spectrum, Sothebys and others.

Second, there’s always wine-searcher.com, which allows you to search for specific wines. Make sure you have the search settings appropriately set for your needs (e.g. the checkbox that includes stores that will ship to your state if checked).

Third, there are retailers who specialize in finding rare and old wines. Zachy’s (which also runs auctions) and Rare Wine Co. are two well-known stores with national reputations. If you live in a major wine market, chance are you have at least one or two retailers who provide bespoke services for tracking something down.

Forth, go direct and contact the winery, they might have something that fits the need.

 

Oregon Hill Country Wine

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Last summer, an aunt and uncle of mine gifted us a booked called Champagne that was written by Peter Liem. In the opening chapter, Liem is already addressing a widely-held assumption that because most champagne are blends of tens, if not dozens, of various vineyards, terroir matters less in champagne wines than others.

“While both consumers and producers were content in the recent past to treat champagne as a brand, or as an object of lifestyle, or as an entity in the wine world that was somehow less serious than Burgundy or Barolo,” he writes, “the prevailing attitudes have shifted, at least in the arenas that matter. Champagne is now subject to the same questions asked of any other wine and held to the same standards” in terms of, among other things, terroir.

Flip just two pages ahead and Liem expands on these standards in the context of Louis Roederer champagne. “It’s often assumed,” he says, “that base wines are essentially neutral, light wines with low alcohol and little fruit flavor” after quoting Roederer’s winemaker, Jean-Baptiste Lécaillon, who remarked that “I have 410 different parcels and 450 different vessels in which to ferment them.” His larger point: terroir matters as much in champagne as it does in other wines.

A short and roughly 5,188 mile hop, skip and jump from Reims puts you at Youngberg Hill Winery in Oregon’s Willamette Valley, which is one of the more terroir and parcel-based wineries I’ve come across recently, and it shows positively in the wines. With an estate draped atop a hill, Wayne Bailey and his family are putting a lot of effort into their vines and turning out some gorgeous wine.

Youngberg Hill’s vineyard covers 20 of the estate’s 50 acres and is comprised of three blocks of pinot noir and one block of pinot gris and chardonnay. Three of the blocks are named after the three Bailey children: Natasha, Jordan and Aspen. When talking about the vineyards with Wayne, it became strikingly evident how much attention he pays to the eccentricities of each block, as if they were three unique children each requiring unique attention (…or something like that).

Each vineyard is at a different elevation and has a different mix of soil types, grape clones and clone-rootstock combinations. Though three pinot noir blocks get their own vineyard designated bottles, they are also blended into the estate’s cuvées. It’s within this context that I think of Liem’s champagne discussion because of the Youngberg vineyard’s variety. Though it’s not quite Roederer’s 410 unique parcels, there is a lot of variety packed into Youngberg’s 20 acres. Depending on the block and vineyard, you could find Pommard, Wadenswil, Dijon 777 or Dijon 10114, plus some purchased Dijon 115, among 20 acres with high terroir diversity. Let’s break the sites’ soils and elevations down pictorially:

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Youngberg has made the move from organic farming and winemaking to biodynamic. Wayne made a great point in explaining his rationale for the change by pointing out that “organic tells you what you can’t do, not what you can, and because it addresses only the cant’s, it ends up depleting the soil.” Conversely, biodynamic “adds what you can do to enhance the biomass, to maintain the ratios of calcium to potassium, those kind of things. It’s a tool that helps you do.”

The differences in impact between organic and biodynamic “are very prevalent very quickly,” he said. “First, we saw it in the health of the vines, which then translates into healthier fruit. We’re harvesting healthier and healthier fruit every year, which is great because it then minimizes the issues we face in the winery. As a result, we’re starting to see the quality of the wines enhanced as it ages in bottle and you taste the vitality and liveliness when it comes time to enjoy it.”

Although he’s been making wine at Youngberg since before Y2K, he’s recently put more attention into the tannins he develops in his wine. “I’d been chastised a bit for my tannins being aggressive,” he told me, adding that “I’ve worked diligently over the years to adjust that.” In the vineyard, he’s tried to adjust the root structures of the vines so they produce less aggressive skin tannin by clearing between the vines. Harvest pick dates have been pushed later and later as well with the aim of harvesting fruit with browner seeds to avoid the harsh tannins of younger seeds.

He has also dialed up his use of new oak barrels, which may seem a counterintuitive tactic for dialing back tannins. With his location in the McMinville AVA and the particulars of the Youngberg vineyards, he naturally gets intense, aggressive wines to start with, which drove reticence in using new oak on the fear that it might enhance the robustness and overwhelm the more subtle flavors and aromas. His prior experience in Burgundy, where oak is used with a light touch, heightened this sensitivity.

However, when he decided to start reducing the stoutness of his tannins, he experimented with more new oak – 40% or less, so still not much – and found that it helped refine the tannins and smooth them out without taking away from the complexity of the wine. Because of the robustness in the estate’s fruit, the wine can handle the new oak without losing its personality. He has also shortened the length of his cold soaks, a process that extracts tannins from the skins and inserts them into the wine. The color of the skins is naturally quite high, and even with shorter cold soaks, he’s getting all the color he wants.

While he’s shortened cold soaks, he’s extended warm soaks post-fermentation. The skins are allowed to remain with the wine for as much as 10 days after fermentation is complete before they are removed. Doing this helps the mouth become rounder and the wines become deeper and more complex in part because it tends to help the tannins integrate into the wine quicker.

Wayne and I had a fairly lengthy discussion about tannins at my prompting because the tannins on his wines were one of the aspects that stood out the most – these are seriously structurally pinot noirs. I had the opportunity to try two of the single vineyard bottles – Natasha and Jordan – as well as the entry-level cuvée.

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The 2015 Jordan pinot noir offers a mineral-driven nose of loam, iron, graphite, cherry and blackberry juices and dry Cap’n Crunch. It’s medium bodied with balanced acid and a slightly gritty tannin structure that drapes the mouth with an engaging structure. Not for the faint of heart pinot drinker, the flavors of cherry, blackberry, pomegranate, smoke, damp soil and saline are saturating. This has a real physical sensation and serious splash of flavor that, while it works, could stand a year or three to better integrate. 91 points, value B.

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My favorite pinot, the 2015 Natasha, has a pleasantly pungent nose of tart strawberry, rhubarb and blackberry to go with Sweetarts and damp underbrush. Medium bodied and mouth-filling at the same time, the balanced acid contributes a slightly coarse element to the structure, which is framed by sturdy tannin. The flavors are a bit sweeter than the nose, offering muddled blackberry, blueberry and raspberry to go with mild cedar and tobacco. There is discernible smoke on the finish. This will only get better over the next five, if not ten, years. 92 points, value B+.

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Given its price, the 2015 Cuvée is the most impressive pinot, though. Youngberg’s entry level pinot noir has a nose of gorgeously ripe, gushing raspberry, strawberry, cherry, scorched earth, rose petal and Sweetarts. It is medium bodied with round edges, smooth tannin and linear acid, forming a very pleasant and enjoyable structure. The fruit is juicy, oozing raspberry, strawberry and muddled cherry. There are also a slightly dark, wet earth theme. Just a wonderful wine. 92 points, value A.

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I’ve saved my favorite for last: the 2016 Aspen chardonnay. Wayne takes his chardonnay seriously. The blocks of chardonnay were originally planted to pinot gris in 2006, and he grafted them over to chardonnay in 2014. Where other people might plant pinot noir, Wayne made the choice to plant chardonnay. The Aspen vineyard is south-eastern facing, between 525 and 600 feet in elevation and planted on marine sedimentary soil with 25% volcanic rock. It’s a great site, and one that screams “pinot noir” to many, but Wayne wanted to make exceptional white wine, and so he choose this exceptional site for it.

The 2016 Aspen chardonnay shows malolactic and barrel notes on the nose, which is dominated creme brûlée, toasted oak and Key lime pie. Full-bodied and lush with a high glycerin sensation, the palate is quite polished. Well-balanced bright acid provides levity. The flavors hew close to the aromas with brioche and Key lime, adding salty lemon and just a touch of slate minerality. This is quite nice now with a decant, but it offers real promise of evolution over the next five-plus years. 92 points, value A.

Tasting through Youngberg Hill’s wine is tasting through a diverse 20 acres of vineyards. It’s a fun and rewarding experience. The wines are distributed in pockets around the country, and are also available direct from the winery, which ships. Oregon wine is finding its way to more markets, and Youngberg is a great representative of what the state offers.

Try this Wine: Amazing Spring Whites

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Spring in the vineyard. Credit: Christoph Wurst (unaltered).

Spring is here, and if you live in a climate like ours’ in Washington, DC, you know that it unfortunately will not last long. I see the humidity on the horizon. Though we’re a winter white wine house (we drink a lot of white when the temperature drops), this is the season of transition for most people when they go from red to white wine. Rosé is often the transition wine, and I’m sure your local wine store is stocked deep with it.

Sometimes there’s no better pairing than a warm spring Sunday afternoon and a magnum of rosé, I’ll admit, but other times nothing beats an acid-driven full-bodied white wine. A really good one is going to offer more complexity that most any rosé, and when you want a more serious spring wine, that’s when whites out-perform rosé. The heat of spring isn’t so strong as to prevent enjoyment of a wine with some barrel aging, so you can go that route if you like, nor is it too hot for a wine with substantive depth.

The profile of white that I’m suggesting – some weight, multiple layers of flavor, thick acid – is also more versatile food-wise than many other wines. This is to say, it can hold its own with grilled vegetables, chicken, turkey and fish as well as red-fruited wines like pinot noir, trousseau, gamay, cabernet franc and zinfandel. Just because you’re going to a friend’s grill-out doesn’t mean you should avoid white wine.

I’m sharing four wines that I’ve had recently that blew me away for one reason or another. Three are from California, two of which I tasted in-person at the wineries in March. The forth is from Australia. All represent above-average values despite costing between $30 and $50 each. Some are easier to find than others, but all are worth seeking out.

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The first is Carlisle Winery’s Sonoma Mountain Steiner Vineyard Grüner Veltliner 2017. A friend in the California wine business suggested I visit Carlisle on my most recent trip, and it did not disappoint. Known predominantly for complex and age-worthy zinfandels, I was blown away by the two white wines we tasted, this grüner and a field blend from a small little vineyard they split with Arnot-Roberts called Compagni Portis. I could’ve listed either or both here, but I went with the grüner solely because I have better notes on it.

The Steiner Vineyard has less than two acres of grüner, so there isn’t much of this wine. It’s almost as if the small amount of vines somehow inspire a similarly concentrated wine. It is produced in all stainless steel, and does not go through malolactic fermentation. The wonderful nose hews close to varietal typicity with stone fruit, vanilla, a cornucopia of citrus zests and white pepper. The palate is full bodied, plush and nervous. Flavors are similar to the nose, with pronounced white pepper and peach. The flint-infused acid provides a robust backbone. 92 points. Value: B+.

The next wine comes from Chimney Rock, a historic winery located in the Stags Leap district of Napa Valley. Established by a couple from South Africa in 1989, they built the gorgeous winery in the Cape Dutch-style architecture. The estate is known almost exclusively for its cabernet sauvignon and cabernet-based red blends, and has built a strong wine club following on that reputation. These wines have elegance woven into them, but for me their signature is more about robust tannin structure that for my palate needs a good ten-plus years post vintage to sufficiently soften.

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My tasting there was bookended by a rosé on the front end and a white wine on the tail end. The rosé, made of cabernet franc, was spectacular. Really, one of the best rosés I’ve had in recent memory. It has substance and some weight, two qualities I think are too often shunned to our detriment when it comes to rosé. That said, I’m equally excited to share their one and only white wine, a blend of sauvignon blanc and sauvignon gris called Elevage Blanc, because I might have liked it even more than the rosé. It offers incredible smoothness in personality and feel. With a deft full body, it boasts loads of stone and tropical fruits, spicy zest, marzipan, slate and flint minerality and a smoky finish. If you tend to find sauvignon blanc too bitter and cutting, this is one that may change your mind. 93 points. Value: A-.

The final California wine comes from the prolific Copain Winery. It was founded in 1999 in the Russian River Valley, but it sources fruit from cool climate vineyards in Mendicino County, Anderson Valley and Sonoma. To give you some idea of why I call it prolific, the website currently lists 40 different wines for sale, including chardonnay, pinot noir, syrah and rosé. I happen to know they also make trousseau. Copain represents incredible value, especially with their chardonnay.

Until I was sent a selection of recent and current release samples last year, I had been entirely spoiled in my Copain experience by having only well-aged wine from this estate. Copain makes age worthy wine as they produce wines with good acid and elegance, traits required to age well. In 2018 I had a 2010 Brousseau Vineyard chardonnay from them and loved it so much that when another of the same bottle showed up on Winebid earlier this year, I snatched it up. I imagine we’ll drink it before the summer is over. Most of their syrahs from the 00’s are drinking phenomenally right now. As I tasted my way through the younger samples, it became evident to me that I preferred age on their wines.

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One of the few exceptions to this is their Les Voisins chardonnay, of which I had the 2015. It was drinking gorgeously. The nose is just wonderful and engaging with rich honeyed cantaloupe, honeysuckle, lemon zest, crushed gravel, lemon curd and daffodil. It’s slightly on the heavy side of medium bodied. The level of polish on the structure elevates this to elegant status, and the slight streak of acid that runs through it keeps it interesting from first to last sip. The flavors are multifaceted: honeysuckle, peach, fresh apricot, honey dew and sweet lemon curd. It finishes on a wonderful green apple note and a textual sensation and flavor that conjures licking a slate slab. A fantastic wine. 94 points. Value: A.

For our last wine, we go to Australia and the Yangarra Estate in the McLaren Vale region, which focuses exclusively on southern Rhone Valley varieties. I had the pleasure of meeting Yangarra’s winemaker, Peter Fraser, to taste a new line of top-end wines, including the $72 Roux Beauté Roussanne and Ovitelli Grenache, $140 High Sands Grenache and $105 Ironheart Shiraz. I’m not sure what I enjoyed more, talking with Peter or tasting these wines, but both made for a wonderful evening. Peter is one of the more detail-oriented winemakers I’ve met. I’ve tasted other wines priced like these with their respective winemakers, but few have made impressions like the one Chris did that justifies the price of their wine. The amount of effort and thought he puts into his craft is evident in his wines, but you don’t have to spend top dollar to experience it, either.

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Yangarra makes an Estate Roussanne for less than half the price of the Roux Beauté. I tasted the 2016. On first sip, it didn’t impress because it needed oxygen. With several hours of decanting, it began to reveal itself as a dynamic wine capable of putting on complexity and intrigue with more air or age. That is a clear sign of quality and precise attention to detail. The nose wafts lean aromas of sweet dandelion, mild Meyer lemon, tangerine peel and under ripe mango. It’s medium weight on the palate, with balanced and crisp acid that forms a nicely textured backbone. The flavors are just beginning to define themselves, and there is enough nuttiness already to suggest a really cool evolution over the following five-ish years, if not longer. Fresh almond, lean lemon, tart mango and pineapple, unsweetened vanilla, salty minerality and bitter greens form the basis of the flavor profile. Tasty now, it will develop complexity and a more dynamic structure as it ages. 90 points. Value: B-.

Each of these four wines are wonderful in their own ways, though none of them very similar to the others except for their ability to handle spring’s weather, parties and food. On those fronts, they are remarkably adept. Try these wines because the season calls for them.

Where to buy

Normally, I list half a dozen or so places where one can find a Try this Wine featured bottle, but with four I’m going to hyperlink directly to their respective winery-direct pages and wine-searcher.com links where you can search by state, zip code and/or ability to ship to your state.

Carlisle Gruner Veltliner winery direct and wine-searcher.com.

Chimney Rock Elevage Blanc winery direct and wine-searcher.com.

Copain Les Voisins Chardonnay winery direct and wine-searcher.com.

Yangarra Estate Roussane winery direct and wine-searcher.com.