California’s Most Exciting Up & Coming Pinot Producer

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A few weeks ago I visited Napa Valley with two friends who had never been to the area before. The idea was to visit two wineries per day that would collectively give them a decent spectrum of what Napa and its environs have to offer. Wineries include Napa’s Rombauer, Failla and Chimney Rock, and Sonoma’s Carlisle, Arnot-Roberts (which makes wine from fruit from several parts of California) and Mojave, which is an Anderson Valley and Santa Cruz pinot noir project made in Napa.

Those wineries cover a pretty good diversity of styles, vineyard sourcing, business models and production levels. Next to Rombauer and Chimney Rock, Arnot-Roberts may stand out as a particularly niche and small producer. By all accounts that observation would be right, but if we want to think small in this context, Mojave is miniscule in comparison to all of them. Arnot-Roberts measures its production by the thousands of cases, at least; Mojave barely hits the second hand when counting barrels (figure roughly 25 cases per standard barrel).

Mojave is the side project of Becky George, who is the winemaker at Kelly Fleming Wines. I first met Becky in late 2017 at Kelly Fleming to taste those wines. It was my first winery visit on that five day trip, and I consider myself very lucky to have started the trip there. The wines are anything but the prototypical tannic fruit bomb that I expected to be inundated with during the visit. It was very helpful to start with Kelly Fleming’s reserved and elegant wines because it helped to calibrate my expectations and put me in a much better mindset to evaluate subsequent wines.

While on that 2017 trip, I was able to try Becky’s inaugural Mojave release, the 2016 Monument Tree Vineyard, and enjoyed it enough to buy three bottles when I returned home. My experiences with Becky on that trip were enough to name her one of Good Vitis’ 2017 Tastemakers, a distinction given to those individuals who changed how I thought about and appreciated wine that year.

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I still haven’t opened any of my 2016 Mojaves, so when I was planning this more recent trip and received the 2017 release email, I sent Becky and note and asked if she’d be around to taste it with me. When I arrived, she had opened the 2016 and 2017, and we were able to try the 2018 in barrel as well as a 2018 pinot from Santa Cruz that she’s making for the first time.

One of my favorite things about Becky is a seeming contradiction: her wines are exceptional – both Mojave and Kelly Fleming – yet she’s only really getting going as a winemaker. She is very open to others’ thoughts, and is very outgoing in terms of soliciting advice from more experienced winemakers. The amount of promise she holds is unusually high.

Another of my favorite things about Becky is her decision to focus her side project on pinot noir because it is a very different grape compared to those she makes at Kelly Fleming. Fleming wines are almost entirely Bordeaux varieties (the exception is the Big Pour blend, the current release of which includes 15% syrah), and have a classically constructed profile hedging towards the Bordeaux style while maintaining the purity and density of Napa’s fruit notes.

Similarly, Mojave pinot also hedges towards the Burgundian style while maintaining the purity and density of Napa’s fruit notes. Yet this pinot noir profile is, at least from my experience, rarer than the Fleming profile of its type in the context of California. I appreciate that in both labels Becky pursues what seems to me to be the same goal: make old school wines that retain their inherent Californian DNA, meaning all the natural characteristics of the grapes that get lost when pushed towards higher alcohol and tannin levels.

Monument Tree Vineyard is located in the northern end of Anderson Valley, which makes it notably cooler than Napa. Making it cooler yet, the vineyard is northeastern-facing and planted on a hillside, which protects the vines from afternoon sun. This location and orientation does all sorts of things for the grapes, namely that it slows maturation and prevents high levels of sugar development, which helps develop higher acid levels, lower alcohol and more non-fruit nuance and complexity than vineyards further south. Becky uses certain processes, like modest amounts of whole clusters during fermentation and significant portions of neutral oak, that highlight these cool climate eccentricities in the wine, which are readily apparent.

The 2016 vintage was, according to many winemakers in northern California, a near-perfect vintage in that it had desirable temperatures that were consistent, the right amount of timely rainfall, and no real weather incidents to speak of. It was a great vintage for Becky to launch her brand, allowing her to put a solid foot forward into the market on day one.

The 2016 Mojave has developed nicely since I tasted it roughly a year ago, and as good as I remembered it being. Mojave Monument Tree pinot noir is California pinot for Burgundy and Oregon pinot lovers, which means it is a bit funky. It is full bodied and ripe because even Anderson Valley has real warmth despite its cool California climate, but the acid is juicy and the wine remains agile. It has huckleberry, herbal and damp earthy flavors and aromas that harken me to the Nuits-Saint-Georges and Volnay regions in Burgundy. It is drinking well now, though I will try to refrain from opening the first of mine until at least 2020, if not longer, as I think it will get better with age.

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2017 was an entirely different and more challenging year. Heat spikes started in June and routinely lasted three to five days. Periods this long are enough for the vines to go defensive and shut themselves down, and this start-stop pattern prolonged veraison (the onset of ripening when the grapes turn from green to red and begin to develop sugar), which took up to six weeks depending on the location (an exceptionally long time).

Tasting the 2017 was challenging, not unlike the vintage, because it kept changing. Start the fruit! Stop the fruit, start the earth! Now, add the fruit! At first I called it more fruit-forward than the 2016. Fifteen minutes later, I changed my mind. Twenty minutes later I was returning to my initial impression. The fruit is darker in the 2017 regardless of whether it’s more prominent in the profile than the 2016 (I’m still undecided). I get serious plum and dark cherry. There is a spicy note that isn’t apparent in the 2016, and it does seem more brooding in stature and flavor. But the Burgundy funkiness is there, like the 2016, albeit it slightly quieter at this stage. I do suspect the wet forest and floral aromas and flavors will become more prevalent with age.

The 2018 barrel sample produced the most brambly of the three vintages. I also picked up a saline quality, though that could be residual carbon dioxide, and some tobacco and violet flavors. But that’s all you’re going to get from me because I don’t place much value in barrel samples, and I don’t think you should too, either. Especially when critics score them. I’m on my high horse here. Wines go through an incredible amount of development in barrel, so placing any credence in reviews based on barrel samples risks getting a wrong impression. Some wines get better in barrel, some get worse. It can go an infinite amount of ways. Here’s what I’ll say about the 2018 Monument Tree Vineyard in barrel: it’s good now, and I imagine it will get even better and I’ll like it even more after it’s been bottled if things don’t go wrong.

We also tasted Becky’s first non-Monument Tree pinot noir, a 2018 from the Hicks Vineyard in Santa Cruz. The site sits just five miles from the ocean, which puts it squarely in a maritime climate. If you like cold climate pinot, this is as legit as they come. One of her two barrels of this one is neutral, the other new. The neutral barrel has spectacular gamey and floral notes and a masculine structure driven by acid. The new barrel (medium toast) is rounder and softer with more apparent tannin. She is making the Hicks Vineyard in the same fashion as the Monument Tree because, as she described it, it’s like going on a first date: since you don’t know the person (wine), you stick with what you know in your interactions with them. I’m really excited to try this when it’s released.

Becky is a great winemaker, and will only get better. I imagine her wines will follow a similar trajectory. If you get excited by discovering something new on the ground floor, and if you like old school pinot noir, then Mojave is a great project to sign up for now.

Try this Wine: Cava from Vilarnau

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The corks and closures of two very nice bottles of Cava from Vilarnau

When I was 22 years old, I went to Barcelona for 3 months to study Spanish. I had recently graduate college and worked on a political campaign that exhausted me, and the idea of going somewhere new for a while was exciting. While I was already into wine at that age, it wasn’t a passion or fixation like it has become. And so unfortunately, I didn’t take advantage of my close proximity while in Barcelona to the various nearby wine regions, the most well-known of which are Catalunya, Priorat and Montsant, to visit them.

That didn’t stop me, however, from drinking wine while I was there. My favorite bar, which unfortunately no longer exists, was called El Bigoté (the mustache). The bar, just one big, open room, had no tables or chairs, though it had a 6-inch-wide bar that wrapped around roughly half of the walls. For a small number of euros, you were able to purchase a big plate of a single type of fried tapa and a bottle of Cava, white or rosé, your choice. Cava is a sparkling wine made in Penedès, a wine region to Barcelona’s south. They didn’t sell the tapas or Cava separately, you had to get an order of each together.

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Penedés. Credit: winetraveler.com

We spent many a night at El Bigoté, and that is where my head still often goes when I think of sparkling wine even though I drink remarkably little Cava these days. Though I will always be drawn to Champagne, my go-to has become crémant, which is a term now used generally for sparkling wine that comes from places in France that aren’t Champagne. The Burgundy and Loire regions are where my favorite crémant is made.

Part of the reason I drink so little Cava is that it is hard to find good Cava on the shelves of grocery stores and most wine merchants. This is why I was excited when I was offered the two wines I’m about to introduce as samples. I’ll never turn down an opportunity to try Cava in the hopes of it stirring some great memories from El Bigoté. That said, when they arrived and I saw how they are labeled, I got a pit in my stomach and thought, ‘another two bottles of Cava that play to the party crowd aren’t likely to be very good.’

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The Gaudí-inspired labels. Credit: aboutmygeneration.com

I’ve since tried the wine. I still don’t like the labels because they suggest that the wine is made for parties (even though they are inspired by Barcelona’s own Antoni Gaudí), for passively chugging alcohol while dancing in the club on New Year’s Eve, music thumping away. But I like the wine. It’s serious, it’s seriously good, and I think it’s great wine to recommend for someone who wants to try good Cava, or any type of sparkling wine, without spending a lot of money.

Vilarnau describes itself as “a small, artisan and cutting-edge cava winery [near] Barcelona.” The Vilarnau family was Spanish nobility in the 12th Century, and settled in Penedés. While Cava was made long before 1949 on the property, that’s when it was first labeled and marketed. In 1982 the González Bypass family of wines bought the label, and a new winery was built in 2005. Such a long history in the region does help explain why they are a producer of serious and thoughtful Cava. If you can get by the packaging (which didn’t photograph well enough to be featured in this post), or can find the regularly labeled bottle, the wine is worth trying.

The non-vintage Vilarnau Brut Reserva retails for $14.99 and is comprised of 50% macebeo, 35% parallada and 15% xarel.lo grapes. The nose is quite a lovely tropical and floral show featuring honeyed papaya, honeysuckle, straw, yellow peach and sweet lees. It is full bodied and very spritzy, which shows off well a tasteful amount of sweetness. Meyer lemon curd, marzipan and green apple are accentuated by a peppery spice. 90 points, value A.

The non-vintage Vilarnau Brut Reserva Rosé has an engaging nose that is quite ripe and mineral driven with raspberry, lavender, cider and lees. Also full bodied, the palate has a nice balance between creaminess, slight sweetness and crisp, round acid. Flavors are a wild mix of kiwi, watermelon, strawberry, lime, slate minerality and white pepper. 91 points, value A.

Where to buy:

The Gaudí edition may no longer be on shelves (if you’re lucky), but these places are listing availability of the standard labeled bottles.

Brut Reserva:

Sacramento, CA: The Wine Consultant

Colorado Springs, CO: Downtown Fine Spirits & Wine

Springfield, IL: The Corkscrew

New York, NY: Sherry-Lehmann

Harrisburg, PA: PA Liquor Control Board

Dallas, TX: Pogo’s Wine

 

Brut Reserva Rosé:

Westport, CT: International Wine Shop

Newton, MA: Marty’s

Hopkins, MN: Ace Wine, Spirits & Beer

New York, NY: 67 Wine & Spirits

Hilton Head, SC: Rollers Spirits, Wine & Cheese

On Cork Report: The Atlantic Seaboard Wine Association profiled

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Tasting the winning wines of the annual Atlantic Seaboard Wine Association Wine Competition at a Congressional Wine Caucus event

Note: This article was originally published on The Cork Report.

There is no disputing the fact that wines from the Atlantic Coast have an uphill battle in the national marketplace, but it can be tempting to oversell the strength of the headwinds that temper sales and wider respect. Two winds come to mind.

The first wind is that quality is perceived by the wider wine market to be less than that of better-known regions, which can be disproven with tasting. This is an exposure problem rather than a substance problem, which is helpful because the former problem is more easily and quickly corrected than the latter.

The second wind is the price-to-quality ratio, which had been a widespread problem even five years ago but has improved rapidly in a fashion similar to convergence theory: poorer economies tend to grow at faster rates than richer economies if they replicate the production methods, technologies and institutions of developed economies. Replace “poorer economies” with “newer wine regions” and “richer economies” with “more established wine regions” and it reflects the Atlantic Coast wine industry’s experience.

Continue reading here.

 

Obsession in the Willamette Valley, Part Four

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Gran Moraine (and Zena Crown) winemaker Shane Moore

The last winery stop of our 2018 summer Willamette Valley trip was to see Shane Moore of Gran Moraine and Zena Crown. You can read about our other winery visits on the trip here (Fausse Piste and Martin Woods), here (Tendril and Belle Pente) and here (Penner-Ash and Trisaetum). I’ve written about and mentioned Shane several times on Good Vitis, and he warrants yet another piece because he’s both that interesting and that good. Shane has been making wine since his teens, and he has such joy about him that you just couldn’t imagine him ever doing anything else.

The PG version of how he got into winemaking is that in preparation of leaving home for college, Shane learned how to make household wine. This made him a popular kid at college, where he learned more about wine making. After graduating, he decided to see if he could make wine the professionally, and now he does.

Shane has made wine in several corners of the world, including Israel. I wrote a piece about his experience there and it’s a fun story worth reading. Gran Moraine and Zena Crown are owned by Jackson Family Wines, the latter part of KJ’s Spire Collection, its most prestigious collection of wineries around the world. KJ isn’t your typical corporate owner, and when you meet Shane you tend to forget he works for a corporation altogether and assume he runs his own boutique winery. They give him the room to do his thing because they trust him, and he has their trust because he does things well. The winery, and both labels, are boutique wines in quantity, quality and price.

During one of the evenings of our Willamette visit, Shane came over to our Airbnb and had dinner with us. He brought a few wines with him, including a chardonnay from Canada that he proudly told us was a great wine at a great price. And it was very good; we all enjoyed it. A day later at a different winery, the dinner with Shane came up in conversation with the winemaker, who knows Shane, and before I could mention the Canadian chardonnay, he wondered if Shane “brought a bottle of that Canadian chardonnay he loves so much.” I told him that he did. “I figured he would. Guy can’t shut about it. Wants everyone to try it.” It’s a good example of when Shane gets interested in something, he’s instantly on a slippery slope that ends in obsession. I guarantee you, if Shane reads this, he’ll be  thinking, “Yeah man, that IS an awesome chardonnay! So glad they got to try it.”

The best winemakers’ wines speak for themselves. When I meet a winemaker with self-importance or one who reminds you about their wine’s reputation or prestige, it is almost without fail that I’m underwhelmed by the wine. Maybe it’s a phycological thing with me in that, because I hate boastfulness and self-aggrandizement as character traits, I hate the wine. Regardless, the the best wines I’ve had in the presence of winemakers come from winemakers who don’t talk about what other people think of their wine, or how well the wine sells, or why the wine is so important, or anything of the kind.

I’ve never heard Shane reference anyone’s opinions of his wines, or the success of the wineries where he’s made wines. When we talk about his wine, you can hear the excitement and pride about the wine in his voice, but you also get the sense that he’s never made a wine he’s convinced is good enough. I’ve heard him describe some of his wine in glowing terms, but it seems almost as if he’s surprised it’s as good as it is. He’s just really digging the juice. And then in the very next sentence, he launches into what he’s done in the years since that vintage to improve future vintages. He’s also probably been researching barrels and closures and everything else in the past week, too. The guy never rests on his previous efforts or existing knowledge.

What’s more, he’s creating narratives and themes with his wines that are important to him. As an example, the Zena Crown wines are themed according to the season that they most remind Shane of when he tastes them. And it’s not a marketing gimmick, either. Shane loves the outdoors and enjoys each season in Oregon, and if you taste all four blind and are asked to assign a season to each, you have a good chance of getting it right.

One of Shane’s newest kicks is a sparkling brut rose of pinot noir. When we arrived at the winery, we sat down for lunch before doing the tasting. Shane came running up from the cellar with a bottle of it that had recently been bottled. He was like a kid running to greet a friend on Christmas to show off his newest and best toy. It’s a special project, it’s limited production and availability, it’s abnormally good, and it’s almost as if you can taste his pride and joy in the wine. Can terroir include the human spirit? Maybe it can.

Such joy is alive and well at the winery under Shane’s direction. It’s not just he who is having fun. When we got to the crush pad (which Shane introduced as “So here’s another crush pad. Wooo. I’m sure it’s just soooo exciting. Oh look, tanks!”) we were met by several of Shane’s team. The love and joy and goofiness was on full display. Exhibit A: the Gran Moraine Manromper.

Regardless, the wines wouldn’t be as good if it wasn’t for Shane and his team’s meticulous attention to detail and constant quest for improvement. And that’s important because of the vineyard diversity they have for both labels, which offers what are effectively endless possibilities. The more options engaged, the more attention to detail matters.

Gran Moraine Vineyard measures in at precisely 195.43 acres, which is divided into 84 distinct blocks. 164 of those acres are planted to six different pinot noir clones (4, 114, 115, 667, 777 and faux828), while the remainder feature chardonnay clones 76 and 95. Most vines are on RG root stocks, though there are a few 114 and 3309 root stocks peppered in. Elevation ranges from 250 to 475 feet above sea level.

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We began the Gran Moraine tasting with the 2015 Yamhill-Carlton pinot noir, which is always one of the best pinots at its price. It’s an AVA blend and, as one would expect based on previous vintages and Shane’s style, it had bright acid, delicate florals, spice box, mounds of red fruit and a depth that slowly sneaks up to you;. It’s a wine that, by the time you’ve had a class, you realize you’re deeper into the wine they you expected or knew. For $45 it’s a hard to beat pinot noir.

The next wine Shane poured was a real treat, the 2013 Estate Reserve. It was funky in all the right ways and slightly delicate. Mushroom, dirt, cranberry, huckleberry, Acai and bitter flower petals made for a very intriguing and interesting wine. We talked briefly about the 2013 vintage, which followed the highly touted 2012. Shane and I agreed that we preferred the 2013s, which show more finesse and elegance compared to the bigger 2012s. The 2013 Estate Reserve is a good example of this dichotomy between vintages. Shane said that the 2012s were already as good as they would get, whereas the 2013 has many years left to improve. I don’t normally reveal whether I buy any wines from a visit to take home, but I’ll mention that we stuffed one of these into our carry-on and are anxiously awaiting 2023 to open it.

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We then moved on to the 2014 Estate Reserve. Though not as warm as the 2012 growing season, it was warmer than 2013, and the wine bore that out. A bit sweeter, rounder and plusher on the palate than its most immediate younger sibling, the structure was more robust with seriously dense tannin, which is hiding the flavors a bit at this stage. I imagine that within two to three years it will begin to show itself well, and improve over the following five to ten.

For the 2015 vintage, the name was changed from Estate Reserve to Dropstone, and it is just gorgeous on all fronts. The florals were bright and perfumed, setting up an elegant tannin structure that pulls the wine forward in the mouth. Violets and roses really show through at this stage, while the fruit will take some time to develop. This one offers tremendous promise.

In 2016, Shane made a bottling called Cascade from two south-facing blocks in the Gran Moraine vineyard of 115 and 667 clones. The fruit was fermented in topless wooden barriques in order to moderate the tannins. Requiring hand punch downs, the lots took 30 hours for fermentation to take. All-in-all, it was the most labor intensive and stressful wine of the vintage. The result is an impressively complete wine that really envelops the mouth. It’s more savory than the Estate Reserve/Dropstone, and the fruit is quite layered as well.

The final Gran Moraine we tasted was the 2016 Upland, which Shane called his most masculine wine from the label that can be “put up against serious protein” on the dinner table. It was certainly the heaviest and darkest of what we tried, but the baking spices and minty finish offered a nice balance against the dark and heavy fruit.

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The pinots didn’t stop at the Gran Moraine edge, and we transitioned right into Zena Crown. The Zena Crown vineyard, one of Oregon’s most prestigious sources of wine grapes, is 115 acres planted on a southwest-facing slope of volcanic soil that begins at 300 feet of elevation and tops out at 650 feet. It is divided into 17 blocks, each of which has a unique combination of gradient, aspect, soil depths. Vines include a variety of pinot noir clones. All told, the vineyard is quite capable in producing a wide diversity of pinot noir wine, and Shane uses it like a palate wheel. The wines produced from the vineyard are designed to be, if you can buckle down for it, more serious than those from Gran Moraine. Through the use of different winemaking techniques and oak treatments, the tannin structures are longer, the palates are rounder and the complexities deeper.

The first we tasted was the 2014 Slope, which Shane called a “fireplace wine.” Its luxurious sensation is built around long, lush tannins and substantive weight. The flavors and aromas touch on deep cherry, cola, violets and bitter chocolate mousse at this stage, though the upside here with another five-plus years of aging is substantial.

We then moved on to the 2015 vintage, which we tasted from barrel samples. Put aside the fun of tasting good wine, barrel tasting can be tricky. Wine develops dramatically in barrel, so tasting a wine relatively new to barrel is a completely different experience from tasting the same wine closer to bottling time. Therefore, when I see a review or score from a barrel sample I dismiss it because I don’t know the stage in which the wine was tasted. What was nice about this barrel tasting was we knew the stage of the wine, and so I was better able to judge its development and promise. All of the following were close to bottling, so the wines were fairly far along. I believe they went into bottle within a few months of our visit.

The first 2015 was a special treat: a new wine called Vista, which will be sent exclusively to Europe. My first note from tasting it was, “God that’s good, I hope Europe knows how lucky they are.” We’re missing out here in America. My second note: “In a year or two this will be truly spectacular.” The structure is near-perfect harmony while starbursts in the mouth between red and black fruit, dirty soil and graphite make for an exciting wine. It is a better match for the European palate than ours in America, so it makes sense why it’s headed there.

Then came the 2015 Block 6, which at this stage was all about the fruit, which was very purple and juicy (meaning great acid), and the tannins, which were nice and long and smooth. Undertones of spice box and tobacco developed with air. The level of structural development this early into the wine is what impressed most.

The 2015 Conifer was up next. This is Zena Crown’s summer themed wine. Slightly sappy and lighter in tannin than the others, it has elevated acid that delivers ripe fruit, light and sweet tobacco, and a nice depth of mineral tones. I’d compare this to Volnay in style. It seems the most ready to go of the vintage.

The penultimate pinot was the 2015 Sum. This is done with 50% whole cluster and takes a lot of inspiration from Cristom Vineyards’ approach, a Willamette winery that Shane admires. It is the fullest bodied, darkest, sweetest and most concentrated of the label’s wines. Cherry, raspberry, blackberry, cola and baking spices are in generous supply. Most intriguing, the acid has a slight juniper berry twang. Because of its significant weight, it’s not an everyday wine for our household, but for the occasions where we’d want a bigger wine, this would be a fascinating choice.

The final Zena Crown offering was the 2015 Slope, which stood out as the funkiest pinot in the house. The tannin structure is elegant, and it delivers immediate dark and slightly sweet cherry and plum to go with a variety of savory, salty and gamey notes. A lover of earthy wines would find a kindred spirit with the Slope. This is routinely my favorite Zena Crown wine.

We finished with the two chardonnays produced under the Gran Moraine label (Zena Crown is exclusively pinot noir). I love it when producers pour chardonnay after pinot in a tasting line up. We tend to think that whites must go before reds, but it’s really more about the acidity and brightness than anything else when determining a tasting order of dry (non-sweet) wines. Though generally uncommon, I get the feeling more and more Oregon producers are doing it this way and I think it is more effective in helping people experience multiple wines when combining both red and white in a single tasting.

The 2015 Yamhill-Carlton chardonnay remains a close friend of mine. At $45 it is by no means inexpensive, but it over-delivers and is my standard for domestic chardonnay at and around the price. I reviewed this wine in 2018 for an Oregon extravaganza piece, and gave it 93 points with an “A” value rating. I didn’t pick up on it at the time, but at the winery the nose was like a freshly opened box of Cheerios. There is also sweet oak, dried mango, honeysuckle, vanilla custard and a smidge of Earl Grey tea. It’s a plush medium weight on the palate with a bit of a glycerin sensation that I just love. The barrel’s influence is restrained but present in the structure and flavors as well as the nose; it’s managed just right for this profile. There’s oak vanillin, Meyer lemon, sweet cream, Thai basil, persimmon and dried apricot.

The second chardonnay was the 2015 Dropstone, of which only 50 cases was produced. It’s a single block effort, and has wonderful notes of salty caramel, green apple and lemon curd. The acid forms the foundation of a gorgeous and engaging texture that is smooth in the middle ringed by slightly twitchy edges. I didn’t have much time to spend with this one, but I wish I had because I got the feeling it had a lot to offer after a nice decant.

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Walking the property

Twelve pinot noirs under the same label showing distinctly different styles and profiles, the lineup of wines we tasted put on display Shane’s ability to showcase terrior, fruit and a variety of winemaking techniques and materials. Making that kind of portfolio requires an obsession for a single grape, and the intimate understanding of the grape to make it in so many different ways. He isn’t the only winemaker making a bunch of pinot noir, but he’s one of the few I’ve come across where the differences between each one are so noticeably and appreciatively different from the others.

The wine is also a demonstration of how much fun he has doing his job. I’m not sure you can achieve what he does every year without loving the hell out of what you do and having a blast doing it. And like any well-rounded individual, the guy has other interests. His priority is his family, loves taking advantage of living in an outdoor recreation haven, and always has interesting things to say regardless of topic is. Life is Shane’s obsession, and it shows through in his wine.

Try this Wine: Oregon Viognier

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It’s January, the dead of winter, and so naturally we’re recommending a viognier! On a cold, crisp night, try a cold, crisp wine. I digress. I have a love-hate relationship with viognier. Mostly hate, actually. Living in Virginia, we have a lot of it around here and frankly, most of it is bad. If you read the 2018 Tastemakers article from a few weeks ago, you got a glimpse into why I feel that way. In short, a former governor thought it would be a good idea to effectively crown it the state grape when it’s very poorly suited for our often wet and cold climate. This led to a lot of planting and production, and we now have a lot of it.

The flip side is that, when viognier is good, there’s nothing quite like it, and I love it. Viognier is a relatively low acid white grape, but a lot of the higher quality viognier manages to still somehow pair really well with a wide range of food (acid is considered key to good food wine). The world’s most famous and coveted viognier comes from an appellation in France’s Rhone Valley called Condrieu, which is quite small (around 330 acres of vineyards). Condrieu viognier is known for being structurally rich and oily while delivering vibrant minerality, tropical and floral notes. The concentrated wine attracts a small but loyal following that, combined the small amount produced, means prices start at around $40 and go north of $100 with ease.

A few other spots around the world have figured out how to make good viognier as well. Australia, Washington State, South Africa, Argentina and Chile are probably the best known outside France. While each produces a different version of viognier, none fit the Condrieu mold in terms of that oily feeling and concentration. One place that isn’t making much viognier at all is Oregon State, but that’s where I go for my benchmark bottle of the variety.

Before I introduce the wine, I need to say that I don’t love most viognier. It’s very hard to find one for less than $25 that has unique personality, and that’s a turn off. Once in a while I love a big Condrieu, but other than that there’s only one viognier I look forward to having every time: the one from Oregon’s Penner-Ash Wine Cellars.

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Tasting with Lynn Penner-Ash in the summer of 2018

I first had Penner-Ash’s viognier in 2015 at my inaugural visit to the winery. I remember wondering whether they had poured me the right wine. Yes, it had those quintessential tropical, vanilla and honeysuckle flavors that viognier is known for, but the acid was unusually spry and formed a spine that I hadn’t experienced in any viognier prior. It had finesse. I realized I could enjoy more than one glass. Since then, it’s become my standard for domestic viognier, my favorite bottle of the variety, and one I enjoy whether I have food with it or not.

Viognier should have a lushness to it, but too often it’s produced to the point of opulence, which is a mistake as the variety easily slides into flabby territory if not restrained before it enters that zone. Viognier can have trouble putting on enough acid to be interesting, even under the attentive watch of the winemaker. This makes the winemaker’s role a necessary but insufficient part of achieving nice acid. What has made Penner-Ash’s viognier the standard for me is that Lynn Penner-Ash, the winemaker, gets the right levels of acid and body restraint, and finds a nice balance, every year.

The 2017 vintage is just killer. The nose offers sharp and precise mineral, chalk and citrus zest on first sniff. Breath deeper and you’ll get light tropics and florals. It smells like a cool climate viognier. On the palate it is similarly influenced by a cool climate. Medium in weight with none of the more typical oiliness and fleshiness of warmer climate vio, the acid runs the full length of the palate, remaining sharp and crisp throughout. It almost tickles the tongue. The flavors run deep, delivering sweet lemon and lime, banana leaf, lychee, rich vanilla custard and whispy white pepper. 93 points. Value: A.

For a deeper look at Penner-Ash, check out this report from our visit there last summer.

Where to buy:

You can get it through the winery, or from a number of places around the country. A few are listed below.

Bay Area, California: Solano Cellars, 1580 #B Solano Avenue, Albany, CA. 510-525-9463.

Chicago, Illinois: Vin Chicago, multiple locations.

Minneapolis, Minnesota: Ace Wine & Spirits, 4 Shady Oak Road #18, Hopkins, MN 55343. 952-960-8014.

New Jersey: Wine Works, 319 West Route 70, Marlton, NJ 08053. 856-596-3330.

West Hartford, Connecticut: Maximum Beverage, 333 North Main Street, West Hartford, CT 06117. 860-761-2541.

The 2018 Good Vitis Tastemakers

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The author and Martin Evans

I’m blessed by this blog in a number of ways, most notably in that it provides me opportunities to meet friendly, fascinating, talented and remarkably knowledgeable people with whom I share a passion. In wine, like nearly all things in life, people matter most. Human beings crave connections to other human beings, and meeting and bonding with winemakers, wine writers and others is often more exciting than any one bottle of wine for me. The winemakers who made this list fall in that category.

For this reason, the annual Good Vitis Tastemakers post has to be one of my favorite posts to compile and write. I get to share this benefit with my readers by bring the words of winemakers directly to them.

The Good Vitis Tastemakers of 2018 include four individuals who helped further my knowledge and appreciation of wine: Matthieu Finot of King Family Vineyards and Domaine Finot and Ben Jordan of Early Mountain Vineyards, both of Virginia; Evan Martin of Martin Woods Winery in Oregon; and Adam Lee of Siduri and Clarice Wine Project in California. I sent each of them the same questionnaire, which bears some, but not all, resemblance to the questions our 2017 Tastemakers answered, and I’ve printed them verbatim below (with minor editing for clarity). For each person I’ve also given a brief introduction and explanation for why they made the list.

Matthieu Finot – King Family Vineyards and Domaine Finot

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Matthieu Finot (second from left)

When I agreed to cover Maryland and Virginia for The Cork Report, I didn’t know Matthieu. He came by way of several peoples’ recommendation as one of the first winemakers in Virginia I should meet. Matthieu makes the wine at one of the state’s very best and most respected wineries and consults for several others, which alone could be enough to make a list like this. However, his institutional knowledge of Virginia’s wine scene, its terroir, its history and all of its particularities, combined, makes him one of the most effective winemakers in Virginia because he can represent so many facets of it. The proof is in the bottle, three of which I mention in the Good Vitis Most Memorable Wines of 2018.

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King Family Vineyards (estate vineyards)

Further, the breadth of his experience outside of Virginia boosts the credibility of his presence in any discussion. Although it’s almost comical, I decided to include the full list of wineries he has worked at prior to King Family below (his resume covers the Rhone Valley, Bordeaux, Jura, Bandol, Burgundy, South Africa and Italy) because Virginia is a tough place to make good wine and that kind of diversity of experience equips him well to handle it. Matthieu has a response to every question – at least every question I’ve asked him – that is informative, if not instructive. While the regions he has previously worked in produce wines among those most respected in the world, I would argue that making exceptional Virginia wine is not something many winemakers from those regions could do.

1. Winery and role: King Family Vineyards, winemaker.

2. Number of years in the wine business: 24.

3. Previous wineries/roles: I should send you my resume!

Proprietor

Domaine Finot                 Bernin/Larnage(France)                                                                           -ISERE / CROZES-HERMITAGE-            

Winemaker

King Family Vineyards Vineyards                                Crozet (USA)                                     -VIRGINIA-            

Consultant

Multiple Clients                                                     Charlottesville (USA)

Instructor

Piedmont Virginia Community College                       Charlottesville (USA)

Winemaker & Vineyard Manager

Potomac Point Winery                                                 Stafford (USA)                                               -VIRGINIA-

Winemaker & Vineyard Manager

Afton Mountain Vineyards                                           Afton (USA)                                                   -VIRGINIA-

Winemaker

Hildenbrand Estate                                                      Wellington (South Africa)

Winemaker

Azienda Agricola Andréa Rizzo                                    Nimis (Italy)                                                -RAMANDOLO-

Assistant Winemaker

Fruitière de Pupillin                                                     Pupillin (France)                                           –JURA-

Winemaker and Salesman

Cave de Tain                                                                Tain l’Hermitage (France)                             COTES DU RHONE-

Cellar Assistant &  Vinegrower

Domaine Tempier                                                        Plan du Castellet (France)                            BANDOL-

Assistant Winemaker

Domaine Jean-Jacques Confuron                                Nuits St Georges (France)                           -BOURGOGNE-

Salesman

Cave de Tain                                                                Tain l’Hermitage (France)                             -COTES DU RHONE-

Assistant Winemaker

Domaine Jean-Jacques Confuron                                Nuits St Georges (France)                           BOURGOGNE-

Shop manager

Le Relais Des Caves(wine shop)                                     Lyon (France)

AssistantWinemaker

Château Guillemin La Gaffelliére                                 St Emillion (France)                                    BORDEAUX-

Assistant Winemaker and Vinegrower (Internship)

Cave de Tain                                                                Tain l’Hermitage (France)                              -COTES DU RHONE-

4. What got you into the wine business: Bloodline. I come from a French farming family from Northern Rhone. Even if my parents weren’t in the wine business, my father’s love of wine and my farming roots with my uncle and grandfather were enough for me to pursue wine education after high school.

5. Why you choose the route/role you did: My route was pretty easy, I wanted to get back to the farming world. But I didn’t have any estate or winery to get back to, I was young and wanted to travel. Winemaking makes it easy to travel. I moved to Beaune in Burgundy where I studied, and then decided to travel France to diversify my experience, winemaking style and techniques: Rhone, Burgundy, Bordeaux, Provence, Jura. But that wasn’t enough, I decided to start working outside France: Fruili in Italy, Paarl in South Africa, and finally Virginia in the United States.

6. Description of your approach: It was a very organic approach; I didn’t have a master plan when I started traveling, However, with hindsight it did give me lot flexibility in my winemaking and also it helped me to be open minded.

7. The one thing about wine you most want to figure out, and why: There is no end of learning. The more I know the more I realized that I know nothing…. ignorance is a blessing!

8. Your blind spots (where you need to improve): As I said, I realized that is still need to learn a lot. There are lots of wine regions I don’t fully understand. I also need to keep tasting “great and iconic wines,” though that’s difficult to do when you are young and don’t have the financial resources to get to these bottles.

9. Where and what do you want to be doing in ten years: When I started to work in Virginia in 2003 it was supposed to be for 1 year…and I am still here after 15 years…so I guess I am not very good in planning the future. I could still be here. I could be back in France to work with my brother at Domaine Finot. I could be resuming my travel through the wine world with my family. I still would like to go to New Zealand…crystal ball help me!

10. Top-3 bucket list wines: There are so many….Domiane Romanee Conti, Domaine Leflaive le Montrachet Grand Cru and Gaja Sori San Lorenzo.

Ben Jordan – Early Mountain Vineyards and Lightwell Survey

 

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Ben Jordan (credit: Lightwell Survey)

Ben and Matthieu were kind enough to help form a small group of winemakers for a roundtable I organized earlier this year to discuss how Virginia winemakers approach developing tannin in their wine. Later, I visited Early Mountain for a tour and tasting. You can read all about it here on The Cork Report. Months earlier, however, I had a phone call with Ben to discuss petit mensang, a white vitis vinifera variety that does particularly well in Virginia when grown and made by someone with a lot of patience and guts.

Petit mensang has been a fascination of mine since 2013. Around that time viognier was becoming the rage in Virginia after a certain then-governor thought it’d be a great idea to basically endorse it as the state grape. Viognier is a thin skinned, tightly clustered grape, which makes it perfect for Virginia’s cool and wet climate. Yes, that’s sarcasm. What a dumb call. Nevertheless, it led to a boom in viognier planting and production. There are smart people – smarter than myself on wine – who, while agreeing that this was a stupid announcement, believe that high quality viognier can still be a fixture in the state. I’d rather it be petit mensang, which I believe can produce more interesting wine in Virginia while coping much better with its climate.

All that said, petit mensang is an even more challenging grape to grow, and wine to make, than viognier if you want to make a dry wine from it. This is a major headwind against it among winemakers. The variety puts on sugar and acid at an incredible rate while on the vine, which makes fermenting it to dryness (no remaining sugar) very hard if you want to produce a wine that won’t melt your tongue with acid. Ben is known as one of, if not the, best petit mensang masters in Virginia. This is what drew me to him originally.

After the conversation and wines presented at the tannin round table, it became evident that he knew far more than just petit mensang. The more I’ve taken to examining tannin, the more I’ve realized that a winemaker’s knowledge of how to use the science of tannin can be a helpful marker in determining how purposeful they are in producing wines, and a harbinger of the quality of their wine. A winemaker that can make a top quality dry petit mensang that captures both the typicity of the grape and its terroir and a range of red wines that span the full tannin spectrum is one to watch. Enter Ben Jordan. And watch him for indications of a Virginia petit verdot revolution (see below).

1. Winery and role: Winemaker at Early Mountain Vineyards and Lightwell Survey. Winegrowing partner with my brothers for our vineyard/winery project in Fort Defiance in the Shenandoah Valley.

2. Number of years in the wine business: 15.

3. Previous wineries/roles: Michael Shaps Wineworks – Winemaker; Dutcher Crossing – Assistant winemaker; C. Donatiello – Assistant winemaker.

4. What got you into the wine business: My family wanted to plant a vineyard in the Shenandoah Valley, and at the same time I moved to NYC with an MFA in playwriting. I needed income, so I started working in retail wine sales.

5. Why you choose the route/role you did: I fell hard for the world of wine when I was working retail and for an importer, and since my family wanted to plant a vineyard, I decided I needed to learn winemaking. I signed on to do a harvest in Sonoma County, because I was told that was the way to get a foot in the door. That worked, and I was offered a full-time position. Once I had a winemaking foundation, I contacted Michael [Shaps], because he had a finger on the pulse of Virginia.

6. Description of your approach: Evolving and open, leaning toward precision and purity. We are still in such a foundational place in the mid-Atlantic that I am of the opinion we need to remain exploratory, look for the next generation vineyards, and plant them with varieties that will make for a successful industry. We are building, and it is important that the work we do now is thoughtful and creative.

7. The one thing about wine you most want to figure out, and why: Sustainable wine farming, because I want to feel comfortable with my daughters working in the family vineyards. This may mean non-vinifera, or new wave vinifera hybrids, because even materials that are sprayed in organic programs can be pretty nasty.

8. Your blind spots (where you need to improve): Blending. We do a lot of blending at Early Mountain, and every year I realize I want/need to do better. Growing, see above. Petit Verdot. Like Petit Manseng, this grape offers a lot of potential, but I still need to understand what it wants to be.

9. Where and what do you want to be doing in ten years: I want to be in Virginia making the first wines off of next generation vineyards that I have helped plant in the next five years. I also want my family business to be in a healthy place.

10. Top-3 bucket list wines: Pretty sure I need to taste DRC [Domaine Romanee Conti] before I kick, so might as well be La Tache. I would love to go into the Sherry bodegas and taste some of their oldest soleras straight from cask. A wine made by the next generation of my family, whether it be my daughters or my brothers’ children, or both. And hopefully I can taste that wine with 20 years of bottle age on it, because that will mean I am decently healthy in my 80s or 90s.

Evan Martin – Martin Woods Winery

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Evan Martin on his property

Evan Martin’s approach to winemaking is one of the most interesting ideas I’ve come across in my exploration of wine, and likely the most interesting of my 2018. It’s not that it’s particularly genius (no disrespect to Evan) so much as it is, ‘why isn’t anyone else doing this?’ because it’s a logical extension of what is bedrock boutique winemaking, and something that many wineries could do if they wanted. It’s essentially this: true expression of terroir should include barrels (if applicable) made from local trees.

Nearly every winery I end up visiting, and nearly every winemaker I meet, talks about their particular terroir. When they do, they focus on the soil, vineyard particulars (aspect, slope, etc.) and climate, and how those elements effect the grapes they grow. Then they talk about the various ways in which they try to let that terroir come through in the glass. Evan has an additional talking point: he makes his own barrels from the trees on his property (in the Willamette Valley in Oregon). Oak has an emphatic impact on the wine, and so when Oregon wine gets put into French oak, it can’t really be called Oregon wine anymore if we believe in terroir: it has a component from France that is altering the taste and structure of the final product.

To be clear, Evan is not snobbish about this at all. He just has the interest, patience and resources (trees) to try it out, and so he is. I was impressed by the results, which I wrote about here, but I need a bigger sample size to really know whether Oregon oak makes a better wine. Nevertheless, he’s doing something quite different that’s worth thinking about and trying.

1. Winery and role: Martin Woods, owner/winemaker.

2. Number of years in the wine business: 15.

3. Previous wineries/roles: Seven Hills Winery ‘04/’05 harvest intern; Belle Pente Vineyard and Winery ’09-’11 harvest intern, ’12-’17 Assistant Winemaker.

4. What got you into the wine business: An Oz Clark wine book and a fantastic little wine shop in Seattle called European Vine Selections.

5. Why you choose the route/role you did: I became obsessed with the concept of terroir. Casey McClellan at Seven Hills gave me a great introduction to careful, attentive winemaking and the goal of making elegant wines above all. I then explored the buying/service side of the business for a few years, developing a keen interest in wines from the cool-climate regions of France in particular. And I was captured by the principles of the natural wine movement—which are still important to me today, although I don’t refer to myself a natural winemaker for certain reasons. That subject, like great winemaking, is nuanced and unfortunately the discussion about it is all too often shallow and polarized.

6. Description of your approach: The last couple of years, I’m making about 4,500 cases of wine by myself, so my approach is minimal by necessity! But actually, this is a conscious choice. I like to be present for every moment that something is happening or being done to my wine. Each of these moments is an opportunity for my senses to check in with the wines, to catch potential issues before they become problems or to confirm or re-evaluate my strategy for that particular wine. I never make wine exactly the same way twice; I’m always adjusting to try to support what I perceive to be the zeitgeist of the wine and the vintage. This flexibility carries through the entire elevage period to bottling. For me, extreme attentiveness allows me to be “hands-off” with the wines; it allows me to be ‘natural’ in my approach and at the same time produce unfined/unfiltered wines that are clean, classic, deeply compelling and long-lived. Most importantly, what paves the way for a “hands-off” approach is choosing vineyard terroirs that truly give the qualities that you’re looking for in the wines, so you don’t have to try to shape them in to something they don’t want to be. That’s why I mostly work with the coolest, latest-ripening parts of the Willamette which are the neighborhoods that are most influenced by the cooling effect of the Van Duzer winds—the Van Duzer Corridor AVA, the McMinnville AVA and the Eola-Amity Hills AVA. These terroirs give wines that are structure-driven, with aromas and textures that are discernibly ‘cool-climate’ in character.

I guess it’s also noteworthy about our approach that we’re using our local Oregon oak to age a lot of our wines because we’re trying to make the most distinctive, terroir-driven wines that we possibly can. I love the qualities of French oak, but I don’t think it makes our Oregon wines more distinctive; quite the opposite actually, it makes them more like wines from other producing regions, because everyone around the world is using French oak, its use has become quite formulaic.

7. The one thing about wine you most want to figure out, and why: One question I’ve been thinking about lately is, ‘can we produce amazing cabernet franc in the Willamette Valley? Why?’ Great cab franc (and I’m thinking of le Loire here) stirs passions in men’s souls, the same way that great pinot noir can. We have to expect that our climate is warming slightly, so growing CF is looking increasingly attractive.

Otherwise, I’m realizing I can’t really figure out anything about wine, not to a scientific degree. I’m concerning myself less and less with lab numbers and just embracing instinct and sense. The real frontier in my experience is always trying to find out what vineyard terroirs produce the most compelling wine. The Willamette Valley now has fifty years of collective experience under its belt, but we’re still young at understanding our terroirs. I do think that fifty years from now the scene will be quite different than today.

8. Your blind spots (where you need to improve): Discipline. I drink too much, it’s part of the business and I love the craft and I love checking in with what my peers are producing, here and across the pond. I recently read an interview with Bobby Stuckey and he talks about discipline and how it relates to the craft of being a great sommelier. I think he was spot on with what he said about discipline and I feel the same about the craft of making great wine. It takes a lot of discipline to remain fresh, creative and responsive to the (extremely) challenging work load of harvest, when in a matter of weeks a winemaker is making dozens of decisions that determine the trajectory of a wine for the rest of its life. I admire the older (than me, I’m 37) winemakers in the community that have had the discipline and stamina to be highly successful in this profession for 20-50 years. The names are too numerous to mention.

9. Where and what do you want to be doing in ten years: Sarah (my wife, who is the vineyard brains in the family) and I would like to plant a small vineyard on our property in the McMinnvillle AVA. We’re taking our time with this, as there are a lot of things to ponder…chiefly among them, what to plant and what are the right clones? If I was planting tomorrow, I would probably mostly plant chardonnay, as our neighborhood seems to be just exceptional for it, being as we are tucked in to the foothills of the Coast Range as well as on the shoulder of the Van Duzer gap. The mountains and the wind make it a little cooler here, so the chardonnay here has great tension from bright acidity, but with good sun exposure you can also get fantastic weight and depth.

10. Top-3 bucket list wines: I haven’t been very careful about cataloging a memory of great wines that I’ve had. There are so many wonderful wines that I can’t remember the producer. I tend to think more about regions…Alsace, Beaujolais, Bourgogne, Loire, northern Rhone. The few times in my life I’ve had first-growth Bordeaux the wines have been splendid—taught, fresh, balanced, structured.

Furthermore, I don’t spend money on cult wines. I don’t mean Screaming Eagle. I mean, I love Clos Rougeard, but I don’t buy it. I don’t hold it against them for charging what they can for highly sought-after wines that by necessity need to be allocated. But there are other producers making incredible wines at reasonable prices, without any hype, and I love finding those wines. That’s maybe the best thing that great Sommeliers and wine shops do, they connect consumers with unsung or underrated wineries that over-deliver.

Adam Lee – Clarice Wine Company and Siduri Wines

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The author, Adam Lee (far right) and some friends enjoying themselves

I met Adam when he and a mutual friend came to our apartment for a party that we held because we had a number of random people in town visiting and didn’t know how else to see all of them while they were here. A lot of fun was had, really fantastic wine was brought and consumed, and bonding occurred.

As I got to know him more after that evening, one of the things that stood out most about Adam is that, good God man, he can’t sleep much given all he’s doing. Good Vitis readers will learn more about Adam in the coming months. We’re sitting on a trio of pinot noirs from his newest project, Clarice Wine Company, letting them recover from their journey from one coast to the other. We’ll try them soon, interview Adam, and then write it up. So stay tuned for that exciting piece.

Siduri, a winery he founded and where he still makes wine, is no small deal: wines from six regions across two states, multiple wines from each region, and all good quality and compelling. The website currently lists 18 different wines – 17 pinot and one zinfandel – for sale. All, by the way, under screwcap, including his highest priced bottles. Add the Clarice Wine Company project, which is an unusual business model built around a rather robust wine club program (more on that in the upcoming piece), and this guy is making a lot of wine. Then, the many visits to France and elsewhere because Adam can’t ever stop learning (his Facebook page makes me wonder how much time he actually spends in America, let alone California where he makes his wine), and I just can’t imagine he gets to spend much time at home. It’s all rather inspiring to me: the level of passion for wine and business that this man exhibits is enviable.

1. Winery and role: Owner, Clarice Wine Company. Winemaker, Siduri Wines. Consultant for a few other wineries.

2. Number of years in the wine business: In one form or another since 1988. Started making wine in 1994.

3. Previous wineries/roles: Direct Sales Manager at Benziger, Tasting Room Manager at a few places before that. But really Siduri Wines as founder, owner, winemaker.

4. What got you into the wine business: I got into wine retail first as Assistant Manager at a wine store in Austin, Texas. I had developed a love of wine during a trip to California between my junior and senior years in college.

5. Why you choose the route/role you did: I think it chose me. I never really had a plan, never planned on making wine. The idea of making wine was actually Dianna’s idea (my wife). She thought that if I was going to write about wine (I was considering the lucrative career of wine writing) [ED’s note: don’t I know it] I should try and make it first. So we did so, with the 1994 vintage and 4 ½ barrels of pinot noir. We then proceeded to get drunk one night and take a sample to Robert Parker while he was staying over at Meadowood Resort. Fortunately, he liked the wine and wrote it up in the Wine Advocate. That was the beginning for us.

6. Description of your approach: Making pinot noir is a unique combination of remembering and forgetting. Remembering lessons from the past and implementing them into a similar vintage. But also realizing that each vintage is unique and thus not falling into a pattern of making wine a certain way but rather reacting to what is given to you each year. Finding that balance between remembering and forgetting is the challenge.

7. The one thing about wine you most want to figure out, and why: I am confused and fascinated by what truly makes winemaking work. Let me give you an example. Some winemakers swear by whole cluster in pinot noir and make remarkable wines doing so (Jeremy Seysses at Dujac). Other winemakers abhor whole clusters and will never use them and make remarkable wines following that route (Henri Jayer). How does that work? What commonalities are there at these places and are those the key to what makes great Burgundy? Or is the key truly intent and following with great devotion what you believe and in doing that you will make great wine? I ponder these things.

8. Your blind spots (where you need to improve): I write horrific wine descriptors. Ironic for someone who wanted to be a wine writer. I grew up in a time and place where all the fruit I ate came in a can and was floating in simple syrup. Consequently, describing the flavors of a wine is something I suck at. I am okay with the weight and tannin/acid structure of a wine, but describing flavors – geez, I am bad at that.

9. Where and what do you want to be doing in ten years: I want to be making pinot noir. Not just making pinot noir but immersed in pinot noir. I want to be doing less, but more in-depth. I believe that is my passion and my calling. I can’t think of anything else I’d rather be doing. I also hope to be spending time with my kids…then adults…and sharing and learning from them.

10. Top-3 bucket list wines: Good question:

1984 Rochioli Pinot Noir — First red wine that I ever fell in love with. Started my love affair with pinot noir and that has never ended.

Fall Creek Winery (Texas) White Zinfandel – The first wine I ever shared with a winemaker. Ed Auler, the owner/winemaker and I were walking through his vineyard in Tow, Texas on a typically hot Texas day and he reached into his backpack and pulled out a chilled bottle (ice packs). He popped it then and there and we passed it back and forth while walking the vines drinking it out of the bottle.

1986 Chateau Margaux – Maybe the first classic, great wine that I ever tasted. I loved the 1985 and thought it was amazing, but when I tasted the 1986 I was blown away. It was remarkable and made me realize that there’s a whole world of extraordinary wine out there for me to experience.

 

2018’s Most Memorable Wines – and Moment

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Public Service Announcement: Never hold the glass by the bulb! Picture credit: videoblocks.com

Dodie Smith wrote 101 Dalmatians, so she has game. However, she also said that “[contemplation] seems about the only luxury that costs nothing.” This contemplative piece, about luxury, is only possible because time and money was spent. But was it ever worth it. This is the third year in a row that Good Vitis offers a list of its top wines for a year-in-wine review, and there are some great wines on the list.

Last year’s post included the magic dozen wines that we believed would stick in our memory longer than any others tried in that year. While being remarkably memorable remains a requirement to make the 2018 list, we’re also keeping with the tradition of doing the annual retrospective a bit differently each time. This year, we’re adding categories. Fifteen wines have been spread out over seven categories. On an administrative note, if a wine is hyperlinked it will take you to the Good Vitis post in which it is featured. Let’s do this.

Vineyard of the Year

Zena Crown Vineyard in the Eola-Amity AVA in Oregon has consistently produced some of Oregon’s most impressive wine for the Good Vitis palate. The 115 acre vineyard, planted in the early 2000s, was more recently purchased by Jackson Family Wines who created a winery, called Zena Crown, to showcase its qualities. Additionally, some fruit from the vineyard is sold to several notable wineries, including Beaux Frères and Soter, not to mention the wineries listed below. The vineyard is planted on a southwest-facing slope of volcanic soil that begins at 300 feet of elevation and tops out at 650 feet. It is divided into 17 blocks, each of which has a unique combination of gradient, aspect and soil depths. Vines include a variety of pinot noir clones. All told, the vineyard is quite capable in producing a diversity of pinot noir wine.

In 2018, we were lucky enough to try a variety of wines made from Zena Crown Vineyard’s goods, including some tasted in the region. Not all were scored, but several were written about on Good Vitis, including:

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2015 Zena Crown Slope – The youthful nose is still growing into itself, though it promises to be a thing of beauty. Detecting ripe cherry, raspberry, plum and multiple florals. The texture on this one is stunning; talk about velvety tannins, there’s no end to them or their silkiness. The acid is on-point as well. Simply stunning. The flavors will require a bit more time to match the texture, but they don’t disappoint at this stage with sweet plum sauce, dark cherries, chocolate mousse, graphite, cinnamon, nutmeg and just a hint of green onion spice. Not for the faint of heart, and worthy of ten years in the cellar. 94 points.

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2015 Hartford Family Winery Princess Warrior Block Zena Crown Vineyard – This has a deep, serious nose boasting aromas of briar berry compote, dark dusty cocoa, graphite, lavender, tar and candied red apple. It’s nimble on the palate, exhibiting youthful finesse. The gorgeous tannins provide a sturdy frame, but don’t overpower while the acid is spot-on. Though I wouldn’t call the structure elegant, it has skillfully found a balance between power and finesse that’s intriguing. In the flavor department you get black and boysenberry, very dark chocolate, rose petals, lavender, Herbs de Provence, and wet soil. Though it’s good now, it will be better in five years. 92 points.

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2015 Penner Ash Zena Crown vineyard pinot noir – Using fruit from [Lynn Penner-Ash’s] exclusive contract on block 8 of the esteemed Zena Crown vineyard, it’s a downright impressive and captivating wine: meaty on the nose, juicy on the palate and fun and serious at the same time. The diversity of flavors and aromas include graphite, salt and pepper, iron, baking spice, mint and a cornucopia of red and black fruit that are silky in their sweetness. It has a decadence to it, however the retained acid prevents it from actually becoming sappy or heavy. What a wine. Unscored, but worthy of mid-90s.

Try this Wine, Damnit!

In 2018 Good Vitis launched a new series of posts called “Try this Wine.” Each post in the series spotlights a single wine that we believe has one or two compelling reasons for people to try. We kicked the series off with one of our favorite white wines, Smith-Madrone’s riesling. For this 2018 retrospective, however, it’s the 2012 Palacios Bierzo Villa de Corullón that stood out among its Try this Wine peers because of its wow factor.

The Palacios wasn’t a sample nor the current release. We purchased it in 2014 and decided to sit on it for a bit to allow further development, and boy are we glad we did. It was one of 2018’s most delicious and pretty wines. While 2012 is one of the estate’s best vintages, we’re told that the 2014, which is more widely available today, could well be even better. Please, try this wine.

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2012 Descendientes de José Palacios Bierzo Villa de Corullón – Such a gorgeous, elegant wine at a great stage on its life. It’s identity just screams “pastel.” The nose and palate supremely balance florals and dark earthy notes: pink, purple and yellow flowers; wet top soil; graphite; and darkly tanned tobacco leaf. It also features mountain strawberry, blood orange, dark cherry and pomegranate seed. The fine grained tannins add pleasure to the mouthfeel, and the acid is in perfect balance. A truly impressive wine. Decant for an hour now, and consume over the next three years. 95 points.

Well-aged Wine is the Bee’s Knees

Most wine isn’t made to get better with age. Not serious age, at least. In our mind, though, the best examples of magical wine come by way of age-worthy wine that’s been allowed to mature for the right amount of time. While “the right amount of time” can legitimately vary based on preference, as we’ve experimented with older vintages, we’ve come to realize that, at least for our palate, the right amount of time is longer than 99% of people believe it is. We have several theories about why this might be, and the one we’re willing to bet on is that people don’t have the desire and patience to find out that they’ve been having some of their best wine too young.

That’s a real shame because it means people aren’t enjoying wine the way it is meant to be enjoyed. Not many winemakers will say so publicly, but it can be quite frustrating for them when their wines are consumed too early in their respective lives because they know their customers are not getting the best experience possible. We’re issuing a real challenge to our readers: find some seriously aged wine (10+ years old) and give it a try. For a particularly fun time, find a bottle from your birth year. Not all of you will love seriously old wine to the point of changing your habits, but some of you will. We promise. These are several of the older wines we had in 2018 that blew our minds.

The 2007 Full Pull & Friends chardonnay was a gamble. I bought it at the end of May, 2017 but didn’t receive it until late summer 2018. Full Pull is a virtual retailer out of Seattle that sells through email offers. Most of its wine comes from Washington State, and they’ve branched out into their own labels as well. Full Pull & Friends is effectively a shiner model (they purchase fully bottled wine and put their own label on it), which makes it rare within the shiner market as it’s actually good, serious wine (most shiners are inexpensive and underwhelming). It was a gamble purchase because of three factors that, in combination, raise some concern: Washington isn’t particularly known for its white wine, it was a decade old, and I couldn’t be guaranteed that it was stored properly for its entire life.

Lucky me, the gamble paid off as it turned out to be an amazing wine. It had an oxidative nose of marzipan, lemon curd, cardamom, orchid and pine nut. The full body was plush on the palate, but featured juicy acidity at the same time. It really was something else: cardamom, banana peel, vanilla custard, tangerine, Meyer lemon and a big dose of Marcona almond. In several ways it reminded me of a nicely aged Savennieres chenin blanc. Quite tasty and worth the time of whomever decided to hold this back. 93 points.

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The 2010 Copain chardonnay was also amazing

2006 Franz Hirtzberger Honivogl Smaragd gruner veltliner – We drank this with some good friends and didn’t take any notes. It was barely old enough to consider opening. We have a 2007 of this that is going to get another five-plus years of aging. High quality Smaragd gruner deserves a long rest because it rewards with amazing concentration, harmony and complexity. Hirtzberger is among our most favorite white wine producers from anywhere in the world, and when we find older vintages of it we rarely leave without making it ours.

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1995 Seven Hills Winery Merlot Klipsun Vineyard – Really fantastic tertiary development, this is Washington State history in a bottle that remains impressively fresh. It has an evergreen quality that caps off a highly developed merlot. The nose has sweet oak, vanilla, rich chocolate, spearmint and muddled maraschino cherry. It’s medium weight on the palate and is driven by a backbone of youthful acid, with a fully integrated tannin structure playing a support role. It offers sweet and toasted oak, hot chocolate, tart cherry, lavender and brioche. Something special. 93 points. Note: It’s been long enough that I don’t want to re-score it, but I’d put $20 on having underscored this wine by at least a point or two.

1986 Faustino Rioja I Gran Reserva – This is why good Rioja deserves aging. Nose and palate are full-on tertiary: the acid, oak and alcohol are perfectly integrated, mellowed and balanced. This is all about the essence of wine rather than the constituent parts. That said, here’s an attempt at the notes. Nose: cinnamon, lightly toasted oak, maraschino cherry, sweet peppermint and musty attic. Palate: sweet cherry, sweet leather, well-aged tobacco leaf, tangerine peel and peppermint. Stunning wine, drink now. 94 points.

1983 Chateau de Beaucastel Châteauneuf du Pape – No notes taken, this birth year wine was consumed on the author’s 35th birthday. While it was, like the author, about 10 years past its prime, it delivered complexity, fruit, earth and funk and was remarkable. It inspired one of Good Vitis’ most-read articles in 2018, When is Wine Conceived?, which is a must-read for anyone looking for a birth year wine.

Bringing Back Real Rosé

The oversaturated rosé market is heavy with bad wine. The amount of pale salmon-colored wine with little to no flavor and overly sharp acid is so high that finding a good rosé of any color, especially the Provençial style that inspired the seemingly endless supply of flavorless salmon stuff, is incredibly hard. So much so, actually, that we avoided it in 2018, which was disappointing because one of 2017’s most memorable wines was a rosé.

So why are we about to feature two – yes, twice the 2017 total – rosés? Because we have awesome friends who made us try them. Both offer real substance, flavor and color; put another way, they are real wines. And if we’re honest, they are among the wines in this article most likely to be remembered for the longest period of time.

2017 Enfield Wine Co. Pinot Noir Foot Tread Heron Lake Vineyard – The nose has a lees quality to it, something almost malo about it, that adds intrigue, though it’s still quite clean. Strawberry and boysenberry round it out. It’s medium bodied, but the exquisite acid helps it maintain a light balance. The fruit is gorgeous, really quite pure: strawberry, sweet huckleberry and sweet plum dominate the palate, but the finish offers a wonderful combination of watermelon, white peach and kiwi. This is among the most substantive, interesting and complex rosés I’ve ever had. It’s just killer. 93 points. Note: if this weren’t a wine club only release, it would’ve earned a Try this Wine feature.

Old Westminster Rose Rarity No. 3 – We never took any formal notes on the multiple bottles of this one that we consumed, but it is a highly unusual wine. Old Westminster managed to make a rosé that is fresh, deeply layered and audacious without being over the top. From the winery website: This bold & savory rosé is a blend of 34% Cabernet Sauvignon, 33% Syrah and 33% Malbec produced in the saignée method. Fermented with wild yeast in stainless steel and subsequently washed over Cabernet Franc skins to macerate for four days. Aged sur lie in neutral French oak barriques for 18 months.

Appreciating Value

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The best value we came across in 2018 was the 2016 Château Peybonhomme-les Tours Le Blanc Bonhomme, which received its own Try this Wine feature. It’s not the easiest to find, but for around $20 you’re getting a $30-40 bottle of delicious white wine. Here’s the tasting note from the Try this Wine post: Gave this half an hour decant, and the nose really blossomed. Loads of endearing honeysuckle, orchid, mashed pear, rich lemon curd and candied orange peel. Very lovely nose. It is medium-bodied and round. The edges are just ever so gritty, which provides enhancing texture. The acid is nicely cut. Flavors hit close to the nose: honeysuckle, a big hit of pear, apricot and orange peel plus some great slate minerality. A very impressive wine. 91 points.

Something Really Different 

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I cover Maryland and Virginia for The Cork Report, so the hyperlink below goes to the story I wrote for them that includes these wines. King Family Vineyards, located outside Charlottesville, is a standard bearer for the region, but was a revelation for me in 2018. Its winemaker, Matthieu Finot, is a wizard with Virginia fruit and deeply knowledgeable. He is measured in his approach, but also enjoys being playful. The highly limited Small Batch Series is his creative outlet. Each wine produced with the Small Batch label is an experiment, an excuse for Matthieu to test uncommon winemaking methods like skin contact and no sulfur additions on high quality grapes. I was able to taste the skin contact viognier, dry petit mensang and whole cluster 2016 King Family Estate Small Batch Series cabernet franc. They are excellent wines in unusually interesting and fun ways.

A Story of Wine and Love

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It’s official. Credit: Nikolaichik Photo

2018 was a particularly magical year because I met and got married to my amazing – AMAZING – wife, Kayce. Our first date was February 3rd. We were engaged on April 27th. And on October 4th, we eloped in Iceland. In order to introduce the wine for this category, you’re going to have to endure a love story.

The weekend after our first date, Kayce visited two friends in San Francisco. On the Tuesday before her Friday flight, she mentioned that they were interested in visiting Napa for a day while she was there. I offered to connect her with a few of my favorite wineries. The next day, as I sat down to email the wineries, I realized that I needed to be able to introduce her as more than just a friend to justify the ask. So, I shot her a quick text asking if, for this purpose, I could refer to her as my girlfriend. In my mind I knew that we were heading in that direction, so I didn’t feel bad about the temporary fib. She responded that yes, that would be fine, but also that we should talk about whether that moniker was appropriate outside this context. We had that discussion the very next day – five days after our first date – and decided that it fit. Wine had prompted the discussion.

One of the wineries that I contacted was Rombauer, which I’ve written about several times in Good Vitis, including a piece in January of 2018 about a visit to Napa in 2017 that included a stop at Rombauer. It was my first time tasting the winery’s top wines, which included the 2016 Proprietor Select chardonnay. Here’s what I said about it:

“The show-stopper, though, was the Proprietor Selection. Ultimately a selection of fruit from Green Acres, Buchli, Home Ranch and Brown Ranch vineyards, it includes only the barrels [winemaker] Richie [Allen] selected as the very best. The only note I wrote down was this: ‘Holy shit – more than the sum of its parts. The depth of flavor and concentration is flat-out off the charts.’ It’s one of those wines that in order to take it all in, you can’t really notice any particular element because the experience of the whole is too overwhelming.”

When I reserved the Rombauer visit for Kayce and her friends, I suggested that she read the post about my Napa trip so she had some background on Rombauer. I asked Rombauer to make sure that they poured the Proprietor Select chardonnay for Kayce and her friends. And, I asked Kayce to call me after she had tried it. When she did, I asked her if she remembered what I had written about the wine in the article, and she had. And then I told her that what I had said about the wine applied to my feelings towards her: that there is so much goodness in her that I cannot fully appreciate her in just one moment. To say she appreciated the remark is an understatement.

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Rombauer’s Proprietor Selection on the black sand beach of Vík, Iceland. Credit: Nikolaichik Photo

When we choose to elope in Iceland, we decided to bring a few bottles of wine with us just in case we couldn’t find wines we loved once we got there. After all, we were getting married and wine is a mutual love: we should drink our favorite stuff. We were able to fit three bottles into our check on, which included a bottle of Rombauer Proprietor Select to open after exchanging our vows at the black sand beach in Vík. Once the vows were done, and our photographer had taken the picture of the unopened bottle of wine that I had requested, we popped the cork and took a few pulls from the bottle. After returning to Reykjavik and doing the official ceremony, we enjoyed the remainder of the bottle, properly, in wine glasses. Some couples have a song, a restaurant, a whatever. We have some of that stuff, but we also have a wine: the Rombauer Proprietor Select chardonnay.

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Exchanging vows in Víc. Credit: Nikolaichik Photo

We’d like to thank all our readers and supporters for a successful 2018. We are already working on a number of pieces for 2019 and are excited for the year ahead. Please continue to follow our work and tell your family and friends about it. We’ll do our best not to let you down.

Try this Wine: Château Peybonhomme-les Tours Le Blanc Bonhomme

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GV THANKSGIVING WINE RECOMMENDATION

When we hear Bordeaux, we tend to think about red wine. Complex, expensive, historic red wine. A walk down the Bordeaux isle at your local wine store is likely to confirm this reaction, although you might spy a few smaller and perhaps even more expensive bottles filled with a golden-hewed nectar called Sauternes at one end. But if you look closely, you may also find some full-sized bottles of white Bordeaux wine. If they’re there, chances are they are worth trying.

White wine production in Bordeaux is roughly 8% of total wine made in the region. Perhaps counter-intuitively, this small production level boosts the quality. Because demand for white wine is less than red, and because vineyard acreage iS incredibly expensive in Bordeaux (try $400,000 per acre for the decent stuff – no joke), white grapes are in the significant minority. Those wineries that do choose to produce whites, then, usually have a reason for doing it: it’s good, and they’re proud of it.

If Burgundy, France’s other elite wine region, is the world’s standard for singe variety wine (pinot noir and chardonnay), Bordeaux is the global standard for blended wines (with apologies to the Rhone Valley). Its reds are blended from a selection of the legally permissible grapes: cabernet sauvignon, merlot, cabernet franc, petit verdot, malbec and carménère. For whites, the list is half the length: sauvignon blanc, sémillon and muscadelle. Okay, the list is actually longer, but the others (colombard, ugni blanc, etc.) make up just 3% of total white production.

Depending on where a wine is made within Bordeaux, it is usually dominated either by sauvignon blanc or sémillon. Muscadelle, when present, plays the minor role. Sauvignon blanc and sémillon produce very, very different wines and one could easily be thrown off by the thought of blending them. Sauvignon blanc is higher in acid, leaner and driven more by citrus, green cover (grass and herbs) and minerality. It’s “sweet” flavors (the wine is completely dry) are unbaked – think honey or honeysuckle. Conversely, sémillon is lower in acid, creamier and driven by warm baked and spiced sweet flavors like apple pie, créme brûlée and lemon curd, with orange peel and ginger accents.

Most white Bordeaux is made with significantly more sauvignon blanc than sémillon. You get all the lovely citrusy acid and herbal goodness from the sauvignon blanc while the sémillon’s creaminess smooths out the rough edges and warms the flavors a bit. This is the profile you’re most likely to find in the grocery store, and it’s tasty. On the rare occasion that you find one priced above $25, you start to enter territory in which the wine benefits from a few years in bottle. The very best stuff, priced in the hundreds, demands half a decade, at least. But most white Bordeaux is priced very reasonably and is ready to drink within a year of being bottled.

One of these very reasonably priced wines is the 2016 Château Peybonhomme-les-Tours le blanc Bonhomme, which is a 50/50 blend of sauvignon blanc and sémillon. The Château is located on top of a hill in the village of Cars on the right bank of the Gironde river. The  Hubert family has tended to the vineyards, which spread out over a 158 acre property, for six generations. The vineyards also happen to be certified biodynamic. A bit off the beaten path, it’s a wine worth seeking out. It’s one of the best white wines I’ve had this year under $30. It would be right at home on holiday tables with rich fish dishes, roasted chicken, roasted vegetables and foie gras.

Tasting note: Gave this half an hour decant, and the nose really blossomed. Loads of endearing honeysuckle, orchid, mashed pear, rich lemon curd and candied orange peel. Very lovely nose. The palate is medium-bodied and round with edges that are just ever so gritty, which enhances texture. The acid is nicely cut. Flavors hit close to the nose: honeysuckle, a big hit of pear, apricot and orange peel plus some great slate minerality and a brief hit of cream. A very impressive wine. 91 points. Value: A.

Where to buy:

Here’s where it gets tricky. Unless you live in New York or expect to find yourself there soon, you need to order this one online. The only reason I’m comfortable running this wine as a Try this Wine is because the two stores offering it are fantastic, and this wine is good enough to be a worthy excuse to spend half an hour on either store’s website and place an order for a number of great wines. The two stores:

Astor Wines, De Vinne Press Building, 399 Lafayette Street, New York, NY 10003.
212-674-7500.

Chamber Street Wines. 148 Chambers Street, New York, NY 10007. 212-227-1434.

 

 

 

Obsession in the Willamette Valley, Part Three

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Marveling at the view at Penner-Ash with Lynn Penner-Ash

Welcome to part three of Obsession in the Willamette Valley, so naturally we’re covering day two of the trip. In part one we discussed Fausse Piste and Martin Woods. Part two comprised Tendril and Belle Pente. Now, we’re on to Penner-Ash and Trisaetum.

The story of Penner-Ash is historic. Lynn Penner-Ash is the winemaking muscle and brains behind the operation. She earned a degree in botany and then set off to make her mark on the wine industry. After stints at Stags Leap Wine Cellars, Domaine Chandon, Chateau St. Jean and Rex Hill, she struck out on her own in 1998 with Penner-Ash, which has been integral in establishing and defining the state’s industry we know today, and remains one of the most prominent Oregon wineries on the national stage. In addition to her expensive small lot single vineyard pinot noirs, Lynn makes a pan-Willamette Valley pinot blend that sells for around $40. It is, I would bet, one of the most widely distributed and recognizable Oregon pinot noirs at or around that price.

Lynn and her husband recently sold the winery to Jackson Family Wines, but her vision persists as she remains the winemaker. She met us at the winery to give us a tour and take us through a tasting. To hear her tell the story, after several decades of building her winery, it is a bit of a relief to have to worry less about ownership considerations and have more time and mental energy to put into winemaking and grape growing.

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In the Estate Vineyard with Lynn Penner-Ash

In-line with the theme of obsession that we’ve taken with these Oregon posts, Lynn has demonstrated her obsession with wine as a cause of life through the role she’s played in the region. Spend a few hours with her at Penner-Ash and you get a good sense of how Oregon wine has become what it is today. When we arrived, we took a quick walk through a few rows of the Estate vines, which were just beginning verasion. She discussed in great detail the estate vineyard that they had spent many years cultivating, as well as other vineyards from which they source, the various experiences each were having during the current growing season, and what she expected out of each for teh vintage. The amount of diversity in the geographic distribution and site variances is significant, and understanding them to Lynn’s level takes real work – the kind of work done by someone who was involved in raising the vines and learning the geography, soils and weather. If I were a young Willamette Valley winemaker, I’d run to her my first unusual vintage to get advice and perspective.

While her wines are more voluptuous and rich than most we had on this trip, and not exactly on-trend with the minimal oak, high acid movement, no one can squabble with the quality, depth and complexity of her wines, nor should they. Her wines are as elegant as any, and deliver serious Oregon terroir. They pack that Oregon elegance into multiple layers, and hit every taste bud along the way. Penner-Ash has a style that is polished, grand and substantive. In order to achieve this profile, Lynn makes specific use of cellar tools like yeast and oak adjusted for each vineyard and vintage.

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We tasted eight wines, and I’m going to focus on four. The first is the 2017 viognier, which has set my standard for domestic viognier since I first tried it a few years ago. Viognier should be have a lush sensation, but too often it’s produced to the point of opulence, which is a mistake as the variety easily slides into flabby territory if not restrained before it enters that zone. Viognier can have trouble putting on enough acid to be interesting, even under the attentive watch of the winemaker. This makes the winemaker’s role a necessary but insufficient part of achieving nice acid. What has made Penner-Ash’s viognier the standard for me is that Lynn gets the right level of acid and body restraint, and finds a nice balance, every year. The 2017 is full-bodied, ripe and lush to the extent that it hits an unusual level of elegance for the variety. The acid is sharp, clean and maintains an engaging tension from first taste to finish. The flavors are tropical and spicy. I always look forward to a bottle of Penner-Ash viognier.

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The 2016 Élevée Vineyard pinot noir from the Dundee Hills offers a powerful level of prettiness. Coming from an area in the Willamette Valley that Lynn calls the “banana belt,” there is substantial depth of red fruit, especially Acai and pomegranate, to go with tobacco and violets. The tannins are very fine. Lynn dials back the extraction on fruit from this vineyard in order to prevent too much bitterness from the seeds getting into the wine, and uses extended cold soaks in draw out longer, smoother tannins to ensure the winery’s signature richness. It works quite well.

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The Estate Vineyard pinot from 2016 is elegant and develops impressively pure fruit and earth: plum, cherry, strawberry, Acai and a dirty minerality quality that evokes wet dirt from a minerally-diverse quarry. It’s a thoughtful wine I’ve had several times, always hoping that I’d be able to try it again with ten years of age on it.

Finally, the show stopper for me: the 2015 Zena Crown pinot noir. Using fruit from her exclusive contract on block 8 of the esteemed Zena Crown vineyard, it’s a downright impressive and captivating wine: meaty on the nose, juicy on the palate and fun and serious at the same time. The diversity of flavors and aromas include graphite, salt and pepper, iron, baking spice, mint and a cornucopia of red and black fruit that are silky in their sweetness. It has a decadence to it, however the retained acid prevents it from actually becoming sappy or heavy. What a wine.

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Penner-Ash delivers a sort of “now THAT is a wine” experience. They’re not hip in the sense of being part of this show-me-something-different moment I think the wine industry is having (think orange wine, pet nat, canned wine, minimal intervention, etc. – all things I geek out exploring), but they’re as good or better than any wine being created to fulfill some aspiration of new uniqueness that I’ve had. While it’s fun to geek out on and taste the theories and practices of this something-different movement, the industry doesn’t exist without consistently good wine, and it is the Penner-Ash’s of the world, not the something-different movement, that supplies it. Not all of Penner-Ash’s wines that I’ve tried are ones I’m excited in having again, but all deliver quality at high levels. The the viognier and Zena Crown in particular are best-in-show type wines, and the Willamette Valley pinot blend is one I’m always happy to order a restaurant or pick up to share with family and friends. If I ever get access to an Estate Vineyard pinot with some age on it, I’m running towards it. If you don’t believe me, or want to verify, I doubt you’ll be disappointed if you track these wines down.

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The second half of our day was spent at Trisaetum, a producer of pinot, chardonnay, riesling, a line of five sparkling wines, and a Bordeaux-style blend using fruit from Washington State’s Walla Walla AVA. The first thing that must be said about a visit to the winery is the property, which is idyllic. Located in the Ribbon Ridge AVA, the winery is surrounded by its Ribbon Ridge Estate vineyard that is draped over rolling hills. The manicured and developed parts of property are beautifully done, with a tasting room that develops intrigue on entry and the winery built the way a winemaker would want it to be designed. The public spaces are adorned by the artwork of owner and winemaker James Frey. This isn’t an art blog, and I’m not remotely close to an art commentator, but I feel confident in say that James’ work is not that of a self-indulgent individual who can only display his art because he owns the building.

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Trisaetum’s Wichmann Estate Vineyard in the Dundee Hills AVA

In addition to the estate vineyard, Trisaetum sources from two other vineyards: Wichmann Dundee Estate and Coast Range Estate. Each is in a different AVA. The Ribbon Ridge Estate vineyard is located in Oregon’s smallest AVA (Ribbon Ridge) and has Drury volcanic soils that are roughly 15 million years old. The Wichmann Estate soils are also roughly 15 million years old, but are of the Jory volcanic variety. The Coast Range Estate vineyard is in the Yamhill-Carlton AVA with marine sedimentary and basalt soils that are, by comparison to the others, dinosaurs at 40 million years old.

While there is considerable focus on terrior, there is an intention in making sure that the winemaking is the same for each wine regardless of vineyard. To get an understanding of how they do it, here are a few notes. First, no sulfur is added to the wine until malolactic fermentation (essentially this means minimal sulfur additions to the wine, which keeps the grapes and juice exposed, unprotected, to the elements for a relatively long period of time, allowing those elements to influence the wine). There are no cold soaks done, either. And press cycles (grape pressings – how long, with how much pressure and how many times the grapes are pressed) are very specific (you’d think this were the case everywhere, but it’s not – and further, pressing decisions can impact the wine dramatically).All wine is fermented with native yeast, and no enzymes are used to feed the yeast. More pour overs than punch downs, which means more oxygenation. The point here is that things are done with great purpose, but also that they’re done the same to fruit from every vineyard so that there are no differences in the winemaking, only differences in the site selection.

The combination of varied vineyards uniform winemaking is the sources of this winery’s obsession: same grapes, different terroirs and same winemaking, so let’s try the difference. And that’s what we did. They poured three flights of three wines: dry riesling, semi-dry riesling and pinot noir. Each flight featured a wine from each of the vineyards.

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We began with the pinot flight, all from the 2016 vintage. To give one a sense of the diversity in Willamette Valley terroirs, the picking dates of the three vineyards can stretch as much as a month between the coolest site (Coast) and the warmest (Ribbon Ridge). This was quite evident as the most rustic and delicate wine was the Coast, the most voluptuous the Ribbon Ridge and the most moderate the Dundee Hills.

I found the Coast most to my liking as I appreciated the doses of iron and spice and the slightly rustic edge. The Ribbon Ridge was a significantly bigger wine with more fruit, darker fruit and less earth. The tannin was significantly denser and grittier as well. Dundee Hills had the savory and gamey flavors and mouthfeel of a syrah in the body of a pinot. The tannic structure in each of them is very fine and precise, and regardless of size relative to each other, they all offer a leaner, fleshier style that I’d call more Alsatian than Burgundian. Oregon flavors, Alsatian structure.

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The three dry rieslings with their corresponding soils

It was then on to the dry 2017 rieslings. All go through malolactic fermentation to temper and soften the acid. The results are balanced rieslings approachable in their youth. Still, acid heads may want to look elsewhere for their fix.

The mellowest of the three is the Wichmann Estate, which I could see offering the widest appeal. Lemon and vanilla curds, baking spice and some bitter herb feature among the fleshy acid. The Coast Range bottling has a very soft touch with fleshy and juicy acid that offers some melon-balling, peach-popping flavors that get just a bit steely on the finish. My favorite was the Ribbon Ridge, which is the leanest of the batch with focused citrus and stone minerality, though mango and pepper seep through. I’d put a bet on it being the most age worthy of the three.

The final trio was the 2017 medium-dry rieslings, all in the low 30s of grams of sugar per liter. Unlike the two previous flights, it was difficult to find a favorite. I found the medium-dries to be the most balanced, complex and impressive wines of our visit. The Coast boasted semi-sweet tropics, candied lemon and orange and marzipan, with a streak of acid that digs in the longer you hold the wine in your mouth. The Ribbon Ridge was fatter and rounder with more concentrated flavors of pineapple, honeysuckle, star fruit and broad stone fruit. My favorite was the Wichmann Estate with its green apple, cantaloupe, spicy white pepper, yellow peach and Jackfruit.

Trisaetum’s method of a single winemaking approach applied to three different vineyards in three different AVAs makes tasting the wines in this format especially interesting. I was told that many customers have their favorite vineyards, and tend to prefer that vineyard regardless of the wine made from it. I had the opposite experience. Three different varieties and vineyard combination preferences: Coastal pinot, Ribbon Ridge dry riesling and Wichmann medium-dry riesling (the latter being my favorite of the entire tasting, and a wine I could easily see as a table staple in our house). Tasting wines this way does help one understand the impact of sites and soils, and is something I recommend people seek out.

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The blanc de blancs from the Pashey sparkling wine program laying in rest in the cellar

Tasting at Penner-Ash and Trisaetum in the same day is a great way to ensure one gets a legitimate variety of Willamette Valley wines over the course of a few hours while minimizing the impact of palate fatigue. It is often challenging for me to maintain my focus when tasting so many wines in a short amount of time, especially when so many are of the same variety (pinot noir in the case of the Willamette Valley). In the lead up to Trisaetum, where I knew we’d be trying predominately riesling, our trip had been filled with mostly pinot noir, and I was craving white wine. This is all to say, Willamette Valley trips can be daunting from the perspective of SO MUCH PINOT (and a fair amount of chardonnay), so do seriously consider a visit to a significant riesling producer like Trisaetum (or Brooks or Chehalem a handful of others) if you make the trip in order to add those important spices of life that are variety and acid to your experience.

With that last point made, part four will feature WillaKenzie, Gran Moraine and Zena Crown and a heavy emphasis on pinot noir with some chardonnay thrown in.

A Taste of Alto Adige/Südtirol

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The cellar at Castel Sallegg

I have to admit, my knowledge of Alto Adige/Südtirol, a wine region in Northern Italy, was very limited prior to the research I did before writing this. That research began with the Wikipedia page of Trentino-Alto Adige/Südtirol, which does a decent job of running the reader through its history, which is not that easy to follow because of its location that put it in the middle of many power battles.

In short, previous rulers included the Romans; a combination of Germanic tribes, Alamannic Vinschgua and Bavairians; Charlemagne/Kingdom of Italy; Holy Roman Emperors’ “prince-bishops”; House of Habsburg; Austria; France under Napoleon quasi on behalf of the Austrians and Italians; Austro-Hungary; Nazis; Italy; and now semi-autonomous rule under Italy that the native Germans and Austrians don’t entirely like.

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An illustration of the current sensitivity can be seen on the region’s wine industry website, which labels itself with both the German and Italian languages in the same logo (Südtirol Wein/Vini Alto Adige – the respective names of the region and spellings of “wine”). To quote directly from vinepair.com’s page on the region:

“Most residents speak both Italian and German and two-thirds are native German speakers, hence the reason why the region is Alto Adige – Südtirol. Many wineries have names in both languages for the Cantina (Italian) or Kellerei (German), and wine labels could include a grape variety’s name in either language, such as Pinot Grigio or Grauburgunder. But despite its history of change, archaeological evidence places Alto Adige – Südtirol among the oldest winegrowing regions in Europe, dating back to the 5th century B.C.”

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Picture credit: Merles’ World

The region is quite mountainous as it plays home to sections of the Alps and Dolomites, which protect the vines from cold winds and rains, giving them roughly 300 days per year of sun. The warms days and cool nights (vines are planted at considerable elevation) help the grapes reach full maturity while preserving acid levels, a phenomenon well-evidenced in the wine reviewed for this post. Its fertile valleys make for great agricultural production and logging, while its lakes and rivers are harnessed to produce a good deal of electricity. Recently, tourism has become a major driver of the local economy as well.

Wine-wise, Alto Adige-Südtirol is best known for pinot grigio. There are six common varieties in addition to PG. For this post, I was able to taste three of them: gewürztraminer, langerin and schiava, the latter two reds. While PG is the most grown white (gewürzt is third on that list), schiava and lagerin are the two most planted reds.

Traditionally, gewürztraminer from the region is produced with a touch of residual sugar. Schiava and lagerin make very different wines. Gamay lovers may gravitate towards the former, while zinfandel lovers are more likely to appreciate the latter. All, I would argue, are good food wines due to their high acid. The three wines below were received as samples and tasted sighted. It was a delight to give them a try, and if you’re looking for a taste of the region, all offer good values.

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The 2017 gewurztraminer from Nals Margreid offers very honeyed and tropical aromas of honeysuckle, cantaloupe, honeydew, pineapple, vanilla custard and just a hint of chili flake kick. It’s full bodied and lush, though the mineral-driven acid provides nice cut. The flavors are quite saturated, and feature a profile similar, if not drier, to the nose: mint, cantaloupe, pineapple, Granny Smith apple, vanilla custard and slightly bitter greens. This wells its 5.2 grams/liter of residual sugar with class. I’m a fan. 89 points. Value: B+.

The 2017 Castel Sallegg Lagrein Südtirol Alto Adige has a very saturated nose featuring crushed cherry, blackberry and boysenberry at the forefront. Underneath this hedonistic trio is sweet tobacco leaf and vanilla. Full bodied, the tannin and acid are each lean and mean. This one is driven by a rustic texture reminiscent of tannat. A bit dominated by under ripe red and black fruit (think plum, cassis, strawberry and cherry), it has nice touches of underbrush, baking spice and cigar. A wine to chew on, and one that benefits from several hours in a decanter. 88 points. Value: C+.

Finally, the 2017 St. Pauls Missianer Schiava Südtriol Alto Adige has a stewed cherry-rich nose with additional aromas of macerated strawberry, lavender, flower petal, cinnamon and toasted marshmallow. It’s medium bodied with bright, juicy acidity that’s well-integrated with a fine tannin profile to create a very smooth and easy mouth feel. The flavors are more powerful than the feel suggests, however, and begin with pretty florals and rose water and transitions to red-tinged fruit and slightly dirty soil and smoke. A seriously tasty that offers a lot for such an accessible wine. 90 points. Value: A.