Try this Wine: Amazing Spring Whites

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Where to buy

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

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

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

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

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

Loveblock Is New New Zealand Wine

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A Loveblock sauvignon blanc vineyard. Credit: loveblock.com

Though I would be surprised if Erica and Kim Crawford were not sick of hearing about their old winery, Kim Crawford Wines, I need to mention it in this discussion. Kim Crawford the wine label put New Zealand on the world wine map with its lean and green sauvignon blanc in a way that has transformed an entire country’s industry like no other wine has transformed a country’s industry in the world (source: me).

That’s a bold statement, I know, but consider these two facts: 86% of New Zealand’s global wine exports are sauvignon blanc, while 95% of what they send to the United States is sauvignon blanc. When people think “wine” and “New Zealand,” they think sauvignon blanc. And then almost immediately they probably think Kim Crawford, which, as the largest selling New Zealand sauvignon blanc in America, is the country’s the most ubiquitous.

Erica and Kim no longer own Kim Crawford, nor do they have any role in its operations, so it’s understandable if they’ve grown tired of talking or hearing about it. But the success of the label is their own doing, so I imagine they’ve learned to deal, if for no other reason than it gave them the resources necessary to start a new winery called Loveblock, which, while an endeavor to make money, is at its soul a passion project.

“Loveblock is completely different [from Kim Crawford], it’s a philosophical thing,” Erica explained to me over breakfast in Washington, DC. Reflecting back on their Kim Crawford experience, it was clear that Erica and Kim wanted to do things differently with Loveblock. The first main difference: they now follow organic farming practices and treat the land with much greater care and deference.

“New Zealand grows things. We grow grass to feed the cows to make milk for the world. It’s an agrarian economy, but I firmly believe that what we do to the soil is not good, it is not right. I did a deep dive into what we do with the soil, and it was actually devastating.”

With viniculture more attuned to nature, it is then “about doing what we want to do, drinking the wine while we’re making it, and making wine in the style we want to drink.” What is that style? When it comes to sauvignon blanc, it is “moving away from the bell pepper and getting to the peach and passion fruit.” Meaning, they’re moving on from Kim Crawford Wines sauvignon blanc.

Erica noted that “the world has been drinking New Zealand sauvignon blanc now for twenty years and there are people who want something different from the big lean style. It’s not everybody’s cup of tea.” Though “both styles are still growing” from a market perspective, “there’s lots of room for an evolution of style, that’s for sure.” That said, “at some point people will tire of [the lean style], which is why it’s really important that we work on an evolution of style.”

Loveblock and Kim Crawford are indeed dramatically different wines. My wife, Kayce, who does a spectacular job with the pictures on this website and Good Vitis’ social media, is not a sauvignon blanc lover. In general, it’s too bitter for her. But when we tried the Loveblock sauvignon blanc, not only did she finish a full glass, but she asked for a second.

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The Loveblock style of sauvignon blanc is rounder, more tropical and complex. My tasting note on the wine describes an expressive, jovial and entertaining wine with more intrigue than the typical New Zealand profile tends to inspire in me:

The aromas leap from the glass, wafting notes of bright lemon and lime citrus, slate and chalk minerality, pear peel, white pepper and faint tarragon. Relatively full-bodied for the variety, it bucks NZ sauv blanc stereotypes with its mouth-filling lushness and juicy, rather than lean, acid that balances nicely with just the lightest touch of sweetness. The texture and structure are gorgeous. The flavors offer substantial depth, featuring lemon, lime, peach and mandarin citrus to go with subtle vanilla, hay, pepper, crushed gravel and mango. An impressive effort. 91 points, value: A.

Beyond the differences in farming practice, in order to achieve this profile, the Crawfords do two things differently from their former approach. First, they manage the canopy quite differently. Canopy refers to the leaves of the vine, and is important for a number of reasons. Notably, they help regulate grape temperature and sun exposure and use up some of the nutrients extracted by the vines from the soil in order to grow themselves. Removing leaves, a process called “leafing,” increases the sun exposure and temperature of the grapes and allows more of the nutrients to flow into the grapes. Most notably in the Loveblock case, they leaf because following organic protocol means feeding the vines less nitrogen, and the grapes therefore need a higher level of sun exposure in order to stave off high levels of something called pyrazine, which is an acidic organic compound that develops in the skins. Pyrazines give wine a bitter taste, and whereas they are purposefully developed to create that famous New Zealand lean style, they are something Loveblock looks to avoid at high levels.

The second difference in approach has to do with oxygen exposure in the winery. By exposing the wine to more oxygen, it develops the tropical fruit flavors that the Crawfords are seeking in the Loveblock profile that they avoided with Kim Crawford. They also use a small amount in oak (around 10%) and let the wine go through full malolactic fermentation, techniques not used at Kim Crawford either.

“I don’t see Loveblock competing against Kim Crawford,” Erica said. “They’re completely different styles and price points, and they are sold in different places. Loveblock is within the trade, at smaller speciality stores. Kim Crawford is at the big chains and groceries.” The differences are night and day.

Sauvignon blanc isn’t the Crawford’s only passion, nor is it the only wine they make. Their initial offerings send to the US include a pinot gris and pinot noir, both of which are on par with the quality and innovative style of the sauvignon blanc. A theme consistent among the three is just how expressive the wines are. From the moment the cap is unscrewed, the wine leaps out of the glass aromatically and dances on the palate.

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The pinot gris has a very expressive, fresh nose featuring beautiful flower petals, various melons, stone fruits and just a bit of soap. On the palate it’s a crispy medium weight with bright acid and serious structure. The flavors are almost a direct match of the nose, but differ a bit of toasted marshmallow and custard that add depth. It finishes with big hits of white pepper and stone minerality, the latter of which adds some palate grip. 88 points, value B+.

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The pinot noir may actually be my favorite of the three because of just how good a value it is, and how well it balances new and old world styles. The nose is an interesting juxtaposition of fruit and funk, offering ripe cherry, cranberry and tutti fruiti on one hand, and wet asphalt, fungal underbrush and barnyard on the other (unlikely to be Brett-induced). It smells more strongly of funk than it tastes, but there is a slight indication of it on the palate as well. I happen to like how this wine wears that profile. In the mouth, it is medium bodied with bright acidity and fine, densely grained tannin. Flavors touch on a cornucopia of fresh and bright red plum, muddled red cherry, cranberry sauce, mild baking spice, wet fungal dirt and moist cedar. The finish remains very juicy. A nice, earthy pinot noir with an interesting profile and great value. 91 points, value A+.

Much more varieties of wine are listed on their website, including some like an orange sauvignon blanc that suggest future experimentation over the years. When I say “over the years,” Erica stressed that Loveblock “is an intergenerational project. We’re playing the long game.” Their son, who is 25, is a qualified winemaker and currently “doing his vintages around the world,” after which he intends to land at Loveblock.

The project is also going to be entirely estate for the foreseeable future, and beyond. “Present plantings produce about 65,000 cases,” Erica told me, adding that “there’s a long way to go in terms of expanding because there’s a lot of space left to plant. This will allow us to remain estate as our production increases.” Further, “estate is important because it allows us to control the viniculture and winemaking from end to end.”

The sense I get from talking with Erica and trying the initial Loveblock lineup of wine is that we should plan to see Loveblock around for a long time, to expect the already good wine to get better, and, most excitingly, to view Loveblock as it evolves as an early indicator of where the New Zealand wine industry is going.

Erica and Kim have established their credibility in that latter regard with their trend-setting Kim Crawford Wines, and though they have to build the reputation of a new label from scratch, their skills, experience, vision and global connections will surely allow them to scale Loveblock a bit quicker than most could with a new label. These initial three wines are all good, with the sauvignon blanc and pinot noir particularly compelling wines. I’m excited for future vintages and the new varieties as they arrive in America. More than that, though, it’s a compelling project in terms of its goal to get ahead of the curve, find a new style for New Zealand and continue the evolution of one of the world’s great and under-appreciated wine regions. Loveblock will be an interesting winery to follow.

On The Cork Report: How Two MD Wineries Use Education to Attract Customers

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Featuring Old Westminster and Catoctin Breeze wineries, this piece is published in full on The Cork Report.

 

Winery tourism is a big deal for the Mid-Atlantic wine industry because these states’ wineries rely on the direct-to-consumer (DTC) business model to stay financially afloat, meaning they sell out of their front door. Customers – a.k.a. tourists and visitors – must come to them. Ask any winery in the Mid-Atlantic how important “DTC sales,” which encompasses tasting room and wine club sales, is to their financial success and the answer is likely to range from “extremely” to “existentially.”

The reasons for this are myriad, but most importantly for my point: demand for (most) Mid-Atlantic wine does not result in prices and volumes high enough to retain sufficiently profitability after the cost of distribution to retailers and/or restaurants is taken into account.

DTC success hinges on close relationships with customers as it requires the customer to expend a good amount of effort to visit the winery repeatedly, and give the winery a good amount of trust to sign up for a wine club in which they may not get to choose which wines they automatically pay for and receive.

Time and trust are not things that we humans part with easily or flippantly. Continue reading on The Cork Report.

Clarice Wine Company: The Next Evolution in How We Wine

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All bottle shots were taken in the Octagon suite of the historic 1804 Inn at Barboursville Winery in Virginia

 

“The way we are selling wine in this country is failing.” That’s how Adam Lee started the interview. For a guy who makes a lot of wine – he is the winemaker of four distinctly different projects – he would have some ideas about the state of the wine industry, and he should care.

We’re on the phone to discuss Clarice Wine Company, a new project for a guy who has been making pinot noir, primarily in California, for over two decades. Adam and I first met when he joined a potluck that my now wife and I hosted, and we’ve stayed in touch. A number months ago he sent me samples of the three pinot noirs made under his new Clarice label, which are demonstrably different from the pinots made under the Siduri label, a well-known winery he and his wife, Diana Novy, opened in 1994, and where he still makes the wine despite selling it to Jackson Family Wines.

The two companies, Clarice and Siduri, are demonstrably and fascinatingly different in business model as well. While Siduri is a more traditional winery (direct to customer, wine club and retail sales with international distribution), Clarice is unique – and I mean that in the definitional sense of the word: one of a kind.

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Clarice H. Phears, Adam’s grandmother and namesake of Clarice Wine Company, whom he describes as “one of my closest friends growing up.”

The winery offers three wines that are only available to its club members, and sold once per year in a single case shipment comprised of four bottles each of the three wines. Despite the wine being very good, being a Clarice customer is about much more than the juice. The membership includes a number of unusual benefits all designed to achieve a goal Adam believes is critical to building a bigger and more profitable wine market in the United States: creating a robust combination of customer education and genuine relationship formation.

First, membership includes exclusive written content commissioned by Adam for his members. Adam solicits written pieces from experts in the wine industry and has a forum set up for members to interact with the authors and among themselves. “My members develop an interest in the complexities of the wine business as well [as the wine itself],” Adam told me. “For example, I had one guest blog post about winery financing from the Silicon Valley Bank, and there was a lot of back and forth between the members and the author [over our online forum]. I thought it might be a dry subject, but it wasn’t for the members. It solicited more responses [than many other more mainstream topics].” He also takes requests from members. For example, although he doesn’t make chardonnay, several members expressed interest in knowing more about how chardonnay was made, and so he asked Donald Patz of Patz and Hall fame to write about it.

Second, members have a private forum in which they can discuss anything they want among themselves. This feature of the membership feeds Adam’s desire for his customers to interact with each other – not just with Clarice. In addition to wine and the guest writer content, members have taken to discussing travel and other tips. “The members are crowd sourcing information,” Adam said. “I didn’t appreciate the power of the forum when I first put this thing together. People are getting better experiences when they travel to wine regions, even when it’s not related to Clarice, because of the forum.”

Third, there are parties: the Clarice wine release party and parties hosted at another wineries. This component of the membership is designed to help members expand their palates beyond Clarice with the added bonus of helping to create a sense of community among the members.

When asked about how he picks the wineries he approaches to host his members, he said that “it’s really about finding someone who is doing something interesting and educational. I don’t want anyone who will give a big sales pitch,” so it’s about finding people he knows who will provide an educational experience and extend deals to the members and really engage them.

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“I’ve always felt that when people are in the tasting room, if they leave with a bottle or case then that’s fine, but if they ask interesting questions and are engaged and really want to know what I’m doing, that’s the kind of experience I want my members to have. The [other winemakers and wineries] I select for my members feel the same about their interactions with Clarice members, and want to generate real interest.” Adam plans to add events outside California for members who aren’t local to the Golden State.

Finally, Adam negotiates discounts for his members with other wineries beyond these events. “It’s important that my members explore wines beyond those that I and my friends make,” Adam told me. “My wine universe is too small for anyone to have a well-rounded experience,” which any follower of his social media should find surprising.

Knowing the basic parameters of these benefits going into the interview, which are more expansive than any winery membership I’ve come across, I had to ask him why he was making such an investment in his members, especially when he’s capped it at roughly 625 slots (the cap is actually lower than that because he needs to base it on the worst case production scenario of a poor growing season). The answer comes down to how the wine industry is changing, and Adam’s love for the human element of the business.

“We had a period of time where tasting rooms – through the cellar door – was the primary way [that we sold wine in California], back in the 1970s. That was it,” he continued. “Then we moved into a time when wine critics really took over with [Robert] Parker, [Wine] Spectator and the like. Now I think the period of wine critics truly driving sales, though they’re not unimportant, has ended.”

When I began Good Vitis in October, 2017, I firmly believed that the handful of people in the industry who might came across the blog would dismiss it with no afterthought, because who cares about what yet-another-hobbyist thinks about wine, right? They weren’t going to hang a 93 point Good Vitis wine review around their wine on the store shelf, so what use was I to them? I couldn’t have been more wrong in my presumption that my opinions were what concerned them. Adam can explain:

“And [the point about critics driving sales] is not just wine. If you think about it, Siskel and Ebert use to drive movie viewership as well. And now we go to a model where it’s much more group recommendation [e.g. Rotten Tomatoes, online forums, social media, blogs and word-of-mouth], that type of thing. It’s been true with wine as well. I don’t think a 94 or 95 point rating all of a sudden means you sell out anymore. So people have gone back to more direct sales, but the problem is that the number of tasting rooms is so ubiquitous that people get lost.” Good Vitis, Adam is essentially saying, is part of the crowd that is being sourced these days.

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These observations get to the heart of Clarice Wine Company. “I think we need to come up with some new models to attract people to wine,” he told me. “We underestimate the importance of personal relationships that are developed around wineries. I never purchased software because I liked Bill Gates better than Steve Jobs, but with wineries you need to have that level of personal interaction to establish that personal connection that drives customers’ purchasing choices,” he said. I take his point that personalities (and likely world views) like those of Steve Jobs do tend to draw followers. To Adam’s credit, he has a personality that I have no doubt draws fans.

The cost to join Clarice is a very specific number: $962.92. I had to ask about this. The $2.92 comes from the portion that is taxable, which is the case of wine. The membership benefits themselves are not taxable because they provide legitimate benefits to the members. With another nod to his customers, Adam figured out what was the lowest reasonable amount he could charge for the wine so as to minimize the tax burden.

The bottles and labels themselves received serious design consideration and effort as well. The labels are beautifully designed and executed (despite Adam’s color blindness), and are true pieces of art. And the bottles bear a Chateauneuf de Pape -inspired custom cartouche. Both myself and my wife thoroughly enjoyed the ascetics of the Clarice Wine Company labels and bottles, Kayce because she photographs the bottles written about on Good Vitis and because she has a keen eye for visual design, and me because Adam and I share a love of Chateauneuf de Pape.

The juice inside the bottles are the best I’ve had from Adam. They are more structurally dense and layered than those in the Siduri line up. I wanted to know if this was a stylistic choice. “I wanted to pick earlier for Clarice than Siduri because, while I love Siduri wines, I wanted Clarice to be really age worthy,” he said in response to my observation. “I do more whole cluster – in the 54% to 58% range – as well. And I don’t pick at specific brix or pH levels.” Age-worthy wines require significant more structure and balance than other wines, meaning volumes of tannin, acid and alcohol in the right relations to  each other. Picking grapes earlier sets a winemaker up to make age-worthy wine by securing higher acid and tannin and minimizing sugar, which has an inverse relation to the final alcohol level.

At this juncture, I interrupted to ask how he thought the 2017 Clarices I tasted would age. “So far, my experience with this vintage, I drink them over 72 hours and they evolve nicely over that time.” This was ironic because I had decided to sample them over a 3-day window as well after having the first sip of each. The density on them is incredible, and it is immediately clear that they have a lot of stuffing to unpack, which only extended aging will do. Extended decanting helps dramatically in the short term, but isn’t a full substitute for cellaring when it comes to wines this complex.

“I felt good with the materials [grapes] and fermentation. I had native [primary] fermentation, native malolactic fermentation [a.k.a. secondary fermentation] and I did all hand punch downs. Three times per day during a five-day cold soak, then I dropped it down to twice per day during fermentation, then to once per day after that.” These efforts extract long-chain tannins from the skins, which are the softest and most pleasing of wine tannin types, and they are evident in the wine as the tannin structure is both substantive and elegant, which is a great sign for how these wines can improve over time.

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Another element that contributes to tannin development is oak. Going over the three bottles, Adam explained that “the Santa Lucia pinot has the least amount of new oak, about 30%. Gary’s Vineyard is in the sixties and Rosella’s is 83% new. All of it is French where I source barrels from two cooperages. This gives me two distinctly different styles. I have one that comes in with very light toasting and one that’s more heavily toasted. Both are air dried for three years.”

He explained that “although Gary’s and Rosella’s are both single vineyard wines, I still do a lot of barrel blending trials on them as well as the Santa Lucia, which is an appellation blend. After tasting barrels the first time, I put some blends together and wait a few weeks to see how they coalesce in oak. Then I taste and re-blend, wait a couple of months, and do it a final time.” Obsessive? Maybe a little, but the benefits are evident in the bottle.

The Gary and Rosella vineyards are well-known to Adam. He has an incredible list of vineyards that he sources from for Siduri, and I imagine narrowing down the list down for Clarice was challenging. “I have amazing relationships with the families that own the vineyards I use for Clarice.” Adam performed the wedding ceremony for a member of one of the families, and chaperoned a 21st birthday for another. “They were the first to understand what I wanted to do with the vineyards.”

What he wanted to do began with paying by the acre, not the tonnage, because he is all about dropping fruit when needed in order to ensure the fruit he gets is the best it can be. “Dropping fruit” means cutting grape clusters off the vine during the growing season so the remaining fruit can absorb more of the nutrients and become more concentrated and flavorful. Further, it increase the ratio of skins to juice, which makes for higher tannin levels.

A vineyard manager is unlikely to drop fruit under their own volition. If a vineyard sells its fruit by weight, rather than the acre, the incentive is to grow lots of big grapes so they have more weight to sell, and therefore make more money. Think of the typical grocery store grape, which we pay for by weight. The grapes are large with loads of juice – meaning, very heavy.

But large grapes are not those that Adam wants because relatively to smaller grapes they’re flavorless and lack good tannin. In order to ensure he gets what he wants – and we get his best wine – Adam pays by the acre, which gives him control over how much fruit he brings in. It’s more expensive for Adam this way because the vineyards calculate acreage rates based on what they would make if selling by the ton, but he doesn’t get the production that a winery buying by the ton would.

“2017 was a good example” of why he purchases by the acre, Adam said. “It was the first year we emerged from a long drought, and I was concerned that the vines, after finally getting a good drink, would get vigorous and put out tons of fruit. My vineyard families understood this, and agreed to drop fruit.” The concentration and depth of flavors in these wines show why the decision to drop fruit was the right one.

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The author, left, with Adam, right.

As I’ve eluted to, the three 2017 Clarice wines are very, very good. I’ve posted my notes and ratings below. It’s incredibly difficult to find pinot noir this good. The cost to acquire a case may seem high, especially if you don’t live near or travel frequently to California wine country and cannot take advantage of the in-person benefits. But, the $80.24 per bottle is entirely justified by the quality. Add, then, the benefits if you can take advantage of them and Adam is offering a deal. Adam’s personal investment and the time he takes to not only make exceptional wine for his customers, but to engage them in new and innovative waves, makes Clarice an intriguing prospect: it is an investment not just in good wine, but in your own education and enjoyment as well.

2017 Gary’s Vineyard – Very pretty nose.: boysenberry, blueberry, dark plum, blue raspberry, nutmeg and unsweetened cinnamon aromas. Medium bodied with juicy and tart acidity paired with slightly gritty tannin that coats the mouth. With further integration, the balance will be on-point as the wine grows into its significant density. The flavor profile has a slightly dirty edge. The core is features blackberry, black plum, muddled strawberry, blood orange zest and purple flower petals. This is doing well at the moment, and I foresee a nice, but subtle, evolution over the next five-ten years. 94 points.

2017 Santa Lucia Highlands – The nose is young and seems almost impenetrable. The first aroma I get reminds me of the smell that comes from a freshly opened bag of grape-flavored fruit snacks. Beneath that lies graphite or wet soil (I can’t be sure which) and mountain strawberry. The palate is young as well, though slightly more developed. Dense, it offers slightly less sharp acid than the Gary’s, but with more tannin structure it results in what feels like a more settled wine at the moment. Flavor-wise, we’re talking vibrant strawberry, raspberry and red plum in the fruit category, which is enhanced by rose, lavender and wet soil. I think this one merits 3-5 years in the cellar. 94 points.

2017 Rosella’s Vineyard – The bright nose boasts high-toned, nose-tickling blood orange, raspberry, strawberry, underbrush and lilac. The palate is the most delicate of the trio, but still carries what seems to be the signature density of this label. The tannins in the Rosella are the most seamless and integrated of the three wines, as well as the most persistent. Their lineation carries the flavors for a very long time, which gives you ample moments to enjoy the red and black plums, mature strawberry, rose petal, wet forest floor and well-established dark raspberry. This may be the most layered of the three Clarice wines, and one that will mature with grace over at least a decade. 95 points.

Value note: All three warrant an A value rating. Even if a customer did not avail themselves of the benefit, these come out to roughly $80/bottle. As explained earlier in the article, though not cheap, the quality matches the price, if not exceeding it.

Try this Wine: Make Merlot Great Again

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Credit: giphy.com

I am not drinking any fucking merlot!” That’s a line shouted by a character named Miles, played by Paul Giamatti, in the exceptional Hollywood movie Sideways, a movie which came out around the time merlot sales began to tank in America. Because merlot bashing was a persistent storyline throughout the movie, many people believe it was responsible for merlot’s commercial failings.

While the movie condemned merlot, it promoted pinot noir in a parallel storyline. “Why are you so into pinot? It’s like a thing with you,” Miles’ love interest asked him mid-movie. He responded with a long, thoughtful answer that ends with “it’s flavors are the most haunting and brilliant, thrilling and subtle…” Sideways also came out around the time that pinot noir sales began to sky rocket.

“Merlot sales had nothing to do with Sideways,” winemaker Chris Carpenter told me not that long ago. Among many great wines like Lokoya and Cardinale that he makes, Chris makes some of the very best merlot. “It had everything to do with a lot of bad merlot being made at the time, and an over-investment in bad merlot vineyards by the industry in the decade or so leading up to Sideways.”

Chris and I were discussing merlot for an upcoming Good Vitis piece on the variety. The first (and only) wine I’ve made myself, from scratch, was a merlot. My mom’s go-to wine when I lived at home was merlot. And it’s a key contributor to many of my favorite red blends. Though it’s never been my favorite variety on its own, I do think that it gets an unfortunate shake these days and I wanted to understand why. Hence the upcoming piece focused on merlot.

Adam Lee, who I’ve written about in these pages before, has been producing pinot noir in California for decades, and I asked him what he thought of the Sideways theory. “I don’t buy it, but I’m not sure why,” he said. The more he thought about it, the more he saw parallels to what happened to merlot before Sideways and what happened to pinot noir after Sideways. “It’s true that a lot of bad merlot was being made in the 90s, so when Sideways came out there was a lot to hate about merlot,” he said.

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

Chris and Adam are two of many who I’m talking with for research on the merlot piece, so more on that in the future. In the lead up to that article, though, I want to suggest that people take another swing at merlot because it’s a great grape. One of the ironically hilarious nuggets of Sideways is that the pinnacle wine for Miles is Cheval Blanc, a wine from Saint Emilion in Bordeaux that is a predominantly merlot blend and among the most highly respected and sought-after wines in the world. The 2016 vintage, which retails for around $750 per bottle and received lavish praise from all the big critics, is 59.5% merlot.

The fact is that some of the most esteemed wines in the world have substantial portions of merlot in them, while many winemakers rely on merlot to make their best cabernet sauvignon. Though far more popular than merlot, cabernet sauvignon makes a less complete wine than merlot on its own. If not grown exceptionally well, cabernet feels like a donut in your mouth: substantial around the sides with a hole in the middle. Merlot fills that hole, and brings some nice flavors to the party as well. If I’m given the choice between a 100% cabernet and 100% merlot of equal caliber, I’m going with the merlot every time.

If I can motivate a few people to give merlot another try, then I’m going big with my pick: I want to suggest a bottle made by Chris Carpenter at the Mt. Brave Winery in California, which uses fruit from Mt. Veeder, a particularly great mountain site to grow red Bordeaux varieties.

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Mt. Brave’s vineyards on Mt. Veeder. Credit: Mt. Brave Wines

The 2015 Mt. Brave Merlot isn’t cheap at its $80 retail price, but it is worth it. You can find it for as low as $65 on wine-searcher.com (scroll to the bottom for some options). It is a substantial wine with layer upon layer of complexity. Give it a good two to three hours in the decanter now and it’ll sing for the following two days. This makes it contemplative wine as well, meaning that if you can nurse small pours over a long time and think about what you’re smelling and tasting throughout, then you’ll go through an intellectual exercise that demonstrates why wine can be magical: it’s a performance art just like ballet or an orchestra. It moves, it sings and it dances. Try this wine because merlot can be great, and this one is.

Tasting note:

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

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Where it buy:

You can order it winery direct here for $80. Check out wine-searcher.com for where to find it in your area, including stores that will ship to you. Below are a few shops around the country that carry it.

Fort Lauderdale, FL: Your Wine Cellars

Chicago, IL: Flickinger Wines

Greater Boston, MA: Wollaston Wine & Spirits

Wayne, NJ: Gary’s Wine & Marketplace

Bend, OR: RHC Selections

Nashville, TN: Cana Wine Company

 

 

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.