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 in comparison to 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 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.

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.

 

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.

Obsession in the Willamette Valley, Part Two

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Northwest Fresh Seafood in Newberg, Oregon, sells some great sea stuff.

Welcome to part two of Obsession in the Willamette Valley. In part one, I covered a dinner with Fausse Piste’s Jesse Skiles and a visit to Martin Woods Winery. I used it to set up the concept of obsession of wine as a life’s cause for many in the Willamette wine industry. It was advantageous to be able to go from that concept into describing my interactions with Jesse and Martin Woods’ Evan Martin because they are living examples of it. The three winemakers that we’ll discuss in this article bring their own obsessions to the party.

In part one we left off with a Tuesday morning visit to Martin Woods, where the obsession is making as Oregonian a wine as possible. While this could mean many things to many people, at Martin Woods it means using Oregonian oak to age wine and limiting manipulation in the winemaking. The result are pretty and ethereal wines. From there, we drove to Tendril Wine Cellars, a project by Tony Ryders who also does custom crush and consulting across the Valley.

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Tony has a lot winemaking experience under his belt from across the world, but he seems best known for his ten years at Oregon’s famed Domaine Serene where he was head winemaker. During those years, Tony made one of the very few American pinot blancs available on the world market. This is white wine made from red pinot noir grapes, and his obsession with it has carried through to Tendril where it was the wine he seemed most enthusiastic to share and discuss.

Before discussing the wine, I do want to point out one of the elements of the tasting that I most appreciated. It is a fallacy to say that when tasting red and white wine that the white should be served before the red. While this can be true, and often is, it is not when chardonnay and pinot noir are the flight. These are two nuanced and often times subtle wines that also happen to be high in acid, and in the battle for the palate the main offensive weapon is that acid. When the chardonnay carries the higher acid, it must be respected as the dominating wine, and be poured after the pinot. I remain surprised that even in the Willamette Valley where pinot and chardonnay are royalty, the white often precedes the red. Tony served the chardonnay and pinot blanc after the pinot noirs, and it made a positive difference.

Tendril offers two lines, the higher end Tendril wines and the more accessible, lower priced Child’s Play line that’s made for restaurant glass pours. We tasted the Child’s Play chardonnay, rose, pinot noir and zinfandel, which are forward and fresh wines, even the pinot noir which sees 9-11 months of barrel aging. The wine I’d order if I found it in a restaurant would be the zinfandel, which has a big personality and a variety of flavors and aromas that are fruity, earthy and savory. Often times zinfandel can deliver big fruit and not much else, so it’s always refreshing to find one that offers more.

The Tendril line is built to mirror a progressive meal curve, which Tony described as beginning with bright, acidic courses followed by meat and then savory stuff. We tasted his 2014 pinots – Extrovert, Mount Richmond Vineyard, Tightrope and C-Note – in that order. We followed these with the 2015 chardonnay and Pretender (pinot blanc), and finished with his 2015 cabernet sauvignon made from grapes from Washington’s Walla Walla Valley.

The first thing I’ll say is that in comparison to much of the Oregon pinot I’ve had, Tendril wines are bruisers. Words like “full bodied,” “rich” and “gritty” are apt descriptors, and this does not make them pinots for every pinot lover. While they exhibited some of the signature Oregon flavors and aromas, their physical presence is unusual for the region in my experience. They seem appropriate for lovers of bigger wines looking to build an appreciation for pinot noir.

At this stage in life, the 2014s are loud and proud, and I would be curious to see them again in ten years to witness what kind of development they go through. I’d be especially interested to see how the grippy tannins, which for me were a bit distracting, develop. The wines certainly have the right levels of acid, alcohol and flavor to develop more with time, but my question is whether there are sufficient long-change tannin complex to overtake the relatively coarse phenolic tannins that currently dominate the wine. Only time reveals that answer.

The whites offered more appeal for me. The chardonnay stays in barrel for at least sixteen months, and it shows in the nice balance it demonstrates. The acid is bright but integrated and the palate seems comfortably settled. I enjoyed the juicy, tart caramel apple note. Tony’s best wine for my taste is the pinot blanc, which he calls Pretender. The grapes are picked at full maturity, pressed gently and then aged in neutral oak. The palate is lush and smooth, and the fruit is downright tropical with quince and passion fruit, which juxtapose nicely with vanilla custard and a white peppery spice. It was one of the most memorable wines from the trip. The last wine, which made use of Washington State cabernet sauvignon, was a nice display of what that variety can achieve from that part of the world.

From Tendril it was an easy ride to meet up with Brian O’Donnell at Belle Pente Vineyard and Winery. Though this wasn’t my first visit to Willamette Valley, my time there had always seemed a bit incomplete without a trip to this historic winery, whose first vintage was in 1996. Pronounced “bell-pont,” which means “beautiful slope,” is aptly named after its 70-acre hillside upon which the estate vineyard sits (it doesn’t cover all 70 acres).

Their wines are classically-styled along the lines of Burgundy and Alsace, and strongly reflect elegance and place. The standard wine program includes muscat, pinot gris, riesling, gewurztraimer, chardonnay, gamay and pinot noir.

Perched on the side of a large valley, the property is lovely. The winery isn’t open to the public beyond two weekends per year and through appointments. As one might say in the collateral of one of those sustainable, farm-to-table, organic, biodynamic, dolphin-friendly type-places, Belle Pente has a “working farm” feel. This allows the tastings to occur where the wine is made, which in my experience draws the visitor closer into the glass, and gives them a particularly intimate experience. We tasted outside, using a few wine barrels turned on their end for tables, next to some of the winery equipment with a nice view of the estate vineyard and basketball court.

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Brain, who with his wife owns the winery, is the winemaker. He first made wine, as the website intimates, in the 6th grade. This experiment led to a “20 year retirement” before resurrecting his talents in his garage in San Jose. This eventually inspired a full-on career change and a move from Silicon Valley to Oregon. Brian is active in the industry as well, serving as the president of the Yamhill-Carlton Winegrowers after having been on the board of the Willamette Valley Wineries Association for a few years. With over 25 years of Willamette Valley experience, he’s a widely respected winemaker, strong and active advocate for Oregon wine and all-around good guy.

If you’ll indulge me in a bit of a thought experiment, scientists have studied the phenomenon of dogs that look like their owners, and vice versa, and a good number have found surprisingly high correlations – up to 80% – between dogs and owners on their respective appearance and physical personalities. While the explanations vary, they are consistent in finding that yes, it appears to be true that dogs and their owners share a great deal in common physically.

It would be fascinating to conduct a study that looks into whether the personalities line up between winemakers and their wine. Tasted blind, does Caduceus wine from Arizona remind us of its maker, heavy metal band Tool front-man Maynard James Keenan? Is Drew’s Blend, a pinot noir from Carmel, California, as sweet and innocent and chaste from afar as its namesake, Drew Barrymore? Pretty hard to quantify personality this way, I know, but Belle Pente and Brian O’Donnell seem like a good enough case upon which to pontificate as any.

Brian is a pretty low key guy (at least he was with us), and brings a laisse-faire kind of serenity to discussing wine. He begins with basics, and as time goes on gets more in-depth. It seems like the conversation never has to stop if you keep asking questions and offering prompts because he has an incredible depth of knowledge, is thoughtful and indulges hypotheticals (though he deftly dismisses to the bad ones). This isn’t to say he’s long-winded or boring – quite the opposite – but rather that with time, you continue to learn. Yet, at any moment in time, the snapshot of what you’ve experienced to that point is substantive. His obsession with wine isn’t worn on his sleeve, but it is very plainly that wine is a cause in life. He certainly has the experience and library to prove it.

Belle Pente’s wines strike me as similar in personality to Brian. While the current releases are beautiful, nimble wines, he is still recommending his first vintage as a wine that is drinking well. These are quietly layered and complex wines, almost to the point that if you’re not paying attention to them, you’re missing their brilliance. If this sounds like a critique, that’s exactly wrong. These are wines made by a thinking winemaker, and seem likely to be enjoyed most by thinking wine lovers. Having no experience with aged Belle Pente, I’m kicking myself for missing the opportunity to pick up a few late 1990s bottles from auction a few months before our visit.

We were presented with ten wines, all good and some great. I’m going to call out my five favorites here. The very first pour was the 2015 Muscat, which is bottled with a screwcap. Not the most popular variety, it’s done particularly well in this case. Acid driven, minerally and completely dry, the profile of honeysuckle, jasmine and tropical fruits is exceedingly pleasing. Brian recommends it as a great wine to have on-hand for difficult food pairings like asparagus.

The 2009 Riesling (2010 is the current release) was among the very best domestic versions of this variety that I’ve had. It is just beginning to show secondary development as nuttiness, honey and slight creaminess are showing through as the acid, which remains the backbone, softens ever so slightly. We discussed riesling’s history in Oregon, which Brian called “checkered.” He explained that in its first incarnation, riesling was sweet and worked out pretty good. Then, as Washington State’s Chateau Ste. Michelle began producing larger and larger quantities of inexpensive stuff, Oregon riesling began to go out of business. About twenty years ago, however, it was resurrected by several wineries that wanted to define and establish an Oregon-specific style closer to the dry styles of the big three A’s: Austria, Alsace and Australia. Belle Pente falls squarely within that kind of riesling profile.

A producer of numerous pinot noirs, I found two particularly captivating. The 2013 Estate bottle shows nice tannin integration and balanced acid, and is earthly, floral and slightly herbaceous. It built depth with as oxygen exposure ramped up, revealing subtle layers and drawing you deeper into the wine with time. This bottle typically sees about 25-30% new oak, which is a combination of majority French and minority Oregon.

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The 2014 Estate Reserve, which sees about 50% of new oak of a similar makeup, has a downright elegantly structured that is based as much on acid as it is on tannin, which is what I think makes for the best pinot. That this the case is striking given the warmer-than-usual vintage, which didn’t develop Oregon’s standard pH levels. The minerality is complex and seems predicated on sarsaparilla and birch roots, and the fruit is gorgeously ripe without being heavy. At most Oregon wineries, I tend to prefer the 2013s to 2014s because they skew closer to the prototypical Oregon style of high doses of earth, fruit and acid. Much of the 2014 vintage drops a lot of the earth and acid in favor of fruit and alcohol. Belle Pente is more resistant to that style drift that most I’ve had.

Finally, the chardonnay from the same year (poured last), showed beautifully. The tropical and juicy fruit, which rides a nice acid wave, paired advantageously with sweet lemon curd to create a texturally dazzling mouthfeel that led to a wonderful honeyed finish. While it’s evident this is from a warm vintage, like the Estate Reserve pinot, it retains the acid and mineral vibrancy that sets Oregon apart.

These are beautiful wines that remain, in region that is charging an increasingly high barrier to entry, fairly priced – even the Reserve bottle. The ageworthiness is obvious, and an appreciation for aging runs deep with Brian, who offers limited back vintages without surcharges (he’s currently selling the 2010 riesling and 2006 gewurztraimer). The tasting experience, the winemaker and the wine at Belle Pente is classic, old school Oregon.

As we finished up our time with Brian, our thoughts began drifting to dinner and our dinner companion. We stopped by Northwest Fresh Seafood in Newberg to pick up a variety of sea-based protein and raced back to receive Shane Moore, whom I’ve written about several times on this blog. Shane is the winemaker for Gran Moraine and Zena Crown and has made wine all around the world, including in Israel.

Unlike Brian, Shane “looks” less like his wine. I tend to think of Gran Moraine as elegant and pretty, and Zena Crown as starting with those attributes as a base but turned up just a bit on the power scale. Extraordinarily knowledgeable, Shane is a big personality from the opening moment: full of energy and peppered with the best kind and amount of crazy. What they do share in common, though, is thoughtfulness, intelligence and enjoyability. Whether Shane ages as well as his wine, though, remains an open question. Shane was the winemaker who completely changed my opinion on winemaker dinners (I’m now a yes vote) to the point that I was compelled to write a piece about it.

Shane was a vital part of planning this Willamette trip. Many of the wineries covered in these posts were Shane’s suggestions. He and I have discussed many aspects of wine and the industry over the last year or two, and he has helped me understand some pretty confusing wine stuff along the way (like tannins). So, when he suggested places I had no hesitation visiting them. I’m a big fan of Shane, and I wanted my wife (then fiancé) and friends to get to spend some time with him outside his winery, so I invited him to join us for dinner.

Dinner was great. Shane brought some great Canadian chardonnay (turns out he’s been pouring it blind all over the Valley in an effort to wow people) and local charcuterie (“it’s totally overpriced, but it’s so good I keep buying it in spite of myself”), all of which was great. Shane told us the story of how he became a winemaker, which is hilarious and probably rated inappropriate for this website. I’ll talk more about Shane in the last post about this trip. The next post will feature visits to Penner-Ash and Trisaetum.

Try this Wine: Melville Estate Syrah

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Credit: winery-sage.com

Syrah may be one of the most misunderstood – or perhaps confusing – red wines out there. Unlike cabernet or merlot, there is very little syrah produced domestically outside two buckets: mass-produced, sub $15 wines, and small production, high end bottles starting around $40 and going into the hundreds. The quality and style of these two buckets differ dramatically, and so it can be challenging to feel like you “get” the grape.

This is somewhat less true in France, where the Rhone Valley is syrah’s global epicenter and quality is not hard to come by at any price, but French wine labels are challenging for Americans because they usually do not list the grape(s) included in the wine and so they contribute to America’s misunderstanding of syrah. It is also less true in Australia, where syrah is called “shiraz” and is the most widely produced wine. However, because it’s labeled shiraz even when sold in the United State, it’s easily confused as something different, either varietally or stylistically, from syrah produced elsewhere. And thus the misunderstanding continues.

Syrah is not the most popular grape in this country, but its popularity is growing. On the production side, there are 106,00 acres of chardonnay grown in the United States, making it the most widely-grown wine-making grape in the country. Cabernet sauvignon isn’t far behind at 101,300 acres. Syrah sits at just over 22,000, which makes it the sixth most grown wine-making grape in America.

Syrah can be grown in different climates, and wears its terroir on its sleeve. In warmer climates, it is often big, round and fruit-forward. Most of the lower-end syrah tends to fall into this style because it’s relatively easy to make on a large scale with a good price margin. In cooler climates, it is gamey and savory and often smells and tastes of smoked or cured meat, iron and olives. This style is found most commonly in the more expensive category as it is more sought-after and costlier to produce than the other style. These dynamics mean that, depending on what one is spending, they are getting dramatically different experiences in terms of flavor profile, not just quality.

Within the premium wine world, syrah has been a stalwart regarded as a macro-level under-performer in that it hasn’t sold well despite its appeal. Syrah is also a very difficult sell because either the less expensive forward-style often smacks of generic red wine and makes no unique appeal, or a person is unaccustomed to, and perhaps initially turned off by, the savory taste and higher price point of the better quality stuff.

The niche appeal of high end syrah tends to emanate from that uniquely savory profile I described as well as its ability to change dramatically with extended aging. This has motivated articles along the lines of “American Syrah: Can It Ever Rival Pinot Noir?” that discuss and attempt to prognosticate syrah’s future.

Part of the tailwind pushing syrah lovers’ desire to see the variety perform better may be that we believe syrah offers bang for the buck, even at the high end, and that while it’s easy to find an underwhelming expensive cabernet or pinot noir, it’s much harder to be disappointed by an expensive syrah. This is at least something I’ve discovered as I’ve talked with other syrah lovers.

To test this out, I went to Wine Enthusiast and pulled review data for syrah, cabernet sauvignon, pinot noir and merlot. I took this data and put together pie charts for each variety that show the breakdown of scores. Looking at the charts, for example, 2.83% of merlots reviewed by Wine Enthusiast received scores between 94 and 97 points (the orange slice on the graph).

To interpret these charts, it’s critical to know the sample size, so here they are:

Syrah: 11,991

Merlot: 15,992

Pinot noir: 24,332

Cabernet sauvignon: 27,682

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These graphs tell me two things, effectively. First, with the caveat that this is the perspective of just one journal, there isn’t a lot of great merlot on the market as measured by review scores. That’s a discussion for another time. Second, with the same caveat as the first, people have roughly the same chance of getting an enjoyable/satisfying bottle of syrah as they would cabernet or pinot if they were at a quality wine store that stocked roughly equal amounts of all three. This is to say, my friends and I may be wrong about there being a glut of high quality syrah relative to more popular reds.

All that said, it remains difficult to find a good syrah without dropping a good chunk of change, not unlike pinot noir, because wine stores stock much less of it than the more popular wines. Further, it remains difficult to find a savory syrah priced similar to the fruit-forward syrahs.

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This edition of Try this Wine aims to shoot that gap as reasonably as possible with the 2014 Melville Estate Syrah from the Santa Rita Hills AVA in Santa Barbara, California. After trying a bottle ourselves for the first time, we were motivated to write this piece because we believe everyone should experience the uniquely savory profile of quality syrah at least once, and now have a reasonably priced example to recommend.

Melville is legendary Santa Barbara, a wine region that deserves more attention and respect than it gets. I wouldn’t be surprised if it is eventually considered part of California’s top echelon of wine regions. Located a short drive north of the Los Angeles area, it sits just off the Pacific Ocean on plateaus and hill sides that jut up from the coast line. Direct access to ocean breezes keep the area cool, and much of the wine produced there skews more reserved and nuanced than the standard California reputation. Think producers like Au Bon Climat, Ojai, Donkey and Goat, Qupe and Jaffurs, none of whom are going to make inroads with the jammy wine crowd.

Try this Wine because: The Estate syrah from Melville clocks in around $30-35, which is a fair price for the quality. At this price you get great accessibility to the savory profile as well as good approachability – it won’t require aging to show itself off. While not as layered and complex as many more expensive syrahs, it represents one of the more modest price points for a wine of its profile and quality. We recommend that you try this wine if you want to access the savory syrah profile without spending a ton of money or waiting years for a bottle to develop into an enjoyable stage.

Tasting note for the 2014 Melville Estate syrah: Bright, shiny nose of Acai, raspberry, strawberry, wet soil, tanned tobacco leaf, bacon and cinnamon. It’s full bodied with pleasant, mellowed acidity and very plush tannin, striking a pleasing feel and structure. The flavors are predominantly savory and salty; the fruit is secondary. It offers doses of iron, saline, smoked beef jerky, black olive, pomegranate, raspberry and licorice. This is a nice, straight-forward New World syrah with some Old World stylings. There is a small amount of dusty tannin towards the finish suggesting good mid-term drinking. 90 points. Value: B+.

Where to buy:

The current release of the Estate syrah at the winery is 2016, which is available directly through the winery. Most of the vintages available in stores include the 2014 and 2015, which is nice because of the additional and complimentary age on them. Here are a few shops around the country that showed up on the wine-searcher.com search.

St. Louis, MO: Wine & Cheese Place, 7435 Forsyth Blvd, Clayton, MO 63105. Phone: 314-727-8788.

Los Angeles, CA: Woodland Hills Wine Company, 22622 Ventura Blvd, Woodland Hills, CA 91364. Phone: 800-678-9463.

Tampa, FL: Craft & Curd, 2908 W Gandy Blvd. Suite B, Tampa, FL 33611. Email: Tom@craftcurd.com.

St. Paul, MN: Sunfish Cellars, 981 Sibley Memorial Hwy, 55118 St Paul, MN. Phone: 651-600-5164.

San Francisco, CA: The Wine Club, 953 Harrison St, San Francisco, CA 94107. Phone: 800-966-7835.