Oregon Wine Month Extravaganza

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Willamette Valley is my favorite American wine region to visit. It has a near-optimal balance of beauty, tranquility, quality wine, quality people and proximity to a decently-sized airport. Though not mountainous in the snow-capped sense, it is an obvious valley with beautiful slopes, rolling hills and a discernible floor. Though remote in feel, its northern tip is barely an hour from Portland. Though dominated by world class pinot noir and chardonnay, it offers fantastic examples of other varieties as well, notably gamay, syrah, pinot gris and riesling in my book. Though world class in quality and price and winery aesthetics, its wine professionals are accessible and friendly and the pretense low. The Willamette Valley is what comes to mind when I think of a trip to wine country.

For those who cannot make it in-person, May was Oregon Wine Month (or so says the industry) and an excuse to delve into the State’s wines. I’m lucky enough to be planning a trip to Willamette in late July, but that didn’t mean I was about to let May slip by without spending serious time with Oregon wine. Jackson Family Wines (I’ll refer to them as “KJ” for Kendall-Jackson, their main label) was kind enough to send me an array of wines from their Oregon portfolio, and I divvied them up into sets of three to explore over five evenings at the end of the month. I posted comments and partial reviews on our Instagram and Facebook accounts, and promised this full write-up in June. Here we are, barely over deadline.

Some words on KJ before I talk about Oregon. I think the content on this blog demonstrates that a large majority of my focus is on the little guy. This isn’t so much a conscious decision I make, something born out of a David and Goliath complex or a distaste for corporations, but rather one driven by the reality that smaller producers tend to push the limits and experiment in interesting ways that catch my attention while producing wines that are, on balance, more engaging and satisfying than the big guys. Yet this is my second piece that heavily features KJ wineries, and in this case it has an exclusive focus on them. So what gives?

I was introduced to KJ corporate through a winemaker dinner I attended in Washington, DC featuring Shane Moore, winemaker at Oregon’s Zena Crown and Gran Moraine wineries, both of which are KJ properties. I wrote a piece on that wine dinner making the case for attending winemaker dinners, and have included Shane in several additional Good Vitis pieces, including a solo profile, because I respect the guy so damn much as a winemaking talent and all-around good dude. This led to a relationship with several people at KJ headquarters, which led to help organizing an incredible Napa trip in December of last year and the upcoming Willamette trip this summer. Through my interactions with KJ corporate people and the wineries they own, I came to appreciate just how much Barbara Banke, the chairman and proprietor of KJ, and her staff respect the soul of the wineries they purchase and don’t impinge, as far as I can tell, much on the wineries. Instead, KJ spends time and money on promoting the wines and authentic stories of the wineries and personalities that originally put them on KJ’s radar while providing the resources to foster growth and quality improvement. I’m sure it’s not all sunshine and puppies, and I certainly don’t want to project a sense that I know more than I do, but I enjoy many of the wineries they own on the merits of the wine and approach taken to make them.

Oregon AVAs Oregon Wine Press

Source: Oregon Wine Press

Oregon has more than one wine region, though I imagine Willamette is the best known. Oregon boasts eighteen American Viticultural Areas (AVAs), which are spread among three main areas. One runs the length of the Interstate 5 corridor (generously conceived for this purpose) between the Washington and California borders,  another comprises a good chunk of the northern border with Washington along the Columbia River, and the other along the state’s Eastern border. This geography covers a number of different terroirs. My favorite Oregon syrah is made by Cowhorn, which is located about 15 miles north of the California border, while my favorite pinot producer, Cameron, is a six hour drive to the north. Some of the most famed syrah produced by Washington wineries is, in fact, grown just south of the Washington-Oregon border in Northeastern Oregon. The Columbia Gorge, which runs East-West across the top of the State, is a growing wine region with a burgeoning reputation on both sides of the border. The wines covered in this piece, though all come from Willamette Valley, represent the Yamhill-Carlton and Eola-Amity AVAs as well as a few that are blends from across the Valley.

Yamhill-Carlton was established as an AVA in 2004. It’s about 40 miles east of the Pacific Ocean, and gets some weather buffering from the Coast Range Mountains, which top out at 3,500 feet above sea level, that stand between it and the ocean. To the north, Chehalem Mountain adds some additional protection, as do the Dundee Hills to the east. The soils are mainly marine sedimentary that lies on top of sandstone and siltstone, a combination that tends to moderate acid development.

Eola-Amity came online as an AVA two years after Yamhil-Carlton. It’s home to Oregon’s longest continuously operating winery, Honeywood Winery, and is located to the south and east of Yamhill-Carlton. Though more inland, it still receives good air flow through a break in the Coastal Range called the Van Duzer Corridor. This keeps the summers and winters temperate, and luckily for producers the rain tends to fall mostly outside the growing season. The soils are a mix of volcanic basalt, marine sendimentary and alluvial deposits, a combination leading to shallow and well-drained soils that help build concentration.

For the first night of this Oregon Wine Month project, I chose Yamhill-Carlton designates from Siduri and Gran Moraine and a Willamette Valley blend from Penner-Ash. Regarding the first two, it’s always fun to see how producers in the same area compare to each other, and in these two I got the contrast I wanted.

Siduri is a California winery focused on pinot noir started by Adam Lee, who also makes the wine. Adam recently sold Siduri to KJ, but agreed to stay on as winemaker. I was fortunate enough to enjoy an incredible evening of wine and discussion with Adam when he visited my area earlier this year, and so was excited to try his Oregon pinot. We exchanged some emails subsequently, and I asked him how he made Oregon wine living in California. It’s an interesting explanation, so I’m going to quote him:

“I’ve been making wine from Oregon grapes since 1995 (the second year of Siduri). We made our first wine, in 1994, at Lambert Bridge Winery where we worked in the tasting room. The GM at Lambert Bridge owned some land in Oregon that he had planted with pinot noir and was impressed enough with what we did in 1994 to sell us grapes in 1995. That’s how we got into Oregon. Since that 1995 vintage we always shipped grapes back to California using a refrigerated truck. The shipping itself is pretty easy, and if the truck is set right around freezing the grapes arrive in fantastic shape. Beginning with the 2015 vintage, the sale to Jackson Family Wines, and the larger quantity of wine we were making, we started making more of the wine up in Oregon. So we trucked some of the stuff down but made more of it up in Oregon. I’d fly up every week on Monday, back on Wednesday. Ryan Zepaltas, our assistant winemaker, flew up on Wednesday and back on Friday. So we basically spent the entire week up there.”

I also asked Adam how he might make his Oregon wines differently than he does his Californian bottles. “There are many years where we do have to do things differently with Oregon fruit than California fruit….but in the last few vintages (2014-2016) there were more similarities in the grapes than in other vintages. Thus there wasn’t nearly as much to do differently,” he told me. “One thing we do always is take a look at malic percentages. Oregon can come in with higher malic levels – so although the grapes come in with great acidity, a lot of it falls out through malolactic fermentation. That really wasn’t an issue in 2015.  In fact, 2015 was just about as ideal of a harvest as you could imagine. Arguably the best year we’ve ever had in Oregon.”

The Siduri and Gran Moraine Yamhill-Carltons, like most of the wines in this article, come from the 2015 vintage. I asked Shane Moore, Gran Moraine’s winemaker, about the vintage, and he threw a serious of adjectives at me: “Expressive. Super heady. Great acidity. Transparency.” Capped off with “Pinot lovers rejoice!”

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Siduri’s Yamhill-Carlton is a blend of Gran Moraine Vineyard and the vineyard at Gran Moraine Winery (yes, these are two distinctly different vineyards). Adam explained that “the vineyard at the winery is entirely dry farmed and, even early in the growing season, I knew it was going to be the first grapes picked. You could tell by looking at the early yellowing leaves. That fruit did, indeed, arrive early. We destemmed it all. We let the fruit at the Gran Moraine hang longer (with careful irrigation), which allowed us to get riper stems and utilize more whole clusters in those ferments.”

I found the nose of the Siduri to be deep and hedonistic, offering sweet cherry, cola, ink, cassis, kirsch and rose. It’s full bodied with smooth and plush tannin and bright acidity, everything appearing in good balance that I think will improve even more with time. Flavors are tarter than the nose, delivering cherry, cranberry, huckleberry, wet pavement, pastel florals and a small dose of wet soil. 91 pts, value B+.

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The Gran Moraine, in my experience with this and previous vintages, delivers incredible value for pinot noir. The slightly restrained nose wafts boysenberry, dark earth, olive brine, lightly tanned leather and orange zest. Boarding on full bodied, it has velvety tannins and shiny acid that’s well integrated. The substantial depth of this one demands a good decant, and benefits from keeping it in your mouth for an extended period of time to experience its development. I think this has good medium-term aging potential. Flavors hit on pomegranate, acai, plum, black olive, currant, wet soil and juniper berry. 92 pts, value A-.

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The Penner-Ash Willamette Valley pinot noir is distributed nationally and shows up on a lot of restaurant wine lists around the country. It serves as Penner-Ash’s entry point pinot, and is one that tries to strike a widely appealing profile. I’ve had a number of vintages and it tends to show very little variation from year-to-year, making its consistency an appealing asset for consumers who like knowing what they’re getting each time. Nevertheless, it usually offers good depth for the price, and is one that I always wish I could have a few years of bottle age.

The 2015 has a saturated nose of plummy cherry, Dr. Pepper, graphite and lavender. It’s rocking a full body that enters thick. The tannin is restrained but mouth-filling and slightly grainy, and the acid strikes a good level. Flavors are a briar patch of blackberry, raspberry and boysenberry complimented nicely by baking spice and just a touch of saline. While it’s nice now, I’d love to try this one again in 2020 and expect it to do well for a few additional years. 91 points, value: B+.

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On night number two, I took a similar but more narrow approach in choosing two wines that come from the same vineyard, but then added a white into the mix. The latter, a pinot gris, was my first introduction to WillaZenzie Estate, a winery that quickly became a revelation. All of WillaKenzie’s wines come from their own vineyards, and many of their wines are vineyard-designates. I’ll get to a number of their pinots later, but the 2017 pinot gris has a voluminously perfumed nose of grapefruit, peach, gravel, slate lime zest and marzipan. Lean on entry, it gains body as it sits in the mouth. The acid is nicely balanced, neither subdued nor overbearing. Key Lime pie, starfruit and grapefruit dominate the fruit profile, though the stony minerality really drives the length of this linear, focused wine. Impressive effort. 90 points, Value A.

The two reds hark from the famed Zena Crown vineyard. I asked Shane what makes the vineyard so special. “It’s all about the terroir! Fantastic soils (both volcanic and sedimentary); Great SW facing aspects; cold evening wind at night during the summer; in the sweet spot for Oregon viticulture in terms of elevation at 200-800ft,” he said.

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

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

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Shout out to Zena Crown for the short foil. I’ve long wished wineries eschewed them altogether so customers could see the condition of the cork.

On the third night, I randomly selected three wines: two pinots and a chardonnay. Some Burgundian producers prefer to serve these varieties in what might otherwise be reverse order: red first, then white. Because pinot isn’t a heavy or cloying red, it can be followed by a white that brings sharper acidity and good body. I’ve always preferred this method and followed it again this time to great success.

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The 2015 Willakenzie Pierre Leon was the revelation of this entire Oregon Wine Month line up for me. It offers a very ripe and pretty nose wafting raspberry, cut cherry, perfumed rose and tangerine peel. It’d medium in weight with very juicy acidity, I just love how it coats the mouth. The tannins are subtle, but the wine is no wimp. The flavor profile is also ripe and pretty with raspberry, cherry, potpourri, tangerine, light tobacco, white pepper and Chervil. This is an elegant wine in structure, aroma and flavor. It reminds me of Musigny. I’d love to have it with another 5-8 years of age. 94 points, value A.

Next was the 2015 La Crema Willamette Valley pinot noir, which is another nationally distributed bottle that aims to find all sorts of middle ground and appeal to a wide audience. It has a fairly dark nose featuring cherry compote, raspberry chocolate cake and wet tar. The mouth is round and smooth, the acid bright and the tannins restrained. Flavors are fruit-forward with sweet cherry and strawberry, while subtle pepper and Herbs de Provence drive the finish. Not the most complex wine, but enjoyable. 89 points, value B+.

Finally came the white. The 2015 Gran Moraine Yamhill-Carlton chardonnay is benchmark Oregon chardonnay in my book and the twinkle in the Gran Moraine eye. Priced in the mid $40s, it’s not cheap, but routinely out performs many of the State’s more expensive chardonnays. This vintage is a stellar one. The nose gives off 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 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. 93 points, value A.

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Night number four introduced a rosé. I’m finding more and more that pinot has a pureness about it that other red varieties don’t deliver in rosé form. The 2017 WillaKenzie Estate Rosé delivers serious pureness on the nose, which I completely dug, though the palate seems a bit disjointed at this stage and may need a few months in bottle to merge. It has a nose of bright crushed strawberry, cantaloupe, crushed limestone and coriander. It’s on the fuller side of the rose spectrum, and quite lush. The acid is kicking. The fruit zeros in on strawberry, cranberry and salmon berry, while there are touches of nutmeg and parsley that seem out of place. 88 points, value C.

The 2015 Siduri Willamette Valley pinot noir seemed a little thin and hasn’t quite delineated itself yet on the palate to the point of flavors becoming individually discernible. It has, though, achieved an impressive balance that suggests it can fill out. I suspect it may just need a few more months in bottle to come together. The round, ripe nose is mostly about the strawberry, raspberry and cherry, though dark, wet soil adds some depth. It’s of medium weight on the palate, largely due to the juicy, bright acidity that brings levity. The tannins are quite refined, and the balance is impressive, though ultimately this feels a bit thin. The flavors are slightly muted at this stage. The fruit is a bit generically red, though there are some pretty florals – rose petals mostly – trying to peep through. I think three to six months in the bottle will bring this together, though longer aging is likely unnecessary. 88 points, and on the assumption that it will come together, it gets an A value.

The 2015 Penner-Ash Estate Vineyard pinot noir offers a boatload of potential for the patient. The nose boarders on hedonistic, and offers some killer aromas of iron, black strap molasses and bruised strawberry and blackberry, though it’s obvious that with some bottle age there will be more to come. The body is as full-throttled, and the tannin structure and acid suggest a minimum of 5-6 years is required for it to really come together, though I’d give it a decade to allow the full range of fruit and Earthy flavors to shine: Acai, pomegranate, raspberry, blackberry, tar, black tea and black pepper all duck and weave through a robust tannin structure and acid that will need to relax for this wine to show its best self. This will be an all-star if one can wait a solid decade. Penner-Ash’s Estate Vineyard has some cool stuff going on. 92 points, value A-.

For the fifth and final night I reserved all WillaKenzie pinots, though as it turns out, night three’s Pierre Leon was my favorite from the producer. Those four are all part of the estate’s single vineyard bottle program that draw from estate vineyards that are very close to each other, though each has its distinct personality and profile. For those unconvinced of terroir, pouring the Pierre Leon and these three blind, and then showing the vineyard map, ought to be enough to suspect the French were on to something.

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Of the three tasted together, the 2015 WillaKenzie Estate Aliette is the most delicate. It’s quite perfumed with a bouquet of Spring flowers and rose potpourri, cherry, strawberry, juniper, clove, and allspice on this high-toned nose. The palate is modest in weight, but round and smooth. Tannin is well integrated, while the acid is pleasantly juicy and slightly tart. The range of red fruit is impressive: strawberry, cranberry, huckleberry and raspberry, plus a not-so-minor role for plum. Tar, pepper and mulled spices feature on the back end. Pretty, but uninspiring at the moment, I suspect it will reach a higher elevation with three to five years of aging. 92 points, value A-.

The 2015 WillaKenzie Estate Kiana gives the impression of purple-ness. Its nose is reserved at the moment, though it offers promise with fruit punch aromas, uncured bacon and molasses. The tannin is fine grained and refined, the acid juicy and the overall weight modest. The flavors a bit more alive than the nose at this stage, with raspberry, boysenberry and pomegranate driving a profile supported by tobacco leaf and tar. Coming together nicely, I think it’ll continue to develop positively over the next five to ten years. 93 points, value: A.

While the 2015 WillaKenzie Estate Emery is a bit reticent on the nose at the moment, it delivers licorice, molasses, blackberry and pepper. The body is big and round, though the acid keeps it plucky and the tannins are integrated sufficiently to maintain the smooth profile. Slightly savory on the palate, it offers uncured bacon, red currant, red plum, Acai, black pepper and tarragon. This is a compelling package that I’d love to revisit in five plus years. 94 points, value A.

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I love Oregon wine. This line up of 15 bottles reaffirmed that. The quality is there. The terroir is there. The talent is there. It’s just a fantastic place to produce high quality pinot and chardonnay that has distinction from the world’s other pinots and chardonnays, as well as, as mentioned above, a number of other varieties (for fans of savory syrah, old school riesling, and refined pinot gris, Oregon has stones worth turning over). It has a soul, which is not something that every wine region can legitimately claim. I think this is in part because the world seems to have left the State relatively alone long enough for it to find its identity and strengths and settle in on its own terms. It’s probably insulting to say that its wine is ready for the world, since it has been for a while now, but commercially it has a lot of unrealized potential and I’d like to see more wine drinkers across the world take note. Oregon Wine Month 2019 is another eleven months away, but don’t sit on Oregon wine until then.

The Black Magic of Winemaking: Tannins

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Credit: Gerald Hoberman, Getty

Last December, I took a trip to Napa and visited a ton of wineries throughout the Valley. Though not the purpose of the trip, it became a study in tannins. The experience reminded me just how impactful vineyard and winemaking decisions can be on a wine’s profile. The largest differences in the wines came in the size, shape and structure of tannin, and I realized I should know more about why those differences exist because I clearly had preferences about them.

To learn more, I reached out to three winemakers whose wines I love in large part because of their tannins: Richie Allen of Rombauer in Napa, Shane Moore of Zena Crown and Gran Moraine in the Willamette Valley, and David Larson of Soos Creek in Washington State. Richie’s Napa cabernets are highly structured wines, but were also among the very small minority that do not overload the tannins. I found this remarkable because most of the Napa cabs I had, including many from esteemed wineries that receive (incorrectly, I believe) higher scores from the big reviewers than do Richie’s, hit you upside the head with dense, chewy and often times coarse tannins that prematurely dry the mouth and kill the flavor.

Shane’s pinots (and chardonnays) from Oregon are complex and rewarding at every price point they hit, and though one doesn’t talk about tannin in the same way with pinot as is done with other red varietals, I’ve found his pinots to achieve captivating textures.

For more information on Richie, Shane and their wines, you can read about my visit to Rombauer here, a profile of Richie here, and a profile of Shane here.

David’s Bordeaux-varietal wines from Washington, a state whose climate can develop ample tannin, go through a wonderful evolution as they age. He’ll tell you that he prefers at least five years on most of his reds, if not ten, largely because it takes time for the tannins to resolve. When his wines hit their target balance, they offer classic Washington flavors combinations and textures. I recently had an 8-year old Soos Creek and loved it.

The first thing to know about tannin is, well, what it is. Tannins are chemical compounds, and the term originates from leather tanning, as leather workers used them to preserve the leather. Tannins bind proteins together. The physical sensation we associate with tannins in our mouths when drinking a wine is the actual process of proteins being bound in real time.

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Phenolic tannin. Credit: WineLand Media

The next thing to know it is that the term “tannin” encompasses two components: anthocyanin and phenolics. Anthocyanin is the color in the wine, and it’s the main focus for Richie at Rombauer because “it’s a very good indication of quality: the higher the color, the higher the potential quality.” Color is finite; there is only so much color in fruit and only that amount available can be extracted. Phenolics, of which there is usually higher quantities than anthocyanin, are chemical compounds, of which there are potentially hundreds of varieties.

Richie aims for full extraction of color. If he can hit that, then he and his team can build the desired tannin structure because there’s usually more phenolics than they need. Put another way, if they have really high anthocyanin then they can push the tannin structure without throwing the wine out of balance. However, if the anthocyanin is moderate and they try to push the tannin structure by ramping up phenolic extraction, they end up with a highly tannic wine that has a hole in the mid palate, something Richie and his fellow Aussies refer to as “donut wine” (lots of tannin around the sides and nothing in the middle). Shane, too, is focused on color. He describes one of his priorities as achieving good “color stabilization,” which is another term for the same thing: the bounding or conjugating of anthocyanin and phenolics into “complexes.”

Tannins, as David explained, “are very specific to each batch of grapes. Like everything else in winemaking there’s a lot of variability between varieties, vineyards, and even blocks within vineyards.” David is looking for great mouthfeel. His ideal tannins are the kind “that caress the mouth. It’s one of the best attributes of a wine, but hard to achieve. I’m looking for abundant but fine grained tannins, which create elegant wines.” These, as will be explained below, are long-chain tannins formed by the binding of anthocyanin and phenolics.

When speaking to a pinot noir producer, you enter a different tannin realm. Pinot’s tannins are very different than any other varietal because physiologically, the tannins and structure are unique. “You have skin tannins, your anthocyanins, and then you have seed tannins, and not a whole lot of other phenolics involved like you do with cabernet or the Bordeaux varietals,” Shane said. “This makes both tannin extraction and the mouth feel very different.” The differences in tannin that we experience in drinking pinot noir are unique tannin experiences when compared to other reds.

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Credit: EnoViti

Anthocyanin is developed in the vineyard and lives in the skins of the berries (the term used to refer to the grapes). Richie looks at many things in trying to influence color accumulation in the skins. If the berries get too large, color gets diluted. Too many berries on the vine can lead to less color. Sun exposure is key: too much sun and the berries get sun burnt; not enough sun and they don’t develop much anthocyanin. “Think of anthocyanin as sun block,” Shane explained. “If you’re giving the berries less sun, they make less sun block.”

This makes canopy (the leaves) management critical. The act of picking leaves from the vines, called “leafing,” is part of this. In Shane’s vineyards, they begin leafing right after flowering and fruit set in most cases. This approach is suited for the cooler climate of Oregon where sufficiently warm sun, needed to develop anthocyanin, isn’t in always plentiful. “More sun produces more and riper anthocaynins for us,” Shane noted.

Richie focuses on berry weight and size. Smaller berries tend to have higher anthocyanin levels. That said, Richie has his outliers. “I have a couple of vineyards that, on paper, should be terrible when you look at the numbers, but when you taste them, they’re really good and the numbers don’t match. I always say, you can graph it and draw your correlation line, but there are always outliers, and that’s why we taste.”

Shane expressed a strong desire to produced “balanced crops.” If there is too much fruit hanging, “you often get more green tannins, meaning seed, or short-chain, tannins.” Over the years the average crop of Willamette pinot noir has settled into the 2.5-3.5 tons per acre zone, “and when you hit that tonnage,” Shane says, “you’re ripening your seeds, and ripe seeds equal ripe tannins and you’re not extracting shorter tannins; you’re getting longer chain tannins and that’s your desired starting point” in achieving good texture and mouthfeel. “Balanced vines are going to give you ripe tannins and balanced wines.”

A common theme among these three winemakers is that they approach winemaking looking primarily at the structural elements of the wine, not flavors or aromas. Shane’s approach is to make wines “texturally” because texture shows through in the wine for a longer period of time than other elements and “is more of the wine itself then flavors or aromatics. Texture is the most stable part of the wine.” Therefore, when Shane extracts tannins, he’s doing it in the context of achieving that desirable texture.

Richie has been accused of making wine by numbers, and he admits that to a certain extent, he does. “All I’m doing is stacking the deck in my favor. It’s like counting cards – you’re working the probability to get a desired outcome. That’s all that we’re doing, and with fruit that’s $10,000 or more per ton, you want to make sure you nail it every time. In high end winemaking, you can’t screw it up one year and say, well, we’ll do it better next year. That doesn’t fly.”

Winemakers can’t rely on taste alone in the tannin context because of the presence of sugar during fermentation. “The reason we’re so interested in the numbers is when the wines are fermenting and you still have sugar, you can’t taste or feel tannin in your mouth. It’s all hidden by the sugar,” Richie told me. “So the only way to see if you’re heading in the right direction is to run analysis. You don’t know if you’ve gotten all the tannin out, you don’t know what the tannin level is when it’s at even three Brix. You can’t taste it. And if you keep pumping it over and you overshoot that mark, it’s too late. You can use strippers [like egg whites or gelatin] to lean the tannins, but you can’t just strip tannin without getting rid of stuff you want to keep. Fining agents are not as selective as they’re portrayed. The analysis is a good indicator of potential quality, though it doesn’t replace actually tasting either.”

David strives to balance alcohol, tannin, fruit, oak and acid. “This is largely a function of the grapes you get,” he says. In Washington, David believes the most impactful adjustment to make to find the sweet spot in the balance is tweaking sugar levels. “It matters a great deal because it determines the alcohol level, and I want a relatively low-alcohol wine.” For age worthy wines – read high(ish) tannin and high(ish) acid – alcohol is can be the sticking point because while tannins and acids soften with age, alcohol remains exactly the same its entire life. A wine with great tannin and acid at bottling will fall out of balance with time if the alcohol is too high.

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Credit: Wine Folly

Fermentation is a key phase for tannin development, even though, as noted above, you can’t detect the tannins by taste, because, as David explains, “the higher the temperature the more tannin extraction you get. The longer the juice stays on the skins, the more extraction of tannin (up to a point). The tannins will start to soften as they get longer.” He starts his fermentations off at usually around 65 degrees and allows them to creep up slowly to the mid to upper-80s. This translates into fermentations usually lasting around 20 days, though they’ve gone as long as 30. He added that the shape and size of the fermenter matters as well in that it determines the juice to solids ratio as well as the flow, or interaction, of the juice with the solids.

Shane approaches fermentation with temperatures that are considered on the lower side for pinot noir. Whereas most are toping top out at around 86-90 degrees, Shane doesn’t go above 78-80 degrees. Temperatures matter for tannin extraction – warmer temperatures help to extract heavier tannins. Therefore, if he’s getting a higher extraction than desired, he will lower the temperature, and vice versa.

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Punching down the cap. Credit: Willamettewines.com

Management of the cap, meaning all of the solid bits that float to the top during fermentation, also plays a big role because the cap is where the tannins – anthocyanin and phenolics alike – originate. The two most common ways to manage the cap are “pump overs,” which involves keeping the cap where it is while pumping the juice below it up and onto the cap, and “punch downs,” which refers to pushing the cap into the juice. The former adds more oxygen to the juice, which functions to elongate the chain of the tannins. As Shane describes it, short chain tannins are coarser drying tannins whereas longer chain tannins are “umami tannins and not as drying.” Shane uses pump overs early on to elongate the tannins as those are his preferred variety. Once fermentation is over, so too is grape-based tannin development.

Phenolics drive more of the textural element than anthocyanin. When there is an excess of phenolics, winemakers strive for high levels of bound anthocyanin and phenolics because it helps to reduce coarseness. I asked Richie if determining the chains by taste is as simple as, if the wine is coarse, it’s heavy on the short chain, and if it’s smooth, it’s heavy on the long chain. “More or less yes,” he said, adding that I was “basically correct, when you start to look at the types of tannins and their interactions it becomes very complicated and our understanding is in its infancy. Thus is the art of winemaking .”

Untoasted wood chips can help in this department, as do additives like enological tannin. Richie has played around with these methods in trials, and while they’ve offered some interesting outcomes, he hasn’t felt like it’s boosted quality and hasn’t deployed it in production Rombauer. However, if using highly cropped, lower quality fruit, the use of chips or enological tannin can really help develop a wine of superior quality. “I’ve known people who do it really, really well,” Richie said. “And I’ve done it myself [at other wineries]. If you don’t understand how to use exogenous tannins correctly, you’re really limiting your ability to make quality wine. Especially in the cheaper bracket. At the higher end, you don’t need to do it.”

I asked him if it’s possible to pick up on the use of these tools in a wine by taste, and he questioned whether one could. “I’m not saying it’s impossible, but I don’t have the ability to do it and I don’t know of anyone who does. However, to make wines taste more palatable texturally and give them more palatable mouthfeels, especially in the lower price tier, their use is a sure way to improve your quality.” Dispelling any notion that it’s a New World thing, Richie explained that it’s very common in Europe, and referred to an unnamed friend in France who “is really well versed in how to use enological tannins and phenols to build wines to make them significantly better in that lower price bracket, and he’s really, really good at it. If I were making $10 wine, I’d be calling him to learn more.”

Measuring anthocyanin levels in the vineyard is challenging, and naturally Richie and his team have found that the most labor intensive way to measure gives them the best data. I promised not to spill the beans on this method, but after the explanation it’s understandable why those not using it are a step or two behind. These measurements, however, don’t necessarily mean anything because there is often a difference between the amount of anthocyanin in the vineyard and the amount that can be extracted in the winery. Determining the factors that drive that difference would be a holy grail in winemaking, and one that Richie is chasing in earnest. Richie does not believe that any of the theories about anthocyanin extraction hold up to scientific scrutiny, though he believes this is the direction high end red wine is going: “how you maximize color accumulation and color extraction drives wine quality.”

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Credit: Wine Folly

How one extracts anthocyanin from the berries depends on the varietal. “You always hear about cold soaks with pinot noir, and that’s not something you really hear about with many other red varieties. Syrah, maybe. Some winemakers working with Bordeaux and Rhone varietals are doing cold soaks. Nebbiolo, too. But when it comes to red varietals, when you hear cold soak you think pinot.” David is one of those doing cold soaks with Bordeaux varietals. During that process, both make no qualm about using appropriate levels of sulfur, which they find critical to tannin development because it helps to stabilize the anthocyanin complexes in both stages.

The goal as Shane explains it is to build stable anthocyanin-phenolic complexes by bringing as many together as possible to form the longest chains they can “because these are the good tasting tannins.” Oxygen, as explained in the paragraph above on cap management, is critical for this to occur. Most red varietals require doses of oxygen exposure for these chains to form and grow longer. If you’ve ever had a reductive syrah, for example, chances are it was not racked (a method for adding oxygen to the wine post-fermentation) because syrah requires a relatively high amount of oxygen to avoid reduction. In a reductive wine the tannin complexes are scavenging for limited or non-existent oxygen in the wine, which reduces the vibrancy of the wine’s aromas and flavors. This is why, when one aerates a reductive wine, it can snap out of its reductive state.

Pinot is unique among red varietals in that it has a naturally high anthocyanin-phenol ratio. Therefore, if it’s exposed to sufficient oxygen, it does a great job on its own of building beautifully tasting tannins. “Somehow,” Shane noted, “they figured this out over 1,000 years ago in Burgundy. If you start with great pinot fruit and age it in French oak, which breathes perfectly for the varietal, and don’t mess too much with it, you get great wine.” He continued, “once it’s in barrel, all you need is once-a-month topping and the wines won’t go reductive.”

When Shane gets his pinot harvest into the winery and destems, he’s aiming to maintain whole berries (he destems roughly 80% of his clusters) to allow for a longer cold soak. “Crushed grapes tend to ferment faster because, I think, it releases more nutrients [for the yeast to feast on].” Whole berry fermentation allows for maximum anthocyanin extraction while protecting the seeds longer before their harsher and more abundant tannins begin to enter the juice. “Pinot noir is a low tannin wine in general. Almost all your tannins are in your seeds, and it’s also a relatively low anthocyanin grape.” With that in mind, Shane does long cold soaks (~5 days for Gran Moraine and ~8-10 days for Zena Crown) to maximize anthocyanin extraction before fermentation “so you can really control tannin [phenolics] extraction during fermentation using punch downs, pumpovers and temperature, the principle being that seed tannins are highly extractable in an aqueous alcohol environment (alcohol dissolved in water), whereas you don’t need alcohol to extract anthocaynins.” Since there is no alcohol in the cold soak, there’s no risk in extracting phenolics while anthocyanin is seeping into the juice.

Richie describes the profile they seek at Rombauer as an “iron fist in a velvet glove,” which is driven by the color and phenolic binding. Wines cannot achieve a high level of binding unless there’s a lot of color already in the wine, which makes it the limiting factor in driving quality if you follow Richie’s logic. When Rombauer does in-house trials, they look at the free anthocyanin, bound anthocyanin and phenolics [a.k.a. complexes], and they find that more often than not, the wines with the highest bound anthocyanin are the ones they score the highest in double blind tastings.

Quality wine evolves with age, and to many palates it improves over time. I asked Richie about older wines and how the color loss during aging didn’t necessarily lead to losses of flavor and structure. He explained that bound color, which tastes good, is stable and resists oxidation and changes in pH. Unbound color that exists in wine is unstable, and as wine ages it’s the unbound color that drops out while the bound color remains. Therefore, a wine with a higher level of bound color is going to keep its color, and its desirable flavors, longer in the bottle.

Referring back to his holy grail of winemaking, Richie noted that “tannin is kind of like the black magic of winemaking at the moment, and not everyone understands it. A lot of high end wineries run [the data], but they don’t actually do anything with it because they don’t understand it. They run it because it’s the latest cool thing to do in winemaking. ‘What tannins do you have?’ It’s like, ‘what does it matter? What are you going to do with them?’ If you don’t know what you’re trying to achieve, the data is useless.” Shane doubled down on the difficulty of understanding tannins. “I took a whole graduate level course on tannin chemistry. It’s incredibly complicated and possibly the most difficult college course I took. I think it was called “The Biochemistry and Physiology of Horticultural Products” or something, and we still have open questions about tannins.”

Where our understanding of tannins goes from here is up to people like Richie, Shane and David who make it a focus of their winemaking. I do think it’s important, though, too for consumers to educate themselves and maybe even do a bit of purchasing based on their tannin preferences. I would sure love more winemakers to focus on developing those long chain complexes.

 

2017’s Most Memorable Wines

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Last December (okay, January 4th, 2017), I did a post on The Best Reds, Whites and Values of 2016 that I came across in my wine escapades that year. It was an enjoyable post to write because it let me indulge in some great nostalgia, and I was excited to do it again for this year. This post was just as rewarding to write, and as the title implies, I’m taking a slightly different approach. What follows are the dozen most memorable wines I tasted this year.

The two questions I used to guide the formation of this list were (1) what are the wines from 2017 that I stand the best chance of remembering until I go senile, and (2) what wines from 2017 will guide my 2018 purchasing? Only after assembling the list did I look at the metadata contained within, and there are some surprises. First, a rose made the list. While I enjoy rose, I drank much less of it in 2017 than I did in previous years. This wasn’t for any conscious reason; it just played out that way. Second, in Good Vitis Land, it was the year of the white wine. Half of the list, and the largest component of it, are whites. Third, it’s a geographically diverse list: five U.S. states and six countries. And forth, unusual varietals came in at the #4 and #1 spots: mtsvane and Pedro Ximenez that was made into a white wine. What a cool 2017.

Without further ado, here are my twelve most memorable wines from the past twelve months.

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#12: 2016 Ehlers Rose. I reviewed this wine back in July when I profiled the winery and winemaker and couldn’t stop raving about it. The wine itself is terrific, but it will always stand out in my mind for the vibrancy and beauty of its color. My God, it’s one of the most beautiful things I’ve ever seen. I’ve never fixated on the appearance of a wine before, so this one is special. I visited the winery earlier in this month and the rose was sold out. I was told I wasn’t the only one who can’t even with the color.

Tasting note: July 9, 2017 – I don’t normally comment on color but this is a gorgeous, watermelon-colored red with a pinkish hew. Nose: a bit reticent at first, it wafts lovely strawberry, watermelon, lime zest, white pepper, sea mist and parsley. The body is medium in stature and has a real presence on the palate, it’s entirely dry with nicely balanced biting acid. The fruit, all red with the exception of under ripe mango and lime pith, is bright and light and backed up by some really nice bitter greens, celery, thyme and rosemary. This brilliant effort is best served with food as the racy acidity needs to sink its teeth into something. I successfully paired it with Santa Maria-style grilled tri tip. I’d actually be curious to stuff a few of these away for a year or two and see how they develop over the following three years. 92 points. Value: B+

#11: 2014 Block Wines Chenin Blanc Block V10 Rothrock Vineyard. I love chenin. It competes with chardonnay for my favorite white varietal, and usually whichever is in my glass and singing is the one I choose. I’ve written about Eric Morgat’s chenins from Savennieres in the Loire Valley in France as my favorite example of the varietal, and while I enjoyed several of them in 2017, this year’s gold standard belonged to the Block Wines project in Seattle, Washington. Owned and sold exclusively by the retailer Full Pull, it sources exceptional grapes from exceptional blocks in exceptional vineyards across the state and hands them over to Morgan Lee to convert into wine. Morgan is one of my favorite winemakers anywhere, and what he did with these grapes was pure magic.

Tasting note: Friday, June 23, 2017 – Magical stuff, and only improving with aging and aeration. The nose is blossoming with honeysuckle, sweet lemon curd, parsley, big marzipan and just a wiff of ginger powder. The palate is medium bodied with cutting acidity and a well-framed structure. The fruit is sweet and comes in the form of lemon, peach, apricot and yellow plum. There’s a good dose of vanilla bean, a big streak of slate and just a bit of creaminess and some nice sorbet-tartness on the finish. The most compelling American chenin blanc I’ve tasted, this has at least three years of upward development ahead of it. Wish I had more than the one remaining bottle in my cellar. 93 points.

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#10: 2011 Domaine William Fèvre Chablis 1er Cru Montée de Tonnerre. Unlike the #12 and #11 wines, this bottle is a well-known commodity. Among the most respected sites in Chablis, Montée de Tonnerre is often considered quality-wise on par with the Grand Cru sites despite its Premier Cru designation, while William Fèvre is widely respected as anything but a slouch producer. Despite the modest reception of the 2011 vintage in Chablis, this out-performed several other vintages of the same wine I’ve had previously. It was downright spectacular.

Tasting note: Friday, July 14, 2017 – Right from the uncorking this thing bursts with energy. The nose is spectacular, offering incredibly pure limestone, lemon and lime zest, chalkiness, parsley, mushroom funk, daisies and dandelions, and sea mist. The body is lush but offers great cut with impeccably balanced acid that zigs and zags with nervous energy and verve. This is why you drink Chablis, it makes life come to life. The abundant citrus is all sorts of zest and pithy goodness. The sea is very prevalent as are the bitter greens. It finishes with a really nice, modest sweetness that doesn’t overwhelm the nervous acid. An amazing achievement considering the vintage, it’s drinking exceptionally well right now. 94 points.

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#9: Forge Cellars Les Allies Riesling. I visited Forge in September and couldn’t help but gush about what they’re doing. Forge is Finger Lakes in a bottle in every aspect, and for me that means several things: absolute physical beauty and salt-of-the-Earth people with a total commitment to the land and community. Forge makes a lineup of rieslings (and pinot noirs) that, from top to bottom, are among the very best being made in America and worth making the trek to experience first-hand (read the hyperlink above about the unique and amazing tasting experience every visitor receives at Forge). My favorite is the Les Allies.

Tasting note: September 18, 2017 – Big on fennel and bitter greens, sharp citrus and Devil’s Club with sneaky slate and flint streaks adding depth. Though savory elements drive the wine, it’s balanced by big hits of fresh apricot and peach on the finish. This is going to go through some cool short-term evolution in the cellar, and was my favorite riesling of the day. 93 points.

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#8: 2010 Baer Winery Arctos. I put this wine up against several legendary vintages from the legendary Bordeaux producer Las Cases in a post that asked, “Does Bordeaux Deserve Its Reputation?” More specifically, I asked “are six of the best vintages of the last fifty years of a storied chateau some consider worthy of first growth status really so good that it’s worth $150 per bottle at release and then two-plus decades in my cellar?” In order to answer this question, I picked Baer’s 2010 Arctos as a baseline wine. To be clear, I pitted a seven-year old blend from Washington State that retails for $43 against wines that are now only available at auctions for many multiples of that price point. My answer, which I’m pretty sure upset a few people, was “no.” I’m a Bordeaux skeptic, but more than that, I’m a Baer lover.

Tasting note: Thursday, April 20, 2017 – Bountiful nose of juicy red, black and blue berries, very sweet tobacco, thyme and black pepper. The palate coats the mouth with lush, polished and sweet tannins. It’s fully integrated and gorgeous. Sweet raspberries, cherries and blackberries swirl around with undercurrents of tobacco, graphite, cassis, nutmeg, cocoa, black currant, and rhubarb. Absolutely fantastic and pleasurable profile, it’s in exactly the right place. 94 points.

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#7: 2014 Covenant Israel Syrah. It’s a long story of how I came to know Jeff Morgan, the brains and brawn behind Covenant, a endeavor producing wine in California and Israel that has, as its genesis, the goal of making the best kosher wine in the world. I interviewed Jeff and told the fascinating story here. The Israel Syrah is a great example of how good Israeli wine and kosher wine can be, and a damn enjoyable bottle that will improve with more time.

Tasting note: Saturday, February 4, 2017 – This needed several hours of decanting. Nose: Dark and smokey. Stewed blackberries and blueberries along with maraschino cherry and caramelized sugar. Wafty smoke, a good dose of minerality and just a bit of olive juice. Palate: full bodied with coarse tannins that with multiple hours of air begin to integrate. Medium acidity. The fruit is dark and brown sugar sweet. Lot of blackberries and blueberries. Just a bit of orange and graphite and a good dose of tar. There are also some pronounced barrel notes of vanilla and nutmeg. This is a promising young wine. Fruit forward in its early stages, after 4 hours of air definite savoriness really starts to emerge. This has the tannin and acid to age and it will improve with another 3-5 years. 93 points.

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#6: 2005 Cameron Pinot Noir Abbey Ridge. Of course there’s a Cameron in this list. Cameron was my 2016 revelation and I spent a lot of time this year tracking down as much of it as I could find. It was a decent haul, but now I just have to be incredibly patient. The 2016 experience showed me that the older a bottle of Cameron pinot is, the better it is. In 2017 I had the 2005, 2010 and 2011 vintages of Abbey Ridge and the theme continued. This 2005 was AMAZING.

Tasting note: Saturday, July 1, 2017 – Another data point that Cameron is at the very front edge of domestic pinot noir. The nose is absolutely gorgeous, very floral and bursting with a cornucopia of sweet fruit. The body is rich but extraordinarily balanced and dancing light on its feet. The acid is lively and the pepper is sharp, while the cherries and cranberries burst with juiciness and richness. There are slightly bitter flower petals and a lot of Rose water. Absolutely fantastic wine sitting in a great place in its evolution. I can’t stop drinking this. 95 points.

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#5: 2012 Cameron Blanc Clos Electrique. Of course there are two Camerons on this list. Nuff’ said.

Tasting note: Sunday, July 23, 2017 – Just, and entirely, gorgeous wine. The nose has high toned honeysuckle, bruised apples and pears, dried apricots, Starfruit, vanilla and petrol. The body is in perfect balance. It is medium bodied with super bright, but not hurtful, acid. It offers reams of slate, mint, lime and funky goodness. There is a good dose of Mandarin orange that offers nice sweetness, and from the oak influence there emerges a nice amount of cantaloupe, Golden Raisin and yellow plum, while parsley and saline provide stabilizing undercurrents. This is all good, all the time, now and over the next five to ten years. 95 points.

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#4: 2015 Togo Mtsvane. This is a challenging wine to write about for several reasons, beginning with the unusualness of it and ending with the situation in which it was consumed, for good and bad reasons. The good reasons are written about in detail in what is probably my favorite post from 2017. I’ll summarize this wine, and the country where it is made, this way: you’ve never had anything like it, you have to go to the Republic of Georgia to try it, and you’re making a mistake if you don’t.

Tasting note: May, 2017 – Gia’s 2015 Mtsvane was picked at 25.8 brix and finished at 14.8% ABV, which it wells extremely well. The word “mtsvane” means green (the color), and this particular source vine was found in a family plot that Gia is slowly bringing back. It is thin skinned and very difficult to grow because of its fragility in the region’s rainy climate. Nevertheless, the aromatics were gorgeous with mint, dulce de leche, sweet lemon and light tobacco. The palate was equally appealing and satisfying as it offered honeysuckle, apricot, ginger, vanilla, green apple and a big hit of mint.  Multiple bottles consumed over a long and drunken evening with the winemaker, his family and my friends. Unscored, but otherworldly.

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#3: 1998 Pian Delle Vigne (Antinori) Brunello di Montalcino. Aged Brunello, need I say more? The 1998 was considered a good but not great vintage when it was released, but I think people have realized over the following 19 years that it’s gone through a particularly impressive evolutionary arc. This wine certainly proves that. Well-aged Brunello has some wonderfully unique qualities, and again, this wine certainly proves that. Basically, this wine proves that all the good things about Brunello can be true in one bottle.

Tasting note: Saturday, October 28, 2017 – This is remarkably good. The nose is pure heaven, and very fragrant. Super sweet cherries, strawberries, Açaí, cinnamon, nutmeg, dried tarragon, a bit of sea mist and a small finish of olive juice. The palate is fully integrated: extremely fine grained and polished tannins have faded into the background while the acid is mellow but zips. The Alcohol is seamless. It’s the full, professional package. What a gorgeous mouthfeel. Flavors pop with cherries, strawberries, tobacco, thick dusty cocoa, Herbs de Provence, bright orange rind and a wiff of smoke at the end. This has a few more years of good drinking, but why wait? 95 points.

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#2: 2012 Smith-Madrone Cook’s Flat Reserve. Stu Smith and his family are some of my favorite people in the wine industry, and among the most generous I’ve met. He’s also one of the best winemakers in a state known for attracting many of the best winemakers in the world. Cooks’ Flat is his reserve wine, which he makes during good vintages. It retails for $225. Given the region, that’s a steal for a wine of this quality and, in one of many manifestations, evidence of his generosity. I’m not a lover of most California wine, and I don’t get the California Cult Cab thing with its focus on fruit and tannin. Stu could care less whether his wines were considered “cult,” but it certainly tops the list of cabernets from the Sunshine State that I’ve had. The fact that any California cab made my most memorable wine list is personally surprising, but that it landed at #2? It’s just that good.

Tasting note: December 7, 2017 – This seems to me to be what Napa cab should be all about. It hits the palate with a velvety lushness, and is followed by waves of red, blue and black fruit that polish a core of dark minerals and Earth that broadens the mid palate and adds depth to the wine. The acid is towards the higher end of the Napa range, adding juiciness to the fruit and levity to the body. Unlike many California cabs, the tannins are well-kept and aren’t allowed to dry the palate and prematurely kill the finish. This is elegant and refined wine. Given the price of reserve wines from Napa, the Cook’s Flat is a downright steel. 95 points.

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#1: 2016 En Numeros Vermells Priorat DOQ. A small amount of the small production En Numeros wine makes its way to a retailer near me in Virginia. The importer, a friend of Silvia Puig, the winemaker, pours the wines himself one afternoon a year and I look forward to the email announcing it. This is the first vintage of this white wine, which is made out of the Pedro Ximenez grape that is usually made into Port, and the first of its style I’ve ever had. The tasting note below is the first time I drank it. I revisited it in November and it had changed fairly dramatically. Some of the lushness was gone, and the acid was more pronounced. To be honest, it was a bit more complex the second time around. That said, it’s the first bottle that will leave the lasting impression, and so I’m using that note. It’s one of those wines that is “unique” in the sense of the word: one of a kind.

Tasting note: Sunday, July 23, 2017 – Coolest. Nose. Ever. Sophisticated as shit movie theater buttered popcorn, honeyed hay, flannel/linen and balsamic reduction. The palate is lush, oh-so-smooth and super glycerin-y without being heavy at all. There is no waxiness to this whatsoever. It has definite sherry qualities, but is entirely dry. There is sweet cream, Jelly Belly buttered popcorn flavor and lemon curd, along with sweet grapefruit and a ton of pear nectar. This is a weirdly bold wine with a ton of subtly, it’s wholly captivating. 94 points.

And there we have it: the dozen most memorable wines of 2017. I already have some great stuff t’d up for 2018, and I hope the year will bring adventure and surprise. Wishing everyone a great end to 2017 from Good Vitis! Thanks for the readership.

For the Love of Wine

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Caught in the embrace of one of the Cameron Winery Abbey Ridge pinot noirs reviewed below

I’m far, far behind on uploading wine reviews so I’m doing Good Vitis’ first post focused exclusively on reviews to clear out the closet. What follows is an assortment of wines that have nothing other than cohabitation in my cellar as their commonality. These are not samples, but wines I’ve collected over the years, those I’ve shared with friends and a few that I received as gifts.

It is, I must admit, a bit exciting to share wines that I selected myself as opposed to most of the wines I write about on Good Vitis, which I receive as samples, drink at wineries and media/industry events. While I’ve many great wines through those means, I’m almost always happiest drinking wines I’ve collected myself because they are wines that are of particular interest to me. It isn’t surprising then that several of the wines below are likely to be among my top wines of 2017, notably the 2005 Cameron Pinot Noir Abbey Ridge, 2012 Cameron Clos Eletrique blanc, 2011 Domaine Fevre Montee de Tonnerre and the incredibly cool and impressive 2016 En Numeros Vermells Priorat DOQ, which is a white wine made from the Pedro Ximenez grape that is normally used to make Sherry.

2005 Cameron Pinot Noir Abbey Ridge (Oregon) – Another data point that Cameron is at the very front edge of domestic pinot noir. The nose is absolutely gorgeous, very floral and bursting with a cornucopia of sweet fruit. The body is rich but extraordinarily balanced and dancing light on its feet. The acid is lively and the pepper is sharp, while the cherries and cranberries burst with juiciness and richness. There are slightly bitter flower petals and a lot of Rose water. Absolutely fantastic wine sitting in a great place in its evolution. I can’t stop drinking this. 95 points. Value: A.

Backstory: Cameron’s Abbey Ridge means a few things to me. First, right now it’s the best pinot noir I’ve ever had. Second,I’ve had the 2000, 2002, 2003, 2005 and 2010 vintages in the last year and they’ve been proof that high quality pinot benefits from extended aging. And third, they’re incredibly hard to find, so for a wine hunter/chaser like myself there’s an extra thrill earned by simply finding a bottle, especially older vintages. At the moment this is my favorite winery.

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2007 DeLille Cellars Harrison Hill (Washington) – Smelling beautifully these days, offering aromas of cow blood, high toned cherries, red plums, soy sauce, graphite, smoke and a not insignificant amount of heat. The body holds an upright stature, it’s full bodied but the acid is strong and keeps it from becoming cloying. The alcohol is a bit hot here as well, though the tannic structure is gorgeous. The flavors are Earthy with a lot of iodine, graphite, smoke, garrigue, lavender, black plums, crushed blackberries and a lot of slate-y minerality. This is still a gorgeous, complex wine, but it was better a few years ago. The heat, which wasn’t there three years ago, tells me it’s starting to decline. I’d say drink up remaining bottles soon.  93 points. Value: B

Backstory: Delille’s Harrison Hill is the first great wine I ever had. For many years I would buy two of each vintage, age them 5-8 years before opening the first, and have one per year on my birthday. I still do this, except I stopped buy them in 2011 when the price shot up to $90 and I found myself gravitating away from Bordeaux-style blends. It may not be my favorite wine anymore, but it’s no less special.

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2011 Domaine William Fèvre Chablis 1er Cru Montée de Tonnerre (France) – Right from the uncorking this thing bursts with energy. The nose is spectacular, offering incredibly pure limestone, lemon and lime zest, chalkiness, parsley, mushroom funk, daisies and dandelions, and sea mist. The body is lush but offers great cut with impeccably balanced acid that zigs and zags with nervous energy and verve. This is why you drink Chablis, it makes life come to life. The abundant citrus is all sorts of zest and pithy goodness. The sea is very prevalent as are the bitter greens. It finishes with a really nice, modest sweetness that doesn’t overwhelm the nervous acid. An amazing achievement considering the vintage, it’s drinking exceptionally well right now. 94 points. Value: A

Backstory: My favorite white wine, pound-for-pound, is Montee de Tonnerre chardonnay from Chablis. My favorite Montee de Tonnerre is made by William Fevre. I’ve finally figured out that extended aging of Chablis tends to lesson the nervous edge and wily verve that draws me to Chablis, and now I know how to maximize my Fevre investments. This 2011 was the final data point in that research project.

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2010 Soos Creek Ciel du Cheval Vineyard (Washington) – Classic Red Mountain wine. The expressive nose offers scorched Earth, loads of graphite, a little cola, orange rind, cocoa and high toned cherries. The full body offers fine, dusty tannins that are developing some polish as they get close to full integration. The acidity is bright and plays off the barely sweet red and black fruit, which is led by cherries, plums and pomegranate. There’s a lot of graphite, some saline and just a bit of smoke and mushroom. This is drinking nicely right now, I get the feeling it’s just starting to emerge of a long slumber. It has the tannic backbone and acid to go for at least a few more years, though I’m not sure the concentration will hold pace. An impressive 2010 that winemaker David Larson told me “was a challenging vintage and required all of my skills to make.” 92 points. Value: A

Backstory: Soos Creek is one of the very best values in America wine, especially for someone with a cellar and some patience. Many of their wines are sourced from  the upper pantheon Washington vineyards, yet none go for more than $45. Comparable, bigger name wineries that source from the same vineyards are often priced at least $15 if $20 higher, if not double the price. They’re also built to benefit from short to medium term cellaring, a solid 3-8 years post-release from my experience, and so if patience is exercised, not only is the wine spectacular, but for people like me who appreciate value there is an added bonus.

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2009 Waters Syrah Forgotten Hills (Washington) – Opulent unami nose of bacon fat, venison jerky, saline, hickory smoke and green pepper. No real fruit to speak of and it’s nothing worse for the wear. The palate is medium plus in stature with fully integrated and polished tannins and well balanced, but quite prevalent, acid. Again, there’s little fruit here with really just hints of cherries, crushed blackberries and boysenberries. It’s the savory notes that speak the loudest: pork belly, venison blood, general iodine, saline, hickory smoke, thyme and soy sauce. What a masterclass in New World syrah. 94 points. Value: A

Backstory: the 2007 vintage of this wine was my gateway to savory syrahs. I know for most that gateway is the Rhone Valley, but growing up in Seattle I owe Waters for that lesson. This 2009 was the first time I was able to revisit Waters’ wine and it brought back memories of that epiphany many years ago.

2011 Avennia Gravura (Washington) – This is in an interesting stage in its evolution. From the get-go, the tannins seem advanced in their textual integration. However, on the palate they are still binding some flavors up tight. The nose is a bit quiet, but has nice cherry, raspberry, wet dirt, black pepper, and orange zest aromas. The body is medium in weight with dense but polished tannins, juicy acidity and nearly integrated alcohol (just a slight bite). The palate offers cherries, blueberries and black plums along with a lot of graphite, some iodine and smoke. Overall a nicely-executed and satisfying wine, but fairly straightforward and uninspiring. This has a liveliness now that will fade with time, and I’m not convinced that it’ll be replaced by anything more compelling, so I’m drinking my stash in the next year or two. 91 points. Value: C-

Backstory: When Avennia came onto the seen I got excited because its winemaker came from Delille Cellars. I immediately started buying half a case a year to lay down and recently I’ve begun to test them out. Their syrahs are very, very good. This Gravura, a Bordeaux Blend, was a little underwhelming, but given the rough vintage it was enough to satiate my Avennia craving for another few months until the syrahs in my cellar start emerging from their developmental stage.

2016 En Numeros Vermells Priorat DOQ (Spain) – Coolest. Nose. Ever. Sophisticated as shit movie theater buttered popcorn, honeyed hay, flannel/linen and balsamic reduction. The palate is lush, oh-so-smooth and super glycerin-y without being heavy at all. There is no waxiness to this whatsoever. It has definite sherry qualities, but is entirely dry. There is sweet cream, Jelly Belly buttered popcorn flavor and lemon curd, along with sweet grapefruit and a ton of pear nectar. This is a weirdly bold wine with a ton of subtly, it’s wholly captivating. 94 points. Value: A

Backstory: A local retailer near me, Chain Bridge Cellars, introduced me to Silvia Puig’s En Numeros Vermells side project (executed in her garage) a few years back, and I’ve been a dedicated fan ever since. Each year the importer pours the wines and I enjoy tasting with him. This year he introduced a new white made from the Pedro Ximinez grape, which is used to make Sherry, and I was instantly captivated. It’s a wild experience and I took several bottles home. I’m not sure it’s going to benefit from any aging, but I don’t care because it’s that good right now.

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2012 Cameron Blanc Clos Electrique (Oregon) – Just, and entirely, gorgeous wine. The nose has high toned honeysuckle, bruised apples and pears, dried apricots, Starfruit, vanilla and petrol. The body is in perfect balance. It is medium bodied with super bright, but not hurtful, acid. It offers reams of slate, mint, lime and funky goodness. There is a good dose of Mandarin orange that offers nice sweetness, and from the oak influence there emerges a nice amount of cantaloupe, Golden Raisin and yellow plum, while parsley and saline provide stabilizing undercurrents. This is all good, all the time, now and over the next five to ten years. 95 points. Value: A

Backstory: Back to Cameron. I said above their Abbey Ridge is my favorite pinot noir. Their Clos Eletrique blanc is giving Montee de Tonnerre a run for it’s status as my favorite chardonnay. I’ve many debates with winemakers about whether it’s worthwhile to age chardonnay, and as I find my footing with aging Chablis I’m going through the same process with Cameron’s various chardonnays, which I’ve been stocking up on. This 2012 was really great when I had it last month, and I’m at odds with myself over how long to hold my remaining stash of the vintage. I’ll end up metering it out just to see, but that means exercising serious restraint.

2014 Drouhin Oregon Roserock Chardonnay (Oregon) – A generally pleasant and agreeable chardonnay, but a bit forgettable. It has evidence of oak on the nose and palate, and in the structure, but it doesn’t hide nice tropical and citrus fruits and standard chardonnay field notes. Solid and well made, but it won’t knock any socks off. Drinking nicely right now, the acid is solid but isn’t sufficient to suggest longer-term cellaring. 90 points. Value: C

Backstory: when this wine came out there was a rash of positive reviews in the professional wine media and blogosphere. I didn’t exactly rush out to find a bottle, but I kept my eyes open. While a solid wine, it just didn’t speak to me like it apparently did to many others. A good reminder that you shouldn’t put too much credence in others’ opinions when the topic is something as subjective as wine.

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2013 Bodegas El Nido Jumilla Clio (Spain) – Big briary nose: tons of black and blue fruit and barrel notes on this one. Crushed blackberries, blueberries, boysenberries, sweet vanilla, toasted oak, baking spice and licorice. The full, lush body has nicely integrated chewy tannin and sufficient acid to balance the sweet fruit. There’s big alcohol on this one that is evidenced not in bite, but body, so it doesn’t detract. The palate offers a ton of black plum, blackberry, licorice, black pepper, graphite and cinnamon. I enjoyed this straight out of the bottle and over time, it’s ready to go now. Too big a wine for me on most days, but when I want a big, bold and beautiful wine this is near the top of my list. 93 points. Value: B

Backstory: the review has the critical piece: when I want a big, bold and beautiful wine the Clio is near the top of my list. I had a 2006 El Nido (non-Clio) a few years back, which is their ~$125 flagship wine, and found it incredibly disappointing. It’s made by a very famous and respect Australian winemaker and it tasted like an Australian wine made from Spanish grapes, which to me was a real sin. The Clio doesn’t make this mistake, it’s entirely a big Spanish wine, and I love it for its authenticity. The Clio usually benefits from a few years of bottle aging, but more than that and it loses it’s most appealing asset: it’s outlandish youthful vigor.

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2012 Descendientes de José Palacios Bierzo Villa de Corullon (Spain) – Holy florals, Batman! The nose is a flower store, a bit of everything, with crushed strawberries, cranberries, Sweet Tarts and tar. The body is medium in weight with juicy acidity. The fruit is a bit darker here, with overripe strawberries, cherries and boysenberries. There’s lovely violets and rose, along with creamsicle, although over time the flowers fade as cola and chocolate emerge. I really like this, and will be very interested to follow it over the next five-ish years. 93 points. Value: B

Backstory: I was really taken with the comeback of the mencia grape in Spain when I was introduced to it through Palacio’s entry-level bottle, the Petalos. The Corullon is the next step up in that winery’s line of mencia bottlings and for $20 bucks more than the Petalos you get something really very special with many pretty notes.

2010 DeLille Cellars Syrah Doyenne Grand Ciel Vineyard (Washington) – Decanted for two hours, seems like a good first move at this stage with the wine. The nose is dominated by French oak, and offers macerated blackberries, black plums, iodine and lightly tanned tobacco leaf as secondary notes. The body is full and the acid is juicy. The tannin structure offers really well formed and grippy tannins that integrate seamlessly and avoid locking up the wine. The texture reminds me of a Cote Rotie in a very good way, it’s the highlight of the wine. Concentration is a bit lacking, though that’s a vintage liability. This is fruit forward with raspberries, strawberries and cherries, but offers substantial baking spices as well. Beautifully crafted wine from a tough vintage, this is enjoyable stuff. Modest depth and concentration hold it back from greatness. 92 points. Value: C

Backstory: I acquired this as part of a wine club shipment from a number of years back. The most appropriate thing I can say about it is that it’s an excellent example of the fruit-forward stylistic type of Washington syrah. Unlike the Waters mentioned above, it doesn’t offer savoriness as it’s focus is on the fruit and baking spice.

2012 Crowley Pinot Noir Entre Nous (Oregon) – Nose: quite reticent, even after two hours in the decanter. Dark cherry, plum, cola wet soil and graphite. The body is full with fully integrated polished, lush tannins that is evidence of the warm vintage. The acid finds a nice stride but is secondary. Concentration is a big lacking here, but the flavors include slightly tart cherries, blood orange, sassafras bark, and mild black pepper. It finishes a bit tart. Nice profile but the thin concentration really holds it back. A bit disappointing. 89 points. Value: C-

Backstory: essentially the same as the Drouhin chardonnay mentioned above. A few people in the blogosphere freaked out about this and I found it disappointing in that in a vintage known for full flavor and density it lacked concentration.

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2010 Cameron Pinot Noir Abbey Ridge (Oregon) – Really benefits from a 2+ hour decant. The nose is classic Cameron Abbey Ridge: brooding red fruits, blood orange, wet dirt, underbrush, highly perfumed rose and petrol. The body is medium in weight and stature, offering bright acidity and light, chewy tannin. The fruit is just slightly sweet, but offers nice tartness: raspberry, cranberry, cherry, huckleberry and plum. There’s thyme-infused rose water, sweet rosemary, smoke and a big spike of orange zest in the mid palate. Not my favorite vintage, but still an upper pantheon pinot noir. This may have a bit more to unpack with another five-ten years, but it’s drinking nicely right now. 92 points. Value: C-

Backstory: I’ve said enough about Cameron already, but I’ll just point out that I drank this too young. It’s a very important piece of data in my research on how long to age Abbey Ridge pinot.

2013 J. Bookwalter Conflict Conner Lee Vineyard (Washington) – Better with some serious decanting. The lovely nose offers crushed cherries and blackberries, loads of dark plum, cassis, black currants and cracked pepper. The body is full with thick, lush tannin and good grip. The acid is bright while the alcohol is still integrating. There’s a solid amount of graphite to go with loads of plum and cherries and strong undercurrents of black tea, cocoa and cinnamon and a saline finish. A solidly enjoyable wine now, it stands to improve over the next five years. 90 points. Value: D

Backstory: this was a gift from a family member. Bookwalter is know for big wines, and when I want that, as noted above, I go for something more like the Clio. That said, the Conflict was very enjoyable with some decanting and it didn’t last long. Ideally, I think, this is consumed between 2019 and 2022.

2013 Abeja Cabernet Sauvignon Columbia Valley (Washington) – A bit muted at the moment, the deliciously dark nose offers jammy blackberries, bark, stewed plums, licorice, spearmint and smoke. The body is full with dense, slightly grainy tannins and good acid frame a dense core of black and blue fruits, licorice, wet soil, pencil lead, burnt orange rind and mocha. The alcohol is well integrated, this has great balance. Very pleasing now, give it five years to unwind and it will be fantastic. 92 points. Value: B

Background: another family gift, it had been years since I’d had an Abeja cabernet. I was taken by Abeja years ago but as I developed a taste for wines typically more restrained that Washington cabernets I strayed. While this 2013 doesn’t have me begging to get back into Abeja’s good graces, I wouldn’t be surprised if I didn’t start buying a few in the years ahead. It’s very, very tasty stuff with really nice complexity and depth.

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Sun setting over Mutiny Bay, Washington (I’m enjoying my summer vacation)

A GRAND American Riesling Tasting

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Just some of the bottles we sampled. No oranges were harmed in this tasting.

Major reasons for the miserable commercial demand for riesling in the United States include, but are not limited to, the following myths:

  1. Riesling is too sweet. Sorry, but this is just a lazy myth. Yes, many Rieslings, especially those under the $10 price point, are stupid sweet. However, most riesling isn’t too sweet; you just have to try more of it.
  2. Riesling is sweet: Also a big myth, though slightly less lazy. Yes, much of the riesling on America’s shelves are sweet, but not all. It’s not a lazy myth because the labeling on many rieslings doesn’t indicate the sweetness of the wine, which is an industry fault. Still, shop at a dedicated wine store and the staff will be able to guide you to your desired level of residual sugar. Also, think you don’t like sweet riesling? Try it with foods that are rich, savory and salty to experience the brilliance of a little residual sugar in your wine; there’s hardly a better food-wine pairing.
  3. Riesling only pairs with vegetables and white protein. Ha, don’t even. Riesling is the most versatile food pairing grape alive and goes well with other colors of protein. Don’t believe me? Well-aged dry riesling hits gets rich and intensely nutty, and is a great pairing with red meat. Further, unless you’re eating a naked steak, it’s the sauce on the meat that should be the target of the wine pairing, and there’s a riesling for any sauce likely to be poured over red meat.

If you believe one of these myths, it’s time to prove yourself wrong. Keep reading. If you love riesling, keep reading. If you love wine, yeah, keep reading.

“Epic” is an appropriate way to describe our grand American riesling tasting. It all started when my friend and Terroirist blogger Isaac Baker submitted over Twitter that Smith-Madrone Winery in California makes the best American riesling. It’s a legitimate candidate for the title. I’ve reviewed the wine (and the winery) myself and I couldn’t think of a better suggestion, which got us thinking: how well do we really know domestic riesling? The answer was something like ‘not well enough to make that judgment,’ so we decided to become better informed. What followed was a month-long effort to collect samples from around the country that netted thirty-four bottles from eighteen of the best riesling producers we knew. Last weekend, we tried them all.

Before I get to the wine and the tasting, let’s discuss the status of riesling in America for a moment. The major headline is that demand for riesling is weak. According to the 2017 State of the Wine Industry report from Silicon Valley Bank (an important annual industry study), “demand for premium wine has been healthy, especially for cabernet, red blends, chardonnay, sauvignon blanc, pinot grigio and pinot noir. Merlot, syrah, riesling and zinfandel haven’t seen the same degree of consumer demand, and the varietals have struggled.” A 2015 Nielson report showed that riesling was the only grape varietal with negative growth in the US market in terms of volume sold. Early this year, Wine Folly predicted that riesling “will tank,” arguing that while it “has had its chances [with] several waves of interest between 2011 – 2015 [and has] plateaued,” “you only get so many chances. It’s not you Riesling, it’s us.” I could list more statistics, but they all tell the same basic story: Americans don’t buy much riesling.

The ‘it’s not you, it’s us’ line sums up my diagnoses of America’s perception of riesling. Riesling is a wine geek’s wine. It’ reflects terroir like no other, and since it does well in many, many climates and is therefore grown all around the world, we can experience a lot of different terroir through the lens of one grape. Further, it ranges from bone dry to very sweet, which makes it even more diverse a grape to explore, especially with food (wine pairing: one of the most passionate interests of a wine geek). These factors combine to make riesling exponentially interesting to people who like to pay close attention to their wine, which makes riesling’s commercial struggles all the more frustrating because it puts an artificial ceiling the amount of production by providing a lot of financial disincentive for wineries to produce the grape, let alone put a lot of effort into it.

It is fitting that Smith-Madrone was the inspiration of the tasting as its owner and winemaker, Stu Smith, is an outspoken proponent of the grape who makes it despite the difficulty he has selling it because he believes so fundamentally in its importance and worth as a varietal that speaks to the very best of what wine can be. In addition to myself and Isaac, our tasting panel included other riesling lovers who we felt would understand why we were doing the tasting and enjoy the experience: Washington Post wine writer Dave McIntrye, wine consultant Alison Smith Marriot, and two serious oenophiles/drinking buddies of mine. And then we had a special guest…Stu Smith of Smith-Madrone Winery!

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The man, the myth, the legend. Stu Smith.

Stu and his wife, Julie Ann, were in town for their daughter Charlotte’s high school graduation (congratulations Charlotte!) and were able to swing by about fifteen wines into the tasting, though Stu was able to catch up to the group by the end. It was a real pleasure to have Stu and Julie Ann join us in an effort to further appreciation of the grape Stu seems to feel the most passionate about. The wines were tasted blind in a randomized order and, knowing that his wine was the impetus for the tasting, the unveiling of his wine as a consensus top-3 pick came as what I would imagine was at least a little relief, though who were any of us, really, to pass judgment on the wine of a Napa icon? More than anything, I (and I imagine the rest of the group) am just thankful Stu continues to prioritize a high quality riesling given the lowly demand for it.

The thirty-four wineries represented were scattered across California, New York, Oregon and Washington State, America’s four largest wine producing states, and came from many of the most respected riesling producers in the country. The largest contingent came from New York, the region whose reputation is probably most dominated by riesling. Though Washington used be known as the riesling state and still produces more of the grape than New York, it’s far less a signature grape for Washington than it is for New York at this point. The New York passion for riesling is evident in the wine we sampled, and here I need to make a special shout out to Peter Vetsch of pop & pour wine blog and Dan Mitchell of Fox Run Vineyards for hooking us up with so many good Upstate wines.

The wines ranged from syrupy sweet to bone dry, and, despite the reputable producers on-hand, we were surprised to find no dud among the cohort (though each of the tasters found at least one wine they didn’t care for), which spoke to the effort the wineries put into the commercially struggling varietal. If you’re a riesling lover, and/or want to ensure America keeps making high quality riesling, and/or want to become a riesling lover, buy from those on the list below.

These wines form a great shopping list for another reason as well: a major takeaway from the tasting was that while the riesling market isn’t doing well in America, America’s rieslings are in very good shape quality-wise. We threw a few imported ringers into the blind tasting from highly respected German, Australian and French producers, and while they tended to show up among many of the tasters’ favorites, none stood out as clearly better than the American wines nor did any of them dominate the discussion of consensus favorites. This truly was a Tour de Force showing from the red, white and blue.

With so many wines to taste, I didn’t score them beyond rating each one on a 1 to 5 star (asterisk) scale. I’m including my tasting notes below, but want to call out seven wines that really captured my attention. Washington’s Rasa Vineyards gave me the only five-star wine of the evening with their 2013 The Composer. This gorgeous wine has enough bottle age on it to have developed some secondary notes, but it has the legs to develop tertiary ones as well. Their 2011 The Lyricist was also fantastic, receiving 4.5 stars (the equivalent of “****(*)” as you’ll find below). Close behind Rasa was Stu Smith’s 2014 Smith-Madrone, the inspiration for this event. Fellow Californian Chateau Montelena’s 2015 Potter Valley is a real achievement as well. Chehalem’s 2014 Corral Creek Vineyard offered the best schnoz of the lineup and some very diverse flavors, and was my favorite of the offerings from Oregon. Fox Run’s 2012 Lake Dana, with its perfect play between fruit, Earth and Spice, and Hermann J. Wiemer 2014’s HJW, with its awesome profile of spice, sweet fruit and bitter banana, demonstrated that New York is producing exceptional riesling.

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A major, major thanks to the wineries who supplied the samples, not only for making this event possible but for taking a risk by producing them in the first place. There isn’t a riesling in this lineup that I would discourage anyone from trying. We were quite lucky to have had this experience, and I hope it lights a fire under a few butts to dive deep into American riesling. For more coverage of the tasting, and likely some differing thoughts on the wines, head over to Terroirist and check out what Isaac Baker has to say.

2015 Penner-Ash Hyland Vineyard Old Vine (OR) – a little soapy and reticent on the nose, with grass and lime zest emerging. The body is lean with cutting acidity. Quitely limey with good minerality, it gets a little creamy with air and adds marzipan and dried fruit. ***

2015 Charles & Charles Den Hoed Vineyard (WA) – the nose is still a bit musty and tropical, quite pleasant. It offers a voluptuous structure with big lime, stone fruits, tropics and hay. ***

2015 Anthony Road Dry Riesling (NY) – class riesling nose with a leaner, crisp body that delivers peach, apricot, Meyer lemon, white pepper and parsnips with a mouth-drying acid streak. ****

2015 Sleight of Hand The Magician (WA) – rich, tropical nose with a very interesting palate offering savory saline, stone fruits, banana and a little effervescence. ***

2015 Chehalem Three Vineyard (OR) – very mild, young nose waiting to offer more with age. The palate is round and ripe with white pepper, lemon curd, petroleum, apricots and a lot of grass. This one offers real depth and a lot to consider. ****

2015 Red Newt Cellars Knoll (NY) – gorgeous nose dominated by grass cuttings and honeyed fruit. The palate is driven by big acid and is quite dry. The flavors are dominated by lemon pith, celery seed, cilantro, lemon and strong pepper. One of the more unusual profiles, it really spoke to me. ****

2013 Rasa The Composer (WA) – classic tennis ball canister gas on the nose with an amazing palate offering sweet fruit, almond paste, petrol, vanilla and honey. Tastes like a sunset. ******

2013 Red Newt Cellars Tango Oaks (NY) – a truly biting nose that tingles the nostrils with high toned citrus and pepper. The palate is lean and quite crisp, balanced by vegetal flavors. ***

2014 Chehelam Wind Ridge Block (OR) – clean nose with little to write home about, but the palate really delivers with parsley, lime, root vegetables and under ripe stone fruit. It’s a very strange profile that simply works. ****

2014 Smith-Madrone Riesling (CA) – reticent nose but a compelling palate with streaky flint and slate, dandelion and orange zest held together by perfectly balanced acid and weight. It just needs more time in the cellar to bring that nose to bear and fully develop. ****(*)

2014 Lauren Ashton Riesling (WA) – the nose is dominated by peaches, but also offers marzipan and papaya and, if you close your eyes real tight, a little smoky. The palate is almost overwhelmed by guava and papaya, but thankfully has some white pepper kick and really nicely balanced acid. ****

2014 Fox Run/Anthony Road/Red Newt Tierce (NY) – the nose is all about fresh asphalt as the palate offers nice florals, bitter greens and under ripe stone fruit. The acid is nice but it seems just a little watery, which holds back the concentration. ***

2016 Trisaetum Wichmann Dundee semi-dry (OR) – very honeyed nose with stewed peaches and apricots, parsley, and vanilla bean custard building out the  palate. Very cool ****

2012 Fox Run Lake Dana (NY) – a lot of pine and baking spice on the nose, which made me suspect Washington. The body is full, ripe and delivers perfect acid. Flavors include sweet pineapple, mango and arugula. My favorite wine of the day from New York ****(*)

2014 Boundary Breaks Lot 239 (NY) – not a lot on the nose at the moment but time will rectify that. The palate has lime sorbet, green pepper, apricot and petrol. A solid ****.

2016 Trisaetum Wichmann Dundee Dry (OR) – young nose with a bit of lemon zest and pine, the palate is a little watery but has nice lime zest, red pepper flake spice and apricot. I think it needs some time. ***(*)

2015 Eroica (Chateau Ste. Michelle) (WA) – the nose has honeyed citrus fruit and Evergreen, while the body has a lot of pine, apricot nectar, quince and coriander. ****

2014 Hermann J. Wiemer Magdalena (NY) – this big nose is dominated by almods, while the palate delivers big quantities pineapple, banana and pine. The acid is on-point here, but I think this would benefit from a few more years of rest. ***(*)

2015 Anthony Road Semi Dry Riesling (NY) – not much on the nose, but the palate is round and lush with vanilla, banana cream pie and lemon-lime soda. ***

2011 Rasa The Lyracist (WA) – the nose offers quintessential NW pine, tennis ball canister gas and starfruit. The palate has no hard edges but maintains great acidity, and delivers honeyed starfruit, crystalized lime zest, slate and just a little bit of fat. ****(*)

2014 Red Newt Cellars The Big H (NY) – the nose is a little fungal, in a good way, musty and tropical. The palate offers lime, vanilla and under ripe peach. ***

2014 Hermann J. Wiemer HJW (NY) – the young nose is still reticent, while the palate delights with Asian 5 Spice, restrained stone fruits and banana leaves. The acid is in great balance and this clearly has a long and prosperous life ahead of itself. ****(*)

2014 Chehalem Corral Creek Vineyard (OR) – The nose is almost plummy, offering honeysuckle and a jasmine tea aroma. Might be my favorite nose of the lineup. The palate is also floral and honeyed, offering additional pepperiness and lychee. Really cool stuff. ****(*)

2014 Fox Run Vineyards Dry Riesling (NY) – a funky and engaging nose, the palate is all about lime sorbet but gets a little diversification with pepper. ***

2016 Trisaeutum Coast Range (OR) – a must nose with an earthy palate that is zesty and creamy. I love the complementary play between acid-driven zest and creaminess, as well as the real sense of place this one has. It’s not a typical riesling. ****

2016 Tirsaeutum Ribbon Ridge (OR) – the nose gave off what I can only describe as a fenugreek aroma, whle the palate was round and full with barely enough acid to keep it on keel. The dominate flavor was Sprite. **

2014 Boundary Breaks Lot 198 (NY) – Unfortunately not much to write home about with this one, the main element I wrote down here was “sweet.” *

2015 Chateau Montelena Potter Valley (CA) – the nose is still in hiding, but the palate is zesty, spicy and high toned with big limestone and even some mint. Very good. ****(*)

2015 Galerie Terracea Spring Mountain District (CA) – a honeyed and flora nose, quite pleasant, with a big but well integrated palate featuring banana cream and big zestiness. ***

2015 Penner-Ash Willamette Valley (OR) – a lot of sweet cream on the nose with Meyer lemon and Key lime. The palate offers lovely honeyed orange blossom, ginger, graham cracker and a lot of texture. Enjoyable but not particularly layered. ***(*)

2016 Long Shadows Nine Hats (WA) – not a lot on the nose yet (clearly young), but the palate had exceptional acidity with a little saline, sweet citrus, flowers and spice. If the nose is awoken, this will be lovely. ***

2015 Long Shadows Poet’s Leap (WA) – pine and lime on the nose, with big lime zest, orange, petrol and banana on the palate. ***

 

When (and Why) You Should Attend a Winemaker Dinner

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A Gran Moraine vineyard in Yamhill-Carlton (Picture: oregonlive.com)

Winemaker dinners, usually advertised for $100-plus per person, are a thing of luxury and, unless you live in a decently sized wine market, a bit of a rarity. I’ve stayed away from them because they seem like a rip off. I imagined the wine pours, food portions, and the winemaker’s ability to give one-on-one attention are all limited, which means I’m likely to feel like I’m neither getting my money’s worth nor like I’m able to really familiarize myself with the wine. A recent experience, however, has shown me not to assume that this is the case.

The basic anatomy of a winemaker dinner is one in which people meet at a nice restaurant for a prix fixe menu paired with wines from a specific winemaker or winery (or wineries). The winemaker will introduce themselves, their winery and their approach, and then offer stories behind each wine as it is poured and share their own impressions of it. The dinners can vary in size and quality, but are generally scoped either to introduce wine to a market or, in some cases, to a targeted selection of people in the industry.

A few months back I interviewed Shane Moore, the winemaker a Zena Crown and Gran Moraine wineries, both in Oregon, about his prior experience making wine in Israel. Shane and I stayed in touch and when he was in town last week invited me to attend a small winemaker dinner. I had enjoyed my conversations with Shane and wanted to meet him in person; the chance to drink his wines, with him, was only going to be a bonus.

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Shane Moore (Picture: granmoraine.com)

The gathering was small, maybe fifteen people, most of whom were attached to the industry in one way or another. The atmosphere was collegial and anything but snobby. Our meal was three courses, though we had five wines (plus a bonus Champagne before we sat down). Shane regaled us with anecdotes about each wine and explained his approach and style. It became clear, immediately, that he has a passion for what he does that is matched by his knowledge, which is saying quite a bit. He dropped some Shaneism on the group when he told us that wine tasted best under at least one of three conditions: at the winery, when it’s labeled, and when drinking it with the winemaker. He proved the last one; drinking with the winemaker isn’t merely a bonus, as I had thought it would be, but the selling point for winemaker dinners.

As we placed our orders, Gran Moraine’s 2016 rose was poured. Shane told us his rose inspirations are Domaine Tempier in Bandol and Domaine Ott in Provence, and although his rose is made from a grape not found in either of those wines – pinot noir – the inspirations were demonstrated in the wine. The nose was especially boisterous, pretty and layered. I detected honeydew, kumquat, strawberries, and cherries along with nice florals. The palate was full but very crisp, a nice balance that comes from the use of breathable plastic bins for fermentation that allow extra oxygen to get into the fermenting wine to build up its body. It has nice astringency and just a bit of tannin, which isn’t surprising giving how it’s made: the grapes are picked early, most of it made into pinot blanc, and then blended with carbonic macerated pinot noir. It’s a grand slam at $29.

We then moved on to the 2014 Gran Moraine Yamhill-Carlton chardonnay, which might have been the wine of the night for me. Everything about it is classic Yamhill-Carlton chardonnay, which means it could double as a Montrachet in a blind tasting if it weren’t for its zing and salinity. This one had a gorgeous nose of white pepper, toasted hazelnuts and sesame, starfruit, apricot, green apples and some coconut barrel notes. The body is silky and full, evidence of battonage. It had a nice dose of chalk, sweet lemon, salty pretzel, stone fruits, a mint/basil note along with nice saline and great flintiness. The pH is quite basic at around 3.1, and the grapes were picked in the 21-22 brix range. Primary fermentation was all native and took “forever.” “One of the most stressful wines I’ve ever made,” Shane said. “It spent a lot of time without sulfur…” he said as his voice trailed off and his eyes rolled in the back of his head, remembering those nerve-racking times. Malolactic fermentation was partial. It’s an automatic selection at $45.

As the main course arrived we moved to the 2013 Gran Moraine Yamhill-Carlton pinot noir. Shane called Yamhill-Carlton pinot an ephemeral style that he compared to Burgundy’s Volnay. Around 30% used on this was French, and the barrel aging went for approximately 9 months. This treatment gives the wine good structure but doesn’t overwhelm the more delicate elements of the profile. The nose offers really nice fruit and not an unnoticeable amount of funk reminiscent of wet soil, underbrush and fungus. It finishes with some nice pepper. The fruit on the palate is dark and just a little tart, showing Acai, huckleberries and cherries. Shane said they picked at just the right time to keep any greenness from working its way into the profile. Bravo. It also offers a classy amount of Asian Five Spice. There’s a good tannic backbone to this one but it’s balanced and smooth. Among the best $45 Oregon pinot noir I’ve had, and certainly the most developed of the 2013s at this price point that I’ve had to date.

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Zena Crown Vineyard (Picture: zenacrown.com)

We then transitioned to the Zena Crown label as they poured the 2013 Sum from Eola-Amity. I think it was around this time that Shane, Isaac Baker of terroirist.com and I discussed the 2013 Oregon vintage. The press raved about the 2012s, a warm vintage that produced very approachable and sweet pinots throughout Oregon’s AVAs while the cooler 2013 received a more tepid reception. I made the comment that I bought very few 2012s and was much happier, and more invested in, 2013 because the cooler vintage produced less hedonism on the body and structure of the wines and kept the brix in check so the acid could highlight the secondary and tertiary flavors. Shane wasn’t a fan of 2012 either, dismissing the wines from that vintage as “singular.”

The Sum’s nose was incredibly deep. Acai gave way to rhubarb, and then to chocolate covered raspberries and macerated cherries. There is also smoke, sweet tobacco, cinnamon and nutmeg. It took me a while before I was ready to remove my nose from the glass. The body is led by polished tannins, but is well balanced with good acidity. This one was 40% whole cluster using grapes grown in (volcanic) Basalt soils. The name “Sum” is meant to convey that every little thing, from cradle to grave, matters. The palate was as deep and complex as the body, and it’s $75 price tag is reasonable for the quality and complexity it offers. I’ve had a good amount of expensive Oregon pinot noir that isn’t nearly as good as this one.

We finished with Zena Crown’s top-shelf wine, the 2013 Slope, which retails for $100. Shane called this one his “winter wine” for it’s serious presence (each of the four Zena Crown wines represents a different season for Shane), and because it has no “elbows.” The nose is heavy and serious; I wrote down “serious flowers, serious species and serious fruit” when smelling it. It had some nice graphite, Herbs de Provence, and smoked meat as well. The palate? Also “serious.” Cherries, green herbs, graphite, iodine, saline, rose and lavender. I mentioned that I noted cola as well, though Shane kind of shook his head “no.” I’m sticking with it. Mark it cola, Dude. This one will be long lived, and is among the two or three most complete and complex 2013s I’ve had from Oregon. If stocking up on Zena Crown, I’d buy the Sum to have over the next five years, and the Slope for the following ten.

Shane was right – drinking with the winemaker makes the wine better. If this post hasn’t made it clear, he’s a very engaging guy, and loves talking about his craft. The banter was as fun as the wine, and the combination made the night. It seems to me this is why you go to winemaker dinners. I imagine the more engaging and fun the winemaker, the more engaging and fun the dinner. So long as the wine can keep up, you’re going to have a good time. If you come across one of these dinners and are wondering whether to go, my suggestion is do some research into the winemaker and decide based on what you find.

Oregon Star Winemaker: I made wine among the landmines

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Picture: One of Golan Heights Winery’s vineyards (credit: Israel 21c)

My wine-drinking buddy Isaac Baker of Terriorist recently published very positive reviews of an Oregon producer called Zena Crown Vineyard. Isaac is pretty conservative with his points and when I saw how many he gave to Zena Crown I knew I had to look into them. In doing so I learned that their wine maker, Shane Moore, spent time previously working at Israel’s Golan Heights Winery, and I had the thought that those are two very different places to make wine. I’ve lived and worked in Israel, having drank my way from the north to the south, and have written about wine’s history in that part of the world in depth. Israel’s wine industry is a star on the rise recently acknowledged by a cover story in Wine Enthusiast and one of the most interesting to visit and explore. As I thought about the wine I’ve enjoyed from Oregon and Israel, I began to wonder if making wine in Israel helped Shane make wine in Oregon, and so I decided to ask.

In sending an email requesting an interview with Shane I remembered a brief correspondence I had last year with Jeff Morgan, the winemaker and owner of Covenant Wine, which makes wine in both California and Israel, and so I asked him if he’d be open to talking about the same topic. The conversations with each were so great – and sufficiently different – that I’m going to break them up into two Good Vitis posts. For now I’m going to focus on Shane, and readers can look for the post on Jeff Morgan and Covenant Wines in the coming weeks.

My call with Shane started with the great story of how Shane landed at Golan Heights. He was working at a winery in Australia and found himself having brunch one day at the famously wild Ying Chow Chinese restaurant in Adelaide with some friends. Conversation drifted to the topic of the craziest places to make wine and the Golan Heights in Israel came up for debate. The Golan Heights was taken over by Israel in 1967 in a war with several Arab states and formally annexed by Israel in 1981. It constitutes the most northern part of Israel. Syria, it’s former owner, still lays claim to the land which remains checker boarded with fenced-in fields of landmines from wars past. It also happens to be beautifully mountainous and in the minds of many, mine included, Israel’s best area for wine grape growing.

Shane had never thought about making wine in the Golan but it peaked his interest because he “wanted a unique experience.” His friend Tom Stransky gave him the name of an Australian winemaker who was part of the team at Golan Heights Winery, one of the founding wineries of Israel’s wine industry and a world-leader in terms of technical advancement, who Shane called. Two months later Shane was in the Golan starting harvest…in July. Shane stayed through the end of the year leaving just after Christmas.

When he left for Israel Shane had it in his mind that he’d do a quick harvest in Israel and then hop to Europe and finish the harvest there. However, Israel is a country of many and significantly different microclimates and therefore for big wineries like Golan Heights that source from several of them, its harvests can be long. In 2010 the harvest began in July and went through November. This happened to be the warmest harvest on record up to that point. Shane never made it to Europe that year.

Shane had strong praise for his experience at Golan Heights. He called it one of, if not the most, modern wineries he’s worked at. The list includes Kendall-Jackson, considered one of the most advanced in California. One of the winery’s advancements that Shane says fellow winemakers don’t believe when he tells them is the large digital tank board at Golan Heights that he’s never seen elsewhere. What really blew Shane away, though, is how management ran the winery. The winemakers assemble at 5am every day to taste the wine and write up work orders for the winery workers who arrive at 7am and are handed their day’s tasks. Shane remarked that this management was reflective of the fact that everyone working at Golan Heights had gone through mandatory military service and has more self-discipline than the average winery professional. Because it improved efficiency and minimized mistakes, Shane now follows the same schedule and management style at Zena Crown as well as at Le Crema’s project in Oregon he is also running. Winemaking is logistical in nature, and of the eleven wineries where Shane has worked he says he learned the most at Golan Heights because of how meticulously it is run.

Golan Heights is a kosher winery, which means Shane, as a non-Jew, was limited in what he was able to do. In order to maintain a kosher certification, only Shabbat-observant Jews can be hands-on from the time the grapes are picked to when the bottles are sealed. Shane wasn’t able to touch the hoses or tanks, so he was given control over the in-house experimental winery that produced wine that wasn’t sold and therefore didn’t need kosher certification. He also served as their vintage winemaker, wrote work orders, kept things organized and spent a lot of time in the vineyards working with harvest parameters, though he didn’t call pick dates; so long as the grapes remained on the vine he could be as hands-on as needed. Over the six months that Shane was there he says his hands were never idle.

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Lake Ram, with Mount Hermon in the background, in the northeastern part of the Golan Heights (credit: “R. Ertov uploaded by his friend Asaf” on Wikipedia)

The Golan reminded him of growing fruit and producing wine in Washington State (which he has also done) because the climate and challenges are similar. Winemaking, as he pointed out, is pretty universal in terms of what a winemaker needs to do to produce a red or white wine, though “the devil is in the details.” As in Washington, water is relatively scarce in the Golan and that presented irrigation and vineyard difficulties. Likewise, both offer lots of long days of sunlight and moderate heat with significant cooling overnight. The difference, though, is that in October, when they’ve harvested in Washington, there’s still sunlight and photosynthesis going on in the Golan. He also made the humorous reference to the many acres of landmines that needed to be avoided (they’re fenced and well-marked, but still…) as an easily overcome “challenge.”

Challenges are aplenty in Israel, however, just like other parts of the world. Leaf roll has become a very real problem that threatens significant acreage. Because of the significant danger leaf roll presents – it’s fatal to vineyards where it really takes off – Golan Heights winery has its own nursery where it can work to mitigate the risks. Another challenge (which Jeff Morgan of Convenant Wines echoed) is finding high quality labor. Golan Heights makes a huge range of wine that retails from $10 on the low end to $300 on the high end, and to make wine commanding three figures hand picking and sorting is required, and in Israel it’s hard to find people who have the kind of experience needed to do that well just as California is reportedly on the precipice of its own labor shortage.

It is often observed, and in many different manifestations, that Israelis have their own way of doing things. One of the most critical to the wine industry is irrigation as Israel invented drip irrigation which is now agriculture’s – including the wine industry – standard around the world. While Shane didn’t point to any significant and unique similarities or differences between growing grapes and making wine in Oregon and Israel, it is significant that his time at Golan Heights has shaped how he runs his wineries today.

Shane was pretty animated over the phone as he told stories and answered my questions, and even though I’ve spent afternoons at countless Israeli wineries he invigorated my appetite for the occasional Israeli wine. For those who haven’t tried their wines, or have had one or two and weren’t blown away, I strong encourage you to seek a few out. My article from last summer, “Thirteen Israeli Wines That Will Change Your Worldview,” goes into depth on the history of winemaking in Israel and includes both a suggested wine route and reviews of thirteen wines that are relatively easily sourced in the United States. For the adventurous or bored wine drinker, Israel offers some very cool stuff. And after talking to Shane I’ll be looking for some Zena Crown as well.

 

 

The Best Reds, Whites & Values of 2016

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Picture credit: Punjabigraphics.com

It’s January 3rd, 2017 and as a wine blogger it is my formulaic obligation to put together a list of the best wines I consumed in 2016. This isn’t a top-100 list compiled by an established wine blogger. Rather, it is a relatively short list and the pool from which they came is limited to the wines I sought out myself. Hence, I feel confident recommending them seeing as I put my own money into them. Click on the wines to see where they’re available.

The Ten Best Red Wines

1. 2000 Cameron Abbey Ridge pinot noir. I’ve written already in these pages that this is the most memorable wine I’ve ever had, and probably the best as well. I’m probably cheating Cameron by not also including the 2003 Abbey Ridge, which was barely one notch below the 2000, in the list but I don’t want to be redundant, especially since neither is likely to be available outside private cellar purchases and auctions. Full tasting note.

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Abbey Ridge Vineyard (picture credit: cameronwines.com)

2. 2007 Arns Melanson Vineyard syrah. The 2007 Arns Melanson syrah from California fleeced a group of wine collectors all in a blind tasting I participated in. We had a good number of syrahs from around the world lined up and paper bagged and the only unanimous guess was that this was Northern Rhone. It was also perfectly aged. Pure bliss, a top-5 all time wine for me. I didn’t take notes but it would’ve received at least a 95, and I just found another one to stash away for an important occasion in 2017.

3. 2009 Reynvaan The Contender syrah. Savory goodness, and this vintage is still around to be gobbled up if you look hard enough for it. A few Washington wineries are producing syrahs that balance classic Northern Rhone notes with Washington State’s dark fruit, iodine and graphite added it, and Reynvaan is as good as any. Full tasting note.

4. 1998 Chateau de Beaucastel Chateanuneuf-du-Pape. Proof that good CdP improves with extended cellaring, this delivered the best of what you find across the full range of CdPs all in one profile as smooth as a baby’s bottom. I’ve seen this up for auction and suggest you track one down. Full tasting note.

5. 2010 Clendenen Family Vineyards Nebbiolo Bricco Buon Natale. I’m not an avid drinker of nebbiolo but this one has me wanting to try more. Impressively complex profile that hits on flavors and aromas from quince to Allspice to watermelon (seriously). Changing with each passing hour, it is an adventure that becomes increasingly engaging and enjoyable with each sip. The value on this one is out of this world, too.

6. 2001 E. Guigal Cote-Rotie Chateau d’Ampuis. I’ve listed two American savory syrahs above this one, but there’s no getting around the fact that older Guigal like this, the stuff done before the winery embraced the Parker profile, is as good a savory profile comes. Old World brilliance. Full tasting note.

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The Chateau d’Ampuis (picture credit: guigal.com)

7. 2013 Gramercy Cellars Cabernet Franc (wine club only). This was unbelievably good. It isn’t Chinon-styled funky cabernet franc, but it isn’t big fruit and no Earth California cabernet franc, either. It’s a nice tweener that was one of the more satisfying wines I had in 2016. Full tasting note.

8. 2012 Psagot Winery Cabernet Sauvignon. As many Israeli wine as I’ve had, and I’ve had more than a few, this wine was a revelation for me. I’ve found a lot of good and a lot of bad Israeli wines, and my complaint throughout is that the country’s wine industry still hasn’t developed a signature style that people want to seek out. This bottle from Psagot doesn’t solve this problem for me, but it provided the best counter argument yet that I should just shut up and enjoy what’s in the glass. This is world class cabernet and it won’t set you back much. Full tasting note.

9. 2011 Lauren Ashton Cabernet Sauvignon. From a difficult vintage this one far surpassed many Washington cabernets from better years. I ended my tasting note with “exactly what I hope for when I open a cabernet sauvignon from Washington.” This producer consistently turns out fantastic wines but this may be the best executed yet. Full tasting note.

10. 2009 Delille Cellars Harrison Hill. Always one of my very favorite wines, though this vintage didn’t blow me away (is still too young). Nevertheless, it still delivered on the best aspect of the Harrison Hill blend: it’s a master blending job by winemaker Chris Upchurch in the sense that the profile is always somehow so much more than combination of the parts. Full tasting note.

The Five Best White Wines

1. 2010 Eric Morgat L’Enclos Savennieres. I didn’t take tasting notes, but my memories of it remain stronger than many wines for which I do have tasting notes, which is why it’s #1. Aged chenin blanc from Savennieres in the Loire Valley has been one of the more profound wine revelations I’ve had because of its deep complexity, it’s ability to improve with age, the evolution it goes through in the glass and the way it balances richness with streaky acidity. Morgat consistently makes complete wines Savennieres and shouldn’t be missed.

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Monsieur Morgat’s vines (picture credit: Le Figaro)

2. 2013 Cameron Winery Abbey Ridge chardonnay. This was my first introduction to Cameron’s whites and it led to a frantic effort to buy up as many as I could find. It’s revelation was how it brought everything good about chardonnay into one glass, including, most impressively, the richness and depth of fruit and nutty flavors of Cote de Beaune with the nervous, tense streaks of a Chablis. I keep adding Oregon chardonnay to my cellar. Full tasting note.

3. 2013 Latta Roussanne. Often times 100% roussanne is singularly dense, rich and sweet. Andrew Latta, formerly of Washington legends Dunham Cellars and K Vintners, avoids all that in this bottle of what roussanne can and should be: a wine that fills your mouth with lush flavors but slowly surprises you with flurries of zesty citrus and stone flavors that liven up the malo-like hangover of this full bodied varietal. Full tasting note.

4. 2015 Penner-Ash Viognier. Your eyes are seeing (nearly) double: often times 100% viognier is singulrarly dense, rich and sweet. Penner-Ash avoids all that in this bottle of what viognier can and should be: a wine that fills your mouth with lush flavors but slowly surprises you with flurries of zesty acidity and streaky tension that livens up the prototypical “tropicallity” of viognier. Give this another 1-2 years and it’ll be even better. Full tasting note.

5. 2008 Francois Chidaine Montlouis-sur-Loire Clos du Breuil. Between this wine and the Morgat my next trip to France will include a few days in the Loire. What made this one stand out is the incredible promise it still holds at age eight for the ability to evolve into something even better. Full tasting note.

The Five Best Values of 2016

1. 2014 Barkan Pinot Noir Classic. If I had tasted this blind I would’ve called expensive California pinot. Instead it’s from Israel and it’s roughly $12. Check out these tasting notes: “Nose: very expressive. Blueberries, blackberries and boysenberries. Big rose petals and Spring pollen. Smoke, iodine. Fruit punch. White pepper. Freshly tanned leather and young tobacco leaf. Licorice root. Beautiful bouquet. Palate: medium body, medium acidity. Integrated, modest tannin. Fruit is tart blueberries, huckleberries and red plums. Blood orange. Tar, hickory smoke. Herbs de Provence. Celery.” All that for $12; buy this for big events. Full tasting note.

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A Barkan vineyard in the Negev desert where the grapes for its 2014 Classic pinot noir are grown (picture credit: Barkan Winery)

2. 2010 Fausse Piste Garde Manger syrah. Sadly this vintage isn’t available anymore, but that won’t stop me from trying the current release in 2017. For ~$20 it’s hard to find a syrah with this much complexity. What’s more, 2010 wasn’t an easy year, making this all the more impressive. Full tasting note.

3. 2013 Two Vintners Make Haste (unavailable). This 100% Washington cinsault elicited the biggest smile induced by a single gulp of wine in 2016, it was just so much fun; I can’t even stop smiling when I just think about this wine (it is literally impossible to can stop smiling). Full tasting note.

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Two Vintners and the sun makin’ haste over Washington, D.C.

4. 2012 Bergstrom Old Stones chardonnay. It’s $22 Oregon chardonnay and I didn’t want to share it with my girlfriend’s family, which I was supposed to do, after I had m first sip. All this for twenty three bucks: limestone, saline, Meyer lemon, vanilla custard, Starfruit and Granny Smith apple tucked into finely balanced medium bodied wine. Full tasting note.

5. 2014 Galil Mountain Viognier. Another impressive value from Israel, this is a go-to medium bodied viognier for $15 that has enough acidity to please the refined palate and enough sweet tropical flavors to please the Millennial drinker. Huge recommendation as a wedding wine. Full tasting note.