Try this Wine: Killer $22 Pinot

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It took real persistence to get this piece written. Not by me, but by Jesse Inman, who is one half of the sibling pair behind Lucky Rock Wine Company. First, he sent me their sauvignon blanc in July 2019, then their pinot noir a few months later. Except, it didn’t arrive, so he had to send another bottle. Then he had to pester me for, like, three months to get the interview scheduled. Finally, nine months after making first contact, we spoke. And the thing is, it’s not like the wine sucked and I didn’t know how to say “no.” I wrote this because, as the title of the post suggests, I want people to try this wine. It’s really good.

I’m neither a true snob nor judgment-free when it comes to wine, but somewhere between depending on the day. I’ll admit to huffing and puffing every time I see someone on Bachelor hold their wine glass by the bulb, yelling “BY THE STEM” at the television while my wife, who for the record agrees, rolls her eyes. And I’m often guilty of talking more about a wine that we’re sharing with friends that they care to hear, sometimes going on diatribes laced with nitpicks of the obviously wrong decision to do malo or the overly-judicious use of new oak on such a delicate grape.

That said, I also get great joy out of making the case against top of the line Bordeaux because the value proposition is garbage. And for the life of me, I cannot wrap my head around the people who rave about some of the most lofted California cult wines, which from my experience offer underwhelming sophistication and are often wildly out of balance (which is okay because they’re built in a way that the balance only gets worse with time).

I’m skipping ahead a bit in the interview with Jesse, but he peppered it with a two lines that explain the above paragraphs:

“Take your ascot off and drink our wine.”

“We’re hoping that [our] quality is good enough that people [who usually pay more] are willing to drink down to it price-wise, but also [people who don’t normally pay our price] drink up to it because it’s so good that it justifies them spending a bit more than usual.”

If the suspense is killing you, here it is: Lucky Rock pinot noir retails for $22, but to my palate it’s better than a lot of $30 and $40 pinots I’ve had. More on the wine later.

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Lucky Rock is not trying to be your typical winery. Their Instagram profile describes themselves as “Wine, Tattoo, Food Truck,” and is filled with pictures of tattoos, their pick-axe (say it fast and it sounds like “kick ass”) logo and dudes in beards and trucker hats having fun. One post, featuring a (relatively) close up of the chest of a heavily tattooed woman wearing a Lucky Rock tank top, uses the line “Look! We’re a lifestyle brand that actually knows how to make wine?”

“Our whole model is no pretension and good wine at a good price,” Jesse told me. I’m in the middle of a book on the history of Ralph Lauren, the man and the company. Lauren has been very clear that he is not a fashion designer nor is he selling fashion. Rather, he explains, his clothes are about style within the context of a lifestyle that he wants the people who wear his clothes to experience. I had asked Jesse about their lifestyle approach because in the same way that Ralph Lauren ads are as much about the non-clothing elements of the visuals and language used, Lucky Rock seemed to be about a lifestyle package that includes wine as one of the many elements.

“You can’t just rely on brand [to make it in wine],” Jesse said. “Obviously we make wine, but the tattoo part [of the brand ID] is a parallel for modernizing the wine business. We cuss a lot, we’re covered in tattoos, we joke around, and that’s unusual for quality wine. My brother and I figured that if we’re going to put this amount of effort into it then we have to have fun and be authentic about who we are.”

“The food truck,” he continued, referencing the Instagram profile description, “is that great wine and food go together. But just because you’re eating great food doesn’t mean that you need a white table cloth. [There is a] correlation between food truck and Lucky Rock – French Laundry and Bond are synonymous the same way. We’re not trying to kid ourselves, we’re not Bond, not trying to be that, nor do you want to be. But we know that our wine goes with great food regardless of where the food comes from. There is really fantastic food coming out of trucks, just like we’re trying to make really fantastic wine that comes to you in an unpretentious way.”

I’ll be completely open about my own experience with Lucky Rock. I’d never heard of it until Jesse contacted me, and after looking at the website and Instagram I set myself up for disappointment. The sauvignon blanc was solid, maybe even good, but the pinot noir blew me away. The reality is that Lucky Rock is a legitimate winery that punches above its price point.

They’re able to do that because they take advantage of economies of scale built into their business model. They make a lot of wine for other brands, much of which comes from really good vineyards that are strategically chosen based on their ability to deliver high quality grapes at less than high-end Napa prices. Of the annual haul, a small amount is taken to produce Lucky Rock. By pooling the collective tonnage needs, they’re able to get grapes that a stand-alone winery could not afford to sell at $22 per bottle. Put another way, if they were buying these grapes just for Lucky Rock, the price point would be significantly higher.

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Starting from the goal of making a very reasonably priced wine, a few other elements of the business plan are critical to success. They are about 60% wholesale having made the conscious choice to prioritize that over being direct-to-consumer, which lowers overhead. They have to be high volume, as well, because they are low margin. “We want to be different,” Jesse explained, “if we ever opened a traditional tasting room we’d be letting ourselves down. If anything, we might open a tap room featuring different wines and beers to pour alongside our stuff.”

It is also critical to making a high quality $22 pinot that they actually know what they’re doing. Jesse cut his teeth making high quality, more expensive wine at August Briggs Winery, where he got his start thanks to a close family connection and where he continues to make the wine today. While the Lucky Rock lifestyle is more warehouse than Napa Valley, the winemaking is as advanced as those who sell the high society lifestyle. Jesse has been making pinot noir “for my entire winemaking life. We’re taking the high end mentality and finding vineyards where we can apply that approach without going as expensive.”

Jesse and I talked tannins for a solid ten minutes because one of the more impressive aspects of the 2018 pinot was the quality and elegance of the structure. Often times, pinot under $30 falls flat and thin, but not Lucky Rock. He takes tannin structure seriously and has been trying various trade craft over the last several vintages to build a consistent profile. Close relationships with fruit growers, careful use of highly selective tannin additives and lots of experimentation with various barrel cooperages and treatments has led to three consecutive vintages now of positive refinement of the tannin structure. It sounds like he’s getting to a place where achieving consistency will keep the wine at a great place.

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Here’s the thing: Lucky Rock’s lifestyle isn’t for everyone, though I do imagine that it is a major factor behind the label’s success thus far. What is for a wider audience, though, is the wine. Lucky Rock’s desire to capture customers based on the quality, whether it’s more or less expensive than you normally pay, delivers in the glass. Even if you aren’t into tattoos, food trucks or trucker hats, even if the label is a bit too aggressive for you, you need to try the wine because, and I feel confident saying this, you won’t find a better pinot noir for the price. And if you dig their vibe, all the better. Dive right in.

Here’s the tasting note on the 2018, which is currently for sale: The nose-filling aromas are dominated by bright cherry and raspberry, but also include subtle tar, rose petal and baking spice. The body is medium plus in weight with fine grained tannin and modest but well-integrated acid. This could age for another 1-2 years and do nicely, but it’s gulpable at the moment. Cherry and raspberry pop on the palate as well, and are bolstered by blood orange, lilac and something spicy. This punches well above its price point. 92 points. Value: A+.

Where to purchase:

Right now, help the brothers out and order direct. They’re offering a temporary COVID-inspired discount: 15% off 6 bottles with $6 shipping and 20% off 12 bottles with $12 shipping. Discount codes can be found here. They ship to a good chunk of the country.

If you’d rather find it locally, they have a retail finder here.

Siduri Likely to Keep on Winning

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Siduri founding winemaker Adam Lee (L) and new head winemaker Matt Revelette (R)

Siduri was started in 1994 by the husband and wife team of Adam Lee and Dianna Novy. With an exclusive focus on pinot noir and an approach based on site-designate wines, Siduri became a leading name in the burgeoning California pinot noir scene where it remains a vanguard producer today. Like many of Adam’s endeavors, Siduri was on the leading edge of a consumer-driven revolution. A few years ago, Adam and Dianna sold their successful winery to Jackson Family Wines, and late last year it was announced that after a few vintages of tutelage under Adam, Matt Revelette was taking over as the full time head winemaker as Adam would step away completely to focus on other projects.

In terms of experience, talent, reputation and character, Adam’s are big shoes for Matt to fill. Yet, when I sat down for dinner in early January with Adam, he was glowing over both his new freedom and the excitement he has for where Matt can take Siduri. The basis for this confidence in Matt is rooted in Matt’s winemaking prowess, but also in the friendship they’ve developed since Matt came on as his heir apparent. Adam, and later Matt when I spoke with him, referenced the long, fun days spent driving up and down California as Matt was introduced to Siduri’s long and impressive list of vineyard sources, and the time they’ve spent together socially. I’ve long believed that winemaker personality and character is a part of a wine’s terroir, and I don’t feel the least bit worried about that aspect of Siduri’s future with Matt taking over.

It came as no shock to me when I learned that Matt was a philosophy major in college. Adam’s mind moves one hundred miles per minute, coming up with all sorts of new business ideas while simultaneously mulling over ways to improve wine quality. The most substantial project he’s launched since selling Siduri is the Clarice Wine Company, which leverages three incredibly good pinot noirs made by Adam to create the next evolution in wine business models. You can read the Clarice profile I wrote last year here. In order for someone to earn Adam’s exuberant endorsement as Matt has, I can’t not see that person being a purposefully thoughtful and continuously curious person.

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To go further with this parallel, because Siduri makes over twenty wines from eight California and one Oregon AVA, all from vineyards owned by other people, it takes the mind of a thinker and a voraciously intellectually curious person to manage such a portfolio so productively. When Matt and I talked about his plans for Siduri, his first answer was that it all boils down to maintaining relationships with the growers. “It’s hard to make this many vineyard-designates without maintaining a lot of friendships. A lot of the onboarding has been getting to know the families that own the vineyards.” As if to make my point for me, Matt noted that “Adam didn’t build Siduri to what it is today without being forward-thinking, and I’m going to maintain that mindset of always moving forward and making those qualitative and incremental improvements.”

All of Siduri’s wine is made in its warehouse winery in Santa Rosa, to the west of Napa Valley, yet the vineyards it sources from are as far north as the Willamette Valley in Oregon to as far south as Santa Barbara (just north of Los Angeles). “That means lots of road time,” Matt told me. A common routine of his and Adams, was to meet up at 2:30 in the morning, get coffee and eat a breakfast sandwich, and arrive in southern California by 7:30. “We’d visit the vineyards, then travel down to Santa Barbara and see the vineyards there, then head to the Santa Lucia Highlands and drive back. We’d stop for a steak at The Hitching Post for dinner and then go to sleep.”

Despite schedules like that, “there’s nothing else I’d rather be doing,” Matt said. “If given the opportunity to do this in my spare time, I would. It’s great to see the vineyards, make friends with growers, see the site differences that manifest themselves naturally at harvest. It’s just amazing.” If Matt can keep up with Adam, then he can run Siduri like a champ and continue the tradition of great site-specific pinot noirs. Siduri’s business model is premised on an indefatigable engine, and it appears they have that in Matt. I feel good in saying that Matt will both continue Siduri’s legacy of expressive, high quality pinot noir, and over time make incremental steps that will drive Siduri’s continued improvement and growth.

Although Matt’s first solo vintage isn’t commercially available yet, I recently tasted through four of Siduri’s entry level AVA blends from the 2017 vintage: Willamette Valley, Anderson Valley, Russian River Valley and Santa Lucia Highlands. Each of these range in price from $35-40, express their unique little corner of the world, and are accessible upon release.

For fun, I decided to taste them blind. I had decently high confidence that I’d be able to get them correct; after all, these are four distinctly different terroirs. I also wanted to eliminate any bias I might have. I’ve never been much of a fan of Russian River Valley pinots, love Willamette, have been tasting a lot of Anderson Valley recently for an upcoming profile of the AVA I’m working on, and tasted through a case of Morgan Winery Santa Lucia Highland wines a few months back. I wanted to eliminate whatever I thought I knew about these AVAs to give them a fare shake – and to test my tasting abilities.

In short: I failed miserably with my picks. I got the Anderson Valley correct, mixed up the Russian River with the Santa Lucia Highlands, and was totally off with the Willamette Valley. I told Matt this when we spoke, and though he may have just been polite, he told me that he didn’t think he’d get it 100% right with this particular line up and vintage. I’ve chosen to take him at his word.

The first lesson I learned, which I’ve learned in the past and clearly forgotten, is that I do actually like Russian River pinot. In fact, it was my favorite of these four wines. The second lesson was that Anderson Valley really does have a unique signature that cuts across producers in certain seemingly unassailable ways (Matt confirmed my thinking on this, which I’ll flush out in the forthcoming AVA profile). Finally, there’s something special still undiscovered by the masses in the Santa Lucia Highlands, and I’m barely a step into that room but very excited to explore it more.

I’d buy three of these four wines for future consumption, especially the Russian River bottling. I’ve never latched onto Siduri’s Willamette Valley pinot, and the 2017 hasn’t changed my mind despite me really wanting to have my mind changed. Nevertheless, they all represent good to great value, and one cannot complain about the quality of any.

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2017 Siduri Anderson Valley pinot noir: The slightly sweet nose wafts scorched earth, plum, currant, raspberry, blood orange juice, pencil shavings and top soil. The body is quite smooth and elevated with sturdy, precise tannins that take a minute to settle in. The well-appointed structure frames nicely flavors of semi-sweet raspberry, plum, cherry, roasted coffee bean, dark semi-sweet cocoa and tanned leather. Amazing value for a really good wine. 92 points. Value: A.

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2017 Siduri Russian River Valley pinot noir – The nose is just gorgeous, offering aromas of baking-spiced red and black fruit, including strawberry, blackberry and blueberry. There’s a moist earth note as well. The deeply layered body is full and round, but juicy acid adds levity, elevating the light and sweet tannin. Flavor-wise, it offers sweet and polished cherry, blueberry and strawberry, which are accompanied by black pepper and cigar tobacco. This is a very pure expression of Russian River pinot. 93 points. Value: A.

2017 Siduri Santa Lucia Highlands – The dark, almost hedonistic nose is laser-focused on a concentration of raspberry, black plum, black currant and black cherry. The full body is elevated by bright acid, and mellowed by smooth, long and well-integrated tannin. The structure is seamless. Flavors icnlude strawberry, plum, cherry, sweet rhubarb, graphite, black pepper and a bit of iron. It finishes with a spicy flourish. Great stuff. 92 points. Value: A.

2017 Siduri Willamette Valley pinot noir – The nose is blue-ish in tone, with blueberry, plum and rhubarb making immediate appearances. Below them rest a mild fungal element and a saline quality. The body is slightly over medium, and texturized by slightly gritty tannin that carries sweet and juicy acid. Structurally it’s a nice wine. Flavors include blueberry, Acai, general florals and top soil, while it finishes on a note that suggests menthol cigarette. 90 points. Value: C+.

Finding Structure and Balance in Morgan Wine

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We’re deep into the holiday season, which is a period when a lot of wine gets consumed. Between office parties, potlucks, family dinners, Friendsgiving, Christmas, Chanukah, Kwanza, New Years and everything else going on, the opportunities to pull corks are seemingly endless. Kayce and I hosted Thanksgiving this year, which meant having enough wine on hand for eight very thirsty people.

Back in the spring, Morgan Winery asked if I’d like to receive samples. Morgan is located in the Santa Lucia Highlands of California, one of California’s lesser known wine producing regions. My only prior exposure to Morgan was their Santa Lucia chardonnay, which is available by the glass at a place I frequent and performs strongly in that role. I figured sure, why not. Then, two full cases showed up. Twelve wines, two bottles of each. Perfect, I thought, one set for Good Vitis and one set for Thanksgiving.

The Menenberg-Seifert Thanksgiving p/b Morgan Winery went well. The food and the wine delivered. Morgan makes a wide range of wines, and we were lucky enough to receive the grenache blanc, sauvignon blanc, Metallico (un-oaked chardonnay), Santa Lucia Highlands chardonnay, rosé of grenache, dry Double L riesling, off dry Double L riesling, Cotes de Crow’s southern Rhone-style blend, tempranillo, Twelve Clones pinot noir, Double L pinot noir and G17 syrah. No matter the food you put on your plate, there was a Morgan for it.

Part of what made the Morgan line up well-suited for the diversity of a Thanksgiving meal is the style the winery produces, which is driven by the climate and terroir of the Santa Lucia Highlands – referred to as “the SLH” to those in the know – and the broader Monterey area from which they grow and source their grapes. The SLH has, probably among others, two elements going for it that helps winemakers produce elegance and refinement: natural warmth absent the wind, and routine wind patterns that bring in cool air. The result, if leveraged like Morgan does, is bright acid combined with sturdy but smooth tannin. That’s a recipe for good food-pairing wine.

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To understand how Morgan gets this profile, it helps to talk a bit about the SLH. The wine growing areas in the SLH are located on the inland slopes of the Salinas Mountains, which run north-south, paralleling California coast. Across the Salinas Valley from the vineyards lie the Gabilan Mountains. The warm air of the Salinas Valley pulls the cold air from cooler Monterey Bay located to the north down into the vineyards, which moderates temperatures.

I spoke with Sam Smith, Morgan’s winemaker, who told me that were it not for this wind phenomenon, SLH would be a warmer wine growing region that produced bigger wines. “The wind gives us a cool climate. We have foggy mornings that blow off by 11am, giving us generally a few hours of sun and low wind. But by 2pm, the wind starts ripping down the Valley off Monterey Bay and continues southward.”

“It has a big effect on ripening,” Sam explained. “It can close the stoma [little valves in the grape skins that regulate gas exchange] on the vines, which effectively helps develop acid and serious phenolic [tannin] structure” without a quick rate of sugar production. This explains why Morgan wines can exude a precise style consisting of both depth and restraint.

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Morgan’s own, and the SLH’s only certified organic vineyard, Double L Vineyard

Morgan’s premier vineyard is called Double L. The 48-acre vineyard is long and skinny, effectively divided into two halves. The entire vineyard has loam soil, though the “upper field” has more clay and a higher water-retaining capacity, giving it more fertility than the “lower field” and its more lose sandy soil. Double L is the only certified organic vineyard in the appellation, and Morgan reserves its fruit exclusively for its own wines. Most of the Double L fruit goes into Double L designated wines, though the non-vineyard designate SLH chardonnay and Twelve Clones pinot noir receive a small amount of Double L fruit. The vineyard produces pinot noir, chardonnay, syrah and riesling.

With prior experience in Santa Barbara and the Northern Rhone, Sam Smith brought some of the right kind of know-how to Morgan and the SLHF, where he has been the head winemaker for the last four years. “The amount of natural acidity [in the SLH] is incredible,” Sam said when asked to compare the new-ish digs to his old ones, adding that “it’s one of the things I love about growing and making wine here.”

Sam pointed out something about this natural acidity that hadn’t crossed my mind: “[The naturally high acid] can be tough to make wine [in the SLH] without it being over-ripe” because the naturally high acidity gives growers the ability to extend hang time for the fruit on the vine, which leads to higher sugar accumulation in the grapes that results in “big, rich and boozy” wines. “If you have the intention [of making more restrained, elegant wines] and you are on top of sampling, you can nail your pick [dates] and hit great balance while retaining fruit-driven profiles. The balance that we can get in most vintages is killer.”

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Speaking to this killer balance, we enjoyed the case of Morgan over a period of three days, and nearly every wine improved over the first 48 hours, if not the entire 72 hours, as we exposed it to more and more oxygen. This included some of the white wines as well, and is a sign of overall quality for a number of reasons. One important reason is that it indicates a hard-to-find quality in the balance of the structure of the wine, which is composed of acid, tannin, alcohol and fruit. Initial exposure to oxygen can help some wines fully express themselves, but extended exposure will degrade all wines and expose imbalances in the structure. 48-72 hours is a long period of exposure for a wine to survive, even with the bottles re-sealed, and Morgan gets two enthusiastic thumbs up for taking the oxygen and making the most of it.

I want to focus in on four wines that stood out to me. The first two are the Double L rieslings, the dry and off-dry versions. People don’t think of California in the discussion of riesling, and it’s to their detriment. I’ve been an advocate for several California rieslings, especially the bottle produced by Smith-Madrone off Spring Mountain in Napa. But in full disclosure, I haven’t looked to the SLH for the variety, so I was surprised when the Morgan shipment included two rieslings. After tasting them, I can add “pleasant” to “surprised.”

Sam treats the riesling similarly to the other grapes planted in Double L. He typically does not drop fruit, getting between 4 and 5 acres a ton while retaining sufficient acid and aromatics. Sam noted that part of the Double L riesling signature is an herbal, minty quality and white tea freshness, which struck me on the finish of both wines, especially the dry version. The balance of these wines is what really impressed. Riesling can be a controversial grape for some: if it has high acid and poor balance, the acid is accentuated in unfortunate ways. In America, where the prevailing palate is highly sensitive to acid, that balance better be spot-on. I put the Morgan rieslings in the category of those I’d pour for riesling skeptics.


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2018 Morgan Riesling Double L Vineyard Dry – The nose boasts a nice range of tropical fruits – think honeyed pineapple and guava – plus lemon-lime citrus, mint and dried green herbs. It’s a full-bodied wine with medium weight and lush acid that carries traditional varietal flavors of lime pith, banana leaf, herbal tea, crushed rock minerality and an unusual nice hit of spearmint. A very well-balanced riesling with immediate appeal and medium-range upside. 89 points. Value: A-.

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2018 Morgan Riesling Double L Vineyard Off Dry – The very pleasant nose offers guava, pineapple, honeysuckle, limeade, yellow peach and some stone minerality. It gets towards the heavier end of medium body with the residual sugar adding body and balance to the modest acid, the latter of which could be turned up just a bit. Flavors hit on honeyed tropical fruits, including guava, pineapple and banana, plus white tea leaf, sea mist and some slate minerality. In a welcomed turn of events, the acid comes on a bit more on the finish and leaves the mouth with a slightly gritty sensation and herbal flavor. 89 points. Value: A-.


Staying on the Double L train, I want to talk briefly about the Double L pinot noir, which was the strongest wine in the lineup. The depth and seamlessness of the tannins, especially after 48 hours of oxygen exposure, where what stood out as quite impressive. The grapes for this wine, and generally all of Morgan’s reds, are entirely destemmed. This means the tannin development comes primarily from the skins which accumulate high quantities of something called anthocyanin, which is the smoother type of tannin as compared to the corser phenolic tannins that come from seeds and stems.

We discussed how Sam gets these gorgeous tannins, and he walked me through his vineyard approach which revolves around opening the canopy (the leaves) while protecting the grape clusters from sun burn. On the side of the grapes that get morning sun, which presents a low risk of sun burn, Sam and his team completely clear the leaves. On the other side, which gets the more radiant afternoon sun, they do what is called “tunneling,” which means removing the leaves that are between the clusters and the vine, while leaving the leaves on the outside of the clusters.

Sam finds that this approach strikes the right level of tannin development and produces tannins that mature in the vineyard, which he points out are the easiest to extract when making the wine and require little else be done in the winemaking to achieve tannin development. The Double L pinot gets a relatively short amount of maceration, just one to one-and-a-half weeks on the skins. He limits fermentation temperatures to 85 degrees in order to avoid over-extraction and retain aromatics. Most agitation is push down, with just a bit of pump over at the beginning. Cold soak comes only in the “voluntary” form, meaning the time between crushing the grapes and when fermentation begins. The goal is to “nail the structure and aromatics. If you do, that’s the holy grail.” He seems to be on the right track with this one.


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2017 Morgan Pinot Noir Double L Vineyard – Smells like a cool climate pinot with crushed red berries and plums, baking spice, tangerine peel and dark cocoa. It’s medium bodied with dense, fine grain and balanced acid. I think another 2-3 years of cellaring will help this unwind a bit. I’d love to have it in five years. Right now it’s offering juicy strawberry and blackberry to go with baking spice, dark cocoa and scorched earth. The depth is there, the complexity is there, it just needs more time. 72 hours out from initial opening, it’s really singing a beautiful structure and aroma. This is promising stuff. 92 points. Value: A-.


If the Double L pinot noir was the strongest Morgan I tasted, the G17 Syrah may be the most promising. It also happens to be the wine with which Sam is doing some whole cluster experimentation because syrah “sucks up whole cluster” better than the other red varieties Morgan is producing. The goal with the experimentation is to add aromatics and flavors without adding woody or green notes. “Whole cluster is similar to new oak,” Sam explained, “you want new oak to help frame the wine, but if it tastes like oak then that sucks.”

While whole clusters are an interesting experiment, picking the grapes on time is the most important thing. “There’s a real risk of waiting too long to pick. To a large extent the earlier you pick it, the more savory and floral it’s going to be. You have to check the syrah’s ripeness pretty closely and that’s what helps retain the elegance.” I asked Sam about the future of syrah in the SLH, and he pointed out that the granite origin of the loam soil is “a natural for syrah; you pair them and it’s a no brainer.” His Rhone experience shows through in the quality and profile of this wine.


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2017 Morgan Syrah G17 – The nose is a bit meaty, offering bloody red meat and gamey aromas to go with dark cherry and strawberry. I get the sense the nose is a bit underdeveloped. It’s almost full bodied with clean, juicy acid and fine grained tannins that have reached an advanced stage of integration for the youth of this wine, though it seems to lack just a bit in depth. The overall structure finds good balance and a slightly grippy texture. Sweet cherry and strawberry, blackberry, saline, tar, black pepper and blood orange. Another great value from Morgan. 90 points. Value: A.


I’ll conclude by making a genuine pitch for trying Morgan’s wines. In addition to the four discussed above, I’d also recommend the SLH chardonnay as a great value American chardonnay (yes, it’s not buttery or heavy, don’t worry) and the grenache blanc as a great entry-level wine for experimenting with something a bit different. Regardless of which wines you ultimately pick up, they represent an honest effort to produce high quality wines from an area where elegance and balance are achievable in unique ways.

Other wines reviewed:

2017 Morgan Cotes du Crow’s (grenache, syrah and tempranillo) – The ripe nose offers ripe cherry, raspberry, spiced plum sauce, freshly tanned leather and purple florals. It’s medium bodied but coats the palate with vibrant acid and finely grained tannin that together form a good balance and pleasant mouthfeel. The fruit is mostly red and slightly sweet, featuring plum, raspberry and cherry. There are some earthy notes of wet dirt and chai spice that come in on the finish. 89 points. Value: A.

2017 Morgan Grenache Blanc – The mineral-driven nose wafts seashell, petrol, sharp lemon, Marcona almond and slate. Blind I might’ve called a 5 year-old dry riesling based on the aromas. It’s on the lighter side in terms of weight with clean, pure acid that leaves a juicy finish. The flavors include lemon, raw yellow corn (minus the sweetness), thyme, orange pith, sea water and a riesling-esque minerality. Blind I might’ve called it a young riesling based on the flavors. A very intriguing if simple wine that with extended air takes on additional complexity. 89 points. Value: A.

2018 Morgan Rosé of Grenache – The nose shows signs of watermelon, strawberry fresca, lime sorbet and white pepper. It’s barely medium bodied with juicy acid and a modest acid backbone. The balance and texture are both nice. Flavors include cherry Sprite, tart strawberry, tart cherry and white pepper. Overall a fresh rosé with flavors that pop off the acid. 89 points. Value: C-.

2017 Morgan Metallico Chardonnay – The nose offers classic chardonnay aromas of lanolin, creme brûlée, banana peel, white tea and buttered popcorn. Surprisingly heavy for an un-oaked wine, the acid is appropriately leveled and nicely integrated. Unencumbered by oak, Meyer lemon, grass, limesickle, firm peach, cantaloupe, white tea and a streak of salinity fill the palate. An expressive Chardonnay. 88 points. Value: A.

2017 Morgan Monterey County Sauvignon Blanc – A slightly soapy aroma blows off early, revealing white peach, starfruit, honeydew, lemongrass and just a hint of spearmint. The body is almost medium in weight with a slightly creamy finish and bright acid. This is a clean wine. Flavors include bitter herbs and greens, lemon, firm peach, honeysuckle and white flowers. An impressive wine for the price. 88 points. Value: A.

2017 Morgan Santa Lucia Highlands chardonnay – Classic chardonnay aromas of vanilla curd, lemon, creme brûlée, lime zest, preserved apricot and salted popcorn. It’s medium bodied with crisp acid that provides a bit of textural grip. There’s just a slight edge of creaminess. Lemon-lime, orange sorbet, green apple, vanilla curd and a sea spray kind of minerality that brightens the wine. This is tasty stuff. 90 points. Value: A.

2017 Morgan Tempranillo – Aromas include blackberry, black plum, prune, Maraschino cherry, sweet leather and tobacco. It’s a bright medium body with densely grained fine tannin and nice acidity. Flavors are a variety of cherry pie filling, raspberry, leather, tar, violet and a healthy dose of cracked black pepper. This is a fun chugger that offers a lot of food pairing coverage. 90 points. Value: B.

2017 Morgan Twelve Clones Pinot Noir – The nose wafts crushed red berries and plum, scorched earth, underbrush fungal aromas and baking spices – pretty much everything you would figure in a pinot noir. Very true to type. It’s a round, soft medium body with nice acid and fine tannin. I get the sense there’s some extra depth to this one that a few years will unwind. Right now, it offers strawberry, raspberry, huckleberry, rhubarb, cinnamon, bell pepper and moist earth. Excellent value. 90 points. Value: A+.

Mosel’s Exciting Steep Slope Producer: Markus Hüls

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Markus Hüls of Mosel’s Weingut Markus Hüls

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

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

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

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

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

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

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A map of the Mosel river from 1897

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

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

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

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

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

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

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

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Notice the monorail running straight up the middle of the vineyard

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

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

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

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

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The author with Markus

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

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

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

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

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

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

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Enjoy8ing Hül’s Spätburgunder

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

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

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

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

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

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

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

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

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

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

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

A True Oregon Estate: Left Coast Cellars

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Left Coast’s Latitude 45 vineyard

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

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

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

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

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

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Run for the Oaks 5/10k

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

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

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

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The Orchards vineyard

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

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

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

Tasting notes and scores:

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

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

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

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

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

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

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

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

 

 

 

Oregon Hill Country Wine

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Loveblock Is New New Zealand Wine

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A Loveblock sauvignon blanc vineyard. Credit: loveblock.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Clarice Wine Company: The Next Evolution in How We Wine

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The author, left, with Adam, right.

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

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

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

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

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

Try this Wine: Make Merlot Great Again

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Credit: giphy.com

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

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

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

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

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

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

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

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

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

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

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

Tasting note:

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

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Where it buy:

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

Fort Lauderdale, FL: Your Wine Cellars

Chicago, IL: Flickinger Wines

Greater Boston, MA: Wollaston Wine & Spirits

Wayne, NJ: Gary’s Wine & Marketplace

Bend, OR: RHC Selections

Nashville, TN: Cana Wine Company

 

 

California’s Most Exciting Up & Coming Pinot Producer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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