Try this Wine: Contrasting Food & Wine Pairings

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Pairing wine and food can be daunting, even for the well-trained. The most famous guidance, to match red wine with meat and white wine with seafood, actually turns out to be relatively true in theory but also misguided in reality. It’s too unscientific to be universal, and misses the critical factor that how something is seasoned and cooked is as, if not more, important than what it is before it’s cooked.

One of my favorite pairings is steak au poivre with a really well-aged dry or semi-dry riesling, which is a perfect example of why that famous guidance is misleading. In general, wine should be more acidic than the food. This is especially true when the food is fatty, like this steak example, because the acid helps our taste buds and digestion process the fat, allowing more flavors to be detectable while making the meal go down a bit easier. Also, white wine tends to provide more contrast to the food, any food, than does red wine, so if you want the wine to stand up to, and stand out from, the heavy steak, a white is better suited to do that.

This last point on contrasting versus complementary wine and food pairings is really the main point of this post. When people think about pairing food and wine, they often default to finding the complementary pairing. Not only is it easier, but it’s more natural – we tend to look for compatibility in nearly every aspect of life – and can be very satisfying if achieved.

However, what I want to suggest in this post is that successful contrasting wine and food pairings can be both more fun and more satisfying. Here is another example: there’s nothing better than a fried fish sandwich with a good bottle of trousseau to wash it down.

I'm glad we're the kind of people who aren't above pairing wine with nachos.

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Pre-planned pairings aside, sometimes you get lucky and stumble on a good pairing. One of my wife’s favorite games to play is getting through dinner and a glass of wine, and then asking if she can have (insert random snack) with another glass. It can drive me crazy, especially when it’s a special bottle of wine and she asks about a poorly fitting snack.

Earlier this week, I opened a bottle of 2015 Wind Gap Gap’s Crown chardonnay, a nice bottle from a now non-operational winery using grapes from a phenomenal vineyard. I had made a big salad topped with sautéed radishes, roasted acorn squash, tomatoes, apples and shrimp. The wine was a bit too acidic and lean for the salad, so the plan became to enjoy the wine after the meal was over.

When we finished the salad, Kayce began her game. She asked if the wine would go with Goldfish crackers. My instincts kicked in and I nearly defaulted to “no,” but I hesitated as I thought about it. “You know what, that might actually work.” She grabbed the Goldfish, and oh man, it was awesome. We had stumbled on to brilliance.

Let me show you what I mean by comparing the tasting notes of the wine pre and post Goldfish. Here’s a note on the aromas, which don’t change with the food, just to get it out of the way: a high-toned and slightly austere bouquet combining sharp lemon and lime zests, slate and crushed gravel, spring flower petals and honeysuckle.

Pre-Goldfish palate: barely medium-bodied with very crisp, slightly juicy acid that is quite long and precisely linear. Flavors include Meyer lemon, tangerine juice, slate minerality, Kaffir lime leaf and starfruit.

Now, here is the post-Goldfish palate: medium-plus in body with rounder, softer and buoyant acid that cuts through the cheese flavor nicely. The palate broadens, adding just a bit of sweetness and more acidic grip to the texture. It’s a more pleasant version of itself with the Goldfish pairing, and more enjoyable to drink.

I had so much fun with the pairing that I posted the above picture of the bottle with the Goldfish on Instagram and had a back-and-forth with friend and fellow wine blogger Isaac Baker of Terroirist.com. Isaac has done this kind of pairing before, and added that Goldfish go particularly well with Champagne. I’m curious to try that combination, and experiment with other cheesy crackers and bright white wines.

These unexpected wine-food combos that work because they contrast each other, rather than complement each other, are really satisfying because they are surprising and don’t hew to normal comfort zones. Try some contrasting wine-food pairings because no one should live their culinary lives according to what they already know. To provide some motivation, here are a few good places to start:

  • A sharp chardonnay with a cheesy cracker – look for wines that are lightly oaked or made in stainless or concrete. Quality producers in go-to regions make this easy. You can find these wines really anywhere in the world, but for short cuts check out Chablis, Oregon and the following spots in California: Santa Barbara, Santa Cruz and Sonoma.
  • Fried fish sandwich with trousseau – there isn’t a lot of trousseau out there, but from my experience those who make it do it in the traditional fashion (i.e. light to medium bodied with good acid and fine tannin), which is what you want for this. We had a 2017 Arnot-Roberts trousseau from the North Coast of California with our fried fish sandwiches last weekend, and the duo brought the house down with my in-laws. Traditionally most trousseau comes from the Jura region in France, but there are good producers of it elsewhere. For the record, we make our fried fish sandwiches with lightly breaded and pan-fried white fish (catfish, porgy and cod all work well), processed cheese, Portuguese rolls and a sauce made in equal parts of ketchup, whole grain mustard and mayonnaise. Don’t dare use real cheese, I promise you it isn’t nearly as good.
  • Fried chicken and Champagne (or other acidic sparkling wine) – this is one of those under-the-radar classic food pairings. The acid and bubbles cut through the fattiness and crispiness of the chicken beautifully and can help you put down that last drumstick you wouldn’t otherwise consider a smart move. The beauty of this pairing is you can be flexible with the chicken and the wine. For the chicken, even the KFCs and Bojangles deliver in very real ways. For the wine, you need good acid and bubbles. You can’t go wrong with Champagne, but Cremants from Burgundy, Loire and Jura work beautifully as well, as do some of the better sparkling wines made elsewhere.
  • Steak au Poivre and an aged dry or semi-dry riesling – this isn’t easy to pull off, but if done right the fattiness and pepper of the steak goes just perfectly with the acid and nuttiness of an aged riesling. For this, quality matters because cheap beef tastes bad and cheap riesling can’t reach the point of maturation needed. The cut of beef matters less than the quality and preparation, but for my money I go with hanger steak. On the wine side, go for trusted producers with at least ten years of age (15 or more is preferable) that have been properly stored the entire time. Don’t go sweeter than German’s Kabinett classification (maximum 188 grams of sugar per liter).
  • Potato chips and Champagne (optional: and caviar) – late night snack craving meets fine wine meets decadence. In an ideal world, I’d start every dinner party with a plate of potato chips topped with caviar and glasses of Champagne.
  • Dry sparkling wine with mac and cheese – this works best if the cheese is a soft and creamy variety.
  • Full bodied chardonnay and bacon – I’ve not tried this yet, but a friend of mine swears by it. I’m told it’s critical that the chardonnay be rich enough to stand up to the saltiness and smokiness of the bacon, which makes good sense. Just make sure not to lose chardonnay’s acid as it is key to handling the bacon’s fat.

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 taste, 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.

Obsession in the Willamette Valley, Part Three

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

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

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

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

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In the Estate Vineyard with Lynn Penner-Ash

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

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

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

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

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

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

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

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

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Trisaetum’s Wichmann Estate Vineyard in the Dundee Hills AVA

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

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

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

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

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

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The three dry rieslings with their corresponding soils

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

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

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

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

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

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

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

Obsession in the Willamette Valley, Part Two

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Try this Wine: 2015 Smith-Madrone Riesling

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Note: This is the inaugural edition of Try this Wine, a series we hope to make regular on the website. You can’t know more than you taste, and knowledge is what builds a palate, so exploration is key to developing an appreciation for wine. Each edition will spotlight a wine that we believe has, whether we happen to like it or not, a compelling reason or two for people to try. Some of the wines will be harder to find and/or more expensive than others, but the one theme that will be constant is our belief that the wines we feature will improve your appreciation for wine. At the bottom of each Try this Wine post, you’ll find a list of places to purchase the wine.

Most wine drinkers aren’t going to like the Smith-Madrone riesling because they don’t like riesling, or so they think. “It’s too sweet” is the variety’s reputation, and the industry hasn’t done much to help itself in this regard. People see the grape and think ‘sweet’ and there’s nothing, except the occasional demi-sec or sec label (which doesn’t mean anything to most people anyways) to clue them in to the reality. Smith-Madrone’s 2015 riesling carries 0.68% residual sugar, which is for all intents and purposes a dry wine. But you wouldn’t know it from the label.

The other thing you wouldn’t know from the label, unless you knew the winery’s reputation already, is how good it is. The rieslings with the most widespread and greatest reputations aren’t grown in the United States, but I’d put money on a few domestics to place well in a Judgment of Paris styled event in Alsace or Wachau. Good Vitis hosted a blind tasting of thirty-two American rieslings with a couple of esteemed wine professionals about a year ago. All of us were more impressed than we expected with the overall quality, and super impressed with a handful of them, including Smith-Madrone. Stu Smith, a General Partner and winemaker at Smith-Madrone, dropped in and tasted with us, nervously hoping his wine would show well. It did.

There are a couple of things that combine to make riesling a special grape like no other. The versatility of the grape is, I would argue, without peers. It can be grown in so many different soils and climates, it’s remarkable. It also picks up terrior as well as any grape, and better than most. Multiply its ability to grow in so many different places by its ability to represent each unique location and you end up with a massive range of differences. With its racy acid, focus and complexity, riesling is also an incredibly versatile and nimble partner of food. On top of that, it ages gracefully and for decades (when grown and made to do so). In the collateral sent with the Smith-Madrone sample, Stu writes that “we think this will have a lifespan of 20-30 years” and there’s no doubt that he is right. The best-made riesling in Germany and Austria is known to gain complexity over decades and decades. Stu’s been making riesling long enough to know, when he says his will go twenty to thirty years, that it will do so while improving.

When you have a really good riesling, it’s impossible to objectively say there is better wine in the world. The kicker is, the best riesling is outrageously cheap by the standard of any other variety that can come close to riesling’s quality. You have to search far and wide to find a riesling that will cost you, off the shelf, over $100, or even $50. For a third of that ($32), you can get the 2015 Smith-Madrone, and it just might be the best $32 white wine you’ll find, and a wine that’s far better than many other varieties costing significantly more.

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Some of Smith-Madrone’s vineyards. Picture credit: Pull That Cork.

They ferment it in stainless, and keep it there through clarification, aging and filtration. It’s 100% riesling that is kept from going through malolactic fermentation and gets no lees stirring. This is all to say, it’s really well-grown estate riesling from a really great mountain site that showcases terrior and talent. Stu boasts of “a proud history with this varietal, from our very first vintage. That 1977 vintage won the Riesling Competition of the 1979 Wine Olympics, a tasting organized in Paris by the food and wine guide Gault & Millau.” Bring on The Germans and Austrians.

Tasting note: What a wonderful nose with elevated florals, dried apricot, tangerine, wet stones, chalk, margarita salt and white peach. Medium in weight, the acid is racy with a lush texture. The ripe flavors hit on tangerine, yellow peach, lime, rhubarb and tobiko. The finish goes for ages. Another brilliant vintage of this stuff, the 2015 should have an excellent fifteen to twenty year lifespan, at least. 92 points, value A.

Where to Buy

The 2015 is still finding its way to shelves around the country. Smith-Madrone sells a lot of direct-to-consumer, and you can purchase this wine from them now. As this vintage gets distributed (there is often a lag time between winery release and completion of the distribution process), it should be available around the country in discerning wine stores. Right now, wine-searcher.com is listing only one store:

Truly Fine Wine, 4060 Morena Blvd., Ste K, San Diego, CA 92117. Phone: (858) 270-9463.

Direct from the producer: Smith-Madrone, 4022 Spring Mountain Road, St. Helena, CA 94574. Phone: 707.963.2283. (You can also call them to inquire about where you might find it locally).

You can find other locations for other vintages here.

2017’s Most Memorable Wines

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Forge Cellars and the Terroir of the Finger Lakes

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The Winery (picture credit: forgecellars.com)

Forge Cellars doesn’t have a sign on the road indicating where visitors should turn. It doesn’t have a sign at or on the winery. You’re supposed to just find it. And you’re supposed to be happy to have found it. And then after you’re there you’re supposed to be thankful for finding it. Well, we found it. We enjoyed it. And we’re thankful we did.

We were told that the majority of negative feedback they receive at Forge is about their the lack of signage. They’re not hard to find, it’s stupid. And the absence of location pointers helps keep unseasoned and uninformed tourists (read: annoying and disrespectful porch pounders (no offense)) from stumbling onto the incredibly cool facility and turning the place into a tourist trap and bachelorette destination, and ruining it for the rest of us. So, thankfully, no signs.

The first thing you notice when you arrive at Forge is the view:

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And then you’re likely to walk to the front of the building, noticing this:

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Turning, then, to see this:

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The tasting table

Then Rick Rainey greets you. No pretense, no bullshit, just a huge commitment to finding the best vineyard sites, working with his partner Louis Barroul of Cheateau de Saint Cosme to make stellar riesling and pinot noir, intelligently designing and building a winery, giving back and adding substance to the region, and treating his guests to very fun tastings. Tastings require a reservation, and Rick does them very purposefully: everyone sits at the same table with each other, and the group has one conversation. This includes any media types, even the big ones, industry people, winemakers – everyone. They taste with the rest of us. It’s a tasting for wine people, and Rick makes no distinctions after that.

I was first introduced to Forge by my friend Drew Baker of Old Westminster Winery in Maryland (another self-professed soil geek like Rick), who brought a bottle of Forge’s Classique riesling to a wine dinner. Later, on the strength of that bottle, when I collected bottles for the Good Vitis Grand America Riesling Tasting, I emailed Forge soliciting contributions. Rick ended up responding after the tasting, and apologized for not getting to the email sooner. When we sat down with him months later, he told me that he rarely bothers to send out samples, especially to people who haven’t already visited. “Get on a plane or in your car and come out here. You can’t adequately appreciate wine without meeting the people, experiencing the land and spending time in the winery.” I heard the message: you were never getting samples. “But now that we know each other, who knows, I might be open to it.” Again, the message: we’re cool now.

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Rick leading us down the rabbit hole of Finger Lakes riesling

Rick facilitated an amazing tasting with a group of 9 of us who didn’t know each other. Across the table were a couple from Connecticut. Next to them was a man, who had Finger Lakes orchards for decades but had recently converted them to wine grapes, and his wife. Wrapping around the far end was a group of three, and then my friend and I set next to Rick. We were there for three hours, and once we went through the line up Rick pushed the open bottles towards the center of the table and asked people to hang out and help finish them (it was 7pm on a Friday – get home time – so he had to have been having a good time). The conversation was high level, geeky, friendly and collegial, and lubricated by Forge’s wine and Rick’s entertaining stories and anecdotes.

Forge goes for about as simple a winemaking approach as they can, but they don’t advertise it, and they certainly don’t boast about it. They use seriously neutral oak (8-10 years old, usually), with many barrels coming in the 500 and 600 liter sizes. All the barrels are sourced from France by Barroul. Sulfur is quite minimal and other additives are eschewed. Rick is the vineyard guy. They’ve recently planted 8 new acres by the winery with a high density of around 2,100 vines per acre. They also source from 13 or 14 other spots near the winery. Residual sugar in the rieslings are kept low, usually no more than 2-3 grams per liter (though they taste bone dry), and the pinots are made largely from Pommard clones.

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A recent barrel shipment from Cosme

To Rick’s credit, he was right about his samples point: they’re doing something special at Forge and the experience of being there drives it home. Rick spoke several times about their commitment to the region, and within the region finding the best sites for the kind of wines they want to produce. But that’s typical winery speak. It was everything else that followed that made it clear how Forge is really about the region. He talked at length about the people of the Finger Lakes, its economic history and the role a revitalizing wine industry is playing in helping some of the poorest counties in New York State stay afloat while bringing smart people to the area who are dedicated to helping it succeed and expanding what it has to offer its residents and visitors. Our fellow taster who owned vineyards added his own thoughts on this, largely driving the argument that the wine industry was bringing jobs and smart people to the region, all for the better.

Forge wines don’t just represent what Rick does in the Vineyard and Barroul does in the winery, they also reflect the trials and tribulations of the region and its businesses, families and individuals who are its fabric. The Finger Lakes and Central New York, which has an important place in my heart from the time I spent there for graduate school, has a long history of tough times and tough people. These are estimably down-to-Earth types with an almost spiritual commitment to harmonizing with their land, an unforgiving land whose climate toughens the skin and head and rewards those who treat it with respect. As cheesy as it sounds, Forge’s wines have a little something extra, and I don’t think it’s unreasonable to suggest that its terroir includes these more human elements.

The first wine that Rick poured was the 2015 Classique riesling, which is a blend of multiple vineyards meant to be their gateway bottle and the one distributed most widely. At $19, it is an exceptional riesling and a great entry to the Forge lineup, offering notes of apricot, nectarine, Spanish almond, parsley and lime zest. The body was polished and lush, but offered balanced acidity.

The 2015 Leidenfrost Vineyard Dry Riesling is a step up at $24. The mineral-driven palate boasts flavors that are wild when put together in a riesling, boasting orange zest, raspberry, saline and apricot, finishing with a kick of smoked white pepper.

Sniffed blind, I would’ve called the 2015 Lower Caywood Vineyard Dry Riesling a chenin blanc from Savennieres. The palate offered a big glycerin sensation (not unlike some Savennieres, either) with big stone fruits and deep, deep minerality driving serious depth.

Next was the 2015 Sawmill Creek Vineyard, which was very ripe and dense. Rick believes it’s the most ageworthy riesling in the program from the vintage, and was best able to handle the larger barrels. The nose is powerful, almost sweet, while the palate offers a big structure and a nice amount of red fruits, which is a wonderful discovery in this varietal. The Sawmill is a bit of a fist in a velvet glove kind of wine, and I really liked it.

The best riesling, however, was the 2014 Les Allies. Big on fennel and bitter greens, sharp citrus and Devil’s Club with sneaky slate and flint streaks adding depth. Though savory elements drive the wine, it’s balanced by big hits of fresh apricot and peach on the finish. This is going to go through some cool short-term evolution in the cellar, and was my favorite riesling of the day.

We then moved on to the 2016 rose of pinot noir, which was a minuscule production of 85 cases. The wine saw 16 hours of skin contact, so this is no small animal. The nose is big on crushed berries, and the palate has a real captivating presence and density. It’s a sizable rose, but not heavy. The texture and weight are the real selling points on this one, and I’m told it sells out very quickly.

The penultimate wine was the 2015 Classique pinot noir that, like the Classique riesling, is meant to be an entry pinot. It goes far beyond entry, with a brilliant, high toned classic pinot nose of red fruits and baking spices. On the palate it’s more savory, herbaceous and spicy with a small dose of baking spice on the back end. Burgundian in style, it delivers great finesse and bright acid. A very impressive pinot for the price.

We finished with the 2014 Les Allies pinot noir. My oh my. These vines are planted in shale. The nose is dirty and fungal, and the fruit is dark. The palate boasts big minerals and a nice dose of smoke. The fruit is dark here as well, and it’s just ever so slightly toasty. There’s a fungal streak, but overall this is a mineral-driven wine for those with patience. My closing note was “very good.”

The entire experience at Forge was impressive, from the views at the winery, to the winery itself, to the way the wines capture the region, to the people and, I think above all else, to the seamlessness with which the effort meshes with its home in the Finger Lakes. Forge is Finger Lakes in a bottle, capturing its toughness, its beauty and its tranquility. I went into the visit with nothing other than a taste of one of their wines a year or two ago and Rick’s lackluster email habits shaping my expectations, and came away with the notion that Forge is among the most exciting wineries I’ve come across in America, even though they purposefully remain hard to find and generally eschew the spotlight. I also came away with a case of their wine and a desire to visit again next year when I assuredly will need more.

A Study in Value: Argentina at $25 & Under

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Grapes of Bodega Santa Julia. Picture Credit: Bodega Santa Julia

America has pretty strong knee-jerk associations between countries and wines. New Zealand is sauvignon blanc. Australia is shiraz. German is riesling. And Argentina is malbec. The converse is sort of true as well, as people associate what the grape is supposed to taste like by where it’s from: sauvignon blanc is limey and tropical and lean, shiraz is big and fruity, riesling is sweet and malbec is dark and spicy. Sample a smattering of what’s available in a grocery store wine isle and these stereotypes hold pretty solidly. Pour a Safeway customer a Sancerre sauvignon blanc, Cote Rotie syrah, New York riesling or Cahors malbec and they’re likely to get lost based on their geographic associations with those grapes. It’s enough to drive a wine snob mad because terroir does matter, especially in the four examples I used above. Then add in price point associations and we’re now far off from what could be someone’s wine reality with a little adventure and knowledge.

I’ve fallen pray to some of these shortcut assumptions myself, and because I’ve never loved the standard NZ sauvignon blancs I haven’t looked into what the good ones might be, except for Greywacke’s Wild sauvignon blanc. I’ve spent a little more time on Australian shiraz and found gold with well-aged Kaesler and Kilikanoon. I still haven’t invested substantial time into German riesling, but certainly more than Argentinian wine which I don’t think I’d had for several years prior to the wines tasted for this article.

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Vineyards in Maipu. Picture Credit: Bodega Santa Julia

With this in mind, I tasted through ten different Argentinian wines sent as samples to Good Vitis. Two whites, eight reds, with suggested retail prices ranging from $10 to $25. The idea was to assess some of the wines available to the entry level wine shopper to see if there might be some diversity beyond the simple association people have of Argentina wine. I was hoping to find some variety.

There were three wineries represented among the ten wines: Santa Julia, Colomé and Amalaya. My favorites from the group included Santa Julia’s 2016 Organic Cabernet Sauvignon (90 points, Value: A), 2014 Valle Uca Cabernet Sauvignon (91 points, Value: B+), Colomé’s Torrontes (88 points, Value: A) and Malbec (91 points, Value: A) Estate bottles, and Amalaya’s 2016 Malbec (89 points, Value: A). Honorable mention goes to the 2016 Santa Julia Tintillo (88 points, Value: B+), a 50/50 blend of malbec and bonarda that would go well with red food (see pairing suggestions in the review below). These wines represent some decent variety, with some showing flavors beyond big, juicy fruit, and I would be happy to spend an evening with any of those mentioned in this paragraph. All were provided as trade samples and tasted sighted.

The largest contingent came from Bodega Santa Julia, a winery in Mendoza founded less than thirty years ago.

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2016 Santa Julia Tintillo Malbec-Bonarda (50/50 blend) – Whole cluster fermented and designed to be consumed chilled, it pours with some translucence. I couldn’t confirm with a website search but I imagine there’s some carbonic maceration involved in the process. The aromas hit on macerated strawberries and huckleberries with whiffs of tar, tobacco leaf and white pepper in the background. The body is round and polished with little tannin and medium acidity. The fruit is a general consensus red variety, though strawberries and huckleberries do peak through. It has a really pleasant pluminess to it, along with some lavender and rose. This is a lovely, easy-drinking wine probably best alone or with something like margarita pizza, a simple red pasta or simple grilled meats. I’ve seen this one at DC-area Whole Foods stores. 88 points. Value: B+

2016 Santa Julia Malbec – The nose is a bit reticent at the moment, but suggests development of strawberries, blackberries and tar with extended air exposure. The body is quite round with fine grained tannins. The acidity is spot-on, making this red or white meat-friendly. The fruit is generally red and black, although cherries and plums dominate. There’s a bit of pepper and nice little dose of minerality. Solid if unspectacular. 87 points. Value: B

2015 Santa Julia Valle de Uca Reserva Malbec – Sourced from vineyards ranging from 3,130 to 4,600 feet above sea level. A lot of fruit on the nose, almost macerated or crushed strawberries, raspberries and blackberries. Loam and graphite as well. The palate is medium in body and polished with moderate acid. The fruit is just a bit sweet, offering boysenberries, huckleberries, strawberries and cherries. There’s great minerality on this along with tar, tobacco and smoke. The profile is really nice but it lacks the concentration I’d expect on a reserve. 90 points. Value: C

2015 Santa Julia Cabernet Sauvignon – The nose is more Malbec than classic cabernet sauvignon: macerated red berries and plums, not much else. The body is medium in stature, with a light dusting of grainy tannin. There’s also some serious acid on the back end. The fruit is similar to the nose, with the additions of loam and pepper. 86 points. Value: C

2016 Santa Julia Organic Cabernet Sauvignon – Nice Earth on the nose: wonderful mushroom funk, loam and wet soil goes along nicely with dark cocoa powder, overripe strawberries and cherries. Full bodied with bright acidity, this is a pleasantly juicy and floral wine with strawberries, raspberries, rose and Spring flowers. There’s some Sweet Tart going on as well. Fun, funky stuff. 90 points. Value: A

2014 Santa Julia Valley Uca Cabernet Sauvignon – A complex and funky nose with dark cherries, pork fat, smoke, chalk and brambleberry. The palate is pleasingly tannic, it has real structure and presence delivered with quality acid. Cherry crushes over limestone with lavender and thyme. It’s smokey and delivers nice saline as well. 91 points. Value: B+

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Colomé and Amalaya are part of the Hess Family collection of wineries. Colomé is the result of a three year “quest to find the source of an exceptional Malbec that [Donald Hess] had at a dinner in a small bodega in Salta.” The winery was founded in 1831 and grows its grapes at elevations ranging from 6,000 to 10,000 feet above sea level using biodynamic practices. Some of the vines are 160 years old. Amalaya is an attempt to highlight the weather and soil conditions unique to the Northern Calchaqui Valley, which is part of the foothills of the Andes Mountain range. Make no mistake, though, elevation is still significant: it ranges from 5,250 to 5,580 feet above sea level. The vineyards are sustainably farmed as well.

2016 Colomé Torrontes Estate – Lovely nose of honeydew, lime zest, pear, dandelion and a lot of chalk. This full-bodied wine offers crisp acidity on an otherwise soft palate. The fruit – lime sorbet, Granny Smith apple and cantaloupe – is bright and sweet, though the wine is dry. There’s also just a bit of hay, limestone minerality and white pepper. The finish is just a bit hot but is otherwise a very pleasant wine offering a lot of refreshment. 88 points. Value: A

2016 Colomé Malbec Estate – A blend of four estate vineyards ranging from 3,740 to 5,940 feet above the sea. Pouring a beautiful deep crimson, it offers up a high octane nose with strawberries, cherries, plums, smoke, loam, mushroom funk and an amount of blood that would bring all the vampires to the yard. The structure is set by polished tannins with real grip and well-placed acidity. It achieves a juicy full body while serving up juicy strawberries, cherries, blackberries and blueberries, along with aggressive cracked pepper, saline, graphite and just a hint of iodine. I’m a fan. 91 points. Value: A

2016 Amalaya Torrontes-Riesling blend – sourced from vineyards at 5,900 feet above sea level. The nose is a bit reticent at first but with air offers up a pleasantly sweet profile filled out by pear, big honeysuckle, mandarin orange, papaya and hay. The body is svelte, integrating classy acidity driven by the riesling with a bit of lushness. The palate offers Key Lime, a bit of petrol, bitter greens, underride orange, vanilla and coriander. Finishing a bit zesty, this isn’t a porch pounder as much as it’s a wine that will benefit from a conscious food pairing. 86 points. Value: B

2016 Amalaya Malbec – sourced from vineyards at 5,900 feet above sea level. Includes 10% tannat and 5% petit verdot. After aggressive swirling to blow off some barnyard (Bret?), it opens up with dark cherries, Spring flowers, blood, orange zest and a fair amount of black pepper. The body is full with nicely structured grainy tannin and juicy acidity that gives the wine a substantive presence not always found at this price point. It offers a cornucopia of sweet fruit: cherries, strawberries and loads of plums. Hints of smoke, tar, and black pepper augment the appealing flavor profile. Nicely done. 89 points. Value: A

A GRAND American Riesling Tasting

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Good Vitis Unplugged: Stu Smith and the wines of Smith-Madrone

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I know which way I’m going. Picture: Mumu Les Vignes

I already knew I liked Stu Smith when he told me he had worked for André Tchelistcheff when he was young. By that point in the night we had left the dinner crowd and found a nearby wine bar to talk one-on-one, and Stu had moved on to a glass of beer. I was still sipping wine, but had transitioned from Stu’s Smith-Madrone line up to a cabernet franc from Chinon, which frankly tasted more like an inexpensive, cloying California red blend than the funky fruit from the Old World I was seeking. When you can count Tschelistcheff as a former boss and mentor, you don’t have any legitimate excuses for making bad wine. Thankfully for Stu, he doesn’t need excuses because Smith-Madrone is for real. Stu and his avid followers don’t need me to tell them that, though.

André Tchelistcheff could be the subject of an entire book, let alone a blog post, but for now he’ll have to be simply a reference for this blog post. I know about him because of the crucial role he played in the early development of the wine industry in Washington State where I’m from and whose wines takes up half my cellar. He is one of the maybe three most important figures in the state’s wine history. Stu was lucky he didn’t mention the relationship until the end of the night, otherwise we wouldn’t have discussed anything else the entire night.

What we did discuss, though, was quite interesting and wide-ranging. Being just a few blocks from Congress we discussed politics, both in the context of general musings and those specific to the wine industry, meaning how local, state and federal decision-making affects the industry (not who is buying you-know-who’s used barrels which may or may not be tainted with brettanomyces (wink wink)). Stu is one of the more politically engaged winemakers I’ve met and when he decides he is willing to go on record about politics, I may have to start a Good Vitis podcast.

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Stu Smith of Smith-Madrone. Picture: Smithmadrone.com

We also discussed a great deal of Stu’s thoughts about running a winery. For instance, he’s managed to avoid having to start a wine club, which for a winery that celebrated its 45th anniversary last year and makes around 4,000 cases a year is a remarkable feat. Wine clubs are the business model these days for small producers of coveted wine like Smith-Madrone because they bank on future sales to club members. And I say ‘managed to avoid’ because he’d rather not go that route. Why, goes his thinking, do that when you can sell the wine on its merits without having to resort to marketing gimmicks. Even still, he does care about continually expanding his market and building upon his already well-established reputation. That’s the answer, more or less, that I received to my question of why he needed to make the rounds in Washington, DC, let alone sell his wine in the area, given the long-standing high demand for his limited production. It’s an astute answer because it implicitly recognizes that no customer can be counted on for repeat purchases – even wine club members come and go.

Over dinner earlier in the night with a number of other Smith-Madrone admirers, Stu began his remarks by stating the belief that ‘you can only make the best wine from the best grapes, and you can only grow the best grapes in the mountains’ because ‘Bacchus loves the hills.’ Stu had the wherewithal in 1972 to plant the vineyards used to make Smith-Madrone’s wines, to this day, on the side of a mountain in the North Coast of Napa Valley, and he chose one with slopes as steep as 30 degrees. Situating each varietal within the vineyard where it was best situated (“eastern exposure for the Riesling, southern and western exposures across flat stretches for the cabernet sauvignon; the coolest north-facing slopes for the chardonnay” according to the website), Stu has moved to dry farming to ensure vine struggle sufficiently to produce smaller berries to achieve a higher, and more desirable, skin-to-pulp ratio (most of the flavors and nearly all of the structure of wine comes from the grapes’ skin). Stu defined his winemaking style as the antithesis to “OTT” (Over The Top).

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Smith Madrone’s hillside vines. Picture: Smithmadrone.com

These days, many American consumers like to buy a story, not just a product. Although Stu can deliver his compelling story with thoughtfulness and humor, by the time the competition for his attention bowed out, leaving just me, he was ready to talk about something other than wine. Because I was going to be writing an article about Smith-Madrone we tried to return the topic of conversation to winemaking on several occasions, but we didn’t stay on it for long before going off in the direction of the state of the Republican and Democratic parties, or the regulatory challenges wineries face (especially in land use), or whether winemakers were inclined towards one particular political persuasion, or the value of a good distributor (I can attest to this having heard more than a few horror stories), or if a Parker 89-point review is worse than no review at all (answer: it is), or any of the other dozen topics we discussed. By the end of the night I came to like Smith-Madrone’s story because I liked the man at the center of it. Stu is real people, and you get a deep sense of that in his wine. It’s honest wine for honest people, or at least that’s my slogan for it. I’m quite glad we didn’t dwell on winemaking any longer than we did.

Coming from one of the best areas in Napa for more classically-styled wine, Smith-Madrone’s offerings are fantastic. If you want reserved, classy wines with especially deep and complex layers, all at what amounts to a steal for the quality and pedigree, made by a real person genuinely more invested in the quality of his life’s work than the potential fame or fortune of it, then you need to look into Smith-Madrone. The reviews below are from bottle samples the winery sent me that were tasted sighted.

2014 Smith-Madrone Chardonnay – The nose dazzles with banana, oak, lemon-lime Sprite, and vanilla bean with nice streaks of flint and smoky white pepper. Super engaging profile. The palate is full with a glycerin sensation but avoids becoming cloying by offering a fine balance of bright acidity, slight grainy tannin and honeyed fruit. The flavors feature Meyer lemon, pineapple, tart Starfruit, nectarine, cider, saline, tarragon, slate and just a bit of chili flake kick. This is top shelf chardonnay at a fantastic value. 93 points. Value: A

2014 Smith-Madrone Riesling – Bright nose of tennis ball, limey minerality, apricot, banana leaf and peach. The palate is medium bodied with a high viscosity and cutting acidity. Loads of lemon, lime and slate on the initial hit, followed by white pepper as it turns to key lime pie with whipped cream and a hint of nutmeg and gets lush. The acid carries through on the long finish. Expertly crafted riesling with a promising decade of evolution ahead. 91 points. Value: A

2013 Smith-Madrone Cabernet Sauvignon: The nose is funky, dark and smoky. Hickory smoke, olive brine, dark cherries, blood, dusty cocoa and tangerine peel. With more air the raspberry pops. It’s medium bodied with mouth-coating dusty tannins. The palate is also quite savory and very refined. There are multiple layers to this that years in the cellar will expose. Right now it’s under ripe cherries, maraschino sauce, dark plums, loam, tarragon, black pepper, mocha, a bit of iodine, and saline. Quite dry at the moment with a quick finish, I do expect it to fill out a bit with age as the tannins smooth and release. If this happens, the score will improve. 92 points. Value: A-