Mosel’s Exciting Steep Slope Producer: Markus Hüls

IMG_0389

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.

Mosel-Weinbau-Karte_für_den_Regierungsbezirk_Coblenz_,_1897_-_urn-nbn-de-0128-1-3517

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.

Mosel_vineyard_in_Tittenheim

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.

mosel-vineyards-wine-growing-area-wallpaper-preview

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.

monorail

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.

14150266170_225afb0646_z

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.

IMG_0390

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.

IMG_0385

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.

IMG_0387

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.

IMG_0386

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.

IMG_0388

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.

A True Oregon Estate: Left Coast Cellars

Latitude 45

Left Coast’s Latitude 45 vineyard

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

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

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

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

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

Run

Run for the Oaks 5/10k

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

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

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

The Orchards

The Orchards vineyard

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

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

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

Tasting notes and scores:

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

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

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

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

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

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

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

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

 

 

 

The Legend of Abruzzo & Beyond: Emidio Pepe

K8axQsDSTlO2W9s+y8P5+Q

When Kayce told me she booked us for two nights during our honeymoon at the Emidio Pepe agritourismo in Abruzzo, Italy, I thought, ‘no way.’ Seemed too good to be true. Emidio Pepe is a legendary wine producer. Legendary Montepulciano d’Abruzzo red wine, and legendary trebbiano white wine. It’s essentially the winery of Abruzzo, at least according to what I know, and it’s not always easy to find bottles in the United States. I had heard great things, but had never actually verified them since I’d never tasted any Emidio Pepe. I was hoping this wasn’t going to be too good to be true.

Months later, as we drove up the winding road on our final approach to the winery, I allowed myself to transition from skeptical to hopeful; if my first step inside the place carried any trepidation, I’d jinx it. The Pepe estate, which consists of the family home, winery, vineyards and an agritourismo (essentially a full service boutique hotel serving food grown on and near the property), is perched on top of one of the many hilltops in the rolling countryside of Abruzzo. The property has an idyllic setting: affixed atop a hill with a roughly 270 degree view of the surrounding rolling hills, which are mostly draped in vineyards and topped with either agricultural estates or small villages. Beyond them are large mountains, some of which go into the several thousands of meters above sea level.

fullsizeoutput_11f0

The view from our room

Even though our stay at Emidio Pepe was part of our honeymoon, Kayce was understanding in recognizing that, given the weight of Emidio Pepe in the wine world, it should be leveraged for a Good Vitis piece, and so I sent an email ahead of time asking for some one-on-one time with a representative of the property in order to collect information for a post. We were paired with Gianluca, who runs the commercial side of the property, for a tour and tasting the day after our arrival.

A side note on Gianluca: He appears to be a true asset for the company, and for its visitors. Though not part of the Pepe family, he was hired to run the agritourismo and represent the winery around Italy. Having spent time in England for work previously, he speaks very good English and knows how to connect with Anglos, an important skill for Pepe because of the high percentage of visitors they get from the US, UK and other countries with whom the common language with Italians is English. He is a gracious and warm host who cares about every visitor’s experience.

A second side note on Gianluca: He also really knows his wine stuff. He took us on our tour of the winery, explaining numerous aspects of the process and providing answers to questions that are only known by people who study the craft. We had a great discussion with him about skin contact wines from Italy, and he wrote down several suggestions that we are eager to pursue. It’s clear he’s a true wine lover.

As a wine region, Abruzzo hasn’t had much recognition in America, at least the type of recognition that a winery focused on quality and uniqueness like Emidio Pepe would want. Most of America’s experience with Abruzzo comes by way of inexpensive and fairly simple wine, the three most common of which are made as varietally-labeled wines from the signature grapes of the region: white grapes pecorino and trebbiano, and the red Montepulciano d’Abruzzo. In Washington, DC, where we live, it’s much easier to find these wines on a bar’s happy hour menu for $8 a glass than it is in a wine shop for more than $15 a bottle. Abruzzo is vastly overshadowed by Italy’s better known region, though Emidio Pepe is one that transcends this reputation of simple wine.

Part of what sets Emidio Pepe apart is the focus they have on making wines that transcend themselves with significant aging – we’re talking twenty-plus years for the better vintages of montepulciano and five-plus years for trebbiano.

To say “transcend” with age rather than “improve” or “evolve” is to imply more gravity, namely that there is a significant transformation that happens from an early stage of the wine’s life to a later stage. This kind of change can be exemplified by two tasting notes, two experiences, that are almost, if not completely, different: the structure, aromas and flavors show little resemblance to each other as the structure becomes more regal and the common themes are reduced to (critical) things like quality and style. Transcendence on this scale is limited to the best wines in the world – some, but not nearly all, Bordeauxs, Burgundys, Barolos, Brunellos (lots of B’s now that I think about it), Riojas, Vouvrays, etc. Pepe’s transcendence puts it in the most elite of company.

IMG_0366

Gianluca and the author walking the Emidio Pepe cellar

Nearly half of each year’s production is placed in Emidio Pepe’s cellar for future release, and when I say “future release,” I’m talking five to twenty years later depending on the vintage and variety. Each year, these older vintages are made available to a maintained list of collectors. America is the biggest destination of these library releases.

I’ve come across serious library programs before, but none come close to this level of dedication to releasing “wine that is very good and elegant,” as Gianluca put it. Walking the cellar is an experience: rows and rows of unlabeled bottles segregated by vintage. Every vintage since the first in 1964, save the eight they skipped due to poor quality, are there. Finding the section reserved for a personally important year is a lot of fun. I scoured the room for 1983, my birth year, while Kayce was disappointed to learn that her birth year, 1989, was one of those skipped.

To go even further, the wines are bottled unfiltered and made in a very reductive manner, which are factors that contribute to the wine’s ability to improve with age. “Reductive wine” refers to wine that is made with techniques that limit its exposure to oxygen. Because oxygen inherently and irreversibly kills wine (it ages wine to death just like it does humans), the less the oxygen exposure, the longer-lived the wine. Also, oxygen exposure forces a wine to release its aromas, flavors and textures, and so if you’ve had a wine that becomes significantly more interesting as it sits in your glass or decanter, you’ve likely experienced a reductive wine opening as it takes in oxygen for the first time.

When the older Pepe vintages are released, it is because the winery believes the vintage is beginning to hit the early part of its drinking window. Before bottles of old vintages are shipped, each wine is opened, decanted and re-corked with a new cork. This process helps rid the wine of the significant amount of sediment that has built up. Given the amount of reductiveness in Pepe wines, the brief decanting does little to stunt its growth. By the time a bottle of 2000 Montepulciano d’Abruzzo makes its way to a customer in 2019, for example, it’s beginning to reveal its promise. I can attest to this example as the 2000 was one of the wines we tasted.

Making wine for the long haul is centered on the belief that when good wine ages, it gets better. While “good” is the operative term in that sentence, the underlying premise is that the wine is made in a way that allows it to become better with age. “Good,” therefore, carries the implication that the winemaking is done intelligently and purposefully with the goal of the final product being better later than it is sooner. This leads to practices in grape growing and winemaking that may not otherwise be followed. I point this out because unless this conscious choice is made, the wine likely won’t improve much beyond a more limited amount of time.

This is the starting point from which Emidio Pepe makes its wine. At the winery level, there seems to be some correlation between interest in making reductive wines and interest in making what is being referred to these days as “natural wine,” an approach characterized by minimal human intervention and minimal use of “unnatural” products (e.g. synthetic pesticides, fining agents, etc.). Emidio Pepe is often considered a “natural” wine producer. Though there is no definition of natural wine (a fact that in my view undercuts the argument for natural wine), when a wine is good, it’s good, regardless of how it’s made.

fullsizeoutput_11f3

A Pepe vineyard

Natural wine proponents argue that following minimalist techniques, like limiting pesticide use in the vineyard or refraining from additives in the winery (some go so far as to exclude all additives, including sulfur, a natural element and effective preservative in even small doses) produces a wine more inclined to taste like the terroir and vintage than if more human intervention and manipulation were used, and is better for nature and human health.

This means that unless someone really, really knows what they’re doing, a poor vintage of natural wine can taste like a poor wine. It also means that if something goes wrong in the vineyard or winery, the winemaker has few tools to correct it. I’ve had truly terrible natural wines that would’ve been better with some human intervention, and I’ve had great natural wines that would’ve been worse under a heavier human hand. I see no reason why natural winemaking is inherently better. If a property can produce better wine by following some natural winemaking process, I’m all for it. If they can’t but still chose to, then they should re-evaluate the business.

We had an interesting discussion with Gianluca about the topic of natural wine during our tasting with him because Emidio Pepe is often categorized by others as a natural wine producer. We got an answer not that different from the paragraphs above. It effectively went like this.

Part one: We’ve been making wine from these vines for a long time (the trebbiano vines are 35 years old, the montepulciano are 50) using the same vinicultural and winemaking techniques, and so we’ve learned what we need to do to get the best harvests. Further, because all these vines and our winemakers know is what we’ve always done, both have learned how to adapt effectively to nature’s various curveballs.

Part two: Because we love our grapes so much and want to show them off, we only do what is necessary to showcase them as they are, and nothing more.

Part three: If at any point we decided a change in the vineyard or winery would lead to better wine, we’d probably make it, but only after serious study.

Part four: This process is the original winemaking process – it is organic and biodynamic by its own nature, not by a desire to get a certification – and we like its outcome. If this happens to fit someone’s definition of natural wine, great.

Though Pepe could easily be called natural wine and few would argue with it, I think a more appropriate term, if we need one, is old school winemaking. Emidio Pepe was established in 1964, and though today’s vines aren’t the originals (the montepulciano is 50 years old and the trebbiano is 35 years old), it is easy to maintain organic and biodynamic methods, as they do, when that’s all the vines have known their entire lives. Pepe has effectively been organic and biodynamic since 1964 in practice, though actual certifications came later (when organic and biodynamic became a thing requiring certification to commercially claim). The idea is a “natural expression of the viniculture” as Gianlucca explained it.

IMG_0367

Gianluca explaining the foot treading phase over one of the wood vats

The winemaking process is similarly straight-forward and consistent from year-to-year. All grapes are handpicked and foot tread, which represents the entirety of the pressing process. The whites and reds are tread in different vessels, both made of wood. The skins from the white grapes are not reintroduced to the juice, while the red goes through fifteen to twenty days of maceration. Naturally occurring yeast is allowed to initiate and complete fermentation. Tightly-trimmed stems are included with the white grapes in the treading, but removed for the red. The whites are aged in temperature-controlled stainless steel while the red is aged entirely in concrete.

These aging vessels are critical to their respective varieties because of Abruzzo’s searing heat and the desire to make reductive wines. While we were there in mid-June, temperatures were consistently in the mid-90s. They rise through July and August. It is imperative that the whites go into cold jacketed tanks in order to maintain safe temperature, and the concrete tanks that the reds age in are fantastic for maintaining low temperatures on their own. Given Abruzzo’s heat, it shouldn’t be surprising that canopy management in the vineyard is imperative as well to protecting the grapes from sun burn and keeping sugar levels reasonable, which can build quickly in this kind of heat. Vines in Abruzzo are allowed to maintain thick layers of leaves across their tops to provide shade and protection for the grapes.

INSkVVc%R460d27r4n1vqg

Pepe vines

Additionally, because montepulciano is so strongly expressive and naturally inclined to produce big wines, concrete is preferred at Pepe because it tames this tendency by allowing little oxygen to come into contact with the wine compared to what oak barrels would allow (more oxygen means bigger wine in this context). Punchdowns are used once per day, and no batonage (stirring of the wine while aging) is performed. This combination of stainless steel for whites and concrete aging for reds (versus oak for either), a small amount of punch downs (versus pump overs) and zero batonage (versus some) are all reductive techniques relative to their alternative methods.

The moral of the Pepe story is that the two things that do not change from vintage to vintage is the unique qualities that come from this approach and Pepe’s terroir. What does change is the influence of the vintage on the wine. The dinner we ate the first night of our stay included the current releases of the pecorino, trebbiano and montepulciano. Later, when we met with Gianluca, we tasted some different vintages.

IMG_0368

We started with the 2016 Trebbiano, which pours a dark, golden honey color that belies the absence of skin contact in the winemaking process. The aromatics are tropically themed with a linear spice that cuts through the center. Pineapple, mango, marzipan, Key Lime and a petrol-like quality not unlike that found in high quality riesling waft at first sniff. Over time, a gorgeous sweet aroma develops as well. So saturated, the bouquet has its own structure, a quality I’m not sure I’ve experienced before and one that blew me away. On the palate, it is medium bodied with round and sturdy acid that creates great tension. The flavors lead with a crisp mineral Key Lime pie, followed by peppery spice, saltiness and pineapple. It broadens with as it takes on air, coating the mouth with sweet peach and vanilla spice notes. This brilliant wine is among the very best I’ve had, red or white. 95 points. Value: A+.

From there we moved to the 2015 Pecorino. This variety is normally planted at 500-700 meters in elevation in Abruzzo, but Pepe put theirs at 250 meters because it packs on sugar very quickly. This lower elevation helps with limiting direct sun exposure on the grapes, and they harvest the pecorino before their other grapes to keep sugars low as well. Aromatics are tricky when producing pecorino, and Pepe actually shuts fermentation down a bit early in order to do that. Given all this, I know now why I’ve never had great pecorino until I tried Pepe’s, which is phenomenal.

The nose starts off slightly funky and a bit muted, but with air it takes on mushed banana, lanolin, apricot, orange plum, orange marmalade, sweet Thai chili sauce and Kiwi. The body is plush and soft, offering less acid than the Trebbiano. The flavors are similarly soft and a bit salty. Citrus carries the day despite the preponderance of tropical flavors, including banana, quince, passion fruit, zesty lemon peel and white pepper that really pops. It has a wonderful light oiliness sensation. 93 points. Value A+.

At this point, we transitioned to the Montepulciano d’Abruzzo. Gianlucca opened the 2000 and 2010, both exceptional vintages for the estate that he called “among the best for Abruzzo.” The 2010 will be re-released soon. There are six sectors of the oldest vines on the property, and the grapes from them are made into a separate batch that goes into the lot that is held back in the cellar for future release. The 2000 and 2010, taken together, exemplify the transcendence I discussed earlier. You’ll see in the tasting notes below a number of differences that could suggest two different wines. I had a difficult time picking a favorite as each has so much to offer and left me wanting nothing more than another glass. What was evident in tasting them side-by-side is that 2000 was a warmer year: the body, structure and alcohol are all more significant than the 2010.

The 2000 Montepulciano d’Abruzzo has an exquisite nose showing signs of sweet tertiary aromas with a sherried/carmelized note. I also picked up roasted and jarred piquillo peppers, sweet mint and canned cherry. The palate remains quite robust in structure and weight; in fact, it appears to just be hitting puberty. The flavors are similarly sweet as the aromas, but the spice is really taken up a notch. The fruit is mostly red and crisp, but somehow also saturated and dense. The acid and tannin spine is keeping everything perfectly framed and structurally integral, developing a slight chewiness as it takes on oxygen. There are strong elements of scorched earth and wet pavement, with smaller doses of tomato paste and mint. This is a perfectly balanced wine with serious depth and elegant structure. It has another ten-plus years of great life ahead of it. 96 points. Value: A.

We finished with the 2010 Montepulciano d’Abruzzo. The nose offers an interesting combination of primary, secondary and tertiary notes with some funk thrown in for very good measure. Nevertheless, it remains a bit muddled and needs time to delineate and develop clarity. The palate delivers a full-bodied wine that is quite broad, but also surprisingly soft for its youthful age compared to where the 2000 is right now. A funkiness similar to the nose is found in the mouth, and and pairs nicely with red fruit, tomato leaf, blood orange and loads of pepper spice. Extended oxygen brings out fine, slightly chewy tannin and elevates the peppery kick. Those who decide to buy this should consider laying it down for at least another ten years. 96 points. Value: A.

IMG_0369

Some old and new vintages that are ready for release

We were completely taken with Emidio Pepe’s wine (as well as the agritourismo, which we can’t suggest strongly enough). Putting aside the romanticism added by the fact that it was our honeymoon, the tranquility and beauty of the estate and surrounding area, and some of the best food we’ve ever had, I don’t remember a winery that I’ve been more excited to follow and collect since my discovery of Oregon’s Cameron in 2017. Pepe has immediately jumped into my top-5 favorite producers, maybe even top-3. Their wines are especially appealing for me as my favorite wines are those built to age, and then aged. Emidio Pepe deserves the highest marks on quality, personality, process and business model. If only more wineries did it this way…

Try this Wine: Good Memories Juice

wine_bottles_wine_bottle_range_bottles_shelf_wine_rack_wines_wine_sale_rarities-1103779 (1)

I’ve mentioned many times on this blog that I love aged wine. The really good stuff transforms into something beyond its constituent parts, taking on flavors and aromas of complicated dishes rather than mere ingredients – Christmas spiced-poached pear with caramel sauce, for example, rather than simply pear or even yellow pear. And the structure becomes otherworldly as the years, or decades, smooth the edges and melt each part into a single, glorious sensation.

Wine can’t do this when it’s young. Tannin needs time to smooth out and integrate, that’s why we sometimes refer to tannin “integration.” Acid magically “mellows.” Flavors fascinatingly “develop.” Wine needs time to mature and evolve, not unlike we do as humans. Sure, all the bits are there when a wine is first bottled to become something great, but many bottles need years and years to improve, just like us.

Some wine doesn’t get better with age, because it’s made to be its best right away. It’s big and it’s bold, or it’s enjoyable in a simple way that time destroys. I’m not sure there’s a great human parallel to this, perhaps a student athlete who flames or burns out before their chance to go professional comes along could be comparable. For the purpose of this Try this Wine post, though, this type of wine doesn’t qualify.

Count me as someone who appreciates the wisdom of elders who have something important to share from their life’s experiences. Maybe that’s why I appreciate the story that older wine tells, a story it needed a lifetime to develop.

I recently undertook an unintentional experiment with aged wine when I bought a 2004 Delille Doyenne Syrah from Winebid.com, an online auction website. As I was removing the foil to pop the cork, it dawned on me that in 2004 I turned 21 years of age and could buy good wine for the first time.

655613-b

Mean Girls was released in 2004

A whole host of memories flooded my mind from that great and transformative year in my life. That was the year I became a college senior, and I was living with one of my closest friends, dating someone who remains a close friend and entering my first real year of retirement from serious competitive cycling. Everyone – and I mean everyone – was learning the words to Usher’s “Yeah.” And because I could finally buy alcohol from stores, it was the de facto first year of my self-guided path to wine snobbery.

Delille Cellars was my gateway. Founded in 1992, Delille has been one of Washington State’s wine industry staples since. Robert Parker once pronounced Delille “The LaFite Rothschild of Washington State.” It helped to pioneer the Bordeaux-style red (and white) blend in the state, and also makes very good wine from Rhone varieties under the Doyenne label. The fruit comes from vineyards that are among Washington’s very best, the oak program is serious and well-resourced, and the winemaking talent is champion-level.

I was introduced to Delille before my 21st birthday by a neighbor who gifted me a bottle of their Harrison Hill blend, which became my favorite wine for the next decade or so. I joined their wine club before I could responsibly afford it, and before I realized how getting a case each year of wine that demands serious aging can lead to storage nightmares. Yet I looked forward to each shipment as it meant growing a collection that mattered to me.

DeLilleLogo

Delille and Doyenne wines are built for serious aging, and Harrison Hill is among their wines that require the most aging to reach their peak. I’m still sitting on Harrison Hill and other wines from the 2008 vintage that I received while in the club that won’t be opened for at least another two or three years. When I saw a bottle of 2004 Doyenne Syrah on Winebid.com a few months ago, I pounced on it because it was a chance to jump the line on aging wine myself and drink a properly-aged Delille now.

As I mentioned earlier, only after getting the wine did I realize its significance. It added an incredible amount to the experience. The wine was good, which was to be expected, but it was better because of the significance of the vintage and producer in my life and wine story. It was essentially experiencing my history from a perspective that was not my own, but complimentary to it; not from a personal point of view, but from a wine’s point of view. In 2004, although I didn’t know it to the extent that I do now, what happened in the creation of the Doyenne that year was part of my wine creation story.

c0Q0b792Q7qo673%ZS5OGA

Don’t worry, I’m not going to suggest that people try to find a wine that is now nearly impossible to acquire (though if you can, it’s worth getting). My recommendation is to find a wine from a producer and vintage that both mean something special to you. Relive the memory, but from a different angle, through some combination of a place or winemaker and a year when something special happened in your journey.

Tasting note: The nose is just the other side of vibrant, but beautiful in its refinement and subtleties: signature Red Mountain graphite minerality, crushed cherry and strawberry, violet and crushed rock. This is a saturating medium bodied wine with integrated bright acidity and smooth and refined tannin. The structure strikes a brilliant balance between forgettable and dominant. It offers flavors of texturally-driven graphite minerals, brambly red and purple and black fruits, loads of currant, kirsch, black pepper and licorice. It’s probably two or three years past it’s prime, but it’s still damn good. DeLille really does hit another level with significant age. 94 points. Value: A+.

Where to buy:

Ha! Like I’d know what wine was right for you… Here are some means for finding that special bottle:

First, check out online wine auction websites. The one I use is winebid.com, which is an online auction site with auctions that begin on Monday and end Sunday evening. The inventory is refreshed weekly. The website, which is easy to use, is currently selling more than 8,000 wines with opening bids from $7.99 to $16,995 (a 1.5 liter 2005 d’Yquem), which is all to say, there’s something for everyone. Other online auctioneers include Sokolin, K&L, Spectrum, Sothebys and others.

Second, there’s always wine-searcher.com, which allows you to search for specific wines. Make sure you have the search settings appropriately set for your needs (e.g. the checkbox that includes stores that will ship to your state if checked).

Third, there are retailers who specialize in finding rare and old wines. Zachy’s (which also runs auctions) and Rare Wine Co. are two well-known stores with national reputations. If you live in a major wine market, chance are you have at least one or two retailers who provide bespoke services for tracking something down.

Forth, go direct and contact the winery, they might have something that fits the need.

 

Oregon Hill Country Wine

AerialHouse_Proof1

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

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

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

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

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

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

Block soil and photo girs chardonnay (003)

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

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

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

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

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

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

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

fullsizeoutput_f41

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

fullsizeoutput_f43

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

fullsizeoutput_f42

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

fullsizeoutput_f40

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

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

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

Try this Wine: Amazing Spring Whites

Colorful_Wine_Yard_(213280573)

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

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

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

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

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

fullsizeoutput_d4a

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

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

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

fullsizeoutput_d70

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

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

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

fullsizeoutput_f09

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

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

fullsizeoutput_f08

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

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

Where to buy

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

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

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

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

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

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

fullsizeoutput_e9d

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

 

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

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

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

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

Try this Wine: Make Merlot Great Again

giphy

Credit: giphy.com

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

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

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

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

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

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

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

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

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

home-page-1

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

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

Tasting note:

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

fullsizeoutput_e12

Where it buy:

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

Fort Lauderdale, FL: Your Wine Cellars

Chicago, IL: Flickinger Wines

Greater Boston, MA: Wollaston Wine & Spirits

Wayne, NJ: Gary’s Wine & Marketplace

Bend, OR: RHC Selections

Nashville, TN: Cana Wine Company

 

 

Try this Wine: Oregon Viognier

IMG_0044

It’s January, the dead of winter, and so naturally we’re recommending a viognier! On a cold, crisp night, try a cold, crisp wine. I digress. I have a love-hate relationship with viognier. Mostly hate, actually. Living in Virginia, we have a lot of it around here and frankly, most of it is bad. If you read the 2018 Tastemakers article from a few weeks ago, you got a glimpse into why I feel that way. In short, a former governor thought it would be a good idea to effectively crown it the state grape when it’s very poorly suited for our often wet and cold climate. This led to a lot of planting and production, and we now have a lot of it.

The flip side is that, when viognier is good, there’s nothing quite like it, and I love it. Viognier is a relatively low acid white grape, but a lot of the higher quality viognier manages to still somehow pair really well with a wide range of food (acid is considered key to good food wine). The world’s most famous and coveted viognier comes from an appellation in France’s Rhone Valley called Condrieu, which is quite small (around 330 acres of vineyards). Condrieu viognier is known for being structurally rich and oily while delivering vibrant minerality, tropical and floral notes. The concentrated wine attracts a small but loyal following that, combined the small amount produced, means prices start at around $40 and go north of $100 with ease.

A few other spots around the world have figured out how to make good viognier as well. Australia, Washington State, South Africa, Argentina and Chile are probably the best known outside France. While each produces a different version of viognier, none fit the Condrieu mold in terms of that oily feeling and concentration. One place that isn’t making much viognier at all is Oregon State, but that’s where I go for my benchmark bottle of the variety.

Before I introduce the wine, I need to say that I don’t love most viognier. It’s very hard to find one for less than $25 that has unique personality, and that’s a turn off. Once in a while I love a big Condrieu, but other than that there’s only one viognier I look forward to having every time: the one from Oregon’s Penner-Ash Wine Cellars.

IMG_0047

Tasting with Lynn Penner-Ash in the summer of 2018

I first had Penner-Ash’s viognier in 2015 at my inaugural visit to the winery. I remember wondering whether they had poured me the right wine. Yes, it had those quintessential tropical, vanilla and honeysuckle flavors that viognier is known for, but the acid was unusually spry and formed a spine that I hadn’t experienced in any viognier prior. It had finesse. I realized I could enjoy more than one glass. Since then, it’s become my standard for domestic viognier, my favorite bottle of the variety, and one I enjoy whether I have food with it or not.

Viognier should have a lushness to it, but too often it’s produced to the point of opulence, which is a mistake as the variety easily slides into flabby territory if not restrained before it enters that zone. Viognier can have trouble putting on enough acid to be interesting, even under the attentive watch of the winemaker. This makes the winemaker’s role a necessary but insufficient part of achieving nice acid. What has made Penner-Ash’s viognier the standard for me is that Lynn Penner-Ash, the winemaker, gets the right levels of acid and body restraint, and finds a nice balance, every year.

The 2017 vintage is just killer. The nose offers sharp and precise mineral, chalk and citrus zest on first sniff. Breath deeper and you’ll get light tropics and florals. It smells like a cool climate viognier. On the palate it is similarly influenced by a cool climate. Medium in weight with none of the more typical oiliness and fleshiness of warmer climate vio, the acid runs the full length of the palate, remaining sharp and crisp throughout. It almost tickles the tongue. The flavors run deep, delivering sweet lemon and lime, banana leaf, lychee, rich vanilla custard and whispy white pepper. 93 points. Value: A.

For a deeper look at Penner-Ash, check out this report from our visit there last summer.

Where to buy:

You can get it through the winery, or from a number of places around the country. A few are listed below.

Bay Area, California: Solano Cellars, 1580 #B Solano Avenue, Albany, CA. 510-525-9463.

Chicago, Illinois: Vin Chicago, multiple locations.

Minneapolis, Minnesota: Ace Wine & Spirits, 4 Shady Oak Road #18, Hopkins, MN 55343. 952-960-8014.

New Jersey: Wine Works, 319 West Route 70, Marlton, NJ 08053. 856-596-3330.

West Hartford, Connecticut: Maximum Beverage, 333 North Main Street, West Hartford, CT 06117. 860-761-2541.

The 2018 Good Vitis Tastemakers

IMG_0032

The author and Martin Evans

I’m blessed by this blog in a number of ways, most notably in that it provides me opportunities to meet friendly, fascinating, talented and remarkably knowledgeable people with whom I share a passion. In wine, like nearly all things in life, people matter most. Human beings crave connections to other human beings, and meeting and bonding with winemakers, wine writers and others is often more exciting than any one bottle of wine for me. The winemakers who made this list fall in that category.

For this reason, the annual Good Vitis Tastemakers post has to be one of my favorite posts to compile and write. I get to share this benefit with my readers by bring the words of winemakers directly to them.

The Good Vitis Tastemakers of 2018 include four individuals who helped further my knowledge and appreciation of wine: Matthieu Finot of King Family Vineyards and Domaine Finot and Ben Jordan of Early Mountain Vineyards, both of Virginia; Evan Martin of Martin Woods Winery in Oregon; and Adam Lee of Siduri and Clarice Wine Project in California. I sent each of them the same questionnaire, which bears some, but not all, resemblance to the questions our 2017 Tastemakers answered, and I’ve printed them verbatim below (with minor editing for clarity). For each person I’ve also given a brief introduction and explanation for why they made the list.

Matthieu Finot – King Family Vineyards and Domaine Finot

IMG_0001

Matthieu Finot (second from left)

When I agreed to cover Maryland and Virginia for The Cork Report, I didn’t know Matthieu. He came by way of several peoples’ recommendation as one of the first winemakers in Virginia I should meet. Matthieu makes the wine at one of the state’s very best and most respected wineries and consults for several others, which alone could be enough to make a list like this. However, his institutional knowledge of Virginia’s wine scene, its terroir, its history and all of its particularities, combined, makes him one of the most effective winemakers in Virginia because he can represent so many facets of it. The proof is in the bottle, three of which I mention in the Good Vitis Most Memorable Wines of 2018.

IMG_0007

King Family Vineyards (estate vineyards)

Further, the breadth of his experience outside of Virginia boosts the credibility of his presence in any discussion. Although it’s almost comical, I decided to include the full list of wineries he has worked at prior to King Family below (his resume covers the Rhone Valley, Bordeaux, Jura, Bandol, Burgundy, South Africa and Italy) because Virginia is a tough place to make good wine and that kind of diversity of experience equips him well to handle it. Matthieu has a response to every question – at least every question I’ve asked him – that is informative, if not instructive. While the regions he has previously worked in produce wines among those most respected in the world, I would argue that making exceptional Virginia wine is not something many winemakers from those regions could do.

1. Winery and role: King Family Vineyards, winemaker.

2. Number of years in the wine business: 24.

3. Previous wineries/roles: I should send you my resume!

Proprietor

Domaine Finot                 Bernin/Larnage(France)                                                                           -ISERE / CROZES-HERMITAGE-            

Winemaker

King Family Vineyards Vineyards                                Crozet (USA)                                     -VIRGINIA-            

Consultant

Multiple Clients                                                     Charlottesville (USA)

Instructor

Piedmont Virginia Community College                       Charlottesville (USA)

Winemaker & Vineyard Manager

Potomac Point Winery                                                 Stafford (USA)                                               -VIRGINIA-

Winemaker & Vineyard Manager

Afton Mountain Vineyards                                           Afton (USA)                                                   -VIRGINIA-

Winemaker

Hildenbrand Estate                                                      Wellington (South Africa)

Winemaker

Azienda Agricola Andréa Rizzo                                    Nimis (Italy)                                                -RAMANDOLO-

Assistant Winemaker

Fruitière de Pupillin                                                     Pupillin (France)                                           –JURA-

Winemaker and Salesman

Cave de Tain                                                                Tain l’Hermitage (France)                             COTES DU RHONE-

Cellar Assistant &  Vinegrower

Domaine Tempier                                                        Plan du Castellet (France)                            BANDOL-

Assistant Winemaker

Domaine Jean-Jacques Confuron                                Nuits St Georges (France)                           -BOURGOGNE-

Salesman

Cave de Tain                                                                Tain l’Hermitage (France)                             -COTES DU RHONE-

Assistant Winemaker

Domaine Jean-Jacques Confuron                                Nuits St Georges (France)                           BOURGOGNE-

Shop manager

Le Relais Des Caves(wine shop)                                     Lyon (France)

AssistantWinemaker

Château Guillemin La Gaffelliére                                 St Emillion (France)                                    BORDEAUX-

Assistant Winemaker and Vinegrower (Internship)

Cave de Tain                                                                Tain l’Hermitage (France)                              -COTES DU RHONE-

4. What got you into the wine business: Bloodline. I come from a French farming family from Northern Rhone. Even if my parents weren’t in the wine business, my father’s love of wine and my farming roots with my uncle and grandfather were enough for me to pursue wine education after high school.

5. Why you choose the route/role you did: My route was pretty easy, I wanted to get back to the farming world. But I didn’t have any estate or winery to get back to, I was young and wanted to travel. Winemaking makes it easy to travel. I moved to Beaune in Burgundy where I studied, and then decided to travel France to diversify my experience, winemaking style and techniques: Rhone, Burgundy, Bordeaux, Provence, Jura. But that wasn’t enough, I decided to start working outside France: Fruili in Italy, Paarl in South Africa, and finally Virginia in the United States.

6. Description of your approach: It was a very organic approach; I didn’t have a master plan when I started traveling, However, with hindsight it did give me lot flexibility in my winemaking and also it helped me to be open minded.

7. The one thing about wine you most want to figure out, and why: There is no end of learning. The more I know the more I realized that I know nothing…. ignorance is a blessing!

8. Your blind spots (where you need to improve): As I said, I realized that is still need to learn a lot. There are lots of wine regions I don’t fully understand. I also need to keep tasting “great and iconic wines,” though that’s difficult to do when you are young and don’t have the financial resources to get to these bottles.

9. Where and what do you want to be doing in ten years: When I started to work in Virginia in 2003 it was supposed to be for 1 year…and I am still here after 15 years…so I guess I am not very good in planning the future. I could still be here. I could be back in France to work with my brother at Domaine Finot. I could be resuming my travel through the wine world with my family. I still would like to go to New Zealand…crystal ball help me!

10. Top-3 bucket list wines: There are so many….Domiane Romanee Conti, Domaine Leflaive le Montrachet Grand Cru and Gaja Sori San Lorenzo.

Ben Jordan – Early Mountain Vineyards and Lightwell Survey

 

ben

Ben Jordan (credit: Lightwell Survey)

Ben and Matthieu were kind enough to help form a small group of winemakers for a roundtable I organized earlier this year to discuss how Virginia winemakers approach developing tannin in their wine. Later, I visited Early Mountain for a tour and tasting. You can read all about it here on The Cork Report. Months earlier, however, I had a phone call with Ben to discuss petit mensang, a white vitis vinifera variety that does particularly well in Virginia when grown and made by someone with a lot of patience and guts.

Petit mensang has been a fascination of mine since 2013. Around that time viognier was becoming the rage in Virginia after a certain then-governor thought it’d be a great idea to basically endorse it as the state grape. Viognier is a thin skinned, tightly clustered grape, which makes it perfect for Virginia’s cool and wet climate. Yes, that’s sarcasm. What a dumb call. Nevertheless, it led to a boom in viognier planting and production. There are smart people – smarter than myself on wine – who, while agreeing that this was a stupid announcement, believe that high quality viognier can still be a fixture in the state. I’d rather it be petit mensang, which I believe can produce more interesting wine in Virginia while coping much better with its climate.

All that said, petit mensang is an even more challenging grape to grow, and wine to make, than viognier if you want to make a dry wine from it. This is a major headwind against it among winemakers. The variety puts on sugar and acid at an incredible rate while on the vine, which makes fermenting it to dryness (no remaining sugar) very hard if you want to produce a wine that won’t melt your tongue with acid. Ben is known as one of, if not the, best petit mensang masters in Virginia. This is what drew me to him originally.

After the conversation and wines presented at the tannin round table, it became evident that he knew far more than just petit mensang. The more I’ve taken to examining tannin, the more I’ve realized that a winemaker’s knowledge of how to use the science of tannin can be a helpful marker in determining how purposeful they are in producing wines, and a harbinger of the quality of their wine. A winemaker that can make a top quality dry petit mensang that captures both the typicity of the grape and its terroir and a range of red wines that span the full tannin spectrum is one to watch. Enter Ben Jordan. And watch him for indications of a Virginia petit verdot revolution (see below).

1. Winery and role: Winemaker at Early Mountain Vineyards and Lightwell Survey. Winegrowing partner with my brothers for our vineyard/winery project in Fort Defiance in the Shenandoah Valley.

2. Number of years in the wine business: 15.

3. Previous wineries/roles: Michael Shaps Wineworks – Winemaker; Dutcher Crossing – Assistant winemaker; C. Donatiello – Assistant winemaker.

4. What got you into the wine business: My family wanted to plant a vineyard in the Shenandoah Valley, and at the same time I moved to NYC with an MFA in playwriting. I needed income, so I started working in retail wine sales.

5. Why you choose the route/role you did: I fell hard for the world of wine when I was working retail and for an importer, and since my family wanted to plant a vineyard, I decided I needed to learn winemaking. I signed on to do a harvest in Sonoma County, because I was told that was the way to get a foot in the door. That worked, and I was offered a full-time position. Once I had a winemaking foundation, I contacted Michael [Shaps], because he had a finger on the pulse of Virginia.

6. Description of your approach: Evolving and open, leaning toward precision and purity. We are still in such a foundational place in the mid-Atlantic that I am of the opinion we need to remain exploratory, look for the next generation vineyards, and plant them with varieties that will make for a successful industry. We are building, and it is important that the work we do now is thoughtful and creative.

7. The one thing about wine you most want to figure out, and why: Sustainable wine farming, because I want to feel comfortable with my daughters working in the family vineyards. This may mean non-vinifera, or new wave vinifera hybrids, because even materials that are sprayed in organic programs can be pretty nasty.

8. Your blind spots (where you need to improve): Blending. We do a lot of blending at Early Mountain, and every year I realize I want/need to do better. Growing, see above. Petit Verdot. Like Petit Manseng, this grape offers a lot of potential, but I still need to understand what it wants to be.

9. Where and what do you want to be doing in ten years: I want to be in Virginia making the first wines off of next generation vineyards that I have helped plant in the next five years. I also want my family business to be in a healthy place.

10. Top-3 bucket list wines: Pretty sure I need to taste DRC [Domaine Romanee Conti] before I kick, so might as well be La Tache. I would love to go into the Sherry bodegas and taste some of their oldest soleras straight from cask. A wine made by the next generation of my family, whether it be my daughters or my brothers’ children, or both. And hopefully I can taste that wine with 20 years of bottle age on it, because that will mean I am decently healthy in my 80s or 90s.

Evan Martin – Martin Woods Winery

DCIM101GOPROGOPR2485.

Evan Martin on his property

Evan Martin’s approach to winemaking is one of the most interesting ideas I’ve come across in my exploration of wine, and likely the most interesting of my 2018. It’s not that it’s particularly genius (no disrespect to Evan) so much as it is, ‘why isn’t anyone else doing this?’ because it’s a logical extension of what is bedrock boutique winemaking, and something that many wineries could do if they wanted. It’s essentially this: true expression of terroir should include barrels (if applicable) made from local trees.

Nearly every winery I end up visiting, and nearly every winemaker I meet, talks about their particular terroir. When they do, they focus on the soil, vineyard particulars (aspect, slope, etc.) and climate, and how those elements effect the grapes they grow. Then they talk about the various ways in which they try to let that terroir come through in the glass. Evan has an additional talking point: he makes his own barrels from the trees on his property (in the Willamette Valley in Oregon). Oak has an emphatic impact on the wine, and so when Oregon wine gets put into French oak, it can’t really be called Oregon wine anymore if we believe in terroir: it has a component from France that is altering the taste and structure of the final product.

To be clear, Evan is not snobbish about this at all. He just has the interest, patience and resources (trees) to try it out, and so he is. I was impressed by the results, which I wrote about here, but I need a bigger sample size to really know whether Oregon oak makes a better wine. Nevertheless, he’s doing something quite different that’s worth thinking about and trying.

1. Winery and role: Martin Woods, owner/winemaker.

2. Number of years in the wine business: 15.

3. Previous wineries/roles: Seven Hills Winery ‘04/’05 harvest intern; Belle Pente Vineyard and Winery ’09-’11 harvest intern, ’12-’17 Assistant Winemaker.

4. What got you into the wine business: An Oz Clark wine book and a fantastic little wine shop in Seattle called European Vine Selections.

5. Why you choose the route/role you did: I became obsessed with the concept of terroir. Casey McClellan at Seven Hills gave me a great introduction to careful, attentive winemaking and the goal of making elegant wines above all. I then explored the buying/service side of the business for a few years, developing a keen interest in wines from the cool-climate regions of France in particular. And I was captured by the principles of the natural wine movement—which are still important to me today, although I don’t refer to myself a natural winemaker for certain reasons. That subject, like great winemaking, is nuanced and unfortunately the discussion about it is all too often shallow and polarized.

6. Description of your approach: The last couple of years, I’m making about 4,500 cases of wine by myself, so my approach is minimal by necessity! But actually, this is a conscious choice. I like to be present for every moment that something is happening or being done to my wine. Each of these moments is an opportunity for my senses to check in with the wines, to catch potential issues before they become problems or to confirm or re-evaluate my strategy for that particular wine. I never make wine exactly the same way twice; I’m always adjusting to try to support what I perceive to be the zeitgeist of the wine and the vintage. This flexibility carries through the entire elevage period to bottling. For me, extreme attentiveness allows me to be “hands-off” with the wines; it allows me to be ‘natural’ in my approach and at the same time produce unfined/unfiltered wines that are clean, classic, deeply compelling and long-lived. Most importantly, what paves the way for a “hands-off” approach is choosing vineyard terroirs that truly give the qualities that you’re looking for in the wines, so you don’t have to try to shape them in to something they don’t want to be. That’s why I mostly work with the coolest, latest-ripening parts of the Willamette which are the neighborhoods that are most influenced by the cooling effect of the Van Duzer winds—the Van Duzer Corridor AVA, the McMinnville AVA and the Eola-Amity Hills AVA. These terroirs give wines that are structure-driven, with aromas and textures that are discernibly ‘cool-climate’ in character.

I guess it’s also noteworthy about our approach that we’re using our local Oregon oak to age a lot of our wines because we’re trying to make the most distinctive, terroir-driven wines that we possibly can. I love the qualities of French oak, but I don’t think it makes our Oregon wines more distinctive; quite the opposite actually, it makes them more like wines from other producing regions, because everyone around the world is using French oak, its use has become quite formulaic.

7. The one thing about wine you most want to figure out, and why: One question I’ve been thinking about lately is, ‘can we produce amazing cabernet franc in the Willamette Valley? Why?’ Great cab franc (and I’m thinking of le Loire here) stirs passions in men’s souls, the same way that great pinot noir can. We have to expect that our climate is warming slightly, so growing CF is looking increasingly attractive.

Otherwise, I’m realizing I can’t really figure out anything about wine, not to a scientific degree. I’m concerning myself less and less with lab numbers and just embracing instinct and sense. The real frontier in my experience is always trying to find out what vineyard terroirs produce the most compelling wine. The Willamette Valley now has fifty years of collective experience under its belt, but we’re still young at understanding our terroirs. I do think that fifty years from now the scene will be quite different than today.

8. Your blind spots (where you need to improve): Discipline. I drink too much, it’s part of the business and I love the craft and I love checking in with what my peers are producing, here and across the pond. I recently read an interview with Bobby Stuckey and he talks about discipline and how it relates to the craft of being a great sommelier. I think he was spot on with what he said about discipline and I feel the same about the craft of making great wine. It takes a lot of discipline to remain fresh, creative and responsive to the (extremely) challenging work load of harvest, when in a matter of weeks a winemaker is making dozens of decisions that determine the trajectory of a wine for the rest of its life. I admire the older (than me, I’m 37) winemakers in the community that have had the discipline and stamina to be highly successful in this profession for 20-50 years. The names are too numerous to mention.

9. Where and what do you want to be doing in ten years: Sarah (my wife, who is the vineyard brains in the family) and I would like to plant a small vineyard on our property in the McMinnvillle AVA. We’re taking our time with this, as there are a lot of things to ponder…chiefly among them, what to plant and what are the right clones? If I was planting tomorrow, I would probably mostly plant chardonnay, as our neighborhood seems to be just exceptional for it, being as we are tucked in to the foothills of the Coast Range as well as on the shoulder of the Van Duzer gap. The mountains and the wind make it a little cooler here, so the chardonnay here has great tension from bright acidity, but with good sun exposure you can also get fantastic weight and depth.

10. Top-3 bucket list wines: I haven’t been very careful about cataloging a memory of great wines that I’ve had. There are so many wonderful wines that I can’t remember the producer. I tend to think more about regions…Alsace, Beaujolais, Bourgogne, Loire, northern Rhone. The few times in my life I’ve had first-growth Bordeaux the wines have been splendid—taught, fresh, balanced, structured.

Furthermore, I don’t spend money on cult wines. I don’t mean Screaming Eagle. I mean, I love Clos Rougeard, but I don’t buy it. I don’t hold it against them for charging what they can for highly sought-after wines that by necessity need to be allocated. But there are other producers making incredible wines at reasonable prices, without any hype, and I love finding those wines. That’s maybe the best thing that great Sommeliers and wine shops do, they connect consumers with unsung or underrated wineries that over-deliver.

Adam Lee – Clarice Wine Company and Siduri Wines

IMG_7105

The author, Adam Lee (far right) and some friends enjoying themselves

I met Adam when he and a mutual friend came to our apartment for a party that we held because we had a number of random people in town visiting and didn’t know how else to see all of them while they were here. A lot of fun was had, really fantastic wine was brought and consumed, and bonding occurred.

As I got to know him more after that evening, one of the things that stood out most about Adam is that, good God man, he can’t sleep much given all he’s doing. Good Vitis readers will learn more about Adam in the coming months. We’re sitting on a trio of pinot noirs from his newest project, Clarice Wine Company, letting them recover from their journey from one coast to the other. We’ll try them soon, interview Adam, and then write it up. So stay tuned for that exciting piece.

Siduri, a winery he founded and where he still makes wine, is no small deal: wines from six regions across two states, multiple wines from each region, and all good quality and compelling. The website currently lists 18 different wines – 17 pinot and one zinfandel – for sale. All, by the way, under screwcap, including his highest priced bottles. Add the Clarice Wine Company project, which is an unusual business model built around a rather robust wine club program (more on that in the upcoming piece), and this guy is making a lot of wine. Then, the many visits to France and elsewhere because Adam can’t ever stop learning (his Facebook page makes me wonder how much time he actually spends in America, let alone California where he makes his wine), and I just can’t imagine he gets to spend much time at home. It’s all rather inspiring to me: the level of passion for wine and business that this man exhibits is enviable.

1. Winery and role: Owner, Clarice Wine Company. Winemaker, Siduri Wines. Consultant for a few other wineries.

2. Number of years in the wine business: In one form or another since 1988. Started making wine in 1994.

3. Previous wineries/roles: Direct Sales Manager at Benziger, Tasting Room Manager at a few places before that. But really Siduri Wines as founder, owner, winemaker.

4. What got you into the wine business: I got into wine retail first as Assistant Manager at a wine store in Austin, Texas. I had developed a love of wine during a trip to California between my junior and senior years in college.

5. Why you choose the route/role you did: I think it chose me. I never really had a plan, never planned on making wine. The idea of making wine was actually Dianna’s idea (my wife). She thought that if I was going to write about wine (I was considering the lucrative career of wine writing) [ED’s note: don’t I know it] I should try and make it first. So we did so, with the 1994 vintage and 4 ½ barrels of pinot noir. We then proceeded to get drunk one night and take a sample to Robert Parker while he was staying over at Meadowood Resort. Fortunately, he liked the wine and wrote it up in the Wine Advocate. That was the beginning for us.

6. Description of your approach: Making pinot noir is a unique combination of remembering and forgetting. Remembering lessons from the past and implementing them into a similar vintage. But also realizing that each vintage is unique and thus not falling into a pattern of making wine a certain way but rather reacting to what is given to you each year. Finding that balance between remembering and forgetting is the challenge.

7. The one thing about wine you most want to figure out, and why: I am confused and fascinated by what truly makes winemaking work. Let me give you an example. Some winemakers swear by whole cluster in pinot noir and make remarkable wines doing so (Jeremy Seysses at Dujac). Other winemakers abhor whole clusters and will never use them and make remarkable wines following that route (Henri Jayer). How does that work? What commonalities are there at these places and are those the key to what makes great Burgundy? Or is the key truly intent and following with great devotion what you believe and in doing that you will make great wine? I ponder these things.

8. Your blind spots (where you need to improve): I write horrific wine descriptors. Ironic for someone who wanted to be a wine writer. I grew up in a time and place where all the fruit I ate came in a can and was floating in simple syrup. Consequently, describing the flavors of a wine is something I suck at. I am okay with the weight and tannin/acid structure of a wine, but describing flavors – geez, I am bad at that.

9. Where and what do you want to be doing in ten years: I want to be making pinot noir. Not just making pinot noir but immersed in pinot noir. I want to be doing less, but more in-depth. I believe that is my passion and my calling. I can’t think of anything else I’d rather be doing. I also hope to be spending time with my kids…then adults…and sharing and learning from them.

10. Top-3 bucket list wines: Good question:

1984 Rochioli Pinot Noir — First red wine that I ever fell in love with. Started my love affair with pinot noir and that has never ended.

Fall Creek Winery (Texas) White Zinfandel – The first wine I ever shared with a winemaker. Ed Auler, the owner/winemaker and I were walking through his vineyard in Tow, Texas on a typically hot Texas day and he reached into his backpack and pulled out a chilled bottle (ice packs). He popped it then and there and we passed it back and forth while walking the vines drinking it out of the bottle.

1986 Chateau Margaux – Maybe the first classic, great wine that I ever tasted. I loved the 1985 and thought it was amazing, but when I tasted the 1986 I was blown away. It was remarkable and made me realize that there’s a whole world of extraordinary wine out there for me to experience.