Les news sur Natural Wine: The Panel Transcript
Natural Wine: The Panel Transcript
I find it quite fascinating that in many ways, the cutting edge of winemaking today involves a return to quite ancient methods, and a principled rejection of many of the innovations that have produced such an increase in the volume and quality of wine around the world. It's not unlike the progression of communications technology in the business world. First no one had cell phones, then the richest early adopting business people had cell phones, then everyone had cell phones, and now some of the world's visionary CEO's and business leaders pride themselves on not having cell phones (or even offices with computers). In some ways the explosion and adoption of technology in any field (and the corresponding knowledge that goes along with it) can provide a platform for the deliberate abstention from the march of progress. In the case of winemaking, there are a number of "movements" away from technology and modern winemaking techniques, in particular the use of petro-chemicals in the vineyard and commercial treatments or additives in the winemaking process. Perhaps the most extreme, and least defined ideology in this realm are those that call themselves (or more often are described by others) as members of the Natural Wine movement, or Vin Nature, as they would say in France. Many people, including those who can be described as authorities on the subject of Natural Wine, credit winemaker Jules Chauvet and several winemaking friends for reclaiming the set of principles that tie any so-called natural winemakers together. These principles, which were never truly codified by any chartered organization or association, mean that natural wines are made from vineyards which receive nothing added by man (fertilizer, pesticides, herbicides, copper sulfate, or, in most cases, water) and that in the winemaking process, nothing additional is added, but especially not commercial yeasts, enzymes, acid, sugar, new oak, and filtering/fining agents. The most extreme proponents of this philosophy also eschew the use of sulfur dioxide, though in practice, most use some at the time of bottling to prevent re-fermentation in the bottle. An organization or association of such winemakers does, in fact, exist in the form of l'Association des Vins Naturels, which declares itself more of an organization of friends than anything else, but dedicated to clarifying the meaning of Natural Wine and the advancement of the philosophies behind it. The "members" of this association at the moment are mostly French, but there are plenty of adherents to its philosophies in many countries that most likely just haven't bothered to become members of any association. Surrounding the winemakers who seek to make wines in this way are groups of importers, wine bars, restaurants, and consumers that are increasingly evangelizing the philosophies of this movement, as well as its products. A group of such evangelists recently put on the first ever San Francisco Natural Wine Week, a hodgepodge of events and promotions which culminated in a panel discussion at Terroir Natural Wine Merchant last Sunday. The panel, chartered to discuss, explain, and explore Natural Wine, consisted of the following personalities: Joe Dougherty, the moderator, is an articulate and passionate wine consumer with a background in Chemistry. Ted Lemon is the founder and winemaker at Littorai, a Biodynamic producer of Pinot Noir and Chardonnay in Sonoma County. Kevin McKenna is a partner in Louis/Dressner Selections, a high quality importer with a long standing focus on sustainable, small producers in Europe. Guilhaume Gerard is one of the three owners of Terroir Natural Wine Merchant, a wine store and wine bar specializing in Natural, Biodynamic, and Organic wines. Lou Amdur runs the eponymous "Lou" wine bar in Los Angeles, which also has a focus on small, sustainable wines. Wolfgang Weber is a senior editor and critic at Wine & Spirits Magazine. What follows is my attempt to capture the conversation as it occurred. There are gaps in this transcript for sure, but I got a lot of it. * * * Joe -- Natural Wines bring something special to our lives, not matched by wines made in other ways. What is Natural Wine first, and why should we care? What does the winemaker intend to do, and does the end justify the means? Or does the means lead to the end? What makes a wine natural? Kevin -- Natural Wines came about as a way for winemakers especially in France and Italy as a way of differentiating themselves from wine made from organically grown grapes but then not made "cleanly" in the cellar. Natural Wines is an imperfect term, but it was important for these winemakers to differentiate themselves from people who were already becoming more aware of treating the Earth in a better fashion. When you talk about practices in the vineyard or cellar, you're talking about organic at the very least, with the least amount of treatments as possible. Jules Chauvet, a negociant and enologist from Beaujolais said that in order to make a wine of terroir, you need to include the biomass of the vineyard. The yeast, bacteria, fungi, etc. are required to express the soil. If you work in any other fashion you are compromising the terroir. Ted -- If people were objecting to the masses of organic vintners, what were they disagreeing with in the cellar? Kevin -- The first thing they're focused on is the commercial yeasts. Then it became about sulfur. Enzymes, acidification, commercial yeasts, this was the big dichotomy with the people who claimed to be organic. They farmed organically, but then were adding all these things in the winemaking process. Of course, there is a long history of avoiding those things in France that predates this movement. Guilhaume -- these [additions, treatments, chemicals] didn't exist 50 years ago. People were using sulfur already, but it's a natural byproduct of the earth. Joe -- There are certain things that are used by natural winemakers -- sulfur, copper, etc. I have a thing about copper, personally. Just because it was a good idea in the 19th century doesn't mean we should still be using it now. Guilhaume -- It's funny to see Nicholas Joly heading up the biodynamic producers, where his wine is supposed to be natural. There is so much sulfur in the wine so much copper in the vineyard , that's why Biodynamic by the book vs. natural winemaking is a difference. There's a dead wine: Coulee de Serrant tastes like sulfur for 5 years, and has so much botrytis. It's important to differentiate Biodynamic from natural. Natural winemakers are people trying to think more carefully about the use of sulfur, etc. Joe -- Is natural winemaking a codified set of 19th century vineyard practices? Is there room for new stuff? How do we decided what to admit? Kevin -- Among natural winemakers there's a move to minimize even the "traditional" treatments of Copper and Sulfur. For instance, treatments are acceptable only up until a certain point well before the harvest. Certainly it is a concern to most natural winemakers that we work with to minimize the use of these treatments. However, given that the last three years were heavy mildew years in Europe, this has to be taken with a grain of salt. They had mildew in Tuscany for the first time, for Pete's sake. Ted -- Kevin, in terms the vineyard side of stuff, describe the philosophy from the Natural winemaking school if it exists. How would most of your growers define what would consist of natural winegrowing. Does it have to be organic to start? Kevin -- Good question. We're still working on that. Ted -- So it's possible for there to be a vineyard that isn't organically farmed, but that could still produce Natural Wine? Kevin -- Yes. Ted -- So what would be acceptable to use that is "non-organic" ? Kevin -- It's about the levels of chemical treatments that are used (or more correctly, not used). Wolfgang -- It sounds like what you're saying is that it comes down to a sum total of what you're doing. Kevin -- in Piedmont [Italy] they're required by law to use a certain chemical in the vineyard to deal with pests. Most producers buy this product, present their sales slip to the authorities and then never use it. But there are appellation laws that determine certain vineyard practices in different areas that thwart a specific rigid code for what is and is not "Natural Winegrowing." Ted -- As an American producer I can tell you that you watch products go on or off the Certified Organic acceptable list every year like ping pong. It's crazy. Nothing's changing with the formulation of these products, the people who make them just didn't' get on the ball enough to get recertified. We want to use organic products in our vineyards, and we find a product we like and then people go off the list because of one reason or another and it doesn't seem like the formulation has changed, so we just keep on going. Wolfgang -- Ted, how do you go about testing a new product to see if it works? Ted -- [laughs] You put it in the tractor [and spray]. I suppose you could do half on one field half on another, but as a "mom and pop" producer, testing is a pretty fancy word. We're awfully busy with trying to just make good wine. Joe -- Let's move on to another topic. People in wet places look down their noses at irrigation. People in dry places think it's necessary. Can a Natural Wine be irrigated? Guilhaume -- Personally I don't believe in irrigation. In terms of making terroir driven wines. If you decide to play with the climate, then we're not talking about terroir anymore. But I know people hate me for saying that. Joe -- I've always been amused at the PR line of "dry farmed" vineyards in Europe. In reality a prohibition against irrigation in Europe has less to do with any fixation on a specific quality of wine, and historically was more about reducing the amount of wine produced to avoid surplus. Joe -- So is plowing always benign? Ted -- There is an important background to this discussion of what goes on in the vineyard -- plowing, irrigation, various modern practices -- that must be acknowledged. The very essence of European viticulture was completely redefined by Phylloxera. Once you place vitis vinifera on a rootstock you're creating a different entity than an own-rooted vine. This whole struggle about what should and shouldn't be done in winegrowing has to be seen in the context There's nothing natural about winemaking. You can't go find a glass of Chablis in the wild. It's also important to understand that when we're talking about "traditional practices" you're talking about the practices of a specific region. There is no tradition outside of a specific place. This is one of the reasons that I don't think you can say definitively, there is something called Natural Winemaking. Joe -- What about clonal selection or GMO [Genetically Modified Organism]. And before anyone jumps in about GMO, let me just say that Pinot Noir has been under selection by humans for hundreds even thousands of years, carefully crossbred and selected. In my opinion Pinot now IS a GMO -- heavily modified from their natural state, and so much the better for it. Can we really differentiate between that and something that is done in a lab? Lou -- is it chemistry bad, tradition good? Joe -- Tradition is not something you discard lightly, and change isn't good for its own sake, but viticulture is REALLY different than it was in 1840 in Europe, as Ted suggests. Ted -- The other side of the GMO issue is the rootstock question. What is a permissable selection? As a natural winegrower are you going to be selecting your own rootstock? Guilhaume -- We like own rooted vines, and we like to work with old vines as much as possible. The oldest clone that we can find. Kevin -- With these kinds of vineyard practices -- clonal selection, rootstock engineering -- while they may be "allowed," you'd be suspect. It's frowned upon, for instance, to replant with clonal selection. Ted -- But hold on a minute. If you look at the history of "clonal selection" in Burgundy, you'd find that people did it all the time. There was this guy who called around to all the top folks in Burgundy asking for cuttings of their best vines, and then went and planted all them in a block and see what the results were. He kept coming up with the same things, over and over again. People had naturally selected the best clones for their area. Think about it from a cultural perspective. You want to grow vines in a place, you call around to neighbors, figure out what their best stuff is and everyone shares wood. And of course, everyone finds the blocks within their own vineyard that perform well and graft those elsewhere. It is specious to claim that if you are selecting stuff within your vineyard, you're not really doing something different than the dreaded commercial nursery clonal selections. Kevin -- Burgundy is a different area than the rest of France -- there's an insularness that doesn't exist in the rest of France. There is certainly a sense among people who work well, and those people who know the difference between this plant and that plant. But when it comes to whatever might be seen as the acceptable practices of Natural Winegrowing, it's pretty clear that you do not want to plant with clonal selection. Joe -- We see a question of intent and the means used to achieve it. Lou -- It's important to know about Chauvet and the way he thought. He felt that if you farmed responsibly, and in a clean way; if you eschew synthetics, you naturally create the conditions for yeast to exist, for the soil to be better. And therefore the wines will be better. If you have healthier soil, you know the vine will be better. It's not that this farming is better for the earth. The main goal is to make the wine better. Maybe when we're talking about organic farming we're talking about necessary but not sufficient. But I want to refocus the discussion. We're talking a lot about the things to do, not to do, and we're missing the grace that we need to discuss. There's this third dimension of Natural wines. It's about wines being unforced. The wines made by the people that are closest to Chauvet -- they are graceful. It's the same thing with Biodynamics. You may think Steiner was absurd or not. It doesn't matter. Are the wines more graceful? There's that hedonistic dimension that is too easy to forget amidst all the proscriptions. Ted -- Kevin, have you ever walked into a wine cellar, tasted the wine and said "Oh, that's a little too 'Natural' for me?" Kevin -- Oh yes. This can happen with Chauvet vinification [essentially, carbonic maceration]. Absolutely you can see in some wines that the terroir is masked by the method of vinification. This is the flip side of the industrial international side of wine. It's not just with chemical additions and manipulations that you can get this wine that could be from anywhere that smacks only of the vinification method. Lou -- And if you're not lucky it tastes like brett, and VA and other nasty stuff. Guilhaume -- It's a style but it's not a recipe for greatness. Wolfgang -- Is Natural winemaking just another name for crappy winemaking? Ted -- Like Brett. At what point does it exceed your threshold. And why? Wolfgang -- Individual tasters have thresholds of what is acceptable. I don't mind a little Brett in my wine. The wines I look for and get excited about (most are made under Natural Wine banner) they have a sense of honesty. Something that seems clear and expressive is to me -- really stands out. That's what I look for. Is it an honest expression of something? Ted -- That's fascinating. What we've just heard is that the people who are buying these wines, who the grower has to sell to, they're voting every day with their pocketbooks. The line is pushed here in Terroir a bit farther than anywhere else. Isn't the consumer defining what is and is not Natural Wine? Guilhaume -- We're talking about good wine and bad wine here. Just like spoofy wine, natural wine can be just as bad. We're about honest wines. We look for wines that are transparent. I met a vigneron who was using no sulfur, no nothing, The wines tasted amazing. I asked how do you do that. He said "when it tastes bad, I throw it away." In 2002 Paolo Bea made only one wine [where normally he makes five or six]. He still uses no sulfur, no temperature control in the cellar. Everyone makes choices, but we want to work with honest people. Joe -- Let's talk about yeast. Is there a place in Natural Wine for innoculation? Guilhaume -- NO!! Kevin -- In certain sectors of Natural Wine, yes. It's about intent. The use of something that is a neutrally identified yeast that is not intended to add flavor to wine is acceptable to deal with a stuck fermentation. Lou -- Chauvet wrote pretty interestingly about innoculation. His one major objection to commercial yeasts was the erasure of terroir. He had this vision of an ecosystem. The biggest problem was not per se the innoculation. It was about how were the yeasts grown? What were they eating when they multiplied in the lab? What was the substrate? He said can you imagine the utopia where we're growing our own yeasts, ever vigneron with their own little culture? He thought a lot about this stuff already. It's not that he excoriated innoculated fermentation, just the notion that if you're growing a yeast strain in a vat in New Jersy on some other sugar, it doesn't belong in a wine. Joe -- So this relates, of course, to what goes on in the vineyard. If you're spraying an awful lot of things that are killing fungi in the vineyard, you're killing yeast in the vineyard. Ted -- I'm not very good at innoculation. We avoid it like the plague. BUT. The first law of sustainability for any enterprise is to stay in business. The degree of risk tolerance you may have as a 5th generation winemaker in the Loire, may be a little different than ours at Littorai. How many times have we innoculated in 10 years? Just a handful. The logic that the more heterogeneous the vineyard the more heterogeneous the yeast population seems to hold for me. Joe-- Does anyone want to speak up for reverse osmosis. etc? [laughter] Wolfgang -- Is natural wine possible in California? In terms of picking times and such. It seems like if you're using native yeasts, you need to pick earlier, right? But in California, picking earlier often leads to unripe grapes. Ted -- Let me ask this instead: is Natural Winemaking possible in Europe? As a biodynamic farmer I've visited Europe. The most classic, highly densely planted areas of Europe simply can't do what we're doing... in the US we have the possibility to create integrated vineyard farms in a way that is not possible in Europe. You CAN'T do what we can do in Echezeaux. You can't plant a field of hay next to your vineyard in Burgundy. The notion that this future of sustainable winegrowing is coming from Europe seems shortsighted to me. Especially in Northern California, the notion of integrated farms is really happening in a major way. Guilhaume -- Agreed. You just can't do things when you own a couple rows. You don't decide on your farming if you own certain rows. Audience member -- How large a a production scale can Natural Winemaking be? Is there a limit to the scale? Guilhaume -- human scale. Just something small -- you'll never see Terroir Natural Wine Merchant in 20 different cities in the states. To us it's very basic. You need to be able to work your vineyards and handle your wines. As soon as you are running a business like a big corporation, it's bad. I'm not saying you can't hire employees, I'm just saying it should be something small, to sustain your family, to bring enough money to make a living? Why should you try to make millions. I like wines from farmers. Kevin -- It's also a function of place. Depends where you are, what kind of scale you can achieve. Difficulty of harvest. Loire is certainly much more difficult to be a larger scale than to be in Languedoc with its schist soils. It's about scale to place. Wolfgang -- What about co-ops making natural wines? In northern Italy there are co-ops that make excellent Traditional wines, but I think they don't have the kind of control over the vineyard that we're talking about. Audience member (me) -- What does traditional mean? What are we talking about when we're talking about traditional winemaking methods? Joe -- can you flesh out the difference between traditional and natural? Wolfgang -- [laughs] Ugh. Really? That's tough. Traditional might mean they can use Roundup in the fields, but not any barrique or commercial yeasts in the cellar. Ted -- I have a great deal of sympathy for Guilhaume's basic touchy feely aspect of it. The family unit makes sense to me. It doesn't have to be mom, pop and the three little kids. But that scale. A small enterprise allows you to take greater risk and at the same time have more control. Everything that happens you're closer to. That scale favors the ability to make something more. Joe -- Is there a reason that larger practice has to be bad? Ted -- No, the implication that big is bad is not true. The larger you get the harder it is to keep quality, however. Kevin -- [winemaker] Radikon says "I'd like to make a wine like my grandfather used to make." It's cloudy. When we're talking about traditional -- we're likely talking about pre-temperature control, before new barriques, maybe old cement vats. It varies from place to place. But generally we're generally talking about the pre-wine boom in the 1970s. Joe -- the long term traditions of winegrowing that Ted spoke about pre-phylloxera, was a world where people were scrambling for anything. The Champagne region was rioting for food. A lot of what got adapted then was about increasing yields so that people could eat, not some fancy techniques for making great wine. Kevin - The two world wars were a big factor. A lot of people talk about tradition in terms of what people were doing when they came back to the wineries after the war. Audience member -- I don't think anyone would hope to return to the pre-war state of Barolo. Before the 80's the wines were overcropped and awful. People coming off starvation in immediate post war era they had to try to make some money. This is the unfortunate legacy in the co-op world that people have been trying to break for decades. Audience member -- I wanted to get back to the yeast question. How much does the yeast come from the vineyard, winery, etc. What grows and what doesn't? How detailed does the thinking go on what is acceptable yeast and what isn't? Ted -- The question is both microbiological and philosophical. I'm the last person to answer the microbiological question -- I've read articles that come to opposing conclusions. If you stick with the word spontaneous, it's not a romantic word, but if you stick with it, whether they're coming from the vineyard, or portion from the vineyard, whether due to the weather, or the winery itself, wherever, the yeasts that cause your grapes to start bubbling on their own -- they are more complex, and they make better wines. We have 100% favored the the spontaneous fermentation whenever we've compared lots with those that were innoculated. Joe -- Let's talk about sulfur. As a chemist and a pragmatist, I'm suspicious of this. If you don't sulfur, your wine re-ferments in the bottle on the way to Paris, and then you don't have wine, you've got vinegar. How is that a better wine? Ted -- It's about minimizing the sulfur, and it's regionally driven and varietally driven too -- certain grapes are more likely to have brett, lower PH minimizes the buggers, so it all depends how much you have to use. Kevin -- Most people who have started doing no sulfur Natural Winemaking have gone back to adding a little sulfur at bottling. People in Paris were sending bottles back, as you say Joe, and that wasn't working. Audience member -- Is tree bark the only acceptable Natural Wine closure? Does the decision matter in Natural Winemaking? Guilhaume -- It depends on the purpose of the wine for aging. Some are using only plastic cork, crown cap, screwcap. Kevin -- Some natural winemakers are even using crown caps. Audience member -- How about labeling? Is there some thought to labeling natural wines. I know "organic" on a label for some time was the kiss of death. For consumers who value this kind of winemaking, how are we to know when a wine is made according to this philosophy? Guilhaume -- Buy your wine here. Wolfgang -- There is no real movement to put a sticker on a label. As Guilhaume said buy your wine here (or at any of the other shops that have such wines). But it's important to note that outside this little bubble of the SF wine market and others like it where we're spoiled and lucky, it's all but impossible to find these wines. Shop by importers like Dressner. That's really what you can do. There is no real way to find these wines, other than to listen to wine writers. * * * So there you have it. I think the discussion carried on for a few more minutes of Q&A, but I ran out at that point. I was quite interested to see a confirmation that there does not seem to be a clear-cut definition of what Natural Winemaking is, as well as an acknowledgement that the term Natural Wine is somewhat imperfect, something that I've long been bothered with. I personally object to the term Natural Wine for two reasons. All wine is unnatural (as Ted pointed out early on in the discussion -- it requires intervention by us to prevent grapes from turning into vinegar). And the unfortunate side effect of saying some wine is "Natural" is the implication that all other wine is unnatural, and while there certainly are wines out there in the world that are manipulated past the point of recognition, I think it's quite incorrect to suggest that if it's not done according to the guidelines of this particular philosophy, it's unnatural. One of the other unfortunate things about the Natural Wine movement is that its proponents and adherents often take quite dogmatic stances about just how unnatural everything else is, which I find quite counterproductive and petty. Quibbling about labels and dogma aside, there are some truly exciting wines being made under the banner of Natural Winemaking, and so they are definitely worth seeking out.
 
Book Review: The Psychology of Wine by Evan and Brian Mitchell
Review by W. Blake Gray I hate this book. I hate this book primarily because its title is misleading. Though one of the authors was once a psychologist, there's very little psychology here. If it were titled, "Logorrheic Lit Major/Sommelier Muses On Wine And Literature," that would at least be truth in advertising. Psychology is a science; this book has no charts and graphs, but it does have 298 footnotes, most of them to books of fiction or literary analysis. Even if it were better titled, I would still hate this book, because I hate the writing style. The Australian authors, son-and-father team Evan Mitchell (lit major turned sommelier, and apparently principal writer) & Brian Mitchell (former psychologist, now a management consultant), never use a single phrase when a paragraph or two could do. And they never miss a chance to cite Plato or Lewis Carroll or other noted authorities on winemaking and psychology. Wow, boys, you read a lot. Good for you! Then there are the personal sections. This is from page 38, at least 20 pages after I began wondering if these guys would put any psychology into The Psychology of Wine: "Dinner in New York, with an old friend from Sydney I hadn't seen for years. Not really an old flame, since any combustion had been wholly one-sided. She'd moved there at the time I'd been carrying an entirely unrequited torch for her. A kiss hello at the bar, just the slightest brushing of lips, still enabling me to taste cherry with an intriguing bitter note. Put me in mind of a pinot. (She liked pinot. I knew that from our very first lunch, an excellent Mount Mary wine, which had echoed the shade but not the flavor of that day's lipstick.) I ordered a damn fine Rully (at a damn fine price.) Two days later, in the cab to JFK Airport, her face in the dinner candlelight came to mind. A mind's-eye portrait. I didn't wonder what she was doing at that moment, since I believed I knew. She was at the Museum of Modern Art (MOMA), at the Picasso portrait exhibition. I'd given her a spare ticket (they came as part of a deal I'd had with my hotel). Picasso painted the women he loved through his life -- and clearly continued to paint them when love was well on the wane. You could chart the disintegration of yet another marriage by each wife's representation turning more sinister and insectile." I'm going to skip the next 3 1/2 paragraphs, in which we learn the authors have seen the sculpture of Alberto Giacometti and the films "Dead Ringers" and "Brideshead Revisited." "... And thought too that I wished I wasn't leaving in two days. A phrase from an early Ian McEwan short story voiced in my mind -- 'Overwhelmed with nostalgia for a country I had not yet left.' I don't know if my friend's expression, as we parted from each other, was knowing or teasing. I could still taste the wine on my tongue. So, I knew, could she. I stood there unable to move forward towards her. My hesitancy made this pause seem interminable, I couldn't collect my thoughts, further distracted by another phrase from another McEwan story -- 'in the pallor of her upturned throat he thought he saw from one bright morning in his childhood a field of dazzling white snow which he, a small boy of eight, had not dared scar with footprints.' I recalled that our very first lunch had ended very much the same way, with my timidity and vacillating intent." I'll stop there because I can't stand typing this blather anymore. Words of advice to lit majors everywhere: encyclopedic knowledge of Ian McEwan's short stories is not especially sexy, even to Ian McEwan. And event tickets you're not using aren't the world's greatest gift; believe it or not, the recipient might not use them either. I suffered through the whole book like this, wanting to talk back to it. There is just so much pretentious crap here that has nothing to do with wine and everything to do with ego. Another example: I just flipped to a page at random and here's what I found: "And to return a moment to Flaubert -- his protestation is, such is his genius, really the greatest proof against itself. The ultimate perfectionist of language, his own words don't lumber ridiculously as his so-rich image would have it, but do indeed soar to the heights of revelation." Bully for Flaubert! But what does it have to do with wine? Or psychology? And would it be too much trouble to take pity on readers occasionally with a sentence like this one: "Flaubert was a genius: a revelatory writer and a perfectionist of language"? It still isn't relevant, but at least it isn't fluffed up with useless verbiage like an undergrad paper with a minimum word requirement. What really ticks me off about this overwrought, anti-scientific book is that I'm fascinated by the psychology of wine. Example: Often I'll bring a mediocre bottle of wine to a party and let everyone taste it. Then, when they've finished knocking it, I'll tell them it cost $75. I don't have to lie, because I get plenty of mediocre $75 wines. Most people will taste it again and reappraise it upward. To me, that's interesting (and a pretty good use of $75 wines I know to be mediocre.) I'd like to see a scientific analysis of the phenomenon -- you know, controlled experiments, quantifiable results. But without a McEwan or Flaubert reference, it would never interest the authors of this book. I'd like to read a book about topics like these: Do people taste wine differently if they see the label? Does wine taste differently with different music playing? (Hint: yes.) Would different color wallpaper make wine taste different? Can a topic of conversation change the perception in the taste of wine? How well can we actually remember taste profiles from years ago? Does taking notes help or hinder your palate memory? Do women experience wine differently from men? Do people experience wine differently as they age? The problem is that because this ego trip has taken the most straightforward title, "The Psychology of Wine," it will be hard for any real psychologists to publish a real book on the topic. So I'm back where I started: I hate this book. I'm reminded of a section of a video of a speech by Derrida .... Evan Mitchell & Brian Mitchell, The Psychology of Wine: Truth and Beauty by the Glass, Praeger, 2009, $33.67 (hardcover) W. Blake Gray lives in a glass house, as he has just published his own book about wine, "California Winetopia." His cockiness in hurling this stone of a review may be because it's in Japanese language only. But one may strike back with McEwan and Flaubert references on his blog, wblakegray.blogspot.com.
 
California's Best Boutique Wines: Tasting Family Winemakers 2009
For those unfamiliar, Family Winemakers is a marketing association that represents family owned wineries throughout California. By virtue of its focus, this means that the membership consists of many of California's boutique wine producers. The annual tasting put on by the association every year claims (with reasonable credibility) to be the single largest tasting of California wines in the world each year, and remains one of my favorite wine tasting events. This tasting has become a victim of its own success, however, and has grown to a simply unmanageable size. Unmanageable, that is, for anyone looking to thoroughly explore the wines on offer. Even spread over two days, the selection of wineries and their wines wines remains far too large. Until the organizers come to their senses and figure out a way to break it up, by far the largest challenge facing any attendee will be figuring out exactly what to taste. This year, I decided to try and visit every table that had a "New!" sticker on it -- signifying that the winery was newly a member of the association. I think I managed to make it to 98% of these new members, and only got distracted by one or two producers that I see there every year, and a couple of other folks whose wines I have been wanting to try. The tasting seemed somewhat sedate this year. Interestingly, there were a number of wineries in attendance who would ordinarily never have poured their wines at such a large public tasting such as this. The fact that these $120+ Napa Cabernet producers were in attendance directly demonstrates the softness of demand for such wines in these tough economic times. My experience at the event yielded several new wineries for me to watch, In particular Katin Cellars, Cavus, and Calluna. Enjoy. PINK WINES 2006 Demuth Rose of Pinot Noir, Anderson Valley. $22. Score: between 8.5 and 9. 2008 James Family Cellars Rose, Sonoma Coast. $18. Score: around 7. WHITE WINES SCORING BETWEEN 9 AND 9.5 2008 Katin Grenache Blanc, Paso Robles. $32. 2007 Littorai Charles Heintz Vineyard Chardonnay, Sonoma Coast. $65. Where to buy? 2007 Littorai Thieriot Vineyard Chardonnay, Sonoma Coast. $65. Where to buy? 2007 Lone Madrone Points West Roussanne, Paso Robles. $32. Where to buy? 2006 Staglin Family Vineyards Estate Chardonnay, Napa. $75. Where to buy? WHITE WINES WITH A SCORE AROUND 9 2008 Anada Albariño , Edna Valley. $32 2007 J.C. Cellars Preston Vineyard Marsane, Dry Creek Valley. $32 2007 Katin Viognier, Paso Robles. $32 2008 Lone Madrone La Mescla White Wine, Paso Robles. $25 2007 Staglin Family Vineyards Salus Chardonnay, Napa. $48 WHITE WINES SCORING BETWEEN 8.5 AND 9 2008 Deep Sea Viognier, Central Coast. $15 2006 Derby White Rhone White Blend, Paso Robles. $24 2008 Jaxon Keyes McGlasten Reserve Sauvignon Blanc, Mendocino. $14 2008 Jemrose Egret Pond Viognier, Bennett Valley. $32 2008 Open Range Savignon Blanc, Capay Valley. $15 2008 Orin Swift Cellars Veladora Sauvignon Blanc, Napa. $25 2007 Skipstone Makena's Vineyard Viognier, Alexander Valley. $40 WHITE WINES WITH A SCORE AROUND 8.5 2007 Foppoli Estate Chardonnay, Russian River Valley. $44 2007 La Czar Sauvignon Blanc, Sonoma Mountain. $20 2008 Quivira Sauvignon Blanc, Dry Creek Valley. $18 WHITE WINES SCORING BETWEEN 8 AND 8.5 2007 Foppoli 1470 Chardonnay, Russian River Valley. $30 WHITE WINES WITH A SCORE AROUND 8 2007 Lange Twins Sauvignon Blanc, Lodi. $13 WHITE WINES SCORING BETWEEN 7 AND 7.5 2006 Coquelicot Riesling, Santa Ynez Valley. $20 RED WINES WITH A SCORE AROUND 9.5 2004 Brion Cabernet Sauvignon, Napa. $70 2007 T-Vine Grenache, Napa. $30. Where to buy? RED WINES SCORING BETWEEN 9 AND 9.5 2007 Branham Zinfandel, Rockpile. $30. 2005 Cavus Proprietary Red, Napa. $80. Where to buy? 2005 Hestan Vineyards Meyer Family Vineyard Cabernet Sauvignon, Napa. $45. Where to buy? 2007 L'Aventure Estate Cuvee Red Blend, Paso Robles. $85. Where to buy? 2006 Lone Madrone Old Hat Zinfandel + Petite Sirah, Paso Robles. $45. Where to buy? 2006 Orin Swift Cellars Papillon Proprietary Red, Napa. $55. Where to buy? 2006 Orin Swift Cellars Mercury Head Cabernet Sauvignon, Napa. $75. Where to buy? 2006 Staglin Family Vineyards Estate Cabernet Sauvignon, Napa. $175. 2007 Valdez Zinfandel, Rockpile. $42. 2006 Yates Family Cheval Cabernet Franc, Napa. $40. RED WINES WITH A SCORE AROUND 9 2006 Althair Pinot Noir, Russian River Valley. $36 2007 Calluna Red Wine, Chalk Hill. $30 2007 Calluna Merlot, Chalk Hill. $40 2007 Calluna Cabernet Sauvignon, Chalk Hill. $40 2006 Garric Cabernet Sauvignon, Napa. $85 2006 Gemstone Ten Cabernet Sauvignon, Napa. $150 2007 Herman Story Wines White Hawk Syrah, Santa Barbara. $36 2005 Hestan Vineyards Cabernet Sauvignon, Napa. $100 2007 Jemrose Foggy Knoll Vineyard Grenache, Bennett Valley. $38 2007 Jemrose Cardiac Hill Syrah, Bennett Valley. $38 2007 Jemrose Gloria's Gem Proprietary Blend, Sonoma. $65 2005 Katin Michaud Vineyard Syrah, Chalone. $45 2007 Katin Glenrose Vineyard Syran, Paso Robles. $45 2007 L'Aventure Cote a Cote Red Blend, Paso Robles. $85 2007 Littorai May's Canyon Pinot Noir, Russian River Valley. $65 2006 Littorai The Haven Pinot Noir, Sonoma Coast. $75 2007 Orin Swift Cellars The Prisoner Proprietary Red, Napa. $35 2006 Staglin Family Vineyards Salus Cabernet Sauvignon, Napa. $90 2006 T-Vine Zinfandel, Napa. $32 2006 T-Vine T Red Blend, Napa. $40 2006 Terra Savia Meritage,. $22 2002 Terra Savia Hoplander Red Wine,. $50 2005 Yates Family Fleur de Veeder Merlot, Mount Veeder. $35 2005 Yates Family Alden Perry Reserve Bordeaux Blend, Mount Veeder. $42 RED WINES SCORING BETWEEN 8.5 AND 9 2002 Bodegas Paso Robles Solea Red Blend, Templeton Gap. $34 2007 Branham Señal Red Wine, Rockpile. $30 2004 Elements of Sonoma Red Wine, Sonoma. $42 2007 Elizabeth Spencer Grenache, Mendocino. $30 2006 Elizabeth Spencer Syrah, Mendocino. $35 2006 Gemstone Facets Bordeaux Blend, Napa. $75 2007 Herman Story Wines Nuts and Bolts Red Wine, California. $36 2005 Hestan Vineyards Stephanie Bordeaux Blend, Napa. $60 2006 J.C. Cellars Eaglepoint Ranch Petite Sirah, Mendocino. $45 2007 Katin Del Rio Syrah, Oregon. $45 2005 Kelleher Cabernet Sauvignon, Oakville. $82 2008 Littorai Pinot Noir, Sonoma Coast. $38 2007 Littorai Savoy Vineyard Pinot Noir, Anderson Valley. $60 2005 Lone Madrone Tannat, Paso Robles. $50 2007 Mara Wines Laughlin Road Pinot Noir, Russian River Valley. $40 2005 Mara Wines Livisi Zinfandel, Napa. $30 2007 Orin Swift Cellars Saldo Zinfandel, California. $28 2005 Picazo Merlot, Livermore Valley. $80 2005 Portfolio Cabernet Sauvignon, Napa. $125 2006 Quivira Zinfandel, Dry Creek Valley. $20 2006 Respite Vineyard Cabernet Sauvignon, Anderson Valley. $48 2007 Rosa d'Oro Dolcetto, Lake County. $18 2005 Skipstone Oliver's Blend Bordeaux Blend, Alexander Valley. $95 2005 Solovino Cabernet Sauvignon,. $38 2006 Stone Edge Farm Cabernet Sauvignon, Sonoma. $75 2006 T-Vine Petite Sirah, Napa. $36 2005 Yates Family Cabernet Sauvignon, Napa. $48 RED WINES WITH A SCORE AROUND 8.5 2006 Black Sears Zinfandel, Howell Mountain. $42 2004 Bodegas Paso Robles Viva Yo Red Blend , Templeton Gap. $28 2006 Del Carlo Zinfandel, Dry Creek Valley. $32 2006 Derby Red Rhine Red Blend, Paso Robles. $28 2004 Elements of Sonoma Malbec, Sonoma. $42 2007 Hammer Sky Party of Four Bordeaux Blend, Paso Robles. $59 2007 Hammer Sky Open Invitation Zinfandel Blend, Paso Robles. $42 2007 Herman Story Wines On the Road Grenache, California. $36 2007 J.C. Cellars Fess Parker Syrah, Santa Barbara. $30 2006 La Czar Zinfandel, Dry Creek Valley. $36 2007 Open Range Red Blend, Capay Valley. $22 2005 Rancho Arroyo Grande Rhone Blend, Arroyo Grande Valley. $18 2007 Vihuela Incendio Red Blend,. $30 2005 Wedell Cellars Pinot Noir, Arroyo Grande Valley. $125 2006 X Winery Cabernet Sauvignon, Napa. $24 RED WINES SCORING BETWEEN 8 AND 8.5 2006 Cabot Vineyards Kimberly's Syrah, Humboldt County. $28 2002 Castello di Amarosa Il Brigante Bordeaux Blend, Napa. $24 2006 Coquelicot Syrah, Santa Ynez Valley. $30 2004 Demuth Pinot Noir, Anderson Valley. $40 2005 Demuth Pinot Noir, Anderson Valley. $40 2007 J.C. Cellars The Impostor Red Wine, California. $32 NV Jettlyn Winery Mon Couer Red Wine, Paso Robles. $50 2005 Lange Twins Midnight Reserve Red Wine, Lodi. $70 2006 Mara Wines Syrage Red Wine,. $15 2005 Merriam Cabernet Sauvignon, Dry Creek Valley. $45 2005 Merriam Cabernet Franc, Dry Creek Valley. $45 2007 Rock Wall Zinfandel, Sonoma. $25 2008 Rosa d'Oro Barbera, Lake County. $18 2005 Vihuela Reserve Cabernet Sauvignon,. $30 RED WINES WITH A SCORE AROUND 8 2005 Robbins Vineyards Cabernet Sauvignon, Napa. $18 2007 Sierra Madre Pinot Noir, Santa Maria Valley. $42 RED WINES SCORING BETWEEN 7.5 AND 8 2007 James Family Cellars Pinot Noir, Sonoma Coast. $35 2007 Jaxon Keyes Mae's Block Zinfandel, Mendocino. $18 2005 Leo Joseph Cabernet Sauvignon,. $50 2006 Mara Wines Dolinsek Ranch Zinfandel, Russian River Valley. $40 2006 Ripkin Tempranillo, Lodi. $22 2005 Vihuela Syrah,. $25 RED WINES WITH A SCORE AROUND 7.5 NV Jettlyn Winery Opulent Red Wine, Paso Robles. $45 RED WINES SCORING AROUND 7 2006 Clavo Reckless Moment Syrah, Paso Robles. $25
 
Vinography Images: Vine Color
Vine Color Harvest has begun in many places in North America, and soon the vines will begin to take on their fall colors. As someone who grew up with a distinct Autumn, marked by brilliant color, I cherish the few signs of that season we get here in northern California. Especially the vines in their various hues -- Alder Yarrow INSTRUCTIONS: Download this image by right-clicking on the image and selecting "save link as" or "save target as" and then select the desired location on your computer to save the image. Mac users can also just click the image to open the full size view and drag that to their desktops. To set the image as your desktop wallpaper, Mac users should follow these instructions, while PC users should follow these. PRINTS: If you are interested in owning an archive quality, limited edition print of this image please contact photographer Andy Katz through his web site. ABOUT VINOGRAPHY IMAGES: Vinography regularly features images by photographer Andy Katz for readers' personal use as desktop backgrounds or screen savers. We hope you enjoy them. Please respect the copyright on these images.
 
Joy of Sake Tasting 2009: September 10 - SFO, September 24 - NYC
I absolutely love the fact that we've reached a point in this country where I don't need to explain why a sake tasting in San Francisco or New York might be an enjoyable way to spend an evening. In the five years since I've been writing this blog, sake has gone from obscure to obvious, hardly known to hip. The availability and visibility of sake in the US has blossomed, driving by fine dining establishments and the increasing popularity of all things Japanese. Despite this, however, the average wine lovers' knowledge of sake is extremely limited, mostly by virtue of not having tasted very much sake side-by-side in comparison with one another. And that of course, is where the Joy of Sake comes in. This tasting event, the largest public sake tasting outside of Japan, is much more than just an opportunity to compare a few sakes. Nowhere outside of Japan do consumers have the opportunity to sample so many different, and so many high quality sakes as they do at this event. For anyone truly interested in sake, this tasting cannot be missed. Hundreds of different sakes are on offer, including the scores of gold and silver medal winners from the annual U.S. National Sake Appraisal, a competition held each year in Hawaii. Dozens of local restaurants serve up sake friendly food to accompany the brews, which are sampled by attendees using the traditional eyedroppers to fill their glasses. The one difference between the Joy of Sake tasting and a normal wine tasting event has to do with the information that is available to the curious taster. While there are volunteers whose job it is primarily to make sure that the reservoir cups of sake don't run dry, these folks have an extremely inconsistent knowledge of what they're actually pouring. Unlike a large public wine tasting where the folks behind the table are informed about their particular wine, there is little or no information available about these sakes, should you fall in love with any of them, or have questions about what you are tasting. Despite this lack of information, the event can be an incredible education to the attentive palate, and is always a great reminder to me of just how much great sake there is out there to be experienced. Sadly, for reasons I cannot explain, it seems that the event organizers have decided to downsize the event in San Francisco. While the New York event seems to offer the usual selection of hundreds of sakes, the San Francisco event is no longer called The Joy of Sake event. Instead it is being billed as the Sake Soiree, and its venue has changed to Yoshi's nightclub and restaurant. While the event web site suggests that there will still be more than 100 sakes to choose from, the lower admission price and the change of name seems to signify that the event will be less than full blown. Not like you (or I) were going to taste all 200 of the sakes anyway, right? JOY OF SAKE 2009 September 10, San Francisco 7:00 - 10:30 PM Yoshi's Restaurant 1330 Fillmore St San Francisco, CA 94115-4113 (415) 655-5600 September 24th, New York City 6:00 PM to 9:00 PM Webster Hall 125 E 11th St New York, NY 10003 (212) 353-1600 Tickets are $50 per person for San Francisco and $80 for New York. and can be purchased in advance online. The price goes up at the door. Sake tasting is even harder work than wine tasting, as sake is higher in alcohol and much more subtle in flavor. I recommend snacking your way through the tasting to keep your palate fresh. Maddeningly, in the past years they have not provided spit buckets with any regularity, so I recommend bringing your own spit cup or bottle if you are a serious taster. And if you truly consider yourself the latter, I also recommend bringing a small white wine glass, the better to appreciate the aromas.
 
Gold Medals Do Not Mean Good Wine: Actual Proof?
Bear with me while I get this out of the way: I told you so. I've taken a lot of flak here at Vinography for my stance on the competition, state and county fair medals that wineries like to make a big deal about. I think they're all bunk -- useless to the consumer, and a waste of money for the wineries trying to win them. For reference, I suggest you look at my posts entitled: Stop The State Fair Madness and Wine Competitions are One Big Racket. My opinion has been based up until this point on purely anecdotal evidence that I can summarize quite simply. I taste thousands of wines a year at large wine tasting events, where (annoyingly) many producers advertise (and proclaim) their medal winning wines. The vast majority of the time, these wines aren't any good. And quite to the contrary, some of the time, these wines are positively awful. But now, we have a modicum of statistical evidence to support my contention, thanks to the work of some folks at the American Association of Wine Economists. These folks have just published a paper entitled: "An Analysis of Concordance in 13 U.S. Wine Competitions," which not only demonstrates what I believe to be pretty clear statistical evidence for my previous claims, they also manage to cite a study I was unaware of suggesting that gold medals don't really increase sales to consumers in the first place! The paper outlines an analysis of, among other things, 2,440 wines that were entered into three or more wine competitions around the country. 47 percent of these won gold medals (that fact along should ring alarm bells), but of those, 84 percent won ZERO medals (not even a bronze) in other competitions. Which means that while these wines may have been rated as among the very best wines in one competition, they were rated as below average in another. Even taking into account the differences in the field of competition, this is a rather damning indictment of the quality, relevance, and value of these competitions and their awards. One of the interesting details of the study was that the only place that these competitions were concordant in their evaluations of wines were of wines that they did not like. There were groups of wines that consistently received no award or a bronze medal at these competitions. This suggests, as the author of the study has apparently published elsewhere, that the judges at these events really only agree on what they don't like. The competition results that were studied in this report include: Dallas Morning News Wine Competition San Francisco Chronicle Wine Competition Grand Harvest Awards Jerry D. Mead's New World International Wine Competition West Coast Wine Competition Pacific Rim International Wine Competition, San Diego National Wine Competition Riverside International Wine Competition Los Angeles County Fair International Eastern Wine Competition Orange County Fair Wine Competition San Francisco International Wine Competition California State Fair Wine Competition. For anyone unfamiliar with this competition circuit, these are essentially the largest and most prestigious wine competitions in America, many of which employ lots of wine professionals as judges. According to the paper, wineries spend more than a million dollars on entry fees every year for these competitions. So I'll say it again: stop the madness. I know that small wineries need every little bit of help they can get to sell their wines and get some attention from consumers, but these competitions are a lousy way to do that, and the awards do more to prop up the egos of those who enter than help consumers make relevant buying decisions. Even with this paper in hand, I expect a volley of stones. Read it first, and then fire away. An Analysis of the Concordance Among 13 U.S. Wine Competitions -- 161k PDF.
 
Anaba Wines, Sonoma: Inaugural Releases
One of my greatest pleasures remains the surprise and delight of opening the very first wines made by a new winery and discovering in them both enjoyment and the signs of great potential. Alas, such pleasures are only occasional, which make them all the more exciting when they do occur. My latest opportunity to celebrate the beginnings of a new winery came at the hands of a few bottles that showed up on my doorstep bearing the name Anaba in beautiful looping script. I was immediately intrigued to note that the first releases from this new Sonoma County winery were Rhone style blends -- far from the typical initial foray that most new wineries make in Sonoma County. (Most opt for the safe and sellable Pinot Noir or Zinfandel). Anaba Wines, named for the anabatic winds (big points with meteorology geeks) that are so crucial to the climate of Sonoma's wine country, is a new label started by John Sweazey and his wife Kathleen in 2006. Sweazey fell in love with wine in college, and after graduating into a successful job selling IBM PCs in the early days of the industry, his first opportunity to take a sabbatical found him wandering the wine regions of France and Italy. Sweazey continued his exploration of wine through a long career in real estate, and like many, at a certain point he began dreaming of owning a vineyard. Through all his travels to various wine regions with his wife, Sonoma county, and in particular the town of Sonoma, felt the most like home to him. So when the time was right, he struck a deal with Vic McWilliams, who had decided to unload the winery and 16 acres of vineyards known as Castle Winery in Carneros. Sweazey promptly renamed the label, started replanting, and purchased some grapes from vineyards like Sangiacomo Vineyard, Windsor Oaks, Ferguson Ranch and Bacigalupi Vineyard, to make the first wines under his new label. For help with winemaking Sweazey turned to the young Jennifer Marion, a recent graduate of the U.C. Davis enology program, and most recently the assistant winemaker at MacCrostie Winery in Carneros as well as a technical vineyard consultant for agricultural management company Crop Care Associates. Marion, given her background in both viticulture and enology is responsible for everything that happens in the vineyard (both the estate vineyard that is being replanted and the contract vineyard sources) as well as the cellar. And as far as I can tell, she's doing a pretty stellar job. The inaugural wines from this little label are encouraging in many ways, not only for their unusual focus on red and white Rhone blends from Sonoma County (yes they are also making Pinot) but for their styling, which clearly focuses on lower alcohol, very little new oak, and pure fruit expression. The whites are whole cluster pressed and are fermented partially in neutral oak, partially in steel, then aged in 20% new French oak barrels with. The reds see 50% new oak on average. In addition to being one of the most promising new wineries in Sonoma, the winery seems focused on making sure it is relevant, producing wines in the $20-$35 price point, which will make them quite attractive to wine lovers in search of a treat in these tighter times. Full disclosure: I received these wines as press samples. TASTING NOTES: 2007 Anaba Winery Chardonnay, Sonoma Coast Light cold in the glass, this wine smells of crushed stones, cold cream and hints of white flowers and citrus. In the mouth it has a satin texture with a steely, mineral foundation, and soft flavors of tropical fruits layered on top of the nicely balanced minerality. The long finish leaves a note of petrichor: wet pavement after a rain. Score: between 8.5 and 9. Cost: $26. 2007 Anaba "Coriol" White Rhone Blend, Sonoma Valley Light gold in the glass, this wine has a perfumed nose of peaches, dried apricots, and wet stones. In the mouth it is silky and nicely weighted on the tongue. Primary flavors of lemon curd, peaches, and orange peel, emerge as the wine finishes smoothly. A blend of Roussanne, Marsanne, and Grenache Blanc. Score: around 9. Cost: $28. 2006 Anaba "Coriol" Red Rhone Blend, Sonoma Valley Medium garnet in color, this wine smells of a very unique combination of earthy and spicy aromas with hints of red fruit peeking around the edges. In the mouth it is bright and juicy with raspberry and mulberry fruit mixed with a nice mix of spices and cedar that linger with a hint of vanilla through the finish. Lovely and unusual. A blend of Grenache, Mourvèdre, Syrah, Counoise and Petite Sirah. Score: between 9 and 9.5. Cost: $28. At the moment, the only place it appears you can purchase these wines online is the winery web site.
 
2001 Gravner "Anfora" Ribolla Gialla, Friuli, Italy
When it comes to winemaking there's New World, and there's Old World. There's new school, and of course, there's old school. And then there are a select few people and wines who make the old school winemakers look like young tykes with newfangled toys. In a world where "traditional" or "natural" winemaking has now become a self imposed designation of the most extreme proponents of biodynamic and non-interventionalist winemaking, Josko Gravner puts them all to shame. These people proclaim how in touch they are with the "traditional" methods of winemaking, but they're still using what Gravner would call modern technology: wooden barrels. The iconoclastic Gravner eschews wines in wood, in favor of the original stuff: wines aged in huge clay amphorae sealed with beeswax and buried in the ground. Gravner, a small winery near Oslavia in Northern Italy's Fruili Venezia Giulia region. It is run by the occasionally enigmatic and always driven Josko Gravner, who has been making wines in the same spot for more than thirty years. While Gravner may have stuck to his beloved Fruili region for this long, he has not been making wine the same way for all that time. Indeed, at one time he was a celebrated "modernist" who brought new French Oak barrels into a region whose white wines were always made in steel. But in what can only be described as an inspired drive to explore all the possibilities for making the best wines he possibly could, he eventually started using a combination of old oak barrels and terra cotta amphorae, a winemaking vessel that was believed to be pioneered by the Georgians between four and five thousand years prior. The Gravner estate sits on about 45 acres of land straddling the Italy Slovenia border, and grows Ribolla, Riesling Italico, Chardonnay, Pinot Grigio, Pignolo, Sauvignon Blanc, Cabernet Sauvignon and Merlot. Ribolla and Pignolo stand out of that list as varietals that most Americans, indeed, most people in general have never heard of. Ribolla Gialla, as this green skinned white varietal is also known, is grown only in this region of Italy (even rarely at that) and is mentioned in municipal documents from the area dating back to before the 13th century. Pignolo is also a native variety to the region, which was cultivated by the local monasteries in the region starting in the 17th century. Since the 2001 vintage, Gravner has decided to make his wines exclusively in amphorae, leaving oak behind, just as he left industrial yeasts, sulfur, and even temperature controlled fermentation behind years before. Of all the winemakers I have ever heard of, Gravner seems to have one of the likeliest claims on the label "non-interventionalist" but he will shrug off such a label if he hears it, insisting that all winemaking is intervention in a natural process that leads to vinegar. Gravner has deliberately not adopted the principles of organic or biodynamic winemaking, instead opting to just do things "his way." If his way produces wine like this, then I'm more than content to sit back and let him work. This is his first vintage of Ribolla made entirely in amphorae, and tasting the way it does, it's not hard to understand why Gravner has given up wood entirely. Gravner's formula for this wine involves an incredible amount of extended skin contact, sometimes more than six months, which produces the incredibly gorgeous and distinctive orange color of this wine, not to mention its heady aromatics and tannic structure. I've been tasting Gravner wines for two or three years, and have had wines dating back to 1991. I have come to appreciate them as literally some of the best wines made on the planet, and unfortunately, so have some other people, resulting in rapidly climbing prices for these wines. What you used to be able to get for $40 you will now pay $90 for. Even at these dramatically higher prices, there's no doubt in my mind that these wines are worth it. Tasting Notes: A distinct and vibrant medium orange color in the glass, this wine smells of something otherworldly -- a concoction of roasted nuts, bee pollen, orange blossom honey, and an elusive floral aroma. In the mouth the wine is unusually silky, without being heavy on the tongue. Awash with a myriad of flavors ranging from wet dirt to orange creamsicle, tangerine zest, and pine sap, this wine is a technicolor dreamcoat of flavors that all but forces a smile. Despite being made from white grapes, the wine has a distinct, light tannic structure that gives it a muscular quality. Excellent acidity and a minutes-long finish seal the bargain. Outstanding. Food Pairing: Because of the tannic structure of this wine, it will actually pair well with meats, and the acidity means it's delightful for lighter dishes as well. In my experience it does exceptionally well with anything that has a little bit of a salty tang to it. Wood grilled sardines anyone? Overall Score: around 9.5 How Much?: $90 This wine can be purchased on the Internet.
 
Vinography Images: Old Vine
Old Vine The whorls and gnarls of old vines are like fingerprints. I never get tired of looking at their stocky twisted shapes. I thought their shapes are best appreciated against a background of mustard flowers, but that was because I had never seen one in a field of daisies. -- Alder Yarrow INSTRUCTIONS: Download this image by right-clicking on the image and selecting "save link as" or "save target as" and then select the desired location on your computer to save the image. Mac users can also just click the image to open the full size view and drag that to their desktops. To set the image as your desktop wallpaper, Mac users should follow these instructions, while PC users should follow these. PRINTS: If you are interested in owning an archive quality, limited edition print of this image please contact photographer Andy Katz through his web site. ABOUT VINOGRAPHY IMAGES: Vinography regularly features images by photographer Andy Katz for readers' personal use as desktop backgrounds or screen savers. We hope you enjoy them. Please respect the copyright on these images.
 
Small Signs of Troubled Times in the Top Tier of Wine
I'm not the most plugged in person when it comes to the California wine industry. I'm not a buyer, a salesperson, or a marketer, and certainly have no real visibility into what's going on behind the scenes at any wineries, even with a fair number of winemaker friends. Consequently, I'm a bit of an outsider when it comes to measuring the impact of this recession on the California wine industry. But the picture that I'm starting to piece together from tidbits here and there is somewhat sobering -- not the calamity that is the U.S. Auto Industry, but certainly what looks like a correction, especially at the top. In short, it seems that this is a really bad time to have your wines cost more than $100. Just a few recent data points: Today I attended a high-end Burgundy tasting. The owner of the distributor putting on the tasting told me that prices were down nearly 20% for these wines (many of which retail for more than $200) and that this was the first time that they ever felt like they needed to hold such a public tasting for wine buyers in order to sell what they had. Over the weekend I attended the Family Winemakers tasting event, which I have done every year for the past five, and in addition to there being a little less excitement in the air, I noticed the presence of several very-high-end Cabernet producers. These are producers that I've never seen at such a large public tasting before, and certainly producers that in the past haven't had any wine to sell to the public anyway, having all of it snapped up off their mailing lists. Speaking of mailing lists, I took my own advice recently and signed up to be on the waiting lists of a few wineries whose wines are sold almost exclusively to their mailing lists. Two or three months later, presto! I'm on. These are waiting lists on which people have waited for years before getting a chance to buy a couple of bottles of wine. And finally, the prices may be coming down. One of the aforementioned high-end Cabernet producers is selling at a 25% discount to last year's release price, and I have heard of a number of other such cuts. I'm somewhat ambivalent about all of this. On the one hand, people are clearly having a hard time and are definitely suffering financially. On the other hand, I think the wine industry, in particular the high-end of the California wine industry, was as due for as much a correction as the overall economy was. 25% price cuts probably aren't really enough, at the end of the day. Someone in the industry could better say than I where we are in this correction. Given the slow, cyclical nature of wine, where investments made are not borne out for years sometimes, I wouldn't be surprised if things get a lot worse before they get better. Or perhaps given that margins aren't all that big in the industry, all the pain was felt up front, and as long as the economy continues to improve from this point, there's light at the end of the tunnel.
 
Patz & Hall Winery, Napa: Current Releases
The story of two friends drinking late into the evening and fantasizing of one day owning their own winery has been reenacted countless times over the past few decades in California. Remarkably, though, these dreams have frequently become a reality. Countless wineries spring forth from the passion and hard work of "just a couple of friends" and a surprising number of them become great successes. Maybe after watching this phenomenon for twenty more years I may be able to pin down the reason that so many wineries that begin as passing fancies, even in the heads of people who are already working in the wine industry, end up coming to fruition and frequent fame. The only thread I see running through them all is passion, but if that were all it took to create a successful winery, we'd have a lot more wineries than we do now in this country. In the case of Patz & Hall winery, its not so hard to sketch the recipe for success that two husbands and their wives forged through their talents and their friendship. Interestingly, the passion that initially brought Donald Patz and James Hall together was Chardonnay, an unusual grape to spark twenty-years of success as a winery. And in a business where sometimes the wives just come along for the ride, it may be that the two women involved were as much responsible for the rise of this winery than anyone else. Patz is the salesman. Hall is the winemaker. Both fell in love with wine during college, and fell in love with their wives over wine. And in the late 80's their paths crossed in the cellars of Flora Springs Winery in Napa. James was the assistant winemaker at the time, and Donald was busy selling as much wine as James could make. In off hours, they would get together and expound on the charms of fine Chardonnay, slowly laying plans for a virtual winery together -- one that would own no vineyards -- dedicated to producing high quality Chardonnays from some of the best vineyard sites in California. And just for the heck of it, they'd make some Pinot Noir, too. Most likely, their wives didn't need much convincing. Heather Patz was a lover of wine, and the culture of hospitality that goes with it around the world. Anne Moses, James Hall's wife, is a U.C. Davis trained enologist, who worked at Far Niente, Marimar Torres, Spring Mountain Vineyard, and Cain Vineyard and Winery before bringing it all home, as it were, to Patz & Hall. While Anne ran the lab and pushed her husband to make better wine, Heather ran the business and pushed her husband to get the wine sold in better and better places, and their husbands, well, they just kept running. Two decades later, Patz & Hall is well recognized as one of the original boutique wineries of California, for a simple reason -- the wines have been good for a long, long time. James and Anne still manage the cellar and the relationships with the many growers with whom Patz & Hall have been doing business, in some cases for as long as the winery has been around. Together, they make the harvesting decisions, and then shepherd the grapes through the winemaking process in their winery that has been specially designed for Pinot Noir and Chardonnay. The Pinots are fermented in small lots in open-top fermenters, including about 20% of each lot that undergoes no destemming or crushing whatsoever, and is fermented in whole clusters in separate vats. After fermentation, the wines are aged in French oak barrels (of which 50-70% are new) until they are ready for bottling. The Chardonnays are pressed as whole clusters, immediately after coming into the winery, and are poured directly into French oak barrels where fermentation takes place on its own schedule, occasionally lasting several months. For at least 11 more months, the wines remain in New French Oak barrels before bottling without filtration. Patz & Hall takes great pride in the wood used in its barrels, which is custom sourced from France, and which they say is aged for 18 months longer than most wood that goes into standard barrels. This extended aging in the open air is purported to add complexity to the character of the wood. Early in my evolution as a wine lover, Patz & Hall's single vineyard Chardonnays and Pinot Noirs were among the wines that I could occasionally barely afford, but often coveted. Their prices put them at the upper limit of my wine spend, and so were reserved for special occasions or expensive gifts to those who deserved and would appreciate them. As a result they hold a fond place in my heart, even though it's been years since I bought a bottle. I recently had occasion to taste through their current releases, and offer my tasting notes below. Full disclosure: I received some of these wines as press samples. TASTING NOTES: 2007 Patz & Hall Chardonnay, Napa Light green-gold in the glass, this wine smells of apples poached in butter. In the mouth it is satin smooth, with a nice acid balance and flavors of pastry cream, fresh baked croissant, lemon juice, and sweet apples that linger in a nice finish. Score: between 8.5 and 9. Cost: $30. Where to buy? 2007 Patz & Hall "Hudson Vineyard" Chardonnay, Carneros Light gold in the glass, this wine has a nose of cold cream and lemon curd aromas. In the mouth it is spicy and bright with lemon juice and zest coming to life with a core of tart apple, good acidity and a nice weight on the palate. Decent finish. Score: between 8.5 and 9 Cost: $55. Where to buy? 2007 Patz & Hall "Zio Tony Ranch" Chardonnay, Russian River Valley Light gold in color, this wine has a juicy nose of lemon, toasted bread, and fresh orange oil aromas. In the mouth it is zingy and bright with juicy pink grapefruit, lemon zest and golden apple flavors making up the shining core of the wine. The flavors blend and linger nicely in the finish. Score: around 9. Cost: $60. Where to buy? 2007 Patz & Hall "Hyde Vineyard" Chardonnay, Carneros Light gold in the glass, this wine has a tropical nose of lemon zest and dried mango. In the mouth it has a wonderful mineral quality to its bright acidity that counterpoints the more tropical flavors of pineapple and mango that meld with the citrus body of the wine to nice effect. Excellent finish. Score: around 9. Cost: $55. Where to buy? 2007 Patz & Hall "Dutton Ranch" Chardonnay, Green Valley Light gold in the glass, this wine has a toasty, lemony nose that intrigues. On the palate the wine is silky and lively, with grapefruit and toasted nuts flavors, mixed in with a little lemon curd for good measure. Nice long finish. Score: around 9. Cost: $39. Where to buy? 2007 Patz & Hall Pinot Noir, Sonoma Coast Light to medium garnet in the glass, this wine has a rich nose of pomegranate and cherry aromas. In the mouth the cherry character prevails, with plum and cranberry notes creeping around the edges. Good acidity supports somewhat bombastic fruit that is missing a measure of subtlety. Score: around 8.5. Cost: $42. Where to buy? 2007 Patz & Hall "Hyde Vineyard" Pinot Noir, Carneros Medium garnet in color, this wine has a cheery nose of cranberry and cherry fruit aromas. In the mouth it does a similar dance, with great acidity and a glassy clarity that leaves the impression of vibrance in a nice finish. Score: around 9. Cost: $60. Where to buy? 2007 Patz & Hall "Chenoweth Ranch" Pinot Noir, Russian River Valley Medium garnet in color, this wine has a deep, rich nose of black cherry and almost grapey aromas. In the mouth it is showing both its youth and its power, with rich black cherry and cranberry and cedar flavors. Nice acidity and a long finish make me want to revisit this wine in a couple of years. Score: around 9. Cost: $55. 2006 Patz & Hall "Alder Springs Vineyard" Pinot Noir, Mendocino Light to medium garnet in the glass, this wine has a nose of forest floor, wet wood, and raspberry aromas. In the mouth this is tart raspberry, wet wood, and mineral undertones. Silky and smooth with excellent balance, the wine finishes long and earthy. Score: around 9. Cost: $60. Where to buy? 2006 Patz & Hall "Chenoweth Ranch" Pinot Noir, Russian River Valley Light garnet in the glass, this wine has a nose of raspberries, wet wood and cranberry. In the mouth it is spicy, with flavors of wet wood, cranberry, and hints of sandalwood, that linger into a moderate finish that has a small hint of heat on it. Score: between 8.5 and 9. Cost: $55. Where to buy? 2006 Patz & Hall "Pisoni Vineyard" Pinot Noir, Santa Lucia Highlands Light to medium garnet in the glass, this wine has a nose of dried cherries, pine duff, and raspberry jam. In the mouth it offers smooth, rich flavors of spicy raspberry, cherries, cedar, and wet earth. A nice finish rounds out what I think is one of the better wines made from this vineyard. Score: between 9 and 9.5. Cost: $85. Where to buy?
 
Testing the Old Spoon in the Champagne Bottle Trick
I don't know exactly when I was first told, but for years I've "known" that if you want to keep a bottle of opened Champagne from going flat, you drop a silver spoon into the neck of the bottle, handle first. Sort of like knowing you shouldn't go swimming for an hour after you eat, this trick with the spoon seems to be yet another proclamation from the infamous Department of They. You know the one. "They" say you shouldn't go outside on a cold day with a wet head, because you'll catch a cold. Why not? Well that's just what they say. Half the time, such conventional wisdom seems quite astute, and has even been proven to be right (I think someone actually did prove that wet heads in cold weather will increase the likelihood of catching a cold). The rest of the time, of course, it's utter hogwash. I've never known which the old spoon trick actually was, or whether it mattered if the darn spoon was silver or not. Most of the time these days I have a rubber or a metal stopper to use. But on occasion when I don't, or when I'm away from home, I drop a spoon in the bottle just to be... well... safe, I guess. Turns out I wasn't the only one with the passing notion that this business with the spoon might be a bunch of crap. Some of the science minded folks at Twee Jonge Gezellen estate in South Africa found themselves without enough to do last week (it is Winter down there, after all) and when challenged by the folks at GoTravel24 to actually prove their contention that the spoon trick actually worked, they decided to put this technique to the test with a bit of rigor. Their test involved opening two bottles, pouring some wine from each, and then putting them back in the fridge, one with a spoon, the other without. The bottles were then removed at regular intervals, the temperature measured in each, new glasses poured, and photographed each time, along with a control glass poured from a brand new bottle. After all the wine was good and drunk (and the researchers had recovered from being drunk as well), the photographs of the glasses were analyzed to count the bubbles to see whether, in fact the spooned bottle held more fizz over time. I'm sure some full-time scientist could find all sorts of faults with the methodology -- certainly there are a lot of variables that determine how many bubbles are in a glass of sparkling wine, but for what it's worth, they saw a significant difference. I'll let them share the final result. Read the full article. Thanks to Kumkani winery for the link.
 
2005 Savanna "Sogno Due" White Wine, Campania, Italy
Despite all kinds of advice to the contrary, we continue to judge our books by the cover and our wines by the label. As humans we find it quite hard to turn off the part of our brains that rushes to judgment based on the surface of things. Presumably our lightning-quick opinions were advantageous to us at some point in evolutionary history, to the point that our first impressions are often so powerful we can't move past them. From racial stereotypes to celebrity obsession, we're often captives to our own psychology, whether we like it or not. So tell me, what comes to mind when you hear the phrase "celebrity wine"? My head immediately reconfigures into a mode of skepticism. I'd like to think this is because I've actually had a number of wines that bear the names (or the backing) of a number of Hollywood movie stars, musical icons, and sports legends, and on the whole I haven't been impressed. But I'm sure not all that skepticism is borne out of true reflection. Much of it probably lives in the same zone of my brain as the disdain I carry for the latest commercial antics of any number of stars who attach their name to something as a means of brand extension and bankruptcy prevention. This wine is a doubly refreshing antidote to the commercial cult of celebrity and all of its (usual) mediocrity -- it tastes great, it's not yet another Cabernet with a celebrity name on it, and it's not just a movie star wine, it's a porn star wine. Savanna Samson is the adult film persona of Natalie Ontiveros, who grew up in Rochester, New York, in a family of five sisters with Italian roots. Her career in the adult world started as dancer at the Scores gentlemen's club in New York, where she was "discovered" by Howard Stern. Perhaps by virtue of her Italian roots, Samson always had an interest in and passion for wine, but as her fortunes grew in the porn business, she began spending her spare time traveling around Europe tasting wine, and even began dreaming of owning a vineyard. In the course of her travels around Italy, she met Roberto Cipresso, one of the country's most prominent consulting winemakers. Perhaps most famous as the partner and winemaker of the superstar La Fiorita estate in Montalcino that rocketed to prominence in the late 90's, Roberto Cipresso first made a name for himself making Brunello wines for the likes of Poggio Antico and Ciacci Piccolomini. Since then he has made wine in most of Italy's major wine regions including Veneto, Friuli, Piemonte, Toscana, Marche, Sicilia and Sardinia as well as further abroad in places like Croatia, Spain and Argentina. Around about the time that Samson encountered him, Cipresso had been laying the groundwork for a commercial venture for making private label wine for various customers using the vast network of growers he had come to know over the course of his career. The enterprising winemaker already made private label wine for the Vatican, so when Samson asked about getting her own wine, apparently it was an easy decision -- no irony involved. The two began with a red, named "Sogno Uno" or "Dream #1" which was a blend of several red grapes, made to Savanna's taste (rather than to any specific regional regulations). After a surprising commercial success, partially fueled by a 90-91 rating from Robert Parker, the two released the first vintage of this wine, Sogno Due. More wines are in the works. Sogno Due is 100% Falanghina grown near Capri in Italy's Campania wine region. Falanghina is one of Italy's ancient indigenous grape varieties, and possibly one of its most storied, as it is believed to possibly have been used to make Falernian, a world famous wine popular in Roman times. Today Falanghina is being used to produce very tasty aromatic white wines like this one. This wine is made from vines that average between 70 and 80 years of age. It is carefully fermented at low temperatures in steel, and I do not believe it sees any oak before bottling. 400 cases were made. Full disclosure: I received this wine as a press sample. Tasting Notes: Pale gold in the glass, with a bright mineral nose of Asian pears and wet stones, this wine tastes of raw quince, old paper, and the soft tones of vanilla. Smooth and silky on the palate, with a lightly smoky incense quality on the finish, this is a classic southern Italian white wine, delicious in its simplicity. Food Pairing: Properly chilled, this wine would be a lovely accompaniment to various antipasti or fritto misto. Overall Score: between 8.5 and 9 How Much?: $18 This wine can be purchased on the Internet.
 
Sonoma Wine Country Weekend: September 4-6, 2009
Most people, when they come visit me in San Francisco and ask to be taken to wine country, assume that they're going to Napa. But at least half the time, that's definitely not where we end up. My well meaning friends aren't the only ones who seem to forget that Northern California has many different "wine countries." Napa casts a long shadow, as it were. I've got a bit of love for every piece of wine country we've got here in California, but there's a special place in my heart for Sonoma County, both because it is the place of my birth, but also because I think sometimes it gets short shrift compared to its more famous neighbor. Sonoma County is several different wine regions rolled up into one -- from the chilly fog of the Sonoma Coast and Carneros, to the cool Green Valley and Russian River Valley, to the warmer climes of Dry Creek Valley, Sonoma Mountain, Alexander Valley, and the Sonoma Valley -- many different microclimates and many different wines, from sparkling to Pinot Noir to Zinfandel to Cabernet. The main problem, however, is that all these regions lay spread out over a wide area, much wider than the relatively (in comparison) compact Napa Valley. So experiencing the breadth of Sonoma can be time consuming, no matter how fulfilling it usually ends up being. So while it's a good idea for wine lovers to pay more attention to Sonoma in general, there is one weekend this year when any self respecting wine lover shouldn't be thinking of anything else: The Sonoma Wine Country Weekend. Now in its second year, this weekend celebration of Sonoma County wine is a combination of two previously separate annual events: The Sonoma County Showcase of Wine and Food and the Sonoma Valley Harvest Wine Auction. These events are now combined into a single weekend that represents the best opportunity in existence for anyone (who isn't planning on being on the Playa) to learn a lot about Sonoma wine in the space of a couple of days. The weekend starts on Friday September 4th, with winemaker lunches at various wineries around the valley, followed by dinners that evening. On Saturday the 5th, the grand tasting will take place from 11 AM to 4 PM, where more than 150 Sonoma County wineries will offer their wines for tasting along with food from more than 60 of the regions top chefs and artisan food purveyors. Saturday evening will feature winemaker dinners at some of Sonoma's most spectacular wineries. And if that weren't enough, on Sunday the live Harvest Wine Auction, whose proceeds go to local charities, offers chances at bragging rights and some amazing prizes (and wines) for those who can afford to be generous, as well as a blockbuster meal cooked by some serious Sonoma culinary heavyweights. Rumor has it that there will be a little wine poured at this event as well. While attendance at the auction and dinner on Sunday is a somewhat pricey proposition even after a price reduction from last year ( now just $500 a head) the rest of the weekend's events are a relative steal at between $75 and $195 bucks. This is a huge opportunity to soak in the breadth and depth of Sonoma County wine without spending 4 days and 8 hours in the car zipping all over the place. It comes highly recommended by yours truly. Find out everything you need to know on the event web site. Sonoma Wine Country Weekend September 4-6, 2009 MacMurray Ranch Winery 9015 Westside Road Healdsburg, CA 95448 Tickets for the grand tasting, which can be purchased online, are $150 ($90 of which is tax deductible!). This event will almost certainly sell out, so purchase your tickets now. The weather will likely be gorgeous, but it could also be cool and windy, so wear sunscreen and have a sweater or jacket in the car, if not around your shoulders. Wear comfortable shoes that you can walk on a lawn with. My usual tips for public tastings apply: get lots of sleep the night before; wear dark clothes to avoid red wine disasters; drink lots of water; make sure your belly is full; and spit if you actually want to learn something.
 
Vinography Images: Taking Wing
Taking Wing I love great photographs of vineyards, which is mostly why I try to bring you a new image from photographer Andy Katz each week. The best vineyard photographs though have a little something special about them in addition to the raw natural beauty that they so often possess. This is a perfect example of a gorgeous image, made even more special by the hawk caught mid take-off from the middle of this Sonoma vineyard. -- Alder Yarrow INSTRUCTIONS: Download this image by right-clicking on the image and selecting "save link as" or "save target as" and then select the desired location on your computer to save the image. Mac users can also just click the image to open the full size view and drag that to their desktops. To set the image as your desktop wallpaper, Mac users should follow these instructions, while PC users should follow these. PRINTS: If you are interested in owning an archive quality, limited edition print of this image please contact photographer Andy Katz through his web site. ABOUT VINOGRAPHY IMAGES: Vinography regularly features images by photographer Andy Katz for readers' personal use as desktop backgrounds or screen savers. We hope you enjoy them. Please respect the copyright on these images.