Mad Wines

1999, 2001, 2003 from Margaux

2007-06-03T18:32:00.000-07:00

Just before I step on my journey to Shanghai, I was invited to attend a private tasting hosted by Crystal Wine. The tasting was presented to me in a semi-blind format. I reviewed them according to how the wines were numbered.

A) Some aged ruby tone with not particularly brilliant color (some age?). Less forthcoming nose, with traces of sweet plum, cassis fruit, spice and sweet caramel wood-infuse element. Ripe, feminine, supple in a well sap and tangy palate that is so Bordeaux. I was initially worried about the early brett-like, barnyard character that plagued so many Bordeaux in to 70s and 80s, with wines like Lynch-Bages, Brane-Cantenac. However, the wine turned pristine and pure, with more interesting red and back fruits emerged after aeration. This wine clearly demonstrated that, Margaux region being the most successful in this irregular vintage of 1999. A fine effort from Chateau Giscours 1999 (109.00) - Good

B) Denser, dark-ruby color. Very modern new wood-infused of roasted coffee, graphite and liqueur-black fruit. Lush, seamless textured, profound and early sex-appeal style. Personally, this is not my cup of tea. The wine came across more technically constructed rather trying to express it typicité. Not surprise, this estate is consulted by Michel Rolland. Chateau Kirwan 2003 (118.00)

C) After knowing it was Giscours 2003 (110.00), this is perhaps the most modern, high-tone Giscours I have tasted. It started off with the sweet lush personality and quickly turn into more angular frame, with rather aggressive tannin, especially more so when the fruit was less yielding, providing little flesh to deal with the increasingly tart, almost bitter finish. Seem to me, this wine was overly extracted.

D) This is clearly my finest wine of the whole lineup. Very dense in color and possibly the darker in the whole lot. My initial tasting of this massive wine, I thought, it reminded me of tasting barrel-sample. Very youthful with solid outfit (cool summer resulting higher natural acid level) and rather fleshy palate (much like tasting en primeur). Despite that, the wine surprisingly do not tire your palate with its scale, neither the tannin is over-the-chart. After some half-an-hour decanting, the sweet, caramel-wood emerged. The attractive cedar combined shaving of new wood along with tangy fruit and very fine, illusively elegant palate. Wow! I can't believe this is from Michel Rolland's hand, more so, is from a weather challenged vintage of 2002. The credit must goes to the superiority of the vineyard. 2002 Lascombes (115.00) - Outstanding

E) Du Tertre 2001 (85.00) is probably the weakest wine of all. Light to medium color with interesting mineral-plum-like fruit. However, with aeration, it turned increasingly herbaceous. The lack of material as well as the straightforward personality making it hard to deal with the rather overly extracted, or saignée (bleed) wine that came across as skinny and unbalanced.

F) This wine fall into the same problem of having the first-class makeup without the real beauty. The modern creamy-wood framework of milk chocolate, dark-fruit liqueur was indeed lush and attractive. However, as it continued to develop on the palate, the dusty tannin turned more evident and obstructive. 2003 Prieuré-Lichine (84.00)

G) Youthful purple ruby color. Quite massively constructed with sweet current dominance nose. Sweet velvety palate that is both sexy and attractive. My initial worry of herbal, green element has somehow disappeared after decanting the wine. However, this wine can't escape the fact as being modern. Made by Bordeaux's latest three musketeers, Michel Rolland, Alan Raynaud (Quinault l'Enclos) and Yves Vatelot. Lascombes 2003 (121.00) - Good

H) It started with modern confectionary sweet roasted coffee bean but soon give way to more floral, tangy fruit of red and black berries in additional to mineral and some classic Bordeaux of underbrush element. Despite concentrated, but the vibrancy and lift of this wine somehow give one the impression of being elegant. The substantial wood tannin of this wine also gave one the broad personality of this beauty. One of the few 2003 I like. Malescot St.-Exupéry 2003 (115.00) – Very Good

I) The exotic sweet oak plus spices of this wine almost reminded me of Chinese herbal medicine. The bitter chocolate, espresso of sweet oak clearly indicated the 100% new oak treatment. However, what impress me the most besides that seductive sweetness and concentration is the precision, the well delineated palate, as well as that solid backbone. This wine has shown me a more promising future than the 2003. Lascombes 2001 (110.00) – Very Good

Bordeaux 2006

2007-05-27T22:17:00.000-07:00

I did not attend this year en primeur campaign in Bordeaux. However, I have done the research based on the weather report from Bill Blatch of Vintex (almost everyone in the field uses his vintage assessment), 2006 Bordeaux reviewed by Parker , James Suckling and Jancis Robinson to providing the following overviews of this quality-mixed vintage.

There were several events that took place which characterized the vintage of 2006. First of all, this is a weather-delayed vintage, which generally produces more classic-Bordeaux style of restrained, elegant, tannin wines. This vintage has started-off optimistically and look to be another return of the glorious 2005 quality. Since the vines has still not recovered from the previous drought years of 2003, 2005, the vine recognized to keep the same output as last year in order to fight for another possible drought for survival. So, the potential yield has been low from start, which indicated from the number of embryo bunches. 2006 winter is the cooler of the last 25 years, which results in late, but healthy budding. The spring rainfall was lower than average, but the longest heatwave that lasted 19 days looked as though it was another return of the extreme weather of the exceptional 2003. The véraison (grape changing of color) started early, especially for the early-ripening Merlot, however it was blocked and spun out longer than usual due to drought where the vine naturally shut down the vegetative circle. It has result in uneven ripeness of grapes, which account for some greenness found in some 2006s. The best 2006s are those with well-financed Châteaus that can afford to do severe sorting. However, August changed things dramatically. The gloomy August swelled and weakened the grapes with its cool and damp weather. The best Châteaus are those that work hard throughout August to do de-leafings, crop-thinnings, preventing the risk of rot as well as reduces the crop load in order to encourage better ripeness. After a moist August, the early September saw the weather changed, the hot and dry September helped to build up the grapes sugar levels, which also explained some exceptional dry graves being produced due to their early ripening. The earliest Merlots in Pomerol and Graves that picked before the heavy rain of September 11 have been the most successful category of 2006 reds. From September 11th-25th heavy rain fell across the region, exception for Cabernet Sauvignon, which resisted well with the rain, however, both Cabernet Franc and Petit-Verdot struggled to ripe. Cabernet Sauvignon has further concentrated when the return of ideal warm weather in late September, early October. In general, Cabernet Sauvignon also fared better than the Merlots, particularly for the late-picked Merlots in St.-Emilion, which appears to be the wild card in this vintage, according to Parker.

Here are some remarks from famous Bordeaux vignerons during the recent interview by James Suckling;

"This is a year when great terroir (in this case referred as vineyard) triumphed" said Denis Durantou of L'Église Clinet.

"Only producers with great vineyards who worked seriously made serious wines...it wasn't a great year," said Jean-Philippe Mascles, cellar master of Haut-Brion.

"If we had this year 10 years ago it would have been a very average year, but these days, we have the resources to make excellent wines now in such vintage," said Thomas Duroux of Château Palmer.

"The 2006 is a great classic but in a modern way. It is not closed, like the old classics. They are more dense and open," said Paul Pontailler of Château Margaux.

" I would have loved a little more fun in this wine. It is a little serious," said Frédéric Engere of Château Latour.

"These are not modern wines by any means, they are wines that are going to need lots of aging," said Charles Chevalier of Château Lafite

For those who are keen about the latest Bordeaux scene, I am pleased to update you the following changes. L'Arrosee of St.-Emilion has changed ownership, new owner Roger Caille has hired oenologist Gilles Pauguet (same consultant for Cheval Blanc & Figeac) as their consultant; Pierre Seillan and Californian vintner, Jess Jackson St.-Emilion project has released their first debut of Lasseque from St.-Emilion; Montrose has welcome the new winemaker onboard, Jean-Bernard Delmas, former winemaker of Haut-Brion, La Mission; Pichon Lalande after acquired by Roederer Champagne has seek advise from Hubert de Boüard of L'Angélus as consultant; La-Tour-Haut-Brion has ended their production this year. All the fruit of this once famous Château will eventually goes into La Mission Haut-Brion and it second wine.

Am I MAD?

2007-05-27T22:15:00.000-07:00

In the eye of all parents. All their children are special, unique of their own. They do not pose judgment on whether one is better than the other and neither do they ask one to be resembling another. They're all different, however, unique in their own way. The case with winemaker and their wines (or should I say, their child) resembling all parental attitude toward their child. They view all their wines no different from one to another despite coming from different sites. They raise them equally with their skills and knowledge, and acknowledge that, due to their differences of fruit sourced may result in difference in character. However, it is difficult for them to say, which wine (or vineyard) is better than the other. My recent tasting with Kai Schubert of Schubert wine from Martinborough of New Zealand clearly echos that.

Schubert Pinot Noir 2004 was recently voted the best wine along with 1999 Comte de Vogue Musigny in a blind tasting in Berlin. That give you some idea on my anticipation when I come to meet Kai Schubert on one Saturday afternoon. Schubert sourced his fruit from Wairarapa, the North Island of New Zealand, just north of Wellington. This unique area is protected by surrounding mountains, which is rainless during summers and autumns. The relatively cool and windy condition is best suited to the growth of Burgundian's Chardonnay and Pinot Noir. Schubert Pinot Noir came primarly from three different clones; the Marion's Vineyard used predominantly "Able" clones, similar to those used by Ata Rangi, as well as "Pommard" clones, which Schubert told me was from the original cutting of DRC. As for the "Schubert" pinot noir, it consists mostly with "Dijon" clones. All the pinot noir are 100% destemmed and cold macerated for one week prior to the alcohol fermentation. Fermentation/maceration lasted for 3-4 weeks and the wine is subsequently aged in French oak barrel for 15 months (oak from the French forest of Allier, Trançois, Nevre by three different cooperages of Rousseau, François Frères & Remond). Schubert's pinot noir is clearly marked by cold-soak character of syrup-like sweetness and suppleness palate feel. The wine often has a strong pronounce of raspberries fruit and earth, with their 04 Schubert carrying an interesting mint element. All his 05s clearly coming from a warmer vintage and fruit leaning toward more jamminess. I found his pinot noir generally lacking verve and structured to hold that pliant and slightly overwhelming sweet palate. I however enjoy his Syrah, with its unique, Côte-Rôtie like of white pepper and smoke, which I thought was his best wine of that afternoon tasting.

Schubert is proud about his pinot noir, despite I've shown more enthusiasm over his Syrah. In the past, I have encountered the same experience with winemaker like David Ramey with his Hyde over his Hudson Chardonnay, with Eric Sussman of Radio Coteau's Hellenthal versus his Savoy pinot noir. Being an outsider, which I have no sentimental attachment. I realized I have the ability to look beyond the wines and discovered the most unique among, better than the winemaker themselves. Sandro Mosele, winemaker of Kooyong in Mornington Peninsula has perhaps value my view and he has suggested that I visit him in his cellar one day to formulate my ideal pinot noir. That is how we all started the making of MAD pinot noir.

M.A.D. consists of Michael, Andy & David, which were the initial group of people that conceptualized the idea of making the best pinot noir from Australia, taking the burgundian as an yardstick, and since, Burgundy is all about lieu-dit, we focus our source primarily from Kooyong single-vineyard pinot noir. Of all Sandro's pinot noir single vineyard bottling, Sandro preferred his Haven, which I clearly agree with him when aging ability is concern. I however found Haven pinot noir to be too severe and charmless during their youth, behave much like a young Pommard. His Meres pinot noir is clearly the lighter, more elegant style. Often lack the middle materials to be grandeur. Is like, no matter how hard the Le Grand Rue is trying, it can never taste like a La Tache! I have always been fond of Kooyong's Ferrous vineyard. The slightly shaded vineyard, which prevented the direct sunlight, along with it unique iron-encrusted sandstone which give-off both mineral and finesse from such well drained, low-vigor soil. The light soil generally lead to perfume, elegance and femininity, which is what you can expect from Ferrous pinot noir. It has the unusual high-pitched black cherry and almost Vosne's like spice, along with juicy palate, but keeping the focus and precision. The underlying acidity also give-off good verve as well as the tangy feel, which is a rare show particularly for Aussie's pinot. M.A.D. pinot noir was selected from 2004 harvest of Ferrous vineyard. The selection was made by myself of two special barrels (unblended) from François Frères of Trançois forest. The remaining Ferrous pinot noir (assemblage before bottling) want into Kooyong bottling and was later awarded by Tanzer a high 92 points.

1996 Burgundy

2007-05-27T22:12:00.000-07:00

Burgundy seem to have many succession with vintages ended with a "6" (66, 76, 86 & 96). Our hard-core burgundy table at Kheam Hock has decided to host a tasting of Burgundy 1996. The following is a brief vintage background of this vin de garde year.

Weather - the season started off cool and with dry growing conditions, but was recaptured by warm weather and sufficient rain to a fast and uniform flowering that set the stage for a large crop. Summer was not particularly hot or sunny, despite significant rain fell in late August, but the north wind blowing ensuring the grape to stay dry and at the sometime keeping the night cool for better acids preservation. September weather remained dry and sunny, but the continuation blowing of north breeze reinforced the grape to hold high level of malic acid. Conditions remained excellent throughout the harvest, which means, growers can take their leisure to harvest as and when they want. The key concerned for 1996 was abundant crop, as like the case of 1990. And since the grapes were all healthy with absence of rot, which meant, there is little crop load to be eliminated. Added to that, the overloaded grapes with moderate day temperatures and cool nights, the vine struggled to bring the bunches to adequate maturity. The best 96s are those growers that work to keep their yield reasonable and waited extra hang time for the grape to gain more through ripening (end of September). In the cuverie, since the overall ripening are less than ideal, it is also necessary not to overly extract to avoid the excess acid/tannin, which results in an unbalanced wine.

The Wine - The high levels of malic acidity is the feature of '96 wines. The wine crisp acids, which gives off wonderful transparency and vibrancy but at the same time, their firm acids, which meant, they will go through some awkward stage before it finally wakes up. Those '96 that lack of middle palate flesh to support their acidity/tannin are the result of wines made from overcroppers. However, the best examples are wines offering elegance and pure aromas (predominantly red fruit) with unmatched "terroir" definition and adjectives like sappy, penetrating, vibrant, bracing, and sharply delineated.

The first pair to serve was 96s Corton Charlemagne from Bruno Clair & Remi Rollin. Those who are familiar with Corton Charlemagne would agree with me. This grand cru is among the hardest to access during their infancy. The large-scaled, reserved, austere, lackluster personality could sometimes come across as simple as a bourgogne blanc during their youth. However, given time (minimum ten years at least), when the weight improves, the secondary nuance emerges. The combination of dried fruit, honey, along with that crisp, well delineated, Chablis-like penetrating acidity, is among one of the most unique grand cru of white burgundy. Clair's version has shown deeper straw gold in color. Some yeast and unclean aromas along with mineral-like lemon, which still comes across fresh and vibrant. More honey, caramel emerged with air. Clearly, this sample has shown the weight of an grand cru, and the complexity of secondary aromas like fino sherry, honey, peach and cinnamon spice. The malic-lime-like acidity that cut through the palate, keeping the wine crisp and well delineated. However, toward the end of the dinner, when I revisit the wine, I've found traces of oxidized, maderized character, which I would recommend owner of this bottle to drink them soon. Rollin's bottle is clearly fresher, more pristine, but at the same time less precautious and simple. Very attractive, yet primarily sweet, almost cherry-syrup like nose. More compact, leaner, unforthcoming personality. Nonetheless, this stylish, discrete, beautifully balance white will ultimately prove its value in time to come.

Before the first pair of red was served, the host tricked us with a blind bottle Henri Jayer Nuits-St.-Georges 96. I must say, I was lucky that night and tracked down the blind well. The wine initially show some reductive nose but was quickly turned into the telltale Nuits-St.-Georges personality of earth and rustiness. However, I was confused later by the amongst of sweet oak treated that somehow smoothen the frame and turned Vosne's like sweet dark raspberry note, and in fact quite candied and sexy. So, from my initial thought of Nuits-St.-Georges, I turned my guess to Vosne-Romanée. Based on the extract and oak handling. I was pretty sure is a premier cru (it somehow lacked a good middle to be a grand cru, despite some of the attendant thought it was a grand cru). The answer was however, a straight NSG made by a Vosne-Romanée producer. And, Jayer treats all his wines (regardless straight or grand cru) with the same 100% Tronçais new oak.

The duo Corton Rouge, Tollot Beaut Corton Bressandes & Meo Camuzet Corton-Clos Rognets are complete different species. It also proves that, the inheriting local influenced and house-style can at times outrace the vineyard characters. Méo's Corton is clearly, has much in common with Vosne-Romanée rather than Corton. More noticeable oak influenced, with Vosne's like spice and dark raspberry. Dense and powerful, at the same time, the firm's structured and sounding acidity keeping the palate fresh with the sense of elegant. Tollot Beaut's Corton shows the reductive nuttiness. More red pinot fruits and feminine. This is a finer, more elegant Corton, less wood-infused, more pure and detailed. I was however slightly let down by the traces of herbaceousness toward the end.

Allen Meadow once said, wine of Morey-St.-Denis is among one of the most age-worthy of all burgundy with wine featured finesse, elegance and distinctly reddish fruit. Indeed, exceptional for Hubert Lignier & Lécheneaut Clos de la Roche which have the both power and weight. The following two wines clearly displayed those qualities. Dujac's Clos de la Roche has too much of that Jacques Seysses' signature. Clearly with stalk influenced, that unmistakable Dujac's animal-like, plum-scented nose that can be sometimes overwhelming exotic. Almost stewed raspberries like sweetness and spices, the gentle oak handling in a smooth, delicate palate. Very gentle and feminine, however, very atypical for 96 based on how accessible this wine is. Ponsot's Clos de la Roche Vieilles-Vignes is perhaps the simpler and one-dimensional wine of the night. Apart from that clean, earth, and pure-red fruit quality. The wine lack depth, length, and is neither has that built to warrant any future promise?? A rather disappointing effort from this highly sought after producer.

Clearly, the stronger flight of all that night was from Vosne-Romanée. DRC Romanée-St.-Vivant carry that exclusive DRC's stylishness. The wine appear to be quite ready, with blackberry, black raspberry that are already quite sweet and fat. Also the mid-palate density which clearly indicates its grand cru status. Although impressive, it is still far beyond reach for my best bottle RSV from this house - 2001 vintage. It lacks the vibrancy, the complexity of red and black fruits, as well as the seductive sweetness. The overall 96 also seem to be not as linear as I would expect, somehow brutally masculine, lack finesse. Drouhin Grands Échezeaux could well be the best wine of the night. Clearly fresher, more vibrant. Marked by red raspberry fruit as well as that spices that this village is so capable of delivering. The palate is quite juicy, as well as that grand cru's depth, however, it retained the elegant and stylishness of this house. Wonderful sap and finely delineated, and what a beautiful balance this juice has delivered. This wine is almost flawless!

We all have the highest hope for the last flight, which was the reason why it was saved towards the end. Armand Rousseau Ruchottes-Chambertin Clos des Ruchottes is in no way comparable with this domaine top-wines like Le Chambertin, Clos de Bèze ever the 1er cru Clos-St.-Jacques. It lacks the power and structure of Gevrey and comes across somehow too feminine and soft, especially for 96, the tannin is already quite ripe and integrated. The wine however has lovely purity, supple palate feel and good sap. Joseph Roty Charmes-Chambertin Trè Vieilles-Vignes also has none of that size and depth of their 97 & 98. The wine display the usual Roty's sweet crystalline black cherry, licorice, and shown good purity fruit, as well as sappiness. However, the wine lack the usual volume and come across unusually elegant from this house. I am not entirely too sure if it is because the natural high acidity of this vintage that given that deception? Nonetheless, the wine is in good sharp and is among the more elegant Roty I have tasted to date.

Our generous host has treated us with the final bottle of blind. The bottle was amazingly fresh and youthful for being a 1985 and no one got it right (I thought it was a 95). High-pitched (which I thought it was from the north), at the sametime rich and velvety. Marked with ripe raspberry, as well as currant-like note. You can feel the density of the wine but at the sametime weightless. The well-buffered acidity also give off the mineral feel as well as the well energize palate. The balancing is impeccable except that dusting tannin finishing. The answers is, 1985 Chandon Briailles Corton Les Bressandes. One of my best Corton Rouge encountered.

Biodynamics - is this for real?

2007-05-27T22:07:00.000-07:00

Before I put my stand on whether I believe in this Austrian philosopher, scientist and social reformer of his breakthrough concept of Biodynamic agriculture? I must give my hat to him after reading his famous quote on Anthroposophy (Greek for "wisdom of man), " Anthroposophy must come forward because the Spirit impels it to come forward. It must show forth its life because life cannot but reveal itself in existence. But it must never force its existence upon people. Waiting always for those to come who want it, it must be far removed from all constraint even the constraint of persuasion". How cool is that? It sounded like a spiritual leader making a speech. And, look at his interpretation on the word, "concepts", "Concepts are not derived from sense experience. The idea of a straight line does not come from the physical world. We are able to recognize straight thing because the idea, a nonphysical thing, lives within us. Concepts do not come from seeing the physical world but from an "inner seeing." He disagreed with Immanuel Kant (1724-1804) that "concepts" without perception are empty and any perception other than of the physical world is not known to ordinary consciousness. It so, my previous defense on "concept of terroir" could easily justify my belief. I already like this guy!

So, what is biodynamic? Is it for real? or some sort of mambo-jumbo attention seeker?

In 1924, a year before Steiner's passing. He was asked by a group of farmers on the subject of agriculture. He later gave a series of eight lectures known as Spiritual Foundations for the Renewal of Agriculture which remained as the foundation of "biodynamic farming" that is practicing till these days. Clearly, Steiner is a spiritualist (he created a new spiritual science known as "anthroposophy"), his thought on biodynamic farming was a combined of self-sustaining viticulture, along with his interest and belief on spiritual science (where earth itself is a living being and interconnected to everything in the universe) and homeopathic medicines, which he has benefited from his early days teaching from Felix Kogutski on medicinal plants.

Cosmic Rhythms & Astrology - In the eye of Steiner, plant life, as well as all living being dependent strongly on Cosmic and Earth rhythms. Biodynamic agriculture believe soil itself can be alive and if the farming activities could be aligned with Cosmic and Earth rhythms, the living soil will enhanced it life force/vitality/nutrition. A six different rhythmic cycles of Planting Calendar was introduced - e.g. Full-New Moon is said to enhance moisture content of the earth, which results in rapid growth of plant vegetation and it also promotes the idea condition for fungus growth. The Moon Nodes which similar to that of an eclipse of Sun by the Moon. All farming activities are forbidden during this brief period. Perhaps the most interesting of all is the Moon in Zodiac Constellations, which believed that, when Moon is passing in front of the zodiac constellations (each zodiac is a belt of fixed stars which are in grouping into what was known as constellations), it collects the energy of each constellation, reflected by the Moon and focuses it to the earth. Each three constellations, are responding to a part of 4 classical elements of nature - fire/warmth, air/light, water and earth (e.g. Virgo, Taurus, Capricorn are Earth, while Leo, Aries, Sagittarius are Fire...etc.) that gives the indication the days what best work to be done in the vineyard to achieve the maximum results. Within the Calendar, each day is also marked as Root, Leaf, Flower and Fruit day that corresponded to a part of the 4 elements - e.g. Earth - Root, Water - Leaf, Air - Flower, Fire - Fruit. For instance, root days are best to do anything connected with roots or soil, because the energy of the constellations are right for them. According to Allen Meadows, some of the burgundy biodynamic practitioners even goes as far as to suggest that only the days of Fruit and Flower that their wines are best shown....

Biodynamic Preparations (homeopathic medicines) - the homeopathic composts created for biodynamic farming are largely divided into Compost Preparations, which made from six well known medicinal plants - yarrow, chamomile, stinging nettle, oak bark, dandelion and valerian, placing them in selected animal organ parts (Cow horn, Skulls, Stag's Bladder) and fermenting (buried) them in the soil during a certain part of lunar cycle. Spray Preparations are made primarily from cow manure and quarts and are known as "Horn Manure" and "Horn Silica" respectively. When those compost or manure treated on the soil, the plants are said to become more sensitive to their environment and responsive to the rhythms of cosmic and planetary.

The following are words from their producers in support of their belief for biodynamic.

Nicolas Joly of Coulée de la Serrant in the Savennières is perhaps the most famous earlier spokesman of Biodynamic (he discovered it in 1981). He has fully subscript to the use of animal manure in his vineyard and he thinks each animal manure produces very different forces - horse is fire, cow is earth, boar and pigs are root. According to Joly, many vineyards in France are overly treated with herbicides, pesticides and fertilizer, which kills all micro-organisms in the soil, another word, the soil is dead. Those homeopathic composts help to restore and stimulate soil life.

Beside Joly, burgundy is perhaps the region that owns the most aspiring biodynamists. Lalou Bize-Leroy is probably the first vigneron in burgundy to subscript to Biodynamic (since 1989). Her famous statement of "Le vin est d'inspiration cosmique, il a le goût de la matière du monde" (wine is from a cosmic inspiration, it has the taste of the world matter) says it all in her belief! Anne-Claude Leflaive of the famous Domaine Leflaive in Puligny-Montrachet has converted her family's estate to 100 percent biodynamic since 1997 also supported the idea of the used of manure in her vineyard, which has overtime encourage the deep and wide of the root growth. Benjamin Leroux of Domaine Comte Armand in Pommard firmly believe in the influence of the cosmic calendar on his wines, whether in barrel or bottle, " it may not be scientifically explicable but is obvious nevertheless. I don't just see it every month. I see it every day. The key is to work with these rhythms - not to put man in the centre of the universe. And it's not just the moon but the weather."

What do I think about Biodynamic?
Today, there are about 230 certified biodynamic wineries worldwide. Apart from the above world-famous producers, there are many more high profile producers such as Comtes Lafon of Meursault, Aubert de Villaine of Domaine de la Romanée-Conti, Jean-Louis Trapet of Gevrey-Chambertin, Marcel Deiss, Zind-Humbrecht of Alsace, Chapoutier and Marcoux of Rhône Valley were all gone into biodynamic. If there is nothing substantial in it, why would those guys risk their reputation on this technique which today remained controversial?

First of all, let me highlight that, the fundamental of biodynamic work very similarly with self-sustaining agriculture and naturalistic winemaking (or traditional winemaking). Like all self-sustaining agriculture, let it be the organic farming led by Lady Eve Balfour, Sir Albert Howard, or Masanobu Fukuoka's natural farming. They all believed soil is a life form and wild plants should be self-sustaining within its given environment (like the cycle of life form and plants. Plants feed the animals, in turn when the animal is dead, it will decompose and return the nourishment back to the plants). Any man-made intervention like pesticides, herbicides will ultimately destroy the natural balance (the microbic activity in the soil will attract the related insects to takecare of the plants disease and parasite. In other words, nature had it all figured out), killed all microorganisms in the soil and the soil can no longer support plant growth. Eventually, it has to rely on synthetic fertilizers for nourishment.

In the article written by Michèle Shah on Nicolas Joly pointed out one interesting aspect that, the modern progressive agriculture, which rely on chemical herbicides, fertilizers will eventually kill the principles of life through which the vine captures its uniqueness. Joly states that, "A vine in its right place should bear within its fruits the truest and most faithful image of the environment in which it lives." He also suggested that the roots of a vine cannot be linked to the soil except through microorganisms and diversity in wines comes firstly from the soils on which the vines grow. Which explains why modern viticultural methods actually precludes the expression of terroir, or diversity.

Apart from the cosmic and astrological aspects, which best leaves it to psychic or astronomers, biodynamic method of building up stable humus in soil through animals manure work quite similarly with those organic farming of green manure and mulching. Pesticides, herbicides change the food-chain of the plants environment and the plants are exposed to more new disease and parasite that eventually requires more chemical treatment. The life span of the plants are compromised as well as the immune system and health of the plants. Those chemicals work similarly like antibiotic for human. They killed both good and bad bacteria in the body, which this case, microorganisms are destroyed at the same time. Jancis Robinson observed that, Leroy's vines were much healthier and livelier than those of its neighbors. Besides the health of the vines, many biodynamic producers also happen to be those who firmly embraced in traditional winemaking (people like Aubert de Villaine, Jean-Louis Trapet, Dominique Lafon, Anne-Claude Leflaive all are members of Les Domaines Familiaux de Tradition), which they focusing their energy in the vineyards rather than the winemaking techniques. They prize diversity in their wines and work hard in bringing out the tipicity of their terrior and house style. Allen Meadows also pointed out, most biodynamic practitioners are fanatical and pay attention to detail, which maybe explains, it was such obsession with details that biodynamics generally make better wine. Perhaps Matt Kramer has put it in a better prospective that, it was not the matter of whether biodynamic system works, but rather is the result worthwhile? My answer is - YES!

Appellation in Wine

2007-05-27T22:01:00.000-07:00

Appellation in wine, works more like the identity of wine. It gives you the particular area, where vines are grow, how the sunshine, rainfall, soil type (and structure), exposure, and elevation that attributes the character of the resulting wine. "Without it? Wine is existent in a gravity-free state, without the pull of place that allows us to trace and track the possible reasons for its distinction", Matt Kramer has so correctly pointed out.

European (or Old World) has long been the pioneer in mapping their appellation. They understood the uniqueness of the wine lies on the piece of earth, not in the hands of man. Let ask ourselves, how many given years can a winemaker make his wine? Thirty? Forty? How many wine he made he could possibly see the maturity? Maybe half. The collective knowledge of each appellation requires generation after generation, man can only learn and discover which grape varieties is best suited for which location. In this case, winemaker is merely a servant here rather than the master. The immortality lies on the appellation. Obviously appellation must be able to deliver some sort of goodness in order to worth a while. This means, when both isolated land and grape are well match. It can produce the uniqueness that is equal by no others.

All old world wine-growing nations like France, Italy and Spain have their appellation origin system. However, what makes them different with new world's appellation system is, the old world, "controlled" the appellation of origin (France - appellation d'origine contrôlée; Italy - denominazione d'origine controllata; Spain - denominacion de origen calificada), in other words, they guarantee the authenticity as well as the quality of where the wine is from, which all new world geographic indications failed to address. Unlike old world, new world do not have the luxury of time to study and delineate their sites much like those exquisitely detailed appellations of Burgundy (burgundy's vineyard existed since sixth century), where not only they have isolated which grape suit for which soil, but which vineyard is superior than the one next to it, with their best vineyards are designated grand cru, then come the second, premier cru. Timescale is needed for the new world, much like when it took the old world decades, centuries to see the turning of the wheel. Perhaps what has been observed by Robert Louis Stevenson in 1880s, when he first arrived in the virgin land of California will one day translate into reality.

"Wine in California is still in the experimental stage....one corner of land after another is tried with one kind of grape after another. This is a failure; that is better; ...so, bit by bit, they group about for their Clos Vougeot and Lafite...yield inimitable fragrance and soft fire; those virtuous Bonanzas, where the soil has sublimated under sun and stars to something finer, and the wine is bottled poetry; these still lie undiscovered...undisturbed. But there they bide their hour, awaiting their Columbus; and the nature nurses and prepares them. The smack of California earth shall linger on the palate of your grandson."

The following are some of the unique vineyards in California that should earn their appellation.

Spottswoode - Sense of the Woman
The team behind this family-owned estate is almost entirely woman. Current president of Spottswoode, Beth Novak Milliken, is the youngest daughter of Mary Weber Novak. Recently, Jennifer Williams has taken over from Rosemary Cakebread as the estate winemaker and vineyard manager, while Rosemary remained as the consultant winemaker. Spottswoode estate vineyard is located just off Rutherford, after the town of St. Helena along highway 29. The organically farm vineyard consisted of sand and clay loam soil is making some of the most sumptuous yet refine elegant Cabernets in California. Whether is due to the touch of the ladies or simply is the "terroir". Year-in-year-out, apart from the mother's nature would shown her temperament on the wine, you can always expect that sense of feminine, that weightless grace from this Cabernets. With the 2003 vintage, Spottswoode is releasing their "second-vine" label called, Lyndenhurst Cabernet Sauvigon. This wine is fruit sourced from the estate grown vineyard where the vines are younger. Despite that, they received no less rigorous vineyard treatment as the estate Cabernets.

Forman - Euro-Beautiful
I knew Ric Forman for nearly a decade. He has always come across as one of the most honest winemaker in California in terms of the way he price his wines. He often criticized his peers for over charging their wines and he value the important of wine being part of the culture, part of the dinning experience, but not a commodity nor the product for the rich. Forman winemaking approached has a huge influence from the European wine style. He cherish brightness, vibrancy, elegant and finesse. His early style of wine often started it life slowly, with austere and tough when young, turned mallow and soft with age. He is also among the pioneer in blocking the malolactic, in order to preserved the natural acidity to portrait his idea Chablis-style Chardonnay. Despite recently his Cabernets is moving toward much riper, fuller style. However, the elegant, the mountain-vineyard wine structured, is still evident everywhere in his wine.

Philip Togni - The Mountain Goat
Philip Togni is among one of the most experienced winemaker in California. His is one of the student of the famous French oenologist, late Emile Peynaud (the same person that taught Michel Rolland) and has produced a vintage in Chateau Lascombes in Margaux. He has made wine in France, Algeria, Chile before returning to California where he produces wines for Chapellet and Cuvaison. He eventually set his foot in Spring Mountain and made his first vintage of 1983 with only 300 cases. Togni despite his small built, he is a real fighter. He has in the past fought for Phylloxera, pierce's disease (vine disease), grassy-winged sharp-shooters, despite he has pull-out and stop making his delicious Sauvignon Blanc, but his Cabernets has never been better and among one of the most unique Cabernets of California. One tasted his opulent, voluptuous Cabernets, it would be hard to imagine they will age well. However, having tasted several time of his vertical that goes back in the mid 80s, I am convinced that his Cabernets not only aged gracefully, it has overtime trimmed off the early baby-fat and turned more classic Bordeaux like.

David Ramey - The Wine Guru
I first met Ramey, it was during his stint at Dominus Estate (owned by Christian Moueix of Petrus). We have subsequently met again in a Chardonnay seminar where he spoke to me lengthily on indigenous yeasts and malolactic fermentation. His work on selection massale or mass selection of old Wente, Robert Young & Long Vineyard clone for his chardonnay, also inspired others to work beyond the clonal select. I have always been a great admired of Ramey Hyde Vineyard chardonnay, in fact, we have such argument each time we meet, whether his Hudson Vineyard was better than his Hyde. Obviously, I've won the debate, where the unique cool-pitched, earth-mineral of Hyde vineyard was later acknowledge by most American critics as the higher rated chardonnay from Ramey's portfolio. All Ramey's wines are vineyard designated. He has adopted the old world concept into his new world materials. Currently, added to his existing portfolio are Cabernet Sauvignon from Larkmead Vineyard (valley floor vineyard that set between Spring Mountain and Diamond Mountain) and Pedregal Vineyard (vineyard next to Rudd, Dalla Valle, Phelp's Backus and Screaming Eagle). Ramey's wines are immensely sex-appeal style. However, it does not collapse like most Californian wine that made in the similar approached. The persist length of flavors that found in his wines have everything to do with his admirable work in those unique site as well as his traditional winemaking approached.

Cathy Corison - The First Female Winemaker
Corison is among the very first female winemaker in California. She has spent 10 years working with Chappellet Vineyard before launching her own label. She might not come across as tall as you would expect, but she certainly has a braver heart than anyone with twice her size. Where Californian wine is concerned, she is my hero! She always said to me, "I made wine for myself !" Indeed, do not expect the usual big fruit, judicious oak, diluted cassis-liqueur Cabernets from her. She don't make statement wine that would succeed commercially, but wine of conviction, wine of true soul. Her restrained, discreet, that classic-St.-Julien mineral-earth scented palate that give off crystalline fruit purity and elegant is both unique and unmatched by those cosmetically enhanced, steroid-booster Cabernets that so commonly found in Californian these days.

The Blood of Jove

2007-05-27T21:58:00.000-07:00

In the world of wine, there are wines that dedicate their name to Christianity, like Bouchard in Burgundy, called one of his Beaune 1er Cru, Grèves Vigne De L'Enfant Jésus (direct translated as vine of Jesus Child (despite the true tale on how the wine was named was however different), and in Italy, one of the famous Campanian wine also called itself, Lacrima Cristi (the tear of Christ).

Sangiovese grape, the soul of Tuscan, was actually name that was derived from sanguis Jovis, or "blood of Jove". Sangiovese is perhaps the most common and widely planted grape not just in Tuscan, but the whole Italy. It accounts for 10% of the entire grape crop of Italy, some 247,000 acres planted. Sangiovese has many blood-line, it is known as Sangiovese in both Tuscany and Emilia-Romagna (one of the most overrated DOCG wines), but the better Sangiovese in Tuscan is however the low-yield, smaller berries clone known as Sangiovese Grosso, or Sangioveto, closer to those that grown in Montalcino, which locally called, Brunello. In Vino Nobile di Montepulciano it is however known as Prugnolo Gentile, in Maremma, is called, Morellino, which made the famous Morellino di Scansano.

When you think about Sangiovese, Chianti come immediately in mind. Before Baron Ricasoli introduces the basic Chainti blend in 1890s. Chianti was once made entirely from Sangiovese grape. However during then, wine made solely from Sangiovese were somewhat hard and acid, observed by Cosimo Trinci in 1738. Baron Bettino Ricasoli found a way to tame the hard Sangiovese by adding the softer Canaiolo grape, along with some white grape like Trebbiano and Malvasia to improve the fragrance. The governo style (mostly discarded these days), which then popularise the technique in Chianti (remember when Chianti was used to be packed in straw-covered fiasci bottle?), by blending the unfermented grape juice to young wine to sweeten and compensate the high-acid Sangiovese. The Ricasoli's century-old formula was in 1966 (oddly, after nearly a century later) codified into law as the official blend for Chianti. However, the once poor countryside of Chianti became prospered after Autostrada (freeway) was build in 1960s. The situation changed. The newly arrived owners, were mostly the new rich from Rome and Milan, with their ambition and money, they have brought along their attitude towards their success in the city and applied to their vineyard. Since they know nothing about winegrowing, they have to rely on their consultant winemakers, which many of them were well-traveled, trained, quality-oriented, ambitious individual that strive to make a statement for themselves. The old-fashion Ricasoli's formula became the obstacle in the pathway. In 1980s, those quality-driven, most ambitious growers have told the government of Chianti-Classico that they would be abandoning the DOCG system and declared their wines as the lower, most generic designations of Vino da Tavola in return to have the freedom to make what they want. Thus, Super Tuscan was born!

Don't get me wrong, I have nothing against Super Tusacn, and in fact, some well site Super Tuscan can be equally thrilling. Name like San Guido's Sassicaia, Ornellaia, Antinori's Solaia, Isole e Olena's Collezione de Marchi...etc. However, there are more Chianti producers, conveniently tapping on the international demand for such new sensation, have all launched their so called, supertuscan (to give them the excuse to charged more - while, someone got to pay for those pricey French oak barrels), where many of them are excessively oaked and since their "international" grapes (Cabernets, Syrah, Merlot) blend were louder than their more subtle indigenousness Sangiovese. They all fall into the undistinguished "international-style", where the soul of Sangiovese has completely been buried and the wines have nothing in common with Chianti.

Like all emerging wine region (despite being an old wine producing country. the true quality revolution in Italy only begins in the last two-three decades ago), Tuscan also struggle to find its identity. The early blend of Sangiovese with international grape such as Cabernets, Merlot, Syrah despite enjoying quick success due to their modern, familiar international outfit. However, the audience soon realized that, those "international" were boring in the same way that all airports, despite well designed, but look alike (famous quote from Matt Kramer). During than, the better foresight producers such as Isole e Olena (with Cepparello), Fontodi (with Falaccianello), Monsanto (Il Poggio Riserva), Montevertine (La Pergola Torte), Riecine (La Gioia) were all opposing the use of "international" grape in their blend, but chose instead to stand by their very own, Sangiovese. They are convinced, the uniqueness of Sangiovese, which behave much like the tricky Pinot Noir, does not strive well outside their home land, but found it best here in Tuscany, which will ultimately be the answers to their future for Tuscan's wines.

Today, the image of Sangiovese in Tuscan has been restored and more and more Tuscan producer has returned to their indigenous grape and rediscovered its beauty!

Weather or Not?

2007-05-27T21:57:00.000-07:00

Tiger Woods has won another World Golf Championship last week at CA Championship in Doral. He has so far won 13 out of the 24 WGC events since it was renamed in 2000, which was previously known as World Cup of Golf. Despite Woods talent, he does not capture every single event he plays, not as frequent as Roger Federer did in Tennis. The reason for that (not because he is less talented than Federer, however, I think the reverse is true), is he has to contend with the biggest force on earth - weather. As a simple physics logic will give you, things that are further away from your body, smaller the object, is harder to control and manipulate. Golf requires a big physical movement but the hitting object is as small as it targets, which demands tremendous accuracy and physical ability, not to mention the talent required and a lot of imagination. For those who think golf is a waste of land with few golfers chasing a small ball in a big field? Dude! you are missing one of the most challenging game in all games! In golf, you will never play the same situation twice despite the same course being played. Apart from the common target that will be shifted each time you play (target hole is moved each day), you have to contend with your own physical ability, but the most challenging of all - the weather. You can be playing in the condition whereby it is either wet or sunny (which will affect the course, particularly the speed of the green), but the worst of all, if the winds are gutsy, you have to alter your swing, the ball-flight trajectory to off-set the wind direction. Another word, you might not be swinging your usual swing path.

By the way, I am not here to promote the game of golf (despite I am equally passionate about it), but rather to emphasize that, weather is the hardest thing to contend, which nothing can be consistent under the influence of mother nature.

Now, let discuss about consistency in wine. Where is the most consistent wine region in the world? I think no one would ague is Australia. Why make Australian wine so consistent, while, apart from the weather, which they enjoy adequate sunlight to ripen their grape. One of the biggest advantage is - there is no rule of blending, where grape source could literary coming from anywhere! Take Aussie nation pride - Penfolds Grange for example, it is known today as a multi-district blend that fruit could possible coming from anywhere in South Australia. The goal for Grange is no longer about vineyard, site, but rather the wine style that the house is trying to portrait, much like the way the Champagne houses are doing. There is no question about the consistency, year-in-year-out Penfolds Grange has displayed, having had the advantage to blend more than a dozen of fruit-source stretching from Eden Valley to Coonawarra. Obviously, you could come up some sort of concoction to counterbalance the deficiency of each source of the grape. Even the worst vintage, Grange is way up the top of the league! So, what is problem with wine like that? While, to me, they are too predictable, they lack the excitement (no offend to the Grange lovers out there)!

What made wine so fascinating apart from the well-site vineyards that are capable of delivering the "sense of place", it was in fact the vintages that create those excitements, those diversity. Take European vineyard for example, their weather variation are obviously much greater. As a result, vintage signal is more obvious when compared to wine from the sunny California, Australia (my Euro-beautiful syndrome!). Weather can potentially affect the yield (drought, hail storm, humid - which promote wine diseases) the quality (overripe or underripe), the wine style (featured more acid or sugar ripeness), which creating a range of vintage character in a single given wine. Especially if the wine came exclusively from one single vineyard source, even more so, one single grape variety. Like color, the more you mix, more bluer it gets! If you blend multiple fruit sources, not only is the uniqueness of each vineyard destroyed, and since each source may receive different weather treatment (due to their various location, terrain, harvest time) despite coming from the same vintage. The characteristic of the vintage can also potentially be altered. To give a good example on how vintage (weather) dictate the wine style. Take the recent vintages of Bordeaux for example (all Bordeaux-Chateau are wines made exclusively from their own estate-grown vineyards), 2003 featured extreme weather, thus resulting atypical fruit profile, featuring more jammy, darker, cassis-liqueur fruit. To balance such a lush personality, many Chateaus opt to increase the wood treatment to provide some sort of grip and structure to balance the acid-deficient year. 2004 being an delay vintage (cool), which feature sounding acidity, purity and wine details is the extreme opposite of 2003 heat-laden year. Very elegant, plenty of red fruit and as transparence as one gets from Burgundy. 2005 is perhaps unusually a combination of both vintages characters, with richness without compromising the acidity, full, yet equally details, obvious alcohol, but with unusually high-pitched. The best I have seen since my short three years en primeur tasting experienced. All those vintages are the testament of what weather can do to your bottle of wine. Added to that, there are no bad wines made these days, since the knowledge of science and modern technique have taught us how to control the winemaking. These days, is the choice of preference, the mood of drinking, the occasion...etc. I would drink 2003 Bordeaux anytime, anywhere (anyone), and need not to have a fancy dinner to crack a bottle. 2004 I will drink with a delicate meal, a comfort and quiet place, with someone equally appreciative of elegant, details and purity. Is like listening to classical music, to hear every subtle pitch of each musical instrument, whispering in your ear...nice! 2005, is the "Grande", since it will not come cheap (by the time it releases), you need to find yourself a reason to open, especially your life-time companion is not a wine drinker (and why she/he is not invited - don't waste!), but definitely drink across a long meal, decant them, slowly see the wine evolve, see the wine interact with various dishes, and obviously, those are privileged to be invited, must be some of your closer buddies - What else do you want in life?

The Story of Wine

2007-05-27T21:55:00.000-07:00

The highly anticipated movie "300" is probably the visually most stunning movie I've ever watch. This epic movie that inspired from Frank Miller's (yes, the same author for Sin City) graphic novel not only makes every scene capable of being a painting in the ceiling of Palais de Versailles, even the violence blood spreading (more like a drop of rose petal) battlefield, the dead corpses sculpted wall were all work of art, beautiful as poetry, and who can forget the erotic dance of the most beautiful Greece maiden. Despite all the six-packs, perfect body-sharp of the Spartans, the flawless CG effect, it was however underscored by a strong and convincing story that made this movie worthwhile.

Interestingly, wine share the similar path of success. All great wine almost inevitably has a great story behind. Whether is it a grand tale, or sometimes more humble, but like movie, they can emotionally move the audience and make them part of the movie. We all heard about the fascinating story of such great vineyards like Romanée-Conti, La Tâche, La Romanée.., the up and downfall (some later resurrected, others just disappeared) of such historical families like Liger-Belair, Comte George de Vogüé, Marey-Monge...etc. Both their wines and story have lived through the history, tested by time, and continue to inspire the rest till these days. Are there similar example in California? The answer is yes!

Anyone who is familiar with the wine history of America heard about the legacy of Inglenook Vineyard, which during then, was the only quality-driven winery in Rutherford. It was founded in 1879 by Gustav Niebaum. In the hand of his grandson, John Daniel Jr., it has achieved the quality height that's unparalleled by others. Today, the original estate is sold to famous Hollywood filmmaker, Francis Ford Coppola that renamed it as Rubicon. The Inglenook vineyard, Napanook was later sold to Christian Moueix of Château Pétrus, which form the Dominus Estate. The daughter of John Daniel Jr., Robin Lail want on to co-found the Merryvale Vineyard with Bill Harlan and others. She later departed the partnership and started her own Lail Vineyard with the help of Philippe Melka, the same winemaker for Bryant Family.

How was this story for a start? Let me tell you another highly inspiring story of Harlan Estate.

In some angle of Harlan, he reminded me a lot of Clint Eastwood, that no-bullshit, that focused look, with his pair of hawk's eye that can almost read through your mind. That was my first impression when I first met the giant himself. The real-estate developer of Pacific Union has always had that keen eye and foresight for many good things to come. Whether is it from his early training days in the real estate business, or his natural instinct. His decision to start a high profile boutique hotel called Meadowood in the middle of wine country (at Silverado Trail) has proven to be a real success. When he was first beaten by the wine bug and joined founded the Merryvale Winery. He realized ahead of him, will be another fascinating journey, but what he didn't know, he was actually making history while persuading his dream.

Harlan was always fascinated by those great Châteaus in Bordeaux. With the help of his new found acquaintance, Bob Mondavi, he took a trip to Bordeaux and Burgundy, that is where he learn that, all great wine lies on it's vineyard, not on the hand of man, that the great vineyards are to be found not to be made. Upon returning from France, he and winemaker, Bob Levy started to search for the site. During than, when self-expression was better appreciated by the American critics rather than the site, winemaking become more important then where the wine is grow, and hiring star consultant winemaker like Tony Soter, Helen Turley, Heidi Peterson Barret has become the short path for success. Out of sudden, like winter saffron, there are new "cult" wine appearing in every new vintage. Little do people notice that, it was in fact the uniqueness of vineyard that contributed to the success of those flying consultant. Tony Soter became notice because of his work in Spottswoode, Helen Turley becoming hot commodity due to her involvement with Bryant Family, Heidi Barret must be grateful to have her name associated with Grace Family vineyard. Look at today, after they have all left those vineyards, have their quality disappeared with them? Harlan is fully aware of that, he started looking back history, and soon he discovered, two particularly areas - Rutherford & Oakville, were in the past, the best quality Cabernets found it's best there. He later acquired a hillside vineyard in 84s at western Oakville , overlooking Martha's vineyard, where David Abreu was put in-charged of constructing the vineyard from scratch. Due to the steepness of the vineyard (the steeper slopes at 45-degree angles), only hand-harvest is employ. Despite the first grape was harvested in 1987, and first wine was bottled in 1989. But the perfectionist Harlan has patiently waited till 1990 vintage to show the World his First-Growth Cabernets of Napa Valley. Over the years, Harlan Estate has proven itself for not just another come and gone Cult Cabernets. It has continue to deliver the unique nuances and that combination of European wine's graceful and elegant in addition to that luxurious ripen Californian Cabernet fruit quality. When compare Harlan Estate among the rest of the "loud" (big fruit, big oak) Cult Cabernets, one could easily spotted which is the real "First-Growth"!

Recent Vintage - A shift of Americanization Palate
I have previously said about the influence of media & press. However, what really causes the industry shake up was in fact two wine-focus movies. The Frenchmen Jonathan Nossiter's documentary "Mondovino" and the Alexander Payne's Sideways. Mondovino has put the global-trotter wine consultant, Michel Rolland on the trial, questioning him for globalization of wine style. Rolland in his recent interviewed by Tanzer was forced to half-demote himself for consultant winemakers to master blender to avoid being ask how he could possibly make 400 different wines in 33 countries, 3 continents in one given vintage (easy done! u need a laptop with well calculated formula and a cellular phone). Sideways on the hand, has taken away the American beloved Merlot to replace the earth's vocal Pinot Noir grape. And out of sudden, the usual Americanization palate, which they previously celebrate wine of instant gratification, wine of obviousness (big fruit, extreme ripeness, oak toastiness, alcohol) and now, we start hearing the emphasis of balance, varietally accurate, clearer site character and better preservation of natural acidity. This new move can be further witnessed from our friends in Wine Spectator. Previously, 1996s and 1997s where vintages were under the similar influence of extreme heat, despite the condition might have been better with 1997s (crops were larger), with both vintages receiving a much higher scored by Wine Spectator (1997 went on to won the vintage of the century by Wine Spectator) than the current two heat-laden vintages of 2003s & 2004s. Is there really such a huge difference, or simply those folks have evolved their palate since? U be the judge! 2003s and 2004s vintages in California (North Coast to be precise) was characterized by heat-spikes and September east winds that concentrate the wine through dehydration. Obviously, such ripening is easily cause the soaring sugar to outrace the phenolic ripeness. But the best sites with their low-yields were able to ripen the sugar more thorough and evenly, produces wines of immediate sexiness and voluptuous personality. As a rule of thumb, 2004, due to its small crop, fruit can be more extreme (more rapid growth due to excess energy distribution of vine), which can be witness from the slightly jammy fruit profile and one of the higher alcohol in record. 2003 despite equally ripe, are somehow fresher, more precautious, with number of example even shown good tannin and acidity, which translated to better freshness and equilibrium.

2004 Rhone Revisit

2007-05-27T21:53:00.000-07:00

Tanzer has releases his final though on 2004 Rhône. Here are the points worth considering if you are looking to buy any of the following offers.

The early report has shown more promising for Southern Rhône rather than Northern Rhône in 2004. However, Tanzer is equally optimistic with 2004 northern Rhône, despite it will inevitably under the shadow of 2005, which almost across-the-board in France, produces exceptional wines. Unlike the 2003, which wines are influenced by the heatwave (especially the hot southern region, which was more affected by the drought and produces extreme wines) that offers juicier and more obvious ripeness. 2004 is considered by many growers as a classical vintage, with better freshness in fruit, structured, more focused wines.

Obviously, the media world are today divided into two distinctive camps. Those who led by Parker, which favoured obvious ripeness, textured, size (richness & weight) and the opposite, Tanzer, which access his wine based on the principle of burgundy in mind. He look for balance, details (result of well buffered natural acidity) and structure in wines, that is so called classical style. There is obviously no right or wrong here, but rather the matter of preferences. Fan of more immediate gratification and seeking for richness and weight can well follow Parker's advice. Likewise, Tanzer's reviews are for those with patience, those who believe food is the meaning of wine, rather than wine is food itself.

Negociant versus Domaine

2007-05-27T21:47:00.000-07:00

Négociant Éleveur - Syndicates of Merchant.

Récolté, Vinifié, Élevé et Mis en bouteilles - harvest, vinify, upbringing and bottled.

Mis en bouteilles à la propriété - estate bottling.

While, those were the little lines that lies at the bottom of every burgundy you pick up from the shelves, which indicates to you if the bottle of burgundy you bought is belonging to a domaine bottling or bottled by merchant. The first two lines referred to the later one.

I was recently being asked, if the domaine bottle was much better than those bottled by merchant? Let's first look at the formation of these two practices in burgundy.

Background
Traditionally, the grape growers, or the vignerons spend the year round nurturing their vineyard and harvesting their fruit. They vinify their wines, using mobile bottling plants (till these days, such practices are still very common in burgundy, as not many burgurdian owns a bottling line) to bottle the wine and sell right away to merchant and get paid immediately. Despite traditionally, the vignerons would bottled a few cases themselves, selling to occasion tourist who visited the area.

Négociant, or merchant will gather those wines where they purchased from various vignerons, aged them, later make the selection and provide adequate stock to supply to the market. Like Champagne, such négociant roles are essential for the economy health of burgundy. As most vignerons does not have sufficient production or the financial ability to market and sell their wine independently. Their tiny few cases of production were unable to satisfy the demand from those chains of hotels and shops, which requires regular supply. Neither can they make any significant impact of winning any return customer or customer abroad. Where else, the négociant can or will fill in such gap.

In the 70s, private consumers and foreign buyers (mostly Belgians, the Swiss and later, the British) realized they could go direct to the producer, cutting off the merchant middleman role and paying less from those "hand-crafted" domaine bottling. They also soon realized, those domaine-bottling were more individualistic compared to those négociant bottle. As what Anthony Hanson has so accurately put it, " In theory, a négociant cellar should be able to express the multiple subtleties of Burgundy's sites with more diversity than a group of growers' wines. But in practice, this has been hard to achieve, and most négociants' ranges have sameness to them, and an overriding family resemblance....sometimes be ascribed to a lack of imagination by the cellar-master ...handle from Chablis through to Pouilly-Fuissé in the same way".

However to assume all domaine bottling to be a quality assurance is also a mistake. Before the technical education became value, most vignerons learn their winemaking skills through trial and error, from father to son. Unlike vineyard work, where the length of year enable the vignerons to think and correct their mistake. In the cuverie, one must act fast, and many vignerons only have thirty or forty times in their life to learn, whereby conditions and raw materials can vary from year-to-year. Many mistakes can be made through lack of training, sloppy winemaking. Added to that, not many vignerons are able to cope with the cashflow issue required by domaine-bottling, with 18 months or longer without getting paid, buying new equipment, new barrel. They would have to sell quite substantial of their holding to négociant in order to finance the expenses for such money tied-up. The case with Louis-Michel Liger-Belair, which took him a long time to bottle his own domaine-bottling and till these days, he still sells a big chunk of his crop to négociant. Many growers also chose to lease some of their holding (like the case with Frédéric Mugnier that only recently took back his family vineyard of Clos de la Maréchale when the lease expired with Faiveley) or making their wine through share crop (métayage) arrangement in order to have the luxury for owing their label. The famous métayage arrangement are those of Henri Jayer with Méo-Camuzet and Ponsot with Chézeaux. So, domaine-bottling continue to remained as a rarity and only fewer who could afford (people like Henri Gouges, Marquis d'Angerville, Armand Rousseau..).

The proliferate of wine critics in the 80s have resulted an increased number of domaine-bottling, since there are more growers in burgundy than négociant firm for the media to write about. In the past, the export market has been dominating by those well-established négociant (name like Louis Latour, Louis Jadot, Joseph Drouhin, Bouchard). With the change of focus for consumer who now look upon domiane-bottling has encouraged many families to practice estate-bottling and younger member of the family return to their family business with this new found fortune. This group of new generation winemaker with their open thinking and well-traveled background, people like Dominique Lafon, Anne-Claude Leflaive, Christophe Roumier, Jacques Seysses where they constantly meet together in exchanging winemaking information and experienced. Over time, they have become the driving force behind all the quality-driven, domaine-bottling producer in burgundy.

Conclusion
It's really hard to pen down if domaine bottling is so much better than négociant bottling. Obviously in burgundy, there are such things as Gevrey-earth, Vosne-spice, and a good négociant bottling should underline those subtle differences where the wines are from. In the case of Domaine-bottling, to translate what their respective village the vignerons are resided in, look to be easier, as they seem to live and grow with the vines for generations where culture and history influenced is inevitable. However we all know that, it all scales down to the skill of the winemaker and his personal agenda. Whether or not, he permits the house-style or terroir to show through in his wine instead of his personal ego. Those are the critical elements for a truly memorable burgundy. Otherwise, we must as well drink Oregon or New Zealand Pinot Noir.

This issue, I am pleased to introduces you two of my favorite négociant films. One is the well-established Louis Jadot, the other, being the new emerging Frédéric Magnien, which operates a small négociant business as well as his family domaine, Michel Magnien.

Louis Jadot
When spoke about Jadot, the current winemaker and technical director, Jacques Lardière comes immediately in mind. I have always wondered, how can a guy like him handle 90 different wines a year and still keep everything tasted so different? From the humble Beaujolais Village to the great Le Montrachet, all with their distinctive terroir and yet retained that sense of house-style, which is elegant, with great fruit purity and details. Always austere at start, but achieve fullness and depth with age. I have always been fascinated with what Lardière once said, "I only used more new wood in lesser vintage and lesser wine. When the raw materials are less sounding, the additional wood tannin and aeration from new wood will supplement those deficiency. Lardière red wine winemaking favor higher temperature at 35-40°C, he destems 100% and vinification take place in open-top wooden vats with two pigeages (punching down) a day. He does practice pre-fermentation maceration, however he does not intentionally cool the soaking and it can last for a month. He used only natural yeast for his primary fermentation and as said earlier, he is not particularly keen on new wood treatment for his better cuvée. Unlike many of his peers, he does not believe in débourbage (cold settlement) for his white wine to separate the gross lees, instead, the juice is press directly to barrel for fermentation. Minimum new wood is used and unlike many, he habitually blocks the malolactic fermentation to conserve the natural acidity. Increasingly, he also elected not to bâtonnage (lees stirring) his white, especially in the rich and fatter vintages. Jacques Lardière is a highly talented and passionate winemaker. To him, winemaking should never be a formula, "you must use your tastebuds, your imagination, your intelligence. Not a rule of book!"

Frédéric Magnien

I first met Frédéric some two years ago in his facility at Morey-Saint-Denis. Unlike many domaine I visited, most of my tasting of young wines were all conducted in the barrel room and drawn directly from barrel, in the environment that sometime filled with smells of sulphur, charred wood, ethanol (alcohol). In Chez Magnien, I was offered to seat in the long bench that crowded with many demi-bouteilles with chalk marking code. Frédéric is from a fifth-generation grape grower in Morey-St.-Denis. He managed both his family, Domaine Michel Magnien and his small négociant operation, where he sourced his fruit from various growers that followed his strict prescription of low-yield fruit through severe pruning, green harvest. He also very fond of old-vines, with many of his cuvées indicated vieilles-vignes on the label. Nothing systematic in Magnien winemaking approach. I used to think he produced modern burgundy that was filled with big fruit and oak after tasted his 2002. He later confronted to me that 2002 was perhaps more extracted (fermentation lasted for 21 days instead of previous 12 days), which featured ripe and round, almost sweet palate. He generally preferred his 01 for better terroir definition, however he like his 2002 for it immediateness and density. He told me that 2004 was a challenging vintage for winemaker. In the vineyard, he did three green harvests in order to bring down the yields, especially dropping those grapes that were infected by oidium and hail. Eliminate those inferior grapes were the key to succeeding in this vintage. In the cuverie, one must focus on the juice not the skins, as the skins is relatively thin and fragile, which require very gentle extraction. Fermentation lasted for 12 to 14 days and only one punch down per day. One could easily notice that, 2004 has a significant quality gap when compare the village cru to the primer/grand crus and this vintage has a good terroir definition, added Magnien. I like Magnien's style. It is neither old or new, there are some old-fashion rusticity and earth, underbrush notes with occasion leather, sauvage that closely recalled those Nuits-Saint-Georges from Henri Gouges. However, equally, one could be seduced by the deliciously sweet, crushed red berries, red pinot fruit that is dense, sappy and well delineated. Much like those made from Jean-Marie Fourrier. One of the highlight on my trip is to be able to taste Magnien's Montrachet. I must confess, I have very little experience with Le Montrachet. The lofty price tag is simply out of my reach (if is from Leflaive, Sauzet, Lafon it can cost anything from 1000-3000 a bottle). The white initially tasted quite telltale Puligny-like, with its stylish, refine elegant, chamomile, barley subtle like flavors. When it goes down-the-gullet, the favors expanded and turned bigger, richer, more powerful, muscular that filled with explosive favor of peach, honeyed, hazelnut, pain grillé that stained the palate and lasted in my memory for days. This is perhaps the most incredible white I have tasted from my wine journey! What a monumental effort!

Vicomte Liger-Belair

Under the request of my faithful burgundy buyers in Jakarta. I have made a trip there to host three separate tastings. Over the past years, Jakarta has emerged to become one of my most important market for fine & rare burgundy. Initially, those second generation entrepreneurs buyers of mine were mainly focused on "Cult" Californian, since many of them were formerly educated in States. Over time, due to their desire for quality and immense opportunity given, they have quickly realized the only wine that truly speaks for its earth was in fact in burgundy. Since then, they drink nothing but wine from the golden slopes.

The afternoon tasting took place in one of my client's Miele showroom, which I have previously hosted several tasting here, and enjoying the food prepared by Chef Antoine Audran of Java Bleu Traiteur.

Before I go on with my tasting notes, here are some background of the part-one tasting.

La Romanée Vineyard
The story of this rarest vineyard of burgundy (annual production of 250-350 cases) has always been closely tied with La Romanée-Conti.

The prime section of La Romanée-Conti is said to have nine owners during eight and a half centuries ago. In the twelfth century, it was in the hand of Vergy family, and in 1232 Alex de Vergy donated the land to Abbey of Saint-Vivant. During then La Romanée-Conti was part of Romanée St. Viviant that was owned by the Abbey. In 1584, La Romanée-Conti was separated from Romanée St. Vivant and eventually sold to a Monsieur de Croonembourg that later change the name to Romanée. Croonembourg family at that time also bought the neighbouring vineyard of La Tâche, and it was through their ownership that the vineyard became well known.

In 1760, the Croonembourg decided to sell the vineyard, which was by that time, already regarded as the finest vineyard in Burgundy. The sale eventually went into the hands of Prince de Conti, who later attached his name to the vineyard and renamed it - Romanée-Conti. After the French Revolution, La Romanée-Conti vineyard was confiscated from the Prince de Conti and sold "for the good of Republic". The purchaser was a Parisien, a Nicolas Defer de la Nouerre. However, the vineyard was subsequently acquired by Liger-Belair family, which put all the 6 parcels of Aux Echanges together and formerly declared them La Romanée and since then, it has became the monopole of the Liger-Belair family. Despite the Liger-Belair family firmly believing that La Romanée was one time part and parcel of La Romanée-Conti. However, the current owner of La Romanée-Conti, De Villaine has a different explanation. It was said that, the original La Romanée-Conti was a separate parcel of lieu-dit called Au-Dessus-de-La-Romanée, which was sold to Jacques-Marie Duvault-Blochet after the Revolution. Aubert de Villaine, the current co-owner, also the descendant of M. Duvault-Blochet eventually inherited the vineyard.

Domaine du Vicomte Liger-Belair
Much like the Gros family, many family vineyards was forced to split to multiple ownership due to the French taxation. So today, you see Jean Gros, Michel Gros, Anne Gros, Gros Frère et Soeur were all previously belonging to one origin family. The case with Thibault Liger-Belair in Nuits St. Georges and Vicomte Liger-Belair were all part of the Liger-Belair family that also co-owned a négociant business called Maison C. Marey et Comte Liger-Belair (1852-1982). The ancestor of the current owner Louis-Michel Liger-Belair, Louis Liger-Belair was a general to Napoléon that started his domaine in 1815. Together with his son, Louis-Charles, they put together a holding of vineyards that includes La Romanée (Aux Echanges was acquired through marriage), the original La Tâche (1.45 ha at that time, when Edmund Gaudin de Villaine acquired that in 1933, he merged it with his parcel of Les Gaudichots and became today's holding of 6 hectares) and Vosne-Romanée 1er Cru Reignots. At their prime, the Liger-Belair also owned a large parcel of Richebourg, Les Malconsorts, Les Gaudichots with a total vineyard holding of 40 hectares. After the passing of Louis-Michel Liger-Belair's great grandfather in 1924, the vineyard holding was passed down to his wife. However, during 1933 when Louis-Michel Liger-Belair's great grandmother passed away, the grandchildren were too young to take ownership by the French law. It was during then, the other members of the Linger-Belair family that have no desire to continue the family business and were anxious to receive their lawful shares that forces the sale of their vineyards properties. Fortunately, Juste Liger-Belair, one of the member of the family decided to retain a portion and purchase both La Romanée and Reignot from the public auction. The vineyard was subsequently passed to Juste Liger-Belair's nephew, Michel, who was also Louis-Michel's grandfather. He was however killed in 1941 during World War II. Louis-Michel's father did not want to be involved with the wine business and he later signed an sharecropping arrangement with the Forey family. From 1946 - 2001, the Forey tended the vines and raised the wines, until 2001, Régis Forey, son of Jean Forey returned the vineyard to Liger-Beliar family when the sharecropping agreement expired.

Louis Michel Liger-Beliar
For a number of generations, not until Louis Michel took over the responsibility. Liger-Beliar family was not directly in the wine business, they opted to rent out their prime vineyards in exchange for money to deal with their inheritance tax-bill for the land. So, Maison Leroy bought the wines of La Romanée from 1951 till 1961, with Maison Bichot following the lease until 1975 and Bouchard Père et Fils from 1976 until 2001 as the exclusive agents for La Romanée wine. From 2002 until 2005, there were actually two different bottling of La Romanée as Bouchard was entitled half of the production, the remaining half want into Vicomte Liger-Belair. Little has been told that, Louis-Michel Liger-Belair actually handles the vinfication and élevage of both Bouchard and his own version. He however clarifies that, Bouchard has their instruction along with their own barrels supply.

2003 Vosne-Romanée "La Colombière"
Louis Michel's style has always have that refine, polished feel. This village lieu-dit perhaps is the only 2003 I got a trace of dehydrated element. Very profound sexy, with candied sweet, almost currant, but mixed of dark and blue berries fruit. There is however good underlying purity despite the somehow exotic, ripe personality. The lighter of all the line-up with traces of chalk dry finish.

2003 Vosne-Romanée "Clos du Château"
This cuvée has always been the best value from Vicomte Liger-Belair and the fruit source was entirely from the vineyard surrounded the estate - Château Vosne-Romanée. Showing more smoked stock element, but cooler pitched, more cherry, Vosne's spice. This beauty has clearly better define, shown better purity and sappiness, which I was surprised by how the 03s has evolved. The wine also offered better details and outline, which clearly, there must be some acidification adjust here, since most malic & tartaric acid were burned from this heat-laden vintage.

2003 Vosne-Romanée 1er Cru "Chaumes"
This premier cru lies on the border of Nuits St. Georges, which explained, this cuvée drawn some neighbor stern, muscular personality. More tightly wound, structured frame, with the usual black fruit of this vintage, but less sexy, somehow shown more extracted, mouth coated tannin feel. Only two barrels being made, from vines planted in 1945.

2003 Vosne-Romanée 1er Cru "Reignots"
This wine is clearly denser than any of the previous cuvée. Some cold soak, anthocyans-purple trace on the color. This clearly shown darker fruit, with more roasted exoticness. More creamy, layers and hard to say "no" kind of seductiveness. I however found some trace of Brett? But the unusual combination of lift with rich palate somehow overcome the deficiency.

2003 Vosne-Romanée Grand Cru La Romanée
There is no question, along with de Vogue Musigny, both are the finest 2003 burgundy I have tasted. If one think that, this beauty is going to throw me more richness, more profoundness. The answers is exactly the opposite. This discreet, subtle beauty came as unnoticed at first, in fact, any of the earlier premier crus could easily taken the attention from this wine by their sheer size. However, oxidation will unveil it true potential. The intensity of this wine, with it persist flavor that lasted throughout the tasting. Nothing is fade away. In fact, toward the end, when we compared this elegant beauty with the rest of the early cuvées, the refinement of La Romanée somehow made the rest of the wines tasted rough and clumsy (some of the early bottles were already deteriorate with aeration). This old style (same spoke for Romanée-Conti) burgundy, patience is needed to truly display it greatness. Amazing stuff!

de Vogüé Musigny Vertical

2007-05-27T21:44:00.000-07:00

Allen Meadows called Musigny, "one of the two of three most gifted pieces of dirt in Burgundy".
Anthony Hanson said, "subtle nobility".
Clive Coates noted, "a great Musigny is heaven in a glass".
Matt Kramer, "the most convincing wine of Burgundy".
Remington Norman wrote, "the epitome of the finesse of which Burgundy is capable".

In Burgundy, Pinot Noir grown on clay soils gives more weight and body, as opposed to those from the lighter soils of more limestone, rock, which offers more finesse and aroma complexity. The Bajocian rich Gevrey-Chambertin, Nuits-Saint-Georges (most prime vineyards) display richness and structured, where else, the Bathonian dominant of Vosne-Romanee, Volnay and especially Chambolle Musigny, is all about perfume and finesse! As what Matt Kramer has wrote, Romanée-Conti or La Tâche of Vosne-Romanée is known for their dramatic, opiatic spice qualities and Allen Meadows' would unapologetically called Volnay as among the purest, most elegant wine that build on the base of finesse and minerality. But, for Musigny, it seem to combine the very best of both. It has the seductive red fruit of Vosne-Romanée but without the forcefulness spice; it shares the same finesse and minerality of Volnay, but is more substantial in power and richness. The sweetness found in Musigny is unlike grand crus of Vosne-Romanée, which they literary knock you on your face. It is more subtle, ethereal and builds slowly, eventually it leaves your palate with the sweet impression that lingers in the memory for days. Equally can be said about the richness found in Musigny. Whether is it due to its underlying body, or the highly pitched personality, it comes across as more subtly and finely balance. A supreme sense of richness without weight.

One talk about Musigny, is unavoidably, Domaine Comte de Vogüé will come immediately in mind. The ancestors of the family has been occupying the 66.5% of the entire Musigny vineyard since 1766. The lieu-dit of Les Petits Musigny is a monopole of the family. To many fanatics of burgundy, Musigny literally means, de Vogüé!

On the night of February 4th, 2007. I have co-organized a charity dinner featuring six vintages of de Vogüé Musigny. We also have the privilege of having the estate manager, Jean-Luc Pépin as our guest of speaker for that evening. The following are highlights of my tasting note.

2003 de Vogüé Bourgogne Blanc (previously Musigny Blanc)
According to Jean-Luc, the last Musigny Blanc was produced in 1992. Since then, due to the previous old vines being replanted with younger vines, and winemaker François Millet felt that, the current white did not live up to the grand cru status and decided to declassified all to Bourgogne Blanc. However, having tasted this chardonnay again after 4-6 months. I found them developing nicely. The early Chablis-like austerity has gave way to a more oily, fat, glycerin-coated palate. Still, the wine is pure and crisp at start, with attractive ginger, coconut-toasty aroma. It has however turned more fleshy, with some aging honey-caramel sweetness emerged with air. Very little evident of acidity, however, quite viscous.

2000 Musigny Vieilles Vignes
Beautiful crushed berries aroma, that is both pure and fresh. The nose could easily be mistaken for being a Vosne-Romanée due to its spicy qualities. This wine does not have the usual depth and scale, but has the Musigny hallmark of delicacy and elegance. It was nonetheless sexy and gorgeous to drink, and it went down my gullet effortlessly. 2000 vintage is characterized by the abundant crop that can potentially dilute the fruit quality.

1998 Musigny Vieilles Vignes
Initially more underbrush, tarry, stalky element, with aeration, turned more pristine. Its clearly more massive and has more impressive density. The fruit is also leaning towards more intense black fruit, with obvious viscosity and spirit-like palate. However, there is good balance in this wine, as well as the sap showing up at the end. According to Jean-Luc, the key to success in 1998 is grape sorting. There were uneven grapes ripeness within a cluster of grape.

2001 Musigny Vieilles Vignes
This vintage is everyone's favorite. It has the captivated ripe, candied fruit character, the thickness and lace of fruit that is so irresistible. Layer-after-layers and cool, seamless, gorgeous, palate-caressing sweet, blackberries fruit that keeps hitting every sweet spot of your palate. Amazingly, your palate is not fatigue, the balance is amazing, and despite the wine generosity, there is this sense of precision that kept the wine well together. I remember François Millet considering the 2005 vintage to be a wine that combines the warm and cold effects (concentration of sweetness, with precision and energy), which he describes his 2005 reds as - vintage of sorbet! I think, he would agree with me, his 2001 is equally reminded of those qualities.

1991 Musigny Vieilles Vignes
The bottle tasted that night was clearly less fresh and somehow tired. Very tarry nose, with unclean meat-stock, smoke element. The palate also shows a sense of rusticity, more pliant, and fruit has more oxidized influenced of plum rather than berries. It was however rich, and quite massive. There are some aged game quality and noticeable acidity that gives the palate some chewy feel. The finish is however dry, which was clearly coming from dehydrated grape, or what would be said, a taste of hail caused by damaged grapes (goût de grêle, or goût de sec)?

1999 Musigny Vieilles Vignes
This wine clearly has a lot of reserved! Dark black and raspberries, but tangy and transparence. Clearly larger scale than all the previous Musigny. The huge intensity and power were somehow trapped at this point, but one should not have any trouble to spot the potential. The current sounding acidity has give the wine detailed personality, and so does the unmistakable Chambolle-mineral quality. Here, we are not talking about Orlando Bloom, more promising than happening. 99 is more like Colin Farrell, a putative star who has yet to produce a major hit. Only time will reinstate it glory.

1996 Musigny Vieilles Vignes
This clearly is more linear, details and edgy. The density and potential of this wine is buried by the formidable frame, making this wine more in common with the late-show grand crus from Morey-St.-Denis. This is backward, larger-than-usual scale Musigny. However, the wine is both very fine and elegant. Slightly more four-square, chewy than usual, but the mix of red and black berries fruit indicates that, there is no sign of decline and still remained fresh and vibrant at this age. This is a serious Musigny that will age for a long time.

Leeuwin Estate Chardonnay

2007-05-27T21:43:00.000-07:00

Among all the Chardonnay made in Australia. I admire the recent work of Sandro Mosele racy, chalky, Chablis-like Fautline Chardonnay; Rick Kinzbrunner delicious, leesy Giaconda Chardonnay; Geoff Weaver's restrained, aged worthy Leeswood Chardonnay; Turbo-charged, oaked, Meursault-like Vanya Cullen's Chardonnay; Recently, Jeff Grosset has also been turning out some sumptuous, almost Giaconda look alike Piccadilly Chardonnay and with some luck, you might find a bottle or two of European-inspired, very fine Chardonnay from Sorrenberg. However, there are still many monotonous, one-dimensional, overly-wooded, overly-acidified, yeast-driven fruit cocktail, uninspiring chardonnay coming out from Australia. Also, some over hyped, over priced chardonnay such as Penfold's Yattarna Chardonnay and Mount Mary Chardonnay, which try to emulate burgundy, making more subtle, elegant, so-called Puligny-Montrachet-like chardonnay. However, beside the obvious acidification, which could somehow resemble the 04 white burgundy malic-component, they lack the real material to support and balance those acidity! Ridiculously, they are charging for a primeur or grand cru burgundy price.

Over the years, I have come to appreciate Chardonnay made by Leeuwin Estate in Margaret River. Granted, there were years that, the chardonnay could be too full-blown, too fat, too butterscotch-ish (too much batonnage) for my liking. However, they have witness their chardonnay aged amazingly well, despite the precautious personality. Having been tasted in few occasion of their 1980, 1984, 1987, 1990, and interesting, either due to their fruit has better integrated with the woods, or the early oily, fatty baby-fat has disappeared? Those chardonnays seem to turn more refine and elegant with age. In a number of occasion, I have even mistaken it for burgundy!

Few years ago, I have the privilege to be invited by Leeuwin Estate to participate in the chardonnay blending exercise with the former serious winemaker of Leeuwin and now, winemaker for Chalice Bridge Estate and consultant for Leeuwin, Bob Cartwright. Bob is the guy that largely credits his success of creating one of the nation best chardonnay. He told me that, he has adopted all the burgundian technique when it comes to making his chardonnay. That means, preliminary cold soak, cold settling before fermentation takes place in barrel. Several yeast strain is inoculated. Malolactic is carry out but rarely 100%, in year, they might block the malos to preserve better acidity. After fermentation, the must remained with its lees, and batonnage (yeast stirring) is constantly carried out for the next 12 months. For Leeuwin estate Chardonnay, each plot of fruits is vinified and treated separately. Toward the end of elevage, the team of Leeuwin winemaking team will come up with the final blend. However, block 20, due to it's old-vine quality (30 over year-old with clone that's originally from Houghton vineyard) has consistently been the backbone, component blend for Leeuwin Chardonnay.

Bordeaux 2000 & 2004

2007-05-27T21:40:00.000-07:00

Our second half of 2000 Bordeaux took place at my favorite Sage Restaurant in Robertson Walk. Due to the highly satisfying part-one 2000 Bordeaux tasting conducted some months ago. The part-two, which featured wine mostly from the right bank and three first-growth from Medoc, came with high anticipation and expectation. However, to some of the attendees, it was a letdown!

First of all, 2000 vintage despite suffering from hydric stress. It was nothing compared with the heatwave of 2003, with super-ripe, sometime baked fruit character. In my view, it also lack the profoundness, the immediate sexiness that contributed by the over-achieved Merlot in 2005. 2000 to me, is a classical vintage that's more in-line with say, 1995. The flamboyance and profoundness of 2000 Chateau Margaux was an exception. The 2000 Latour, Lafite & Mouton were all made in long haul, less precautious style. However, one is not difficult to detect the intensity, the concentration of fruit that await to be burst, if only, they were not been stop by the sounding acidity and formidable structured. 2000 Mouton display their usual cedar, blackcurrant, spice and mineral. Very well pitched, thanks to the adequate acidity, which also give the wine that sense of elegance. 2000 Lafite give off that neat, refreshing, burgundy-like purity. Showing more pure currant, less of that Mouton's cedar, leather element. More austere, but better precision and burgundy-like transparence and details. Not a wine for weight and textured, but instead elegance and finesse. 2000 Latour is obviously the most massive of all. More cassis, mint and hint of bitter-chocolate. The dense and lush palate, making the tannin less noticeable and suave. This is clearly the most powerful, more obvious alcohol first-growth of all. I will be brief on the following garagiste, 2000 Clos L'Eglise, more hyper-ripe element, liqueur-infused blackfruits. Lush, creamy, seamless, yet surprisingly structured. I agreed with Jancis, the dark raspberries, blackberries, with spice and sexy personality does recalled some of Domaine Leroy's Vosne-Romanee. 2000 Pavie-Decesse, I knew Jancis hated this wine, she called it, "one is experiencing human effort rather than nature, it's a formula"! To me, more chocolaty, more-port-ish, pruney, almost band-aid like nose. Tarry, medicinal, viscous, and evolved rapidly in the glass. Drink-up! 2000 Canon La Gaffeliere, Thank god! We are back to more classic St.-Emilion. Satin smooth, with lovely sweet-berries fruit that is both gentle and edge-free on the palate. Quite floral, with Vosne-like spices, and marked by liveliness and exclusive balance, especially after the two chunky garagistes. 2000 Angelus, initially look like one of those garagiste dark-raspberries, mocha element. Fortunately, more steel-like-mineral kick in. On the palate, is mouthfilling rich and fat, yet, it has the precision and inner-mouth energy to bring back the wine in focus. In fact, after some aeration, it shown better purity and acid-spine. 2000 La Conseillante some how brought back the La Conseillante I remembered. I must said, I am less enthusiast with the current Rolland's regime style. Thick and sexy, at the sametime, firm and structured. Quite kirsch-like, yet the blackraspberry/ blueberries fruit look tangy, bracing. This reminded me a lot like the 1985 La Conseillante, which I enjoy immensely for many years.

2004 vintage has being sandwiched between the two of the more illustrated vintages of 2003 & 2005, is destined to be over shadowed. However, the British press has, from the start supported this rather classical vintage of Bordeaux, which featured extreme lateness of harvest, and produces more traditional-style Bordeaux for their firm tannins, vibrant acidities, food-friendly style. Since 2003, and especially 2005 announced their exorbitant opening price, for the fraction of price, 2004 came as an good value today, much like the previous 2001 & 2002 vintages. In the recent Wine Spectator Insider, many 2004 were given a higher-than-previous score, Ausone (95 points), Latour (95 points), Haut-Brion (95 points), Leoville Las Cases (95 points), Cos d'Estournel (94 points), Pontet-Canet (93 points). James Suckling in his personal blogs has also shown optimism how 2004 has developed since it was bottled. "I think that 2004 is going to please a lot of people. They are typical Bordeaux with lovely perfumes of berries and flowers and medium to full-bodied palates, with refined tannins and a long finish". Let look at some of the crucial element that make-up the stylistic and quality of 2004 Bordeaux.

The 2004's features extreme lateness and extreme abundance, accordingly to Bordeaux wine merchant Bill Blatch, which is the person that provides Jancis Robinson, Robert Parker, James Suckling (and, everyone else) the primary assessment on each vintage of Bordeaux. Here is the summary of 2004, where I gather the information from Jancis Robinson & Bill Blatch - Lateness in vintage, translate better accumulation of acidity, often produced wine of traditional-style that features firm tannins, refreshment and elegance. Unlike such early-harvested years like 1989, '90 & '03, where the hot vintages produces warmers-style of softness, fatness, obvious ripeness and profoundness. 2004 also suffered from some downpour in August, with 11 mm above average of rain, which explains the vintage favored well-drained, heat-retentive, warmer gravel soils rather than the heavier, cooler late ripening clay soils (the opposite scenario of 2003). The vintage started off with very late budding (three weeks behind) due the low pressure coming from northerly wave, which lasted till mid-March. This early sign has already shown the delay-harvest vintage for 2004. Despite late-budding does not necessarily mean inferior vintage. However, by the end of April, the over fertile budding (there was even a third bud) has indicated a potentially huge-crop ahead. For Chateaus who remove those excessive buds, appear to make better wines this year. The flowering was effective and rapid due to the early June heatwave. However, vineyards were suffering from drought. July and August were depressing, with showers and overcast weather. The interchange of heat and damp weather has caused the grapes to swell, the enormous load of grapes, which required the eclaircissage - second crop-thinning. However, fewer Chateaus could afford to thin and crop their vineyard, especially, most Frenchmen believe in holidaying solidly rather than working solidly in July and August - said Alain Vauthier of Chateau Ausone. The delay vintage of 2004 has caused some major shortage of vineyard workers (of-course, all on holiday). "Once again, as in 1986 and 2002, Bordeaux made a vintage that was saved by the bell", said Bill Blatch. The return of high pressure in September that lasted till October 10th gave the grapes its well needed heat to evaporate the excessive water, and to diminish the size, further concentrate and as well as ripening the fruits. The very cold nights of September 16, 17, 18, also said to have gave the wine freshness, which is the hallmark of this vintage. Merlot and Cabernet Franc were brought in at idea ripening condition, avoiding the October heavy rain. However, the late-ripening Cabernet Sauvignon was picked during when the rain started, and finish at around 14-15 October, before the rain ended. "If you find anyone in the Medoc who claims that they didn't pick in rain, then send them to me," said, manager of Chateau Latour, Frederic Engerer. This is the vintage favor those who work hard in their vineyards, doing shot pruning, de-budding, crop thinning. In addition, those Chateaus whose wines sell at the higher prices, whose could afford the luxury of paying pickers to wait for the right moment to pick and harvest parcel-by-parcel made the best wine of the vintage. "The best 2004s are just so delicious, even if they may not have the intensity of the 2005s, and offer refreshment rather than opulence," said Jancis Robinson.

Little Brown One

2007-05-27T21:38:00.000-07:00

The weather in the past week has been nothing but depressing. I am equally upset as fewer of my golf games were forced to cancel due to wet weather.

Much as everyone was chasing for all the super-Tuscan, where any wines that ended with the "aia" will be both ultimately expensive and quality assured. In a remote, quiet hillside of Montalcino, south-western of Siena, a wine called "Brunello" (literary mean, little brown one) was quietly making some of the best wine in the region known for their quality and aging ability. Long before the arrival of the highly fashionable super-Tuscan, before so called the quality revolution in Tuscany, before Chianti used to drink like a diluted ribena (blackcurrant syrup), Ferruccio Biondi-Santi already successfully created a super-Sangiovese clone, that had smaller, more rot-resistant berries, which he later called it, Brunello. The big bang of this "little brown one" began in 1888 vintage. Since than, it was regarded by the local as their finest product, their pride that not least than the Barolo for piedmontese.

The Italian wine authority, Daniel Thomases of Veronelli once mentioned in his article, "Sardinian kidnapping gangs once hide their victims in the forests of Montalcino and remain under cover for months". Montalcino is a isolated place with wild land and thick woods that's completely cut off from the rest of Tuscan. In the late 1960s, there were fewer than 150 acres of vineyards and no more than six or seven labels on the market. It has rose to 4,893 acres of vines with 135 different producers today. Despite much report has credited the 1990 vintage to be the vintage that draws the world wine audience into Montalcino, however, it was the 1997 vintage, when Wine Spectator declared (or assumed?) this year to be the "vintage of the century" that Brunello became the overnight hot commodity. My memory of that year remained fresh, it was 2001, and out of sudden, all my 1997 Brunello in my shop at Orchard Tower (I know, a place otherwise known for something else!) were snapped off! What a phenomenon from the influence of the press! (history has otherwise thought us - never sue a press!)

With all the new producers emerging, many less favorable vineyards were cultivated, and mostly, with younger vines. Making buying Brunello a difficult task. These days, there are many Brunello in the market place, with their raw materials being less sounding and are consistently being cosmetically enhanced, or should I say, masked with new French oak barrels. One can be easily fooled by those highly attractive sweetness that derive from the new oak and lushness from their early "baby-fat". Much like those beautiful Hollywood actresses before and after their makeup! However, overtime, the weakness will unveil. I also happen to disagree with those who try to make, bigger-the-better, California-and Australia-big-fruit-style. Those wines despite well loved by the American press, it was however lacking in finesse and distinction. Let's hope the situation will improve, as previously, this region was dominated by one wine consultant, but recently saw Luca D'Attoma (Poggio San Polo), Alberto Antonini (Col d'Orcia), Franco Bernabei (Lisini), Carlo Ferrini (Casanova di Neri), Stefano Chioccioli (Fanti) all taken on the consulting role in this area. Hopefully, that in turn, will translate better diversity.

Montalcino area, due to it's dry and hot climate, generally harvest their grape much earlier than in Chianti. The stylistic of Montalcino largely influenced by two very distinct zones - the north zone, which surrounds the town of Montalcino. The soil here tends to be rich in galestro (marl-like, similar to those best vineyard sites in Chianti Classico) than clay. Combined with the high altitude here, resulting wine with natural high acidity and leaner more austere style that required long aging to bring out their fullness. In the southern, Sant'Angelo area, the warmer weather combined soil that is dominated with clay and limestone, produces fuller, richer, more accessible wine in their youth. One of the finest vineyard in this area is, Argiano, which enjoy the higher plateau of 350 metres above sea level that benefit from the idea cool night, warm day.

The historical estate of Argiano (historically date back to 1570) is currently owned by Comtessa Noemi Marone Cinzano, the same family that previously owned the famous Italian aperitif - Cinzano. The early director of this estate, Sebastiano Rosa, stepson of Nicolo Incisa delle Rocchetta of Tenuta San Guido's Sassicaia, introduces the "The Father of Modern-Day Italian" - Giacomo Tachis as the estate consultant (also the created of Sassicaia, Tignanello, Solaia, D'Alceo). Tachis has help to create the flagship wine of Argiano - Solengo (Syrah/Merlot/Cabernet blend), which credits the early popularity of this estate since the Cinzano regime. The recent move of bringing in, Hans Vinding-Diers (son of Peter Vinding-Diers of Chateau Rahoul in Graves and cousin of Peter Sisseck of Dominio de Pingus) as the new winemaker for Argiano has once again created headlines in this conservative, close community town (in the town of Montalcino, everyone seem to know everyone!). Obviously, the stylistic of Argiano's wine has changed over the years. One is not difficult to notice that, the amount of new wood treatment has increased over the year, the fruits are tasted much richer and riper. According to Argiano former director of sale, Dr. Pepe Schib Graciani, they are moving to further improve the quality for the estate most important wine - Brunello di Montalcino. The crop size will be further reduce to some 20-30% in order to make stricter, more rigor selection, and only the finest fruit, will go into the Brunello. Two weeks ago, I have tasted their 2001 Brunello di Montalcino over a course of 5-6 hours. Obviously, the current bottling shown more evident of new wood aspect (mocha, sweet-oak) and the palate also displays more modern-Brunello liquorous texture (more lush and seamless). However, after some 2-3 hours aeration, more typical Sangiovese's dusty, smoky elements have emerged, and the wine density to last for such a long period of aeration is clearly contributed by the prime vineyard site and old vine, low yield.

Cieli di Toscana

2007-05-27T21:35:00.000-07:00

Dionysus has particularly been kind to Tuscany over the past years. After the great success in 1997 for both Chianti regions in Firenze (Florence) and Brunello di Montalcino in Siena. The following vintage of 1999 has nothing shortcoming. Perhaps not as obvious ripeness and charm like 97s, however, 1999 was supplemented with better acid/sugar ratio and fresher aromas in comparison to some 97s, which often has the influence of (sopramaturita) surmaturite and more obvious alcohol. To many growers, 1999 is a more classical vintage, featuring both the richness and finesse. However, one should notice that, Tuscan, which stretch from Pisa to Florence, Siena to coastal Gosseto, is a vast region with different micro-climate, terraces. One cannot simply generalize the vintage, like the case in 1998, which was a difficult vintage for most of the high altitude, northern Chianti hills (altitudes ranging from 150 to 170 meters), where the long stretching heat has caused some serious drought. It was however spare for those western, southern lower altitudes Chianti regions such as Castelnuovo Berardenga (like Fattoria di Felsina, San Felice), Barberino Val d'Elsa (Isole e Olena). The early harvest on those properties also prevents them from being caught by the damaging harvest rain. In addition, 1998 also saw some world-class Merlot being made from Bolgheri (in the case of Redigaffi & Masseto). 2001 is another great vintage not to be miss by oenophne of Italian Wine. This vintage to me, combined the ripe, profoundness of 1997 and backbone, coolness of 1999. It reminded me a lot like the great 1990 vintage, seductively ripe yet with crisp acidity. 2001 start off with late spring frost, where yields were reduced. A hot summer and followed by cool September, which prolongs vegetative cycle and better accumulation of natural acidity. This is the vintage that offers both early appeal personality and at the same time posed the underlying material for future development. 2003 look to be a return to 1997, where the vintage featured extreme heat and drought-threat growing condition. Despite the impressive color, dark fruit aromas and wonderful textured, it somehow fall into that "international appeal" style. It is more blurry when terroir is concern. However, the sexy-appeal personality, will please many less patience drinker and for those that are new to Italian wine. Cabernet Sauvignon, Syrah fetch better in this vintage than say, Merlot and Sangiovese. What can I say about 2004 vintage? quoted from Tua Rita's Stefano Frascolla comment, "almost perfect, with plenty of sunshine and the right amount of rain". According to a friend who visited the estate recently told me, Tua Rita's superb Merlot - Redigaffi has achieved such a quality height that the estate was tempted to do a separate, luxury-cuvée Merlot bottling. However, in order not to further confuse the market and to push the quality envelope further for Redigaffi. Only one bottling was made. Don't miss! The following, are some brief introduction on Tuscan that one should take note when buying wine from this area.

Sangiovese is the true heart (il vero cuore) of Tuscan, which is responsible for majority of wine coming from this beautiful countryside. Chianti Classico, as we commonly known, was in fact part of the seven subzone of "Chianti". Chianti Rufina is from the hill nearer to Florence, follow by Coli Fiorentini (near San Gimigano, which produced an unique white call Vernaccia), Colli Senesi (near Siena), Colli Pisane (near Pisa), Colli Arentini (near Arezzo, which is famous for their syrah) and Montalbano. However, the finest Chianti came from Classico and Rufina. Many connoisseur considers Sangiovese to be quite similar in character with pinot noir from Burgundy, which both are very sensitive to travel and oak treatment, prefer to feature finesse as opposed to power; purity than vanillalization. I also happen to think that, by blending them with Syrah, Cabernets or Merlot. The unique tobacco-smokiness, earthiness, meaty, spicy character can easily be dominanted by those "loud" varieties. However, unlike Burgundy, which was a mono-cepage (singular variety) region, Sangiovese has been traditionally blended with Canaiolo Nero, Mammolo, and some white variety like Trebbiano and Malvasia. This mixture, which was invented by Baron Bettino Ricasoli in 1850s has gradually been evolved over the years. Today, almost no one added the white variety into Chianti blend.

I have been in the past visited this region several times starting from early 90s. I have witnessed the quality renaissance in this area. How the whole modernization begins to corrupt this traditional wine growing region. I saw winery switching old chestnut wood fermenters to temperature-controlled, stainless steel vat. Thousand of barrels squeezing into the small and mouldy Tuscan's cellars, which was of course, supplied by the French. In my early visit, growers were more interested to show me their newly concocted Sangiovese blend, which was not a surprise, blended with those familiar international grapes such as Cabernet Sauvignon, Merlot, Syrah; They also proudly tell me how many month those wines were charged in New French oak cask (228 litre barrique), which cooperage, oak forest, degree of toastiness...blah, blah, blah. Honestly, those new found taste clearly fresher, more inviting than those occasionally oxidized, coarse, obviously sulphide, fruitless Chianti. However, I was concerned that, those new breeds seem hammer with too much of oak, lack personality and what Matt Kramer would say, "there were "international" in the same boring way that all airport, however well designed, look alike".

I must credit, Dr. NK Yong for being the person who first introduced me Isole e Olena, during then (1992 or 93?), he wrote an article on two Sangiovese based wine in the daily news paper featuring both Isole e Olena's Cepparello and Fontodi's Flaccianello della Pieve. I later persuaded an importer, Latin Asia to bring in the wine (I believe is 1990 vintage). Little did I realized, the Latino importer eventually ceased his business and ran away without paying Paolo's wine money.

I visited Paolo de Marchi in the early 90s. His property is just behind his two main plot of vineyards - Isole & Olena. As I do not drive and I am completely hopeless when I am in Tuscan. Paolo's wife, Martha was so gracious to pick me up in Florence and drive me to the estate. The early De Marchi office/warehouse/laboratory were all in one crammed facility. However, the Piedmontest Paolo (he was originated from Piedmont) was filled with passion. We spend brief time in his garage's barrel room, which he claims to be nothing, but just bunch woods. We quickly hopped into his truck and head straight to his vineyards. Paolo was among the few I visited that did not display me with his modern gadgets, instead, he is very keen to show me his vineyards, his experiment with various trellising, his clonal select for his beloved Sangiovese. During then, he was already working with University of Agriculture to develop better clonal to replace the existing, more vigorous R-10 clone for Sangiovese. Obviously, smaller berries with higher skin to juice ratio, low yield were his aim. Interestingly, when everyone one else is chasing to produce a short-path IGT super-Tuscan, masking their indigenousness variety with universal grape and charcoal (toasted oak). Over the year, I witness no change on Paolo's approach in his winemaking. His wine has always been meant for long-haul. They can be austere and formidable when young, much like those young Médoc. However, it will continue to evolved and improved in the glass. Paolo's humblest Chianti Classico is consistently among the very best Chianti in the region that is marked by unusual intensity, power and longevity. His Cepparello (cheh-pah-rel-Loh), is without doubt, one of the greatest Sangiovese in Tuscan. Profoundly rich and powerful, yet the hallmark of Sangiovese; wild berries, violet, tobacco, earthy with occasionally underbrush and game are so unmistakable. In the modern world, when wines are made to suit their reviewers. In the case of Isole e Olena, it was the wine that thought the critics how to appreciate the true potential.

Champagne

2007-05-27T21:30:00.000-07:00

The History of Champagne
Champagne is both the name of a province and a wine. The name is derived from the Latin campania, which mean open, flat countryside (much like the Campania in Italy). It was once the major trade routes for Flanders (northern part of Belgium) and Switzerland, and as well as Paris to the Rhine. The official record of wine in Champagne dated back to the end of the fifth century. During then, a pinkish still wine (not sparkling) made from Pinot Noir were produced. During the French Revolution, the province of Champagne was divided into départements of Ardennes, Marne, Aube, Haute-Marne and parts Aisne.

The arrival of Dom Pérignon in the 17th century has dramatically improved the wine quality of Champagne. His Abbey of Hautvillers (above Épernay) has become the region's leading viticultural centre. During then, wines were cloudy, the criteria for greatness actually lies on supreme clarity in wine (not finesse, not complex depth of flavor in a bottle of wine), which explains the origin of the word claret derives (French for clairet). Bordeaux at that time was a light red that achieved its clarity by blending white wines, hence the evolution of clairet into claret. This is the myth behind how Dom Pérignon created a sparkling Champagne. His original goal was in fact to craft a clear wine, and along the line, a sparkling wine was accidentally made. To add to that story, we must also credit Madame Clicquot that has invented the ridding table (later evolved to the pupitres system for the remuage process) and eventually produce a Champagne that is free from those cloudy sediment.

How the bubbly liquid form?
Being the northern-most grape growing region. The fruits in Champagne are generally very high in acid. The cool winter often results in a slow and inefficient fermentation, whereby, the function of yeast can be disrupted and want into hibernation. Eventually, when the young wines were shipped during spring to Paris or London (during then, young wines were more expensive and popular than aged wines), as the weather warm-up. A second fermentation occurred in the bottle, and result in a fizzy juice. No one knows exactly why this come and go fizziness. Since very often, the force of carbon dioxide gas could effortlessly explode a flimsy bottle. The English glassmakers eventually come out with a stronger glass bottle that can withstand the pressure from the second fermentation. Added to that, when Jean-Antoine Chaptal (the person who invented chaptalization) eventually learn the formation of carbonate gas was due to enclosed environment in the bottle before the fermentation was completed. And later, a young pharmacist from Châlons-sur-Marne, André Francois mastering the precise amount of sugar to induce a second fermentation in the bottle without bursting the bottle. The famous méthode champenoise or Champagne method was achieved. By adding additional yeast and sugar to the base wine and after, capped the bottle tightly with crown cap. The secondary fermentation took place in the bottle and since the carbon dioxide gas was unable to escape, it has dissolved back into the wine. The Champagne is further aged on lees, and the aging varies from house-to-house and according to the style of Champagne (like Salon, which generally released some ten years after the vintage). The wine than undergo riddling (process involved overturning the bottle in riddling rack (pupitre), shacking and turning the bottle (remuage) to dislodging the deposit from the bottom into the neck. Subsequently dégorged (frozen the sediment from the neck of bottle and subsequently removed them) and added liqueur d'expédition (mixture of wine and sugar syrup) before bottling them. Some champagne house may choose not be added with the dosage (sugar), which the champagne will later labeled as Extra Brut. All Champagne that called themselves Brut, normally consist of 3-15 gram per litre of residual sugar.

The Style of Champagne
Champagne vineyards are spread over six major sub-communes, with Montagne de Reims (near the town of Reims) above the Vallée de la Marne, Côte de Blancs lies underneath of Épernay, Côte de Sézanne on the west and Aube in the east, but in fact closer to the Chablis of Burgundy rather than the main district of Champagne. Most vineyards in Champagne are from the slopes of the hills, as the flat land would not provide sufficient sunlight to ripen the grape as well as enough protection against wind and rain that brought by Atlantic breezes. Beside the harsh growing condition where grape struggled to ripen but in turn, gave high acidity that is essential for the making of a good bubbly. The thick, well drained chalk subsoil, which encourage the vine roots to dig deeper, avoiding the extreme climate above the ground and as well as retaining good humidity in the soil to further assist the grape ripening. Those are crucial elements that contribute Champagne for the making of world famous sparkling. Montagne de Reims is generally referred as the finest zone, where vineyards are well protected from rain and wind by the forested hilltops. In addition, there are some warm air currents running through this area, which explains why Pinot Noir ripen well here. Especially with ideal south facing grand cru vineyards like Ambonnay & Bouzy, where the best pinot noir are from. Vallée de la Marne, with the exception for south banks of Marne like Aÿ, produced beautiful pinot noir fruit, the further west, toward Paris, where chalk turned thin, only the pinot meunier flourish. The best chardonnay vineyards are from Côte des Blancs, which was just outside Épernay. The soils here are predominantly chalk, with occasionally thin layer of clay topsoil. All vineyards are east and south-east-facing slopes and the famous Blanc-de-Blancs (white wine from Blancs) vineyard of Le Mesnil-sur-Oger is from here, which produces the world-famous Krug's Clos du Mesnil and Salon Champagne. Other noticeable grand crus vineyard in Côte de Blancs also include, Cramant, which is the principle fruit soured for Perrier Jouët and Mumm (Mumm de Cramant).

However, despite all the above communes and crus in Champagne, one should be aware that, all vineyards in Champagne are exposed to cold autumns and icy winters, which challenge the grape from ripening. Quality vary from year-to-year. Even for Krug or Salon to make their blanc de blancs from a single cru of Mesnil-sur-Oger every year is impossible. So, traditionally, Champagne has always been known for their "art of blending". Not only did they blend from various villages, but also from several vintages, which are legally permitted. The Champagne house may use up to 50 - 200 communes for their blend. In addition, they are also allowed to use between 10 and 50 per cent of what so called, vins de réserve from previous vintages in order to concoct their exclusive house-style. With the exception for some Blanc de Blancs, Blanc de Noirs (made solely from pinot noir & pinot meunier. However, Bollinger's Vieilles Vignes Françaises is coming from 100% old vine pinot noir grown at Aÿ and Bouzy), which can come from sole vineyard source. Even for such De Luxe Cuvée like Dom Pérignon, Bollinger RD, Pol Roger Sir Winston Churchill, Veuve Clicquot La Grande Dame, they are rarely coming from one single source. As for vintage Champagne, which is generally only declared in an exceptional year with a minimum of 39 months old before it allow to release. However, apart from such great years like 1985, 1990, 1996, the quality for vintage Champagne vary from house-to-house.

To sum up the above, what matters in choosing a bottle of Champagne is that particular house-style you prefer, rather than which communes, crus they are from. Much like the way you chose a Cognac - nobody give a damn whether the cognac is coming from Grande Champagne or Petite Champagne! Obviously, here we are dealing with a more interesting "living" product, compared to a product, which will not improve with age (the level of alcohol found in cognac, can effortlessly killed all living microbes. Think about antiseptic!). In the franchise-movie of James Bond. You are well aware that they've switch to Bollinger from Dom Pérignon. However, how many of you actually notice that, Bond's Martini is no longer "shaken, not stirred", but rather "three measures of gin, one of vodka and half of kina Lillet (French vermouth)". Now, you get it?

Confessions of a Dangerous Mind
First, I would like to give credits to Clive Coates for his book, an Encyclopedia of The Wines and Domaines of France; Jancis Robinson for her book, Oxford Company to Wine; Oz Clarke's Wine Atlas; Jay McInerney's Adventures in Wine and Matt Kramer's Making Sense of Wine for assisting my above writing. However, I must confess, I am no expert in this area. I love Champagne for their liveliness and knife-cut acidity, and it has been my favorite drink when I hangout in a bar. Like me, anyone who is new to Champagne, chances are, you would prefer those raised partially or completely in wood, with more oxidative nutty, dried fruit qualities in the like of Krug, Bollinger or Veuve Clicquot. Also, the vintage Champagne, with its round, complex, rich textured can be equally appealing. Lately, I find myself drinking more and more the lighter weight Champagne like Billecart-Salmon, Taittinger, Delamotte's Blanc de Blancs and off course, my very own agency - Jules Lassalle. I like the brightness, raciness and details of those elegant Champagne. I increasingly find those wood/oxidative style Champagne to be heavy, especially after emptying the first one.

The Good Year

2007-05-27T21:27:00.000-07:00

As much as I enjoy wine, I am equally fanatical about good movie. Movie allows you to walk into someone's life, going through the experience, sharing all the emotions, and without needing to deal with the "real" ending. I admire work of such directors like Guiseppe Tornatore (Malèna, Cinema Paradiso), Bernardo Bertolucci (The Last Emperor, Stealing Beauty, The Dreamers), Richard Donner (16 Blocks, Lethal Weapon series, The Omen), Joel Schumacher (Phone Booth, The Client, Flatliners, The Lost Boys, St. Elmo's Fire), Oliver Stone (World Trade Centre, Any Given Sunday, Natural Born Killers, JFK, U-turn, Wall Street, The Doors, Platoon) Steven Soderbergh (Traffic, Erin Brockovich), Jonathan Demme (The Manchurian Candidate, Philadelphia, The Silence of the Lambs), Michael Mann (Miami Vice, Collateral, Heat, The Insider, The Last of the Mohicans), Woody Allen (Match Point), Martin Scorsese (The Age of Innocence, Cape Fear, Goodfellas, The Color of Money), Robert Redford (A River Runs Through It, Quiz Show) and the last, but not least, the brother Scotts - Tony Scott (Déjà Vu, Domino, Spy Game, Enemy of State, Crimson Tide) and Ridley Scott (Black Hawk Down, Hannibal, Gladiator, Thelma & Louise, Black Rain, Alien, Blade Runner). Yes, granted, is all over the place. Like wine, I love diversities in movies.

Ridley Scott latest movie, The Good Year will certainly produce another demand of the already famous holiday designation, the Mediterranean influence of Provence. The previous wine related movie, Sideways, which has already created such an impact on the sale for Pinot Noir in States, and responsible for the recent decreased in both sale and production for Merlot (the movie least favorite wine), even at their most flourish land of Washington State. Many vintners have uproot their previous Merlot vineyard and give way to the current more trendy grape varieties such as Petit Verdot, Malbec and Cabernet Franc. All that, for the sake of one single movie (one should never undermined the influenced of motion picture).

The Good Year, which is the only drama/comedy movie to date for Scott that was previously known for his epic works of such masterpiece like Gladiator, Black Hawk Down, Kingdom of Heaven (ok, agreed, this movie was less successful in the box office due primary to the wrong selection of led actor - Orlando Bloom). This latest movie took set at the beauty countryside of Provence, which is also known for their production of excellent rosé. The merciless London banker, Max Skinner, which was played by Russell Crowe inherited a vineyard property in Provence by his late uncle Henry. He immediate intention was to sell off this property and get back to his ruthless, battlefield life. However, little did he expect that, ahead of him, was a romance waiting and as the story developed, Crowe was drawn by the beauty of the French lady, Fanny Chenal (play by Marion Cotillard). As he get involved with his new found relationship and daily life of South of France. His childhood memories of Château La Siroque, which he thought was long lost, were recollected, and later, he found a new appreciation of his uncle Henry's philosophy on life, more so, the life in Provence.

Southern France, which generally referred to area such as Provence (on the east) and Languedoc-Roussillon (on the west) are regions that skirt around the Mediterranean Sea. In the southern end of Côtes du Roussillon, Rivesaltes (famous for their sun-dried sweet Muscat) and Banyuls (world's famous sweet red wine), separated by Pyrenees Mountains, where the world's largest grape-vine planting country - Spain is located. The direct continuation from Vallée de la Rhône is Provence. After the station of Ville d'Orange, which is heart of all Côte du Rhône village vineyards, you will arrive in Avignon, the town that where the famous Pope Clement V reside (in 1309) and thus, the new pope castle, Châteauneuf du Pape name derives. This is where, Provence begin. Between Avignon and Marseille, the most famous wine village of Provence are Aix-en-Provence, where some of the French finest rosé, and definitely the most expensive are being made here. Among the most noticeable must be Château de Selle by Domaine Ott. Also, let don't forget, Domaine de Trevallon (blend of Cabernet Sauvignon & Syrah) in Les Baux-de-Provence, where one of the region most innovative wine is from. Outside Marseille, just before Toulon, where Bandol is, some of the best Mourvèdre-grape France can offers are from here. Try Domaine Tempier or Mas de la Rouvière.

In the movie of The Good Year, a mysterious, legendary vin de garage, which fetched high-price, called, Le Coin Perdu (the lost corner) was mentioned, and that is exactly what was developed over the years in Languedoc-Roussillon. Many new emerging star producers such as Château de la Négly (consulted by oenologist Claude Gros, which clients also include Château La Fleur Morange (St.-Emilion), Bouscat (Bordeaux Supérieur)), Château Puech-Haut (made by Michel Rolland & Claude Gros), Bertrand-Berge (by Claude Gros) which are frequently demand for such a lofty price tag (often cost more than US$100), that I am always skeptical about those developments. Quality aside, the whole concept of those vin de garage look to be coming from the same franchise-joined of what Parker/Rolland did on those St.-Emilion's garagiste (extreme low-yield, limited production, using burgundy's winemaking technique - pigeage, malolactic in barrel, aging on it lees. What else is new?). I continue to look upon producer such as Mas de Daumas Gassac (L'Hérault) for reference, and recently, Jean-Luc Thunevin (Valandraud in St.-Emilion) and Jean-Roger Calvet has partnered and ventured into this area, releasing their Vin de Pays d'Oc red called, Les Dentelles. Made from old vine Grenache and Carignan from a steep hillside of Côte du Roussillon. The wine is intense and rich, with immensely sweet, mouth caressing texture. Also not to be miss is the debut released of Ron Laughton of Jasper Hill and Michel Chapoutier joint efforts Côte du Roussillon called, Agly Brothers (not to be mistaken as being referred to those two folks, but was in fact, the ugly duckling Carignan, pairing with Syrah and Grenache). To me, this has the charm and elegance that was missing in Calvet-Thunevin. Nonetheless, both wines are excellent in value and for practical consumption. Don't miss!

Raffle’s Primum Familiae Vini Tasting

2007-05-27T21:23:00.000-07:00

" I am terribly sorry, we must have met before. But, by the way, your name is?" What a nice way to start a conversation. That is how I was greeted by Etienne Hugel. It must be nearly ten years since I last saw Etienne, along with late Gérard Jaboulet in Vinexpo. Etienne later took me to his booth, and lead with me through with his 2004 whites. I must say, I enjoy the 2004, which was not an easy vintage for Alsace due to the rain-threat harvest. The humid growing condition also results in the spread of grey rot and vintners have to fight hard to get their fruit ripened properly (apparently, those who picked early and eliminated those rotten grapes made the best wine). Hugel's style is on the elegance side, which unlike those from Ernest Burn, Albert Mann, Zind-Humbrecht that has shown more fatness and sweetness. His 2004 is fresh and dried, with very distinct varietal character. His top cuvée is his Jubilee and indeed, I enjoy his 2004 Riesling Jubilee immensely. Still in it infancy of primarily fruit, quite creamy-feel (Etienne called that the baby-fat), with limey, floral notes. I like the present of the natural acidity, which keep the wine firm and focus. Etienne later poured me his "under-table" bottle of 1998 Riesling Jubilee, which was to me, the pure essence of diesel - mineral. The palate shows good fatness and aged honey element. However, the zesty acidity remained present throughout the palate. Etienne later told me, he and Paul Jaboulet Ainé has both left Maxxium Singapore (previously known as Rémy Singapour). They are now distributed by Hong Tong Bee (or CornerStone, Tel: 6732 0555). I believe, the current switch of their distributor in Singapore might have something to do with the recent sale of Paul Jaboulet Ainé to Jean-Jacques Frey, owner of Château La Lagune and part-owner of Billecart-Salmon Champagne.

Primum Familiae Vini, or first families of wines was first form in 1993, with the aimed of combining all the strength of world-known, family-owned producers in promoting the value of 1) family-owned businesses; 2) exchanging vini/viticultural information among the members with the concept of terroir in mind; 3) to promote wine as a culture and moderation consumption of alcohol. Every year, members of Primum Familiae Vini traveling around the world, organized press conference and tasting in promoting the above values. The December 1st afternoon tasting at Raffles Ballroom is a All-Stars event. At the entrance, I saw Paul Symington of Symington Port (owner of Warre, Dow's, Graham ports), SQ (Singapore Airline) panel of wine experts, Steven Spurrier and Michael Hill-Smith MW, Frédéric Drouhin of Domaine Drouhin, Marc and Pierre Perrin of Château de Beaucastel, Egon Müller IV of Egon Müller Scharzhof, Priscilla Incisa della Rocchetta of Sassicaia, Pablo Álvarez of Vega-Sicilia and a rare appearance of Baroness Philippine de Rothschild of Château Mouton-Rothschild. Believe me or not, I have visited Mouton for half a dozen of time, I never have the opportunity to meet the Baroness, even during Bordeaux's future campaigned (en primeur). No wonder, I witness a well-suit Caucasian gentlemen that literary kneeled down for her "majesty". What a privilege!

At the Domaine Joseph Drouhin counter, I have the first glimpse of 2005 Chablis Vaudon. Clearly, this vintage has more flesh, and shown more obvious ripeness (or fruitiness). Somehow I prefer the more austere, limey, racy 2004, which shows better terroir definition and unmistakable chalky, stony Chablis style. Fortunately, the second wine of 2004 Chablis Grand Cru Vaudésir just does that. I found that Drouhin's Vaudésir has more of that typical 04's "cut" compared to say, William Fèvre, which was richer and more expressive. Typicité Chablis mineral of oyster shell and iodine notes can be easily spotted in this Chablis. Clearly more transparent and details than 2005. In my opinion, there are no better Beaune white than Drouhin Beaune "Clos des Mouches". The 2004 Clos des Mouches is a lovely wine with delicious personality and yet the classic 04's acid has gave the wine the focus and delineation.

I have always been curious about that, why the local importer of Château de Beaucastel never bring in their fabulous, 100% Roussanne, Châteauneuf du Pape Vieilles Vignes Blanc. I finally found this wine in the tasting. The 2004 is discreet yet rich, with peach-cocktail like fruit and unctuous palate that recall those of Condrieu. However, the wine is much more stylish and has more acid-firmness than the best Condrieu. In my opinion, this simply is the best southern Rhône white money can buy. After tasting the exotic, flamboyant 2003 Perrin & Fils Vacqueyras "Les Christins" (from blend of Grenache, Syrah, Mourvèdre and Carignan). I find it hard to appreciate the 2001 Château de Beaucastel Châteauneuf du Pape, which was in fact a better wine. I was surprised to learn that this wine was not decanted. Far more subtle, compared to the almost syrup-sweet Vacqueras, with more complex fruit profile of dark berries, black cherries, earth and mineral. It has better middle depth and shown better elegance than the former wine.

Egon Müller junior led us through the display of his three Scharzhofberg Riesling. I like his 2004 Kabinett, crisp, details and refreshing. I however thought that his 2003 Spätlese to be lack of precision and absent of that typical cleansing-acid finish. Müller admitted that, heat-affects 2003, where sugar was abundant (drought-year, with sugar risen rapidly and often outrace the phenolic ripening), but acidity was running at the frightfully low level. This is the first time that the German official allowed the vintners to add tartaric acid to their musts, which previously, süssreserve (sweet reserve, or unfermented grape juice) were more commonly apply to counterbalance the high-acid, tart flavor of German's Riesling.

Sassicaia 2003, which is currently represented by our very own wine guru, the soon-to-be 80 year-old Dr. NK Yong (his company is called Giron Fine Wines, Tel: 6474 0076) is an usually profound, immensely delicious juice. Plenty of sweet blackcurrant, in a gentle, silk-like palate. Very sexy and attractive. The 2004 Guidalberto despite do not share the same richness and scale was nevertheless compensate with a better verve and firmer palate.

I am not a fan of Torre's Mas La Plana, despite it was the most important red wine of Penedè and previously won the best Cabernet-based wine at 1979 Gault-Millau Wine Olympiades in Paris for their 1970 Mas La Plana, beating such famous Bordeaux like Château Latour 1970 and La Mission Haut-Brion 1961. The wine is an unmistakably Cabernets, with its blackcurrant and tobacco smokiness. However, I am not sure anyone could guess in blind for being a Spaniard. Torres new wine, 2000 Grans Muralles (from blend of Monastrell, Garnacha Tinta, Garró, Samsó and Cariñenaare) is more likely my cup of tea. More linear, more acid-buffered berries scented fruit, which shown more palate penetration and liveliness. Mediterranean-like of edgy, earth, red-black berries fruits that is clearly not repeatable in new world. The wine despite not as suave, nor as rich as the Mas La Plana, however, it offset with better details and sappiness than the former wine (Torres is currently distributed by Culina. For enquiry or order, u contact Chee Wee at 9680 9922).
Every year, I meet Pablo Álvarez of Vega Sicilia and his winemaker, Xavier Ausás López de Castro in Bordeaux for the annual en primeur tasting. I am glad to see Pablo here for the occasion. His Pintia (vintage 2003?) from Toro belongs to those concentrated, wood-infused (mocha, chocolate), new wave, internationalization school. I was more delighted to see that sense of elegance with the following wine of Alion (sorry I don't remember the year? That afternoon tasting, I did not take any notes and it was entirely reliant on my memory. It appears that, my little brain cell could only remember so much.), which despite made in the modern style for Ribera del Duero. 2002 Valbuena was to me, more balanced and elegant. Very silky and sexily smooth. Not a blockbuster like Pintia, however, it offers better fruit purity and more flavored persistant palate (older vine?). Previously, I often think Valbeuna is one of the most highly recognizable wine in the entire Vega Sicilia's portfolio. As the use of American oak for aging, makes it obvious for Spaniard and unmistakably Valbeuna (however, with Xavier as the new winemaker. It is seemingly being replaced by French oak barrel for aging). Pablo told me, there will not be any Unico produce for 2002, which all the "grand vine" will be blended into Valbeuna, which explains the over achieved quality on this consistently been referred as the second vine of Único. I love the Único 1995, beautiful lively blueberry, dark cherry fruit aromas from Tempranillo. The palate has however shown more Cabernets, with more currant element and depth/textured that's obviously not a solo Tempranillo can attribute. Although it is delicious now, I found the wine is still not at its best. That somehow trapped, waiting to be burst-out fruit...time will unveil the fullness. Again, I was disappointed, the Único was not served from a decanter.

Terroir Debate

2007-05-27T21:22:00.000-07:00

It's easy to make an opinion. To get a consent of your opinion - is a total different challenge.

I feel so strongly after reading several articles on the internet that denying the existent of "terroir", or what Matt Kramer would so poetically called it, the sense of place in wine. After several attempts in trying to put it in print, all those proves that I could squeeze out of my resources to defend my belief that terroir truly exist, I finally gave up.

Obviously, we are discussing a subject that today's science has disapproved. That somewhat, terroir or mineral that's found in wine has no relationship whatsoever with the piece of earth that the wine was raised.

Being a fanatic of Burgundy wine and knowing that the burgundian would pride themselves for the uniqueness of their soil that constitute the individualistic of their wine. I felt a strong responsibility to defend those anti-terroirists out there. However, I soon realized one issue that stop me for pursuing further - the individual perception of greatness. It would be pointless to discuss the concept of terroir if the audience does not share the same significant. It's like everyone coming to the dinner party for a different reason. Some uses wine as a form of tool to enter to a social circle, other simply treat it as the trendy, yuppie's hobby. Obviously, there is no lack of serious drinker, which look upon the excitement of the fast changing wine world, some also quickly realized that the huge demand for a niche group of fine wine can equally be as lucrative like the commodity found in stock exchange. But the fact remained. How many people truly pay attention to what they have consumed? How many of us really look beyond wine as not just another alcoholic beverage?

We are living in the world that are "plague by sameness". One of my designer friend recently told me, "did u realize the problem with our shopping malls? It's all the same! You see the same Levi's store, McDonald's, Starbuck's, Giordano, U2, Watson everywhere. Where is the diversity?" The fact that, the same scenario can well apply to the modern wine drinking world. Reliability, predictability has becoming the key element to succeed in the consumer's world, much like Coca-Cola or McDonald's burger did. Their success lies in the secure return of the same. "We are happiest of course when every year behaves more or less the same. Especially for those recently-come-to-the-party wine connoisseurs, who behave a lot like a child; they never seem to tire of hearing the same song played over and over again." said Randall Grahm of Bonn Doon Vineyard.

Speaking of terroir, it linked almost exclusively with old world wine. The fundamental of terroir lies on the differences in wine. Brian Croser of ex. Petaluma has so correctly pointed out the essence of terroir," the product with terroir is unique. Nobody else can make that wine unless they own that piece of ground". It was through such respect of nature, the acceptance of ambiguity that the burgundian becoming the touchstone for terroir. In Burgundy, the formation of what today the village crus, premier crus and grand crus were through generation of Cistercian monks who studiously compare vineyard-to-vineyard, plot-to-plot and carefully delineate and codify. To them, they do not ask the land to replicate the qualities of another, but instead, they look for distinction. "Chambertin was Chambertin if for no reason that it consistently did not taste like its neighbor Latricieres", quoted from Matt Karmer's book, Making Sense of Burgundy. In the same context, burgundian believed that terroir can only be found, not made, which explains why, winemaking, grape variety were merely the vehicle of the voice. "Man must humble before their vineyards. The genius resides in the vineyards and not in the hand of man. Man can only take something away from the vineyard, but can not add anything important", said Frédéric MUGNIER.

I recently read a book from a Canadian conservationist, Terry Glavin on extinctions. In his view, the increased modernization, globalization, monoculture where the dark side of sameness have slowly taken away our biological and cultural diversity. He further said that, "we may be headed for a titanic human struggle between two human "survival myths", those of engineers and of naturalists. The engineers are those who fear and hate nature, who loathe complexity and diversity, who espouse the murderous ethic of the Puritans, who seek protection from fear and danger and death in genetic engineering, cryogenics, the homogenization and desensitization of humanity and culture, separateness from "nature as other", immortality, and the extermination of all life that is not in the service of humans. The naturalists are those who suffer the grief of biophilia, who embrace complexity and celebrate diversity, whose ethic is one of sacred responsibility and respect for all life on Earth, who oppose technologies that increase ecological fragility and uniformity, and who accept that we are part of, not part from, all life on our planet."

The naturalists in this case refer to the terroirists. Were they deeply ingrained by the belief that wine is made by nature, not by man? The fine examples should reflect their place of origin. The engineers or anti-terroirists in this case rely on technologist and belief all great wine can be make in any corner of the world with the help of modern, sophisticated gadget and talented winemaker. Science, which demand proof by replication has fail to deliver the true value of terroir. - AT

"Truth is not that which can be demonstrated by the aid of logic. If orange trees are hardy and rich in fruit by this bit of soil and not that, then this bit of soil is what is truth for orange trees....Logic, you say? Let logic wangle its own explanation of life".
- Antoine de Saint-Exupery, Wine, Sand and Stars

Sappiness

2007-05-27T21:19:00.000-07:00

I must admit, I am not always prepared for "intellectual" questions during my tasting event. I need to occasionally switch-off my brain and purely indulge in a sole appreciation of drinking. When I was asked to explain during the last office-gathering of my 2nd half central Otago Pinot Noir tasting on how one define sappiness in wine. For that second, I was speechless. Not because I was unable to tackle the question, but more so, is the question involved complex issues on; an individual-ability to perceive sappiness in wine; a personal preference for greatness. It's like asking me to explain the subject of terroir. My simpler explanation is, "if you sense and understand the important of terroir, then, is significant. Otherwise, is meaningless to discuss".

During the discussion, one of the attendee was so helpful to reply to the query. "Sappiness, is like when you're drinking a Chinese tea, in the like of Tie Guan Yin, which gave off some sweet, honey tone, yet the astringent finish creating the co-existent of sweetness/acidity cleansing finish". Bravo! However, I would rather quote Long Jing instead, as Tie Guan Yin (or Ti Kuan Yin) is part of Oolong tea family and is partially-fermented. Unlike Long Jing, from the green tea family (fresh tea leaves), which has less of those fermented tea tartness. Sorry, are we even talking about tea now?

Today wine world could largely be divided into two very distinctive group of disciples (which is villain dark force? u decide) ; those who celebrate richness, weight and obviousness in wine and those who look upon subtlety, elegant, vibrancy and balancing in wine. To simplify this, there are school of acid precluded versus school of acid preserved. The iconic leader for the school of precluded must land on the shoulder of Bob Parker, who he has openly supported and encourage the promotion of surmaturite (hyper ripeness), new oak laden, where alcohol and glycerol was the answers to the best kept secret of wine. On the opposite side, which was previously led by Clive Coates and currently well succeeded by Allen Meadow's Burghound that embraced the important of acidity, which on the physical side, give wine the stability (inhibiting the growth of microbes like brettanomyces, volatile acidity, which is commonly found on wine that belong to school of acid precluded, with wine generally high in pH in addition to the excessive of oxygen contact during the wine upbringing without properly combat by sulphur dioxide), color redden and in the perceive of taste, give wine the freshness, purity, elegant, delineation and the exclusive, "sappiness".

Despite Parker has continue his emphasis on his belief of physiologically ripeness. However, much of his favorite wines tend to head towards dehydrated ripeness rather than phenolical ripeness. His description such as Amarone-like, port-like are the living prove of his preference. Those sweetness one detect from dehydated ripeness can be very appealing, however, it was not the real "ripe fruit sweetness" but rather coming from alcohol, glycerin and residual sugar (the balance grape sugar that has not been metabolized by yeast. It is very common with high-alcoholic wine, where function of yeast was ended by the risen of alcohol during fermentation - yeast cannot survive in a alcohol level much higher than 13/14°). Quoted from Benjamin Leroux of Comte Armand, "the real fruit-ripeness, are sweetness with sappiness. Sweetness than finish with cleansing acidity rather than palate staining, syrup-like stickiness".

Parker often referenced such legendary Bordeaux vintages like 1947, 1949 as his quality yardstick, which was in fact, all coming from an extreme heat-wave, water-stressed, drought years. Especially during the harvest months of August/September, with such scorching heat could effortlessly burn all the natural tartaric acid through rapid respiration. Such extreme heat years also pushes the vegetative circle (often resulting earlier than usual harvest), preventing the accumulation of natural acidity in grape. Those wines frequently marked by high alcohol and frightfully low acidity. Occasionally, when the grape suffered from skin burned or baked, a more exotic, raisiny, pruney characters will be results and made rather blurry wine (terroir indistinctive).

I have recently read about a viticultural technique called PRD (partial root drying) and some of Parker's favorite winemakers at downunder has already adopted such hi-tech practices. Like most of the dehydrated sweetness wine favorite by Parker. They are mostly coming from stressed vine. PRD uses the drip-irrigation to manipulate the water-stressed in vine. All plants have their natural self protection against water stresses. When the roots signal the drought, it will alert aerial bits of plant that hard times are on the way and they stop growing, closing stomata (small pores) in the leaves (stopping photosynthesis) and keeping canopy growth restricted in order to prevent further risk of water loss. PRD enable to give such false signal to the plant by using dual-drip system that vine vigor is reduced and thus, potential grape quality is enhanced. Sparky Marquis once told me, such PRD system enable him to produce high quality grape from young vine with economically viable production size. His belief has totally defeated the traditional logic of all great wines are made out of old vine, low yield vineyards. What do I think of such steroid enhanced technique? While, try decant those new sensational for 2-3 hours and see, if there is anything left beside those sticky, mouth coating sweet-oak and alcohol. The truth lies beneath.

Like minerality in wine, sappiness is underpinned by natural acidity (malic or tartaric). However, those acidity has nothing in common with those acidified (mostly citric & tartaric) practiced mostly by the new-world or warmer wine growing region. Many of those acidified reds does not have the cleansing finish, but instead showing ripeness, sweetness on one end, with sharp grapefruit-like acid on another. They are less harmony on the palate.

Sappiness is almost exclusively used in describing red rather than white (to me, it required certain outline dryness from tannin) and generally refer to red grapes that having sounding acidity. Like Pinot Noir, Barbera, Sangiovese, Nebbiolo...etc. Grape alone, does not contribute to sappiness, very often or so, we need the climate, or vintage, like the classical Burgundy vintages such as 2001, 2004, or even 2002, where the vegetative circle is prolong and better natural acidity is preserve. When the weather is extreme, or grape suffering from drought, like the case of 2003, sappiness will be as rare as a winter white truffle. The skillful winemaker in this case also play an crucial role. He can either amplify the present of sappiness or simply demolish them. Excessive contact of oxygen during elevage, or lavish used of new wooded treatment are the case.

Northern Rhône – Part Three

2007-05-27T21:07:00.000-07:00

If I have to name ten of the most memorable wines I had in my life. Jaboulet's Hermitage La Chapelle 1961 is definitely one of them. This wine has evolved very slowly and one could easily mistake it for a ten-year old claret. One interesting aspect for Hermitage, as they aged, they shed away their early sturdy personality, turning into more delicate, ethereal that has much in common with a well cellaring top Bordeaux. The greatest wine connoisseur of all time, Thomas Jefferson once describe Hermtage as, "wine of full body, dark purple hue, with exclusive perfume that's compared to that of raspberry". In the early nineteenth century, Hermitage was in fact among the most expensive red wine of France, with price fetching higher than those of Lafite-Rothschild and Haut-Brion.

Jancis Robinson once called Hermitage, the cradle of syrah. Indeed, syrah is the sole contributor for Hermitage, where vineyards lie within the Tain L'Hermitage, across the river Tournon sur Rhône, seperated by the brides of Pont M. Séguin and Pont G. Toursier, overlooking the opposite side of St.-Joseph. Hermitage hills, where the southerly exposition vineyards begin, has a historic track record of some 500 B.C. where Greeks were believed to be the first to bring vines to Hermitage. The famous stone chapel that is owned by Paul Jaboulet Aîné was said to be built by Gaspard de Stérimberg (Jaboulet named their white Hermitage after himself - Chevalier de Stérimberg), a crusader in the thirteenth century. Despite legends have several explanation on how the name Hermitage is derived? However, the local believed, a hermit (french for ermite), which refered to Stérimberg that sought refuge on Hermitage hills and lived in self-imposed solitude was the answer to the myth. Michel Chapoutier has approved this theory and named his finest luxury cuvées Ermitage, l'Ermite.

Hermitage hills consist of 132 hectares (326 acres) of vines in a south facing bank of granite. The southern exposition combines heat-retaining granite soil that helps promote the ripening of grape. Like many of the northern Rhône vineyards. The finest of all lies on the steeper, most significant gradient terraced vineyard, where lieux-dits of Les Bessards is found. The sandy gravel over granite soil of Les Bessards produced some of the most intense, powerful wine of Hermitage. Both Chapoutier (Le Pavillon) and Chave's Hermitage sourced their fruits here. Le Méal, which is made known by Chapoutier, where he made a 100% Syrah red Hermitage and his Marsanne, cuvée de L'Orée, also the key component that contributes the great Jaboulet's La Chapelle. Wine here tend to be more fragrant, fruity and supple, which largely credit to it's limestone, large rocks soils. L'Hermite, with vineyard located at the highest elevation is virtually owned exclusively by Gérard Chave. The unique iron-rich soil produced the richest and most concentrated wine of the area. However, Chave retain a sense of elgance and finesse in his Hermitage. Since 1996, Chapoutier also produced his single-vineyard Hermitage, cuvée l'Hermite here. The clay predominate Les Diognières and Les Greffieux are also worth noticing. Guigal made his red Hermitage out from Les Diognières, while Marc Sorrel blend some of Les Greffieux to his famous Le Gréal.

Gérard Chave, in his 70s, is today assisted by his equally talented son, Jean-Louis. In the mind of Chave, new oak barrel not only changed the character of the wine, but disguised its identity of his Hermitage. His winemaking approach is very traditional. For his white Hermitage, which was a blend of 85% Marsanne and 15% Roussanne is vinified only with indigenous yeast. Fermentation is slow and long, and in some vintage, it can take up to a yeast to complete the fermentation. Chave is not a believer of bâtonnage, which he claimed that, lees stirring only further oxidises his wine but does not improve the texture. Chave red Hermitage is a result of blending of several lieux-dits parcels. Each parcel is treated and vinified seperately. After 14-18 months of aging in old wooden foudres. He then decided which goes into the final blend. Chave owned some of the oldest most precious vineyard in Hermitage hills. His 5-acre parcel of Les Bessards is already 90-year-old along with his 60-year-old Le Méal. Chave Hermitage is consistently rated among the greatest wine of the appellation. In the recent interview, Jean-Louis Chave sum up how one could expect from his Hermitage. "Hermitage is not necessary a big wine. What is more important is that the fruit is ripe and the elements are in balance. We're looking for finesse rather than power".

Paul Jaboulet Aîné, the late Gérard Jaboulot, whom I have the privilege to make acquaintance with was in fact, the best ambassador for Rhône Valley. Interestingly, my very first bottle of Rhône Valley wine came from this historical family, which was founded in the 19th century. Today, the firm has no longer in the hand of Jaboulot but rather been acquired by Frey family of Château La Lagune. Jaboulet's La Chapelle is fruit sourced from Le Méal and Les Bessards, with an average vine age of 50 year-old. 100% destemmed with a long maceration of 21 days, and up to 30-38 days in great years. After fermentation, the wine is aged in burgundy, François Frères barrels (but rarely new) for 12-14 months. Anyone who has the privilege to taste his 1961, 1978 & 1990 will be in no doubt about their high quality in this film. In fact, during my previous 1961 tasting. La Chapelle's 61 was among the crowd favorite.

Michel Chapoutier reminded me a lot like Marcel Guigal. Both are considered the modernist in the region; both utilizing more new wood aging than their neighbors; Both are strong believers of single-vineyard bottling. However, Chapoutier with his biodynamic farming approach, making him constantly in the lamplight as one of the most controversial wine figure in Rhône Valley. However, no one should be doubtful about his effort on revamping the quality of his family film and his burgundian-like approached (open-top fermenter, indigenous yeast, 100% destemmed, aging in small troncais barrel, vinify parcel-by-parcel) has increasingly place him among the very best maker of Rhône Valley by such influential critics like Parker, Tanzer and Wine Spectator.

Northern Rhône – Part Two

2007-05-27T21:03:00.000-07:00

When you drive from Lyon, follow the expressway of N7 direction to Avignon, after turning into N86, passing Ampuis of Côte Rôtie. You will arrive in Condrieu, a village that is dedicated in the production of solely one wine that comes from a single variety - Viognier. This most cherished grape of Rhône found at it's best at this tinny, tuck away village that once, a strange-looking, yellow-skinned Chinese show up, trying to answer nature's call. He was denied.

Viognier, this highly aromatic, distinctive (once you are accustomed to their aromas. you can almost effortlessly pick up this grape variety in blind) white variety has overtime become the most fashionable grape that's found not just at home in Condrieu, but also flourished in area like California, Australia, New Zealand, Chile, South African...etc. Like Syrah, Viognier was believed to be first brought up in the Rhône valley by the Creek sailors between 600 and 400 B.C. Before the popularity of this white variety. It was once widely grown in southern farmland of Lyon and northern Rhône centuries ago. However, due to it's low vigor and prone for diseases like powdery mildew. The production in those areas were slowly declining and until 1968, it was just 14 hectare or 35 acres left, with mostly found in northern Rhône, Condrieu and Château Grillet (an 8.4 acres appellation and among the smaller in Rhône). Since the 70s, the production and price have gradually risen with many vineyards reconstructed and some of the finest vineyards located in the steep hill, often with granitic slopes and topsoil like arzelle (decomposed rock, granite, mica, shist, and some clay) that's traditionally known as the best soil were all replanted. Today, the total area planted with vine is 110 hectares, or 270 acres (equivalent of 500,000 bottles per annum). Despite the production increased, the challenge in cultivating this fragile grape variety in this area, which Viognier is susceptible for mildew attack; sensitive to strong wind due to weak flowering; soil erosion due to heavy rain. The average yield in the area remained notoriously low and also explains why, Condrieu is relatively expensive for a wine that's meant to be drunk young.

The extraordinary challenge posed in cultivating and vinifying Viognier however, comes with big rewards. Fewer people could resist the hauntingly sweet, exotic fragrance of apricots, peaches, honeysuckle combined in a textured, viscous, full body palate and endless persist of length of such rich fruitiness. Like Pinot Noir for burgundy, I rarely encounter a better viognier made outside Condrieu (Euro-beautiful syndrome?), especially in the hands of such great master like Georges Vernay, André Perret, Yves Culleron. Most new world's Viognier frequently tasted too heady, with obvious alcohol and frightfully low acidity that came across flabby and cloying. They lack the freshness and delineation posed by Condrieu and the skilful woods handling (one-third new oak) of those gentlemen along with Marcel Guigal that give the wine the necessary balance and definition. For me, Condrieu is Viognier, but, the reversal is not true.

Unlike Condrieu, which was just a short drive from Côte Rôtie. The départment of St. Joseph is far more extended, some 40 miles long. Making them the longer appellation of northern Rhône. There is a total of 640 hectares (1581 acres) under vine, which explains the huge quality variable in this vast, confusing area that stretch from south of Condrieu to the doorstep of Cornas.

St. Joseph was originally based on a single hillside - a south-east-facing terraces between Tournon (opposite Crozes-Hermitage) and Mauves that was established in 1956. Six communes of the west bank of Rhône between Glun and Vion of total 100 hectares (247 acres) were added. Further expension of 25 communes run from south of Valence all the way up to Condrieu were all included in St. Joseph in 1969. Many of those newly planted vineyards are from flat, fertile, alluvial soil and the wine deserves nothing more than a Côte du Rhône village cru quality. To many growers, the finest St. Joseph came from the original granite steep hillside vineyards. Syrah account for 90% of the production here with small amount of St. Jospeh white that made from Marsanne and Rousanne grapes. The wine of St. Joseph is regarded as France's most delightfully rich, fruity, perfumed and early accessible reds.

Jancis Robinson called Cornas a wine of positive "antediluvian" (check your dictionary on the meaning). Indeed, everything about Cornas, is ancient. Cornas is believed to be among the oldest vineyard sites of France with historical track of 2,000 years ago. It was also known as one of the favorite wine of king Charlemagne, which he has visited this tiny (94 hectares), most southernly town of Northern Rhône in A.D. 840 and tipped his goblet to the local growers.

Enjoying the similar steep terrances vineyard like Côte Rôtie and Hermitage (slopes reach 800 feet in height with gradient of 45°), however, Cornas never enjoy the similar glamorous status like the later two. Is easy to compare both Hermitage and Cornas as they share many things in common like, both are made from 100% Syrah, coming from soil of granite, limestone...etc. However, Cornas despite being denser, more msaculine, more strucrured, more robust. It never age or develop the same way as a great Hermitage does. Some pointed out, it was due to the ancient winemaking philosophy emloyed by many of the producers here. Other, simply blame on the weather, where the temperature here are much higher than in Hermitage, especially encourage by the destructive Mistral winds, which further exacerbate the heat during summertime.

The finest Cornas vineyards lies on those steep, terraced vineyards behind the village. Reynard, which co-owned by August Clape, Thierry Allemand, Alain Voge, Robert Michel and La Côte, owned by August Clape & Thierry Allemand are among the two most famous. In the south, toward the direction of St.-Péray were the slopes are still relatively steep and soil similar to the former two, vineyard such as La Combe, Sabarotte, Les Côtes and Champelrose are also worth notice.

My personal favorite of Cornas are those made by Thierry Allemand. Thierry Allemand, along with Pierre-Marie Clape, Jean-Luc Colombo, Jacques Lemencier are among the new generation winemakers here. Allemand owned the finest vineyard of the northern section of Chaillots and Reynard, the steep, superb vineyard that lies behind the village. Allemand's style is very focus, often with the fruit brightness and sappiness that call in mind of those from Burgundy. However, the distinct peppery note intertwined with smoky, meaty, chewy palate that is so distinctly - syrah. His Reynard is generally denser, more accessible and pliant. His Les Chaillots on the other hand shown more elegant and finesse, with better precision and better lift on the palate. Les Chaillots also come across more formidable, less showy, with more noticeable tannin at their youth. His regular Cornas came from the blend of both vineyards.

Central Otago Pinot Noir Tasting

2007-05-26T04:32:00.000-07:00

Our weekend in-house tasting of Central Otagon Pinot Noir saw some interesting turnout. I must say, I know very little about the World's most southerly winegrowing region of central Otago. I could not justify myself to speak very lengthy about the producers or their recent vintages. However, the attention that gather from the pinot noir coming from this region has motivate me to work on my research before tasting the list of pinot noir producers below, which came across as alien to me.

I was first drawn to this region by my love for pinot noir or burgundy at large. I seek to find a good alternative to the French counterpart to ease my impatient palate and my limited financial resources. As we all know, good vintages from burgundy requires time to reach their fullness, and the better producers, crus does correspond well with their price tag. My first bottle of pinot noir from central Otago was from Blair Walter's Felton Road (guess, everyone else share the same experinece). I was however even more impressed by Gibbston Valley's Reserve Pinot Noir, which I was fooled by my former business partner in blind that I have mistaken it for a French (rare for me these days to make such error). It shows you how high the quality one could expect from this cooler region of New Zealand.

A brief geographical tour of this region. Central Otago at large could be subdivided into two broad zones - Gibbston Valley & Cromwell Basin (also includes neighboring district such as Bannockburn, Bendigo and Alexandra). Gibbston Valley is mainly the mountainous vineyard that enjoys cooler growing condition due to it's high elevation. The lower elevation of Cronwell Basin is generally warmer and due to the dry growing condition (10 inches of rain a year), grape usually ripen early (three weeks early than most Gibbston Valley's vineyard). The lower elevated vineyard in Cromwell Basin is also more susceptible from frost, which is a common natural occurrence in most Central Otago. However, the sub-soil here is much similar to those of Burgundy, with stone, schist and underneath with clay. Nearly all the central Otago producers uses Cromwell and its neighbors fruit.

We started off the tasting with few whites from Kawarau Estate (Cromwell). 2006 Sauvignon Blanc with nice citrus fruit, mainly lime-skin like. Light and refreshing, but quite straightforward. Zesty and slightly tart finish. 2004 Reserve Chardonnay with distinct wood treatment nose of toasty, nutty element. Quite dense and good layers, but I was more impressed with its firmness (quite punchy) and focused frame. Also, the fruit did not fall into the conventional tropical fruit cocktail of many southern hemisphere chard. 2005 Reserve Chardonnay offer rather tight nose, more acid-influenced palate and somewhat tasted watery. No way in the league of their 04. The finishing also shown strong present of lime-like acid?

2003 Otago Crown (from Gibbston Valley fruit) impressive color and tinge of purple (cold soak?). Quite candied that dominated with liqueur-like dark cherry, black raspberries. Slightly leaning towards jam. Like most pinot noir from this area, the palate is quite cool, which unlike many Aussie's pinots, which tend to shown more alcohol and came across more heady. Very fruit-oriented palate and quite velvety. One of my top picked.

Pisa Moorings - famous holiday home of Cromwell. Wine is made by New Zealand famous flying winemaker, Dean Shaw. 2003 - Not particular deep hue and shows a distinct difference style that has much in common with Californian pinot noir. More viscous, liqueur-infused nose. The palate look to be cold soak-like fruitiness and almost taste like syrup. Quite fleshy and lack the velvety textured of Otago Crown. Shown more evident of alcohol. Fortunately, the cool palate and well sap finish help to keep thing in place. 2004 - Deeper more purple hue. Shown distinctly more elegant and acid-buffered palate. Clearly more focus and reserved, but the lightness seem to do with either underachieved in ripeness or over crop? Somehow hollow in the mid palate. 2005 - Denser color of all. Similar theme of 2003, with alcohol-infused, voluminous palate. The fruit sweetness also suggesting from dehydrated ripeness, which later is also evident on the dry tannin finish. The palate however has this interesting beacon-fatness, which recalled many Californian Pinot Noir that aged with its lees.

Van Asch - owned and made by the famous veteran New Zealand winemaker, Henry Van Asch with fruit sourced from Gibbston Valley. 2003 dense but not brilliant in color. Nice mineral-iodine infused cherry, raspberry nose. Quite fat, with distinctly more syrup-like sweetness. Some exotic, dehydrated fruit element emerged, but in an appealing way. also shown stalky element toward the end (no destemm?). Overall, I enjoy this one. 2002 is a disappointment. Aged clearly made it stamp on the color. Quite stalky palate, with aged plum, tarry element. Also, I found some green-herbal element, which shows that this vintage might have harvest in an drought condition where the fruit achieved the alcohol ripeness but not phenolic.

2005 Wooding Tree (Cromwell) - Denser color of all. Shown less pristine nose of briary (yeast?) odor. Quite intensely masculine that dominant by liqueur, black berries and currant. Rich and sweet with touch of earth. This is one of the few that I do not get my usual cool-pitched and sappiness, which made central Otago pinot noir so appealing to me. The grapefruit-like acidity toward the end also look odd. Too obvious acidification maybe?

Kawarau - this Cromwell producer claimed to be all organic farmed vineyards. Not surprised to learn that, Dean Shaw is their master winemaker. 2005 see the trace of Shaw's American pinots like character. From stressed vine either by trellising (high density planting) or simply from late-picked fruit. After my several training lessons with Benjamin LEROUX of Comte Armand, I could almost effortlessly pick up that the wine's ripeness is achieve from physiological ripeness or dehydrate sweetness (which is the most accurate way to tell from new to old world pinots). This clearly from the later source. It has an impressive start, and fail to persist with it's palate. 2004 shown more promising element with brighter, cooler palate, offers mixed of red and black berries with the returned of sappiness finish. Very elegant and balance. I will vote for this pinots if only the mid-palate was more substantial.

2005 Rocky Point - made by Prophet's Rock with fruit sourced from Pisa and Bendigo areas. Berry-scented, fruit bomb style, which hardly stir my excitement. Cold soak sweetness and fatness that is hollow on the middle that ended with acid-adjust like finish. Too conventional and not at the same high standard set earlier.

Alexandra Wine Company - 2004 "Davishon" - Healthy ruby color that delivers pure red and black berries fruit. Savory with lees-fatness that is both supple and juicy. I like the acid-preservation in this wine, which was more balance and less awkward. 2005 Prophet's Rock is denser, more confectionary sweetness. There are also more obvious woods treatment here, which in this case, help to firm up the generous palate. Darker more high-tone fruit with toffee, mocha sweet oak charged. However, this is still one of the best 05 I have tasted. More complete.

2004 Dry Gully - fruit sourced from Alexandra and wine made by Dean Shaw. Attractive viscous, sweet black cherries, dark berries with hint of Vosne's spice. Silky and the persisted sweetness is both attractive and sexy. The wine finish with cleansing acid-sap that was well delineated. If only there were more stuffing, which could easy score as one of my best wine.

Lindis River - I did not intentionally leave this wine towards the end, however, this is simply the best of the whole lineup. Owner, Holger Reinecke is originally from Germany and not surprise, burgundy was his idol which later inspired him to create his own pinot noir. Consultant winemaker is Dean Shaw. However, I could see the owner's participation here. 2004 Striking bright fruit with red berries, raspberries (distinctly red fruit) with wave of violet and rose petal that is both pure and inviting. Mineral-coated (wow!) raspberries on the palate that is quite multi-dimensional and layered. The underpinned acidity has kept the wine both lively and elegant. This is among the few that has truly shown a good middle-core density, which explains why it stands out from the crowd. 2005 clearly more substantial and more obvious sweetness. Despite that, this showy juice has good energy on the palate, which prevents it to become overwhelming. This lack of the balance and purity I seek on their 2004, the slightly obvious alcohol and wood handling also prevents the wine to show more transparency and details. However, this is highly attractive, sexy Euro-pinots style. It would be interesting to place this wine along with 2003 burgundy (drought year for burgundy), say, Chambolle Musigny (which has both the sexy fruit and mineral) in blind to see if anyone could spot which is Lindis River, which is Chambolle. Bravo Holger.
(*Interestingly, I took the bottle of Lindis River for dinner after the tasting. Amazingly, the wine held throughout the next three-four hours. Impressive.)

Northern Rhône – Part One

2007-05-26T04:28:00.000-07:00

This posting, let's focus on the wine of Northern Rhône, where you will find planty of pepper fragrance....

When northern Rhône is mentioned, name such as Chapoutier, Guigal, Paul Jaboulet-Ainé came immediate to mind. However, there are many quality conscious, wine of equal sublimely producers, due to their size and limited resources, were unable to reach out to a larger audience and compete in the same league with those giants. I hope my following efforts could somehow give those guys a chance to regain their well deserved recognition.

Côte-Rôtie (the roasted hillside) is probably the most famous area of northern Rhône. It is one of French's oldest vineyard that was first initiated by the Romans during the first century. The same terrances and steep hillside where the vines were grew have remained unchanged over the last 2,000 years. One of the world's steepest hillside vineyards are from here (about 1,000 feet in height with gradient between 30-55 degrees), which were subsequently divided into two main slopes, Côte Blonde and Côte Brune. Among this two main slopes, there are some five dozen of lieux-dits (sub-plot).

The Côte Brune, the northernmost slope that is marked by clay and iron, making wine of firmness, power, with noticeable tannin and obvious weight. The famous lieux-dit includes, Yves Cuilleron's La Viaillère, Guigal & Rostaing's La Landonne, Guigal's La Turque, JM Gérin & Cluse;-Roch's La Grandes Places, Jamet's Le Truchet.

Côte Blonde on the other hand consists of more sandy, granite soils. Wine here tend to be more fragrant, rounder and supple. Noticeably more acessible than those of Côte Brune. Lieux-dits such as La Mouline (owned solely by Guigal), Lancement (owned by Stéphane Ogier), La Garde (managed by René Rostaing) are all found here.

In Côte-Rôtie, up to 20% of Viognier is permitted to be added to the Syrah blend, which this highly aromatic white has credit for contributing part of the majestic bouquet of Côte-Rôtie. Since Viognier does not flourish in the heavy clay-and-iron-based soils of Côte Brune, almost virtually, all viognier in Côte-Rôtie is planted on the Côte Blonde side.

As controversial as Bob Parker these days, no one should diminish his early contributions for the Rhône valley. If John Livingstone-Learmonth was to be credited for his introduction of Rhône wine to the outside world, then, it was Parker who responsible for the popularity of this once unknown quality region of France.

I often think that both northern Rhône and Piedmont share many similar aspects and undergo same kind quality revolution. Besides the fact that, both regions are made predominantly from one grape variety (Syrah for northern Rhône and Nebbiolo for Piedmont), both regions share the similar background of long historical track in making wine and are both guarded with traditional winemaking practiced that oenologist and modern winemaking gadgets almost none exist.

Thanks to Parker, the iconic figures of this two areas, Angelo Gaja for Barbaresco and Marcel Guigal for Côte-Rôtie were discovered and later, flourish. Their success has inspired many of their previous grape suppliers to bottle their own and take on the same path in introducing more single-vineyard crus and aging their wines in small new French oak barrel. In addition, the increased lucrative business also saw some youngsters returning to their family winemaking root. Those open-minded, well-traveled, educated young winemakers with their continual pursued for excellent have injecting a new force in this two increasing popular wine growing regions.

In northern Rhône, there are mainly two schools of winemaking - traditionalists & modernists (similarly in Piedmont). Traditionalists aimed to preserve the tradition on how Côte-Rôtie should be made and taste like. For them, wines should be austere in their youth and achieve fullness and depth with age. They often do not destalk (or partially destemmed) and neither the wines sees any new oak, but instead, they can spend up to 30+ months in large wooden foudres. Old vine is essential for them and their wines can take up to a decade to shad away their early formidable personality. Gilles Barge, Albert Dervieux-Thaize (father-in-law of René Roasting), Marius Gentaz-Dervieux (vineyard leased to René Roasting now), Robert Jasmin, René Roasting (for me, he is not entirely traditionalists nor modernists, but somewhere between. However, his style shows little of wood influence and generally as austere as those old-school in it youth) are some fine representative from this school.

Like Angelo Gaja, Marcel Guigal pioneering in introducing small new oak aging for northern Rhône and are among the first to release his luxury single-vineyard cuvée Côte-Rôtie La Moulin, La Landonne and La Turque. Modernists like Guigal prefers to pick late in order to obtained a riper fruit. In the cuviery, they adopt the practiced of elévage bourguignon, with pre-fermentation cold soak, 100% destemming, whole cluster fermentation, pigéage, aging and malolactic in 100% new oak cask. Their Côte-Rôtie generally are profoundly rich, even at their early age, with burgundy-like texture that contrast with those edgy, rustic traditionalists. Equally, they are marked by obvious ripe fruit richness and succulent, sexy personalities.

Domaine Jean-Michel Gérin

Gérin aged his Côte-Rôtie in 100% new oak casks. His top cuvée, Les Grandes Places spend up to 20 months in barrel. I have several experiences with his Champin Le Seigneur and Les Grandes Places. I witness little cold soak influenced on his cuvées and his wine can be quite tannin in their youth. However, it is more textured and denser on the palate than most traditionalist. The concentration combined well buffered tannins can somehow resemble those of Bordeaux.

Domaine Jean-Paul & Jean-Luc Jamet
Jamet's style reminded me a lot in common with Joseph Roty of Gevrey-Chambertin. Both are very intense and punchy. Concentrated and marked by dark raspberries, cassis, charred new oak-licorice, with spice intertwined with sweetness. Quite velvety but tangy at the same time. This house-style is not shy at all and clearly to me, one of the more powerful example from Côte-Rôtie. The pain grillé and spicy nose is quite a knockout experience.

Domaine Stéphane Ogier
I am proud to be the first to discovered the beautiful and sexy Côte-Rôtie made by Ogier here before everyone else start to include them in their wine list. The family owned just 2.5 hectares (slight over 6 acres) in Côte-Blonde and has a significant holding in lieu-dit, Lancement. Previously, the family were just grape growers and supply their fruit to Marcel Guigal and Max Chapoutier. Michel, father of current winemaker/owner, Stéphane Ogier, started to bottle his own and market commercially some 15 years ago. Prior joining his father, Stéphane received his education in viticulture and wine making at Beaune in Burgundy. He subsequently worked in Rhône and south Africa before returning to his family operation in 1997. The winemaking style here is quite modern, with 100% destemmed, 15-day cuvaison, 18-24 months of aging in small oak casks. However, with Ogier, his wood handling is as masterful as those of bourguignon. Rarely noticeable, but rather, came as a supporting role. You always can count on his classic "white pepper" note, which is partially contributed by the viognier's fragrant. Then, you get this subtly build sweetness (quite candied), that slowly rise to a crescendo and linger throughout the palate. It reminded me so much like Comte de Vogüé Musigny, but only this time, is from Syrah grape. Ogier sexy, suppleness Côte-Rôtie is equally vibrant and precise. Perhaps, stylish is best word to descript this charming juice. (P.S. sorry to over throw with such wavy praises on this film. Each time when I drink Ogier, I seem to discover more reasons to like them.)

René Roasting
Among the new generation winemaker in Côte-Rôtie. No one can claim to be more experience than René Roasting. He learned his traditional winemaking techniques from his father-in-law, Albert Dervieux, and uncle Marius Gentaz. Along with that, he also inherited some of the most prized old vines of Côte-Rôtie - La Viaillère (90-year-old), La Landonne (Marius Gentaz's 70-year-old). There are no rules in Roasting's winemaking approached. For him, man should adapt to what the nature has to offered and each year, the weather is different and thus, they yield different fruits. Roasting has a strong emphasis in cellar sanitation. His primary fermentation took place in stainless steel fermenters that attach with automatic pigéage, similar to those I have seen in Château Haut-Brion. His decision on destemming lies on the vintage and the parcel of lieux-dit. Over the years, he has slowly moved away from new oak cask and instead chosen to use the larger demi-muids, which he is convinced, are the best size of oak vassels to age his Côte-Rôtie. It you are looking for immensely profound, sexily succulent, lush Côte-Rôtie? This film is not your cup of tea. Roasting's Côte-Rôtie required age to bring out it full potential. In addition, in his winemaking, he stressed freshness, vibrancy, delineation above everything else. His wine is always elegant, with adequate natural acidity, which give purity and transparency to the wine. However, in their youth, it can be quite edgy and chewy at the same time. Given time, one will untimately be rewarded with more velvety, seductively smooth, flavorful Syrah that can only came from one planet earth - Côte-Rôtie.

Wine of Fear or Wine of Conviction

2007-05-26T04:26:00.001-07:00

Someone has recently asked me whether or not I am a "Euro-beautiful" snob? Since I have frequently declared my love for Burgundy, Piedmont, Bordeaux, Rhône...etc.

Yes, I confess my love for wine coming from the former mentioned regions. However, I equally admire and has great respect for numerous producers coming from the new-world counterparts. What I often stress was, my preferences have everything to do with what Matt Kramer , famous quote of Wine of Fear or Wine of Conviction. Wine of fear refers to wine that is made based on market-calculation, in other words, wine made primary on the interest of marketplace. Wine of predictability. Wine of conviction on the hand is from man and woman that has courage to voice their beliefs, offer wine of individualistic, prized distinction above everything else. Wine that reflects it's sense of place.

Recently, I read Matt Kramer's column in Wine Spectator (probably "The" most interesting page of the entire magazine) questioning many Californian Syrah to be lack of varietal distinction. His statement later was argued by one of the famous Pinot Noir (recently into making Syrah) specialist, Adam Lee of Siduri Vineyard that those "white peppery" missing Syrah can equally be as thrilling.

For me, there are far too many guys out there are making Wine of Fear, with predictable fragrance of ripe fruits and cosmetic-enhanced new oaks sweetness. All those wines warrant one thing - "the return of sameness". There are too afraid to make something that works against the current fashion, too fearful of offending those influential critics. They trade-in the potential chance of showing their unique site to their own self expression. These days, not only did those wines reflect anything about their lands, very often, they don't even taste like their grape. So, my question is, if you like Syrah (in this case, cool-climate Syrah), why compromise a syrah that has no "pepper" notes? It's like, if you thirst for pinot noir, would you do without the pure bright berries fruit of this variety has to offer? The absent of varietal distinction, is already a deficiency.

Wine of Fear or Wine of Conviction

2007-05-26T04:26:00.000-07:00

The Rising Star of Tuscan Coast - Montepeloso

2007-05-26T04:23:00.000-07:00

Anyone who had watch Bernardo Bertolucci's Stealing Beauty (Liv Tyler's début movie and shot near the beautiful medieval town of San Gimignano) or Diane Lane acted movie, Under The Tuscan Sun would be so captivated by the breath-taking landscape. My very first visit to Tuscan Coast was some 5-6 years ago. I was traveling with few other Italian wine Aficionado (sadly, I've just lost one of my best traveling partner - Byrick, who was tragically killed early this month from an road accident) to Tuscan right after the Vinitaly (the biggest most important Italian wine exhibition). Instead of driving straight from Veneto to Florence (Firenze), which is the nearest town to the famous Chianti's region. We have instead started off our trip at the east end of Arezzo, where we visited the town of Cortona, famous for their Syrah. After my driver (actually a very good drinking buddy of mine) complained that, we took nearly 4-6 hours driving journey to reach our destination and only to realize that, there were just three wines to be taste, along with some sourdough breads (actually, very difficult to find good sourdough here. Most of which, do not taste "sour") and prosciutto (famous Italian cured Ham). The nagging persisted throughout our next destination (guess, he is not coming with me next year?).

Direction to south-west - Siena, we arrived at the small town of Montalcino. Here, where everybody seem to know everybody and looks like, they are expecting an alien (Chinese) group of intruders to stir up their rather peaceful and quiet lifestyle. For those who think the best Italian food is found here, you are likely to be disappointed. Food here are rather simplistic, with clear minestrone soup (not our usual spicy-style) and pasta are commonly found in the la trattoria menu. Fortunately, the quality of noodle here is sound and with some luck, you might get yourself some chicken's liver to go with. Nevertheless, all the Brunello producers we visited did not disappoint us with their wines and their hospitality.

Our next stop was to pass Grosseto and drive towards our first coastline region of Castagneto Carducci. Most people are aware that, Sangiovese is the most important grape for Tuscan. Much like Nebbiolo for Piedmont, Aglianico for Campania, Negroamaro & Primitivo for Puglia, Nerello Mascalese, Nero d;Avola for Sicily. However, one such talk about Tuscan coastline, it was the foreign varieties such as Cabernet Sauvignon, Merlot, Syrah that's stealing the lamplight. Yes, Sangiovese do make their presence here; like those very fine examples from Michele Satta and Pier Mario Cavallari's Grattamacco in Castagneto Carducci, also those Morellino di Scansano (part of the Sangiovese's clone) from the neighbouring village of Maremma.

Among all the Tuscan's Mediterranean coast sub-zone between Grosseto to Livorno. It would have to be Bolgheri being the most famous and internationally known. This small town has a history that's dated back since 8 century, where the area was once owned by the family of Counts della Gherardesca. At their prime, many poet like Giosue Carducci (where Castagneto Carducci taken it name) and Davanti San Guido (where the estate of Sassicaia name after) made their stint here. In 1703, the famous boulevard, along with the centuries-old cypress trees was build. Till these days, the same site continue to intrigue new visitors and we were told by the local that the road actually lead you to the sea?

The father of modern day Italian wine, Giacomo Tachis, made his first experimental Bordeaux-blend wine in Bolgheri with Marchese Mario Incisa della Rocchetta in 1968. The wine was named, Sassicaia. The success story of Sassicaia not only drawn many foreign interest on Italian wine, it also inspired many open-minded, new generation winemakers to start experiment with foreign grapes and blended them with their native Sangiovese, Canaiolo. Italian wine has begun it's quality revolution.

Despite the central Tuscan, more noticeable from Chianti's region, many IGT (or innovatively blend wine) have emerged over the years, however, Bolgheri remained as home of the finest Bordeaux-inspired wine due to their unique maritime climate that is best suited for those foreign grapes and unlike, central Tuscan, where there are many boundary guarded by regulation and traditional practices, Bolgheri are rule-free and playground for those experimental wine producers such as Ornellaia, Guado al Tasso (owned by Antinori), Tua Rita, Le Macchiole, more recently, the famous Piedmontist, Angelo Gaja also join the pool with his Ca'Marcanda.

In 1998, Fabio Chiarelotto purchased the property of Montepeloso, which was ideally located at the slope above the famous Tua Rita in Suvereto from their original owners, Willi & Doris Neukom. The goal for the Swiss-Italian historian was to produce a world-class red out of his chalky gravel and clay hillside vineyard that has much in common with those of St.Emilion's famed Côtes. This low-yield, hillside vineyard is capable of producing wine of firm structured, great richness and power. Prior to the change of ownership, the Montepeloso was already made famous by consultant oenologist, Luca D'Attoma (also making wine for Le Macchiole). However, my past experiences of Montepeloso often suggest that, there is a strong signature from D'Attoma, much like those from Le Macchiole. The same problem apply to many trendy Italian that uses the services of those flying consultants, where their wines often come across as very similar. I continue to stress the importance that, the owner should remain involved in an active role in making their wines rather to rely too much on those consultants. Fabio does not seek for consultant advise and neither is he concerned about what the press has to say about his wine. He has since replaced Fabrizio Moltard as the new winemaker, and the quality of the recent vintages are among the finest I have seen.

Meursault - Guy Roulot

2007-05-26T04:19:00.000-07:00

For all the fanatics of bourgogne and those who are familiar with Meursault. Beside Jean-François Coche-Dury and Dominique Lafon of Comtes Lafon, it would have to be Jean-Marc Roulot of Domaine Guy Roulot being the next super-star in this white wine predominant village. I was once told by a reputable burgundy négociant of the following remarks, "the best vineyard lies in Puligny-Montrachet; Chassagne-Montrachet owned by the best winemaker; but, the best vigneron, got to be those from Meursault".

Let's walk through some history of Meursault. The earliest record in history on Meursault was in 1102 when Duck Odo II donated the land in Meursault to Cîteaux. Along with Clos-de-Vouegot, Meursault was the most important viticultural territory for Cîteaux. Such significance can further witness that, it is Meursault rather then Puligny which is the Hospices de Beaune's white wine holdings.

"At Meursault, only white wines are made, because there is too much stone for the red." - Thomas Jefferson (1787)

Accordingly to Dr. Jules Lavalle in his Histore et Statistique de la Vigne et des Grands Vins de la Côte d'Or (1855) clearly stated that, Meursault was once, widely planted with pinot noir. André Jullien (Topographie de Tous les Vignobles Connus - 1815) also mentioned that, Meursault reds of the Santenots lieu-dit on the Volnay border produced a wine similar to those of Volnay quality. However, over the years, the increase demand for white Meursault like Genevrières and Gouttes d'Or (Jefferson's favorite Meursault), along with their high price command in Hospices de Beaune, fetching 450 francs per queue (equivalent of two barrels of 228 liters each. common white wine commanded just 75-90 per queue) reds have slowly fallen out of fashion.

The highly lucrative sale for Meursault has also resulted in many vignerons starting their own domaine-bottling. Which explain why today, Meursault has the most domaine bottlings in the whole Côte d'Or - well over 100, which is four time more than Puligny-Montrachet and double of those of Gevrey.

The Meursault appellation can be very confusing. It stretches from Monthélie-Volnay in the north and hamlet of Blagny towards the south-east, which adjacent to the neighbor of Auxey-Duresses. There are total of 89 lieu-dits, excluding those of Blagny, out of which, twenty-nine are premiers crus. There are no grand crus in this appellation despite many would argue that, Meursault 1er Cru Perrières (especially Albert Grivault's monopole Clos des Perrières) with their class and refinement could well be promoted to a grand cru. The best vineyard in Meursault lies towards Blagny, with soils dominated with Bathonian origin over Callovian limestone, as well as Argovian white marl. The vineyard here rises up to 300 metres, with an ideal southeast facing position. Up-the-slope, where additional broken limestone debris can be found lies the best lieu-dit of Meursault - Perrières Dessous. Interesting to note that, prior to the implementation of Appellation contrôlée in 1930, the best white wine of Blagny was actually not part of Meursault. Despite, the glory days of Meursault reds are long gone, you can still find some premier cru Blagny rouge from Domaine Vincent Leflaive or those made by Thierry Matrot (or, Joseph Matrot).

Guy Roulot -
"The glory of French wine lies of their prize for distinction", said Matt Kramer in his book - making sense of Burgundy. It was through such long-standing delight in differences and an acceptance of ambiguity. The French has become the master of terroir, where their devotion for terroir has inspired the generation of wine lover and the discovery of great vineyards such as Romanée-Conti or Montrachet. At the same token, one only require to try the two Meursualt premier crus and five of the village lieu-dits of Domaine Guy Roulot to discover the existence of the true terroir.

Despite five generations of Roulot in Meursault, it was Jean-Marc Roulot's grand-father, the late Paul Roulot began to switch his family business from distiller to grape-grower. Paul Roulot started to acquire land, which he bought the first village lieu-dit of Meix-Chavaux after the first World War. When Paul's son, Guy Roulot took over the business, more vineyards were purchased. Guy through marrying a Coche (Madame Genevière Roulot was the cousin of Georges Coche, father of Jean-François Coche-Dury) where he inherited the Meursault Tillets, Auxey-Duresses Les Duresses and the Monthélie and the Bourgogne Aligoté. Meursault Luchet and Tessons were also acquired in the 1950s, and more Luchets in 1975. He subsequently share a parcel of Perrières with his good friend, Pierre Matrot. Guy Roulot was among the very first to vinify and bottled all his cuvée separately and not just the primer cru, but the village lieu-dit such as Luchets, Tessons, Tillets...etc.

Guy Roulot tragically died in 1982 at the age of fifty-three. His immediate successor was his son, Jean-Marc Roulot. At that time, the twenty-seven-year-old Jean-Marc was more interested in his classical actor-career. Madame Roulot had no choice but to seek an outsider to continue the family business. Through the introduction of Jacques Seysses of Domaine Dujac, Ted Lemon (current proprietor/winemaker of Littorai), an American and former apprentice of Seysses was brought in and handled the winemaking between 1983-84. The departure of Lemon was later replaced by Roulot's cousin Frank Grux, who continued to make wine for Roulot for the next four years before joining Olivier Leflaive Frères. Finally in October 1988, Jean-Marc Roulot decided to return to Meursault and since, he has expanded the domaine further into Monthélie.

Since Jean-Marc Roulot has taken over the controlled of his family operation. He has slowly moving his family 10.2 hectares of vineyards towards organic farming. He believed, by respecting the micro-organisms in his vineyard will help to develop a better root system which will than take on different element from various layers of sub-soil and the mother rock. The resulting wine will express more precisely on their origin. In the cuverie, Roulot's job was to enable to further enhance the unique personality of each wine. Fermentations take place in wood, and generally only 20-30 per cent new, mainly from Allier. Only indigenous yeast are used. Roulot is not a great believer of bâtonnage. To him, "by creating richness, you will result heaviness in wine, which you will than loses the elegance and purity". "Aromatic, purity, balance and elegance is what I strive to achieve in my wine", said Roulot.

Sugar versus Acid

2007-05-26T04:02:00.000-07:00

The recent turbulence in Parker's Wine Advocate with two of his key staff critics, Pierre Antoine Rovani and Daniel Thomases (responsible for reviewing Italian wine) leaving the joint shows that we are entering into a new phase of wine critic world. Previously the one-man show that led by Robert Parker, along with Stephen Tanzer is slowly losing their dominant role, giving way to those newly surfaced web-based newsletter like Jancis Robinson www.jancisrobinson.com, Allen Meadows' www.burghound.com and Antonio Galloni's www.piedmontreport.com. As the market evolved, consumer has turned more sophisticated, the previous mono-voice can no longer ease the hunger of the current demand. Moreover, having just one man to cover all the review of the entirely wine world is highly questionable. The ability aside, each wine region has their own distinct style and culture, without the in depth understanding of those aspects. How could one determine the true greatness?

Previously, Parker has already been questioned with his single-minded pursuit in all wines and one of the most noticeable event that he was simply refused by the burgundian to reviews their wines. The recent raise of such specialist like Allen Meadow's www.burghound.com, Antonio Galloni's www.piedmontreport.com has clearly indicated that the market seek for diversity and only specialist, the true value can than delivered.

In May 2005, Stephen Tanzer introduced his full time assistant, Josh Raynolds to deal with his overloaded situation. Despite Parker was among the earliest to hire an assistance. However, unlike Parker (who rely solely on Pierre-Antoine Rovani) Tanzers' International Wine Cellar has in the past invited various guest contributors like Daniel Thomases (Italy), Dr. David Schildknecht (Germany), Jeremy Oliver (Australia) and today, those areas continue to be reviewed by new commers such as Joel B Payne (Germany), Peter Moser (Austria), Ian D'Agata (Italy) and Tanzer's right hand man, Josph Raynolds, whom is responsible the tasting report on Australia, Champagne, Chile, Oregon, dry wine from Portugal and Rhône.

In comparision to the diversity provided by Tanzer's International Wine Cellar, Parker with his clone-like palate of Rovani not only did not help to resolve the awkward situation. Like the faith of Parker, he too has constantly been criticized in his reviews on burgundy by the burgundian themselves.

Siding on his boss, Parker's philosophise that, all great wine should be harvested from physiologically ripe grape that the ripeness should not rely on potential sugar level but rather the ripeness from the skin. The so-call extra "hang-time", or prolong-harvest is preferable, which often resulting wine with confiture, sur-maturité element. When one of his most celebrated winemaker, Madame Leroy was among the very first to harvest her precious, tiny production of 2002. Rovani was criticized for having contradicted on his early belief for late-harvest-Burgundy concept.

In 2003 vintage, Rovani being the first to jump on the bandwagon, declaring the 2003 white burgundy for an average to good vintage was disagreed by many burgundian. His reason given, beside this is an acid-deficient year, many vignerons in fear of making overripe, fat, tropical style of Chardonnay, which is more in common with Californian Chardonnay rather than classic white Burgundy. Vignerons have opt to either picked the fruit too early or have been judiciously added tartaric acid into their must in order to retain their "authentic" elegance and finesse. According to Rovanni, it was through such fear of making atypical white burgundy. Burgundian has fail to captitalize the potentially attractive, immense delicious vintage. He also added: those who abandon the use of bâtonnage (lees stirring), which he claimed to be a traditional practice of burgundy, has exchanged fleshiness for freshness. He critized many 2003 white lack depth, flesh and ripeness. He also pointed out numerous of 2003 reds being too tannic due primarily from hydric stress fruit (alcohol outraced the phenolic ripeness) and overly acidified. To support his statement, he drawn quote from legendary, late Henri Jayer remarked:"If it tastes too tannic then it is too tannic." Also, Michel Lafarge previous stated, "acidity is a false problem in burgundy and with pinot noir in general. People seem obsessed with it, but they are wrong. Our wines do not age on acid and never have...we have faith in the terroir and therefore we do not acidify."

First of all, I do not agree that white burgundy has anything in common with Californian Chardonnay (besides, both are made from Chardonnay grape). That not being say that I disregard Californian Chardonnay or undermind their quality. In fact, I enjoy the juicy, immensely ripe, attractively textured, layers, mouth-coating richness of Californian Chard. Producers such as Arcadian, Au Bon Climat, Aubert, DuMol (Chloe or Isobel), Kongsgaard, David Ramey (with his Hyde Vineyard) in some cool vintages such as 2002. You can even get a trace of white burgundy minerality and elegance. There is no question that 2003 white burgundy achieved an unusual ripeness and alcohol that seemingly recall those of Californian Chard. However, underneath those sweetness and sex-appeal textured. Any experienced burgundy drinker could still spot the underlying material (liveliness, clarity, balance...) and the richness without weight palate that are unmatched by any chardonnay made outside the golden slopes.

Coming back to acidity and bâtonnage.I agree, acidity is not the sole contribution for wine aging and neither is alcohol, glycerol (which obsessed by Parker's team), sugar was the answers to the wine best kept secret. To me, the answer lie on the balance of each component.When mother nature failed to deliver those balance. Intervention like acidification is necessary. Like in the case of 2003 burgundy, where the grape lack natural acidity. Those 2003 high achievers under Rovani reviewed carry out partial acidification are Jean-Pierre de Smet of L'Arlot, Pascal Lachaux of Robert Arnoux, Claire Forestier of Bertagna, Bernard Dugat of Dugat-py, Vincent Girardin, David Croix of Camille Giroud, Robert Groffier, Anne Gros, Jean-Nicolas Méo of Méo-Camuzet, Christophe Roumier of Georges Roumier, François Millet of Comte de Vogüé. According to Hubert Lignier and Bernard Gros of Gros Frère et Soeur that acidification was necessary as the pHs were simply too low to ensure a clean fermentation environment. For most part, it was more a vinification correction rather than trying to alter the wine character (u can refer to Allen Meadows' burghound issue 17 for the details report). I would also like to point out that, despite the truth that Henri Jayer dislike hard tannin, which explains why he practiced macération préfermentaire (prefermentation maceration) and believed in 100% destalk. However, in his interviewed with Bernard Burtschy of www.wine-in-france.com he also stated that, his preference on riper fruit style has nothing to do with sur-maturité, over-ripe wine. He critized those wines to be overly concentrated that lacked definition and terroir. Interestingly, Jayer also happen to think that the biggest bullshit in the viticultural world is biodynamic farming, and Lalou Bize-Leroy of Domaine Leroy happen to be among the few burgundian that adopted such practiced.

bâtonnage, a widely practiced technique aimed to enrich the flavor and texture of the wine (or must) during barrel aging by stirring the lees. Before the arrival of random oxidation that plagued many classical white burgundy vintages like 1992, 1996, with prematurely oxidized of both the color and the fruit of the wine. Many burgundian were routinely carrying out such practice in lighter vintages, especially when the lees was in good health. However, today, such practice was viewed as the root for the caused of random oxidation due to the early introduction of oxygen to their must (fermented grape juice). Lees stirred also liftoff CO2, which has the natural protecting effect on oxygen. More and more white burgundy producers have opted out of such practice which has nothing to do with what was suggested by Rovani.

The new Wine Advocate empire will be consisting of David Schildknecht (previously handle Tanzer's IWC Austria wine reviews) who replace Rovani as Parker new fulltime assistant. The author of Piedmont report, Antonio Galloni has taken-over Thomases role on Italian wine. In addition to those two guys, Dr. J Miller, Parker's longtime friend and tasting partner, will be in-charge of wine region such as Australia, Spain and Portugal, Washington State/Oregon and South Africa; Mark Squires, Parker's web's forum chairperson will be responsible for dry wines from Oporto. Parker also disclosed that he will be appointed a foreign "critic-at-large" to provide an alternate point of view outside his American team in order to give his reader a better diversity and expertise coverage. Many speculate that, the person he referred for the job is his fellow French-buddy, Michel Bettane of France?

Dr. David Schildknecht, which will be taking on the responsibility of what left by Rovani on future burgundy review. Interestingly, Dr. Schildknecht has already have his debut voice on Burgundy in Jancis' forum http://www.jancisrobinson.com/articles/yourturn050913_2, where he go on and provide his version of terroir concept. When the discussion entering into whether the terroir or human that dictate the wine style. A famous burgundy grand cru was brought into debate. Bonnes-Mares, an unique grand cru that lies on the both communes of Chambolle-Musigny and Morey St.-Denis. His opponent, Jason Palma suggested to separate the grand cru into the Chambolle-sector and Morey-sector since both communes have their own distinctiveness. Dr. Schildknecht however question that, the differences from Chambolle or Morey's Bonnes-Mares have more to do with the producers rather than the piece of earth. In addition, by answering to his challenge, he gave his opponent a brief background on the Bonnes-Mares, which was predominantly occupied in the village of Chambolle-Musigny. The 3.74-acre portion of Bonnes-Mares that sits on the Morey-St.-Denis side was said to be owned by Mommessin of Clos de Tart and Louis Jadot. Since Mommessin did not make any Bonnes-Mares, but instead included his Bonnes-Mares' fruit to their Clos de Tart and Louis Jadot also added his Morey portion of Bonnes-Mares to his Chambolle side. There are no actual Morey's Bonnes-Mares to put on test to compare their differences within the two communes.

My research however show the following. The Bonnes-Mares in Morey side was owned majorly by Bernard Clair, with 0.7 acres owned by Mommessin (bought by Joanny Mommessin in 1932), which has in the past, part of their monopole Clos de Tart vineyard. In theory, Mommessin is allow to declare this parcel as Bonnes-Mares, but, they have since drawn an agreement with INAO to permit the Bonnes-Mares parcel to be included in their Clos de Tart blend without having to declassify the entire lot. Bernard Clair of Marsannay, also father of Bruno Clair has previously sold 0.8 acres to Louis Jadot and Jadot also purchased the parcel of Bonnes-Mares that was previously owned by Madame Veuve Joseph Clair. Bruno Clair has been leasing his remaining holding of Bonnes-Mares to his neighbor, Domaine Fougeray de Beauclair, which today, they produced the only Bonnes-Mares that came entirely from the Morey side.

P.S. To Jason Palma, you will be pleased to know that, there are actually a Bonnes-Mares made entirely from Morey's side. And to Hugo Rose MW, for me, to touch on the subject on terroir, human influence is inevitable and the case in burgundy, those man-made influence are guided with culture and history in mind. Not self expression or personal ego.

The departure of Henri Jayer

2007-05-26T03:59:00.001-07:00

Today, I bring to you one sad news. My most admired burgundy winemaker at all time, Henri Jayer has passed away in early this week after a long battling with prostate cancer. Jayer is a great technician and has previously credit for his work in resurrected the Vosne-Romanée Clos-Parentoux vineyard. Jayer is also a great mentor to such newly emerging star producers such as , Jean-Nicolas MÉO, Jean-Marie FOURRIER and his nephew, Emmanuel ROUGET. His influence to the new generation burgudian winemaker is immense. His winemaking méthode; 100% destemmed, a week long maceration à froid (cold soak), 100% new oak (only from trançois), no filtration and bottle by hand are till today continue to inspired many young generation burgundian winemaker to try to emulate his approach.

I have never tasted a better, more thrilling Echézeaux than those from Jayer. Regardless is Georges Jayer or his own bottling (both from different lieu-dit of Echézeaux, with George's parcel called "Les Treux" and Henri Jayer parcel "Cruaux"), all are among the most special burgundy I have the privilege to experience in my life. Jayer's Echézeauxs are among the most massive (apart from Jayer, Echézeaux rarely associated with the world "massive") and intense I have encountered. The hallmark of Jayer dense color, which derive from the cold maceration in addition to the early new oak (100% new oak for aging) toastiness are some of the distinctive featured from Jayer's wine. However, despite the 100% new oak treatment, Jayer's wines, which is sourced from fruits of extreme low-yield and old vine vineyards are capable of withstanding the amount of new oak. In fact, once you get over those "vanillasation", the purity of the fruit emerged, along with the well-spined, energized palate. I simply can't think of many guys in Burgundy who is capable of pulling out such amazing "juice". He is simply a man of his own craft.

I've recently been blinded a bottle of straight Nuits-Saint-Georges 1996. The youthfulness (in both color and palate), combined the high level of new oak was unmistakably from the great master. What's special about Jayer's wine is, beside those velvety, concentration. There is this pristine, flawless sense, which Jayer pride himself and often emphasized the significant of cellar sanitation. "You never get prematurely brown color from my wine," said Jayer. "There are too many sloppy élevage around. Those cause of prematurely oxidation were either due to the fruit was not completely ripe or there has been bad hygiene in the cellar".

The departure of Henri Jayer will be long missed. We can only continue to admired his work when the next opportunity his wine is uncorked. However, for whatever is left from the market. His prized wine like Echézeaux, Cros-Parentoux, Les Brûlees, Richebourg are far too expensive to reach for an average income person (like myself). Hopefully, the following offerings from his protégé will give you a gleam of this great master. (Sept 06)

Bordeaux 2000

2007-05-26T03:26:00.000-07:00

Recently, I was asked by a customer to host a tasting of Bordeaux 2000, in which, he will supply all the top achievers from this millennial vintage. Last night, the first half of this tasting took place in one of my favorite Chinese Restaurant - Golden Palace. Due the number of wines, it has already been pre-decided to split the tasting into two sessions with the first part featuring wines from the Médoc. Two Châteaus from each commune were chosen for our assessment.

Before I go on with my impression of this vintage, let's look at the following background of this vintage.

From start, the millennial vintage of 2000 is already destined to be a very special vintage. Like the millennium bug, it will continue to be the talking point for many years to come. One interesting observation from Bordeaux history, almost every alternate decade produces a great year. Like 1950, an excellent year for the right bank; 1970, great Latour, Lynch-Bages, Ducru-Beaucailou (the best since 61), Palmer, Pétrus (my favorite and greatest Pétrus tasted), Trotanoy, Figeac; 1990 (exceptional year for both side of the river), and now, the consecutive run of year 2000.

From the beginning, 2000 vintage was never shaped to be a great vintage. Till these days, when Bordelais was asked about this magical year. They would never have thought that it will turnout to be this good. Many refer this as a miracle year!

First of all, the warm and wet spring had led to one of the worst outbreak of mildew in the region. It was reportedly as the worse outbreak of mildew since the mid-50s. One disaster followed by another with heat wave in mid-June and the overcast weather in July that failed to warm up the weather. It looks to be another mediocre vintage by many Château proprietors.

However, the weather miraculously warm up in late July due to a huge high pressure system stalled over much of the Europe, with warm temperature that lasted for the next two months and grape began to gain in sugar through photosynthesis, shading the excess water, thickening the skins (due to lack of moisture). The same hot and dry months however caused some heat-stress in hill spots and well-drained vineyard, with many vines showing signs of hydric stress. It was especially serious with gravelly and sandy soil of Pomerol and St.-Emilion. Ironically, the less ideal, water-retentive soils of clay and chalk were spared from such drought, producing none of those exotic, roasted aromas and high-tone fruits found in many wines of the right bank. The hot weather continued to last the entire September, which further raise the sugar and thicken the grape skin. Merlot was harvest in dry weather of mid-September, during which, rain pour between September 29 through October 1. Many Bordelais started bringing in their Cabernets in the next 10 days before the major rain fell on October 11.

2000 wines are marked by deep color (due to the relative high skin to juice ratio) and high alcohol (result from the high sugar contained). The best 2000 wines are among the most concentrated with record level of polyhenols that will ensure a very long-lived ahead. The acidity was however low for 2000, which was evident in many Merlot-based wine that generally lack the malic acidity. The later-ripening Cabernet Sauvignon is said to be the best achiever in this vintage, with sounding materials and high tannin content. To many observers, 2000 is a Médoc year, with St.-Julien, Pauillac and Margaux leading the way, making many outstanding wines. Right bank of Pomerol and St.-Emilion was however a mixed bag, with numerous of wines showing jammy fruit that were clearly made from dehydrated grape. Only those later-ripening, water-retentive soils were managed to concentrate their fruit through real phenolic ripening (as oppose for dehydration) and produces interesting wine for this millennial vintage.

My impression of 2000 Bordeaux somehow look to be a déjà vu vintage of 2005. There were many similar events that occurred in both 2000 & 2005. First of all, both vintages are marked by drought growing condition (perhaps less serious like 2005 and nothing compared to the destructive heat wave of 2003); Both vintages' Merlot has exceeding in quality with record high alcohol; Both vintages share the similar characteristics of deep color, rich and powerful palate, with huge tannin and underlying of acidity. Those are immensely attractive wines, yet remained classic long-lived vintage due to it's sound structured and tannin profile.

My first pair of Châteaus were Ducru Beaucaillou & Léoville-Poyferre 2000. It has become a norm for me to begin my Bordeaux tasting with wine of St.-Julien. St.-Julien represents the most elegant, aromatically pure, details and crisp acidity of all Bordeaux. Indeed, the Ducru under the hand of Francois-Xavier Borie was much similar to the style that was portrayed by the late Jean-Eugène Borie. Distinctively pure, elegant and symmetrically balance. Comparing the recent Ducru (by Bruno Borie) with 2000, is like comparing Maria Sharapova with Serena Williams in a tennis court. 2000 Ducru was so St.-Julien terrior-like, much like my other favorite St.-Julien - Gruaud-Larose. Pure red currant, red berries, with touch of Vosne-Romanee's spices. Ripe yet linear, very stylish, with pronounced mineral and burgundy-like sap. Exceptional balance and completely weightless. One of my best wine of the night. 2000 Léoville-Poyferre look more alien for wine of St.-Julien. Clearly much riper, denser with more seamless palate with almost sweet lushness. Less transparency like Ducru, equally, the details are well buried by the sweet oak (80% of new oak was used for aging). Despite attractive and coming across as more modern expression. It lacked personality and the dry tannin finish seem to be the result of fruit suffering from dehydration. The pair of Pauillac - Pichon Lalande & Pichon Baron were perhaps the weaker-link of all. Pichon Lalande (recently sold to a famous fashion house, Hermes) look to be in it's most awkward stage with fruitless under the relatively tough tannin frame. It also worry me with the relatively menthol, herbal like nose. However, the wine was silkily balance and quite pure without the intrusive new oak character. In the contrary, Pichon Baron has more cosmetic new oak sweetness. Good Pauillac's cedar nose with black currant. Not a blockbuster, in fact, quite stylish. The ripe slightly fleshy palate, with excellent outline tannin hold the wine quite nicely. In fact, a sexy juice indeed. Cos d'Estournel & Montrose were a better show. The clay-based soil of Cos also show more muscle and power than a more sandy soil of Montrose. Distinctively more earthy, dark fruit and the telltale smokiness of Cos. Quite a firm start, but it quickly give way to a lush, layers and curranty palate. Clearly more volume in this wine than the former pair of Pauillac. What amazed me with this beauty is, besides the lovely, velvety palate, there is this lift from the underpinned acidity that is keeping the wine so fresh and vibrant that, for once, I thought I was tasting the 2005. Montrose is another lovely effort, despite not being as masculine or bright as Cos. Showing more black currant, cassis, in a suave and lush palate. The gentle and fine palate almost reminiscent of burgundy. I particularly enjoy the precise and persistent palate of black raspberry and cassis fruits. The flight of Palmer & Château Margaux were among the highlight of the night. Palmer 2000 is all about finesse, subtlety and grace. This is not a wine for people who seek for power, richness and extract. Framboise, violet nose, yet is pure and pristine. Very fine and silk-like palate that nothing is instructive or over the edge. It has the similar transparency as Ducru, but perhaps denser and firmer.The will buffered acidity also make the wine tasted more chewy and at the same time, offer a more penetrating palate. This is a style of wine that is largely under-appreciated these days, which in my opinion, truly bestow what Bordeaux is all about. What can I say about Château Margaux? Clearly, the most aromatically complex wine of all. Almost Musigny-like haunting flavor of black and red fruits, cedar, leather, beef-stock, soy and mineral. Complex yet subtly sophisticated. On the palate, it has the sex-appeal denseness and layers palate, yet, is not entirely full-blown, somewhat restrained. Within the textured palate, there is this sense of elegance and refinement. The only Graves served on the nigh was, Haut-Brion and without doubt, the larger-scale, most massive of all. Not entirely in it's full force, despite my best efforts of decanting them 3 hours ahead. Very intense wine, yet remained unyielding at this stage. Good earth and graves' mineral with steel infused black fruit. The tightly-knit frame with well sap and meaty palate almost reminiscent of the sophisticated Pommard made by Comte Armand. This is a wine that I would not touch them for another good ten years. An unusual high percentage of Merlot (51%) was the result of this fine effort.

I can confirm, 2000 is an outstanding year for Bordeaux. My early fear of the over-achieved Merlot that might potentially impart those confiture, roasted, exotic aromas (which was the case in some 2005) were however spared for this flight (at least, not for the left bank). At the same time, I do not find the alcohol to be excessive or potentially threatening to the balancing and delineation of the wine, such as what was descript by Tanzer, with many wines have developed into more exotic, torrefaction, syrup-like fruits that is both chunky and monolithic (perhaps he refer more towards the right-bank). Despite 2000 is more substantial, it was for me, more on-line with 1990 and 1995. The sounding tannin combined ripe and dense palate also seemingly recall those of 2005 (despite, 2005 shown more obvious alcohol and brighter, cooler palate). There is no reason to believe, the exotic, confiture year 2003 has anything to do with the quality of 2000 and equally, 2000 is neither the like of 1996, despite sharing the same tannin frame and equally higher achieved on Cabernets. Many 1996 remained forbiddingly tight and unyielding today.

I hope the above assessment give you some idea on how 2000 Bordeaux has progressed. Before this tasting, many people told me that 2000 Bordeaux was impossible to taste. Look what has eventually turnout. My piece of advice is, don't always believe what you read or are told. Personal experience is the ultimate answer to your quest in the mystery of the wine world. Till than, see u next time.

My Favorite Winemaker Series - Comte Georges de Vogüé

2007-05-26T03:24:00.000-07:00

Soon after you passed through and beautiful site of Château Clos-de-Vouegot from national route of 74 (direction Dijon), you make a left turn, you will arrive at the "neat and tidy" town of Chambolle Musigny. I am always fond of having my petit déjeuner in the cafè next to Freddy Mugnier's Château de Chambolle-Musigny before I begin my day's long tasting. There is this sense of peacefulness that drawn me into this small town and the air is always smell so pure and fresh. Off course, my usual double Éspresso always taste good here (not illy, but equally as good if not, better).

Anyone who is experienced in buying burgundy know that, the most expensive village cru come from the commune of Chambolle-Musigny. That in someway signify the high standard in both the quality of the wine and it's producers. There are a total of two grand crus - Le Musigny and Bonnes-Mares (co-share with Morey-Saint-Denis) and twelty-four premier crus. Among the most noticeable premier crus are obviously, Les Amoureuses (consider and sell like grand cru), Les Fuées, Les Sentiers, Les Charmes, Aux Combottes, La Combe d'Orveau, Les Feusselottes, Les Gruenchers...etc.

In general, the soil here is less fertile and predominantly marked by limestone as oppose to clay. However, the two grand crus, which is set apart from each other at the extreme end consist a higher percentage of clay. Since the soils are more pebbly in most of the area (mostly pebble-rich Bathonian limestone), the wines are generally very elegant and delicate. For me, wines from both Chambolle-Musigny and Vosne-Romanée share the most captivating nose of all Côte d'Or. Perhaps less spicy than Vosne, but definitely cooler pitch and more mineral nuance. Chambolle might not come across as rich or velvety like Vosne, but it certainly posed the same sensuousness, with more noticeable backbone and better transparency in fruit.

For me, the "Three Kings" of Chambolle-Musigny are, Christopher Roumier of Domaine Georges Roumier, Freddy Mugnier of Domaine Jacques-Frédéric Mugnier and Domaine Comte Georges de Vogüé. Despite all three have their own interpretation on how a great Chambolle-Musigny should be. However, all are unmistakably wine of this distinctive goût de terroir. Among the three, Freddy Mugnier represents the purest with perhaps the lighter and the most elegant wine of all. My favorite wine of all Mugnier is his premier cru Les Fuées, which lies on the border of grand cru Bonnes-Mares vineyard. Year-in-year-out, Les Fuées is among the most consistent wine of his portfolio and it seems to take on his neighbour Bonnes-Mares' firmess and masculine personality, with more obvious backbone than say, his Amoureuses. Christopher Roumier's wines are often marked by the fruitiness from the prefermentation maceration and the partial stalk-included practiced also make them highly recognizable in blind. Roumier's wine is unquestionably the richer most concentrated. My favorite Roumier Chambolle, is his premier cru, Les Cras. Roumier parcel of Les Cras is coming from a more marly soil. Oozing with attractive sweet pinot fruit without compromising it elegance and purity. Since his "close to a thousand dollar" bottle of Le Musigny is too far for my reach and nearly as impossible to find (only 50 or so cases made). I could only adore, and imagine how that luxury juice taste like.

Estate manager, Jean-Luc Pépin and winemaker François Millet of Domaine Comte Georges de Vogüé complement each other well. Jena-Luc being an experiences sales & marketing person and having previously held the same position with Domaine Drouhin. He is undoubtedly capable for his job and largely responsible for the ambassadorship for this great historical estate. Millet on the other hand, despite his subtle personality (man of few word) has credit for his succession of former régisseur Alain Roumier (uncle of Christophe Roumier). Towards the end of Alain Roumier régime (between 1970-to mid 80s), de Vogüé was reportedly slipping in quality, making uninspiring wine despite their significant vineyard holding in this area. For whatever reason for this dark periods of de Vogüé. Today, Millet has completely restored the past high standard and resurrected the glory that once lost.

The great Henri Jayer once said,"when u taste my Echézeaux, the wine must be unmistakably Echézeaux, but equally, it must be unmistakably Henri Jayer". This is the case with de Vogüé. There is no doubt that de Vogüé has a strong signature in his wine and with some training, one could possibly identifying them in blind. You can always detect the unmistakable succulently sweetness with almost confectionery-like sensuousness. On the palate, they often display satin silkiness and gentleness over the gorgeously textured palate. Equally, there are good underpinned acidity to keep it detailed and vibrancy. The exclusive balance is unparallel and each cru posed a clear definition of their sites.

My meeting with Miller has always been filled with such anxiousness and excitement. First of all, Miller is very precise about his comment and almost, always, you can expect an answer when asked about the vinification, vintages, and his wines. He is also probably the most impressive wine descriptor I know in Burgundy. Very poetical yet accurate. He called the 2005 vintage, the "sorbet year". It has the concentration of sweetness and sensuousness, combined with energy, precision. He considers 2004 reds to be pure and minerally, especially after the malolactic fermentation, where the mineral component has becoming more evident. He once told me, no one know how exactly the acidity behave in the wine before the malolactic fermentation and each vintage, can be characterized by different mood of acidity. Example, he consider vintages such as 2001 as marked by outline acidity (contradict with it's fruits), where 2004, the acidity is more mineral. 1999 on the other hand, came across with more backbone acidity. When I met him in April this year, he continued to stood by his earlier belief that, 2003 will potentially be as great as some of the legendary burgundy vintage like 1947, which was also marked by heat. He agreed that, despite 2003 reds' low acidity (there is literary no malic acid and tartaric was largely consumed by the vine due to summer's heat), there is no "stewed" or pruney character found in his wine, which often the case with heat-stressed vintage. "In fact, our vine suffer no blockage of maturity during the drought growing condition and were all healthy, with good phenolic ripeness", said Miller. Despite De Vogüé and along with Christophe Roumier 2003 were among the most satisfying wines I have tasted from this unusual year. My early tasting from the barrel suggests that the fruit aromas are leaning towards more confiture with noticeable alcohol. Despite the subsequent tasting from the bottle shown better freshness and delineation. However, this is undeniable coming from a very ripe year, where their site uniqueness are largely overwhelm by the vintage personality. Another word, 2003 is a wine lover vintage, not a burgundy-lover year.

Jean-Marie FOURRIER

2007-05-26T03:22:00.000-07:00

Jean-Marie FOURRIER these days besides his day-to-day duty as the winemaker for the renowned, Domaine FOURRIER. He has an additional responsibility as the father of the newly birth FOURRIER junior.

Jean-Marie has a lot to be envied by others. First of all, his family is one of the most important grape grower in the famous Gevrey-Chambertin village. He is also amongst the few who was trained by the great, Henri Jayer - The true maestro of Burgundy. Despite Jean-Marie is highly fluent with all the modern winemaking gadget during his early apprentischip in Domaine Drouhin of Oregon. He has however adopted the tradition winemaking when he returns to takeover the winemaking responsibility from his father, Jean-Claude FOURRIER.

My visit to Domaine FOURRIER has always prove to be particularly fruitful, especially in the context of learning more about winemaking and terroir of Burgundy. Jean-Marie loves to share his winemaking philosophy and is among the few I have known who can convey the message well (not entirely too technical yet still detailed). I started sharing my enthusiasm of 1998 Red burgundy, which has finally gotten over the cloud of the pass formidable personality. Jean-Marie agreed with my observation and is glad that, this vintage finally reclaimed it status. 1998 vintage was particulary marked by trouble - frost, hail (some area), oidium, rot (grey rot) were threatening the vintage quality. However, the extended harvest enables the grape to reach it full maturity. In the cellar, it was equally challenging. The "must" appeared to consume the sulphur rapidly during the élevage. Many panic vignerons in fear of their wine without adequate SO2 to protect against oxygent judiciously added more sulphur. It was believed through such act, the 1998 reds remained at "reductive" stage for many years. Adding to this belief, Jean-Marie also told me that, he began to question that, besides occassionally the OD (overdosed of sulphur) situation in the cuverie, the early sulphur treatment carry-out in the vineyard to treat oidium where the same sulphur can be inherited by the grape and later causes the wines to become reductive. The same happened with some of the 2004s, according to FOURRIER. To prevent such problem, early sulphur combating against oidium is essential to avoid where the situation escalate and more sulphur are needed to control the spread.

FOURRIER is meticulous about every stages of élevage. When I ask him what causes the random oxidation, his views was, careless élevage. He quoted that, "you never find a bottle of Jayer's wine of such problem". In fact, one of my personal clue to taste Jayer's wine in blind is their impeccable, bright and healthy color (often shown more youthfulness than the age suggest) combined lively palate and the unmistakable new wood component. "One should never rush their élevage", said FOURRIER. Besides, all our wines are aged under the atmosphere of carbon dioxide, which naturally protect against oxygen (no addition of sulphur is required), we also carry two set of barrels (only 20% new) to enable us to have the leisure to lengthen the ageing if required. After a full 18 months in barrel, we often bottle them late in April (when the weather turning warm), which FOURRIER stressed that, "it is through my experience that, the aromatic quality in wine is better preserve under warmer atmosphere during bottling. In the contrary, when wine is bottled under cool environment, very often, the wine aromatic is being trapped". He also chose to rack his wine (only once, prior to bottling) in the similar warm atmosphere to give a slight oxidation, to prevent the wine being too reductive due to the early aging in CO2.

Besides his highly accomplished cellar work, to him "quality, is 80% from the vineyard", said FOURRIER. To any, who has the issue of what Burgundy called, terroir, or what Matt Kramer would called the "somewhere-ness" in wine. FOURRIER's wines could well demonstrate this phenomenon. All his wines are very distinctive, despite a certain uniform style of FOURRIER could be trace. You can often expect that almost Vosne-Romanée like spices, with telltale Gevrey's earth. Firm and often quite reserve (which decanting is highly recommended), however, once you passed that, the intensity will begin to build on your palate. His wine is both detail and linear, and very stylish. Once you have tasted his vineyard from Combe-de-Lavaux sector, an additional mineral component will set in. His Gevery 1er Cru Les Goulots, Combe Aux Moines and Clos St.-Jacques generally tasted cooler, better sap and more pronounce of minerality, compared to his Les Cherbaudes (underneath Mazis Chambertin) and village lieu-dit, Aux Echézeaux.

Kilikanoon

2007-05-26T03:18:00.000-07:00

I just read a shocking news that, Len Evans, known by many as the "godfather of Australian Wine" has died of heart attack on August 17, 2006 at the age of 75. Like Robert Mondavi of California, Evens vision and his tireless in promoting Australian wine around the World is highly regarded and respected by his peers and wine enthusiast around the World. His departure is clearly a great lost for the Australian wine industry and those who are inspired by his passion and love for Australian wine. He will be missed by those who fortunately to make acquaintance with this giant.

I meet Kevin Mitchell, winemaker & director of Kilikanoon early this week. This emerging star producer comes from Clare Valley, northern-most of South Australia, where previously, I had spent some wonderful time staying in the beautiful Clare Country Club.

Clare Valley is widely known for their outstanding dry Riesling made famous by producers such as Jeff Grosset -Polish Hill and Watervale, Petaluma - Hanlin Hill and Knappstein. Despite, equally, there are many red wine production coming from this supposedly cool zone (quite contrast on day and night temperature) of South Australia. Many are either struggle to get their fruit ripe, with its distinctive herbal, bell pepper or eucalyptus tone, or they simply lack concentration. Despite that, I continue to admire wine made by Tony Bradly of Wendouree, Tim Adams with its' The Aberfeldy, Jim Barry with its' The Armagh, however, those remained to be small minority.

The recent surfaced producers such as Stephanie Toole of Mount Horrocks, Lengs and Cooter and now, Kilikanoon, has begun to capture consumer attention that Clare Valley can also produce equally sounding reds.

Winemaker Kevin Mitchell purchased the Kilikanoon property in 1997 after leaving wine giant, Hardy. Mitchell's family members are all associated with wine production. Both of his parents are grape grower in Clare Valley; his uncle, Andrew Mitchell, owned the Mitchell Estate in Sevenhill; his brother-in-law make wine in Barossa Valley Estate. Mitchell's life is destined to be associated with wine. After his early apprenticeship at D'Arenberg in 1993, he worked for Kingston Estate, Orlando and others. He then left for California in 1996, and spent a year working in both Kendall Jackson in Sonoma and Willamette Valley vineyard in Oregon.

Mitchell's winemaking secret lies on his old vine and to his belief, Leasingham, where most of his Clare Valley vineyards are from, is amongst the finest site that enables thorough ripening of his reds. Besides his Mclaren Vale fruit are out sourced. All his Barossa and Clare vineyards are estate own. He started off making only three wines - Riesling from Mort's Block, Grenache "Prodigal" and a Shiraz. Over the years, it has increase to more than dozen of different labels today. At the bottom value end, you have "The Lackey" shiraz, follow with a series of reds and whites under Killermans Run label. Above that, you have what he would consider a "regional varietal" label, with name such as "Parable" shiraz from McLaren Vale, "Secret Places" shiraz from Barossa Valley and "Covenant" from Clare Valley. He also make a Cabernet Sauvignon under "Blocks Road" and a Grenache called, "Prodigal" and a GSM blend, Medley. His reserve line consists Shiraz "M", which symbolized fruit from McLaren Vale, "Reserve Green" from Barossa Valley and "Oracle" from Clare Valley. Those are highly individualistic wine that Mitchell decided to bottle them separately. Since it first appeared in 1998 vintage, it has consistently been rated among the very best shiraz from Australia. In 2002, Mitchell introduced his top of the pyramid cuvee, Reserve Shiraz and in the near future, a Crème de la Crème called, "Attunga 1865", which is a shiraz sourced primary from an old vineyard believed to be the very first planted shiraz in Clare Valley will be introduce. Don't miss the following great offers. (Aug 06)

Spottswoode

2007-05-26T03:14:00.000-07:00

My knowledge of this beautiful wine goes back to my early days experienced with Californian Wine. Those days, besides the cheap & cheerful Sutter Home White Zinfandel, the easily-spotted E&J Gallo. There is Mondavi, Beaulieu and Christian Brothers representing the opposite quality parameter. However, the real "boutique", blue-chip Californian reds lies on Duckhorn and Spottswoode, which are significantly harder to find in Singapore. Interestingly, I have later handled the wine of Duckhorn, and through Margaret Duckhorn, I was introduced to Mary Novak, proprietor of Spottswoode and a good friend of Duckhorn.

I remember first visit to Spottswoode in their Victorian looking estate in 1996, and that is where I first met Beth Novak Milliken, daughter of Mary and late Dr. Jack Novak. This dynamic and charismatic lady is currently the president of Spottswoode, the driving force behind this superbly made Cabernets producer.

Fewer people I met in life that can truly be honest about their wines and be open about alternate views from the outsider. Beth could well be consider one of those few. Few years ago, I ask Beth if it is possible for her to host me a vertical tasting of Spottswoode for my quest on the ageability of Californian Cabernets. She has generously replied, "Yes, let's taste all the three decades of Spottswoode in your next visit." That year, I arrived with huge enthusiasm and anticipation. She first treated us with her lovely, aromatic, refreshingly crisp Sauvignon Blanc. It has increasingly rare to see Sauvignon Blanc in California at that high level (perhaps, Peter Michael's L'Apres-Midi come close in quality with Spottswoode) since it is less commercially viable to plant Sauvignon these days. Many growers have overtime uproot the previous Sauvignon's vineyard to a higher-priced ask grape such as Merlot or Pinot Noir.

All the bottles were all pre-open or decant and the list of wines includes, Spottswoode 1982 (their debut released), 1985, 1987, 1991, 1994, 1997 and 2001. Along with the tasting is my agent, Ray, which is also a highly respected winemaker from Sonoma, his wife, and a couple who travelled with me this trip. Since over the three decades of making Cabernets, Spottswoode has changed from consultant winemaker, Tony Soter (previously making wine at Araujo, Dalla Vale & Etude) to Pamela Stewart, Mia Klein (still remained as consultant), and currently, the winemaking team is lead by Rosemary Cakebread (since 1997) and her assistance, Jennifer Williams. Any experienced taster can witness the stylistically differences during those various hands.

If you are looking for the current fashion of extract and hyper ripeness in Spottswoode Cabernets? You are likely to be disappointment. In the hands of those ladies, they emphasized finesse over power, balance over extraction. In Spottswoode Cabernets, one can always count on the sense of grace, raciness and purity, despite there is no question that, the current releases of 2001 and 2002, which has more evident of new woods and ripeness. My favorite of the 80s goes to 1987, which was still fresh and no sign of declining. The unusual high percentage of Cabernet France in this vintage, making it's aroma profile seemingly recall those of Cheval Blanc (lavender, blue berries, violet...). Of all 90s, 91 and 94 both reminded me a lot in common with St.-Julien, which it hallmark of purity and mineral component in addition to it drier, more restrained way. 97 is remained to be one of the unusually "flamboyant" year for Spottswoode. However, there is enough materials to hold the lush and profound personality. My initial impression with 2001 was, "have they gone too far to chase Parker's points"? When I put across the question to Beth, she has admittedly say to me that, "Yes, we have perhaps gone a bit further to the style that we like. but, it also proven that, we (spottswoode) is capable to producing those high parker pointer sensation." Beth also added that, the 2001 will turn better balance when it shade away it early "baby-fat".

Thankfully, all those ladies are strong enough to resist the temptation and I am happy to see the return of those underlying acidity and mineral quality in their coming 2002.

Pahlmeyer Merlot

2007-05-26T03:11:00.000-07:00

I knew Jayson Pahlmeyer for nearly a decade. He is a very likable person, so long as you could take his occasion "bluntness" (he can be frightfully frank on his opinion). However, he is a good soul by heart and have very little expectation for others. He enjoy his life and is very willing to share the goodness with his friends and companies.

Jayson is a lawyer by training. After some holiday journey to the French wine country, he has been bitten by the wine bug, and since than, he never looked back. Despite Jayson being not able to recall how often he has told me the same story on how he "smuggled" those Bordeaux clones from University of Bordeaux to California. Each time, I have a good laugh after this repeat tales. It's hilarious to hear his joke when his facial expression was so serious. We will usually adjourn to his mini-theater (he has a small room near the main hall of his house, which features some very expensive audio system and a giant TV) to watch the re-play of the movie, Disclosure, where Michael Douglas seduced Demi Moore with a bottle of Pahlmeyer Chardonnay. You can tell, he is extremely proud about his wine and his achievement. However, there is no sense of pretentiousness or overachievement from this "kiddo".

Jayson success is not without any turbulence. What he once considered the "dream-team" that consists of David Abreu as his vineyard manager, Helen Turley and John Wetlaufer as his winemaker has ended when Turley decided to leave Pahlmeyer after 1999 vintage. Her winemaking role was succeeded by her former assistance, Erin Green. However, the new changes were not so well accepted by the American critics such as Robert Parker and The Wine Spectator. The past glories were not repeated despite Green appeared to have the same quality as Turley (ironical?).

For me, Pahlemyer's wines have never been better after the departure of Turley. Previously, the ultra-ripe Chardonnay, despite it's profound deliciousness, it has often suffered from frightfully low-acid, with color changes rapidly, and wine struggle to get good clarity. It looks as if the wine is directly drawn from the barrel, with it's gross-less still remained in the wine. The reds truly also taste much more interesting and balanced during it's first few years than with age. I particularly found, in warm year like 1997, the wine seem to suffer from overripen, with sweetness coming from dehydrated rather than phenolic ripeness. The often over-charged woods treatment, can make his reds too chocolaty and confiture in taste.

Today, I see healthier color in his Chardonnay, which both Napa & Sonoma (from Ritchie Vineyard) version challenging to be the best each year. His reds have injected the elegance and spine (better preservation of natural acidity) that has not been witnessed previously during Turley's stint. In fact, his Proprietary Red 2002 was recently "upgraded" by a panel of judges, including Robert Parker at the Executive Wine Seminars blind tasting on 2002 Californian reds to 97 points. Pahlmeyer Proprietary Red 2002 was among the higher rated, along with Joseph Phelps "Insignia" (rated 96 points), Chappellet "Signature" (rated 95 points), Etude (rated 94 points), Araujo Eisele Vineyard (rated 94 points) and others on the list like, Chateau Montelena, Caymus Special Select, Colgin "Tychson Hill Vineyard", Verite "La Joie", Peter Michael "Les Pavots"...etc.

I have to agree with Miles (Paul Giamatti) comments of Merlot in "sideways". Many New-World Merlot tasted monotonously similar and hardly inspiring. Most of the Merlot found in the New-World is either planted in the wrong site or simply, wrong weather. Like Pinot Noir, Merlot is equally sensitive to weather & soil (preferred cooler weather and water retentive soils). Pahlemyer's Merlot fruits sourced from three separate vineyard sites: the Moon Vineyard in Carneros, Forman/Abreu Thorvilos Vineyard in Howell Mountain and Abreu's Madrona Ranch above St.-Helena. All are mountainous, cool-site vineyards. I have never tasted a better Merlot in California than Pahlmeyer, this is true if you are looking for similar Merlot coming from the right-bank of Bordeaux (perhaps, from a warmer vintage). It has the seductive ripeness, lusciousness and fullness of the New World's fruit, combined the gracious, silkiness and undertone elegance of the Old. Unlike many Californian Merlot, which often come across more forceful and with the relatively thin-fruit (young vine) amplifying the alcohol, making the wine taste fleshy and fruitless. With Pahlmeyer Merlot, you can always count on it exclusive layer, palate caressing satin smoothness. In addition, the continually evolve, palate-staining sweetness that recalled the same lingering sweetness from a good vintage port in the like of Graham. Wow!

Bordeaux En Primeur 2005 – Part Two

2007-05-26T02:25:00.000-07:00

Parker’s stronghold in Bordeaux continues to be witnessed in many ways. Most of his favorite Bordeaux have gradually raised their prices and we continue to see new faces emerging (especially from the right bank) to exploit this highly lucrative market. As the market matures with consumer becoming more sophisticated, I foresee that in time to come, many of these overhyped, so-called emerging stars with no track records yet dare to charge an arm and a leg for their ‘sensational’ wines will eventually go down in history. The fact is that these cosmetically enhanced wines, like their counterparts in Spain and Australia, will eventually disappoint its customers when they are aged. Many simply do not have the terroir!

I have already observed that for a time, a number of famous classified growths such as Haut-Brion, Lafite once subscribed to the Parker style and tried to produce garagiste-style of wine in the mid and late 90s. Interestingly all have now quietly shifted back once more to the more classical, elegant, and discreet style which emphasizes the exclusive balance and individuality that the true wines of Bordeaux are well known for. The following is an enlightening statement from Pichon-Lalande’s technical director, Thomas Do Chi Nam on “finesse” (as in the opposite of power) –

“The finesse of a wine is that characteristic which provokes the awakening of the senses and the intellect and allows us to perceive its underlying qualities. That which is fine is neither massive nor crude. That which is crude can be beautiful in its simplicity, in its natural state. But finesse, refinement supplement raw beauty.”

St.-Julien
Château Lagrange, 3rd Growth of St.-Julien Very Good
Marcel Ducasse is perhaps the most honest and frank Bordelais I’ve ever met. He began our conversation by telling me, “don’t listen to whatever they tell you out there. Most winemakers are the biggest liars… I like 2005, which to me is a super version of 2002. Both have the similar hallmark of silkiness.” Equally trained by the great master, Émile Peynaud, there are, however, no Michel Rolland thumbprints of sur-maturité nor a brutally rich and over-enthusiasm over new oak. What Ducasse strives to achieve is balance and finesse. In 2005, 43% of the crop made it to the grand vin. He picked his Merlot on September 21, after, Petit Verdot in September 30 and Cabernet Sauvignon in 3rd of October. All harvests completed by October 10. He confided to me that the Merlot grapes were unusually high in alcohol (14.5%) and therefore required Cabernet Sauvignon to restore the balance. His 2005 is almost candied sweet on the nose, featuring dark berries in a rich yet luminousness palate. Considered quite massive for Lagrange, yet the cool palate feel and hidden acidity keep the wine well focused and balanced.

Over our meeting, Ducasse suggested that we taste through the previous vintages. Only 38% of the crop makes it to the grand vin for 2004. More integrated, less awkward and tannic compared to the previous year yet not nearly as rich and ripe as 2005. A very delicate and charming wine, with excellent acidity that displayed more details and obvious structure than 2005. Waft of vanilla wood, 2003 showed more obvious wood-infused element. Very ripe, with lush palate and a trace of dehydrate sweetness. Less sappiness than early examples and came across more alcoholic in the hot finish.

Château Beychevelle, 4th Growth of St.-Julien Good
A tighter and more structured effort lends this wine with somewhat more elegance than the typical 2005. Dark fruits yet well-lifted palate featured more firmness in addition to the telltale 2005’s ripe fruits and silky palate. The fruits were very persistent in a rather atypically textured palate. A strong show from this Château.

Château Gruaud-Larose, 2nd Growth of St.-Julien Very Good
This is one of those wines that require the drinker to come to them. Earth, cedar, smoke were some typical featured from this extremely ageworthy producer. I had the rare privilege to taste their legendary 1945 and 1961, which were not only very much alive, but also extremely youthful and fresh. This vin de garde often requires a good 15-20 years before unveiling its qualities. Their 1986 remained to be backward and formidable per my last tasting experience. The 2005 has an attractive aromatic show featuring cedar, leather and blackberries. Unusually textured and polished in a silky yet precise palate, the well-spined acidity upholds the wine that almost feels weightless despite the wealth of ripe fruits.

Château Langoa-Barton, 3rd Growth of St.-Julien Good
Owned also by Anthony Barton of Léoville-Barton. Dense and extracted with huge tannin in a spicy oak tone. At present, the fruit is not particular shown through under the influenced of tannin, however, it is balance and fresh. A strong showing for a wine generally do not attempt to such level of quality.

Château Léoville-Barton, 2nd Growth of St.-Julien Very Good
Léoville-Barton has been on a role since the 2000 vintage. The 2005 is no exception. More opaque in color with vibrant freshness. Very fine palate yet in a very discreet frame. St.-Julien signature of minerals and pronounced dark fruits which persist throughout the palate. Quite massive and youthfully restrained in the moment. There was a level of energy in this wine not found in the Langoa.

Château Léoville-Poyferré, 2nd Growth of St.-Julien Very Good
Believe it or not, I actually think that the Léoville-Poyferre has outperformed Léoville-Barton this year. It is one of their best efforts I have seen to date from this house since the superb 1990. Equally dense in color (like Barton), but with rather shy nose. On the palate, it turned more profound, with very attractive sweet blackberries as well as traces of cedar and leather. A rare show of concentration and multi-layeredness yet the freshness and acidity were equally sound. There is a good level of purity and minerals hidden in this massive effort.

Château Ducru-Beaucaillou, 2nd Growth of St.-Julien Very Good
Compared to 2003 vintage, the 2005 is less flamboyant. It seems that Bruno-Eugène has taken over successfully from his highly respected father, the late Jean Eugène Borie. This estate is always known for its elegance and refinement. It emphasizes finesse over power, elegance over sheer richness. Balance and grace are what made this property famous. I somehow dislike their 2003, which was atypically powerful and rich, and elegance and balance were compromised. I was happy to see the return to the classical form in 2005, which features brighter fruits, better acid spine and the telltale mineral quality. In spite of the vintage’s richness, the wine was precise and displayed good energy on the palate. After some aeration, the wine shut down quickly and turned more compact, all in all a good sign of long cellaring potentials.

Margaux
Château Margaux, 1st Growth of Margaux Excellent
Administrator of Château Margaux Paul Pontallier considered this to be his finest vintage in his 23-year career in this impeccably run estate. He told me that he had never seen a vintage quite like this. The drought occurred in winter, through spring and summer. However, in spite of the hot and dry growing conditions, there was no scorching heat like in 2003, which threatened to block maturity in the vines. The well-established root system had enabled the vines to adapt to such dry weather. In September, the anticyclone condition which offered cool nights and dry, sunny days had proven to be beneficial and was largely responsible the characteristic of this vintage. “2005 combines power and grace. It has the depth, voluptuous palate, yet, it is equally fresh and harmonious,” said Pontallier. Unlike some of his neighbors, who spoke highly about their Merlot, Pontallier instead credited his Cabernet Sauvignon to keep the balance of his 2005. “There is no doubt that Merlot has reached an unusual height this year (14.5% and above), with great color and power. However, we felt that there was too much alcohol, too heavy, not enough balance and finesse or freshness. Cabernet on the other hand, gives the density and restraint that compliment the more opulent, fleshy character of Merlot… Most of the Merlot batch went into Pavillon Rouge, which includes the plot of Merlot next to the church on gravel soil, which in our opinion, is better balanced and less freakish,” added Pontallier. Later on I tasted Château Margaux’s 2005 Pavillon Rouge, which was an amazing effort. Dense and sexily sweet, with the vintage hallmark of silkiness, yet pure and well harmonized. This is however a bigger-than-normal Pavillon Rouge. Massive! 2005 Margaux is a masterpiece. Early smoked new-wood quality in a relatively closed mood. On the palate, it was subtler than the Pavillon Rouge, and offered dark berries fruit with old vine minerality. Very fine and suave, with more depth and core than the Pavillon. The palate was also broader, with well-spine acidity, creating a rare sensation of great density yet replete with finesse and details. A thrilling juice that kept me going back to my glass.

I have also tasted a wonderful bottle of 1985 Château Margaux with Paul Pontallier and owner, Corinne Mentzelopoulos, over dinner at the beautiful Château. This possessed classic Margaux profoundness, aged complexity as well as sweetness of depth (not sweetness from modern sweet oak). It was both charming and beautifully balanced. There was no sign of deterioration either and in fact, according to Pontallier, this came from a harvest of 60 hectoliters per hectare, which is considered prolific by today’s standard (most serious Chateaus are making between 40-45 hl/ha). Pontallier was pleased by the result and was bewildered that modern Bordelais (and the world of wine in general) are so enamored by smaller, limited yields. This vintage, however, has proven that higher yield can equally produce good results. “Have we all gone too far?” he questioned. He later explained that, the balance in the vineyard is essential to produce consistent healthier, more complete grapes. Do anything excessive and you’ll lose the balance and whatever you add or remove, there would be a chain effect. This theory interestingly echoes what Jean-Marc Roulot told me about preservation of terroir in wines, “To preserve terroir in wine is to avoid excessive practices.”

Château Palmer, 3rd Growth of Margaux Good
Last year, I was highly impressed by 2004 Palmer. And so I entered Palmer’s tasting room with high anticipation. Château Palmer’s new Technical Director, Thomas Duroux was present to receive us. I have previously said that I admired what Duroux had done at Tenuta dell’Ornellaia in Bolgheri. Frankly I came with high expectations for the 2005 Palmer but went away somewhat disappointed. Clearly this estate favors Merlot over Cabernet Sauvignon and there is undeniable upfront attractiveness to its seamless and flamboyant flavors of kirsch, cassis, and liqueur-like fruits. However, I felt that this wine carried the same upfront character of some garagiste with creamy, wood-infused elements. It also came across as lacking focus and precision in its rather fleshy palate form. There was simply not enough spine and acidity. The rather polished and ripe tannin don’t seem to support the overwhelmingly lush palate.

Interestingly, I somehow preferred his second wine, Alter Ego, as I found them to be less extreme, showing better purity and balance in a similar lush, velvety palate. Rated Tanzer’s 89-90

Château d’Issan, 3rd Growth of Margaux Very Good
Having previously hosted a vertical tasting for this Chateau, 2005 is clearly the finest wine I have tasted from this beautiful estate. Current owner Emmanuel Cruse was in his usual cheerful self when we arrived at his tasting room. The wine offered hints of earth and leather on the nose. Very precise palate despite the vintage’s lush personality. Very silky with plenty of sweet, ripe blackberries and raspberries, yet the wine came across pure and well delineated. Jacques Boissenot, the previous partner of Émile Peynaud and consultant oenologist for Chateau Lafite Rothschild, Latour, Margaux and Cos is also the adviser here.

Château Rauzan Ségla, 2nd Growth of Margaux Excellent
Without hesitation, this is clearly the finest effort under Chanel’s empire. Opaque dark in color, with an attractive perfume of cabernet essence of blackcurrant, mint and cedar’s spice. Satin-smooth mouth coating palate conjured immense pleasure and a rich sensation. This vintage is unusually huge for Rauzan Ségla, but the underlying acidity kept both the purity and mineral components. The persistence of flavor of this wine was remarkable. This is another estate who did not credit their “outsized” Merlot, and they declassified the entire lot which was planted in gravel soil. Only Merlot planted in clay soil were added and since the yield was extremely low (39 hl/ha), more press wine and new wood were utilized to uphold density.

Château Malescot St.-Exupéry, 3rd Growth of Margaux Very Good
This is an immensely pleasurable juice with an irresistible candied blackcurrant fruit profile. Hugely concentrated and voluptuously sexy. In spite of the impressive voluminous frame, the wine remained focused and possessed notable minerality and elegance. Produced from a very low yield of 36 hectoliter per hectare with no pressed wine added and aged entirely in new oak.

Château Monbrison, Cru Bourgeois of Margaux Good
A different expression from this vintage, however, I am still impressed by this cru Bourgeois. Less saturated color with a solid core and a more obvious structured frame. Good level of richness and ripeness without compromising the fruit purity. Finished with a sound grip.

Château Lascombes, 2nd Growth of Margaux Good
This property has recently been acquired by the American company, Colony Capital, and has brought in Dr. Alain Raynaud and Michel Rolland to raise the quality. Although this was made in a modern mood with some traceable garagiste’s effect, still, based on the reasonable prices asked last year, this is nonetheless a delicious juice to enjoy in the near term. Profoundly sweet nose with equally generous palate that was soft and lush. Wood-infused blackberries fruit. Very huge and sexy, with reasonable acid/tannin to hold its weight. However, I will not be too cute and hold this wine for too long.

Graves
Château Haut-Brion, 1st Growth of Pessac-Léognan Excellent
We were all surprised and greatly honored to be personally welcomed by the owner, Prince Robert de Luxembourg. Sales and Technical Director, Jean-Philippe Delmas claimed that the year 2005 resembled the weather in 1949 as it produced smaller, concentrated berries under heat and drought condition. They have worked hard in the vineyard to thin the leaf and conducted green harvest to reduce the load and stress of the vine. The resulting wine, according to Delmas, has unusually combined concentration and richness in a solidly built structure. To me 2005 Haut-Brion displayed the hallmark of earth and cigar-box made famous by this property. Dense yet possessed solid core as well as structure. The blackberries intertwined with minerals persisted throughout the palate, with a massive yet not fully expressed, slightly restrained personality. This broad and extremely promising effort has magically combined power and grace. The icy-cool freshness found in the better wines of this vintage gave a weightless feel to this beautifully concentrated Haut-Brion.

Château La Mission-Haut-Brion, Pessac-Léognan Excellent
Equally dense in color with more mint and notes of blackcurrant that actually reminded me of Harlan Estate 2001. Layered, satin-smooth, with brighter, tangier berries on the palate. But the most admirable feature of this beauty is its impeccable balance – of fruit sweetness, acid and tannin. The harmony is so remarkable that one would hardly be able to notice its weight: nothing is excessive and no element of the wine was more pronounced than another. The wine also possessed similar lift of freshness like the many better achievers of this very sound vintage.

Château Tour-Haut-Brion, Pessac-Léognan Good
I am a big fan of this wine which when it was under the leadership of the former owner, Woltner family, was perfectly capable of challenging the very best wines made in Pessac-Léognan (anyone who has tasted their 1975, ’78, ’82 would attest to that). I am not sure if it was intentional or mere poor coincidence but this wine under the new ownership rarely (if ever) replays its past glory and is now the least achieved amongst the ‘Haut-Brion’s. The wine has neither the scale and depth of Haut-Brion’s nor the charm and elegance of La Mission’s. The 2005 is relatively a better show than the previous vintages however. At once more subtle yet obviously tannic, with restrained palate of berries-scented fruit that showed off well buffered acidity. Not particular sweet, yet it still had a good mineral quality and details.

Château Pape-Clément, Pessac-Léognan Good
Someone told me that the famous French actor Gérard Depardieu was in the tasting room just prior to our arrival at this historically significant estate. Apparently the highly prolific proprietor Bernard Magrez has partnered with Depardieu in several wine projects in Bordeaux (St.-Émilion, Prémier Côte), Languedoc, and in Spain (Toro), hiring the famous globetrotting enologist Michel Rolland to oversee those projects. In the tasting room, there must be more than 40 different wines ranging from Bordeaux, to Italy, Spain, Portugal, Uruguay, California and even Morocco! A magnificent display of international wine fair. And the wines? Obviously very international in style. However, the better terroir do thrive under Rolland’s hands and Pape-Clément is one of these few. Sexily sweet with confectionery elements clearly derived from oak. Seamless, pliant palate, with garagiste’s licorice and dark-berries fruit. Very deliciously sweet which is largely attributed to the toasty new wood, if not otherwise from dehydrated sweetness.

Château Smith-Haut-Lafitte, Graves Very Good
Daniel and Florence Cathiard have transformed this estate to become one of the leading producers of Graves. It is also worth mentioning that the World-class spa, Les Sources de Caudalie (I was told that Her Majesty Queen Elizabeth II is one of their regular patrons), which offers luxury hotel accommodation and Michelin-star restaurant, La Grand Vigne, managed by Cathiard’s daughter, Alice, sits just next to the Château. Together with Lynch-Bages’ Cordeillan-Bages, these are two of my favorite restaurants in this wine region.

2005 Smith Haut-Lafitte was produced from a small crop of 35 hectoliter per hectare. Graves-like nose of mineral and earth with compelling sweetness and richness supported by equally sound structure and acid core. Overall it was less velvety than many 2005s with a tighter, better built framework.

Domaine de Chevalier, Pessac-Léognan Good
The arrival of Stephane Derenoncourt has clearly introduced more roundness, polish, and textured palate to this typically elegant, firm, tighter-core wine. Micro-bullage? The wine however managed to retain its usual fragrance of mint and cedar. The fruit has moved toward darker berries with layered, obviously concentrated and opulent palate. It had a good purity of fruit, yet somehow the usual mineral and energy seemed to be missing…?

Château Haut-Bailly, Pessac-Léognan Very Good
Quite frankly I hardly knew this wine until this tasting. However I was very impressed and immediately drawn by this beauty. Little did I realize that I had actually met Véronique Sanders (currently the General Manager of the estate, daughter of late Jean Sanders and the former owner of Haut-Bailly) in Singapore before. This estate was acquired by an American banker, Robert G Wilmers in 1998 and with a renewed commitment to quality under the new owner, major revamp has been carried out in both the vineyard and cuverie. The former oenologist of Château Smith Haut-Lafitte, Gabriel Vialard was put in charge of the winemaking. Vialard quoted Emile Peynaud’s definition, “An exceptional vintage is one obtained in unusual climatic conditions…” to sum up his view on 2005 vintage. Impressive deep color with an equally potent palate. The wine was however very firmly built with a tight core and excellent purity in addition to its blackberries and mineral quality. Very structured and the latent yet assertive acidity kept the wine well delineated. Surprisingly focused in spite of the sheer concentration and an admirable sense of elegance. My personal discovery of this trip. Impressive.

St-Emilion
First of all, I must admit that I did not taste enough “classical” 2005 Saint Emilions to be affirmative in my views on this region. I have however tasted numerous garagiste in both Bernard Magrez’s selection display at Pape Clément and Stéphane Dérénoncourt’s selection at Château La Couspade (if I remember the place correctly). As I have stated earlier on, in general these “modernists” do not capture much of my attention as I find them to carry very little trace of their geographical character having undergone those garagiste treatments. I am also disagreeable with those who associate these modern techniques with Burgundy, or elévage bourguignon as frequently quoted by Parker.

If you could recall the early assessment made by Parker on Burgundy (a region today he no longer reviews and had since been passed on to his partner, Pierre Rovani) you will soon notice one interesting contradiction. At one point in time Parker used to view the Lebanese-born, Burgundy-based oenologist, Guy Accad’s famous method of pre-fermentation or cold maceration as a highly controversial practice during the mid 80s. The technique involves pre-soaking the juice with the skin under the heavy dosage of sulfur to suppress the start of fermentation. Because all the color pigments such as Anthocyans (the other two compounds of polyphenols are phenol and tannin) are found in the grape skins, by prolonging (4-5 days) of such cold soak, it will extract maximum color, tannin and structure. Such “New Wave”, phenomenally dark Burgundy was previously criticized as atypical Burgundy and was considered to mask the terroir – the most important feature many Burgundians jealously try to guard in their wines. Today, Parker has lauded – through his approval of these garagistes houses – the process of cold maceration along with collectively what he referred to as elévage bourguignon, for example, open-top fermentation, punching of the cap (pigeage, which are more labor intensive and more commonly carry out in Burgundy), malolactic-in-barrel - MLF (new barrel), aging on its lees and bâtonnage (lees stirring)… These are all very fashionable garagiste techniques.

I have found these “oxidative handling” aimed at making more extracted, early-accessible, confiture modern Bordeaux are in fact contrarian to what is currently being practiced in the Burgundy wine scene. All the top-notch Burgundy producers are now working toward better preservation of acidity and vibrant flavors that show-off better terroir as opposed to hyper-ripeness, extract, alcohol and oak. The historical négociant film, Bouchard Père & Fils in the recent interview by Allen Meadows of Burghound had said that they emphasize acidity over high ripeness. “The current notion of “ripeness is everything”, that all great wines must come from vintages with very high levels of ripeness, whether it be sugar (alcohol levels) or phenolics… but Bouchard chooses not to pick on ripeness but rather acidity and has always done so”, said Bernard Hervet, CEO of Bouchard. He continued to say that is not to suggest that phenolic ripeness is ignored, but rather because Bouchard is making traditional wine, and do not entirely de-stem and do not practice cold soak, their favor for ample acidity can frequently make the wine to come across structured and austere in their youth. Yet given enough time in the bottle they would all turn out gloriously. Possibly the most gifted négociant winemaker, Jacques Lardière of Maison Louis Jadot, has long been practicing “blocked” malolactic to preserve the natural malic acidity. He also uses less new oak for his better cuvée and tends to increases the new wood treatment for lesser vintages. He feels that the additional source of tannin and natural aeration provided by new wood only benefit lesser raw materials. Michel Lafarge along with Frédéric Mugnier both share the same thought that new wood spice only interferes with clear expression of the underlying terroir. They use either no new woods or keep it as low as 20%.

Another key feature of garagiste technique is malolactic fermentation in new barrel whereas traditionally Bordelais conduct their malolactic in stainless steel tank. The recent move of doing malolactic in small oak barrels has created a different, new-style Bordeaux. Parker claims that it was a technique inspired from Burgundy, a region who has traditionally employed this technique for decades. However, Mel Knox, a famous barrel broker and all-around oak guru told International Wine Cellar that this technique was in fact started first by a Californian vintner called John Hawley in the mid 80s while he was experimenting Cabernet Sauvignon with MLF in small new barrels. Some five or six years later, Bordelais decided to follow suit. Mel Knox in his interview also agrees that although the technique does help to integrate the wood and the fruit better, it is however undeniable that it does promote loss of typicité that claret has long been famous for. “It is entirely possible that the new style of wine is what today’s market is looking for,” added Knox. In Burgundy it is rare that MLF is carried out in “new” small barrels. It is often done with the presence of their fine lees for better preservation of acidity. These “Zinfandel” like garagistes, on the other hand, has almost nothing to buffer itself from such a treatment. Dick Ward of Saintsbury once said, “Alcohol and tannins are oppositely charged. It you put clean wine into the barrel, the wine and the wood want to get together right away, and sometimes the oak flavors seem painted on.” So, the more buffering you have in there, the better the chance the wine is likely to ‘survive’.

In Burgundy bâtonnage (lees stirring) is not common for their reds and it is mostly practiced on their whites to enhance the richness and flavors. However, a growing number of leading winemaker like Henri Boillot has stopped doing bâtonnage in fear of losing freshness and acidity in his wine. “Some people don’t realize that by stirring the lees, you introduces oxygen and allows the CO2 to escape, both of which contribute to premature aging and loss of freshness”, said Boillot. This thought was echoed by those who practice CO2 preservation during the élevage, in which they perform no racking and adding no sulfur. Jean-Marie Fourrier, the famous student of the great Burgundy master Henri Jayer said, “CO2 is a natural antioxidant. I prefer to work with CO2 than SO2 during vinification.” Same was told by the famous Meursault producer, Arnaud Ente. Both men also shun the use of micro-bullage, viewed as a means to introduce oxygen into the wine at a far too early stage and are convinced this will in fact do more harm to the wine instead of improving it.

Other than Guy Accad who was the only known ‘consultant’ in Burgundy in the mid-80s, Claude Bourguignon is the only existing “vineyard” consultant in Burgundy. There were no other flying wine consultants in Burgundy and neither Parker’s nor Wine Spectator’s commentaries should be food for thoughts in this region.

Château Cheval Blanc, Premier Grand Cru Classé of St.-Emilion Excellent
Without a doubt, this property made the best wine of 2005 in St.-Emilion. Seductive and profound aromas filled with plenty of black fruit and black raspberries. Very distinct mineral presence and an equally sound structure and underlying acidity. Textured and smooth yet harmonious on the palate, with telltale vintage hallmark of density combined well pitch palate that offers good flavor delineation, vibrancy and wonderful sappiness. This estate chose not to pick Merlot too late to avoid losing its freshness. They said that late picked Merlot would have been monolithic and there was a general tendency in St. Emilion to go for maximum flavor. In Cheval Blanc, over-extraction is not what they are after, but rather fruitiness, freshness, fleshiness and overall balance, said oenologist Olivier Berrouet.

Château Ausone, Premier Grand Cru Classé of St.-Emilion Very Good
In Ausone, we were welcomed by proprietor Alain Vauthier. After the departure of their long-time winemaker Pascal Delbeck (currently making wine at Château Belair, which is owned by Madame Jean Dublis-Challon, former co-owner of Ausone), Vauthier has engaged the service of Michel Rolland. It is obvious that the former formidable, tannic, long aging style fashioned by Dublis-Challon/Delbeck has given way to a more forward, wood-infused style in the hand of Vauthier/Rolland. Over the course of tasting, I have also tasted Vauthier/Rolland wines such as Simard, Fonbel, Moulin St.-George which I found to be monotonous and share much in common with the garagistes. Those wines could be easily summed up as follows: concoction of creamy wood (espresso, mocha, pain grille, graphite) intertwined with liqueur (crème de cassis, kirsch, blueberry liqueur) in a forcefully intense (almost painfully intense), seamless palate, with no noticeable presence of acids and sweet tannin. Ausone (fortunately) on the other hand showed better pitch and fruit purity in a seamless, well depth palate. It also has better underlying acidity and a persistent palate.

Château Angélus, Premier Grand Cru Classé of St.-Emilion Very Good
Very profound, voluptuously rich Angélus. Plenty of sweet berries element, very generous, silky and lush. It has an equally sound mineral quality as well as excellent purity. This seamless effort is hard to resist, although personally I was hoping to see better core structure and details.

Château Canon-La-Gaffelière, Grand Cru Classé of St.-Emilion Very Good
The bottle I had at the estate and at the UGC tasting were quite different. Somehow the bottle I had with Comte Stephan Neipperg was tighter, with more solid core and buffered with sound acidity. The sample in UGS was however more opulently sexy displaying lovely black berries in a ripe, smooth, and a slightly more massive frame than normal in the context of Canon-la-Gaffelière.

Château Figeac, Premier Grand Cru Classé of St.-Emilion Good
A more restrained example that does not typify this vintage. Dense, featuring some leather and black fruits on the nose. Focused palate of great elegance and purity. However, at this stage, the tannins came across youthfully tough.

Château La Mondotte, (not classified) Good
This Le Pin wannabe clearly possessed a similar quality of exotic fruits and seductiveness. Very ripe, more confiture-like fruit with dark raspberries, cassis and malolactic-in-small-barrel-like features of sweet, creamy wood, chocolate and graphite. Sweet and multilayered in a seamless, almost chewy texture. Comte de Neipperg was celebrating his tenth anniversary for this tiny property located at St.-Laurent des Combes, a late-ripening plateau east of Troplong-Mondot and west of Tertre-Roteboeuf. The owner is confident that this wine will eventually be elevated to the same status as Château Le Pin (that is, no longer just a garagiste), once it proves its ageability. He has patiently set aside every vintage of La Mondotte and is just waiting for the right time to demonstrate its true potentials to the world. Let’s wait and see.

Pomerol
Though much American press has raved about the high quality in the right bank, I remain somewhat skeptical. The drought growing condition of 2005 has produced many freakish Merlots of unusual power and extremely high alcohol (ranging from 14-15%). Because the Merlot-dominated right bank produced a very small crop in this vintage (Merlot yield was reduced due to coulure, or poor fruit-set, and millerandage, or uneven berry-size) the grapes were further aggravated by hydration-stress coupled with acidity dropping, and hence mounting levels of pH. Since Merlot has a relatively narrow window of ideal ripeness before losing their aromatic freshness and balance, picking at the right moment was crucial. Christian Moueix of Pétrus was among the few who chose to pick early to avoid high alcohol and loss of freshness. Moueix, in the interview by Tanzer had said that when he started picking in Pétrus on 7th September, his neighbors began to panic and later criticized him to have picked too early and therefore failed to capitalize on the superb weather condition in September. However, Moueix felt he had made the right decision as all of his fruits were perfectly ripe with “normal” alcohol levels of 13.2-14%. No sign of surmaturité and heaviness was found in his wine compare to some of his neighbors.

I have tasted numerous juicy and early accessible St.-Emilion and Pomerol. I am however disappointed to have found only a few with inner-mouth energy, firmness and structure to be long lived. Perhaps it is still in an awkward stage of development just as how Alexandre Thienpont had described it, “…exuberant but a bit mono-dimensional today.”

Vieux-Château-Certan Very Good
I am not sure if Alexandre Thienpont was too tired out by the number of visitors he received this week or was he genuinely less excited about the quality of his 2005 compared to the 2004. He did not speak with the same enthusiasm and confidence about his 2005 compared with our meeting last year. He told me, “…this is the year for Merlot, we increased the blend to 80% (usually 60% in this estate) and is very Pomerol.” In my last report on 2004 Vieux-Château-Certan, I had shared that this estate has always prided itself of its unusually high component of Cabernet Franc in their blend, which tends to give a more substantial middle-palate than most Merlot-dominated Pomerols. The 2005 is a sexy, suave effort. It featured aroma of dark berries with waves of pepper-spice and new wood toastiness. Although the Cabernet Franc is less successful in this vintage, you can still trace the blueberry, lavender elements. Edge-free, very silky in stylish, exclusive balance palate. I found this an edge less superior than the 2004 which offers more structure, better outlined acidity, vibrancy and energy. It also lacks the mid-core so uniquely found in this property.

Château Le Pin Excellent

In the fiery debate between Parker and Robinson, Parker defended that all garagistes look toward Le Pin as an example, as Le Pin was once considered a garagiste too. That said, one needs to remember that Le Pin actually came a long way before its quality was recognized and was eventually no longer associated with the garagiste group. It took more than a decade (first made in 1979) before its new style was accepted and people are convinced of its aging ability. Most recently surfaced garagistes have yet to be able to showcase a track record to lay claim to be another Le Pin, nor compete in the same breath as the rest of the classics such as Pétrus, Lafleur and Cheval Blanc. My past experiences with the earlier garagistes were simply disappointing. La Couspade, Grand-Mayne, Valandraud and even Le Tertre-Roteboeuf were more interesting when they were young than aged. Monbousquet and La Gomerie quite simply do not age. The 2005 Le Pin is clearly better than its 2004. It has the same flamboyant and exotic personality with spicy wood combined with dark cherry (more red fruit for 2004) element. However the 2005 is denser and more structured than the 2004. Very silky with attractive, seductive sweet berries personality that calls to mind a burgundy. The wine also possessed the vintage’s balance and freshness. Impressive.

A Word on Parker Latest 2005 Bordeaux Reports

2007-05-26T01:47:00.000-07:00

I found myself completely lost in the Amazon when I read Parker latest report on Bordeaux 2005. From the top of his chart (see below), there are many unfamiliar names, and although I could recall some of them, they barely existed nor was ever recognized for that level of quality in Parker’s terms ten years ago. Today, names like Pavie, Bellevue Mondotte, Pavie-Decesse, Larcis-Ducasse, Clos l’Eglise, Gracia, Bellevue, Magrez Fombrauge, Marojallia, Clos de Sarpe, La Confession, Peby Faugeres and Croix de Labrie are all elbowing each other vying for the top places and sharing coveted spots with benchmark châteaus like Latour, Haut-Brion, Pétrus, Margaux, Cheval Blanc, Lafleur, Le Pin, and Lafite. Other recently surfaced garagistes like Rol Valentin (Derenoncourt), Fleur Cardinale (Jean-Philippe Fort), Quinault l’Enclos (Alain Raynaud), Destieux (Rolland), La Fleur Morange (Claude Gros), La Bienfaisance (Derenoncourt), Clos St Martin (Rolland), Le Dôme, Lucia (Derenoncourt), Sanctus (Derenoncourt), Joanin Bécot (Jean-Philippe Fort) and Branon (Rolland/Thunevin) are all rated on-par or higher than tried and tested names like Montrose, Ducru Beaucaillou, Léoville-Poyferre and Rausan-Ségla.

Over the past few years, Parker’s notable enthusiasm over limited quantity, super-ripe, wood-smacked, intensely extracted, new-waived garagiste have caused the phenomenon to spread beyond St.-Emilion. In Parker’s 2005 Bordeaux report, wines from satellite regions such as Côtes de Castillon (Joanin Becot, Domaine de l’A, Clos les Lunelles) and Lalande de Pomerol (La Graviere) all received remarkable scores. Even the generic Bordeaux AOC (Girolate), Bordeaux Superieur (Balthus, Reignac) and Haut-Médoc (Servitude Volontair), whenever they are associated with certain star consultants, tend to be given better scores than classic producers like Lafon Rochet, Beychevelle, Trotanoy, Clerc Milon, Pichon Lalande and La Dominique – an observation I personally find hard to reconcile and justify. Can a mediocre soil be better than a top classified growth of the Médoc? Are winemaking techniques greater than terroir?

It is obvious that Parker sanctions winemaking techniques over the effect of terroir. The fact that the world’s most influential palate approves of the generous use of new oak and ultraripe vinous materials has, over time, encouraged a group of consultants who understand his preferences to develop a well conceived formula which can be applied to please his taste. The proliferation of garagistes in St.-Emilion is a case in point for such a development. By the way, many of these garagiste owners did not hail from traditional winemaking roots and often came from previous careers such as the medical business (Alan Raynaud), chain grocery store (Gérard Perse), chain supermarkets (Gracin-Cathiard), négociant business (Bernard Magrez), businessman (Clos Fourtet), or even foreign capital (Lascombe). They therefore have very little traditions to guard or respect and tend to solely rely on their fashionable winemakers to deliver darker and more powerful wines sought after by the international marketplace. Christian Moueix, the owner of the famous Château Pétrus and Château Trotanoy says this about his new neighbor, “The character of those ‘global’ wines is based on extraction. I do not care for them, but newcomers to wine seeking to launch a new label on both sides of the ocean hire fashionable winemakers who make wines that are noticed because they are dark, overripe and overly extracted.” Stephen Tanzer also said in his recent article that, “the huge number of properties in St.-Emilion alone, many of them with very short track records, forces many proprietors and their consulting winemakers to compete for the attention of the international marketplace by building darker and more powerful wines. These wines are widely viewed as more modern in style and more technological.”

It should not escape anyone’s notice that the same phenomenon has been happening elsewhere such as in California (the Cult Cabernet producers), Spain (Alta Expresión Spaniards) and of course Australia (New-Wave Aussie). California’s vintner, Randall Grahm of Bonny Doon has the following explanation for the wine-drinking public’s newfound taste: “In an increasingly international culture, we are progressively less attuned to fine details. We took in our information in gross and broad outline, suitable for mass consumption – somewhat one-size fits all kind of epistemology.” He further added, “The shallowness of such modern winemaking simply mirrors the shallowness of our culture. We can’t seem to get beyond our compulsion to give people what we think they want and ultimately we permit ourselves to be led by an unknown, faceless wave-force that has itself little sense of where it is headed.

I have always thought that such internationalization of wine styles fetch better in emerging wine producing countries like Argentina, Chile and South Africa where they have yet to establish their regional distinctions. Wine regions like California, Australia, and Spain also provide the perfect ground for those avant-garde consultants to exercise more experimentation. Bordeaux, however, is a place of tradition; a place that the concept of terroir is truly valued. All existing hierarchy on classified growths is based on an old classification system that had existed since 1855. Not much has changed ever since then (except for the fact that Mouton Rothschild was upgraded in 1973 to first growth). I like “terroirist” winemaker, Randall Grahm interpretation on terroir – “it is the sum total of the natural features of a site (topography, geology, exposition, microclimate) which impart a distinctiveness (or perhaps I should say despite) to the wine, independent of the stylistic imprint of the wine maker. The terroir of a site is its qualities that outlive the winemaker.”

Parker’s crediting the role of those consultants who seem to be capable of turning an unknown piece of land to challenge or even surpass the quality of their well-established neighbors and later commands a higher price has completely disregarded the spirit of terroir. Randall Grahm however has defended with the following statement, “Terroir speaks quietly and there is very little in modern culture that is apprehended beneath the blare of the superficial and the obvious.” He further added, “For those who have grown to appreciate it, the expression of terroir is arguably the most interesting element of a wine, one that provokes intellectual engagement. But perhaps as a culture, intellectual engagement with our wines is no longer what we seek.”

In the last two years of UGC (Union des Grands Crus de Bordeaux) tasting during en primeur campaign periods, I have attended sessions presented by Jean-Luc Thunevin and Stephane Derenoncourt where they showcased all the wines made under their consultation. Frankly, I could hardly remember any of these wines. My impression was quite similar to what Tanzer had said in his recent report: “Many of those small production wines are essentially experimental ‘winemaker’s wines…the negative is that, they are usually very international in style, so it is often not clear where they come from.”

In fact I do have problems associating these wines with Bordeaux and frankly, their individual differences are very marginal. It is very tempting to say that perhaps these wines reflect their consultants more so than its terroir (if there were anything special to begin with) and it is also true that it reveals the reviewer’s taste rather than the wine itself. I was once served wines (in blind) from Gerard Perse whose wines include Pavie, Pavie-Decesse, La Clusière and Monbousquet. Honestly, I could hardly discern their differences except for which was richer, or heavier, or which was more oaky and riper. Josh Raynolds of International Wine Cellar has echoed my thought and concerns. He said, “It’s not even about grape anymore, much less the terroir…I can however, often guess what type of oak was used and even who the winemaker or consultant was. My experience is that there is sameness to the wines that makes a taster think more about who made it, who consulted on it, what the alcohol level must be and where the wood came from – not to mention what it must have cost.”

The episode of 2003 Château Pavie where the famous British wine writer Jancis Robinson vocally opposed Parker’s view and was but one of the many public signs of resistance to such a growing trend. However, this was not the first time that Parker’s views were under fire or put to the test. His enthusiasm over Alta Expresión wine in Spain incites protests by many veteran traditional winemakers. Many disagreed with Parker’s judgment on quality and on “the bigger the better” mentality in the modern, internationally styled Spaniard. Some say, “Great wines are made from vineyards that have been properly cultivated, and fine wines from such vineyards have finesse and complexity…those so-called alta expresión wines lack complexity, which is something you can’t add to the wine, and they stress power over subtlety.” I agree totally with the following remarks: “…those wines are made primarily to show well in blind tasting and impress certain reviewers, rather than for consumption with food.” (For full report on this article, you can view it at http://www.thewinenews.com/aprmay01/cover.html)

In Australia, the famous Melbourne-based wine writer, Jeremy Oliver too defies the high Parker-point, port-like new sensations which fetch higher prices than the classics such as Penfold’s Grange and Henschke’s Hill of Grace. Those “dead grapes” wines delivered from fruits with ultra-ripeness often taste cooked, dehydrated and dried fruit flavors that suggest prunes, raisins, treacle and jam. In its youth, some of these wines could almost get away with it, since its initial burst of intensity and texture is very appealing to many drinkers, trades, judges and the media. However, once the fruit subsides with time in the bottle, it loses liveliness and focus, alcohol becomes more dominant and its tannins become more aggressive as balance and harmony are lost, said Oliver. He further added, “…too many of these reds are high in pH and were made without adequate racking, acid and sulphur – as many such so-called cutting-edge winemakers pride themselves for making “hands-off”, natural wines – and as a result regrettably often impart their wines with unnatural flavors and technical faults.” As a case in point, I have witnessed that more and more modern red wines today are flawed by Brettanomyces or excessive of volatile acidity. In another example, the problems which plagued some white burgundies made in the first half of the 1990 decade whereby many wines suffer from random oxidation were all large conceived by the misguided practice of not ensuring adequate acidity and applying sulphur. All these problems could seemingly be linked to one person, Parker, who frequently promoted and thereby influenced the winemakers with theories such as non-interventionist, no-sulphur, etc. The truth be told, I would rather blame this on the idiocy of the winemakers who foolishly listened to Parker’s voice in this regard. The point is: how could a trained winemaker or oenologist blindly follow a critic (his highly influential voice notwithstanding) who has no previous experience or training in winemaking?

Giacomo Conterno – The Legend Continue

2007-05-26T01:44:00.000-07:00

Giacomo Conterno is largely responsible for my passion towards Italian wine in my early career as a sommelier in early 90s during my stint in Ristorante Bologna at Marina Mandarin. I was in-charge of the wine service where I later found a huge collection of old Barolo from this renowned house in the restaurant cellar. During than, Italian wine was a rather unknown territory. Giacomo Conterno I found was in two very distinct label, the tough looking burgundian-bottle that carry the bright burgundy collar called Cascina Francia and a Bordeaux-bottle looking, with a old style, unexciting label that labeled itself as Riserva Monfortino. Little has been known that, in fact the simpler label turn out to be one of the rarer treasure of Piedmont that today remained the only Barolo that spend up to 7 years in foudre (large oak barrel) instead of the traditional 5 years required for Barolo Riserva.

Over the period of one year as the Sommelier for Ristorante Bologna, I have tasted numerous times of 1982, 1985 Cascina Francia (which fruits are brighter and more vigorous) and Riserva Monfortino (1971, 1974, 1979, 1982). Especially for Barolo Riserva Monfortino, the matured nebbiolo taste of earth, undergrowth, leather, smoke, tobacco, truffle are both so seductive and mind-bogglingly impressive.

Besidse Giacomo Conterno, there were numerous Conterno in Piedmont. Namely, Paolo Conterno, Conterno Fantino and Aldo Conterno. Only Aldo Conterno was related which both brothers split in 1969 with Aldo ventured out to set up his own estate in cru Bussia and Giovanni continued running his family vineyard. In 2003, after the death of Giovanni, the estate is currently in the capable hand of his son, Roberto, who has been understudying his father for several years.

2005 Bordeaux

2007-05-26T01:38:00.000-07:00

Vintage overviewed –
The overwhelming anticipation for Bordeaux 2005 has been brewing amongst the producers, wine brokers and consumers. The media and the press are equally excited and eager to be the first to announce another so-called legendary year, or vintage of the century. Ever since the millennial year of 2000, both 2001 and 2002 hardly came close to repeating the former’s glory. 2003, though favored by most American press, failed to live up to its early hype. Many of the 2003s today have been viewed as less classical in style, and have turned out somewhat like New World’s Californian cabernets – which explain why they are currently struggling to sustain the high price they once commanded initially.

I for one have never been a fan of 2003 Bordeaux. The intense heat waves and drought-plagued growing conditions have resulted in an unusually rich, ultra-ripe (leaning toward jammy), somehow exotic, alcoholic, dehydrate-sweet style of Bordeaux. The usually fine, elegant, mineral-scented, balanced Bordeaux was absent from this frightfully low-acid vintage. I remember tasting some 2003 reds last year together with the newly birthed 2004s. The fresh, delicate, bright-berries, well-delineated 2004 reds when compared side by side with the 2003s made the latter taste clumsy, chunky, jammy, unexcitingly dull fruited and heavy. The lack of freshness in this acid-deficient vintage produced wines which were clearly not my cup of tea.

Global warming is surely making its effects felt in European vineyards. Never have I seen a string of great vintages (or warm year) produced in France, Germany, Italy and Spain. Warmer growing condition has created more favorable and consistent vintages for these vineyards who used to struggle to ripen their fruits and often falling short in achieving desired alcohol levels. However, the change of growing condition also raises the concern as to how these vineyards would adapt to or cope with the newly changed environment. Let us not forget that most European vineyards had been cultivated to deal with cooler growing condition with minimal sun exposure. Quite often the prime vineyards are those which are better exposed to the daylight, with vines trained low to further benefit from the heat retained from the ground as the day sets into cool nights. Additionally, most prime vineyards are often well drained – meaning poor in water retention – which over time causes the vines to be stressed and therefore have to work harder to establish a deeper root system to obtained nourishment. As a result, they often yield smaller crops, with small but intense, flavorful berries. The general vineyard practices are also engineered toward lower fruit bearing ratio for each vine, with short pruning or crop trimming (also known as green harvest) to reduce the load of the vine so as to channel the finite vigors of the vines into the fewer remaining fruits and hence intensify them.

The new weather pattern has made these vineyards vulnerable to intense and excessive heat, which was never a problem previously. Potential challenges include grape being ‘burnt’ (berries shrivel and collapse), rapid growth (causes halt of vegetative development and addition to the sugar to overtake the pace of phenolic ripeness), loss of acidity, high alcohol wine, etc. The record-low rainfall (less than half previously) and the prolonged dry and drought growing condition in 2005 make me wonder, “Are the 2005 as freakish as 2003?”

Before leaving for Bordeaux for the en primeur tasting. I did some research on the official sites of most first and second growths in order to get myself ready for this tasting. I noted that many of the Chateaus are in fact very optimistic about the 2005. Some compare 2005 with the legendary vintages such as 1947, 1961…. Others call this the return of modern-day Bordeaux of 1982, 1990, 2000… The reason given was that although all chateaus admit that the 2005 vintage was characterized by the record shortage of rainfall (only 590 mm of rain instead of the usual 900 mm of rain in the region), the vines had adapted remarkably well to the severe drought. But how did this happen?

Firstly, the heat in 2005 was not as extreme as the scorching heat waves of 2003 (2 centigrade lower than 2003, according to Ducru-Beaucaillou). Secondly, during the harvest periods of September and October, the nights were cool as normal, unlike in 2003 whose nights were equally warm. Showers did actually occur in some occasions (between 8th and the 12th September) and this brought in some 23 mm of added rainfall beneficial in allowing the Chateaus to have a better control of the ripening. To top these up, the root system of the vines has been extended ever since the past two drought years of 2000 and 2003. It appears as though the vines could now survive better on drier conditions as their roots have gone some 3 or 4 meters deeper to search for nutrients while at the same time they are now less susceptible to the fluctuations on surface soil. The dry and windy weather throughout the harvest also ensured a disease- and parasite-free year in 2005. The same wind also helped to further intensify the berries by way of evaporation resulting in higher skin to juice ratio – another characteristic of the wines in this vintage.

The exceptional climate of 2005 has produced unusual grapes. 2005 produces wines of uncanny richness and power yet balanced and fresh. The drought was responsible for the lower-than-average yields and smaller-sized berries (20% smaller than usual). The skin to juice ratio was particularly high, which explains the deep color and big tannins for this vintage. The cool September was thought to contribute the sound acidity and freshness - attributes one could easily spot from this vintage. I also believe the Cabernet Sauvignon particularly thrives from alternating cool-nights-hot-days weather and the scattered showers in early September brought in a slow and gentle ripening.

I am however less optimistic – in fact quite skeptical – regarding the over-enthusiasm over Merlot grapes from the American critics and some Chateaus. There is no doubt that merlot has attained exceptional quality levels in 2005. This vintage produced the highest alcohol levels ever recorded for merlot which came in at 15.5%, according to Chateau Margaux. The richness, power and high alcohol found in 2005 merlots were unprecedented. As you might recall I have previously remarked that for any wine that reaches 14.5% alcohol, it is unavoidable that you will detect a burning sensation (or we call it a ‘hot finish’). It will not only mask the details and terroir of the wine, but also strips it off its grace and elegance which otherwise would have defined the character of the wines. The better Chateaus however had opted to include more to their blend the equally impressive but less freakish Cabernet Sauvignon and Cabernet Franc in order to balance their wines. Fine examples where such a decision was taken include Chateau Margaux (85% instead of the usual 75%), Chateau Lafite-Rothschild (89% instead of 70%), Pichon Lalande (64% instead of 45%) and Cheval Blanc.

The following are my impressions and thoughts about 2005 Bordeaux. Let’s all bear in mind that these wines were barrel samples, not finished wines. As a matter of fact, I encountered numerous samples in St.-Emilion where the wines had not fully finished with their malolactic-fermentation. It is also worth noting that although majority of the samples had finished their malo, in order to present the wines in a more appealing and attractive fashion during this en primeur campaign, they were mostly not sulfured. Such samples can be unstable and tend to degrade due to rapid oxidation. Whenever in doubt, I would revisit the wine or simply re-taste from a fresh bottle.

My principle in assessing en primeur wines does not look out for richness, tannins or alcohol strength of the wine but rather the overall balance, the quality of the ripeness (the balance of fruit/acid/tannin); the persistence of flavor in the palate; and, last but not least, the individuality, or terroir of the Chateau.

My Impression -
After my four days tasting in Bordeaux, all I can say is: 2005 is an outstanding vintage. Never have I seen so many high quality wines, limited not just to the first and super-second growths, but is so across all levels – a clear indication of a truly great vintage. I also encountered some of the best second wines I have ever tasted in my career assessing Bordeaux. The scale, density and complexity of 2005 wines were simply unprecedented. Madame Corinne Mentzelopoulos of Chateau Margaux told me during the dinner at her Chateau on Tuesday’s night (April 4th), one of her clients after tasting her 2005 Chateau Margaux enthused, “I am fortunate to be here witnessing one of the greatest vintages ever made in history of Bordeaux!” It might sound like an overstatement, yet I somehow had to agree.

2005 produces wines of huge concentration and big tannins. But the tannins are polished and ripe, plus the unusual freshness and brightness which clearly set them apart from the 2003s. The finest examples offer wines endowed with huge density, luminosity and silky palate, with sound acid-spine hidden underneath the wealth of ripe fruits, all lending the wines purity and elegance. The finishing balance is so exquisite and precise that the wines taste almost weightless in spite of its volume. Paul Pontallier of Chateau Margaux told me that in his 23 years of winemaking career he had never encountered a vintage of such mind-boggling juxtaposition – combing power and richness, yet amazingly equally fresh and in perfect harmony. “This could well be the best Chateau Margaux I have ever made,” added Pontallier.

It is indeed very hard to really single out which commune did best in this fabulous vintage. I am however quite certain that the overall quality on the left bank is higher than the right bank. I also do not subscribe to the opinion that Margaux is the strongest area for 2005, notwithstanding the unusually high number of voluptuously rich and massive wines found in this appellation in this vintage. But if I were put on the spot, I will cast my vote for Pauillac which is where I found the most consistency in overall quality and many of my favorite 2005s.

St.-Estèphe
I did not quite taste enough samples to conclude the overall quality of this appellation. Here are my views and ratings. My ratings are scored as Excellent, in which most of my highly recommended and wines not to be missed for this vintage are; followed by Very Good, and last but not least, Good. Those that do not qualify within this three-tier rating scheme are not included in this review. (The following wines are lined up chronologically according to my visits at the Chateaus but I have sorted the tasting notes by appellation.)

Château Montrose, 2nd Growth of St.-Estèphe Very Good
Montrose is one of those who claim Merlot was the chief contributor to this vintage. In spite of the medium to full ruby color, it was however among the lightest of all the super-seconds. The wine is very expressive and opulent; very charming and sexy, featuring red and black berry fruits. I tasted Montrose right after my first glimpse of 2005 at Pontet-Canet and in no way was it comparable to the latter in terms of sheer size and extract. Could it simply be a different expression of this huge vintage? Or does this remind what Marcel Ducasses of Chateau Lagrange once told me that “Merlot is the grape that has the shortest window periods to pick… often within three days before both the color and the fruits deteriorate”? In comparison, Cabernet Sauvignon can enjoy a luxurious time of 15 days. Or did they just pick too late, which could possibly explain the weaker color and the somehow exotic, dehydrate-sweet personality? Nonetheless this is an awesome juice to drink with pleasure in near term.

Château Cos d’Estournel, 2nd Growth of St.-Estephe Excellent
I must qualify that it was not because of Jean-Guillaume Prat who so warmly greeted us at the doorstep that influenced my preference on Cos over Montrose. I honestly enjoyed the Cos 2005, especially when compared to last year’s version wherein its wines were forbiddingly tough and tannic. In spite of the impressive color, Cos 2005 displayed the typical mineral-scented berries. Very stylish, with excellent purity and pristine personality, this avoided the usual damp earth and ashy smoke element typically found in Cos. The rather reserved intensity expanded with air, and so did the promising, persistent palate of flavors. The well defined acid spine also lent this wine with a “racy” feel. Indeed very elegant and full of finesse.

Pauillac
Château Pontet-Canet, 5th Growth of Pauillac Very Good
Many people I met in the tasting considered 2005 to be the finest effort from this Chateau – currently owned by the Tesseron family, who also happens to produce a cognac. Alfred Tesseron was at the Chateau to welcome us. He was satisfied with their result in 2005, but was however quick to point out that they might have tried too hard in this vintage. The yield was lower than the average yield he would have preferred (it was 35 hectoliters per hectare instead of the usual 45 hectoliters per hectare). He told me, “As a vigneron, you do your best to protect the best interests of the Chateau,” for which he pruned hard on summer to deal with an usually wet and unpredictable harvest time. What he had done was to prepare for the worse weather possible which was to reduce the load off his vineyard. However the weather remained dry and hot throughout the harvest. Nonetheless I am pleased with the result although I was hoping to find some elegance in this massively constructed, voluptuously rich, cassis-cedar intertwined, big, chewy and tannic wine.

Château Lynch-Bages, 5th Growth of Pauillac Excellent
Never have I seen so many Chateau owners were present during the three days en primeur campaign, which tells you a lot regarding this highly anticipated vintage. Jean-Michel Cazes was not traveling and was in the tasting room welcoming the guests. During my entire tasting of 2005, I realized the finest dozen of Chateaus who achieved extraordinary quality levels in this vintage share a common feature: they are quite likely among the brighter, fresher, more luminous, silky, almost glossy palate, rich but weightless, voluptuous yet elegant wines. The balance is extraordinary given such contradicting attributes. 2005 Lynch-Bages is one example. Saturated color, with almost candied sweet nose, the palate was loaded with beautiful blackcurrants in a lush yet well focused frame. Nothing was over the top and the balance was simply outstanding. I can’t remember how many times I went back and refilled my glass. Yummy.

Château Pichon-Baron, 2nd Growth of Pauillac Good+
Many people told me how wonderful this wine is in this vintage. I did find it pleasurable but I thought it lacked the x-factor. Opulently sweet palate loaded with cassis and blackcurrants. Seamless and layered, with hardly noticeable (ripe) tannins. Quite voluminous, but I did not find persistent flavors. The finishing also showed more obvious alcohol, which to some extent had compromised the grace and details of the wine.

Château Clerc-Milon, 5th Growth of Pauillac Good
I really like Clerc Milon this year. Solid frame which was less showy than the rest. Wonderful quality of fruits as well as purity – which I rarely find with this wine. The palate was quite appealing with sweet blackcurrants and cedar, but at the same time well buffered with acidity and focused tannic frame. With more broadness and density, this wine could easily compete with its more illustrious big brother Mouton-Rothschild.

Château Mouton-Rothschild, 1st Growth of Pauillac Very Good
I feel that the last two vintages Mouton had failed to live up to its reputation; in fact quite often it was the least exciting first growth of all. I am not referring to the sheer volume – it just lacks the stuffing to be great. The 2005 version displayed the usual Mouton’s cedar, blackcurrant, smoke, and leather flavors. Positively ripe and nicely concentrated. Not the typical rich body, big tannin 2005 but possessed a good display of underlying acidity to highlight fruit purity and vibrancy. However, it still lacks the scale and class when compared to its peers and it seems somewhat lighter in style. A more elegant expression of Mouton perhaps?

Château Pichon-Lalande, 2nd Growth of Pauillac Very Good
To me, Pichon Lalande was among the most accurate and most candid in presenting the vintage report as well as the wine quality. I totally agreed with the Chateau that 2005 Pichon-Lalande resembled the style of 1996 or 1986, both of which I have had the opportunity to taste several times in my winetasting career. In spite of the dense color and black fruits quality, the wine was surprisingly very well focused, elegant and stylish. Atypical for the vintage, its racy acidity helped to safeguard the details and fruit purity in this subtle beauty. Who says great wine can only be viewed from it profoundness, texture, weight, but not grace and balance? After all, what Pichon-Lalade technical director, Thomas Do Chi Nam was after is finesse not power.

Château Latour, 1st Growth of Pauillac Excellent
This wine could easily be spotted as a first growth. The massiveness, scale, and density were unmistakable and hardly surprising given the consistency in quality this Chateau displays year after year. It is almost hard to imagine that this Chateau during the 80s was plagued with quality inconsistency which was addressed after the arrival of new owner, François Pinault and the installation of the new President, Frédéric Engerer. Dense, pure blackcurrant in a large-scale format. Plenty of dark Cabernet fruits coated in a chewy, edge-free palate. The depth of this giant was amazing and so was the overall equilibrium. The extra freshness found in this vintage has added a rare touch of purity and luminosity which made it more appealing than prior vintages. This is an obvious yet authoritative wine.

Château Lafite-Rothschild, 1st Growth of Pauillac Excellent
This wine is undoubtedly my finest Bordeaux of 2005. After witnessing some wood-charged, extra concentrated, garagiste, loud Lafite in the late 90s and early 2000, I finally saw the return of the old, familiar, elegant, subtle Lafite. Telltale tobacco, currant and mineral notes. The palate was dense yet subtle. Overall, it also came across more reserved than most 2005. Featured pure blackcurrant in a silky yet tangy palate, the well buffered acidity blessed the wine with good energy and precision. I was however more intrigued by the raciness, elegance and stylish personality found in this Lafite, qualities which were somewhat missing in Latour. The subtleness and overall balance were both exclusive and admirable. Compared to Latour, this is the Audrey Hepburn versus Elizabeth Taylor.

Château Batailley, 5th Growth of Pauillac Good
I was pleasantly surprised with this wine which I’d hardly associate with top quality. Very focused and solidly constructed with blackcurrants and cedar. Quite full bodied, but it was the persistent flavors on the palate which drew my attention to this sleeper.

Burgundy Report – The Final Episode – Gevrey-Chambertin

2007-05-26T01:26:00.000-07:00

By now, you should know that alongside Chambolle-Musigny, Gevrey-Chambertin is my favorite red wine commune in Côte de Nuits. Any experienced taster of Burgundy can easily spot a Gevrey-Chambertin. It has the minerality of Chambolle-Musigny, the spicy flamboyance of Vosne-Romanée and the finesse and purity of Morey-St.-Denis. Perhaps, add a little touch of Nuits-Saint-Georges’ earth will complete the concoction. The famous French historian, Gaston Roupnel has this to say about Chambertin, “On its own, it is all that is possible in a great Burgundy. Tough and powerful like the greatest of Cortons, it has the delicacy of Musigny, the velvet of Romanée, and the perfume of a high Clos Vougeot.”

Gevrey Chambertin is also home of what is known as the King of Burgundy – Le Chambertin – for whom one of its most loyal notable devotees was one such person called Napoleon Bonaparte, who used to drink nothing other than his favorite bottles of Chambertin. It was once said that his death was caused by his having nothing but Bordeaux to drink when he was expelled to the Island of St. Helena!

Gevrey-Chambertin is the largest commune of the Côte de Nuits. It is also among the commune blessed with the most number of grands crus – a total of nine, namely, Chambertin (12.28 ha), Chambertin-Clos de Bèze (14.95 ha). Chapelle-Chambertin (5.49 ha), Charmes or Mazoyères-Chambertin (27.95 ha), Griotte-Chambertin (2.76 ha), Latricières-Chambertin (7.31 ha), Mazis-Chambertin (8.97 ha) and finally, Ruchottes-Chambertin (2.86 ha).

Additionally, there are a total of 26 premiers crus, which could largely be divided into three groups. The Combe de Lavaut section, the northwest knoll of Ruchottes and Mazis-Chambertin with its cold and damp air that flows through the Combe causes the temperature to drop several degrees lower than other sections. In such a microclimate, the prolonged ripening cycle of this section performs best in warmer years and is largely considered as the finest of all the three sections. A total of 12 premier crus hails from this section. It is also a fact that year-in-year-out, these 12 premier crus have consistently produces some of the finest, most individualistic, most minerally-scented and highest-pitch of all Gevrey premier crus. Here are some recommended producers and premier cru lieu-dit to look out for:
La Bossière (0.45 ha) – Harmand-Geoffroy
Les Cazetiers and Petits Cazetiers (9.1 and 9.5 ha) – Bruno Clair, Armand Rousseau, Christian Serafin
Les Champeaux (6.7 ha) – Dugat-py, Fourrier, Maume, Denis Mortet
Combe-aux-Moines (4.77 ha) – Faiveley, Fourrier, Gallois, René Leclerc
Estournelles St. Jacques (2.1 ha) – Humbert Frères
Les Goulots (1.8 ha) – Fourrier, Michel Magnien
Le Poissenots (2.2 ha) – Humbert Frères, Geantet-Pansiot
La Romanée (1.1 ha) – des Varoilles (monopole)
Clos St. Jacques (6.7 ha) – Rousseau, Fourrier, Sylvie Esmonin
Lavaut St. Jacques (9.5 ha) – Claude Dugat, Denis Mortet
Les Vérroilles or Clos des Varoilles (6 ha) - des Varoilles (monopole)

A second section consisting of eight premier crus, lies above the Route des Grands Crus with soils similar to those of its grand cru neighbors:
Bel-Air (2.65 ha) – de la Vougeraie
Champonnets (3.32 ha) – Lucien Boillot, Faiveley
Clos du Chapitre (0.98 ha) -
Aux Combottes (4.6 ha) – Pierre-Amiot, Dujac, Hubert Lignier, Raphet
Les Corbeaux (3.21 ha) – Denis Bachelet, Bruno Clavelier, Christian Serafin
Craipilot (2.75 ha) – Humbert Frères
Fontenys (3.7 ha) – Bruno Clair, Joseph Roty
Plantigone ou Issarts (0.62 ha) – Faiveley

Like many Vosne-Romanée producers who also produce Chambolle-Musigny La Combe d’Orveau (Anne Gros, Bruno Clavelier) and Nuits-St.-Georges Aux Boudots (Méo-Camuzet, Mongeard-Mugneret), Gevrey-Chambertin Aux Combottes is made famous by producers based in the neighbouring commune Morey-St.-Denis. This could be partly due to the fact that this premier cru is located at the southern edge of Gevrey, adjacent to the commune of Morey.

The third section, which lies beneath of Route Nationale, or RN 74 is largely considered the least favorable sections. It has frequently been blended with other premier crus or simply marketed as ‘generic’ Gevrey Chambertin 1er Cru. It is rare that single lieu-dit bottlings emerge from this section. For the rare ones that do, I have appended the recommended producers correspondingly below:
Les Cherbaudes (2.2 ha) – Lucien Boillot, Fourrier
Au Closeau (0.53 ha)
Clos Haut-Prieur (1.98 ha)
En Ergot (1.17 ha)
La Perrière (2.5 ha)
Petite Chapelle (4 ha) – Dugat-py, Humbert Frères

The villages vineyards account for some 369 ha with an average production of 135,000 hl or 18.3 million bottles. Due to its quantity, the quality here is highly variable. To the diligent observers, it is found that a large portion of villages level vineyards are planted on the wrong side of RN 74, whose lands tend to be largely flat, consisting more of clay than limestone, and consequently do not drain particularly well. I have noticed that in 2004, the quality gap between villages and premier cru level are quite significant. Interestingly, in the case in 2002, I found the villages vineyards to be particularly successful, especially those climats situated in the Brochon commune (such as Fourrier & Humbert Frères). The village climats are largely divided into three sectors: the north, Brochon side of the village (the finest, producing wines of richness and power); the south, just underneath the grands crus (lighter, more fragrant and feminine wine); and from the opposite side of RN 74 (less defined and lighter). All these said, in the hand of truly skillful producers, some less ideal villages climats can in always produce something worth seeking, as exemplified by the case of La Justice made by Domaine de la Vougeraie and En Reniard by Alain Burguet.

Jean-Louis Trapet looks very much like Christopher Lambert (Highlander), the French-born, Hollywood-based actor. The even sound alike. This domaine is located at the main road of Route des Grand Crus in Gevrey-Chambertin. Together with Dominque Lafon, Anne-Claude Leflaive and Benjamin Leroux of Comte Armand, Trapet has adopted the approach of la biodynamie farming. They meet regularly to exchange experiences and philosophy.

Trapet suggested to start the tasting with the 2005 and poured me his personal pride - Latricières Chambertin, whose vines are more than a century old. According to Trapet, his 2005s had not started its fermentation yet. The wine displayed very promising dense color along with an attractive sweetness that recalled a young vintage port. The palate was sensuous and vibrant at the same time. Trapet agreed with my views, which goes to say that his 2005 reds unusually combine both extremes of warmth & freshness. My subsequent discussion with Benjamin Leroux of Comte Armand also confirmed this observation. He told me that 2005 is a vintage where the grapes achieve a potential alcohol higher than 2003 but combined with an unusual acidity that was higher than vintage 1996! Balanced and charming would be how I later sum up my tasting.

2004 Chapelle-Chambertin (from a vine age between 40-65 year-old) offered smoke wood, nut and some sous bois quality. This contrasted with the palate, with pure and pristine red fruit that came across as very delicate and profound. Trapet agreed that Chapelle-Chambertin is possibly the easiest Gevrey grand cru to assess young. It ripens the earliest and is the simplest to appreciate Chambertin. 2004 Latricières-Chambertin was a different breed. The wine showed more depth on the nose, displaying precise red raspberry (many producers told me that, 2004 red burgundies display distinctly red fruits) in a well-spine palate that sported good acidity transcending into an elegant palate. I am not entirely sure if the fine and subtle characteristics of Latricières-Chambertin is due to its elevated exposition, where the topsoil tends to be thinner, or it was the fact that a portion of Latricières-Chambertin in fact lies next to Morey Saint-Denis’ only white-wine climat of Monts Luisants. Trapet 2004 Chambertin was unique. The nose was distinctly more mineral, with an intriguing ginger like flavor. Clearly more dark fruit laden with impressive mineral quality. The wine had yet to fully unveil its potential, but it clearly demonstrated more muscles and minerals than all the previous wines. Trapet does not destem entirely and there are no standard rules here. In 2004, he included 25% whole cluster fermentation and in 2005 increased it to 35% (the ripening was less even in 2004 compared to 2005, in addition to problems such as oidium and hail). He also occasionally practices cold soak prior to the alcoholic fermentation. After tasting through all the barrel samples of 2004 and 2005, Trapet suggested to try the bottled 2003s, the wines of which were already opened earlier in the day. I was surprised to at how different his 2003s tasted from the rest and simply put, they were the best I have tasted from this trip. The regular 2003 Gevrey-Chambertin showed more creamy wood, confectionery fruits and came across more dehydrate-sweet, with a seamless but relatively short finish. 2003 Gevrey-Chambertin 1er Cru displayed better precision, but its reductive personality made it difficult to assess. 2003 Chapelle-Chambertin typified 2003s jammy quality, but the wine was equally opulent and attractive. 2003 Latricières-Chambertin was less showy, with delicate and gentle palate that demonstrated better elegance and balanced, especially coming from this vintage. The subtle wood in this red also displayed better fruit purity with none of the heat-stressed chalky tannins. Atypical for 2003, and perhaps so due to the old vines’ deep root system which enabled it to be less affected from the intense heat. 2003 Chambertin with its dark raspberry, almost currant, liquorices and seamless, delicate palate is not the usual character of this grand cru (I thought it tasted more like a Charmes-Chambertin). Nonetheless, the wine was very sexy and not excessively rich nor as extreme as many 2003s I have encountered from this trip. All in all, I enjoy Trapet’s style. His Chambertin consists of old style elements of underbrush (more sous-bois than sauvage), smoke, earth, and yet it is admirably graceful and refined. Although all his wines are quite rich in texture, you could still find elegance, purity and details in each of his wines, and more importantly, it is well delineated, weightless and balanced. There is this sense of sensuousness and gracefulness which permeates all of his cuvées. My favorite of all is his Latricières-Chambertin: very elegant, precise and with such pronounced minerality to few Latricières-Chambertin I’ve come across manages to display.

Day Two (November 15, 2005)
Before I went about with my morning tasting session at Domaine Fourrier, I would like to highlight that this domaine is a Gevrey-Chambertin producer although Jean-Marie also makes wines from Vougeot, Morey-Saints-Denis and Chambolle-Musigny. The 9 hectares estate is currently managed and run by Jean-Marie Fourrier, a fifth generation vigneron. Jean-Marie is assisted by his English wife, Vicki.

I knew nothing about this domaine before my appointment. I was indeed excited by the passionate Jean-Marie Fourrier and emotionally affected by his well-crafted burgundies. A brief background of Jean-Marie: He is among the very few privileged enough to be taught by the great Henri Jayer before the latter announced his retirement in 1989 (as we all know, he physical retirement was very well extended till 1999). Afterwards, he had a stint in Domaine Drouhin in Oregon in 1993. When he returned to his family domaine in 1994, he was immediately put in charge of the domaine by his father, Jean-Claude Fourrier. He never looked back since.

Fourrier’s style reminded me a lot of Pascal Lachaux’s of Domaine Arnoux. It is a sexy juice – spicy, occasionally earthy with lush and seductively sweet personality, sappiness, exceptional purity, firmness acidity and precision. Perhaps Fourrier’s wine has an edge better vibrancy and clarity, and the mineral quality which is not found in Arnoux’s wines.

He adopts a few philosophies from Jayer. Low yield, Fourrier only produces 7 hectares out of his estate 9 hectares of vineyard; and old vine, he sold all his grape that vine is less than 30 years of age to the local négociants. In his portfolio, the younger vines of all is his Gevrey-Chambertin 1er Cru Les Goulots, which is already a 40-year-old; Like Jayer, he does not practice green harvest. As much as he would like to turn his vineyard to la biodynamie, the tiny vineyard holdings, and with his neighbors using chemical sprays that are likely to contaminate his own vines, he has opted instead for the use of clonal to combat the disease. His clone was select through sélection massale, or mass selection from his older parcel of vineyard whose vines average between 40 to 94 year-old.

Fourrier is very strict about grape sorting or triage, and is quite sure that it should be done in the vineyard in order to avoid hail or disease contamination. Yet at the same time he worries about the risks of oxidation. So in the meantime, it is done in the cuvèrie. The timing for harvesting is extremely crucial for him, which explains why he hires the largest team of harvesters in the whole of Gevrey to ensure he pick at the optimal ripeness window without losing the natural acidity.

Fourrier’s style of winemaking is the first I have heard of and is clearly unique in Burgundy. He destems 100%, followed by a cold maceration for 6 days with 3-4 punch-downs per day. The more vigorous pump-over was not practiced by this producer, as well as extended maceration. Color is never the main concern in Fourrier’s wine. Unlike Jayer, who is not shy to utilize 100% new oak barrels, Fourrier uses only up to 20% of new barrels for aging. Fourrier dislikes his wines to carry too much new oak flavor and for him, oak barrels are but a tool to perform micro-oxygenation. Another interesting point is that like Jacques Lardière of Louis Jadot, he believes that the better the cru, the less new oak is required. This flies in the face of most burgundians who advocate new oak treatment.

There are no racking or bâtonnage conducted here, as Fourrier believes in retaining the carbon dioxide to protect his wines again oxidation. As a result, no sulphur was added until bottling. Fourrier’s preference of working with CO2 in contrast to the modern trend of pre-oxidizing of wines to make it more supple, such as the use of micro-oxygenation is very much welcome by me indeed as I appreciate acidity, purity, vibrancy and details as opposed to premature oxidized-sweetness, or dehydrate-sweetness. Since the wines would naturally clear after 16-20 months without racking, no fining or filtrationis carried out for his wines. As a result, there are potential traces of CO2 which can be found in the finished wine, the reason for which Fourrier highly recommends decanting his wines when it is young.

You can always expect Fourrier’s wines to possess a transparent and elegant personality. Very often it is vibrantly bright, often leaning toward red rather than black fruits. Exceptionally fresh, pure and racy, it is a wine of finesse, details and clarity. To sum up, a truly terroir-driven wine that will be admired and appreciated by all hardcore burgundy fanatics.

Miele Showroom Tasting – Jakarta (April 06)

2007-05-24T01:23:00.000-07:00

It was one of those rare months that I partook in not just one, but two great tasting events. This is a BYO night in a beautiful and cozy setting of Miele latest showroom in Jakarta. The host hired the former Chef of Java’s Blue, largely considered as the finest French chef in Jakarta, to prepare the dinner that night.

All the wines were served in a “semi-blind” format, with the owner of the bottle raising the question such as, “North or South? Côte de Beaune or Côte de Nuits? Villages, premier or grand cru? Which commune…? Etc.” He (sadly, there was no ‘she’ that night) would only reply with a “yes” or “no”.

The first pair of white was Louis Latour Corton Charlemagne 1996 and Ramonet Chevalier-Montrachet 1999. I can’t think of anyone who makes such voluminous, fat, and showy Corton-Charlemagne other than Latour. Excellent Puligny-like stone-fruit which quickly turned toward figs more caramel-infused, more Californian chardonnay’s popcorn oil personality. It was both rich and powerful, and, to some extent, heavy. I would only associate this in a blind to a Meursault “Charmes” or a Bâtard-Montrachet, definitely not Corton-Charlemagne. After Latour, the Ramonet Chevalier seemed so much skinnier, more lean, compact and simple. Honestly I had a hard time associating this wine to a grand cru white burgundy. It neither had the volume, sweetness and midpalate to qualify as one. Nonetheless, it had a good minerals and acid quality in addition to honeyed and stone-fruit quality. This was not quite so delicate and refined, which made me think it was a Chassagne-Montrachet.

The 1970 Robert Arnoux Romanée St.-Vivant was good but not great. This bottle was in a pristine condition and I was not surprised that indeed it was shipped directly from Arnoux’s cellar. Pale color (1970 was not a great vintage in Burgundy), with tertiary aroma of sous bois and plum. No trace of volatile acidity and it was still quite fresh, the palate showed some toughness with stalky and earthy elements. It finished with some austerity and was leaning toward rustic. Impressive for the age and vintage, but one to drink up soon. 1998 Leroy Richebourg is very Leroy. Although I admired the impressive richness and scale, I often think of her wines to be less defined in terms of “terroir”. Leroy was the pioneer in biodynamique and her yield size is almost amongst the lowest in the whole burgundy (which also explains the premium price command by Mdm Lalou-Bize Leroy). Little has been said that she is also among the first to pick in Vosne-Romanée. I believe this has all to do with her ultra-low-yield vineyards, where the grape acidity quickly turned to sugar during ripening period. The Richebourg was lush and seductively sweet. It showed Vosne spices, with a pliant and textured palate. Not particularly high pitched but well delineated nonetheless.

The balsamic nose of 1985 Chandon de Briailles Corton-Bressandes was actually quite classic. I thought it was a Pommard. The palate was more youthful in an austere, slightly rustic and compact personality. Good pitch, with earth and an almost Tuscan-Sangiovese like acid-spice. 2001 Bouchard Le Chambertin was actually supplied by me and I failed to recognize the producer. I did however guess it right as a Chambertin. The elegance combined with power, precision and purity, mineral and well-delineated palate were all the essence of Chambertin. The 2000 Armand Rousseau Chambertin clearly was superior to the 2000 Clos de Bèze I had in another occasion recently and was clearly one of the strong show for this vintage. Brilliant color, suggesting good level of acidity, it was less direct than the Clos de Bèze, with higher pitched, firmer more structured frame and clearly had a more focused and precise palate. It was however less textured and spicy than the Clos de Bèze, but instead this showed more raw power. I also found more evident minerality and sappy materials in this cuvée. 1998 de Vogüé Musigny Vieilles-Vignes was more youthful than my previous experience (which is a good sign). Better pitch, firmer and more structured, it had some mocha-wood infused, but the fruit was leaning toward more crystalline red fruits. I would have happily guessed this as the domaine’s Bonnes-Mares due to its precision, power and reserved personality.

The next wine served was simply one of my best red Côte-de-Beaune in recent times. It was dense and powerful and what Serena Sutcliffe would call, “burgundy with the punch.” The precise dark fruits with underlying sappiness in addition to the structured frame and volume, it would easy fool any Burgundy expert to think it was a north grand cru. The earthy, slightly rustic frame led me to believe, however, that it was from the south, but the pitch, sappy palate, combined with the massiveness and the overall completeness, I mistook this for Corton. In fact if this were to turn out to be a Corton rouge, it would have been simply one of the finest Corton I have ever tasted. As it turned out, it was more impressive than I thought – it was actually a Pommard, a 1990 Clos des Epeneaux by Comte Armand to be exact. A monumental Pommard and I couldn’t agree more with what Sutcliffe had once said, “when the best crus are made by the most gifted winemakers, they are probably the most exciting wines of the Côte de Beaune!”

The next wine served was clearly a Vosne-Romanée to me. It was sexily sweet, spicy and pliant. It turned out to be Meo-Camuzet Vosne-Romanée “Cros Parantoux”. It was not a particularly strong show and rich effort, yet it was quite structured and fresh for a 2000. It offered candied dark raspberry in a lovely open-knit style that was both delicious and balanced. 2003 Frédéric Mugnier Chambolle-Musigny “Les Amoureuses” was indeed not his usual elegant and pure style. The fruit profile leaned toward darker fruits, perhaps dark raspberry, or even suggesting fruits such as currants and plums. Less tangy and sappy, it also displayed none of the usual red raspberry found in this domaine’s wines. It was however very attractively sweet, almost liqueur-like. The palate was seamless and velvety with very ripe tannins. Thankfully, the wine was not “hot” and was surprisingly vibrant.

I have tasted Bernard Dugat’s wines of Domaine Dugat-py in several occasions and in my opinion it was perhaps too modern in style and he is not necessarily my preferred producer in Gevrey-Chambertin. However, his 2001 Charmes-Chambertin indeed left me quite impressed with the results. The candied sweet dark fruit suggested whole cluster fermentation. It however showed less torrefaction than all my previous samples. The palate was surprisingly tighter and compact, possessing solid core, with well buffered acidity and a sense of elegance. The dense color and the sheer volume promise a good future ahead. I actually thought it was from a 1999(!?) and from a producer in the likes of Joseph Roty(!!)

I have become pretty consistently accurate in guessing de Vogüé in blind. Dark raspberry, with spices, in edge-free frame with velvety, palate-staining sweetness, yet the overall package was surprisingly well delineated and weightless, 1991 de Vogüé Musigny Vieilles-Vignes is at it best drinking now. Very profound with inviting sweet, ripe fruit quality. Not as obviously structured and detailed as the 1998, and expectedly lacking the depth and breadth, I also detected some underbrush quality and a rather dry finishing, which made me think it might already begin to show some tiredness. Drink up.

I have once again confirmed my affection towards 1999 red burgundies and my admiration for Freddy Mugnier. His Musigny 1999 displayed both the potentials of the vintage and the characteristics of the producer. The nose sported a trace of Christophe Roumier style wholecluster fermentation – candied, crushed raspberry, and rose petals. Very elegantly pure and detailed, with good levels of sap and mineral components. The delineated and acid-buffered palate makes one forget to realize the hidden power of this beauty.

Since my first tasting of 1998 Bruno Clair’s Chambertin-Clos de Bèze at Burg table @ Kheam Hock, I had fallen in love with this beauty. Ever since, I have bought 3-4 dozen and I have tasted it at least three times, and none has failed to impress. Previously, Clair was not my favorite producer in Gevrey-Chambertin. I found his wines to be too edgy (interestingly, now I kind of look forward to this characteristic instead), too earthy and very often, too much underbrush, or sous-bois, and at times sauvage flavors. Since my encounter of Clair’s 1998 Chambertin-Clos de Bèze, all these had changed. The 1998 Chambertin-Clos de Bèze, unlike many of their other vintages, has none of the “wild flavors”. In fact, it was quite pristine and the pitch was among the freshest I’ve ever come across coming from this commune. The unmistakable candied dark berries (not raspberry), coated with minerals in a satin smooth texture that is so glossy and irresistible, one would never realize the hidden power and weight and neither can one trace the tannins and the acids. It is a fact that the wine has such a precise and balancing cut on the finish. The overall balance and harmony of this wine is simply incredible. This stylish, silky and attractive sweet red is something no one would refuse subsequent pours. A thrilling juice!

I could hardly recall my impression on the next wine served, but it was in fact a 1980 DRC Grand Echezeaux. This was clearly my least favorite of the night and particularly so since it was tasted alongside with my biggest surprise of the night: 1998 Leroy Le Chambertin. In spite of my immense respect for this dmaine’s minuscule production and its track record of making some of the most massive and concentrated wines of Burgundy, I must confess I have found the “terroir” element to have the tendency to be simply buried underneath all these concentration and the 100% new wood applied. You can always count on Mme Leroy’s wines to be lush, seamless and, what Tanzer would have described as “painfully intense”. The fruit profile often leans toward dark fruits, quite often in the dark raspberries spectrum. Never quite high pitched, but instead more pliant, and spicy, they too tend to lack details, clarity and sappiness. However, I was impressed with this 1998 Le Chambertin. I am not sure whether it was the vintage factor or simply this particular climat is better suited to her style. The wine was youthfully structured, with typical Gevrey earth, possessed exceptional purity and a rare presence of sappiness. The pitch in this cuvee is among the highest I have ever encountered from this domaine. The rare display of acidity and vibrancy also gave the wine more crystallized red fruits. Overall, this is the most impressive and satisfying Leroy’s wine I have ever tasted to date.

Kheam Hock 81 Burg Table – 2000 Burgundy (April 06)

2007-05-24T01:14:00.000-07:00

I could not think of a better way to drink wine, indulging in a glass of fine Burgundy, and know that part of our “efforts” will go in support of a charity. This credit of this exercise must go to our host of Kheam Hock Burg’s Table who has generously donated all the wines and hand-prepared each course of the wonderful dinner while we, the attendees, get to share the ‘credit’ of donating the ‘cost’ of the dinner in aid of the Salvation Army’s Children Fund.

The theme of this session was 2000 Burgundy. We were first served with a blind white – the highly refreshing, crisp, Bourgogne Aligoté from Coche-Dury. I initially thought it was a village Chassagne-Montrachet (too lean to be a Meursault and too austere to be a Puligny), but the acidity was too penetrating and the midfeel too hollow and dilute. I could not pen down which commune, but was quite sure is a villages AC from a lesser commune, or just a Bourgogne AC. The first pair of Puligny-Montrachet Les Perrières began with the pouring of Louis Carillon which was clearly evolved and aged. Although denser in color, its hue, however, was less brilliant. The flavor on the palate did not persist in spite of early-showing attractive sweetness. This wine echoed my early thoughts on 2000 white Burgundy. Many do not taste as impressive as they were 2-3 years ago. This displayed leaner palate, lacking midpalate and finishing grip. Etienne Sauzet on the other hand proved why they are one of the leading producers from this commune. Crispier, fresher, better structured and firmness, with telltale stone fruit in a well delineated and delicate palate.

It is clear to me now, 2004 whites are superior to 2000 whites and will ultimately outlive the latter in time to come. However, I am more pleased and optimistic about 2000 red. Although stylistically similar to most 2004 reds I have tasted, I have encountered many surprises. Both wines share the similar elegant, delicate, edge-free and forwardness. Not particularly dense, but with good balance, early charm, and excellent fruit purity. Perhaps, the only difference is that the 2004 features more red fruits, while in 2000, there is a combination of red and black fruits. Additionally, the overall tannins and sappiness also seem more detectable in 2000 than 2004.

2000 Henri Gouges NSG 1er Cru Les Pruliers started off tough, tannic and coarse. Like 2004, this is the vintage winemakers should be cautious not to over-extract. Extra care and skill are needed to perform gentle color extraction. I initially thought this wine was overly extracted, with flavors featuring wild, leathery, sauvage elements. I was pleasantly surprised at how much it transformed after some aeration. The wine turned sexy, with almost candied sweet raspberries. Although still showing the typicity of Nuits rusticity and earth, it was quite appealing and pleasurable. 2000 Nicolas Potel VR 1er Cru Les Gaudichots (a prestigious VR premier cru vineyard, where the site is adjacent to La Tâche) was to me, quite a disappointment. The wine seemed to suffer from rapid aging and its finishing tartness seemed to be a result of less than perfect stalks or was simply over extracted. Although the wine did show the telltale Vosne dark raspberries, pliancy and spices, its stalky, meaty element rapidly turned pungent so much so that most of the fruit was buried and it came across very fleshy and flabby on the palate. I also detected some brett element throughout the tasting. Hudelot-Noëllat is one of my favorite producers in Vougeot, but tonight, their usual consistency was absent. The 2000 Clos de Vougeot seems to suffer from reduction on the nose. Showing meat-stock, sweaty saddle with dark raspberry which turned jammy with aeration. The Georges Jayer bottling of Echézeaux, which was clearly made by the master, Henri Jayer, was another masterpiece. Don’t even attempt to describe this beauty. How can one refuse wine of such exclusive balance, such that an inch more of tannin/acid/sweetness would become excessive and intrusive. In Jayer’s wine, you’d never feel the finishing tannin or acidity, or alcohol. You can only feel the presence, but you can never trace its weight. The balance is exemplary. All his wines demonstrate unparalleled brightness, fruit purity, rich yet weightless, voluminous yet genteel feel. Every component is precisely positioned and in harmony. The sleekness and stylishness are timeless. I have yet to meet anyone in his generation or after, to have ever pulled off a wine in such league. I suspect his skill will never be duplicated, but, let’s only hope there’d still be some of his wines left to remember on how great a burgundy can be!

(Let’s bear in mind that all our pairs of 2000s were served “semi-blind”, so although we knew which pair of wines were served, we need to guess which is which. So far, we had done well.)

I like the following pair as their qualities were more consistent. 2000 Rousseau Chambertin-Clos de Bèze to me behaved more like a Charmes-Chambertin than Clos de Bèze, showing pliant, sexy, soft and seamless palate, in addition to dark cherry coated fruits with confectionery element. It was juicy and delicious, but did not have quite the pitch and minerality of Rousseau’s le Chambertin. Still, I detected good sap in this charming juice. 2000 Jadot Chambertin-Clos de Bèze clearly was my cup of tea and quite distinctly Gevrey in style. Well pitched, fresher, with mineral-scented red fruits (as opposed to Rousseau’s black fruits) - cherries and rose petals. The solid acidity lent the wine firmness and focus. More obvious sap. Impressive! Jadot practices “blocked malolactic”, and it’s rare for the domaine to conduct full malolactic. Winemaker, Jacques Lardière once told me that it was the natural acidity he was after and in some years, no “malo” was conducted.

We all patiently waited for the next flight to be served. It was a pair of Le Musigny by Jacques-Frédéric Mugnier and de Vogüé. As I have said before, nothing is more thrilling for me these days than the pleasure of drinking Le Musigny. And even more so, this time it was both my favorite producers. Clearly, they are two very distinct styles. One might perhaps argue that de Vogüé possesses too strong a house-style. However, few would object to the captivating sexy sweetness of de Vogüé, that is so explosive, dramatic, flamboyant and showstopping. How could anyone refuse or forget such palate staining sweetness, caressing satiny palate and such gorgeous, velvety sensuousness? 2000 de Vogüé was no exception. It had more volume and more confectionery elements than, say, the purer style of 2000 Mugnier. The palate also showed darker fruits and was more textured, whereas Mugnier’s came across lighter, but more transparent and more delineated. It was difficult to tell in blind this de Vogüé actually came from vintage 2000. Its volume and scale outperformed the vintage. I equally admire Mugnier honest style, which faithfully reflects the vintage with its fruit purity, wood-absent palate and refined, detailed personality. What a treat!

Vega Sicilia Vertical Tasting in Raffles Wine & Food Experience

2007-05-24T01:07:00.000-07:00

I have known Pablo Álvarez, owner of the most prestigious estate of Spain, Vega Sicilia for several years. In those days, his winemaker was Mariano García, who has now become a famous flying consultant in Spain. Vega Sicilia has an historical significance in Spain rarely equaled by others. The estate dates back all the way to 1848 and the present proprietor, the Álvarez Mezquíriz family assumed control since 1982 and is currently managed by Pablo Álvarez. The new winemaker, Xavier Ausás has since continued the duties left by García in 1998.

The tasting held on February 17 at Raffles Hotel saw some 40-50 attendees. It was moderated by the famous international auction house Sotheby’s head of wine department, Serena Sutcliffe M.W. and local wine guru, Dr. NK Yong. One could effortlessly spot the differences in winemaking style between the hands of García and Ausás: the former adopting more traditional winemaking approach, crafting wines tailored for the long haul (and consequently more formidable when young) while Ausás’ winemaking leans toward modern Spain, alta expresión style (and this was especially evident with their new wine from Toro called, Pintia). Liqueur dark berries, tar in a seamless, exuberant palate, I much preferred the Alion 2001, which though was equally modern; it had better freshness and elegance resembling Burgundy. My favorite of the night was the 1976 Unico Riserva, which had very sexy and captivating sweet nose which, reminded me of vintage port. Opulent, lush and quite massive, it sported a penetrating port-like, glycerin sweetness, which was hard to resist. It was the most complete and profound wine that night yet the spine of acidity kept the palate focused and balanced. 1953 Unico Riserva has demonstrated how capable this wine can age. Still youthful on the palate, the nose was very complex, with smoked meat, cedar and distinctly more balsamic vinegar. Though less voluminous and dramatic than the 1976, it actually came across as more youthful than the former wine. Impressive. 1996 was, according to their international sales agent, Christopher Cannan, another legend in the making and may potentially join the ranks of classics such as 1968 and 1975. Let it be told that it is never an easy task to access a young Vega. Firstly, the nose was strongly influenced by the vanilla imparted by American oak. There are not many wine regions practices to age their wine in American oak, which often comes across too strong and pungent. Only Spain’s Tempranillo and Aussie’s Shiraz seem capable to absorb such wood treatment and successfully turning it into greatness. Since traditionally Spanish wines had been aged in American oak barrels, in spite of the current trend of new alta expresión producers who tend to use French oak instead, like Australia, I much prefer the traditional American oak version Spaniard as it had became part of the unique nuance of the constitution for its wine. It is like comparing Penfold’s Grange versus RWT. The later does seem to fit into conventional aspect of Australian Shiraz but rather a half-breed. Apart from the sweet vanillin aspect, I also detect tar, toffee, liqueur-dark berries, smoke and earth in the 1996 Unico Riserva. The potential of this wine could well be foretold from the textures and palate volume. The crisp acidity and mounting tannins, especially after some aeration, all bodes well to the towering future of this maiden. 1986 Unico Riserva seemed to be less consistent. One specimen came across to be “brett” influenced: leather, sweaty saddle, musty nose with a touch of licorice. The palate showcased more aged plum and balsamic, with obvious viscosity and tasted spicier than most earlier examples. The wine is neither particularly rich nor powerful. The different glass tasted later from my neighbor showed more pristine nose, with more fatness and layered texture. Could it have been overly decanted? I was far less enthusiastic with the Unico 1965 and 1942, with 1965 tasted slightly rich but overall the flavors are less penetrating than any of the former wines. It started impressively, with a complex nose of soy, earth, licorice and aged meat. Yet the palate has neither the scale nor palate staining richness like 76s and in fact, it tasted quite diluted toward the finish. Perhaps the worse show of all is the 1942, showing every sign that it is nearing its grave. More chocolatey than others and in an elegant yet soon faded palate.

My Recent Wine Tasting… (December-January 2006)

2007-05-24T00:57:00.000-07:00

As I said before, there are not many wines which leave me with a lasting memory. I may taste dozens of wines every week but only so few stood out and are worthy of mention in this column.

Young Sylvie Boyer (29 year-old) from Yves Boyer-Martenot in Meursault was in town with me earlier this month. During her wine presentation at Confrerie’s event, I was impressed with her 2004 vintage. Again, the whites are clearly more superior to the reds. The unmistakably strong show on “malic acid” in 2004 is evident in every one of her bottles. The wines are fresh, precise and endowed with exceptional clarity and details. These are clearly from the old world and unlike many new world wines, which, granted may occasionally buffered with good acidity yet rarely share the same pitch and acid/fruit integration. Among all her whites, I liked the 2004 Meursault 1er Cru Perrières best. The wine seems to have more in common with its neighboring village, Puligny-Montrachet, than a Meursault. The delicate smoothness combined the racy and mineral personality barely calls to mind the usually voluminous, obvious, textured Meursault. The acidity also came through less pineapple-acid like than the other Meursaults, and was especially evident when compared alongside with their Meursault Charmes & Narvaux.

Monthelie, a relatively unknown village sandwiched between Volnay & Meursault often makes early accessible, uncomplicated but delicious fruit wines. I was pleasantly surprised with Coche-Dury Monthelie 1998, who is in my opinion the master winemaker of white burgundies. This red not only survived (Monthelie usually should be consumed young), its aged sweetness, soy, earth (evident of stems), yet in a cleansing, smooth, edge free palate is both pleasurable and delicious. The same night I attended the Clos de Lambrays dinner, and the wines were smacked with frontal sweet oak, with typical pain grille, high toned dark fruit, liqueur, and tar which lacked personality and came across identical to each other apart from the differences in weight and readiness. They had none of the balancing, bracing liveliness of the early Monthelie. Bravo to the down-to-earth, unassuming Jean-Francois Coche-Dury.

Another night out to search for the best value wine of Burgundy and I found myself continually going back to the glass of Domaine Leflaive Bourgogne Blanc 2002. Despite being a humble Bourgogne Blanc, the wine outclassed the rest, throwing in a good dose stoney, mineral fruit and surprisingly penetrating flavor. Another impressive wine is Jadot Beaune 1er Cru Cent Vignes 1995. Telltale Beaune’s damp-earth, with aged, dusty, plum-like fruits, yet the frame remained structured and focused with the promise of tannins to melt in time. Not bad for a wine that cost S$80.

Lately, I have increasingly focused on wines coming from three regions – Piedmont, Northern Rhône & Burgundy. They all have something in common: singular grape (save for Côte Rôtie, where Viognier is occasionally added), sensitive to weather (reflecting clearer vintage definition), minimalism of “vanillazation” (oak treatment) and lastly, superior distinction since none can be replicated outside their originating territories. The trend of these three regions incidentally leans toward making wines with the emphasis of fruit purity over oak, finesse over weight and fresh acidity over sugar ripeness. I have never tasted Ogier’s Côte Rôtie and my first experience was memorable. The 2001 Côte Rôtie Les Embruns was very impressive and distinctly northern Rhône’s syrah. Unmistakable white pepper, spicy with unyielding yet voluminous palate and at once structured and precise. The co-existence of dense, textured palate and presence of acidity lend the wine with great class and finesse. This was tasted alongside with 1988 Jamet Côte Rôtie, which was already showing tiredness, losing grip and came across chunky and dehydrated sweet.

Burgundy Reports – Part Two – Chambolle-Musigny

2007-05-24T00:52:00.000-07:00

Prior to visiting his domaine, I met Frédéric Mugnier in Singapore for the Paulée de Meursault charity event organized by Dr. NK Yong.

Mugnier, a former oil engineer in his 50s was born in Geneva but raised in Alsace. Up to the year 2000, Mugnier had to work as a part-time airline pilot to supplement his income from his 4-hectare estate vineyards in Chambolle-Musigny. All this took a decisive turn ever since the lease of the large parcel of land in Nuits-Saint-Georges 1er Cru called Clos de la Marechale (9.76 hectares) expired and was returned to the Mugnier family from Faiveley in 2003.

In the 1950s, Frédéric’s father, Jacques-Frédéric Mugnier, for family reasons leased the entire Château de Chambolle-Musigny estate (where the current domaine resides), along with Clos de la Marechale to Nuits-Saint-Georges négociant Faiveley for a period of 28 years. Initially the Chambolle vine were farmed by Faiveley, but was later passed on to Bernard Clair from Marsannay. In 1978, when the lease expired, Jacques-Frédéric Mugnier decided to regain control over his 4 hectares Chambolle-Musigny vineyard from Bernard Clair but agreed to extend another 25 more years lease to Faiveley for Clos de la Marechale. Frédéric Mugnier took over the domaine in 1985 and eventually regained control over Clos de la Marechale vineyard in November 2003.

Mugnier reminded me of another famous wine personality, Larry Stone (Master Sommelier and restaurateur of the famous San Francisco Restaurant Rubicon). Both gentlemen tend to be shy and at times seem to have difficulties in expressing themselves. Yet these are undoubtedly very intelligent individuals and once the subject of wine is brought up, their latent intensity and passion would soon take over.

Mugnier has a very simple approach to raising his wine: let nature do its work and simply stay out of the way. In several occasions he told me, “You cannot possibly add anything to what the vineyard already has; you can only remove from it.” His goal is to fully allow his vineyard to express itself without man-made, artificial or superficial alterations. “The quality and uniqueness has already existed in the vineyard. A good winemaker (he refuses to call himself a winemaker but would accept to be called a vigneron, as he thinks he is simply the servant of his vineyards) is to be able to express those quality and amplify them.” Allen Meadows of Burghound once said, “The greatest winemakers in Burgundy are those that are humble before their vineyards.”

Mugnier is a firm believer of old vine. Majority of his vines were planted in 1968, save for his Bonnes-Mares, most of which was replanted in 1980 and 1987 (however one-third of it were planted in the 50s). He is not a great believer of biodynamic as he argues against some of the practices, such as the use of copper spray to treat oïdium (powdery mildew) which was permitted yet ironically no other synthetic chemicals were allowed. To his knowledge, copper sulphate does more harm to the soil than many synthetic sprays and most biodynamic domaines tends to spray double the dosage he would typically choose to use. Although his vineyards are not organic, Mugnier does not use weed killer, industrial fertilizers or insecticide, and only applies copper sulphate when is absolutely necessary.

Mugnier picks his fruits according to taste rather than trying to determine phenolic ripening from the grape stalks. He practices triage or sorting but emphasizes that it is best conducted in the vineyard, not in the cuvérie. He said, “If there were inferior or rot-infected grapes, it would have been too late to remove them once all grapes are mixed together with the healthier bunch.” He likes to bring in the grape at 15-degree Celsius. In the event that the subsequent grapes were brought in at a higher temperature, he would chill the grapes. He believes all his grapes must enter to the fermentation tank at an equal temperature. He also conducts various harvesting timing from his vineyard to obtain different degrees of ripening of fruits, a practice which provides him with the ability to work with a broader choice of components. Mugnier does not practice cold maceration, as color is the least important factor to him. “We are making pinot noir here, not syrah,” Mugnier succinctly states.

Since 1989 Mugnier began fully destemming his grapes. All primary fermentation takes place in temperature-controlled stainless-steel tank or wooden vat. Each parcel of vineyard is treated separately and assembling of the wine (assemblage) is done only prior to the bottling. Only 20% new wood is used here, and the remaining is made up of 2-3 year-old barrels. When asked why specifically 20%, Mugnier replied that it was practical and economical to recycle the barrel – otherwise, he is prepared to go even lower. He emphatically expressed that he disliked the taste of oak in his wines and the reason for the use of oak was mainly for storage and further refining of his wines through slow contact with oxygen.

One peculiar practice he conducts is that he treats all his wines equally. From the humblest villages to the most highly prized grand cru, they receive the same exact treatment in the vineyards and in élevage: same vinification, same amount of new and used oak for aging. As stated earlier, he does not care about the color and weight of his wines. Even in less superior vintages, he would not alter the raw materials by applying enhancement techniques such as cold maceration, saignée, adding pressed wines, or lengthening the aging. “If there is a problem or deficiency in the vintage, there is no reason to hide them. That is the character of the year and the wine should reflect the vintage. That is what makes wines interesting.” His approach echoes the practices of old when the church and aristocracy owned all Burgundy’s vineyards in the eighteen-century. The monks treated all vineyards regardless of crus in the same precise manner. Over time, the superiority of some vineyards was revealed, contributing to what we now know of as the present ranking or cru system. It is of no surprise that Mugnier is now making one of the purest and most honest wines of the region. I agree with Meadows’ comment that Mugnier’s wine is not for everybody, especially not for those who look for lush, wood-infused wines with early accessibility. “Mugnier’s wines often require the taster to come to them, or at least meet them in the middle. They are understated, rigorous, precise, pure and delineated wines,” quipped Meadows.

When I told recalled to Mugnier that Meadows considered his wine was for the intellect, he responded emphatically to that statement and replied, “What I was trying to achieve here is to make simple wines which reflect its origin. The hardest thing to achieve in life is simplicity.” Jules Guyot (1807-1872) had once said, “The greatest of making good wine is of pristine simplicity and the best preceptor is traditional practice.” This statement accurately echoes what Mugnier believes in.

Day Four (November 17, 2005) – Domaine Comte Georges de Vogüé
Few domaines in burgundy share a historical significance like domaine Comte George de Vogüé where its roots trace back to over 550 years. (A case in point, the courtyard of the domaine was previously built by Jean Moisson, de Vogüé ancestors in the 1400s.) The domaine is today in the hands of Elizabeth, Baronne Bertrand de Ladoucette (also related to the Loire’s Ladoucette family), the only daughter of Comte George’s and her two daughters, Comtesse Gérard de Caussans and Marie de Vogüé. Following the death of Comte George in 1987, Elizabeth installed the new team, comprising Gérard Gaudeau who tended the vines (succeeded by Eric Bourgogne in 1996), François Millet who responsible the winemaking after the retirement of Alain Roumier and Jean-Luc Pépin, formerly from Joseph Drouhin, who takes charge of sales and marketing.

The domaine today owns 12.5 hectares of vines, out of which was a 7.2 ha plot of Musigny – which includes exclusive sole holding of Les Petits-Musigny (4.2 ha) – making them the largest owner of the 10 ha Musigny grand cru vineyard. Other owners of what Allen Meadows calls “one of the most gifted pieces of dirt in burgundy” includes illustrious names such as Frédéric Mugnier, Jacques Prieur, Joseph Drouhin, Pierre-Julien Hudelot, Daniel Moine-Hudelot, Domaine Ponnelle, George Roumier and Lalou-Bize Leroy. Besides Musigny, de Vogüé also owns 2.7 ha of Bonnes-Mares grand cru, 0.56 ha of the 1er Cru “Les Amoureuses”, 0.17 ha each of 1er Cru Les Fuées and Les Baudes, both of which due to the insignificant in size have been traditionally blended into the 1.8 ha of villages bottling. The estate’s only other premier cru (Chambolle-Musigny 1er Cru) is exclusively made of younger vines Le Musigny grand cru vineyard and is therefore, according to François Millet, the best value wine of the domaine.

Perhaps my palate has evolved, or just that I have begun to understand burgundy better these days but I have recently displaced my long affection of burgundy grand cru Richebourg with Le Musigny. The taste of 1998 de Vogüé Le Musigny is still lingering long and clear in my memory. The subtle yet haunting sweetness, the concentration, unmatched breed and depth, yet so exclusively balanced… Richebourg might have the same deliciousness, richness and generosity, but the sappiness, purity, minerality, and the blissful balance of acidity are not apparent with Richebourg. I am not sure if all Musigny would taste like de Vogüé’s – as my experiences are limited – but what Allen Meadows describes as the hallmark of this unique grand cru which is “richness without weight” clearly found in de Vogüé Le Musigny is both rare and exclusive. François Millet later told me that the domaine’s parcel of Le Musigny, which includes the entire southeastern of Le Petits-Musigny could well responsible for the elegance found in de Vogüé Le Musigny.

Meeting François Millet was also one of the highlights of this trip. He came across as a very serious person in his business, a private person and a man with few words but never lacking wisdom. I enjoy chatting with him and he was extremely honest and generous in sharing his knowledge and experiences. When asked how he would compare or distinguish Le Musigny from Bonnes-Mares, he gently replied, “Bonnes-Mares has always been considered an outsider of Chambolle-Musigny. It loves to be provoked and can at times turn out quite differently.” I completely agree with Millet at this point, especially when you start comparing the Bonnes-Mares from de Vogüé and Frédéric Mugnier – you would even think they come from different communes! Millet continues, “Bonnes-Mares in de Vogüé always has a purple hue, not that we practice cold-maceration, (which improves anthocyans, or natural organic chemical compounds responsible for purple color in grapes and wines) but it’s just always that way. Unlike Musigny or Les Amoureuses which are often marked by red raspberries, Bonnes-Mares tends to show more intense black fruits. Bonnes-Mares is often more forthcoming, showy, with obvious weight, structure, power and, at times, a touch of rusticity. Musigny, on the other hand, is more subtle, more silky-smooth and edge-free. It needs very little interference from man and if it is done carelessly, it would simply lose its unique qualities. It is like someone walking on a tightrope between cliffs: any mistake along the way and the consequence is irreversible.” He further added, “You need to search for your own definition for Musigny. As soon as you’ve found it, it would be unmistakable.” Of all writers, I think Clive Coates has the essence right, “ Musigny at it best is perfumed and silky-smooth, not rugged and masculine. The tannins are there, but they are supple; the vigor is present, but the feel is essentially soft. A great Musigny is heaven in a glass!”

These are my notes of the barrel tasting of 2004 from de Vogüé.

The Chambolle-Musigny was marked by raspberries with hints of spices. The palate was both pristine and pure. Not particularly dense, instead it was quite delicate and sexy, with a supple feel. According to Millet, the month of August in the vintage was particularly problematic and challenging for Chambolle, with hailstorm and rain interference. Fortunately, the weather returned to dry and windy in September although some high-altitude spots in the vineyard was still threatened by hail. Chambolle-Musigny 1er Cru “Les Amoureuses” showed more seductive perfume that this appellation is well known for, with spices, dark raspberries and rose petals that came across quite high-toned and confectionery. Interestingly, underneath the edge-free, silky palate, there was a good detail of minerality which came across almost stone fruit like. Besides, there was an obvious sappiness in this wine not found in the previous sample. The average vine age here is around 30-year-old and like other Amoureuses, which lies directly below Le Musigny, it consists of more limestone pebble as opposed to clay, which, according to Millet, lends a silky-smooth personality and finesse to the wine.

There is no question that, all de Vogüé’s wines carry a certain house-style that with some experience, one could possibly spot quite easily. It often has a lush, almost confectionery dark fruits element. The palate is usually silky and marked by seductively sweetness but equally there is good level of acidity that gives their wines the required energy and vibrancy. There was always a certain mineral quality too and most importantly, there is clear definition among the crus. All de Vogüé premier cru are treated with approximately 20% new wood and for grand cru, up to 40%. Interestingly, Millet preferred to show me the Le Musigny before his Bonnes-Mares. Clearly, Musigny recalled a similar fruit profile as Amoureuses, but in a more subtle way. The wine also came across as less showy, with more pronounced minerality, more obvious structure and a decidedly sound acidity. It was clearly a larger-scale wine. As I mentioned in previous issues, the stream-flow in burgundy commune has a deciding factor on where and which limestone would be found. Due to the stream known as Grône both Bathonian and Bajocian limestone co-exist in Chambolle-Musigny. It is particularly evident with Bonnes-Mares, which lies north toward Clos-de-Tart from Morey-Saint-Denis, which has more Bajocian influenced of clay and marl known as terres rouges. Going south toward Chambolle the soil becomes lighter in color, which comprises more of Bathonian oolite and fossilized oysters known as terres blaches. It is said that the influenced of Morey-Saint-Denis leaves a clear mark on Bonnes-Mares, with a more foursquare, muscular, structure and rugged frame. De Vogüé’s Bonnes-Mares, which comes from exclusively terres rouges soil showed an atypical style of the house, with more muscle, structure and to some extent, rusticity. There was a good level of purity in its red and black berries, rose petals as well as obvious earthy tones not found in the preceding samples. Also, the wine did not have as much sappiness and the acidity was less adequate than, say, the Musigny or Amoureuses. Nonetheless, this is a firm, structured and deep wine that needs plenty age to fully express its true potentials. (Specially edited by H.Hariyono)

Kooyong SVS Pinot Noir

2007-05-20T23:27:00.000-07:00

Sandro Mosele is no stranger to the readers of this mailer. He is in my opinion the best Pinot Noir winemaker in Mornington Peninsula, alongside with half-a-dozen of Pinot specialist such as Gary Farr of Bannockburn (Serré pinot noir), Phillip Jones of Bass Phillip, Rick Kinzbrunner of Giaconda, and most recent vintages of Bindi, which is co-produced by Stuart Anderson & Michael Dhillon. Outside this group of people, they simply are no Pinot Noirs from Australia that excite me. Like Merlot, pinot noir is a demanding grape to raise and it has taken Australia more than two decade to achieve its present state. Clearly, Mosele had raised the quality of Pinot Noir in Mornington Peninsula within a brief period and his rather European approach has not only gained him accolades domestically, but also from outside of Australia. The famous Australian wine critic Jeremy Oliver has once said, “the arrival of Sandro Mosele, is possible the best thing could have happened to Mornington Peninsula.”

Before the arrival of Mosele, the Mornington Peninsula was already a famous area for making cool-climate Chardonnay and Pinot Noir but often criticized for quality inconsistency, making Pinot Noir which are relatively spicy, earthy and occasionally stalky.

After graduating from Charles Stuart University, Mosele went on to work at Rochford and later, under the stewardship of Sergio Carlei at Carlei Estate and Green Vineyards, he was soon noticed. Since 1996, Mosele has devoted himself entirely to developing Kooyong’s 30 hectares of vineyard planted predominantly with Chardonnay and Pinot Noir in multi-clonal settings in five separate vineyards blocks. These vineyards blocks consist of two Chardonnay blocks (“Faultline” and “Mosaic”) and three Pinot Noir blocks (“Haven”, “Meres” and “Ferrous”). Each block may be made-up of 10 individual parcels, each of which is always treated separately. In its earlier years, due to the young age of the vines, most of these parcels had yet to obtain the necessary intensity and individuality, therefore only estate Chardonnay and Pinot Noirs were made. But since 2001, SVS (single-vineyard-series) bottlings were gradually introduced and only the finest parcels of each block will make it into the SVS bottlings, whereas the second-best parcels are blended together to make up the Kooyong “Estate” wines. There is also a second label called “Massale” for pinots and “Clonal” for Chardonnay made each year.

Mosele told me that Mornington Peninsula fruit often enjoys larger cluster than say, Gippsland Pinot Noir. Yield control is therefore essential for making quality Pinot Noir here. He conducts severe shoot thinning and prunes ruthlessly to reduce the potential crop size. All grapes are 100% destalked, as he claims that it is hard to achieve good ripening of stalks in this area. Fermentation took place in traditional burgundian open top fermenter with pigeage by hands. Fermentation typically last 7 days using only indigenous yeast. The must is kept with cap until it naturally sinks and is passed to French 228 liters barrel for aging. He uses up to 35% new barrels coming predominantly from tronçais from cooperages such as François Frères, Taransaud and Bertrange. He only used barrels seasoned for 3 years. The wine is racked only once after malolactic fermentation and bottles after 17 months.

Starting with 2003 vintages, all three SVS Pinot Noirs make it to the bottles. “Meres” refers to lake or pond, since the originating site of this vineyard is surrounded by water. The higher content of sand in this vineyard makes it naturally low in vigor, and the abundant sun exposures also make it the most showy of all three SVS Pinot Noirs. The 2003 offers plenty of red berries, very profound and velvety. It is well-pitched and shows noticeable sappiness, which is rare for Australian Pinots (only Giaconda pinots carries a similar sappy feel). Good purity and very delicate. 2003 Haven vineyard is largely surrounded with trees and is probably the most protected site of all. It offers more structured and intense fruits. High-toned dark raspberries, with roasted element and pronounced earth. Seemingly reminiscent of a Pommard. 2003 Ferrous is my favorite vineyard of all. It shows off more dark cherries with denser palate than any of the preceding wines. It also has more “cut” and edgy feel, thanks to the underlying acidity. A more complete, focused and clear-framed of all of the three wines.

Burgundy Reports – Part One - Day Four (November 17, 2005)

2007-05-20T23:23:00.000-07:00

It was a chilly Thursday morning as we started our first appointment in Pommard. My French companion found his car frozen in the morning and it took him a while to get his engine started.

I like being in burgundy; everyone seems to know each other. Even if you ask a roadside construction worker or an elderly lady who just finished her marketing for directions, they always seem to know which way to go. And so in spite of the lack of obvious signage, we arrived at Clos-des-Epeneaux ahead of time.

Comte Armand is a historical and highly esteemed domaine in Pommard. The current proprietor, Vicomte Gabriel, is a lawyer in his fifties who lives mainly in Paris. The domaine is entirely managed by the young Benjamin Leroux, successor of Pascal Marchand, the man previously credited for the resurrection of this domaine.

The 5.3 ha Clos-des-Epeneaux is an enclosed vineyard blessed with some of the most precious vines in Burgundy of which some are more than 70 years old. Technically speaking, the “Clos” lies between the Petits-Epenots on the Beaune border and the Grands-Epenots towards the northern end of Pommard. It is often said that Clos-des-Epeneaux produces the most unique wines of the village.

It was Pascal Marchand who was responsible for the quality turnaround in this estate between 1985-1995. His departure in 1999 was succeeded by another very talented young man, Benjamin Leroux.

Leroux is unquestionably the brightest younger generation winemaker I have met in this trip. Despite his youthful age, he is well traveled and is highly experienced. He spent his earlier working years at Domaine Drouhin in Oregon, followed by later at Château Cos d’Estournel in Bordeaux’s St.-Estèphe, and then Giesen Estate in New Zealand before returning to Burgundy (he worked for Maison Louis Jadot for several years prior joining Comte Armand). Leroux has in fact been working on and off for this Domaine since 1991. So it was not surprising that he is very familiar with the vineyards and continues many of the practices of his predecessor.

Leroux has clearly benefited from his overseas experience and is stock-full of knowledge of both wine worlds. He came across as someone who has the ability to get the most out of his raw materials. Leroux continues the practices of biodynamic in his vineyard, but was quick to point out that it is more a philosophy than a technique. “The fundamentals of biodynamie is organic farming,” said Leroux. He believes that biodynamic helps to bring out the best grapes from his vineyard. Since it was introduced, many critics felt that there is additional minerality found in Clos-des-Epeneaux. Leroux credits the sound acidity that he has successfully coaxed out of his fruits that highlights the mineral quality and balance in his wines.

Leroux frequently meets with his fellow winemaking colleagues such as Dominique Lafon of Comte Lafon, Anne-Claude Leflaive of Domaine Leflaive and Jean-Louis Trapet of Domaine Trapet to share their experiences and exchange thoughts on biodynamic. He told me that they are not part of Demeter or Biodivin, which is a certified biodynamic producer organization whose membership includes names of famous winemakers such as Michel Chapoutier, Lalou-Bize-Leroy, Nicolas Joly, Zind-Humbrecht…etc. He explained to me that in order to be certified by such an organization as a biodynamic producer, he would be bound by certain techniques which may or may not be suitable for your vineyard. “Biodynamic is the result of understanding your vineyard – each vineyard is uniquely its own and should be treated differently. Nothing ought to be conventional, and applying any standard rules or techniques will only diminish the uniqueness of the vineyard.”

Leroux also a believer of sélection masale, or mass selection. When asked why he is opposed to clonal selection, he explained that clonal select was designed to control yield and treat diseases. However, quite frequently this may treat one problem but gives way to another. He said that Clos-des-Epeneaux is surrounded with walls (therefore called Clos), and so nothing goes out or in. “It is an enclosed community of old vines, and over the years the vines have fought and developed an immune system against diseases within this surrounded environment. They are highly conditioned within their domestic habitat and by making sélection masale out of those parent vines will further improve the population of virus-resistant vines,” said Leroux. He continued, “Introducing clones is like introducing a foreign agent to the vineyard and may alter the protective shield of its community; hence may make it susceptible to new diseases.” Leroux also stressed that sélection masale should only propagate from the same vineyard. The mass selection cutting should never come from another source or it might jeopardize the vineyard and potentially putting the vine at risk of foreign viruses. In short, this should be a highly localized practice.

Over the years Leroux has slowly replanted his older, less productive vineyards using such methods. Today almost 90% of his vineyard is planted with sélection masale. The remaining few rows of the vines, which were earlier planted with clonal select, has worked out well and got along with their neighbors. As they did not cause any problems, he felt therefore there is no need to change this.

I asked Leroux if he conducts leaf pulling, which is a part of canopy management to improve grapes exposure to sunlight as well as air circulation to prevent diseases such as mildew. To this, he made an interesting remark, “In Clos-des-Epeneaux, we trained our canopy high to maximize photosynthesis. It is equally important not to remove any leaf during ripening periods as each leaf plays an important role in the photosynthesis process in order to ripen the grapes evenly.” He also told me later that, like Henri Jayer, he does not believing in green-harvest. “If you need to control the yield, you should start them early, that is, when the vine has not obtained the knowledge of the shoot. Once the cane starts developing, the vine will acknowledge and cater the necessary nutrient and strength to grow toward grape bunches. Cutting them now will ruin the balance of such distribution and potentially speed up the ripening of the remaining grapes. You are unlikely to have balance grapes from such a practice.” Leroux keeps five buds per vine with an average crop of 26 hl/ha.

Before we began our tasting, Leroux cautioned us that some of his wines had just been racked, and so the wine may suffer from shock due to such major shifting. 2004 Auxey-Duresses offered an expressive nose, with fresh red fruits and sappiness. Profoundly sexy, with good structured core and fruit purity. Leroux added, “2004 is a balanced vintage, with upfront fruit, and features more red fruits. It is not a big year, but rather a delightful wine to enjoy upon release.” 2004 Auxey-Duresses 1er Cru (from a blend of Les Bréterins and Bas du Duresses with vine age between 35-75-year-old on a soil of rock bed that featured more marl) showed a tighter core, with a good core of acidity in a similar red-fruited, sappy profile. Denser in the palate and more obviously structured than the earlier bottle. 2004 Volnay villages came across as more feminine with less richness but more ripeness consisting of high-toned dark raspberries fruit. This parcel of vineyard is from two-thirds clay, one-third limestone soil with an average vine age of 8 to 20 years old. 2004 Volnay “Frémiets’ is denser and sweeter on the nose. The palate clearly shows more volume with velvety, seamless feel that came across less lively and with more obvious weight. The previous acidity was not found in this cuvée and neither did the usual sappiness one tends to find from this domaine’s wines. When I told Leroux that this was clearly a different wine from all his previous samples, he admitted to me that this was the only parcel which was situated at the top of the slopes of his Volnay vineyards and was affected by hail. He was actually surprised that I spotted it as he claimed to have done severe sorting, or triage to minimize the rot caused by hail damaged grape – goût de grêle. Only two barrels were made and he agreed with me that the sweetness without a cleansing sappiness is clearly a result of dehydrated grapes.

The following wines served were the component wines for Clos-des-Epeneaux Pommard 1er Cru. Due to different soil types within the Clos, various inclinations, as well as the age of the vine, each plot ripened quite different. Leroux treated them separately before concocting his final blend. Leroux does not perform cold maceration but rather post ferment maceration, with 100% destalk and whole-cluster fermentation without crushing the grapes. The vinification and maceration process usually lasts for three weeks. The finished wine is aged in small barrels, out of which 40% are new for the Clos-des-Epeneaux. 2004 malolactic lasted quite long, which explains why some of the wines actually had just been racked. Leroux generally filters the gross lees remaining from the barrels while restoring the finer lees back to the racked wine. 2004 component wine #1 (from young vines of 20-25 year-old) offers high-toned dark raspberries, good suppleness, more showy and volume, good earth but also displayed some of goût de grêle aspect(?) with less sap and freshness. 2004 component wine #2 (from young vines of 26-50 year-old - not racked) showed some reductive nose with a more reserved personality. Higher pitched with better acid-spine in a restrained and elegant way emphasizing good red pinot fruits. Since the whole village was touched by hail, these first two cuvées made from fruits coming from the top of the slopes were in fact affected by hail to some degree. 2004 component wine #3 (from vines at similar age, but coming from the bottom of the slope - racked) displays more muscle and firmer frame. The wine unveiled the purity and structured core typical of this domaine with better presence of minerality and sappiness. 2004 component wine #4 (from 70+ year-old vines) displayed an obviously riper and darker fruits. More layered and textured with better density and richness. In spite of that, the wine is well-pitched and possesses good transparency. Leroux told me that, although the parcel of Clos-des-Epeneaux old vines tend to ripen more slowly, the ripening window is actually short. A close monitoring is therefore necessary to avoid harvesting overripe fruit. After we have finished tasting all the four component wines, Leroux presented me with a proposed blend for 2004 Clos-des-Epeneaux. This now indeed offers more grace and elegance, with lovely red raspberries, rose-petals and minerality. The palate was very fine and there was a good level of concentration. The wine is relatively shy due to the well-focused acidity, but in a delicate way that closely resembles the 2000, but perhaps in a more refined and less earthy way. I guess my enthusiasm must have impressed Leroux. He later opened up the 2003, 2002 & 2001 for my comparison. I guessed the 2003 Clos-des-Epeneaux right away before Leroux even announced it. Torrefaction ripeness of high-toned dark raspberries and a note of raisins. The confectionery sweet palate made it lush and seamless, but the wine did not taste pruney nor over-the-top. Instead, it actually had a good pitch and balance. The finish, however, did show some dehydrated sweetness and the tannins also came across as chalky. 2002 Clos-des-Epeneaux was clearly a different animal altogether. The nose showed an interesting faint nuance of “animal” in addition to the black cherry fruit. Similarly elegant like 2004, but with a better “punch” and sappiness than the former vintage. This is clearly more structured and forceful, but at the moment the wine is still at its infancy, an awkward stage. The same wine I tasted some time back after 4-5 hours decanting was more promising and clearly displayed a better density and a scale unmatched by 2004. Both Leroux and I loved the 2001. It has the obvious mid-palate intensity not seen from the previous wines. 2001 Clos-des-Epeneaux offered blackberries and cherry fruits in addition to more pronounced earth notes. More pigmented with obvious structure, yet still, there was a good level of sap and minerality.

What impresses me most about this domaine is that it completely changed the way I think about Pommard. Most Pommard I’ve come across show obvious rustic and sturdy toughness. They often remind me as the tannic version of Nuits-St.-Georges with darker fruits. The incredible raw materials plus the immense talents of young Leroux showcase Pommard at an unprecedented level. Clos-des-Epeneaux is a highly sophisticated Pommard. With its finesse, high pitch and minerality it could easily fool any expert as a wine coming from the Côte-de-Nuits.

Vintage 2005

2007-05-20T23:22:00.000-07:00

After returning from the chilly burgundy, I was immediately immersed in organizing several back-to-back wine events for the visiting Mr. Don Weaver, the director of Harlan Estate, and thereafter two famous third-growth Bordeaux Châteaus key-persons, Mr. Emmanuel Cruse of Château d’Issan and Mr. Marcel Ducasse of Château Lagrange. It was all worth it as these people are such great fun to hang out with.

My pre-tasting of 2002 Harlan Estate – scheduled for release next spring – showed great promise. Although I don’t think it was close to the 2001, it was still a delicious wine that offers wonderful sweet-currant fruits in addition to Harlan’s hallmark finesse and elegance.

In spite of the age difference, Cruse and Ducasse compliment each other very well. Cruse is more relaxed and humorous, whereas Ducasse tends to be more serious and detailed. But when both of them are together, you could immediately see an interesting chemistry between the two. My time spent with them was both entertaining and informative. Cruse and Ducasse gave me an early preview of 2005 Bordeaux, which they considered to be an exceptional year. The rare combination cool nights and warm days in a dry growing season has produced grapes so perfectly ripened as never seen before. Some early predictions have gone as far as proclaiming this vintage to be qualitatively comparable to the legendary 1961. Hmmm…I will have full report on my en primeur tasting by next year April 2006.

In the upcoming issues, I will progressively share with you my report of my recent burgundy trip. Since this report will span over more than 20 pages, it is only sensible for me to split them into different parts. Before I commend to you the first part of my report, allow me to say a few words regarding the 2004 and 2005 Burgundy vintages.

2004 white burgundy features sound acidity due to the high presence of malic acid, which also explains why the malolactic-fermentation lasted quite long. After the malo, the wines have largely put on weight – not that they were either green or lean to begin with. The finest examples demonstrate a good level of richness combined with exceptional purity, clarity, vibrancy and details. Personally, I consider it an edge better than the 2000 & 2001 white burgundies, although it is clear that the wine is less profound than nor as attractive as the 2002 whites at the same stage of development. However it is a clearly more classical vintage when compared to the more freakish 2003.

2004 red burgundy is a delightful vintage that features plenty of red fruits in a profound and delicate style which has more in common with the 2000 reds. Although there were some issues with hail –which caused some grapes to inherit the taste of rot – most top-notch producers managed to keep this problem under control, and hence most wines that I have tasted were actually pristine and clean. It also features better details, clarity and freshness when compared to the 2003s. Personally, I would place this vintage qualitatively somewhere between the 2001 & 2000. It has less mid-palate intensity of 2001, but clearly displays more texture and denser fruits than 2000. There were also some 2004s which I thought excelled in quality in comparison to the 2002 counterparts.

2005 is clearly the best of all 2000s as anyone who engages in deeper conversations with the vignerons would be able to sense. It featured a similar dry growing season like 2003, but with less freakish heat, and none of the sunburned grapes issues which plagued many 2003s. Although there is a similar lack of malic acid in this vintage, the tartaric acid levels in 2005 reds were very healthy. This is in contrast to the 2003s where there was hardly any natural acid left to conduct any malolactic fermentation. During my visit last month, many domaine reds have yet started their malo. When I asked one of my most respected winemakers, Benjamin Leroux, to comment on this vintage, he simply said that it was an unprecedented vintage – it carries higher alcohol than 2003, yet the same high level of natural acidity as 1996. The combination of cool nights and warm days made the results of this exceptional vintage. Needless to say, he is very optimistic and excited about 2005 burgundy.