1999, 2001, 2003 from Margaux

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

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?

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

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?

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

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

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!