Category France

Bollinger Vin Clairs (and bottle) Tasting

The Bollinger Vin Clairs Experience

How Champagne is Made

click on comics to enlarge: how champagne is made, an overview

Terlato Wines was kind enough to include me in a Bollinger Vin Clairs tasting yesterday. Vin Clairs, for those that are unfamiliar, amounts to the still base wine that then goes through second fermentation in bottle to become the final champagne. Guy de Rivoire, Bollinger’s Commercial Director, facilitated the tasting, coupled with an overview of the House, and the blending process.

Incredibly, Bollinger’s Special Cuvée (their non-vintage champagne) can include up to 60 component parts of Chardonnay, Pinot Meunier, and Pinot Noir vinified separately, within some neutral barrels, and some stainless steel vats. Each component is bottled in large format, kept in cellar as a still wine to ensure adequate flavor resources for future vintages. These reserve wines total about 650,000 magnums, or 1.3 million bottles. Still, Bollinger produces only 0.6-0.7% of total champagne made in the region per year.

The experience included six components from multiple vintages, and (separately) from each of the three grapes, leading into the final still Special Cuvée, which included at least some of the components we tasted. The culmination occurred in comparing the still Special Cuvée to its sparkling counterpart. Finally, the tasting extended into several vintage champagnes, and the non-vintage rosé followed by a 2004 vintage rosé.

Bollinger Making the Assemblage: the Vin Clairs blend

Making the Bollinger Special Cuvee

click on comic to enlarge: Blending still wines into Bollinger’s Special Cuvée

Approximately 90% of the vineyard land in the Champagne region is grower owned. According to yesterday’s presentation, there are approximately 5000 growers in Champagne, and 10,000 Champagne brands producing 25 to 30 million cases of champagne per year. Champagne houses generally operate as a negociant, sourcing grapes from some mix of the 5000 growers through the region. Within Champagne, there is also a small portion of wines made on a grower-winemaker model in which the owner of a vineyard vinifies a small production champagne from their own grapes. Among champagne houses in the region, only three remain under independent ownership, Bollinger being one of them.

Bollinger produces their non-vintage “Special Cuvée” from a blend consistently structured by at least 60% Pinot Noir, with some Chardonnay and Pinot Meunier. With an eye on aging, their vintage blends maintain the >60% Pinot model, sticking to Chardonnay for the rest. Another feature unique to the Bollinger House includes their ownership of more than 60% of their vineyards. The entirety of their fruit comes from Marne district. A portion of the still wines are fermented in old oak barrel, bringing an additional textural and flavor component to their wine. The rest are fermented in stainless steel.

The Bottled Wines

Bollinger’s Special Cuvée offers a silk taffeta texture with the swish of a floor length dress. It carries a richly flavored, while fine-boned presentation of dried flowers, light (not sweet) honey and beeswax, walnut and clove touches with a light pleasing zip of acidity.

Tasting through the several component still wines, followed by the final vin clairs, then moving into the sparkling Special Cuvée drove home how impressive the work of the Chef de Caves really is–to imagine tracking the various wines, creating blending trials for so many potential components, then tasting the final still assemblage to anticipate its presentation after second fermentation… fantastic. So much to track, so much work, so much clarity of vision.

We were able to taste both the 2004 and 1992 Grande Année, as well as the Special Cuvée rosé and Grande Anneé 2004 rosé. Though it sounds obvious, I was moved by the 1992–it’s vibrant zest acidity (in magnum) was coupled with rich smokey, walnut-driven aromatics followed by an electric cord of mouth stimulation cloaked in rich flavors. The saline-chalky electrical-current on this wine was lovely.

***

Thank you to Mary Anne Sullivan, and Stephanie Caraway of Terlato.

Thank you to Guy de Rivoire of Bollinger.

Cheers to Jeremy Parzen!

Copyright 2013 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com.

A Life in Wine: Frederic Panaiotis, Chef de Caves for Ruinart Champagne

Talking with Frédéric Panaiotis

“There is a French saying,” Frédéric Panaiotis tells me. “Help yourself and the sky will help you. I like this. This is my motto.”

Frederic Panaiotis

Frédéric Panaiotis, the Chef de Caves for Ruinart Champagne

I met Frédéric Panaiotis after arriving embarrassingly early to a private Ruinart dinner due to a mix-up with my driver. He and Nicolas Ricroque, the champagne’s brand director, welcomed me warmly and offered bubbles to set me at ease. We began with Ruinart Blanc de Blancs and their dinner’s good view. Later, with food, we’d also step back into older vintages of Dom Ruinart paired with courses made for us by the talented chef Michelle Bernstein.

Ruinart began as the oldest established champagne house in the world, founded in 1729, at a time when bottling the beverage had been illegal. With its forbidden nature, so the story goes, it was desired and enjoyed at the court of Versailles, where the original Ruinart family was friendly. Over drinks one evening with the king, Nicolas Ruinart had an epiphany. His champagne would please. The Ruinart “wine with bubbles” business began September 1, 1729 with the intent of offering unique gifts to Nicolas’s fabric customers–the family owned a cloth company–but within six years of founding the bubbles venture it dominated the family interests and by 1735 they shifted entirely to champagne.

Now, a little less than 300 years later, Ruinart persists, founded on blending strategies with a focus on chardonnay. Today, Frédéric Panaiotis serves as the house’s Chef de Caves, or chief winemaker, in charge of nursing the grapes from vineyard to vin clair (champagne’s first step still blend), to bubbles, all with the intention of maintaining the Ruinart house style.

It is this willingness of the winemaker to give over to something older and longer that gives champagne its persistence and brilliance both. Panaiotis recognizes he is part of this longer tradition. “When you join a champagne house,” he tells me, “it is important to understand my name will not stay.”

Panaiotis emphasizes the importance of this history. “In California, a winemaker can make their mark on a house, and that is understandable. But, in Champagne, it is different.” He continues, “In Champagne, you should never remember who was making the wine 40 years ago. He is just one of the guys making sure the wine style is the same.” The comparison highlights two different models of success–one of persistent innovation, on the one hand, and one of established grace, on the other, both to be valued but for different contexts.

Panaiotis discusses the history of Ruinart w Morimoto's help

Frederic Panaiotis discussing Ruinart champagne at a special demonstration with Chef Morimoto, Pebble Beach Food & Wine 2013

Panaiotis strikes me as a man full of grace, and gravitas both. As much as he regards himself well integrated into a larger team–both historically and currently–he also acts as the facilitator of that team’s larger goals.

It is in listening to Panaiotis, I am struck by how the two models–California and Champagne–showcase not only different ideas of history, but also differing examples of leadership. He appreciates the value of both approaches, having resided in Mendocino for almost three years between 1989 and 1991, assisting in the production of sparkling wine for a California label.

Now as chief winemaker for Ruinart, Panaiotis emphasizes the strength of the house band. “When it comes to winemaking, a well-honed team is so much more efficient and reliable. There can always be someone that is sick, but not all of us. So, the response, the assessment of the wine has to be done by the team, not one person.”

Successful focus on the group together, however, depends on also recognizing each individual’s talents. Creating that well-honed contingent, Panaiotis explains, comes from smartly utilizing each person’s abilities. “I must understand who on the team is more competent, more sensitive on certain areas than others.” In describing his meaning, Panaiotis uses himself as example. If he is feeling off one day, it’s necessary for him to recognize who around him can be more effective. “Everyone has expertise, skill in something.” He says, “I have to recognize that. Then I can trust you. Then the team responds. Whoever from the team for each part of what we’re doing.” Panaiotis emphasizes the advantage of this approach, “it’s very satisfying and more fun when we all work together.”

Nicolas, Michelle, and Frederic

Brand manager, Nicolas Ricroque, Chef Michelle Bernstein, and Frédéric Panaiotis doing final preparations for dinner

Getting Panaiotis to discuss his time in California uncovers an aspect of his character I suspect is foundational–curiosity coupled with systematic study. His education focused on the sciences, taking him through a career that has included chemical wine analysis, years of research on cork taint, and several positions making sparkling wine, in both California and Champagne. Talking about his work in Mendocino, Panaiotis tells me about his studies. “I took Spanish while I was working in California. Wine is great. With wine, you learn something everyday.” He references an idea we both agree upon–the more you know, the less you know. “But with me, it is not enough, so I study languages.” Currently Panaiotis is getting started with Mandarin.

It is not just a thirst for more knowledge that drives Panaiotis, it is also an interest in deeper understanding. We touch on the idea of food and wine pairing, a subject common to the world of wine. But with Panaiotis it blooms into a conversation about culture, recognition of values and ideas. Panaiotis’s thinking is multi-layered throughout. To understand food and wine pairing more effectively, he studies other languages.

He explains his reasoning. “Language is a key aspect of learning how people think,” he offers. “I am always interested in food and wine pairings. Language is key to understanding a culture’s ideas.” By recognizing the ideas of another culture, you gain new insight into flavors and food relationships as well. The various forms of study, then, all circle back, even while revealing something new in themselves. It is both that are true.

In discussing Panaiotis’s wealth of experience he reveals again his blend of grace, and gravitas, coupled with what I recognize as genuine humility, a trait he already revealed through his discussion of team work and leadership–a person of genuine humility, I believe, recognizes what they are genuinely good at, while understanding too there is always more to learn.

Through the Ruinart dinner, and the next day’s Morimoto cooking demonstration, Panaiotis showed his talent for pairing food and wine, an ability clear throughout our discussion as well. But he understands the source of his own strengths. “I am not gifted.” He explains. “People think I am gifted in food and wine pairings. No. No. No. I am not gifted.” As he speaks he is utterly sincere and to the point. “I work very hard all the time to keep learning.”

The hard work Panaiotis puts into his job he also does with clear gratefulness and joy. “I don’t make champagne,” he tells me. “I make something to make people happy. Putting a smile on people’s face, that is my job. How many people can say that?”

***

Thank you to Frederic Panaiotis for including me, and taking time to talk with me.

Thank you to Nicolas Ricroque.

Copyright 2013 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com.

Pebble Beach Food & Wine 2013: Sushi and wine with Master Chef Morimoto, and Chef de Caves Panaiotis of Ruinart Champagne

The Iron Chef Morimoto, Ruinart Champagne Cooking Demonstration

This recent weekend, I was lucky enough to attend a cooking demonstration with Master Chef Morimoto including perfect pairings with Ruinart Champagne and the house’s Chef de Caves, Frédéric Panaiotis held at Pebble Beach Food & Wine.

Morimoto preparing

Master Chef Morimoto on stage alone, selecting his perfect tools in preparation for the demonstration

I was grateful to be included, knowing he is held in high regard for his sushi, good nature, and cooking talents. What hadn’t registered, however, was that he is held in high regard partially because he is on television showing these things. He is, in fact, one of the original Iron Chefs, and for many the favorite. The truth is, I haven’t had a television hook-up since 1996 (except for one brief stretch in 2000, when Jr. was only a year old and I watched all 10-years of Beverly Hills, 90210 (the original series), skipping the trashy season 8, in 4 months). Some of the heights of fame, as a result, allude me.

Chef Morimoto and Chef de Caves Panaiotis

Master Chef Morimoto and Ruinart Chef de Caves Panaiotis prior to the demonstration

What hadn’t alluded me is Morimoto’s positive reputation. The fame part hit when at the start of the demonstration the audience curtain was opened, and a beautiful, very small, older woman ran across the room ahead of everyone to ensure she got her seat with the best view.

The scene in the mirror

Morimoto’s cooking area set up in advance of the demonstration, as seen in the demonstration mirror

The event, as they explained, was a marriage of two cultures–Japanese and French. The demonstration, then, brought together an account of Japanese sushi tradition, with insights into French wine culture, and advice on how to enjoy the two together in a meal.

The team preparing

the team works on final preparations prior to inviting in the audience

Ruinart’s Chef de Caves Frédéric Panaiotis opened the event explaining, he is happy to give us the chance to enjoy champagne sitting down, with a meal so that it may be more closely appreciated. Also, by drinking bubbles in a wine glass, rather than a flute, the aromas are more accessible. In describing his own history with sparkling wine, Panaiotis explained he’s been drinking champagne pretty much all his life. In the region it is common to place a finger dipped in the wine on a baby’s lips after birth, the first offering to a new life. He also joked, “Champagne is what my grandmother used to drink when she was not so happy.” He went on, “but it is also a beverage we know is not just for special moments. It is for anytime. Champagne makes the moment special.”

Ruinart and Sushi

Ruinart Blanc de Blancs, and sushi pairing

In thinking about food and wine pairing, Morimoto offered insight in relation to how he also flavors the fish itself. When preparing sushi he has four different levels of tamari, four different densities of sauce. Seafood with no fat–octopus, shrimp, as examples–does well with lighter flavored sauce, lighter tamari. Fish with more fat, mackerel in winter, perhaps, take double the flavor needed as mackerel in summer when there is less fat in the meat. The more fat on the fish the more soy and wasabi you use. Similarly, when thinking about the wine, Panaiotis offers, a clear fish pairs with a really clear wine. The flavors accented on the fish, then, or added to a dish, can echo the flavors of the wine.

Morimoto explains fish quality

Chef Morimoto introduces the first course, explaining the differing cuts on a single fish

The Ruinart blanc de blanc is served to us alongside a Japanese white fish that is unique to the region but resembles an American Amber Jack. The Ruinart rosé, on the other hand, comes in a bit more savory, and is thus paired with preparations that have hardier flavors, such as fried dumpling in tomato, salmon, and uni. The team offers too that it would work with lighter meats, such as duck.

Big screen helps the audience see details

the demonstration included large screen close ups for the audience

Both wines, however, are delicate, all about subtle layers of rich flavor. It is here that Panaiotis gets excited about his wines with Japanese food. Morimoto’s preparations resemble a description of the wine–simple, clean food with rich flavors and freshness.

Panaiotis discusses the history of Ruinart w Morimoto's help

Morimoto and Panaiotis worked together. As Morimoto prepared more intricate cuts, Panaiotis was able to discuss the food and wine. Morimoto also offers insight on the champagne along with Panaiotis.

Chef Morimoto has been studying and developing his cooking techniques for well over 30-years, and offers tips to the audience on how to choose the best fish. First, he explains, his favorite knife is any knife that is sharp. The best cuts of fish have not been sitting directly on the ice–the cold damages the meat over time. When eating sushi, place the wasabi directly onto the fish, not into the soy, and put the fish side of a nigiri role down onto the tongue, with the rice side up. This gives the purest flavor.

the audience

a glimpse of the audience

The team explains that this demonstration is a proud moment. Chef Morimoto is honored to be included in a prestigious food & wine event. Wine is an established, and respected culture. Twenty years ago seeing an Asian chef on the itinerary for such a demonstration would have been unheard of or un-thought. Panaiotis, likewise, is pleased to see Ruinart alongside Japanese food, where he thinks it can pair so well.

Morimoto puts the final touches on Panaiotis's sushi

Morimoto puts final touches on Panaiotis’s sushi

In considering his Iron Chef reputation, Morimoto explains that even there he is not cooking for the judges, or cooking to beat the other competitor, but instead cooking to improve himself. With each ingredient challenge the approach is similar. “I cannot do same, same, same.” He says, “So, I have to create a new thing. Every single time, I’m shaking when I hold the knife, then I have to ask myself, what am I making? Each time, I’m challenged. I’m shaking.”

Chef Morimoto Sings

After the demonstration was complete, the audience was invited to propose questions. An audience member asked if Morimoto would sing. Bashful at first, he offered what he called “a fisherman song from Japan.”

***
Thank you to Chef Morimoto and Chef de Caves Panaiotis.

Thank you to Mark Stone and Nicolas Ricroque.

Thank you to Sarah Logan, and Vanessa Kanegai.

Thank you to Bettye Saxon.

Copyright 2013 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com.

Photos from Pebble Beach Food & Wine 2013

Pebble Beach Food & Wine

One of the great annual food and wine extravaganzas on the West Coast United States occurs each Spring in Pebble Beach. The town becomes host to the best chefs, wines, and sommeliers from all over the world, as well as the folks that want to be there to drink in their offerings.

Here are photos surveying some of the activities I was lucky enough to attend over three of the four days (it begins Thursday but I arrived Friday).

Friday:The Grand Tour: European Continental Cuisine Lunch, featuring Wines of Portugal

Pebble Beach

Garden lunch reception begins at Pebble Beach

Salmon Cavier Popsicles

appetizers are served on the lawn, Chef Roland Passot’s Salmon Lollipop, w Quinta da Raza, Raza 2011 Vinho Verde

Cassolette des Fruits des Mer Printaniere

Inside for a seated lunch: Chef Johan Bjorklund’s Cassolette, w Companhia das Quintas, Quinta da Romeira 2011

Duck Charcuterie & Traditional Garnishes

Duck Charcuterie & Traditional Garnishes by Chef Michael Ginor, w Esparao Reserva 2008

Patisserie Chef Francois Payard

Patisserie Chef Francois Payard

Sommeliers

World Class Sommeliers serving at lunch

Sommeliers

World Class Sommeliers serving at lunch

Wines of Portugal

Portuguese wines from lunch

Ruinart Private Dinner

The Ruinart Table

Nicolas, Michelle, and Frederic

Nicolas Ricroque, Chef Michelle Bernstein, and Chef de Caves Frédéric Panaiotis discuss final dinner preparations

Ruinart

welcome with Ruinart Blanc de Blancs

Ruinart Dinner Setting

Ragout of spring vegetables

Ragout of spring vegetables, seared foie gras, truffle vegetable nage, served w Dom Ruinart Rosé 1998

the brilliantly improvised skatewing and uni course

beautifully improvised dish of Skatewing w fresh Sea Urchin, Sourdough Bread, paealla, open clams, and fresh peas, served w Dom Ruinart 2002, and 1998

Dom Ruinart Rose 1990 and 1996

Dom Ruinart Rosé 1990 and 1996

Saturday:
Chef Morimoto Master Cooking Demonstration w Ruinart Champagne

Chef Morimoto and Chef de Caves Frederic Panaiotis preparing for the demonstration

Chef Morimoto and Chef de Caves Panaiotis prepare before the demonstration

The preparations

the view before hand in the demonstration mirror

Chef and Chef de Caves

Chef Morimoto and Chef de Caves Panaiotis

The demonstration tent

Panaiotis discussing food pairings as Morimoto preps

the event begins. Frédéric Panaiotis introduces Ruinart Champagne

The crowd

Offering sushi

Chef Morimoto gives sushi for Chef de Caves Panaiotis some final touches

Fans with Morimoto

the audience excited for pictures after the demonstration

Fans for Morimoto

Ridge Monte Bello Panel at Spanish Bay

View from Spanish Bay

the view at Spanish Bay

Flowers seaside

Ridge Monte Bello Vertical

Nine vintage vertical of Monte Bello–1984, 1995, 2006-2012

The Ridge Panel

The Ridge Discussion Panel preparing

Ridge Monte Bello Barrel Samples

2011 and 2012 are still in barrel

Ridge Monte Bello Vertical

Battle of the Coasts: WEST Dinner

Starting dinner with Dom

beginning with Dom Perignon 2003

Opening Course

Uni by Chef Dominique Crenn, served w Grieve Family Winery 2011 Sauvignon Blanc

Black Cioppino

Black Cioppino by Chef Thomas McNaughton, served w Clendenen Family Chardonnay “Le Bon Climat” 2008

Red Velvet Cake

Red Velvet Cake by Pastry Chef Lincoln Carson, served w Taylor Fladgate Vintage Porto 2003

Sunday:
The Grand Tasting

Food at the Grand Tasting

Grand Tasting

Pouring Wind Gap

Pax Mahle pouring Wind Gap Wines

Chris Williams

Chris Williams, Brooks Wines

Brooks Riesling

Brooks, Willamette Valley Riesling and Pinot Noir

Chef preparing food

Chef projector

The Lindt Chef Projector (This image talked about the chocolate while the real her was standing 5-ft away talking about the chocolate. It was a trip.)

Pouring Palmina

Steve Clifton pouring Palmina Wines

***
Thank you to Sarah Logan, and Vanessa Kanegai.

Thank you to Nicolas Ricroque, and Frederic Panaiotis.

Thank you to Mark Stone.

Thank you to Bettye Saxon.

Copyright 2013 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com.

A Visit to Haute-Saône, France: Drinking wine with the Captain at Chateau La Barre, for Annemarie, and Jeremy

Touring the Vineyards of Chateau La Barre

Chateau La Barre Vineyards

climate meter at Chateau La Barre Vineyards

It’s warm when I arrive for the visit of Chateau La Barre. The weather is a relief for the region after fog and cold for several weeks. The area is known for its continental climate but can also get hit with bouts of severe chill due to the mountain influence from the North. Though the Vosges range is in the distance, it still weighs influence on the vines.

My visit to the winery is unusual, as the Chateau owner is known now for his privacy. He’s resistant to interviews but offered to meet me finally in recognition of his family winery’s up coming tricentennial. Owner and vigneron, Jean-Luc Picard, treats his vines now as an homage to his ancestors.

His invitation to meet arrived with a short but direct explanation: We’re not going to talk about his previous career. It’s the Chateau we’re there to discuss, and, though he’d rather avoid interviews, he respects the work of his family and wishes to celebrate their accomplishments. Prior to retiring to his homeland of France, Picard had had a distinguished career as a fleet Captain, but now he sees that recognition as a distraction from the work he’s trying to do for the region.

Meeting the Picards

Jean Luc Picard inspecting his vines

inspecting the vines with Jean-Luc Picard

Before I have the chance to sit, Picard ushers me out to the vineyard. It’s the vines he wants to show me. The Estate’s recent developments are exciting, thanks in part to Picard’s archaeological and historical interests as well.

Winemaking hadn’t been part of Picard’s imagined retirement. He’d grown up in the vineyards with his father Maurice teaching him vine maintenance but Picard’s passions took him away from home. With his older brother Robert devoting himself to oenology, Picard felt free to follow the decision of a different path. The traditions of the Picard estate would rest in his brother’s family.

Then, almost three decades ago tragedy struck when a winery fire killed both Picard’s brother, and nephew, Réne. The loss was devastating, and the future of Chateau La Barre seemed uncertain. Robert’s widow, Marie, was able to keep the winery operating successfully until a little less than 10 years ago when she fell ill. Around the same time Picard was first considering the possibility of retirement. With the news of Marie’s illness, and clear counsel from his friend, Guinan, Picard decided to take some time in France. Then the visit led to an unexpected discovery.

We’re standing in front of a special section of vineyard Picard wants to show me. What’s unique is that the grapes are entirely pale and green skinned, an ancient variety known as Savagnin. The region has been dominated by red wine production for centuries, more recently practicing in traditional techniques of wild yeast fermentations, and aging in neutral oak barrels. As Picard explains, the style is one resembling one of the oldest winemaking styles in France, with the most delicate of grapes, Pinot Noir.

Generations ago Chateau La Barre was instrumental in helping to restore the style, once called Burgundy, through the work of Picard’s great grandfather, Acel. Though the approach was met with resistance initially, ultimately, the family was lauded for their efforts to return to less interventionist winemaking based on the grape types that grew best on the land, requiring less use of fluidized treatments, and more reliance on the vines own unique ecosystem.

Prior to Acel Picard’s efforts, it was more common for wine to be made with the use of replicated nutrient intervention. Acel’s view, however, was that such an approach created less palatable, and less interesting wine. So he scoured the historical records for evidence of older techniques. In doing so, he found ancient texts left from devotees of an ancient religion known as Christianity in which it was believed that God spoke to them through the vines. Though Acel refused the more mystical aspects of the religious views, he found the vineyard practices of the texts insightful, and adopted the technique of tending and selecting individual vines, followed by simple winemaking. Chateau La Barre’s wines soon became known for their earthy mouth-watering complexity.

Picard’s own work builds on the efforts of his great grandfather to return to older techniques but in researching archaeological sites of the region, as well as ancient texts, Picard discovered a subtle mistake in Acel’s efforts. While Acel worked to restore red winemaking traditions known to Haute-Saône, he actually restored techniques native to an area of France slightly afield from the region. La Barre, it turns out, does not rest within the old boundaries of the ancient wine region of Burgundy, but instead a political shire of the same name. Picard himself does not believe this historical reality lessens the importance of Acel’s efforts, it just changes their tone slightly, but he does want to see what can be done to explore the winemaking traditions that really were found closer to La Barre centuries ago.

Enter Vin Jaune and the Ancient Varieties

Jean Luc in his vineyards

Jean-Luc Picard standing in his Eline Vineyard

Through archaeological work Picard preformed a sort of miracle. He was able to locate still intact seeds from ancient vine specimens known once to have covered this region of France, Savagnin, as well as seeds for the red variety that had once covered the wine region of Burgundy, Pinot Noir.

Before the destructive effectiveness of the technology was properly understood, Thalaron radiation was tested as a soil cleaning technique during the last agricultural age. The bio-effects were irrecoverable with vineyards throughout the Vosges zone being destroyed and then unplantable for a generation. As a result, a collection of indigenous grape varieties were believed to be lost, including Savagnin, Chardonnay, Cabernet Sauvignon, and Pinot Noir. Once the soil recovered well enough to replant large interests in inter-global varieties took over and any attempts to recover the original grapes seemed over.

During the Restoration period scientists attempted to re-engineer Savagnin as well as other ancient varieties such as Pinot Noir and Chardonnay but Savagnin proved too susceptible to geraniol instability to engineer. When funding for the project was cut, efforts to restore Chardonnay were deemed the least advantageous and ultimately only Pinot Noir vines were genetically manufactured.

Through intensive research Picard was able to find a cave in the Vosges range containing ancient wooden vessels that proved to have a few small seeds inside. Through similar research he also located similar containers in the area of Gevrey-Chambertin within which he located Pinot Noir. Chardonnay and Cabernet remain extinct.

With the seeds Picard was then able to develop new plantings of both Savagnin and Pinot Noir, and restart sections of his vineyard with them. It is the area with these plantings he has named Eline. It is this he wants me to see.

Thanks to Picard’s efforts we now know there is significant difference in the flavor and aging potential of wines made from the engineered Pinot Noir versus the naturally grown variety. Picard has also discovered evidence from old electronic documents known as The Feiring Line: The Real Wine Newsletter of unique vinification techniques known as vin Jaune that were once used for the grape Savagnin. Through further study he has already discovered the steps to make vin Jaune and is five years into the aging of his first vintage.

I ask if we can taste his Savagnin but he explains it has only been under veil for a little over five years, and needs at least another year before he’s willing to show it. The veil, he explains, is how vin Jaune is made. It’s a film of yeast that covers the surface of the wine and helps it age slowly. When the wine is done it will be named Ressick, he tells me, for a planet that aged too fast.

***

Thank you to Jean-Luc Picard for giving so much of his time.

Thank you to Annemarie for suggesting the interview.

Thank you to Jeremy Parzen for having the background to hopefully get it.

Happy April 1, Everybody!

Copyright 2013 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com.

 

Happy International Champagne Day!!

It is Champagne Day, Everybody!

My favorite thing: champagne.

All over the world today there are events planned of people getting together to drink wines from that special chalky region of France that makes such lovely bubbles.

Ever wonder how they do it? Here’s a comic that goes over the basic steps of Methode Traditionnelle, or Champenoise.

click on comic to enlarge

There are also various requirements regarding time spent on lees to add richness of texture and flavor (residual yeast left after fermentation), and overall aging. But the comic gets at the big steps of the production process.

Following are a few graphic tasting notes of some favored champagnes.

Champagne Reviews

click on comic to enlarge

click on comic to enlarge

click on comic to enlarge

Plans tonight?

Remarkably, I’ve never drawn reviews for some of my very favorite champagnes. I’ve made a point of drinking grower’s champagnes often (the wine itself is done by the person that also grows the grapes, something not all that common in the region, as most grapes are sold for wine made at a higher production level than grower’s champagne implies). My sister and I started the project years ago, and sharing in it with her has added to the rich sweetness of the experience.

Plans for tonight? If I had my way I’d share each of the Egly-Ouriet champagnes tonight with friends and loved ones.

I hope you enjoy your Champagne day!
Cheers!

***

Want to learn more about champagne–the region and the wine? You couldn’t do better than Peter Liem’s Champagne Guide. The site is well worth visiting, and subscribing to. Check it out here: http://www.champagneguide.net/

Copyright 2012 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com

Willamette Wine 5: The Long-Dudley Wakawaka BBQ

Seth Long and Destiny Dudley Throw an Alaska Salmon, Moose Meat, Oregon Wine Wakawaka BBQ

Thank you to Seth Long and Destiny Dudley for inviting together in one place the five things everyone needs–a wealth of good wines, Salmon, Moose Meat, Oregon Hazelnuts, and the good people of Willamette Valley. We had a wonderful time, and tasted, as I said, a wealth of good wines. Thank you!

wide angle lens photos taken by Destiny Dudley-thank you for sharing them!

Thank you to Destiny Dudley, and Seth Long for being such lovely and generous hosts!

Thank you to my family for sending me down with fresh caught Bristol Bay Salmon, and Moose Meat.

Thank you to Anneka Miller, Jason Lett, Andrew Rich, Jim Maresh, Joseph Zumpeno, Amanda Evey, Timothy Wilson, Drew Voit, Mike Primo. I apologize if I’ve forgotten anyone.

Thank you, finally, to our philosophical belly buttons. And to the hazelnuts.

Copyright 2012 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com

Photos of IPNC 2012

Pictures of IPNC 2012

Copyright 2012 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com

 

IPNC Day 1: Jadot Retrospective, with (A Life in Wine) Jacques Lardiere, for Melanie, and Randy

Thank you to Eric Asimov for mentioning this write-up in the July 31 edition of The New York Times Diner’s Journal “What We’re Reading.”

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Meeting Jacques Lardiere, Understanding Biodynamics

“We never have the same number of wines every year. Some vintages are less. We reduce the amounts to focus only on the very good villages. We think for our customers to have only the best.” –Jacques Lardière, Maison Louis Jadot

Yesterday afforded the opportunity to listen to Jacques Lardière discuss his philosophy of wine making, as it connects to an entire system of understanding about the differences between Grand Cru, Premier Cru, and Village wines, via the metaphysical forces Lardière recognizes through biodynamic principles. Following is my understanding of Lardière’s discussion.

“On a good vintage, you work less because it matches you. It matches your stomach, it matches you.” –Jacques Lardière

Lardière explains that at Maison Louis Jadot the goal is to focus on a broad range of areas within Burgundy. The focus includes varying places to grow grapes and make wine from as a way to both support the house financially, but also to understand the life of the vine, and making of the wine from different locations. Towards these ends, then, Jadot depends upon two levels of wine making practices. First, the house farm harvests and makes wine from their own land in Burgundy. Second, however, and Lardière emphasizes the importance of this, they also have contracts with vineyards throughout the region. As Lardière explains, Grand Cru and Premier Cru are very small portions of the area. Besides making these more developed styles of wine, he states that it is important also to “make simple wine.” One of the primary reasons includes that in being able to sell it quickly for more immediate consumption, you can support the financial base of the winery. But the reasons are greater. The other sites also offer, what for Lardière is not just a learning experience but also a spiritual opportunity. As he puts it, “we can work on it. It can reveal the mother form.”

Repetition of the word power is at the center of Lardière’s discussion of what wine can do, and where it comes from. In considering where the distinctions between Grand Cru, Premier Cru, Village, etc levels of wine distinction arise, Lardière describes what he calls “lines of power” present throughout the planet. The lines of power seem to fall along geologically important intersection zones, sometimes volcanic, sometimes from tectonic plates rubbing together, or from other forms of land movement and development. As Lardière explains, in such activities the rocks warm, and more mineral molecules are released, thereby being available to the plants in a fuller way. But he says too that there is a sense in which people can feel these lines of power. As he describes it, there are times when you may be walking along a line of power feel its benefit, then as you walk away the positive effect becomes less and less, as you go back, more and more until you are on top of it, like an energetic version of the children’s game Hot/Cold/Warmer.

In Lardière’s view, the Grand Cru sites are directly along these lines of power. The vines are able to work less along these zones to simply receive the benefits of this energetic line, and thereby produce wine that has less undesirable flavor or sediment. But in Lardière’s view the flavor potentials of Grand Cru wine should not be seen as held only at that high level of quality. Instead, his approach to making wine is to study how Grand Cru wine best shows its potential, and from that insight to then turn to less elevated classes of wine. “We start by understanding the top, and then go to the other ones to work with them.” He explains.

In describing how Grand Cru can reveal the potential of other classes of wine, Lardière first describes his view of what impacts a wine’s potential. The place is the first most important aspect of what goes into the wine, as Lardière understands it. But what he also knows is that Burgundy itself is one terroir. The region as a whole offers a similar sense of place. The different villages within Burgundy all live within this terroir, this unique place, but then offer their own differing potentials for aging. The Village is a fine tuning of the terroir as a whole. Then, third, there is the climate that impacts the quality of the wine from year to year. Finally, there are the Grand Cru and Premier Cru sites, which are the most subtle shifts in the development, and potential of the wine.

What happens in the growth of the vine, as Lardière describes it, is the movement of molecules from the ground, up into the plant, and finally out in the flowering. All of life is vibration, he says, as we know from physics. Vibration is how the plants grow, how they exist, what they are, how we receive from them, and what we are, as well. “If you plant the flower, you move the star,” quoting an unreferenced poet to illustrate. The ground, as we know, is full of minerals, but in planting we release the minerality (which Lardière continually references as the power itself). Minerals, Lardière explains, are the life. The quality of the mineral that the plant is able to receive and grow from is what determines how much life the wine will have–both in terms of age-ability in the bottle, and in terms of how well the wine does after the bottle is opened. This is a distinction to be found between the wines of the Grand Cru, and those Village wines, but it is also an insight that can be taken in the handling of making Village wines. The Grand Cru sites, according to Lardière, “match” the plants better. They simply receive what they need, and so grow with this life. Then, the wine, in turn, matches us, as humans, and we receive what we need too. Wine, in general, he reminds us, has medicinal properties. When he was growing up, he says, if a child fell and hurt themselves the parents would give them a small glass of wine. This is true of all wines, but Grand Cru helps us to better recognize it, and so then to know how to make all wines better.

As Lardière describes, it used to be that people only planted in the right places, where plants were best served by the ground. But now people plant in zones that offer not only the purer power of the minerals but also in places where the plants take up aspects that are not healthy for them or for us. What is absorbed in these areas is a denser matter that weighs the expression of the wine down in the glass. What you taste is more of a heaviness, rather than the freedom of the wine. Here one must allow the wine more time before it can be ready to show what it has to offer and, as he puts it, to release the life–the most beautiful wine.

The flavors and quality possible from a wine are the life, according to Lardière. Not all wine is treated in a way that allows this life to be released. It is easier, as he says, to make a wine that has only a couple hundred flavoral components, rather than to take the risk of allowing a wine to have four thousand. It takes time “for the molecules in the wine to be digested, to become mature and deliver the life” of the wine. But to give the wine this time is a genuine risk. To allow it to happen depends on letting the wine close in the barrel, to turn in on itself and hide, in a way. In letting the wine close down, it has the opportunity to work through what is in it and to release the sediment that is denser and not part of the pure expression of what the wine can be. In giving the wine time to work on itself, so to speak, you are taking the risk of having to wait, of losing the wine for a time without knowledge of what it will be when it comes back after. But it will come back, Lardière claims, it will come back having found its freedom by releasing the sediment that had weighed it down. The wine’s freedom is its fuller expression–its life with four thousand flavors.

The process of allowing the wine to transform itself reveals to us, Lardière says, important aspects of our own mortality, and potential. We are almost entirely minerals. “When I pass away” he says, “I will be only minerals, (laughing) oh, and a few other small things. It is important to remember that.” The wine making, it is “a process of transmutation, and it could also be a process of transfiguration,” when you allow it the time to find its freedom and its full expression. The process of the ground growing the vines, the vines then giving the fruit, the fruit then turning into wine–these are all processes of transformation, of one thing turning into something else. But our own involvement in wine making is actually a kind of spiritual training for us as well. In the earliest stages of our spiritual development we are there as the grapes turn in to wine. In this moment, Lardière tells us, “you forget the grapes.” They are no longer there as fruit, we recognize them now as wine. But this is no small thing, he says. In forgetting the grapes, “you become something that has a name.” We recognize the beverage in front of us as a particular type of thing. But our doing so also reflects a stage of our identifying the world around us, and so too ourselves. We are no longer just beings having experiences, we are also interpreting the world around us, that is, naming those experiences. But, this, according to Lardière, is an early stage in our development. It is necessary, but we come to see it is early in our own process of finding our own freedom.

Wine, when allowed to truly go through its process of closing down, so that it can come back later opened up again in its fuller expression, points us to the greater reality of our lives. When the wine is given the opportunity to go through its full process it comes back from its stage of closing down, and has changed its molecules–sediment has settled out, and above it is a purer wine. In Lardière’s view this is when the wine is beginning to deliver its power, and to give the life. It has become something more than we could make. We began the process but to be witness to this greater expression, we had to, in a sense, let the wine go beyond us. In doing so, the wine comes back to show us the insight of the process–it becomes something greater than merely what we have named it to be. It becomes a thing that can out live us, and that carries with it a power that extends beyond whether we, as the wine maker, or any particular individual, are even present. In Lardière’s view, this is when the wine has become even more than us.

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Thank you to Alder Yarrow for hosting Lardière’s presentation.

Copyright 2012 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com

IPNC 2012: Salud! Pre-Dinner, Jacques Lardière, Maison Louis Jadot

Honoring Jacques Lardière, International Pinot Noir Celebration

In it’s 26th year, the International Pinot Noir Celebration (IPNC) brings together 70 Pinot Noir producers from all over the world to meet in Willamette Valley, share their wines with each other and the public, and to learn from each other the intricacies of the delicate, elegant grape.

This year Maison Louis Jadot stands as a featured Burgundy producer as its famed wine maker, Jacques Lardière, prepares to retire. Recognized as one of the best of his generation in Burgundy, Lardière brings with him to IPNC a vertical retrospective reaching from 1989 through 2005.

To open the IPNC 2012 celebration, Salud! offered a fund raiser dinner that included two vintages of Lardière’s wines, along side a meal from Nostrana chef Cathy Whims, and Pinot Noir wines of Oregon and California.

After the meal, Jacques Lardière spoke.

“The 1990 vintage, it was what we knew we could work with. People made very good wine. 1993 though, no one expected it to do anything. It was like 1983 had been. In 1983, we had a crazy Spring; maturation, planting was very bad. It was hard to know how much to take off, and how much to keep. So, we make these wines.

“But, time, it is something important to prove. In it we will know these wines. [How they do] it is something about the ground. In Burgundy, we do not speak about the grapes. We speak about the ground, the place where the grape grows.

“Then, whether the decision works. When you have something, wine, coming all from one place, the decisions you make, they come to the top. If it shows like that, it means you missed something along the way. But in the vineyard, with the place, you have the full decision along the way in the process, and then you do not add [to the wine after]. So, the wine, it shows your decisions.

“Tasting a vertical, it is to understand this work about the wine making process. From what place the wine is coming. It is the ground, the place. The more you have the minerals [in the ground, and in the wine], the more you have the life in the wine.”  –Jacques Lardière

Maison Louis Jadot 1990 ‘Clos St. Jacques’ Premier Cru; Maison Louis Jadot 1993 Bonnes Mares Grand Cru

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Northwest grassfed beef bresaola, Ayers Creek loganberries, figs, minted crème fraiche

Tails and Trotters porchetta in arista, salsa verde, gigande beans, roasted summer squash

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Thank you to Jacques Lardière.

Thank you to Cathy Whims, and to her chef staff. Also, to the IPNC Maitre d’Hotel Captains, and serving staff.

Thank you to Donna Morris and Bill Sweat of Winderlea Vineyard and Winery, to Milla Handley of Handley Cellars, and to Salud.

Thank you to IPNC, IPNC staff and volunteers, and specifically Amy Wesselman.

Thank you to Lindsay Coon.

Copyright 2012 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com