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Willamette Wine 2: Meeting Maggie Harrison, Antica Terra, for Melanie

My sister Melanie was able to travel from Alaska in order to attend IPNC 2012. We had time Monday, after the close of IPNC, to meet with Maggie Harrison at the Antica Terra winery to taste through the current vintage barrels, and the current portfolio as well.

Tasting Wines with Maggie Harrison, Antica Terra

“All I can do is look at what’s in front of me, and ask, what is the most beautiful thing I can do right now? Then, take the time in that moment to do it.” –Maggie Harrison

“Chardonnay is a bit of a monster. It has so much to give. When it doesn’t go well, it’s because it went over the top–that year was too warm, too ripe. People seem to look to that over the edge expression of the fruit and then focus on dialing it back. But in this climate, it’s more about any amount of richness we can get. So, [at Antica Terra] we allow the fruit to give what it wants to give. The year we’re able to get too much from the fruit… well, I hope I’m here to see that. I welcome it.” –Maggie Harrison

“Our site, Antica Terra, it is demented. It is intensely rocky, incredibly singular. Not better. Just very particular. It has a message to give every single year–a creature that comes from that place, that is completely distinct. I’ve never been able to work with fruit that has such a unique presentation. I’m not even sure I’m the one that best knows how to work with it. I just happen to be one of the first. It will be a multi-generational thing, hopefully, where someone’s children or grandchildren will make better fruit than I do.” –Maggie Harrison

“What we’re doing here is winning back the part of it that is just based on pleasure…. I want to make wines that are transparent, and wonderful, and clearly pleasurable, and emotional.” –Maggie Harrison

from left: 2009 California Syrah-Lillian, 2010 Botanica Pinot Noir, 2010 Erratica Pinot Noir Rosé, 2010 Aurata Chardonnay

There is a wonderful vibrancy in this chardonnay, with a lightly drying squeeze mouth feel and a body of juiciness. The wine carries an acid mouth pucker, with citrus fruit powder patina, through clean bright juiciness, all harmoniously presenting. This is the Chardonnay Harrison says she hoped she’d make.

The 2010 Aurata Chardonnay will be released in early November 2012.

The Erratica Rosé is made in a slightly unusual manner. Rather than Saignee, or press Rosé, Antica Terra Rosés begin their life in exactly the same manner their Pinot Noir sisters begin. In inspecting the fermenters to see how well they’re progressing, Harrison will select the barrels with a particular style of aromatics, then pull them right before they become red wines. The result is a richer mouth feel along with richer aromatics and flavors.

This 2010 offers a smooth, rich bodied mouth feel, with rose powder accents, herbal notes of dried thyme and sage, fruit of dried blackcap raspberry, and partially dried strawberry, alongside touches of pepper. The 2009 Erratica is mouth watering.

“The wine’s name Botanica relates to ideas of drippy fruit, generosity, depth, richness and texture, to finding those harmonies and where they exist in the bottle.” –Maggie Harrison

The 2010 Botanica offers a berry powder nose, with a fresh berry-earth opening, a berry-earth-herbal mid-palate, and a medium+ juice berry, with pepper finish. There are wonderfully lifted aromatics here above the rich flavors, with a graceful full arc of movement in the mouth.

What Antica Terra wines show throughout–the current releases, and the barrels tasted–is a sense of levity through the aromatics and the structure both, with rich body, and an easy rush of movement over the palate. There is no heaviness in these wines. They want to share their flavors.

The California Syrah, Lillian, was Maggie Harrison’s first wine, started during her tenure as Assistant Wine Maker to Manfred Krankl at Sine Qua Non. She continues to work directly with White Hawk fruit to produce the Lillian.

The 2009 Lillian California Syrah offers clean, rich red and black fruit, with lightly smoked fruit notes, touches of pepper. The fruit here is balanced with a delicate background of smoke and seitan, and elegant spice. The presentation is buoyant and decisive at the same time.

The 2009 Lillian will be released in early November 2012.

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Thank you very much to Maggie Harrison for making time for us. It was lovely to meet you.

Thank you to Megan!

Thank you to Dan Fredman, and to Seth Long!

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

Willamette 1: Walk About in the Granary District: Matello, Dominio IV, Remy Wine, Burton Bittman

More on IPNC 2012 to follow. In the meantime, the visits in Willamette Valley wine have already started.

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Downtown McMinnville hosts an up and coming winery zone called the Granary District. While Eyrie Vineyards winery has been located since its inception at the edge of the Granary District, several newer locales have opened in the area alongside a recent shift to include a few shops, and food venues plus markets. A few of us were able to do a walk around series of visits to three different wineries in or beside the Granary District, each opened by the label we tasted, and designed to host and support other wine makers as well. Finally, we tasted with a brand new, not yet released wine (drinking from an unlabeled bottle, it turns out, is one of my very favorite things to do).

Visiting the Granary District: Matello Wines, Dominio IV Wines, Remy Wines, and Burton Bittman

 

Matello Wines

Marcus Goodfellow of Matello Wines

“There are three rules for Matello, when possible: (1) The fruit is from North Willamette Valley; (2) It is non-irrigated; (3) It is farmed by people that own and primarily operate their vineyards.” –Marcus Goodfellow

2011 Pinot Gris, 2010 Chardonnay, 2010 Viognier, 2010 Clover, 2010 Whistling Ridge Blanc Blend

Pinot Noir: 2010 Lazarus, 2010 Homage, 2010 Souris, 2010 Durant Vineyard, 2009 Whistling Ridge

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Dominio IV Wines

Patrick Reuter of Dominio IV Wines

“We started with 350 cases, and no capitol, and had to build it from there. We had been in Carlton Wine Maker’s Studio for seven years. It had just opened up. It helps wineries in their incubation stage, and it give us a 3-4 year window when we didn’t have to invest in capitol. But, eventually, we wanted to buy equipment to suit what we were doing, to how we make wine.” –Patrick Reuter

2011 Viognier, 2010 Pinot Noir Tapis, 2005 Tempranillo Tango

2007 Columbia Gorge Syrah You Write in Wine

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Remy Wines, Three Wives

Remy Drabkin of Remy Wines

“Remy Wines follow rules–they’re all Italian, single vineyard, and varietal–single grape–wines. Three Wives is to play.” –Remy Drabkin

2010 Dolcetto

2010 Sangiovese

2009 Remy’s Red Blend; 2011 Pinot Gris Ramato

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Burton Bittman

Anneka Miller of Burton Bittman

“The wine is named for inspiring strong women on my mother’s and my father’s side. My grandmother Burton never got to go to college, and she dreamed of being a journalist. The name, and the wine is partially for them.” –Anneka Miller

the first vintage: 2010, 595 bottles

waiting for the labels: 2010 Willamette Valley [Coury Clone] Pinot Noir

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Thank you to Anneka Miller for inviting us to be among the first to taste your first vintage. I took notes and will be working on a comic of it! I really do love tasting from still unlabeled bottles.

Thank you to Remy Drabkin, Patrick Reuter, and Marcus Goodfellow–further write ups on each to follow. Congratulations on your new spaces in the Granary District!

Thank you to Jason Lett.

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.

***

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 Day 1: Yamhill Valley Vineyards Tour and Luncheon; Cristom, Tyee, Felton Road

IPNC Day 1: Vineyard Tour: Yamhill Valley Vineyards

The International Pinot Noir Celebration includes a day of vineyard tours in which attendees are split into small groups that then take a personal vineyard and winery tour, including tastings from four Pinot Noir producers, and a seminar on wine. The focus of the seminar is on helping participants understand the full steps of the process from vine to glass, including the decisions made by the wine maker.

Today, my sister (who is attending IPNC with me–pictures to follow) and I were on a vineyard tour of Yamhill Valley Vineyards, which included a wine maker panel with Yamhill as well as Cristom, Tyee, and Felton Road. Following are wine review comics of the Pinot panel wines presented.

Felton Road 2008 Block 5 Pinot Noir

click on comic to enlarge

“The truth is, we didn’t really have any genius when decisions had to be made. The problem is, the idea of making decisions focuses on the concept of better or worse, and the idea that the wine is on a trajectory of better or worse. But wine is actually multifaceted, and dynamic. So, instead, we tried to focus on critical moments. And, when there is a time to make a decision, to decide to do nothing, and also to avoid doing things differently, and it turns out we like it quite a lot. It’s turned out to be our philosophy and we’re big proponents of it as an approach.

“The decision to do something, or to not is a challenge because if you do something you can tell yourself that you tried your best. But resisting that decision, and deciding not to do something is much harder. You must be patient.

“The process of not making a decision. When thinking about wine, there are three factors that are going into the making of an individual wine. There is the place, it is a fixed fixed thing. There is one rule, and that is that you can’t move your vineyard. Then there is the weather that year. It is a fixed variable in that you can’t do anything about it but it changes from year to year. Then there is the viticulture and the wine making and we combine them because really they are one thing.

“The weather, you can’t do anything about it, but it effects the place, and you might change your viticulture and wine making choices in response to it. But, if you muck around in your viticulture and wine making due to weather, then when you taste the wine you can’t pick apart the effects of the place from the effects of the weather and what you have becomes just a beverage, not a complex interesting wine. So, we make wine from a fixed variable. We try to make it the same every time, to keep our wine making choices consistent so that what you taste is the place, and the vintage, the weather.” –Nigel Greening, Felton Road

Cristom 1998 Marjorie Vineyard Pinot Noir

click on comic to enlarge

“We believe that handling the wine as little as possible is a benefit. We had early experiments to see what worked, and over time saw the less we handled the wine the better it was. So, when it comes time to make a decision [in the wine making], we try not to do something. It can be awfully hard. Especially when faced with data that tells you you are out of the box. But, that is what comes from experience–knowing when to go ahead and not do anything or when to jump in and try to do something.

“[I brought the 1998 because] the Estate vineyard, it was a difficult decision that year. It was a very low yield year, with low moisture, and pretty warm, and it didn’t have a lot of hang time. So, I wanted to leave the fruit out longer. We had 85 days that year, and normally we have 115, 125. It was a hard decision to pick, but we had to before the sugars got to high.

“In the cellar normally we don’t get a lot of sulfites, but in 1998 we were plagued with it. When that happened, I figured if we have this thing, I’m going to try to learn from it. So I dealt with it in a bunch of different ways. I racked some barrels. I sulfured some. I added silver to some, which is illegal but I tried it not to sell but to see the effect. I did nothing to some. It turned out that the sulfites, it resolved itself and no method did any better than any other. So, that reaffirmed the philosophy of my not doing anything.

It was a vintage where I was not happy with the hang time, but I was pleased with how the wine finally turned out. But, originally, I didn’t have high hopes for it. Sometimes wines surprise you. It can be the other way too. Wines you think you did a good job on can turn out not great in the long run.” –Steve Doerner, Cristom Wines

Tyee 2009 Estate Barrel Select

click on comic to enlarge

“My family has owned the farm since 1885. I am a fifth generation farmer. I was born in 1974, the first year my parents planted vines. Then they planted more in the 1980s, so I helped with that. It is a small family owned farm, with hazelnuts. We had sheep for a time, hay, grass seed. Even if I’d left there, then I would still come back for harvest every year. In 2004 I became vineyard manager. Then in 2006 I became the wine maker, that was my first vintage.

“Our old winemaker used to say, ‘Stand back. Don’t touch anything!’ And that’s actually a reasonable approach to wine making.” –Merrilee Buchanan Benson, Tyee Wine Cellars

Yamhill Valley Vineyards 1994 Willamette Valley Pinot Noir

click on comic to enlarge

“There is no formula in my mind to making Pinot Noir, from growing it, to picking it, to turning it into wine. That’s probably why I’m still in it.” –Stephen Cary, Yamhill Valley Vineyards

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

***

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

Preparing for IPNC 2: Visiting Eyrie Vineyards Winery

Visiting Eyrie Vineyards Winery

the oldest vines in Willamette Valley, the South Block planted in 1966

beginning with a surprise–blind tasting 2989 Pinot Gris: nutty, (pleasing textural) oxidative notes, dried apricot

the Black Cap label, as Jason Lett explains it, is all about getting off the farm to see what other wine makers and farmers are doing; the Eyrie label is all about doing the best with the Estate’s own fruit

Mr. Dr. Who, Jason Lett

from left: fruit from the entire Eyrie estate; fruit only from the South Block original vines; fruit from Eyrie’s highest, Daphne Vineyard, all 2009

the Black Cap Pinot Noir blend 2009

Original vines, South Block Pinot Noir, 1980

the time machine–library bottles served in the tasting room

Eyrie Vineyards started with 30 new oak barrels. They still use 12 of those original barrels (they do repairs and replace the bands).

In going through the barrels of South Block Reserve from 1975 through 2007 (David Lett’s vintages of that presentation), barrels that were overly oxidized were lost. Those that showed oxidation but in a way that offered still interesting insight into the site were kept and blended together. 2011 juice was then added, and the remaining pressed grapes were sent to Portland to have custom brandy made with them. The wine was then fortified with the custom brandy to make a complete horizontal blend South Block Pinot Noir dessert wine. I did not spit this wine.

little barrels are kept in the Eyrie cellar to age wine made by the Lett daughters

an Eyrie Chardonnay dessert wine includes every vintage of South Block Chardonnay from 1970 through 2006. Juice from 2009 was added, and brandy made with the same fruit, then used for fortification. As Jason explains, we’re used to having wine blended from grapes in the same year over various vineyard sites. The dessert wine shows the South Block site over a long expanse of time. I did not spit the Chardonnay either.

the dessert wines will be bottled in the 500 ml clay Grolsch bottles. Since these bottles are not recyclable Eyrie will include the Grolsch closure with the bottle so that it can be reused.

the auger David Lett kept in the back of his car so he could take soil samples, as he toured Willamette looking for the right vineyard site.

“My father started this business. For a long time, Pinot Noir just ran through his veins. It was an incredible act of bravery, and generosity on his part to turn the winery over to me. It came after ten years of various changes at the winery. But then he said to me, “Jason, here are the keys. Don’t screw it up.” He was so deeply dedicated to his craft that for him to hand that over to me is a deep honor. At the same time, one cannot be too over awed, or you will get stuck in a mold and not move forward. What dad did was all about new direction. I want to keep tradition moving forward, while also keeping that tradition of trying new varieties, and new wines moving forward too.” -Jason Lett

Thank you to Jason Lett. Thank you to Diana Lett.

Thank you to Annica, and to Jacques!

I’m so grateful.

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

Preparing for IPNC 1: Visiting Sun Chase, and Gap’s Crown Pinot Noir Vineyards, California

Visiting Sun Chase and Gap’s Crown Vineyards with Stéphane and Dana Vivier, Sonoma Coast

view from the top-Sun Chase Vineyards sit at 1100 feet at the Northern end of the Petaluma Gap, thereby receiving a Marine influence. Vivier Wines produce a Sonoma Coast blend of Pinot Noir, but also are developing a close relationship with several vineyards through which they are producing Single Vineyard Pinot Noirs. Sun Chase is the first of these, Gap’s Crown the second, and third will be Spring Hill, it’s first harvest this year.

there is very little soil on this portion of the Sun Chase Vineyard site, and the vines are young, it’s first vintage in 2009.

the Pinot clusters have “hens and chicks”–both large and small berries. The effect is to provide a mix of concentrated flavors from the smaller fruit (more skin to juice) and the juice to make the wine from the larger clusters. On clone types that tend to have hens and chicks the goal is the right balance of these two elements so you have enough juice to make your wine, and with more interesting flavors. Stéphane Vivier’s goal is to make a Pinot with a good integration of spice with fruit.

veraison had started on the Pinot Noir fruit just before our arrival.

in tending to the plant, the goal is to make no clusters touching

Dana and Lucille (21 months) Vivier. Lucille likes eating the just-purple berries.

some of the clusters have sun burn. The canopy is used to minimize sun burn on the fruit, but high exposure vineyards also tend to have some, and, additionally, the fruit needs some direct sun for proper ripeness. Seriously burned berries will be removed. On red wines burned fruit present a distinct flavoral problem in the wine, which is more manageable in white wines. Additionally, severe sun burn can create cracks that allow pests access to the inside of the fruit. The sun burned fruit will be left until just before ripeness fully takes hold. By leaving the extra berries the vine is pushed harder. But if not removed before full ripeness the burn will be hard to see against the redness of the berries.

looking towards the Petaluma Gap–a lower stretch of the coastal ranges to the North of San Francisco Bay. Wind moves from the cooler Pacific, East into the warmer inland areas, cooling the surface temperatures, and drying the fruit. Sun Chase Vineyard is near the Northern most reaches of the Gap’s wind effect. Gap’s Crown Vineyard is at the Northern most end.

Stéphane Vivier

view from the top–Gap’s Crown Vineyard, at 840 feet elevation, the Northern end of the Petaluma Gap, and the Southern most portion of the Sonoma Coast AVA, an intersection zone.

again, very rocky ground

picking berries

Thank you to Stéphane, and Dana Vivier. Such a nice afternoon.

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

Return to California 14: Visiting the Sundial Footbridge, Redding, for Burt

The Sundial Footbridge, designed by Santiago Calatrava, Redding

the cantilever, spar cable-stayed foot and bicycle bridge crossing the Sacramento River

a close up of the soil aspect of the bridge’s terroir

from underneath, people visible

the bridge operates as a genuine sundial over the course of every June 21. The shadow of the bridge’s peak, which holds the cables that support the bridge, moves across an outer circle rim surrounding the Northern side of the bridge. Over the course of the day on June 21 the shadow hits brass circles marked with times.

Thank you to Burt Coffin.

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Return to California 13: Hawk and Horse Vineyards, Lake County

Touring Hawk and Horse Vineyards

Together Mitch and Tracey Hawkins run the Hawk and Horse Vineyards, a name given to the wines and vineyard by their daughter. It is an entirely family owned property and business in Lake County, California, with Tracey’s stepfather, David Boies, helping to kick start the project.

100 year old Redwood water tank resting low on the hill side entering the vineyard property. All of the water is fed from natural springs on the mountain.

vineyard at 1800 feet

young French Plum trees (the property has more mature ones throughout as well). French Plum trees attract beneficial moths that help keep undesirable pest populations down throughout the vineyard.

an owl feather on the edge of the vineyard. Hawks hunt ground pests that would eat roots during the day, owls at night. Bird boxes and perches are found throughout the vineyards encouraging birds of various sizes and types to populate the area.

Cabernet was planted on the hillsides in 2000 and 2001, after walking the property and taking soil samples. Vine at 2200 feet. The Cabernet clones they grow–337 and 15–produce tiny clusters with lots of skin, and little juice offering good concentration of flavor. Set this alongside the heat and wind pushing through the area and you get wine that showcases distinct fruit flavors coupled with grounding spice and earthy notes.

Mitch Hawkins operates Hawk and Horse Vineyards as both Demeter Biodynamic Certified, and CCOF Organic Certified. Mitch and Tracey had agreed to start the vineyard as organic from the beginning, but after doing extensive research, Tracey realized she wanted to focus on Biodynamic practices as well. As a result, the vines have been developed as both from inception.

an important aspect of Biodynamic Certification is recognizing the holistic nature of the ranch and farm. As such, the entire facility is certified, not just the vineyard sites. Scottish Highland cattle are recognized as an important element of Biodynamic practices. Hawk and Horse has a beautiful smaller size (as in height) herd that I fell in love with.

the 2007 Red Hills Lake Country Cabernet Sauvignon carries a beautiful rose oil and cocoa nose alongside spice and dark fruit, with a palate that follows. The flavors here are well-integrated and well balanced. Across each of the wines tasted there is a distinctive red dirt-dust scent and light flavor that I find pleasing as well, and have tasted in other Cabernets grown on similar soils.

the red volcanic soil–an ultra fine powder

both award winning Cabernets. The 2008 has a slightly darker, and fuller bodied presentation to the 2007.

the family decided to try a Cabernet Sauvignon dessert wine made with Germain Robin craft brandy for fortification. The wine starts with 26 months in new French oak, with the 2006 arising out of Tracey Hawkins love for Port. The result was exactly what she’d hoped, and after a two year hiatus from the project (to see if the original was worth drinking), they now intend to keep making the wine. I was impressed by how well integrated the various elements of this wine are–the berries stand up to the brandy, the oak complements the alcohol, there is a nice cigar nose, followed by a dried berry palate, and caramel cream texture. The elements here are in harmony with each other.

the property is also home to horses with the family training and riding as avid Rodeo competitors. This year’s colt.

Tracey has spent a lot of time working with the colt to help make him comfortable with people and ready to train. He’s a lovely, friendly horse.

I was able to share the 2007 Cabernet later with my friends Robin and Dierk. We all really loved it.

Thank you to Mitch and Tracey Hawkins for your generosity.

Thank you to Julie Ann Kodmur.

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