Tags Posts tagged with "Sonoma"


Sonoma’s Far Coast: A haven for pinot noir

Wine & Spirits pinot noir

We step out of the forest into a glade where light pours through. Ted Lemon has guided me to the top of a hill at 1,200 feet of elevation in The Haven. He has been farming half of this tenacre property since 2001, using biodynamic methods, and he left half of the land wild.

“This is why it’s called The Haven,” he says of Littorai’s estate vineyard. The surrounding forest and coastal scrub provides animal habitat to foster biodiversity. Behind us, pinot noir, chardonnay and chenin blanc grow from a mix of shale, iron sands, compressed clay and serpentine.

These hills are part of Sonoma’s coastal mountains, most of which remain covered in conifers, too steep for cultivation. Vineyards have only arrived in the last 30 years, almost all planted in the 1990s or later on the gentler slopes and hilltops. (Until 1994, when Williams Selyem, Kistler and Littorai came knocking, even David Hirsch’s now sought-after fruit was going to Kendall-Jackson for blending.)

To read the rest of this article click on over to the Wine & Spirits Magazine website. It’s currently free-for-all there. Here’s the link: http://www.wineandspiritsmagazine.com/S=0/news/entry/sonomas-far-coast-a-haven-for-pinot-noir


Following the Growth of the Vine

Looking into Barlow Homestead Pinot

The early stages of shoot positioning – Barlow Homestead Pinot, May 2015

Earlier this year, Jr and I visited with Paul and Kathryn Sloan of Small Vines to track green pruning and bud break at their Barlow Homestead Vineyard in the heart of Green Valley. Jr created a video interview of Paul on the two viticultural events, which you can view here: http://wakawakawinereviews.com/2015/04/06/a-year-with-small-vines-bud-break-green-pruning/

In May, and earlier this month I returned to track two different phases of shoot positioning with Paul. In a cane pruned vineyard relying on vertical shoot positioning, repeated passes for shoot positioning serve as an essential step to the health and balance of the vines offering ample air flow and canopy management for the developing clusters.

The following shares an overview of the process and a look at the importance of shoot positioning in the midst of a year’s vineyard management.

Shoot Positioning

Getting ready to shoot position with Bryce Potter + Paul Sloangetting ready to shoot position: (from left) Bryce Potter, me, Paul Sloan, May 2015

In a cane pruned, VSP trained site, shoot positioning serves as the next step after green pruning. While green pruning forms the basic architecture of the vine, shoot positioning manicures and directs the growth of the vine. Shoot positioning, then, occurs in multiple steps through vine growth.

The timing of shoot positioning depends on the growth of the vineyard in the particular vintage. 2015 brought a challenging spring for vineyards in Sonoma. With warm January and February weather, growth came early to the vines bringing early bud break and shoot growth. April and May then cooled off significantly, generating what is known as Spring Fever in many Pinot vineyards through the region.

Spring Fever + Frost Damage

Spring Fever is caused by the vine starting to grow from warm weather conditions, and then shutting down again when temperatures drop. Nitrogen gets locked into place in the vine, which in severe cases can lead to nitrogen necrosis in the leaves. In milder cases, as new leaves develop the vine recovers photosynthesizing through the upper leaves. Even so, with Spring Fever, vine growth is slowed – colder temperatures slow vine development, and in the case of nitrogen necrosis the vines ability to photosynthesize is impacted through leaf loss.

Frost damage can also show in damage to vine tips. When temperatures are cold enough, frost effectively singes vine tips, turning them brown and stopping shoot growth. In such cases, secondary shoots will sometimes push from the trunk of the vine becoming the focus for vine development that year.

Shoot Positioning 

Paul Sloan shoot positioning Barlow Homestead Pinot

Paul Sloan shoot positioning Barlow Homestead Pinot, May 2015

In vertical shoot positioning, shoot growth is managed through a series of steps moving wires into ever higher positions as the shoots get taller, or through tucking shoots between wires. Wires are placed on the trellis system in pairs that effectively create a sandwich around shoots as they grow, with one wire at the front and one at the back of the training system and shoots growing between.

Generally, moving wires is more desirable than tucking shoots as it is faster. In moving wires, however, it is important to be careful to avoid pulling leaves or breaking shoots. As vines grow, their tips and leaves will sometimes wrap wires, or other shoots. This must be managed when moving wires to avoid damaging vines. Tucking vines, on the other hand, is generally done for specific vines rather than entire rows and includes the risk of damaging shoots through breakage.

Wires are placed at the right height to support shoots maintaining a vertical position. Then shoots are spaced at approximately a hand’s width apart with clips used to hold the shoots in the best position between wires. The clips can be moved as needed to adjust to vine growth.

Clips for shoot positioning

clips used for shoot positioning. The C-shaped clips are biodegradable natural fiber and are used for when wires need to be held close together to maintain the shoot to secure the its position. 

Shoot positioning clip

The reusable black clips offer more flexibility and can be used to loop a shoot exactly in place, to offer wider spacing between wires, or to wrap a wire for even closer spacing. 

As vine growth continues, shoot positioning is revisited again and again to keep shoots about a hand’s width apart (in order to keep clusters about a hand’s width apart), and to manage any secondary shoot growth. Rows are approached individually. Wires can be positioned as is appropriate to vine growth in that particular row, or even partial row. Then, vines are clipped individually.

Ideal shoot position depends on the architecture of the particular vine, however goals remain consistent in each case. The goals of shoot positioning include a balance of air flow and leaf shade for clusters. The balance of cluster count per vine is generally established in the earlier step of green pruning as the number of buds allowed to grow determines cluster potential. How that balance is achieved depends upon goals of the farmer such as overall yield, and goals of the winemaker such as wine style.

When it comes to recognizing ideal shoot positioning in the vineyard, Sloan emphasizes the importance of knowing your vineyard. “There is no one right formula, one right thing to do. You have to read your vines, your vineyard. The more you pay attention, the better decisions you can make.” Sloan explains.

The frequency with which Sloan revisits shoot positioning in his Small Vines-managed sites allows him to rely on organic viticulture as well. The attention given to architectural points such as ample airflow and canopy management also serves his ability to keep track of overall vine health, and issues such as disease or insect pressure.

Vine Health and Flavor Development

Organic cover crop

Paul Sloan discussing cover crop choices in Barlow Homestead, May 2015.
Cover crop through Spring is valuable in organic viticulture as it supports soil health and also offers a habitat for beneficial insects. Vines are most susceptible to harmful insects in Spring, so planting cover crops between rows plays an important role in vineyard health through the balancing of insect populations.

Effective canopy management supports the overall health of the vine reducing disease pressure while also encouraging flavor development.

“What is important about shoot positioning for the organic farmer,” Sloan explains, “is to have air flow through the leaves and clusters.” How such air flow is achieved depends on the overall architecture of the vine.

In vines that include higher cluster count, air flow must be encouraged through leaf removal — too much of both fruit and vegetation doesn’t allow enough air flow — which also has the effect of increasing sun exposure to clusters. On the other hand, to preserve canopy for shade while maintaining air flow, the vine must be shaped in such a way as to reduce cluster count and manage leaf position.

In the case of Small Vines, Sloan chooses to reduce cluster count per vine and focus on high density planting. High density planting reduces the soil nutrients and water supply available to any particular vine, slowing growth, reducing cluster count and leading to a sense of density in the fruit profile.

The Role of Sunlight on Fruit Development

Barlow Homestead Pinot clusters

Pinot in Barlow Homestead, early June 2015 (getting ready to do another pass of shoot positioning but note the architecture of the vine places shoots and clusters about a hands width apart)

Sloan clarifies that air flow is not the only factor relevant to shoot positioning. “Even more important than air flow is sunlight. You want sunlight on every leaf, on every shoot” but not on every cluster. Sunlight on the leaves encourages photosynthesis, and therefore also vine growth and fruit development. Direct sunlight to clusters, however, changes the flavor profile of the fruit as well as the fruit structure. To put that another way, directing sunlight to leaves and away from clusters tends to keep flavors in the fruit fresher and brighter. (To read more on the role of sunlight in flavor development, see the following profile on Andy Smith of DuMOL: http://wakawakawinereviews.com/2015/04/13/deepening-dumol-a-day-in-the-vines-with-andy-smith/)

Early sunlight on clusters often encourages thicker skin development (and therefore also more tannin profile), later sunlight on clusters changes the flavor profile of the fruit. Generally you can think of this sort of sun exposure as making flavors darker, moving flavors from fresh fruits to cooked fruit and kitchen flavors (such as caramel in the case of Chardonnay, for example). With reduced sunlight exposure on clusters, canopy management to promote air flow and reduce disease pressure becomes even more important. In this way, shoot positioning plays a role in both farming methods and wine style.

Vine Health and Wine Quality

Vine health also ultimately impacts wine quality. As Sloan explains, “The reason I am so emphatic about making wine from the vines I grow is because if I can keep walking vineyards, and I can move my crew where they’re needed, then I can affect wine quality directly.”

Sourcing fruit from multiple vineyards can be an excellent way for winemakers to get to know and express the signature of a region. Once a region is known, understanding the attention of a particular farmer is the next step to managing wine quality by finding an alignment between farming style and winemaking goals. In the case of Small Vines, Sloan develops and manages vineyard sites for others and makes his Small Vines wines from his own sites.

Copyright 2015 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com.

West Sonoma Coast: A Guide

Near Sebastopol

If you were following along on Instagram, you already know I spent a ton of time visiting vineyards and winemakers throughout the mountains of the West Sonoma Coast. I’ve turned that several months I spent studying and tasting the region into a six-article series over on JancisRobinson.com.

Here’s the link to a guide for all six articles. http://www.jancisrobinson.com/articles/west-sonoma-coast-a-guide 

The articles are pay-to-read but subscriptions at JancisRobinson.com are pretty straightforward and affordable. The site offers excellent articles every day about wine all over the world, as well as news events as they happen.

Subscription is £6.99 a month or £69 per year ($11/mo or $109 a year for you Americans) and includes searchable access to the Oxford Companion to Wine ($65) and the World Atlas of Wine ($50) as part of the subscription costs, as well as interactive discussions on the Purple Pages. Click here to sign up.


Talking with Michael McNeill

On Tuesday, I shared the first half of a conversation with Michael McNeill, Winemaker of Hanzell, one of California’s heritage houses.

Though we had tasted together before, we agreed to meet in order to dig more deeply into McNeill‘s views on winemaking, and how he understands his role at Hanzell.

McNeill’s position is unique in California. Hanzell makes wine from their own vineyards, which include the oldest continuously producing chardonnay and pinot noir sites in North America, each planted at a time when the grapes were rare on the continent. Add to that the fact that McNeill describes his job as a “guardian of the Hanzell style,” and you can see he carries a unique position.

The transcript of our conversation is presented here, edited for length, and in a few places for clarity. In the first half of the conversation (readable here), McNeill and I spoke on what he values about working for a heritage house, his previous winemaking experience, and how he came to work at Hanzell.

The following portion of the conversation picks up immediately following his story about interviewing with Jean Arnold, President Emeritus of Hanzell, for the job as winemaker. In this half of the conversation, we discuss McNeill’s views of whole cluster fermentation, how land ownership changes your winemaking choices, and whether he’s ever wanted to start his own label.

The following photos are each courtesy of Hanzell.

A Conversation with Michael McNeill, Hanzell Vineyards

Michael McNeill, 2013

Michael McNeill, Winemaker Hanzell

Elaine: With the change you were facing, some winemakers would have thought, “Well okay, it’s time for me to start my own label.”

Michael: Yeah. I have kicked that around from time to time. But I have a son, and felt it really important to be part of his life. I didn’t want to have two jobs, which is what it really requires to have your own label. And my deal at Keller would not have allowed me to start my own label, so that would have been messy.

It could have turned out where I started consulting with multiple labels, and maybe at that point, I would have said, “Well I might as well start my own as well,” but I don’t know. I have enough friends that have started their own wineries and labels, and it’s challenging. It’s really challenging. Most of them still work two jobs and don’t have kids. I’m sure that there are examples of people that have done it, but I don’t want it. I’ve seen how hard people work and how challenging it is.

Elaine: Did you ever feel compelled to?

Michael: Sure. I think every winemaker worth his salt, at some point, wants to do their own thing because we all think we know all the answers, and would do it the right way. Of course, you find out how challenging it is and how many compromises you wind up having to make that you don’t think of prior. It’s kind of like when you’re the assistant winemaker, you always question the winemaker: why are we doing it that way? I would have done it a different way…

And then the first time you’re making the decisions, you’re making the picking calls, how incredibly nerve-wracking it is, how you wring your hands over the decisions you make. Am I making the right decision? I always look back at what Michael Michaud did at Chalone, and have so much added respect for what he did.

Elaine: The analogy that comes to mind is raising my daughter. It completely changed my perspective on my parents, and in ways I couldn’t have predicted. Just like silly things, like when Rachel was two or three, I suddenly recognized all these things my mom did when I was growing up were actually because she was tired all the time. I just thought of them as parts of her personality and maybe they frustrated me, but actually I suddenly recognized them as fatigue. It brought more compassion, more understanding.

Michael: Right. They were just tired.

I tell people that parenting changes your life in ways that you would have never expected. And you can’t explain that to someone — I always say, “Welcome to the club.” You’re here now.

Elaine: And you never leave the club. No matter what else happens.

So, anyway, you started at Hanzell that July, what are some of the things you focused on to start? I’m sure you tasted a lot of Hanzell wine initially. You mentioned you had tasting panels with multiple Hanzell winemakers, and you’d gathered a lot of information. So you started in July, and with harvest only a few months later, you had to pretty quickly get ready.

Michael: Yeah. Michael Terrien stayed on in a consulting role. He was available to me to talk to and figure things out. I could bounce things off of him.

Elaine: How long did he stay on?

Michael: Six months.

Elaine: Okay. So, through that harvest.

Michael: And that was very helpful. I appreciated having that, for sure. But all the picking and such was my call, but it was great to have him there to bounce it off of, and ask, “What do you think?” That, and looking at the old records.

Michael McNeill Hanzell Harvest 2014

Michael McNeill bringing in Hanzell chardonnay, harvest 2014

Elaine: When you look back through your vintages to 2008 in relation to the Hanzell library, how do you see your progression?

Michael: It’s still early, I guess, in the grand scheme of things here. I would say that for the chardonnay, I think we’re keeping it very consistent. We made some adjustments, but I think by and large, they’re pretty subtle. They’re the small corrections or adjustments down the road, looking down the road.

The pinot noir, I think things have changed fairly – not dramatically, but definitely in 2008, I was making the wine kind of the way Michael Terrien was making it. Once fermentation ended, we were doing an extended maceration. We were warming it up to 30 C, which was pretty warm.

Elaine: After or during, you were warming it up?

Michael: After fermentation, during the extended portion. Or, allowing it to peak at 30 C, and then we put the lids on holding it there. And also everything was completely destemmed. I thought at the time it was a pretty extreme thing to do, and so we started backing off in terms of temperature that we were holding the wines at and then the temperature we were allowing the fermentation peak to get to do.

Elaine: You mean in subsequent vintages?

Michael: Yeah.

Elaine: So that initial vintage was consistent with Michael?

Michael: Yes, it was. Just because, you walk in, and you’re at “Well, I have to have a starting point.”

The other thing, too, was that everything was destemmed. And again, a lot of the wines that Bob was making in the 90s – what he had started doing in the 90s is including some whole cluster. It was getting to a point where, it was like 30% whole cluster. But he was doing it, and it is fairly counterintuitive – he was adding whole clusters to soften the wines, which is not what most people think of with whole cluster. But the reason is that the old de-stemmer that he was using was extremely aggressive. I refer to it as a grape grinder. And so they were getting all the extraction up front, so they didn’t have to do these extended macerations. They were very short, quick fermentations.

So he was doing whole cluster to soften the wine by not putting it through the grape grinder. And I love the aromatics and the qualities of those wines. So we have been looking at how to reintegrate some of the whole cluster with the equipment that we have and using the extended maceration.

Elaine: Right. Because you can’t just do it the way he did it since you have different equipment.

Michael: No we can’t. And we don’t really want to. So we’re really making adjustments on the pinot noir. We’re bringing in whole cluster now. And the other thing too is we have the Sessions Vineyard, the site planted in 1999, that Bob was not working with then, and that’s now a fairly large portion of our pinot noir.

So there’s a lot of change that has come into the pinot noir program without deciding to change it. We have new vineyards, we have new equipment; now what do we do? And how do we work these elements in while maintaining our style, and how to best showcase this ground and the style? It’s a lot more difficult, or I guess a lot more, in a way, intellectual, than just simply saying, “We have a house style we follow each year.” It’s not that way at all.

Elaine: There are some winemakers that say in order to show the terroir of a place they use exactly the same techniques every year, and across every vineyard, with the view that that means the only difference you see is the vineyard, or the vintage. But then there are other winemakers that say that kind of approach is a way of not listening to the specific needs of a particular vineyard and its tendencies; that some winemaking techniques work against the conditions of a site, or make a disjointed wine in a way that covers up some of the site character. So, what works for one site might actually obscure another site.

Michael: Absolutely. I feel that way. I think that your role as a winemaker is to listen to the vineyard. That’s a cliché. But really, paying attention to the vineyard and getting it to express itself in its fullest form – that’s our role. Maybe it’s a bit, in a way, egotistical to think that the one way that you’re making pinot noir is the only way to make pinot noir.

Elaine: Right, but if you’re trying to give them the benefit of the doubt, you could say that they’d respond, “Oh no, I don’t mean this is the only best way to make pinot noir; I mean I’m just trying to remove all the variables to show the various sites, and I picked this way because I like it but, I’m not saying it’s the only way.”

Michael: I think that is, in a way, more of a marketing decision. Right or wrong. I don’t think that doing it that way is necessarily the wrong thing to do, but I don’t think that you’re getting the most out of each site. But, I think it certainly makes real good sense in terms of marketing and business, because you have delineated all of these different vineyards. And if you have a clientele that’s interested in what you’re doing, and they want to try all these different …

Elaine: They have to buy a six-pack.

Michael: Yeah, exactly. I think that’s brilliant from a marketing perspective, but I don’t think it necessarily is the best for each site. But then again, most winemakers are doing things like that in a sense. They aren’t invested in the site. They just buy the fruit.

Michael McNeil Pruning Ambassadors Vineyard


Michael McNeill pruning Ambassador Vineyard, Hanzell 2013

Elaine: That’s the thing. Having a wine industry that is so focused on sourcing fruit – like much of California, or much of the United States, just because of how hard it is to own and farm your own land now – rather than owning the land, or even a negociant approach where you buy wine and make blends, like in France – making wine primarily through sourcing the fruit significantly changes the values you can bring to the winemaking, but then also some of the techniques, and the marketing.

Michael: Right. If you own the piece of ground, would you use those same techniques then? If you own each of those vineyards, would you make them the exact same way?

Elaine: And also, like some of the things you’ve said indicate, how might your approach change over time as you get to know your site better?

Michael: Right. When I first got here, there were a couple of people who had been long time collectors here. I had only been here for like two weeks. I was introduced. They were in a beat up pickup truck. They looked like farmers. And they said, “Yeah, we’ll know if you’re any good in about ten years or so.” I love that.

Elaine: That’s great.

Michael: Right. That’s fair. Bob thought in terms of decades.

I look back at the wines from the 90s just in terms of the overall style and transparency. There’s a real lithe quality about them. Not that they aren’t powerful, because they are. But they just seem to be — transparent is the best way to put it. You can see all of the elements within it that make up the total, and yet are still very harmonious. I think that I look to that as more of an inspiration, if you will.

Elaine: That transparency with harmony.

Michael: Yeah. You want to have some power and intensity, but you want all of the elements to be in balance, which every winemaker is going to say the same thing, that they want that. So, it’s a matter of what — how they view balance; what parts of the elements they find as important.

I think that’s ultimately the role of the winemaker on a property like this, while trying to make wine. You’re translating. You’re translating from the vineyard, and what that property, what that terroir is offering. And our job as winemakers is to translate that into wine. It is to deliver that. How do you deliver it?

And I think that that’s the difference in terms of being a winemaker and having one set of winemaking protocol, and one size fits all. You’re not doing the translating. You might have one program that that fruit is going through. You’re not allowing that specific place to be fully translated in what it can express.

Elaine: You mentioned doing small-scale experiments to investigate whether you want to incorporate them into the overall winemaking. What are you seeing with your whole cluster experiments?

Michael: Liking it. We like the element that it brings to the overall quality, especially in terms of mouth feel and aromatics. One of the other things we’re looking at is with the whole cluster, do we want to start pressing that off early instead of giving the extended maceration? So that’s another variable that we’re looking at as well.

And this place, Hanzell, is a pretty unique spot. There’s a particular energy that this property has.

Elaine: It doesn’t feel like anywhere else.

Michael: I saw Jacques Lardiere, he used to be the winemaker at Jadot speak at IPNC [The International Pinot Noir Celebration in Willamette Valley, Oregon] in 2012, and we were all laughing because he was so over everyone’s heads in the way he spoke about biodynamics. But when he was talking about a specific Premiere Cru vineyard, he said, “There is something about this place that is special. It has a special energy.” And I immediately got it. I understood that. I think this place, Hanzell, has a very special energy that, I don’t know, I honestly think I could grow damn near anything on this piece of property and it would be great.


In another portion of our conversation I asked Michael McNeill what he thought had allowed Hanzell to persist so well, and maintain its quality as a heritage house of California. He credited the history of excellent ownership from now all the way back to its beginning.

For the first half of our conversation: http://wakawakawinereviews.com/2015/05/26/a-conversation-with-michael-mcneill-hanzell-vineyards-part-1/

Copyright 2015 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com.

The History of Hanzell

When it comes to heritage, Hanzell Vineyards and Winery carries some of the deepest in California. It’s chardonnay and pinot noir serve as a hallmark of excellence in the United States,  its vineyards among the finest.

The winery proves historically important too for its history of innovation.

Ambassador James Zellerbach worked with viticulturist, Ivan Schoch, to establish Hanzell, purchasing the property in 1948 with the goal of planting vineyards that could grow wine among the best in the world. At the time, pinot noir and chardonnay were rarely planted in California.

Today, vineyards at Hanzell include blocks established in 1953, home to the oldest continuously producing Pinot Noir, and Chardonnay vineyard in North America. The Hanzell clone of each are considered among the important heritage clones of California.

Hiring winemaker-scientist Brad Webb in 1956, Zellerbach’s vision evolved in the winery as well. At Hanzell, Webb would become one of the first in California to use French barrels to age Chardonnay. More remarkably, he also established controlled malolactic fermentation by identifying the bacteria involved, and then went on to invent temperature controlled stainless steel fermentation tanks. Both inventions would change winemaking worldwide.

In 1973, Bob Sessions succeeded Brad Webb in winemaking. Having worked previously with Webb, Sessions work at Hanzell would begin congruent with the style established by the original winemaker. Through his tenure, however, Sessions slowly evolved the iconic Hanzell style.

Today, Michael McNeill serves as winemaker, having taken the helm after a brief tenure by winemaker Michael Terrain. McNeill regards himself as a guardian of the Hanzell style, wishing to maintain its unique signature while continuing to grow its quality.

Earlier this month I met with Michael McNeill curious to better understand how he sees his role as winemaker in a heritage house. We have tasted together previously but this meeting was an opportunity to converse in depth about McNeill’s work as winemaker.

Following is a transcript of our conversation split into two installments — the second will be shared here Thursday. As the original conversation lasted almost three hours, the transcript has been edited for length, and in a few places for clarity.

A Conversation with Michael McNeill, Hanzell Vineyards

Looking out over Hanzell Vineyard with Michael McNeill

looking out over the historic Ambassador’s Vineyard, inside the historic Hanzell Winery with winemaker Michael McNeill, April 2014, photo courtesy Kate McKay

Elaine: Hanzell has had a few winemakers, including one that seems like a distinct style shift from what was established by Bob Sessions, and what you’re doing now. Part of what I find interesting in talking with you is how you describe your role as winemaker. You’ve said you’re job is to remain consistent with the Hanzell style. I’m curious how you worked to identify that style considering the various shifts and changes in winemaking here?

Michael: Well, initially it was a lot of information gathering when I got here in 2008. And unfortunately at that point in 2008, Bob’s dementia was setting in. So what I tried to do was really look back at what was being done in the late 90s, through the 90s, and essentially emulate that. But looking at the wines, tasting the wines, trying to in a way project how we would make those wines today.

I was looking through the records of what had been done, to get a sense of how things were done. I’ve had many conversations with Jose Ramos [Director of Vineyard Operations], Ben Sessions [Bob’s son who also works at Hanzell]; there is some living history here that I have been able to reference. I describe the way I see my role here as being guardian of the style of wine that we’re making here. But, being a winemaker, you always want to push the boundaries of quality. You always want to make it as best you can, or better than it was before. And how do you go about doing that while still respecting the style? It’s a challenge.

So, I view it very much like steering a tanker, with a real eye looking way ahead, making small, careful, thoughtful adjustments, so that you’re not changing things drastically, but you’re doing small-scale experiments to see how those changes might work, and carefully evaluating them over time.

Looking at Bob’s career here, 30+ years as a winemaker, if you look at where he started and where he finished, there were some pretty radical adjustments. We went from no barrel fermentation to 25 percent barrel fermentation. That’s a jump, but it took 20 years to get there. I see my role as kind of the same. We have planted new vineyards. We’re integrating those new vineyards into what we’re doing here. The Hanzell Sebella Chardonnay has been something for me to sort of – if I need to have my own ego stroke or my own project – Sebella has been very much something that I’ve brought here. But I strongly feel that Hanzell is really about this place and about the style that we’ve developed over many, many years.

Elaine: In some ways, it’s easy to guess the answer to this, but just to make sure I understand where you’re coming from: What about that period in the 90s makes you choose that as a concentration of focus?

Michael: One, those wines were spectacular, and have certainly shown their ageability; they have stood the test of time. And I really feel that those wines really showed what Bob was doing at his best. There was a real clarity, a real transparency to the wine that really is uncommon.

Elaine: That makes sense.

Michael: One of the nice things about being the Winemaker here at Hanzell is that it’s already here. It’s already established. It already has a style so I don’t have to wave my hands to get attention. So many young winemakers have to make a real bold statement to get attention now just because of how the wine industry is. I learned to make chardonnay and fell in love with pinot noir when I was at Chalone Vineyard back in the early 90s, so I think that I was uniquely qualified to come to Hanzell.

I spent six years at Chalone. It was a very, very special place to me personally. And back then, when we talked about age-worthy Burgundian-style chardonnay and pinot noir in California. It was Chalone, Calera, Mount Eden, and Hanzell. Chalone is no longer what it once was; and I really felt that — it really saddened me deeply. I don’t want to see that happen again. I don’t want to see it happen here.

Chalone was my winemaking finishing school. That’s where I really feel I was developed as a winemaker. At Chalone there was an established house style, so the challenge was making the wine better, but still, respecting the style of the house has been something that I’ve been brought up with.

I’ve done the opposite as well – after leaving Chalone, making wines in Oregon, up and down the state of California, having to make impact wines. But coming here felt very natural. I really and truly felt like the prodigal son coming home. Hanzell is a perfect place for me, and I hate to say I’m perfect for it, but I think I bring a unique set of sensibilities that most others wouldn’t. I certainly think that there are probably better winemakers out there. But I think to be successful here requires you to subvert your own ego, and really be able to take the back seat.

The historic Hanzell winery with Michael McNeill

standing in the historic Hanzell winery next to the original temperature control tanks, with Michael McNeill, April 2014

Elaine: I’m curious where you find satisfaction in this work.

Michael: Every time somebody tastes one of these wines, or makes the comment like, “Gosh, I really don’t like chardonnay, but I really like this wine,” it gives me a tremendous sense of satisfaction. It was funny – every year we do library tastings with the entire staff, prior to offering a selection of library wines to our Ambassador’s Circle collectors. We – Lynda Hanson [Associate Winemaker] and I, started at the same time, we had one of our wines in the Library offering. We just looked at each other and said, “We’ve arrived.” We’ve been here long enough where we have a library wine now. That was very, very rewarding.

[At an event] last night, I took a magnum of ’98 chardonnay. I had a lot of people coming up to me, “This is the wine of the night.” And even though obviously, it was Bob’s wine, I’m still proud of its place. I’m proud of the style, it’s something that I really believe in. You know, that’s really satisfying. When people say, “Oh. Hanzell, this is fantastic,” … for me, just being associated with the property and the legacy here is very satisfying.

And the other thing is when I started, and we still do, we have tasting panels. The first few tasting panels, included myself and Lynda,  Jean Arnold, and Bob — who would still taste with us then because he had a lot of clarity — but also Kim Giles who was Bob’s predecessor. Kim Giles still sits in on tasting panels. And Michael Terrien sat in on them as well. In that I had access to the experience of Hanzell from 1967 until that day. So we were tasting through various blends and such, as Ben Sessions likes to say, there was a lot of constructive disagreement. But at the end of it, they all said, “McNeill, good luck with that.”

It’s great because I get a lot of input from people who have been so closely associated with the wines and the making of the wines on the property to bounce ideas off of. That’s the kind of thing I think is rare today, to have that kind of depth of history that’s still a part of the current day. Does that make sense?

Elaine: Yeah. That definitely makes sense. It seems like even those relationships, and bringing all of that to fruition would be rewarding; being the one that continues the legacy that means something to you. What made you want to shift back to a more heritage approach for your career after that period in Oregon and other parts of California?

Michael: Well, I guess I went from Chalone up to Oregon, and that was in 1996 and 1997, beginning of 1998. But I was there for the ’96 and ’97 vintages. The winter of ’96-’97 was a record year up there for rain. And the way the winery was set up, I walked in, in August, and I was handed a stack of two-dozen contracts, and told, “Go make wine.” And so I was driving from vineyards all the way from Eola Hills in Willamette Valley all the way down to Ashland in the Southern part of the state. I put 7000 miles on my truck in six weeks.

Then I went from making wine there to Savannah-Chanelle in the Santa Cruz Mountains. There I was doing similar things. I was making wine from vineyards from the Russian River all the way down to the Arroyo Grande Valley. There’s something kind of fun about seeing all these different vineyards and working with all this different fruit. But then I got the job at Keller Estate in 2003, and I really enjoyed working with the vineyard, and I got much more involved with grape growing. I guess my career started in the lab, my degree is in chemistry, so that’s a natural thing. It started there and went to general winemaking, and then I kept going farther out into the vineyard. That’s been great for me, because it’s been a constant learning experience because I hadn’t been in agriculture or a farmer before.

Tasting Hanzell

Elaine: So then you went from Keller to here?

Michael: Um-hm.

Elaine: Yeah. Was it just too exciting an opportunity not to come here? How did that happen?

Michael: It’s a great story, actually. I had been at Keller for five years. It was interesting. Jean Arnold was president here at Hanzell, and I had actually interviewed with Jean twice before. Once at Chalk Hill; when Dave Ramey left Chalk Hill, I interviewed there for the job. That’s when I first met Jean. I didn’t get the job. And then in ’98, I had just come back from Oregon and I started at Savannah-Chanelle, and I got a call from the same headhunter, and it was for the job at Williams Seylem. And Jean was then the president, and I didn’t get the job.

But Jean really made an impression on me, and I made it a point to maintain a relationship with her. Every time I saw her at a tasting, I made a point to go say hi. And if I hadn’t seen her for a long time, I would just call her up out of the blue just to say hi. But I’d never actually come here. I would just say, “Hey, Jean, how are you? How are things?”

So in April of 2008, it was a Thursday, I had an epiphany that I had pushed the rock as far as I could up the hill at Keller, and I was like, “God, what am I going to do? All I’ve done is chardonnay and pinot noir. Where would I go? What kind of winery would want me?” And I said, “Well, it doesn’t matter. This weekend, I’m going to clear my calendar and spiff up my résumé and get ready to look for a new job.” And when I came back from lunch on Friday, there was a message on my voicemail: “Hey McNeill, it’s Jean Arnold. How are you? Hey, we’re looking for a new winemaker. Maybe you know of someone. Give me a call.”

Elaine: Oh wow.

Michael: So yeah.

Elaine: That’s remarkable timing.

Michael: I still get goose bumps telling that story because it was one of those perfect storms. I just thought, “My god, that’s the place I need to be. I’m perfect for this job. It’s the perfect place for me. I have to get this.”

Elaine: That’s cool. So then you started in 2008?

Michael: Yes, I started July 1.


The remainder of the conversation with Michael McNeill will post Thursday. In it we discuss McNeill’s views of whole cluster fermentation in pinot noir, the idea of starting your own wine label, and what it means to capture site expression as a winemaker.

For the second half of our conversation: http://wakawakawinereviews.com/2015/05/28/a-conversation-with-michael-mcneill-hanzell-vineyards-part-2/

Copyright 2015 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com.

Andy Smith in the Vineyards of West Sonoma Coast and Green Valley

Andy Smith in Jentoft VineyardAndy Smith walking through Jentoft Vineyard, West Sonoma Coast, Jan 2015

“It’s okay to blend,” Andy Smith, winemaker and partner of DuMOL Wines tells me. It is morning and we are walking through the rolling hills of Jentoft Vineyard, a site near Occidental DuMOL planted specifically for blending.

Smith has agreed to spend the day driving me through DuMOL vineyards. We’re discussing the region but also his evolution as a winemaker.

Jentoft is unique for DuMOL in that it is one of only a few sites they farm in the rolling hills off Occidental Road.

Beginning in the mid 1990s, DuMOL made a name for itself making Pinot Noir and Chardonnay of the Russian River Valley. More recently, the team has expanded further into sites hugged by the hills mere miles from the Ocean.

The addition of these cooler climate vineyards also reflects the winery’s shift towards a leaner style over the last decade.

But for Smith, the winery’s move into sites near Occidental is not just about climate.

“People talk about climate, but, for me, the soil makes the flavor. Soil is the building blocks of the flavor, and the climate is the vintage variation.” Together, Occidental vineyards have something unique to offer.

“To me the wine [in this area] always has a sense of air-oir, not just terroir, a conifer-spicy element.” Smith says.

Blending DuMOL 

Andy Smith in Wild Rose Vineyard

Andy Smith in Wild Rose Vineyard, Green Valley, Jan 2015

I ask Smith if he’d ever make a single vineyard bottling from Jentoft.

“I think the single vineyard thing,” he says, pausing briefly, in the midst of answering, no. “There has to be something distinctive, and agreeable, and verifiable, and repeatable. I am sure this site can make a distinctive wine that is a distinctive part of a distinctive blend.”

DuMOL bottles a number of single vineyard sites, but has developed and farms even more. The goal for DuMOL is to bottle excellent wines rooted first in their own farming. Some sites, in Smith’s view, offer that beautiful component within a multi-site blend, while other sites carry their own sense of completeness.

The point is that high quality vineyards sometimes best serve as components in a blend rather than on their own.

Developing a site’s character, be it is for blending, or single bottling, takes time. Jentoft, for example, was planted in 2007.

“This site is just starting to come into its own for us.” Smith explains. “The first year a vine gives fruit can be quite nicely structured and well balanced. Then, the next few years the vines are like unruly teenagers. Around eight years a vineyard starts to find its balance. Then around fourteen years there is another plateau, and vines become much more self regulating.”

What that means today has changed from viticultural views of even ten years ago.

“That is the fun part of the change in the last ten years,” Smith says. “From the idea that we need to tell the vine what to do. Today farming includes beautiful cover crops, insectiary rows, and then seeing the results. For me, that is the exciting part. You can taste the results as well. The wines taste better at lower alcohol.”

Evolving the DuMOL Style

I ask Smith about his evolution as a winemaker. We are discussing Smith and his contemporaries from the early days of DuMOL.

“We were young guys in the late 1990s,” Smith says. “Starting out making rich wines. Now many of us are making lighter wines, with aromatic perfume. You know everything is different.”

But the change in style, Smith points out, occurred as part of a larger context, not driven by wine alone but the overall food culture.

“In the late 1990s, the scene was booming. Restaurants were booming. Chefs were going on with pork fat, and the wines reflected that.” Big flavor was not just a Parker fancy, but a cultural fascination.

“Some of my wines, I go back, and taste, and wonder, what was I thinking?” Smith laughs. “But, you know, it was the taste of the day. Now we have less new oak, and less toast. We have really moved to a more ethereal style with more perfumed aromatics. If you want more honey in your chardonnay, or more cassis and black fruit in your pinot noir, you pull leaves and expose clusters. Now we avoid sun exposure on the fruit.”

Smith’s reflection on sun exposure gets to the core of how DuMOL has shifted its style from bold flavor to graceful richness – DuMOL’s wines today a dance of movement and flavor.

“We’ve pulled back the wines as the farming has improved too.” Smith points out. “You can’t just go on and say, I am going to pick at 21 brix. You have to take a few years getting in tune with the farming, the soil health, and all that.”

DuMOL Today

Andy Smith in Heintz Vineyard

Andy Smith in Heintz Vineyard, Green Valley, Jan 2015

DuMOL’s focus on farming has helped the label grow at a judicious rate, focusing on quality as it allows for growth. It’s maintained such an approach by expanding its volume only as its farming allows. As a result, quality remains in the hands of the DuMOL team, relying on fruit they’ve cultivated to match the house style.

“That’s part of our philosophy.” Smith explains. “I don’t like any extremes – no extreme pruning, no extreme exposure to the grapes, not too much, if any irrigation. Vines are a crop we maximize, and you maximize that by making the vine work hard, not stressed but hard.” I ask Smith to say more about how he maintains that middle line in the vineyard, avoiding extremes.

“The soil health is, of course, really important.” He responds. “Water is available for the vine. The roots are really deep now but because they haven’t been force fed water, they don’t binge on it. Vines are self regulating. They take what they need, and don’t take too much. When you over irrigate, you force the vine to take what you give it, and it takes and takes and takes, then collapses and ripens through dehydration.”

Then there is the architecture of the vine.

“The way we farm with tight spacing, we are looking for grapes that are bright and fresh, with thick skins though we are achieving that without exposing the clusters to sun. It gives more herbal complexity, dense deep tones, and bright fruit.”

The result shows through beautiful integrity from bottling to bottling.

DuMOL wines offer concentrated flavor and structural density with bright fruit, and delicious acidity across varieties thanks to the farming, while cellar choices preserve the wines’ pleasing texture and freshness. The combination Smith describes as his winemaking goal.

“I like texture, but I also like freshness. Any texture or density,” Smith clarifies, “should come from the vines.”


DuMOL makes Chardonnay, Pinot Noir, Syrah, and a small amount of Viognier from Sonoma County.

DuMOL Wines: http://www.dumol.com

Copyright 2015 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com.


Poe Wines Pinot Meunier from Van Der Kamp Vineyard

Yesterday, Samantha Sheehan, and Shawn Johnson of Poe Wines, and I traveled to the Van Der Kamp Vineyard near the top of Sonoma Mountain in order to pick up Pinot Meunier. Along with just picked Pinot Noir, the fruit has been pressed for rosé.

Following is a look at the beautiful, while obscure variety.

Sam Sheehan with just picked Pinot MeunierSam Sheehan with Pinot Meunier for Poe Wines, September 2014

Years ago a 1er cru Burgundy made me realize wine was special, but a still red Pinot Meunier made me fall irretrievably in love wine. I’ve spent the years since hunting the variety around the world.

Pinot Meunier proves rare in terms of unique bottlings. Its primary home rests in Champagne, where it serves as one of the three legal varieties of the wine, capturing the most acreage of any variety in the region thanks to its easier reliability in cool zones. (Historic plantings of four other varieties are also allowed but uncommon.)

Loading the Pinot Meunier to take down the hillloading the Pinot Meunier into bins to drive down Sonoma Mountain, Sept 2014

Historically in France, Pinot Meunier tended to be planted in cooler areas as a sort of insurance grape, proving able to ripen where Chardonnay and Pinot Noir did not find enough warmth. Thanks to Pinot Meunier budding later, it also buds more reliably than its cousins. As a result, it was at one time throughout Northern France. Today, outside Champagne it remains in small pockets of the Loire, as well as Lorraine along the border of Germany. In France, outside of Champagne, examples of Pinot Meunier are made as either a still red wine, or rosé.

Pinot Meunier can also be found as a still red wine in Germany where it is more often bottled under the names Müllerrebe, or Schwarzriesling.

Shawn checking the Pinot MeunierShawn Johnson getting fruit ready for transport, September 2014

In the New World, Pinot Meunier appears primarily in Australia, Oregon, and California. Historic plantings of Pinot Meunier from the 1860s still produce fruit in Victoria, Australia, being bottled by their owner, Best’s Great Western as an Old Vine wine. Best’s treats the variety as one of its foundational grapes, also bottling a separate Young Vine Pinot Meunier from cuttings planted in the 1970s.

In Oregon, the variety was first established in 1965 when the original vines entered Willamette Valley via David Lett of Eyrie. The still red wines made by only a few producers in Willamette have remained largely under the radar. New plantings have just begun in the Valley, as devotees of the grape have brought a little more attention to the grape type.

Sam and DixieSam Sheehan and Dixie Van Der Kamp, September 2014

California treats Pinot Meunier primarily as a component of sparkling wine, growing it in cooler zones of Mendocino and Carneros. A few very small bottlings of still red wine examples from these sites are also produced.

As one exception, the Van Der Kamp family established the variety on their 1200-ft elevation, 60 acre vineyard-farm in the early 1980s, producing one of the early examples in the state of a still red wine expression. Today they have 3 acres of the variety, planted alongside 22 acres of Pinot Noir.

Martin VanderkampMartin Van Der Kamp, September 2014

Established wine knowledge has it that Pinot Meunier does not age well. However, examples of still red wines from both Oregon and Victorian producers that still carrying vibrancy 20, 30, and even 40 years later would disagree. In sparkling wines, Krug most famously uses ample portions of the variety in its champagne, which is also known to age beautifully.

Pinot Meunier brings higher natural acidity, and more transparent color than Pinot Noir, while also carrying a greater sense of mid-palate fleshiness with flavoral delicacy. In sparkling cuvées, the variety contributes aromatics, apparent fruit, and a sense of body for the style’s acidity. In red wines, both a sense of natural spice, and a light metallic backbone appear.

The inversion layer over Vanderkamp VineyardVan Der Kamp Vineyard, September 2014, morning
(the crazy dark line that shows in the sky between the tree line and the mountains is the morning inversion layer)

As a result of its layered subtlety, the variety shows most beautifully picked with a sense of freshness, with a lighter hand in vinification, and an absence of new oak. Though some producers do make still red wine examples with more work in the cellar and new oak presence, such an approach obscures the pleasantly delicate elements of the variety turning it into a heavier wine.

Thanks to the unique conditions of the Van Der Kamp vineyard, their Pinot Meunier combines the variety’s naturally lifted acidity, with thicker skins and still smooth tannin. The skins offer the possibility of brawn that some producers prefer, while the smooth tannin and juiciness carry the freshness resplendent in the grape.

Putting up prayer flags to mark the start of harvestShawn and Ulysses Van Der Kamp lifting prayer flags to mark the start of harvest, Sept 1, 2014

Inspired by the uniqueness of the Van Der Kamp Vineyard, Samantha Sheehan, and Shawn Johnson work with the Van Der Kamp Vineyard Pinot Meunier for Poe Wines. Last year, they produced a sparkling expression of the variety (still aging in bottle).

They also made a vin gris style rosé in 2013 of both Pinot Meunier and Pinot Noir. The fresh fruit zing-iness of the rosé proved to be one of the most popular wines of the Poe portfolio. For 2014, Poe Wines again takes the Van Der Kamp Pinot Meunier alongside old vine Pinot Noir to make rosé, pressing the grapes yesterday. The fruit tasted delicious.

Copyright 2014 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com


Drinking Gewurztraminer with Matzo Ball Soup

Gewurztraminer Characteristicsclick on image to enlarge

This week I couldn’t kick the Matzo Ball Soup craving so Jr and I spent an afternoon making it from scratch. By grating fresh ginger into the Matzo Balls, and using a touch of parsley on top of the chicken broth, the soup worked beautifully with Gewurztraminer.

Gewurztraminer produces naturally pungent, easily recognizable aromatics. The grape naturally generates higher sugar levels, leading to a predominance of off dry-to-sweet styles of the grape, or higher alcohol level dry wines. Acid levels also quickly drop in the variety. As a result, Gewurztraminers readily have a fuller mouthfeel, and oily or slippery texture. All combined, cooler climates do better for the fruit. With lower temperatures, a grape that can tend towards blouse-y flavors and feel maintains greater structural focus, and can more easily hold the juiciness to balance its fuller palate.

Following are notes from six dry examples — two each from Alsace, Alto Adige, and California.

* Elena Walch 2013 Gewurztraminer, Alto Adige, 14.5%
Alto Adige in Northern Italy stands as both the origin, and one of the most celebrated regions for quality Gewurztraminer. Elena Walch offers a beautiful dry Gewurztraminer that lifts from the glass with nicely focused fresh rose aromatics then moves over the palate with ultra juicy crisp length. White nectarine, orange blossom, and light chamomile keep the palate nicely focused, crisp, and well integrated with a slippery mouthfeel. This was my favorite wine of the tasting. I kept returning to it through dinner, and after.

Elena Walch 2012 Kastelaz Vineyard Designate Gewurztraminer, Alto Adige, 14.5%
On a steep hillside above the village from which Gewurztraminer gets its name, Tramin in Alto Adige, Elena Walch grows the fruit for her single vineyard designate wine. Kastelaz. The site has produced quality fruit for generations. The Kastelaz brings a lighter, rounder focus to the aromatics and palate, carrying white peach, honeysuckle, pear blossom, and chamomile tea alongside light spice elements. Aged on its lees, the Kastelaz gives a creamy, nicely balanced palate. Though this wine offers slightly more residual sugar, it carries nice juiciness, and natural acid levels that bring it in as a dry wine.

Hugel 2011 Gewurztraminer, Alsace, 14.15%
Alsace proves another of the more celebrated regions for quality Gewurztraminer, with the area regarding it as a signature grape. For Hugel, it is a flagship variety. This dry Gewurztraminer carries cooked pear and lifting almond leaf aromatics rolling into a perfumed white stone and orchard fruit palate accented by chamomile tea. There is nice focus here, pleasing texture, and a long finish.

Domaines Schlumberger 2008 “Les Princes Abbés” Gewurztraminer, Alsace, 13.35
Meant to celebrate the long history of the region, Domaines Schlumberger‘s “Les Princes Abbés” portfolio uses portions of Grand Cru fruit from classic varieties. The aromatics keep a focus on freshness and delicate precision carrying crisp red apple, anjou pear and birch bark from nose to mouth. With just a kiss of sweetness, the juiciness of Les Princes Abbés keeps the wine fresh on the palate.

* Thomas Fogarty Vineyards 2012 Gewurztraminer, Monterey County, 13.3%
Taking fruit from a cool, windy vineyard in Salinas Valley, Thomas Fogarty VIneyards delivers one of the nicest examples of a varietally expressive, dry style Gewurztraminer in California. Giving a touch of skin contact to broaden the palate, and develop textural complexity, the wine delivers very lightly toasted croissant with hints of orange blossom, dried rose petals, and lychee all on a crisp, juicy presentation. This wine brings nice freshness, focus, and length.

Gundlach Bundschu 2012 Estate Gewurztraminer, Sonoma County, 14.5%
Showing off the exuberant side of Gewurztraminer, Gundlach Bundschu‘s 2012 highlights the pungent lychee and oily-slippery mouthfeel typicity of the grape. The nose carries lychee and spice greenery rolling into a flamboyant, perfumed mouth of lychee, melon rind, and lily pollen. The 2012 shows the broad character of a warmer profile typical for the variety. I have to admit the expressiveness of this style is overwhelming for me.


Each of these wines were provided as samples.


post-edit: I finished this write-up in the middle of the night after a two week run of not-quite enough sleep. My apologies for the creatively varied mis-spellings of Gewurztraminer in the original posting.

Copyright 2014 all rights reserved. When sharing or forwarding, please attribute to WakawakaWineReviews.com


The Seven Percent Solution: 17 Wineries, Crazy Grapes

Bergamot Alley in Healdsburg did a bang up job hosting a media and trade portion of the upcoming 7 Percent Solution wine tasting (Sarah even created a fantastic book listing wineries, wines, providing note space, and a clever business card holder). The public tasting occurs Saturday.

The event celebrates wines from 17 wineries in California developing their portfolios with lesser known, lesser planted varieties. As the story goes, approximately 93% of the vines in California rest in only 7 grape types. The 7% Solution brought together wines with a focus on the remaining few.

There wasn’t a bad wine poured, and there were a few excellent wines too. It’s hard to choose favorites in a group like that. Some wineries shared unreleased wines, others older vintages and first tries, and a fair number of unicorn wines appeared–wines of such small production they’re spoken of but seen only by the pure of heart that truly believe in their existence. I believe.

RPM’s 2012 Gamay was one of my genuine favorites. Grown in pink granite, there is a nerviness to this wine that accents its flavors beautifully. The RPM Gamay is all about subtle complexity pulsing through beautiful tension. It gives a richness that washes over the mouth with just a pinch of traction through the finish, and beautiful aromatics.

The 2012 Abrente Albarino from Bedrock and Michael Havens remains a favorite (I had enjoyed it too last weekend). Where previous vintages were perhaps softer in the mouth, the 2012 brings in 40% fruit grown in limestone to balance the rich flavors of the Stewart Vineyard with the tension and zing of the Watson. It’s a gorgeous, stimulating combination.

Ryme Cellars woos me with their 2010 Aglianico, a wine others commented may be their best vintage of that grape. The dark fruit comes through with a light bodied presentation and well integrated spice to offer complex freshness.

The Forlorn Hope 2011 “Que Saudade” Verdelho really sings with a fresh, feminine, musk I can’t get enough of–all outdoorsy, pert, and interested, with great viscosity and range of flavor.

The just released Dirty & Rowdy’s 2012 Semillon with focused earthiness and pleasing texture was being poured on Wednesday out of magnum. It’s a treat.

I was also pleasantly surprised to find the Stark 2011 Viognier, a wine that absolutely fights its fruit’s stereotypes to give great concentration and texture on the palate with a long nervy finish. Two Shepherds’ 2011s are drinking perfectly right now so drink while you can (I think they’re about sold out but he’s pouring them). broc cellars 2012 Picpoul still has that surprisingly fresh-complexity of the 2011 but with a richer flourish.

Scott Schultz is pouring his new whites for Jolie-Laide. They’re a nice pair of Gris wines giving fresh spice in the Pinot Gris, and textural focus in the Trousseau Gris. But you’ll have to keep an eye for an opening as he pours. (All the girls were deservedly loving his table.) The Idlewild 2012 Arneis was all seering, pretty, and textural with layers of flavor. They’re one of the labels that helped get the event started too, so be sure to thank them.

Best of all, the 7% Solution was just full to the brim with good, and super fun people.

Here are some photos from the event.

Ryan, Hardy, Pax

Ryan Glaab, Ryme Cellars; Hardy Wallace, Dirty & Rowdy; Pax Mahle, Wind Gap

Hardy, Chris, Nathan, Megan

Hardy Wallace, Dirty & Rowdy; Nathan Roberts, Arnot-Roberts and RPM; Megan Glaab, Ryme Cellars; Chris Cottrell, Bedrock Wine

Forlorn Hope, Dirty & Rowdy

Forlorn Hope Wines, Dirty and Rowdy Family Wines


William Allen, Two Shepherds

Pax, Mick, Nathan

Pax Mahle, Wind Gap; Mick Unti, Unti Wines; Nathan Roberts, Arnot Roberts, RPM

Broc Cellars

broc cellars Picpoul


Sam Bilbro, Idlewild Wines


Stark Viognier


Matthiasson Refosco (one of the unicorns)

Raj, RPM

Raj Parr, RPM

Raj and Duncan

Raj Parr and Duncan Arnot Meyers, RPM


Scott Schultz, Jolie-Laide


Thank you to Pax Mahle. Thank you to Dan Petroski.

Thank you to Kevin, Sarah, and Sam.

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

Wine with Stéphane Vivier

Stephane Vivier

Stéphane and Dana Vivier started their Pinot Noir, and Rosé of Pinot Noir label, Vivier, in 2009 with credit cards, and 30 cases of wine. By 2011, they jumped to 150 cases. Their wines draw on small lots from vineyards in Sonoma County, each of which Stéphane works with hands on. Originally from Burgundy, Stéphane has also served as winemaker for HdV for 12 years. I fell in love with Vivier Pinots last summer, and was lucky enough to meet with Stéphane multiple times to discuss his winemaking philosophy, which he describes as “being a lazy winemaker.” Following is a transcript of his story from our conversations.


“My wine, Dana, and I married in 2009. I was already with HdV but my wife suggested I make Pinot Noir. She thought I was missing something. I grew up in Burgundy on Chardonnay and Pinot Noir. She said to me, “to be complete, there is something else you need here. You need to make Pinot Noir.” I asked her, “where will the money come from.” She told me, “don’t worry. This is America.”

“I grew up with rosé of Pinot Noir in Burgundy. I would come home and sit outside with my parents. My mom would bring in things from the garden, and my dad wine from the cellar. We would talk about the day, and most everyday have a bottle of rosé.

“I grew up with wine of perfume. The nose is very important. But it is important too to focus on the texture of the wine, really important. I like restrained, elegant wine that changes in the glass. I want it to change in the glass, and go with food. I like it when people have trouble describing, or deconstructing a wine. It’s a sign that the wine is complex. Wine is about pairing with food, about pleasure and enjoyment. Alcohol is a form of enjoyment. Wine is for making and consuming.

“Being a lazy winemaker is all about being patient, letting the place talk, and being gentle with the grapes. Making it simple. I like a long [slow] press, and a long, slow fermentation, not too long but clean, and long enough so the perfume develops. The idea of balance in wine is an extensive subject. It is about what is best from the site, letting the wine speak the site. There is a lot of feeling in winemaking, a lot of following what you learn.

“I spent time listening to old men and how they compare wine to old vintages, wines that are 14 or 15 years old. It puts everything in perspective. That wine is about being patient, and building a strong foundation.

“Acidity is the foundation of every wine, of good wine, just like the pyramids that have a broad base and so they lasted. If you want wine you can drink early, perfume is important. If you also want wines that can age, acidity.

“I have been at HdV for more than 10 years. People asked me in the last decade what my next job would be. I want to grow with a vineyard, to start young and grow up with the vines. Wine is like life. You start young, and the older you get, the wiser as well. It is the same with vineyards. I have a young daughter, and I can see it’s exactly the same. Some things you have to train for to get in certain ways, to learn how to do. With growing a vineyard too, there is a lot of training, and you can train in a way that is best for the site, and also for types of wine. It is important to know vineyards very well.

Stephane walking in one of his sections of Sonoma vineyards

Stéphane walking in the vineyard, Sonoma, July 2012

“It is difficult to be simple, [to make something that is simple, while also rich, and not boring. When you are able to make something simple,] it is a work of experience. Winemaking is a work of experience, vineyards, and age.

“Balance is very difficult to define. So is stability in wine. It is hard to say stability is an energy, but it is in a way.

“Wine gives you this ability to grow on the same roots, and not necessarily make the same wine, always trying to make better wine every year from whatever it is you have. That is why we are looking to start with young vineyards and to get older with the vineyards. I couldn’t do this in Burgundy. You can feel this in Australia. You can feel the history of vineyards there from the 1880s being established. You don’t get that sense of history in the United States. Most vineyards here are young.

“Making wine with the same vineyard again and again, it is like Monet painting churches. He went back and painted the same church at different points in the day for different points of light over two weeks. Each vintage is the light. You capture that moment in the vintage. But Monet was also commenting on tradition, asking, what can I contribute to it? His work in paint was a recognition of tradition and the importance of time both. Monet could go back and paint that spot any time, winter even. But the winemaker can only go back once in the same year. Still, there is always something to discover while always working with the same vines.

“I want to give myself to time. These are the constraints in which I operate, and make choices. Pre-deciding in advance what the wine, grapes, vine health should be sounds cool and innovative, but is actually deciding in advance what the wine should be. It is adapting the grapes to himself, instead of adapting himself to the grapes. But you can adapt yourself to the place, and then make the wine of what you are. This way, like Monet, you can have innovation from within tradition. That is why you want knowledge of established vineyards, or vineyard practices, and to grow in age with the vineyard. Terroir needs to be farmed, and needs to be respected. If you respect it, you are in that top 15%.”

Thank you to Stéphane and Dana Vivier.

Thank you to Dan Petroski.

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