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Dreaming Argentina: Photos from Buenos Aires

Walking through Buenos Aires

Buenos Aires glows with color. Huge swaths of town celebrate an off-white, silvery hue of European influenced architecture. Mixed into the cityscape are neighborhoods and buildings bursting with vibrancy.

The famous Casa Rosada in the Plaza de Mayo, known internationally for Evita‘s influence and speeches from its porch side while serving as the country’s House of Government, offers one such example. Near the water the neighborhood La Boca celebrates a wealth of multi-toned buildings believed to be colored originally with paints taken from boat preparations left over at port.

Off-and-on over the next while I’ll be looking at wine in Argentina, as tasting and interviews have continued since return to the States last month. When traveling Argentine wine most of our time was spent in Mendoza. However, we also had a day in the country’s largest city.

Following are photos from Buenos Aires, focusing mainly on a walk through La Boca. I love finding my way into portraits.

Casa Rosada

outside the Casa Rosada

Plaza de Mayo

visiting the Plaza de Mayo

Plaza de Mayo

the Plaza de Mayo

Photos of La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

La Boca

I hope you’re enjoying a wonderful afternoon.

Cheers!

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

NYC with Jr

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Visiting NYC with Jr

NYC with Jr

our last day in NYC, riding the A line towards midtown

Jr has five places she wants to see–NYC, Sydney, Paris, London, and Japan. She gets to see me head off on trips often, while she stays in our home and schools.

On her birthday this year she turned 14. It’s an age that seems to me old enough for us both to easily enjoy a trip together, not having to plan only for the sake of one or the other’s interests. So, to celebrate we came to NYC for U.S. Thanksgiving and stayed with close friends I went to graduate school with.

It’s been a wonderful, easy going visit. I kept it focused on the two of us going slow, walking neighborhoods in Manhattan, and catching up with our grad school friends we hadn’t seen in several years. It turned out we also spent a lot of time sleeping.

Today we fly back home.

Love to all of you. I hope December has greeted you with warm hearts.

Cheers!

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

Touring Tarbouriech Oyster Farm in the Etang de Thau, Languedoc

The cooler waters of the R-months in North America mean prime time for eating oysters. As some of you know I did a post over at Serious Eats on drinks to pair with oysters. I also promised to take a look here at one way we get that shellfish. Here’s a look at a tidal-influence inspired oyster farm from the Languedoc. It was a ton of fun. I love being on boats as I grew up on the water, and am generally fascinated to know how almost anything works. I really enjoyed getting to learn through the stages from alien-like oyster reproduction to growth, to monster size gonna-getcha growth.

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Visiting Tarbourich, an Etang de Thau Oyster Farm

the Etang de Thau oyster farms

looking into the Etang de Thau oyster farms

In the Etang de Thau, an oyster rich pond where the Languedoc meets the Mediterranean, the Tarbourich family farms what are considered to be some of the highest quality oysters in Europe.

Driving out to see the oyster farm

driving into the oyster beds of Tarbouriech-this is one of my favorite photos that I’ve ever taken from a trip. Such a nice group of people too.

Thanks to the organizing efforts of Domaine Paul Mas, a few of us were able to take a tour of Tarbouriech in September. The family facility utilizes their own patented system that mimics tidal influences, which facilitates both growth and quality of the shellfish. With older (though still used) systems, on the other hand, oysters simply remain in the water continuously.

Entering Tarbouriech

entering Tarbouriech

The Tarbouriech facility includes a casual dining space offering oysters fresh from the water, and wines to accompany. Tours of the farm itself can be arranged.

Driving towards the farm on the boat

driving to the farm on the boat

The Tarbouriech family hosted our small group, bringing us out to the farm itself by boat to explain how their tidal system works.

The new oysters

New oysters are bred at an oyster nursery, then purchased by oyster farms around the world to be grown into edible size.

Stage 1 of the oyster bed

Young oysters small size demand them to be grown in sets within a series of hanging baskets initially. In the Tarbouriech system, the baskets move in and out of the water at changing intervals to imitate the impact of tidal movements on the shellfish. Oysters within the water develop their shell, while the shellfish out of the water develop their meat. As the animals tumble in the water their shells round and deepen.

Stage 2 of the oyster bed

Once the oysters are large enough, they are glued to ropes that then move up and down through the water in similar fashion as the baskets. This allows them greater space for growth, and more direct contact with the water.

our host

Romain Tarbouriech guided our tour, as the third generation, along with his sister, of the Tarbouriech family oyster business.

Stage 3 of the oyster bed

When the oysters have grown large enough on the rope in the second stage, they are gathered and affixed instead to a net that allows more room for the oysters to grow for the third stage. Mature oysters are gathered from this third stage for eating.

Huitre Seven

The Tarbouriech family is known too for their older, larger sized oysters, like their Huitre Seven, an oyster grown over seven years and featured in restaurants most especially in Paris. (Looking at the thing was intimidating–it was as big as my hand and several inches thick. We didn’t get to see inside to the meat of one, but I admit, I scare.)

Eating oysters

After touring the farm on the water, we were able to come back to shore to enjoy oysters on the beach with a bright Vermentino made by Domaine Paul Mas that matched the freshness of the food. The Etang de Thau also sits beside the famous Picpoul de Pinet region, a wine full of pert acidity that pairs beautifully with oysters, and that I like to drink on occasion for its aggressive (at its best nervy) zing.

Oysters on the Etang de Thau

The oysters were beautiful. Being on the water is my favorite thing. Eating beside it as lovely.

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If you want to read more about possible oyster pairings, check out a previous post that links to a write-up I did on Serious Eats, as well as posts on pairings by both a cocktail-tender, and a beer lover: http://wakawakawinereviews.com/2013/11/11/oysters-slurp-zing-omnomnom-wine-and-beer-pairings-over-at-serious-eats/

Thank you to Michelle McCue, and Anne Alderete.

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

The Eyrie 2000 Marguerite Pinot Noir: Wine to be grateful for

Drinking Eyrie 2000 Marguerite Pinot Noir

In the year 2000, one of the founders of a U.S. American wine region celebrated the birth of his first grandchild by creating a special cuvée of Pinot Noir from the best of his vineyards. He named the wine Marguerite, for his granddaughter.

A large part of my admiration for wine rests in the way heritage, creative expression, agricultural abundance, and dedication all coalesce, dancing together in one bottle–the glass poured, then, also bringing together the best of our senses with our intellect. In the most beautiful wines the power of such intersections shine lit from the glass–unspoken and alive on the palate, enlivening too the heart of the person enjoying.

The Eyrie Marguerite

click on illustration to enlarge

In the year 2000, in recognition of the birth of his first grandchild, Marguerite, David Lett reserved a special Pinot Noir cuvée from the best of his vineyards. This year, Jason Lett released the wine.

The Eyrie Vineyards Marguerite carries an elegant and beautiful nose atop a delicate palate. It’s a wine that rests in subtlety, that does not exert itself but instead opens over time, gaining richness and life over the second, and on into the third day.

The wine dances with homemade beef and mushroom broth, caramelized peaches, and spearmint coupled by accents of rose petal, blueberry bramble, and herbal lift on a frame of easy reverie. This is a wine that rests in this world and reflects easily into the next. It does not concern itself with tradition, yet arises from it. It knows itself too well to convince you. The love is already there. It was made from it.

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Thank you to Jason Lett. This is one of the wines I give thanks for this holiday season.

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

Variety, Place, Technique, A Life in Wine: Mac Forbes, Yarra Valley, Australia

Tasting Place with Mac Forbes

Mike Bennie, Mac Forbes, Woori Yallock Vineyard, Yarra Valley, Australia

Mike Bennie and Mac Forbes, in the Woori Yallock Vineyard, Yarra Valley, Victoria, Australia, February 2013

It’s February the first time Mac Forbes and I meet. Wine writer Mike Bennie has generously included me on a trip around Yarra Valley, Victoria, Australia, and we’re spending the second half of a day with Forbes, and his vineyard partner, Dylan Grigg.

We focus the visit on a favorite site of Grigg and Forbes in the Woori Yallock area walking a South facing slope to see the changes of Pinot at various parts of the hill. They’ve worked with the site for several years now. Forbes tells me when they started, the deep siltstone soils created grapes so tannic the fruit couldn’t stand up to the structure. The vines now reach around twenty years old and their expression has seemed to find itself — the fruit-tannin balance gives more easily. Later, we taste several vintages of the wine. It carries a lithe tension and energy that renews my previously challenged faith in Pinot Noir.

Departing from Australia, Forbes’ wines keep returning to mind so I decide to contact him. After several re-tastings, and emails back and forth, we’re able finally to talk in early November on, what I find out later, is Forbes birthday. He’s just returning from a visit to Austria, where he spent several years as a winemaking and vineyard consultant. The trip allowed him time with long-term friends.

When I ask Forbes how his Australian winter has been, he surprises me. “Since I’ve seen you I feel like I’ve grown enormously in a humbling way,” he responds. Forbes’ wines are already well-regarded among his winemaking peers, and his experience with heritage wineries in Australia, Dirk Niepoort in Portugal, and consulting in Austria, are impressive, not to mention harvest work through France and elsewhere. I ask Forbes to explain. Eventually, his answer humbles me.

The Vineyard as an Educative Force
Mac Forbes

Mac Forbes, February 2013

Forbes begins speaking about his vineyard sites, all (small) sections of land with unique soil conditions throughout the Yarra Valley. He describes a previously abandoned collection of vines in the Wesburn region that was almost pulled until the current owner asked if Forbes and Grigg wanted to try and restore it. The project demanded several years of wrestling blackberry bushes, and tackling trees before it gave any grapes, that first fruit mainly various whites. More recently they were also able to make Pinot.

I ask Forbes what about his vineyards challenged his way of thinking. “Wesburn definitely precipitated this school of thought evolving,” he tells me. “The big thing that dawned on me in the last twelve months,” he starts, then pauses, and starts again. “So much of what I was doing has been to be outcome focused, yet I was committed to making wines of place.”

Winemakers around the world recite these days how they make wines focused on site expression. Many such examples, however, are winemakers with little contact with the site itself, simply buying fruit at the end of the season. Considering what little interaction with a location such a model affords, how they could be making terroir driven wines remains unclear. Recognizing something more in Forbes’ claim, I push him to explain. Instead of naming site features, he describes the vineyard itself as an educative force.

Looking at his example, Forbes makes wine from the Wesburn site (among others), but perhaps more importantly, he works with other winemakers that also purchase fruit from he and Grigg. The community that’s arisen from the experience has changed him.

“Wesburn fruit has a unique structure totally at odds with other sites we’ve got,” he explains. “It’s quite humbling to watch. People put on a hat ready to taste Pinot, then something else happens.” The collection of winemakers that work with Wesburn fruit come from varied schools of thought. One is more inclined towards conventional uses of apparent oak, and sulfur regimes. Another tends to push on reducing (or eliminating) sulfur additions while increasing skin contact. Over a few years, however, winemaking from Wesburn fruit put in sharp relief for all of them the impact of technique.

Listening for the Voice of a Site

In circling around our discussion, Forbes speaks about the difference between what he quickly calls a shy versus a dull site. He means the names more descriptively than critically. A dull site, as he understands it, might give quality fruit but will readily take up whatever winemaking technique you ascribe to it. The fruit itself is dull when compared to the winemaking, which shows up more in comparison.

“A shy site,” on the other hand, “might just need some space to shine.” A shy vineyard, then, could have sophisticated character but need the room to show what it has without being suffocated. Such a subtle distinction emphasizes the need for a winemaker to listen.

In offering the example, what Forbes wants to discuss is how the contrast changes the attention from outcome to place. When a winemaker’s focus is on listening, he or she has turned away from an outcome question that could otherwise seem as basic as what kind of wine to make–Pinot, for example–instead to asking how he or she will make the wine. In working with vineyards in the Yarra Valley, “I used to be looking for Pinot sites. Now I’m looking for great sites. Variety has to factor in, but it is secondary,” he says.

Education from the vineyard turns the attention away from the goal of a particular wine style or type, to the process of how to approach it, driven by what the site itself needs or wants. “Making wine in relation to benchmark examples of wine,” like Burgundy for Pinot Noir, for example, Forbes explains, “can make lovely wine, but likely suffocates the fruit a little bit.” That is, with such an approach, your attention is focused on somewhere, or something else, rather than the grapes you have.

When dealing with a shy site, “you end up having to ask how to best capture the character of the vineyard and help it come to the surface,” he tells me. “With Wesburn, we were confronted with the edge of going too far in technique.” Part of what is remarkable about the example is that it brought winemaker’s with hugely different philosophies on winemaking much closer in understanding. “This site brought people together, beyond being dogmatic, to a more similar place in approach. We all found the site wanted less sulfur, and less skin contact both. It’s been fascinating to watch.”

Fascinated by Wesburn

Forbes 2012 Pinots

Tasting early release samples with Forbes

Fascinated, by Forbes point, I ask him to talk through details. The vines at Wesburn were originally planted in 1981. The site rides the edge of potential for the Yarra Valley, as one of the team’s most expensive to run, giving incredibly low vigor from compacted mudstone and clay. Five years ago, Forbes planted Blaufrankisch believing the variety would suit the characteristics of the area. It has still to produce fruit for wine. Everything moves slowly at Wesburn. There is, in other words, low incentive for growing in the location but Forbes sees something valuable and so persists.

Moving slowly “is part of the site. It doesn’t help to push it,” Forbes explains. Trying to rush the vines won’t actually grow the fruit faster. The Pinot Noir of Wesburn, even from established vines, also took time to come back from neglect he reminds me. “I believed it would get there. I didn’t realize it would take so long.” The site is unique in Yarra Valley, protected from hot North winds blowing down from the desert, and as far East as one can go in the Yarra. It receives long morning shade, and cool air, so it shows a very specific side of the Valley. It’s the specificity of the site that has Forbes engaged.

Forbes History with the Yarra Valley

Dedicated to winemaking, Forbes spent years working in wine internationally. In 2004, however, he spent a summer with Dirk Niepoort studying vineyard sites first in Portugal, then in Austria. As Forbes explains, Niepoort tends towards vineyards other winemakers overlook as too barren, or neglected for production. The wines Niepoort makes, however, are vibrantly expressive and elegant. The experience with Niepoort made Forbes reconsider the potential of his home region.

What Yarra Valley has in abundance is ready fruit assertion. By trusting the region will give fruit character, winemakers can turn away from concerns of ripeness to search instead for what will make that fruit interesting. For Forbes, the focus falls on texture, and site expression.

After his experience with Niepoort, then, Forbes returned to Yarra Valley with a thirst for studying sub-regionality, to explore the unique, and multiple voices of the Yarra Valley. “If I am going to stay in this caper, it’s got to be to get to know what is unique about our little patch of dirt,” he explains. “If you can’t find out what is unique about your dirt, then why are you doing it?” Forbes asks. It is in this question that the humility Forbes exudes becomes clear.

Mac Forbes winemaking project is not about fulfilling or showcasing his own goals in wine as much as it is based in trying to find (with his winemaking community too) a voice that is bigger than his own to contribute to. Forbes’ wines do renew my faith in Pinot Noir, but interestingly they shed light on the grape itself less than they do the character of the Yarra Valley, and what it means to make wines of place.

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Thank you to Mac Forbes.

Thank you to Mike Bennie, Jay Latham, and Lisa McGovern.

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

The Quiet Persistence of Skerk Wines

Tasting with Sandi Skerk

Sandi Skerk

Sandi Skerk and his 2009, 2010 Ograde White blend

Kevin Wardell of Bergamot Alley in Healdsburg, Cailfornia opened his doors early yesterday to a small industry tasting of Skerk wines. The event was guided by both Sandi Skerk himself, and importer Oliver McCrum of Oliver McCrum Wines, and hosted too by Kris Clausen of Vinifera Marketing.

The team selected side by side vintages of four wines central to the Skerk portfolio, as well as a preview of upcoming releases, and a not-for-sale passito.

Skerk originates at the Italy-Slovenia intersection of Karst (or Carso), so named for the geological formation of the same name that dominates the area. The region sits atop a bed of limestone, shaped and hollowed by movements of water, then layered over with shallow red-iron soils. Skerk’s own cellar rests along a limestone hollow with holes in the floor blowing fresh sea-influenced air from below.

Vineyards only a short distance from the Adriatic, and grown up hillsides North of Trieste, Skerk exemplifies the magical, quiet presence of the region. His wines and personality both showcase a steady persistence, carried on fine frame, with elegant aromatics, and savory delicate palate.

It is hard to describe the stimulation and life found in a glass of Skerk wine — they are simultaneously clean, and unexpected; at once pretty and yet carrying notes of meat; the palate persists through delicate frame full of sapidity and Italian salato. These are wines designed to showcase tradition and elegance both.

Skerk’s family carries a history of winemaking, though Sandi’s own professional training begins with mechanical engineering. Eventually choosing to return to the family business, Sandi began in 2000 experimenting with techniques practiced by his grandfather.

As Skerk explains, in his grandfather’s generation, winemaking typical to the region fermented all white grapes together on skins, and all reds together on skins. Macerated ferments normally lasted 10 days to two weeks, before being pressed and aged. Skerk’s father focused instead on straight-to-press practices, fermenting whites’ juice only.

In 2000, Sandi returned to experimenting with extended fermentation on skins lasting around 30 days. In his most recent vintages, Skerk has reduced maceration length to 2 weeks, bringing his approach closer to that originally used by his grandfather.

Grapes are picked based on taste, with beautiful juiciness and clean aromatics consistently showing through his wines. By utilizing only pristine fruit, Skerk is able to avoid sulfur additions until prior to bottling.

Skerk keeps his cellar techniques disciplined while also straightforward, choosing to keep a steady eye on helpmates like pristine picked fruit, CO2, and submerged cap. The wines are kept on lees until a month prior to bottling, to further support the wines’ own natural immune system. In this way, Skerk is able to keep free sulfur targets around only 20 ppm.

Tasting Skerk Wines

Skerk portfolio

Skerk Vitovska 2009 and 2010

Indigenous to the region, Vitovska grows with thick skins and big bunches. Skerk head trains his Vitovska in order to encourage smaller berry and bunch size, thus increasing the skin-to-juice ratio for his macerated ferments.

The aromatics of all Skerk wines are greatly increased from his reliance on skin contact. With scents of fruit-based (not oak) nutmeg and cardamom integrated into the apricot blossom and orange spice of the nose, the 2009 cascades into savory flavors of prosciutto, pepper and melon on the palate. This wine exemplifies the Italian idea of salato and sapidity–intensive mouth stimulation with savory, mineral salinity.

The 2010 drinks like picnic on the sea shore, with orange and apricot blossom laced through with clove aromatics, followed by prosciutto on a touch of melon and breadstick, hints of red berries and salty seagrass on the finish.

Skerk Malvazija 2010 and 2011

Made with the Malvasia Istriana grape, the 2010 Malvazija shows pretty aromatics of pink and yellow flowers, followed by a tightly focused palate that opens significantly with air to reveal crisp apple, quince, touches of red currant and black cap. The wine is both savory and floral, with beautiful integration, and long palate stimulation.

Malvazija 2011 gives apple blossom, pink tea rose, crisp apple, and quince, giving savory palate notes of rock salt, cracked pepper, and mineral crunch. The wine offers textural richness and a long finish. The 2011 Malvazija will be available for release in February 2014.

Skerk Ograde 2009 and 2010

Made in a cofermented blend of Pinot Grigio, Sauvignon, Vitovska, and Malvasia Istria, the Ograde offers the sophisticated, fine boned, complexity possible with a harmony of grapes. I enjoy Skerk wines very much generally, but this was my first taste of the Ograde. I especially enjoyed it.

Skerk 2009, 2010 Ogradeclick on illustration to enlarge

Giving pretty floral aromatics, followed by textural savory palate, the 2010 shows herbal aspects, to the 2009’s lightly jalapeno notes. Where the 2009 offers pink and fresh floral apects, the 2010 crisp white notes. These are beautiful wines.

Skerk Terrano 2009 and 2010

Made with the Teran grape, Skerk’s Terrano carries bright red fruit acidity coupled with savory plum, and touches of pickled cherry. The 2009 opens with pink floral and plum blossom, moving into prosciutto, black pepper, and long savory, salato finish. The 2010 offers plum and cherry blossom, alongside the savory palate, with pickled cherry, and refreshing cucumber moving with beautiful length. This is an ideal wine for crusted, medium rare, red meat.

(Not for Sale) 2010 Passito Terrano

We closed the tasting with Skerk’s hand-bottled Terrano passito. The wine offered a beautiful example of juicy-to-sweet balance, concentrated red currant, cranberry, and blackcap, moving into an impressive savory finish. A hand written home bottle is a special joy of mine. What a treat to enjoy this one all the way from Carso.

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Thank you to Sandi Skerk, Oliver McCrum, and Kris Clausen.

Thank you to Sam Bilbro, Megan Glaab, and Kevin Wardell.

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

Jacques Lardiere: A Life in Wine (and life in wine)

In summer 2012, I was able to meet Jacques Lardière during the International Pinot Noir Celebration (IPNC) in Willamette Valley. As part of the event program, Lardière presented, alongside Alder Yarrow, a retrospective of his work with Maison Louis Jadot. The primary focus of the tasting, however, turned out not to be the wines themselves as much as Lardière’s vivid, while difficult, views on biodynamics.

His talk was intensely challenging. Having studied biodynamics, and specialized too in metaphysics in philosophy, I was asked by several people to outline what I thought Lardière was saying. The following post is my response to that request.

This post originally appeared here on July 28, 2012 as part of a series on IPNC.

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Thank you to Eric Asimov for recommending this write-up in the July 31, 2012 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.

Jacques Lardiere

“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.

Jacques Lardiere

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.

Jacques Lardiere

The process of allowing the wine to transform itself reveals to us, Lardière says, important aspects of our own mortality, and potential. We are almost entirely minerals. “When I pass away” he says, “I will be only minerals, (laughing) oh, and a few other small things. It is important to remember that.” The wine making, it is “a process of transmutation, and it could also be a process of transfiguration,” when you allow it the time to find its freedom and its full expression.

The process of the ground growing the vines, the vines then giving the fruit, the fruit then turning into wine–these are all processes of transformation, of one thing turning into something else. But our own involvement in wine making is actually a kind of spiritual training for us as well. In the earliest stages of our spiritual development we are there as the grapes turn in to wine. In this moment, Lardière tells us, “you forget the grapes.” They are no longer there as fruit, we recognize them now as wine. But this is no small thing, he says.

In forgetting the grapes, “you become something that has a name.” We recognize the beverage in front of us as a particular type of thing. But our doing so also reflects a stage of our identifying the world around us, and so too ourselves. We are no longer just beings having experiences, we are also interpreting the world around us, that is, naming those experiences. But, this, according to Lardière, is an early stage in our development. It is necessary, but we come to see it is early in our own process of finding our own freedom.

Wine, when allowed to truly go through its process of closing down, so that it can come back later opened up again in its fuller expression, points us to the greater reality of our lives. When the wine is given the opportunity to go through its full process it comes back from its stage of closing down, and has changed its molecules–sediment has settled out, and above it is a purer wine.

In Lardière’s view this is when the wine is beginning to deliver its power, and to give the life. It has become something more than we could make. We began the process but to be witness to this greater expression, we had to, in a sense, let the wine go beyond us. In doing so, the wine comes back to show us the insight of the process–it becomes something greater than merely what we have named it to be. It becomes a thing that can out live us, and that carries with it a power that extends beyond whether we, as the wine maker, or any particular individual, are even present. In Lardière’s view, this is when the wine has become even more than us.

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

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

Willamette Valley’s Brooks Rieslings: A Tasting

Tasting Brooks with Janie Brooks Heuck

A couple of weeks ago Janie Brooks Heuck and Revel Wine hosted a Brooks Riesling tasting at 18 Reasons in San Francisco. The event brought together a small group of writers and wine industry folks to taste through four flights including two dry Riesling verticals, one 2012 horizontal showing soil variation, and one off-dry to sweet style flight.

The grape has been planted through the Willamette Valley since the early stages of their industry, however, initial styles were largely unsuccessful. Most early examples are today jokingly compared to Sprite. The future of Riesling in Willamette Valley became uncertain, then, when many early planters of the variety began pulling vines to shift attention to the more sale-able Chardonnay.

Jimi Brooks, however, saw potential in the Valley’s cool climate viticulture for the grape. He wished to preserve the heritage Riesling plantings in the region, with the idea that older vines would also produce higher quality fruit. He spent years hunting old vineyards, and convincing vineyard owners if they kept their vines, he’d buy their harvest. Some of the oldest Riesling vines in Willamette, then, continue today thanks partially to Jimi’s work. Brooks Wines now owns one of the oldest Riesling vineyard in the region, planted in 1974 on own roots.

Following are drawn notes, and brief information for each of the four flights tasted.

Tasting Dry Rieslings

Brooks Willamette Valleyclick on illustration to enlarge

Brooks’ winemaker, Chris Williams, ferments everything in small lots, then generating the best blend.

The Brooks’ Willamette Valley dry Riesling consists primarily of Brooks’ Estate fruit, with some grapes from sites further up Valley as well. The Willamette Valley blend flight began with the 2004 vintage, Chris’s first vintage as winemaker for Brooks. The second wine, 2007, was the coldest vintage on record at the time, later trumped for depth of chill first by 2010, and finally by 2011, the current coldest on record. 2009, on the other hand, was one of the Valley’s hottest vintages, with consistently higher yields and higher alcohols throughout Willamette. The first flight, then, shows a generous range of climate impact on the Willamette Valley blend, with lots of youth still throughout the four wines. The Willamette Valley blend is considered one of Brooks’ flagship whites. It reliably offers intense juiciness and linear character. I am a fan of its focus on mouth quencing acidity.

Brooks Araclick on illustration to enlarge

Another flagship white for Brooks, the Ara offers pretty floral notes alongside juicy length, countering the more linear character of the Willamette Valley blend. The five-year span on the Ara flight showed how beautifully the wine ages, with 2005 carrying a still youthful presentation.

Brooks 2012click on illustration to enlarge

In order to showcase the soil variation expressed through Riesling, Janie and Chris selected a 2012 horizontal of their three dry wines. The Yamhill grows from sedimentary soils giving a complex, multi-fruit focused presentation consistently showing peach and green apple through vintages. The Estate fruit, however, grows from volcanic soils and moves to a more floral and citrus focus. The Ara offers a blend of both soil types bringing the advantages of each with plush fruit character, lifted floral aromatics, and long juicy lines.

Tasting Off-dry and Sweet Rieslings

Brooks Off-Dry Sweetclick on illustration to enlarge

Today, Brooks produces nine different Riesling labels ranging through each step of the dry-to-sweet range. Though the overall tasting was focused primarily on dry wines, the final flight offered insight into their medium-dry and sweet styles.

Chris likes to entertain the sweet-to-juicy balance, letting the acidity focus wash the residual sugar from the palate. Though my preference falls strongly in the dry category of Rieslings, Brooks off dry, off sweet, and sweet wines have consistently proven pleasant to drink. With the winemaker’s focus on keeping acidity up, and Willamette’s cooler climate supporting that goal, their wines with residual sugar move through the palate with lots of palate stimulation and juicy length. The final flight, as well as the dry flights, showed again the quality of Brooks’ Rieslings. I am a fan.

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Thank you to Janie Brooks Heuck, Chris Williams, and Dan Fredman.

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

What to Drink When the Holidays Stress You Out: A Chart

Stress Drinks in the Holidays

Truth? The beautiful, perfect, glow of love and light that is the holidays stresses most of us out. I can barely get through Thanksgiving, hide on Christmas, and then finally want to sparkle up for New Year’s but that is largely because the year we just went through is FINALLY OVER. It’s a NEW one! Yay!

A couple years ago I did a comic called, “The Precise Gift Buying Guide for the Wine Lover: Whites and Reds.” I felt like reprising the idea but instead of thinking about what to buy everyone else, I thought we could all use a reminder to make sure we have the stock we need on hand.

I sent out a tweet and a message on Facebook asking people what stresses them out on the holidays. The most horrifying response alluded to a world in which only Yellow Tail existed to drink. Please! Do not let that happen to you! Use the bubbled scenarios below to determine your optimal beverage.

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What To Drink When the Holidays Stress You Out: A Decision Flow Chart

Holiday Stress Drink Chart 1 Holiday Stress Drink Chart 2Holiday Stress Drink Chart 3 Holiday Stress Drink Chart 4click on any of the pages to enlarge

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Thanks for the help everyone! It was a lot of fun to come up with solutions for your stressful scenarios.

Cheers!

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Thank you to Katherine Yelle, Meredith Miller Elliott, Lenn Thompson, Ashley Copper Quinn, Geoffrey Stauffer, Dale Tanigawa, Laura Anglin, Shawn Swagerty, Fredric Koppel, Michael Alberty, Don Beith, Andrew Hummel-Schluger, Chris Scanlan, Jeannette Montgomery, Marita Dachsel.

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

The Question of Authority in the Context of Social Media, with a quick nod at democracy

A Shift in the Question of Authority: A Response to Steve Heimoff

In his blog post yesterday, “What Today’s Social Media Means for Tomorrow’s Wine Industry,” Steve Heimoff follows a meandering trail to ultimately claim we cannot predict the impact that social media today will have on wine purchasing tomorrow. Having stated the future is unpredictable (he does not argue for this though he makes a lot of oblique references to splash zone moments of history along the way), Heimoff then claims wineries should be skeptical. I take it Heimoff means to direct his recommended skepticism at the ultimate persuasive power of social media, and at its projected longevity.

The comments’ section of the post furthers the exploration, with one of the more interesting aspects being responses from Paul Mabray, the Chief Strategy Officer and founder of VinTank, a social media tracking application for wineries and wine professionals. Mabray engages with Heimoff, challenging him to recognize the power that the internet has had in shutting down brick-and-mortar businesses unable to adjust to new demand. Examples named include book, movie, music, and electronics retailers, and (more poignantly for someone like me) a plethora of newspapers and magazines.

A later comment from Mabray points out that VinTank tracks an impressive number of online conversations daily–around two million–and through those digital instances VinTank calculates trends, and tracks their changes over time. In fact, it is possible right now to stop reading this blog post and instead go to VinTank’s site to read their Social Media Index for today’s most discussed wineries and wine labels. Via this information, VinTank follows which wines or wine types are hottest right now, which were hot but are now cooling, which are increasing in hotness, and who the hell is spreading this hotness around. The point is, VinTank tracks the peaks, valleys, and hikes between on the wine trail of the social media landscape.

Why Heimoff’s Response Matters

Heimoff however resists this point and offers one of two interesting moments from the post as a whole. (I’ll give you the second interesting moment later.) Here’s how Heimoff responds: “Paul: Two million conversations a day sound to me like babble.” That is NOT the interesting part. That is him simply refusing to admit that VInTank uses smart algorithms. This is: “What is to break through and make sense? Authority. Where does authority come from? That is the question.”

In asking where authority comes from, Heimoff has inadvertently opened the door to considering the effects of our society’s moves from print to online media. Considering the answer also happens to be precisely what undermines Heimoff’s resistance to Mabray’s point, as well as the skepticism he recommends to wineries.

In order to answer Heimoff’s question about authority we have to look at the contrast between the world of print media and the diversification of influence.

The Print Media Authority Model

In the print media model, wine critics released reviews of wines, and consumers received those scores via print publications. Reviews came out once a week, for example, in newspapers, or once a month in wine magazines. The conversation was primarily uni-directional. It was possible, surely, to write a letter to the editor in response, and a few of those letters were even reprinted a handful at a time in most publications.

However, even allowing for letters to the editor, in print media, critics essentially announced their views, and then the next week or month announced their views on newer wines. There were a limited number of positions for wine critic open throughout the world. Leaders of the industry were eventually known by name, and celebrated for their influence not only on consumer perception but economic reality. They were not only named authorities in wine, they were deemed so by consumer pocket books. That meant that importers and distributors were also influenced by such figures.

Authority as Singular

The point is, within the print media model, sources of authority were singular and easily identifiable. Under the Robert Parker hey-day it was possible to track direct correlations between announcements of 100-point scores, and increase in wine sales for those 100-point wines.

The advantages of the old print media model of authority are clear. It’s easy to know exactly who the influencers are. No one questions if Robert Parker sold wine. They argue about whether or not they like the effect it had on the world of wine.

So how’s it work now?

The Blindness of a Stuck Schema

Well, the truth is, it’s hard for a lot of us to see that authority models even work at all now.

The trouble with social media is it doesn’t fit the old model of authority, which really comes down to a question of influence. Figures like Robert Parker influenced people’s spending habits on wine. Because such authority figures were so few, their social influence could be tracked easily via spike (or not) in wine sales after the release of any particular person’s review.

The trouble is the old model was so damned easy to track — it was clear who the influencers were — that many of us are still hooked on that way of thinking. When we believe that what influence amounts to is something as straightforward as an obvious and immediate or singular spike in wine sales, then its hard for us to even recognize other forms of influence as they happen. So hard in fact that we can even be standing in the midst of two million examples, and still not see them. This is what psychologists call having a stuck schema.

The Diversified Model of Authority

I take it that Mabray’s point was that the two million conversations a day that VinTank tracks show people really are talking about and drinking wine. Part of the reason this matters is because these people are engaging with each other.

The print media world has essentially caved in from fifteen years ago. People aren’t looking to such publications today, and instead more often track a diversified range of sources online. The print media sources that have survived, have mostly done so by integrating an online engagement component. So, print media, and a new tradition of online news sources do exist, and have influence, however, in a wholly new expression from before. The further truth is many people are not reading traditional online news sources at all, as much as just following Twitter, or reading some blogs, or keeping up on Instagram.

So, what’s another thing that has changed in the last fifteen years? The volume of wine sales in the United States. The numbers have greatly increased. However, people are making buying decisions differently now.

And that’s where Heimoff’s second interesting moment comes in.

Within Heimoff’s hand waving of ideas, he references (though not by proper citation) a recent interview of Jancis Robinson done by David White in which she celebrates the “democratization of wine.”

In the interview, Robinson emphasizes the positive force of consumers having their own voice and ability to engage with overt wine critics directly. The implied contrast she draws is with the days of print media when there was little to no interaction with wine critics.

Heimoff reveals his resistance to recognizing the new model of authority here in his response to Robinson’s comment. He describes her appreciation of the democratic shift as “a critic… going over to that side of the fence.” In doing so, Heimoff relies upon a false dichotomy as if critics sit on one side, and those they influence on the other–a set-up that (1) sounds a lot like a rigid version of the old Print Model of Authority, and (2) denies the reality that someone like Heimoff, or Robinson are also influenced.

But what is the democratization of wine? Let’s look first just at democracy.

A Short Point About Democracy

Democracy, to put it simply, comes from the Greek meaning “people power.” Sources of authority are generated by the people, usually with certain people having stronger leadership roles than others. Some of these leaders are elected through what we think of as traditional voting mechanisms, but other times it’s just that a person has charisma and a lot of folks listen to their opinion. In other words, the democratization of power moves authority from a few persistent leaders that pronounce the rules, to a more dynamic engagement of people with each other and their leaders both.

Democracy in Wine: There Are Still Influencers

VinTank has something to teach us about what democracy in wine looks like.

VinTank is able to track various wine’s social media index, as I mentioned before, which is an analysis of a winery’s level of engagement with others online. The thing is, for a wine’s social media index to be high it can’t just be online popular people talking about the wine. More engagement is reflective of interaction with more people, not a few pre-chosen ones.

When you’re signed into VinTank itself you can also check-in on particular social media users to see how regularly they’re engaged with online. Bloggers like 1WineDude regularly pop up as one of the most engaged with figures in wine writing online. Wine critics like Jancis Robinson juggles influence via print and online media with widely respected wine books, but also a pretty good social media index as well.

But wine conversation in social media is about far more than wine writers. Thanks to social media, winemakers and wineries are able to speak for themselves. Winemaker celebrity Randall Grahm has more followers than the city of Anchorage, Alaska has residents. Labels like Dirty & Rowdy launched to the pages of The New York Times within a year of their first release thanks in no small part to the cherubic liveliness and charm of their winemaker, Hardy Wallace, online. Their releases have instantaneously sold out, however, largely thanks to the D&R teams work on Twitter, Facebook, Instagram, and their blog.

Greater than these examples of lead influencers in wine, however, more pedestrian examples show what diversifying influence really amounts to.

I posted on Facebook earlier today that I was eating oysters and in short order someone asked what wine I drank with them. A friend of mine is traveling soon to Denver and hopes to find champagne there, so I messaged three friends of mine on Facebook about wine shops in Denver. The next thing I knew two tweets had gone out to people I’ve never heard of asking their recommendation. When I hear back, and tell my friend, she’s going to shop there. These sorts of lightning fast conversations happen two million a day online and they move wine.

The old model expects that when one person speaks, that is, the right person, cases of wine fly out the door and a wine sells out. In this perspective, “breaking through” two million voices is necessary because one voice is wanted as a clear beckon of authority. The thing is, in the old model, those two million voices had little opportunity to speak.

The diversified model, however, recognizes that no one person has such singular, consistent influence today. Instead, influence is spread like a grassroots movement through the communication and action of a large number of individual people. When any one person speaks with people that value their opinion, some wine will sell, and that with two million conversations a day how much and what might not be predictable, but it’s still certain.

The democratization of wine is a diversification of influence, and also of our choices. Wineries should be skeptical but skeptical of their own practices. Through social media they’ve been invited to engage.

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To read Steve Heimoff’s post: http://www.steveheimoff.com/index.php/2013/11/11/what-todays-social-media-means-for-tomorrows-wine-industry/

To read David White’s interview with Jancis Robinson: http://www.terroirist.com/2013/10/a-conversation-with-jancis-robinson/

To read David White’s account of the implications of his interview with Jancis Robinson: http://palatepress.com/2013/10/wine/a-consumer-revolution-in-wine/

To check out VinTank: http://www.vintank.com/

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Post-edit: 1WineDude has since delivered a response to this general discussion. You can read it here: http://www.1winedude.com/why-social-media-advice-from-traditional-wine-media-is-almost-always-wrong/

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Thank you to Katherine Yelle and Dan Fredman.

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