The Wine Camp Blog

Every once in awhile I like to remind Wine Camp readers that I can be significantly longer winded than I am in my normal posts on Wine Camp. So here I provide an annual reminder that I don't employ an editor by providing links to some of my favorite longer articles:

• Milano's Boccondivino - The Divine Mouthful

• Sherry: Use it or Lose it

• Gita! Day Tripping Italian Style

• Bar Mimmo: Finding Puglia in Lombardia

Chateauneuf du Pape domaines Chante Cigale and Barroche on Unidentifed Appellation.

The guy next to me kept screaming “White Rabbit!” at the top of his lungs for the better part of two hours. It was a Jefferson Airplane concert in 1971 and the band, despite a change of personnel could not escape their hits. No matter how well they played that guy would only be happy if they played White Rabbit.

Last week, while attending a performance of the Dave Brubeck Quartet, a true jazz legend and creator of West Coast Jazz, the guy in front of me screamed “Take Five!”. It seems no matter how many decades pass that fans are more interested in hearing your hits instead of your music. In Brubeck’s case he has progressed far beyond his Take Five days and created am amazingly diverse body of work. Yet, even with all he’s done since Take Five was recorded in 1959 I’m willing to bet that the majority of concert goers were there to hear Take Five, which is probably the only jazz composition most could name from memory. Of course, I’m sure few of them knew that the piece they were screaming to hear was not written by Brubeck, but by the late, great Paul Desmond, who played saxophone for The Dave Brubeck Quartet when they recorded Take Five.

Winemakers face the a similar dilemma. Once you get a big score, your big hit, you can feel locked into that style. It takes great courage to evolve your style in a way you believe in instead of just playing the same old hit over and over again. What most consumers don’t understand is that a winemaker can be relatively unhappy with a wine even though it gets a high score. As difficult as it is to believe, behind closed doors winemakers are often amazed at a high score they’ve received. What happens if you get a 93 from Robert Parker on a wine you’re not particularly pleased with? Do you keep making that wine or follow your own vision?

Brubeck seems to have resolved this dilemma perfectly as when he did finally play Take Five for the crowd, it was not the Take Five of 1959, but a piece that reflected the talents of the current Dave Brubeck Quartet. While it started with the famous chords and catchy quintuple time, it soon evolved, in the great tradition of jazz, into a distinctive exciting performance with a personality all its own.

Great winemaking should take its cue from the improvisational spirit of jazz as each vintage is a singular performance that deserves its own riffs.

Technorati Tags: wine, jazz, Brubeck, Take Five

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A Blog on Champagne, Wine and Food, by Peter Liem

Interesting commentary on the concept and tradition of terroir.

“The problem is that not enough tasters, whether professional oramateur, are equipped to recognize distinction of character. One of thedifficulties is that it’s far easier to identify technical quality thanquality of character, and often I feel that many people are too easilysatisfied with the former. Even the way that we taste is orientedlargely towards the identification of technical quality: blindcomparisons, sterile conditions, numerical scoring. On the other hand,we have not yet developed a system for identifying character, which isfar more difficult. One could even say that the idea of character,while ultimately identifiable, defies the whole concept of systemization.”

DIAGEO CAPITALIZES ON HILLARY’S PUBLICITY STUNT

Here's an interesting comment from one wine critic on wine criticism. Jancis continues to prove that she is one of the most thoughtful wine writers today. One can't miss the cult of personality that has grown around certain American wine critics whose followers often seem more concerned about the critic than wine itself. This can be seen in the fact that even the slightest criticism of such critics will generate howls of protest and comment spam against the perpetrator.

Robinson's comment, "We must always remember that we are parasites on the business of winemaking" should be in the back of every critics mind. Considering Robinson's status as one of the most influential wine writers in the world this is an striking statement that only adds to her already substantial and well earned respect within the wine trade.

Critics should be guides, not gurus.

See the Decanter article at the link below.

Jancis Robinson: critics should show more humility - decanter.com - the route to all good wine

My flight was delayed and I was facing a three hour wait at DFW so I decided I might as well eat. Picking out the most promising restaurant I could find, I sat down at the bar and ordered the simplest thing on the menu, which is always my defensive eating strategy in such places. I was in no hurry so stretched out my dining experience as long as possible. During those forty five minutes or so the guy next to me downed four Coor’s Lights. With nothing else to do, but watch my barmates, I noticed they were all drinking light beers. On top of that they they were all drinking a lot of them and not a glass was in use. Lots and lots of long neck lights were being downed while the draft lines went undisturbed.

Coming from Oregon I’m used to anybody and everybody drinking craft brews. Besides the fact that there seems to be as many brew pubs as gas stations in Oregon, you even find a line-up of craft brews on tap on the dumpy-ist country tavern. Here taste in beer tends to run to IPA’s with such bitter hop intensity that Coor’s Light has more in common with Perrier than our local brews. Living in such a place makes you forget what most Americans want in their food and drink.

What they want is little or no flavor or extremes of flavor. In some ways the Oregonian adulation of beers with so many hops that you can taste nothing else is just the mirror image of the Coor’s light drinker who likes it because it has almost no flavor at all. This is why we have such extremes of flavor in our culture and why you have people washing down blistering hot Tex-Mex and Asian foods with flavorless beer. Look what we do to Sushi, that most delicate of foods, as we insist to douse it in wasabi and soy sauce, which only insures we can’t taste if the fish is fresh or not. Sushi insiders know if you want the chef to give you the best fish you have to show him you’re not going to ruin it.

This is a huge dilemma for winemakers. Are we faced with making only innocuous industrial wines or supercharged spoofulated wines to stay in business? Fortunately no, as wines with complexity, balance and elegance can never be mass produced and there will always be a niche market for such wines. However, such producers have to accept that most Americans will never understand their wines as their palates just are not attuned to delicate, complex flavors.

On this same trip I was lucky to eat at the excellent Parkside Restaurant in Austin Texas where chef Shawn Cirkiel features one of the best selections of the freshest oysters you’ll find anywhere. The people next to me asked many questions about the oysters. They’d been to some great restaurants including Gary Danko and The French Laundry and were clearly into food. When their pristine oysters arrived they requested Tabasco and proceeded to obliterate each and every nuance of the assorted oysters in front of them. For wine the Tabasco is too much new oak, over-ripe grapes, dry ice and all the other over-manipulations of modern, spoofulated winemaking.

Today taste in America means more is better. Light beer is popular because you can drink more of it. Burning hot food is popular because anybody can taste it. Huge portions must be a great deal, right? It’s no wonder that wines with the most (most flavor or most advertising) are the most popular at all points on the price spectrum.

Some great commentary on politics, religion, wine and the evil that is WalMart from WineSeeing.blogspot.com.

Wine - Seeing the World Through the Bottom of a Glass: What Would Jesus Drink?

There have been major rants and counter-rants (their words not mine) lately about high alcohol wines by Alder Yarrow at Vinography and Thor Iverson at oenoLogic, there's lots of good thinking, interesting reading and great debate in these two posts. However, I think they miss the major point on this issue.

Nobody who has tasted a lot of wine can deny that they've tasted many wines with high alcohol that worked. Wines that despite their potent alcohol were balanced, interesting to drink, complex and great with food. There is also the reality that not all varieties are created equal when it comes to gracefully carrying high alcohol levels. For example the elegant pinot noir is often overwhelmed by alcohol levels that zinfandel and syrah lightly carry.

The issue should not be the alcohol level of the wine, but if the wine tastes balanced and still reflects the 3 V's of great wine: variety, vineyard and vintage. It is here that higher alcohol wines often fail, but the reason is not the alcohol level itself.

The faults often blamed on high alcohol come not from alcohol itself, but the fact that the grapes were harvested super-ripe, which is just another word for overripe. These overripe grapes, which are the fashion as one of the routes to pointy wines, obliterate the three V's as varietal character disappears as does the personalities of vineyard and vintage. A byproduct of these overripe grapes is high alcohol, which is created by combining exaggerated sugar levels with super-efficient cultured yeasts that can keep eating sugar and excreting more alcohol no matter the alcohol level in the fermenter. In the old days all the yeasts would have died, but today's macho yeasts can handle 16%+ with no problem. The result of all this is a wine with huge fruit flavors of indeterminate origin, 4.0 pH, 15% alcohol and 90+ points. Of course, it has only a generic personality as it could come from anywhere as can easily be seen in wines from Spain, Australia and California that are totally interchangeable and indistinguishable. After all, what is an appropriate alcohol level for a stateless wine with no varietal character?

The first issue should be if the wine has any personality at all before we get to the alcohol level. Once that issue has been resolved we can think about wether the alcohol level is appropriate.  Appropriate alcohol levels also should vary by vintage and a winemaker that makes natural wines will have alcohol levels that change year-to-year. My experience is that even in hotter vintages that produce higher alcohol levels well made wines will achieve a balance that works, although it may take some time to attain equilibrium. No, wines from a hot vintage may not be the best a producer makes, but they can be excellent wines. The key issue for the winemaker is to harvest ripe, but not overripe grapes each year if they wish to produce distinctive wines. Ripe grapes produce wines with alcohol levels that will find a natural balance in the wine of that year, but wines from overripe grapes produce not only out of balance alcohol levels, but cannot achieve any kind of natural balance as every aspect of the wine becomes distorted and exaggerated.

It's overripe grapes, not demon alcohol, that are the villains in this debate.

 

While Gary Vaynerchuk of Wine Library TV may seem a bit frenetic on stage/screen, his personal responses to recent criticisms have not been and are to be commended. His responses to criticism here and on PinotBlogger have been polite, thoughtful and even humble. His reaction to criticism has been just the opposite of Robert Parker’s tirades. This type of real communication can only make wine criticism and the information available to consumers more diverse and inclusive.

I have criticized Gary for giving wine points (no big deal as I criticize  all critics for that) and a generalization, but I repeat a point that I have made many times that Gary is to be complimented for his passion and ability to bring wine to new consumers in a way that entertains rather than intimidates.  Let’s all hope that this conversation not only continues, but grows.

Technorati Tags: Wine,Wine Library TV,Vaynerchuk

Recent tastes I’ve enjoyed, all under $20 except for the Barolo, which is about $40:

Isola de Nuraghi IGT, Perdera Argiolas, 2004 - Produced 90% from the monica variety, this is a wonderful bargain in a wine that actually has a distinctive character. No great wine here mind you, but a very interesting drink.  With just enough earthiness to keep it interesting and enough bright fruit to make it charming. A nice wine with hearty home cooking.

Barolo, La Morra, Mauro Molino, 2003 - Modern Barolo that manages to still taste like nebbiolo. Not my favorite style, but still a well crafted wine. Like most modern Baroli, it is approachable now, but should evolve into a better wine with more age. What I like about this wine is that it is still clearly nebbiolo in character as they did not try to erase all the edges of the wine.

Barbera d’Alba, La Morra, Mauro Molino, 2005 - Big, juicy modern Barbera that puts a velvety coating on your tongue then slices it with a acid stiletto. I’ve never had a real problem with the modern style of Barbera as the natural brilliant acidity, bright fruit and low tannins of Barbera marry well with oak. Loads of charm here, although California palates may find the acidity shocking, but by Piemonte standards it’s tame. What’s important is there is a lot of pleasure right up front in the wine and there is more than enough acidity to be great with food.

Nebbiolo, Langhe, Castello di Verduno, 2006 - This wine is nothing short of an outstanding bargain that you should grab cases of as soon as you can. It is a pure, classic Piemontese nebbiolo with all the tar and roses you could want. Not at all ready to drink (although I can’t resist it) and those with enough patience will be rewarded with a lovely wine. No it is not Barolo, but it’s darn close and better than many more expensive wines that (mis)use the name Barolo. Nebbiolo aficionados will love the biting tannins and the unique angularity that is possessed by nebbiolo alone. With another 3 to 5 years this should be a beauty.

Nero d’Avola, Siciia IGT, Rossojbleo, Az. Agr, Gulfi, 2006 - Big, ripe and fruity. A great pizza and burger wine. This is the type of wine you want to have a case around of in the summer to serve with all those grilled meats. Lots of pleasure with no thinking required, Yummm…

Montepulciano d’Abruzzo, Farnese, 2005 - A very nice everyday wine. Well balanced, lots of fruit with more than a passing hint of complexity. Nothing fancy, just good wine. An excellent party wine. Sausages anyone?

Côtes du Ventoux, La Vieille Ferme, 2006 - Is there a better wine value out there for your house wine? At $10 and under a bottle this is a winner that’s always easy to find. On top of that its got a screwcap so there are never corked bottles to pour down the drain. Best served lightly chilled in large gulps.

Bourgogne Rouge, Cuvée Sylvie, Domaine Sylvie Esmonin, Gevery Chambertin, 2005 - I’ve written about this wine often, but every time I open a bottle I want to write about it again. The only think I can say is this wine is alive, which for me is the highest compliment you it give a wine. It is just so bright and lively it can’t help but seduce you.  A great pinot noir bargain.