Back in the 1990s I was supplementing my wine-writing income by doing a little healthcare reporting. As things turned out, I became known as something of an expert in the intersection of the U.S. healthcare industry–the nation’s biggest–and the emerging Internet. Everyone from pharmaceutical manufacturers to insurers, hospital administrators and individual doctors wanted to know what would happen when these two gigantic forces met, and how they could incorporate this new-fangled World Wide Web into their businesses. I didn’t have a clue, to tell you the truth, but I knew just enough more than most people (including my editors) to keep me gainfully employed and give my writing the semblance of expertise.
One memory stays with me of that period. Dot-com startups were as common in those days as the squirrels now gathering nuts in my neighborhood here in Oakland as Fall approaches. Here’s how it typically worked (and this is a fascinating and useful glimpse into the troubled, and troubling, nexus of marketing and reporting, as well). Someone starts a dot-com company; let’s say it purports to keep Internet-based communications between physicians secure. Somehow, that new business, which may not yet even exist (which would qualify it as “vaporware”), attracts the attention of one of the big investment banks. That bank would buy a piece of the company or otherwise associate itself with it. Then the bank would make its analysts available to journalists writing about that topic; the analysts would help the hapless reporters understand the finer points of whatever the topic was. If you’ve ever been a working reporter, you know how much we depend on the kindness of analysts whom we can quote with certain knowledge that the quotes are accurate, because after all, that analyst is an expert who works for an important investment bank.
Well, you see the obvious conflict of interest. The analyst talks up the new company, explaining how the product or service it provides is badly needed, and that this company (which he has analyzed in detail) is in a good position to succeed. The company is, according to the analyst, a sure thing. Meanwhile, the reporter–me–is typing all this down, to incorporate into the story. Next thing you know, a big, glossy healthcare magazine is running it, complete with the analyst’s spin (but now in my words) about how great this new startup company is. It’s a win-win-win for everybody: the startup’s owner, the investment bank, the analyst, me, and the publisher of the magazine who’s paying me.
Except for one little thing: in many cases, the analysts either lied or were entirely incorrect (for whatever reason) in their judgments. As we all know, the dot-com era crashed spectacularly in the early 2000s. A lot of “sure things” perished overnight; a lot of people lost everything. Many of the “sure thing” predictions turned out to be as premature as reports of Mark Twain’s demise. That horrible era taught me some important lessons I’ve carried through in my journalism ever since: Be skeptical of claims, even by so-called “experts” who seem so self-assured. I developed a B.S. radar that to this day serves me well. That radar always asks these questions of anyone giving information or advice: Does this person have a hidden agenda? What does he or she have to gain (or lose)? Is there solid evidence of this person’s claims?
When the dot-com collapse finally happened, I’d been out of healthcare writing for a few years. But I was shocked that my reporting had had something to do with instilling a sense of trust in these startup companies–trust that, as it turned out, they didn’t deserve. People all over the country had read my articles and made decisions based upon facts provided to me, and by me to readers, that had turned out not to be true. I vowed never to let that happen again.
We come now, after this somewhat labored intro, to the subject of today’s post. Over the last number of years, we’ve had many reports of the Death of the 100 Point System. These have mainly come from the wine blogosphere. We can now see that these reports have been characterized, not by critical judgment or factual data, but by wishful (and even magical) thinking. Typical of the genre is this blog post from last week that incorporates the standard memes:
– people, especially younger ones, don’t care about point scores
– they would rather get a recco from a friend than from some famous [old] critic
– wine criticism is subjective anyway, so giving it a number is crazy
– the only way to judge a wine is to experience it yourself
The writer then offers examples from his own experience to “prove” the truth of each assertion.
Well, of course, each of these bullet points is true in its own way. But they’re no truer now than they were pre-social media. Only a tiny percentage of wine consumers ever cared about point scores. But in fact, more people today are influenced by them than ever. More and more big retailers (Beverages & More, Costco) are using point scores (by people like me) to market their wines, so that more and more consumers are exposed to them. And believe me, these retailers wouldn’t use point scores if they didn’t know a high score moves SKUs.
And younger people, of course, always have been resistant to the advice of elders. That’s what it means to be young: There’s nothing inherently different about kids in their twenties today than at any other point in history. They’ve always been more inclined to respect the opinions of their friends than of their elders. Social media hasn’t changed that. The point is that young people will someday be middle-aged people (that’s the way it goes, kids), and when they have a little more money in their pockets, they’ll do what people with disposable incomes have always done: seek the advice of experts when it comes to buying things, like autos, high tech devices and, yes, wine.
There’s simply no evidence that the 100-point system is endangered or irrelevant. In fact it’s at the height of its impact. Virtually every major critic in the world uses it (or some variation of it). The writer of the blog post I referenced understands this full well: in his concluding paragraph (which is where you always want to make an important point to leave with the reader), he writes: “Ultimately, the 100-point scale is here to stay.” That disclaimer, you’d think, would nullify everything he’d said up to that point. After all, you can’t be “here to stay” if you’re irrelevant, can you?
Stark Insider is a cool site that ventures into all kinds of interesting territory, including wine. Their intrepid reporter, Loni Stark, put up this video interview yesterday with Hourglass owner/winemaker Jeff Smith.
I learned about it from my Facebook feed, and just had to watch it after reading the message: “Will the 100 point scoring system survive?”
Here’s what Jeff told Loni, in response to her question on the system, “Do you think it’s here to stay?” He replied:
“I think the whole landscape of wine review is going through a bit of a change. There’s all kinds of different movements with Wine Advocate and the whole blogger world. So there is a sea change–and the general consumer has more information and is more wine savvy and sophisticated. So this plays into this idea of wine review. There are more points [i.e. sources] to draw your information from. Do I think the 100 point scale will go away? Absolutely not. I think it’s proved to be the dominant form of how to rank and classify [wine]. It’s a very flawed system, but it’s here to stay. We are critical beings and we do hierarchically judge the world around us. Why should wine be any different? I’m not saying it’s a perfect system, but it is a powerful communicating tool that will not disappear overnight.”
I agree with everything Jeff said. Yes, there are a lot more sources of information these days; that’s good. Not all of them use the 100 point system, especially the bloggers; they hardly could, if they’ve previously attacked it, which many of them have. And the 100 point system does have its flaws: What system doesn’t? (One flaw is that two critics, both of them seasoned professionals, might give the same wine different scores, resulting in cognitive dissonance for the consumer. Another flaw is inconsistent results from the same critic for the same wine on different occasions. I’ve written about both of these numerous times.)
But Jeff also is correct when he calls it “the dominant form of how to rank and classify wine.” This statement is objectively true: You may not like the 100 point system, but it’s very hard to argue that it’s not the dominant ranking system in the world. All the major American periodicals use it, and so do many of the minor ones. The public instantly understands it, which is why Jeff called it “a powerful communicating tool.” Why would anyone want to ditch something that helps the wine industry speak coherently to consumers?
I can envision a future (and you can, too) in which consumers are so smart about wine that they don’t need help from anyone. I hope that day arrives. But it won’t come “overnight,” to use Jeff’s timeframe, nor do I think it will come in the next ten years, at the very least. The 100 point system is too entrenched.
One question I wish Loni had asked Jeff is: Do you think that a younger generation–people below, say, 30–care about the 100 point system? It may be that the circle Jeff travels in is older, richer and more infatuated with critics who use the 100 point system. (This is an inference on my part, but Hourglass is very expensive, so my hunch seems justified, especially in light of his reference to Wine Advocate.) The most practical anti-100 point argument essentially boils down to the claim that young people don’t read the critics, don’t have much of an opinion about the 100 point system one way or the other, and hence are not likely to be influenced by it.
This may be true. The counter-argument, though, is that those under-30s will be over 30 someday. In fact, they’ll be over 40 (hard as it may be for them to believe), and eventually they’ll be making enough money to be able to afford a wine like Hourglass. That’s when, I predict, they’re going to start getting fussier about what they drop $125 on (as opposed to $12 for something their friends liked on Twitter today). And that’s when, I further predict, they’re going to seek guidance from whoever the major critics of the day are, who will be employing, I predict finally, the 100 point system.
People ask me why I don’t score more wines 100 points. Other critics who use the 100-point system are far more lavish than I am. I’ve only given five perfect scores in all these years. Parker by contrast had 19 perfect 100s (for 2009 Bordeaux) in issue #199 of the Wine Advocate.
I’m not here to criticize him or anyone else for awarding perfect scores with a certain promiscuity, shall we say. I’m here to explain why I’m stingier. It all comes down to how you view the 100-point system, wine as an esthetic accomplishment, and your understanding of the meaning of perfection.
When it comes to these perfect scores, I think there are only two valid intellectual positions. One is to be liberal in awarding them; the other is to make it extremely rare. To be in the muddled middle is weird, if not outright dishonest.
As many critics of the 100-point system have pointed out many times, there cannot be any great difference between 99 and 100. Or 98 and 100. Or 97 and 98, and so on down the line. I’ve never disagreed with this argument. On the contrary, I’ve said that a critic might give the same wine different scores on different occasions (although hopefully the scores wouldn’t be too far apart!). Once you accept the notion that anything above 96 or 97 points is in fact a very great wine, then you have to accept that–of a large number of wines falling in that range–more than a few will be disputably perfect. By “disputably perfect” I mean that it would be a mean-spirited critic who would willingly refuse to give those wines 100 points, simply because he or she did not want to appear to be a promiscuous scorer. Critics should never be afraid of anything anybody says or thinks about them.
So, by way of example, if a critic tastes 80 or 100 Bordeaux from a vintage deemed to be great, then there’s no reason why he shouldn’t entertain the possibility of giving many of them perfect scores. Perfect vintage + chateaux that know how to make perfect wine = perfect wines. It just makes sense. That’s why only Parker haters bashed him for 19 perfect scores in one issue. They have a misguided understanding of the 100-point system.
At the other extreme is someone like me. I think that, in every large tasting (“large” being at least 50) of important wines, one wine always will stand out above all the others. Sometimes it takes a long time to determine which one it is. When I gave 100 points to 2006 Cardinale, in November of 2009, it was at a blind tasting of about 70 wines organized for me by the Napa Valley Vintners. Now, when NVV arranges a tasting of top Cabernets, the critic might approach it expecting that there could be several perfect wines among them. (The question of expectations is important, I know, but I don’t want to get into it here.) For example, when Parker tasted all the 2009 Classified Growths (over what time period, we don’t know), he must have assumed (having already been impressed by the vintage) that there could easily have been more than one perfect 100 among them; he thus gave himself permission to “find” those perfect wines and reward them accordingly.
I might have done the same thing at NVV, but my mind doesn’t work the way Parker’s does. As good as the wines were (and they were fantastic), according to my approach, one of them had to stand above the crowd. And so, after five hours of tasting and retasting (with a short break inbetween for lunch), I kept on coming back to that bagged wine that had impressed me from the very beginning. I’d first tasted it at around 10:30 a.m. and it immediately blew my mind. I must have returned to it 5 or 6 times over the following hours, and each time, it exceeded my expectations. Each time I tasted a wine that was fabulous, I checked it against that wine, and each time I did, the original wine triumphed. At the end of the day, it seemed obvious to give it, and it alone, 100 points.
Might I have given 2 or 3 other wines 100 points? In theory, sure. But in fact, that Cardinale (I didn’t know what it was until I got home and looked at the folder NVV gave me) was just that much better than anything else. By “better” I mean sheer, dazzling, opulent, luxurious, structured Napa Valley Cabernet Sauvignon. The first duty of Napa Cabernet is to deliver “Napa Cabernet-ness” in the most awesome way possible. The Cardinale did.
By the way, I also gave 100 points to the Verité 2007 La Muse. Both Cardinale and Verité are owned by the Jackson family, which testifies, I believe, to the vision of the late Jess Jackson to make the greatest wines in the world. Last Fall, I gave 99 points to the David Arthur 2009 Elevation 1147 Cabernet Sauvignon, from his estate on Pritchard Hill. Why not 100? I can’t explain it with the precision of a mathematical statement, except to say, it was perfect…almost.
Randy Caparosa, in the December, 2012 issue of The Tasting Panel, writes: You do not go to Mendocino in search of “perfectly balanced” wines. What you can find are wines with intriguing blemishes: strong earth tones, prickling acidity, stringy tannins, strange or exotic aromas, seemingly from another planet. But at least they are real—distinctly “Mendocino”—which is why many sommeliers are loving it!
It took me three days of thinking about this before I realized I didn’t know what it meant. Or do I? There is, indeed, something to be said about wines that march to the beat of a different drummer. They can surprise, stun, make you look differently at varieties you thought you knew, or regions you believed you understood. On the other hand, the concept of “intriguing blemishes” is new for me.
Inherent in Randy’s comment, of course, is the notion that “perfectly balanced” is not the sine qua non of great wine. I would have thought it was: if “perfectly balanced” is not the highest good to which a wine can attain, then what is?
Well, that was my immediate reaction. Then I dug into Wine Enthusiast’s database to find instances where I used “perfectly balanced” or its close kin, “perfect balance.” Here are some I found from the past year: J. Lohr 2009 Carol’s Vineyard Cabernet Sauvignon (92 points), Robert Mondavi 2011 Moscato d’Oro (88 points), Ram’s Gate 2010 Durell Vineyards Chardonnay (93 points), Round Pond 2011 Sauvignon Blanc (90 points), Morgan 2011 Double L Vineyard Riesling (88 points), Jarvis 2006 Estate Reserve Cabernet Sauvignon (96 points) and Sanguis 2010 Postcard From Morocco white Rhône-style blend (93 points).
This made me question what I mean by “perfect balance.” After all, if a wine can be perfectly balanced, yet score “only” 88 or 90 points, then “perfect balance” does not mean absolute perfection; if it did, the wine would score 100 points. So in what way is “perfect balance” merely a necessary, but not a sufficient, condition, for greatness?
When I think of balance, I think of a flawless equilibrium of the important parts of a wine that give it structure and overall integrity: acidity, tannins, oak integration [if any], minerality [ditto], and the spectrum of fruit-herb-earth-and spice flavors. If all these elements seem in harmony, with nothing sticking out (new oak is the sticky-outest thing a California wine can have, although acidity and tannins can be, too), then the wine is thought to have balance. Of course, “perfect” balance means calibrating degrees of balance; that is an angels-dancing-on-pinheads conversation we can have at another time!
What lifts a wine beyond “perfect balance” into true perfection is harder to define, and depends on certain assumptions, not all of which everyone may share. First is that certain varieties or families of varieties are noble whereas most others are not; and a non-noble wine cannot be perfect regardless of how good it is as an example of its type. I believe this. In California, it means that a Sauvignon Blanc-based white wine is never truly great, although the best of them can approach greatness. The same is true of a California Moscato or Riesling. This is why the Mondavi, Round Pond and Morgan wines are not perfect wines, despite their perfect balance.
The same is probably true of a California Syrah or Rhône red or white blend. In theory, I suppose, one could be perfect, especially a red, and especially if based on Syrah, which is a noble variety in France. I haven’t run across a perfect Rhône-style California red wine yet, but I’d like to, and I have an idea what it would taste and feel like: massive, dense, dark, deeply delicious, yet singularly well-structured and dry. We’ll just have to wait and see if one comes along.
Then we come to the Bordeaux-style wines I found to have perfect balance this past year, of which the Jarvis can stand as an example. At 96 points, it’s not far from absolute perfection. On another day, it might have shown even better. The thing to understand about these very high scores, from the mid-90s on up to 100, is that there is a certain subjectivity in these judgments. Perhaps “subjectivity” isn’t exactly the word I’m looking for. “Experiential variation of beauty” is more precise, although wordier. I hate to drag the psychedelic realm into this (and for me, it’s been many decades since I last tinkered), but on a high induced by a mind-altering drug, like LSD, one can experience beauty and meaning of such staggering power, in which the boundaries between self and not-self are transcended, that the memory remains forever seared into the mind. Yet at the same time, one realizes that this experience also is fragile to the point of ephemerality.
This ephemerality marks a perfect wine, or one’s appreciation of it. One captures it (or vice versa) at the most perfect moment in time—serendipitous for both the wine and for the person who drinks it. Mysterious, undefinable essences merge into something that overwhelms all further judgment into a single focus of wonder; one might even call it ecstasy. Whatever that thing is, or however you define it, “perfect balance” doesn’t adequately describe it.
I think that’s what Randy was hinting at. But we have to reconsider that more troubling phrase, “intriguing blemishes.” What does that mean?
Human analogies are necessary. “Blemish” in the most common usage refers to skin conditions, usually on young people. They are not generally considered “intriguing,” which is why there are so many anti-pimple ointments on the market. There are other sorts of “blemishes” (or perhaps “imperfections” is a better word) that we treat more kindly. Barbra Streisand’s nose has been, next to her voice, her most salient physical feature, and I think it’s fair to say no one ever said she wasn’t a beautiful women despite it. Would you say “because of it”? I wouldn’t. I don’t think Streisand’s nose makes her more beautiful than she would be with a “perfect” nose (whatever that is). But on this, we can disagree.
I have never used the word “imperfection” in a wine review, but I do frequently use the word “flaw” or “flawed,” and by it I never mean anything other than a negative criticism. Medicinal tastes, green, vegetal notes, mold, volatile acidity, excessive softness, violent tannins, wateriness—these are flaws, perhaps not technical ones but flaws nonetheless; and they are never charming or “intriguing.” I do use the word “intriguing” with some regularity, and by it I mean to pay a compliment. Last year, for example, I plugged it into reviews for Cuvaison 2010 Chardonnay, Saxon Brown 2009 Durell Vineyard Hayfield Block Pinot Noir, Bella Victoria 2009 Elena Syrah, Cambria 2009 Julia’s Vineyard Pinot Noir, and a few others. What I mean by “intriguing” are elements, usually beginning in the aroma and extending into the taste, that are not front-and-center (that’s usually, in California, the fruit), but pop up around the edges—things like bacon or charred meat, flowers, tobacco, stone, dried fruits, pine, mushroom, soy sauce, steel, mulch. These notes bring complexity to the wine: “intriguing” is a good word that connotes additional interest.
Still, I can’t in my mind conjoin “intriguing” and “blemishes” to come up with anything good. “Earth tones, prickling acidity, stringy tannins, strange or exotic aromas…” “Earthiness” isn’t a blemish, it’s a vital component of certain wines. If acidity is “prickling,” then it’s too high, unless it’s in a sparkling wine; “prickling” sounds like a secondary fermentation in the bottle that was unintended. I don’t know exactly what Randy means by “stringy” tannins; that’s a word I don’t use, but it doesn’t sound complimentary. “Strange or exotic” aromas? What are those? Exotic sounds okay, but strange? I don’t want no strangeness in my wine’s smells.
I’d love to hear from Randy and my readers more about specific wines that possess this oxymoronic quality of “intriguing blemishes.”
I taste a lot of common wine, vin ordinaire, plonk, call it what you will. Some of it is pretty awful stuff. I also taste a lot of very expensive wine, the kind sometimes called, for lack of a better word, “cult.” In this, I’m different from some other critics, who taste only the top stuff. Me, I taste everything in my portfolio, which includes “California” appellation wines that often contain Central Valley fruit.
There’s a school of thought in wine tasting that tasting mediocre wine long enough eventually compromises the palate to the point where it cannot recognize the elite qualities of higher-toned wines. The suggestion has a human parallel. It’s like saying that someone from the ghetto can’t appreciate fine art, because he’s been raised under vulgar circumstances and thus his capability to appreciate the finer things in life is limited.
Leaving aside the racist implications of this theory, I would argue exactly the opposite: that tasting mediocre wine makes it more possible for me to appreciate great wine.
The defects of mediocre wines are many, but the most common simply is the absence of concentration. “Concentration” is very important to wine. Its opposite is thinness, wateriness, which is often the result of overcropping the wines. Blending press juice into wine can also make it harsher and contribute to an absence of concentration.
Many, many California wines are mediocre (which means “ordinary, neither good nor bad”). There’s an ocean of mediocre Cabernet Sauvignon, Merlot and Chardonnay produced for the average drinker who doesn’t want to spend a fortune. Lately, we’re seeing more and more mediocre Pinot Noirs, as that variety spikes in popularity, and let me tell you, a mediocre Pinot Noir is even less pleasant than a mediocre Cabernet!
It can be depressing to taste mediocre wines. Even when it’s not actually a drag, it’s not a whole lot of fun. It’s work. You think the critic’s day is spent lounging around in silk pajamas sipping wine, occasionally taking time to snack on a little foie gras or smoked trout? Let me tell you, a flight of Central Valley Cabernets is tough. But I console myself considerably when I find one that’s actually pretty good. If the price is low enough to make it a Best Buy in Wine Enthusiast, that’s a happy day for me.
There’s a part of me (and of every wine aficienado, I suppose) that yearns to taste great wine. There’s a hedonistic and intellectual appeal to such adventures that’s part of the reason why we became wine fanatics in the first place. This is why tasting mediocre wine can be so valuable. It’s as if, after a long trek through the desert, you’re so parched with thirst, that when you finally come across some cool, potable water, it tastes like ambrosia–not just plain old H2O, but some nectar of the gods. You can appreciate the highs all the more, for having gone through the lows.
I wrote last week about score inflation, and how a number crunch of our database at Wine Enthusiast suggests that, in recent years, my very high scores have been inching up–not by a lot, but ever so steadily. I wrote that this could be due to the fact that California wine is simply getting better, which I happen to believe is true. But it also could be true because I’m tasting more mediocre wine than ever, and I think I’m also more acute to discerning mediocrity in a wine than I used to be. That discernment for recognizing problems in wine has a counterpoint in an equal discernment for recognizing superlative quality.
One final phenomenon occurs to me, and it’s something I’ve thought of often over the years but never fully worked out in my mind. What exactly is the difference between a 100-point wine and an 85-point wine of the same type? Are they so completely different that they may as well be thought of as different species–not just apples and oranges, but apples and zebras?
Well, no. An 85 (or 84, or 86, or 88) point wine often isn’t all that different from a 100 point wine. That’s the truth that amateurs often pick up on, but are ashamed to admit, because they think it makes them look stupid. An 86 point Cabernet from Napa Valley is pretty much the same as a 100 point Cabernet from Napa Valley, except for that “concentration” I spoke earlier about. There are other rather abstract qualities that go along with concentration, such as balance, elegance and the finish, but these do require discernment of a type it takes many years to acquire. So, while a discerning palate can appreciate those higher-toned qualities, the mind that rules that palate also understands that we’re talking about shades of difference, not evolutionary paradigm shifts.
Anyway, I’ve wandered a bit from my original premise that tasting plonk can make the palate appreciate great wine even more, so let me reprise with it. Part of me wishes it didn’t have to taste mediocre wine, but my better angels recognize that it’s an important and educational part of my job.
Let’s all wish our friends and loved ones in the path of the eastern storms good luck!
Yesterday I wrote about Best Buy wines on the market now. Best Buys are defined rather strictly by Wine Enthusiast according to a price-score relationship. For example, if a wine scores 87 points and costs no more than $12, it automatically gets a Best Buy designation. The editor (in this case, me) has no discretion in the matter. It’s all in the numbers.
We also have another class of special designation called Editor’s Choice. This is where we editors can apply our discernment and judgment. The guidelines for Editor’s Choice are “wines that represent excellent quality at a price above our Best Buy range, or wines that merit special attention whether for quality or uniqueness regardless of price.”
This obviously opens up a whole world of possibilities. It would be easy, I suppose, to overdo the Editor’s Choice selections, since the parameters are so loose as to be almost subjective. But I’ve found, over the years, that I’m pretty selective about it. I don’t want my Editor’s Choices to seem promiscuously chosen, or selected for any reason other than that the wine really impresses me for something.
It’s hard to say, in the abstract, why I choose Editor’s Choices. A better approach is to use specific wines I gave the designation to and explain my thinking.
Often, even expensive wines can earn an Editor’s Choice:
Failla’s 2010 Chardonnay, from Ehren Jordan’s estate vineyard way up at Fort Ross, on the far Sonoma Coast, isn’t cheap. At $44, it’s pricier than most people I know would spend on a bottle of wine, except for a special occasion. But then, not every Chardonnay I review gets 99 points, which makes $44 seem bargainesque, which makes the wine an Editor’s Choice.
Ditto Von Strasser’s 2009 Estate Vineyard Cabernet Sauvignon, from up on Diamond Mountain. It’s not the only Napa Cab I gave 98 points to. But, at $70, it’s a helluva lot less expensive than its peers, not to mention dozens of triple-digit Cabs that aren’t even as good. That makes in unique.
Then there’s the De Loach 2009 Pennacchio Vineyard Pinot Noir, from the Russian River Valley, which I gave 96 points. Seriously good Pinot, and the price–$45–makes it a must buy. An easy winner for Editor’s Choice.
There’s another category that’s not super expensive, but not cheap either. Let’s say, from $18-$30. If these wines are outstanding or unique in some other way, I’ll give them an Editor’s Choice. For instance:
Arrowood 2009 Saralee’s Vineyard Viognier, from the Russian River Valley, got one for its 95 point score and (almost everyday) price of $30. It also earned the designation because good Viognier is rare in California, and this is a really good one.
This was a no brainer: Joseph Carr Dijon Clone Chardonnay, from the Sonoma Coast. 94 points for eighteen bucks? You have got to be kidding.
Another Duh! Editor’s Choice was the Tangent 2011 Paragon Vineyard Viognier, from Edna Valley. 92 points, $17. Can’t beat it. In the same everyday price/high quality realm is Gainey’s 2010 Limited Selection Sauvignon Blanc, from down in the Santa Ynez Valley. 92 points at $19 is a steal.
Sometimes I give an Editors Choice just because the wine is offbeat and different, or I get the feeling it will be great with a vast array of food. Some of the Pinots and Cabs I rate very highly are highly specialized wines that, good as they are, are necessarily limited in what foods to drink them with. I mean, Harlan and Colgin and Verité demand foods with a high degree of sophistication and specificity geared to the wine’s flavors and textures. On the other hand is a wine like Vina Robles’ 2010 Red4, from Paso Robles (90 points, $17). A Syrah-Petite Sirah blend, it’s so versatile and elegant, if I were a sommelier I’d buy it. Production was nearly 12,000 cases–ease of finding in the marketplace can also weigh in on the Editor’s Choice designation.
One of the least expensive wines I gave an Editor’s Choice this past year was the Sterling 2009 Vintner’s Collection Syrah, with a Central Coast appellation. Thirteen bucks, 87 points. Hey, at that price, it would be one of my house reds (if I had one). High case production, too. It’s a pleasure for me to be able to use my judgment and recommend a wine as an Editor’s Choice because I know a lot of people will be able to use that information and benefit from it.