In the 1980s and early 1990s, I was a fairly frequent visitor to Square One, the restaurant Joyce Goldstein had opened, in 1984, in the Jackson Square neighborhood of downtown San Francisco.
There, I was treated like a regular, mainly through my acquaintance with the sommelier, Peter Granoff, whom I had met earlier when he’d served in the same capacity at the old Mark Hopkins Hotel. Well do I remember strolling into Square One on any given night, usually by myself after an evening of doing something else that had brought me to the area from my home in Noe Valley. I’d take a seat at the bar and order something off the chalkboard menu—a little pizza or focaccia, some fettucine, wood-fired grilled shrimp—while Peter surreptitiously brought me tasting sips of the most interesting wines of the evening. Peter also held regular wine tasting classes in a small room of the restaurant. It was there that I learned, more than anyplace else, about Condrieu, Cote Rotie, Spanish sherry and other wines to which I would otherwise have had little access.
These were not mere wine tastings. Peter’s boss, Chef Joyce, provided delicious little plates to wash down the wine. One night, a blind tasting of Monterey County Chardonnays (Estancia, Morgan, Pinnacles, Talbott, Chalone, Wente and so on) was paired with a signature crab cake with mango salsa, and ginger-marinated pork loin on a bed of corn pudding.
That food was, of course, California cuisine, or what came eventually to be called California cuisine, although Joyce herself, after extensive research for her new book, Inside the California Food Revolution, writes that exactly who coined that phrase remains a mystery. Not mysterious at all, though, is what California cuisine means. Joyce Goldstein: “…restaurants broadened from formal and ceremonial to more democratic and casual. Kitchens that had been hidden were opened up to become part of the dining room. Chefs who had toiled behind closed doors in anonymity became stars. Ingredients such as arugula, baby greens, and goat cheese, virtually unknown previously, became household items…”. California’s fabulously diverse ethnic constitution, including Mediterranean, Asian and Latin American cultures, also became part of the mix that contributed to the new, complex combinations that constituted California cuisine, whose “one common element,” Joyce writes, was “fresh, seasonal ingredients, preferably raised nearby.”
I hadn’t known Joyce had written this book until I ran into her son Evan, an old friend, at a wine tasting event. I’d told him how much I’d always longed for a formal history of California cuisine, which was restaurant-based long before it became a staple of home kitchens. Evan smiled and told me there was one: He arranged to have the publisher, University of California Press, send me Inside the California Food Revolution. If you’ve ever hankered for an insider’s account of everything and everyone from Alice Waters and Chez Panisse to Wolfgang Puck, Jeremiah Tower, the French Laundry, Laura Chenel, Zuni Café and, yes, Joyce Goldstein (as insider as they get), this is the book. It recounts, in loving terms, what Mark Miller (Fourth Street Grill and Santa Fe Bar and Grill, both in Berkeley) describes as “California cuisine[‘s] revolutionary [nature], in terms of not only its fashion, its style, but also its culinary ethos.”
The California food revolution cited in Joyce’s title spilled over, of course, to the California wine revolution—or perhaps it’s fairer to say that both were the result of the revolutionary attitude that always has characterized California. In the book, too, you will find references to Paul Draper and Ridge (whose wines Alice Waters celebrated early at Chez Panisse), Randall Grahm and Bonny Doon, Josh Jensen (Calera), Dick Graff (Chalone), Bob Long (Long Vineyards) and others. Interestingly, Joyce, in retrospective hindsight, goes back to this period to foreshadow wines “with overly hard tannins, too much oak, and in time, higher alcohol levels”—shades of today’s ongoing debate. But that is another story.
Can it really have been 20 years since André Tchelistcheff died?
I met and interviewed the man they call The Maestro a couple times, in my guise as a reporter, although I can’t claim to have known him well. His heavily Russian-inflected English could be hard to understand, especially on the phone, but he was unfailingly polite, in an Old World, almost Victorian way; more importantly, he was the foremost mentor to several generations of winemakers. It’s amazing how often his name comes up in conversation even today.
To me, as an historian, André’s greatest achievement was bringing a European sensibility of winemaking to the industry, at a time—the 1930s through the 1970s—when that’s what was most needed. When he came, famously, to Beaulieu, in 1938, America still had its rear wheels stuck in the muck of Prohibition. What few Americans there were who actually drank wine had little besides ersatz “Sauternes,” “Port,” “Sherry,” “Vermouth” and unidentifiable bottles with proprietary names, like Don Juan and Mission Bell, to choose from.
One of the best ways to appreciate a historical person’s contributions is through the eyes of his contemporaries. Here, we’re fortunate that Tchelistcheff’s advent on the scene occurred at the same time as an explosion of wine books. (The two phenomena are not unrelated!) In 1948 the Chicago journalist Julian Street, in the second edition of his book “Wines,” praised Beaulieu’s George [sic] de Latour Private Reserve Cabernet Sauvignon—Tchelistcheff’s crowning glory—as “stepping up into another class,” while he called the Pinot Noir “among the best of its type.” Pinot Noir was (I think it’s fair to say) Tchelistcheff’s own personal favorite variety, probably due to its challenge. He told the lawyer and amateur wine lover, Robert Benson (who quoted him in the latter’s 1977 book, “Great Winemakers of California”), that he, Tchelistcheff, had produced only three “high standard” Pinot Noirs in 35 years: the 1946, 1947 and 1968, successes he deemed “accidental” although, of course, they were no accidents; but Tchelistcheff appears at that time not to have realized exactly what he had done right.
Eleven years after Street’s little book, Alec Waugh (Evelyn’s older brother) authored “In Praise of Wine,” a book so dismissive of California wine that he relegated coverage of it to two pages in the appendix. Even so, Waugh managed to mention a handful of wineries he did “greatly enjoy,” and Beaulieu was one of them. By 1973, when the founder of the Wine Institute, Leon Adams, wrote his influential “The Wines of America,” he was able to state definitively that BV Private Reserve had become “the single most-praised and most-sought after American wine.”
Why did experts like it so much? We can only begin to guess what Private Reserve tasted like young. Michael Broadbent sipped a 1941 Private Reserve (from a celebrated vintage) in 1972; the then 31-year old wine was “extremely rich…with [an] extended finish,” and despite this rather abbreviated review, Broadbent awarded it 4 stars. But a few years later, he added a coveted fifth star to the 1946 Private Reserve, which Tchelistcheff himself had poured for him at a tasting; “the ’46,” Broadbent wrote, clearly in ecstasy, “was a great wine by any standards, perhaps Tchelistcheff’s supreme masterpiece.”
It was this accomplishment—the ability to make wine so good that even a confirmed Europhile like Broadbent would swoon in its presence—that was André’s great contribution to California wine.
By the 1990s, well into his own Nineties, André’s best days were behind him. He died in 1994, his intellect and humor intact. As Rod Smith reminds us (in “Private Reserve,” published by Beaulieu in its centenary year, 2000): “Just before [Tchelistcheff] died, he exclaimed, ‘We still don’t know what kind of rootstock is right for Carneros!’”
It was that unflagging drive to know, to perfect, to achieve that marked André Tchelistcheff. He was among the first to understand that Napa Valley’s temperature gradient between Carneros, in the south, and Calistoga, in the north, mandated the planting of different grape varieties—an axiom so fundamental to our knowledge of Napa Valley today that it’s hard to fathom that it was not always known. His work with Pinot Noir has never yet been fully acknowledged. His background as a technologist showed in his never-ending experiments with different kinds of fermentation techniques, including the malolactic. Robert Mondavi, who loved him, has written (in “Harvests of Joy”) how he “often turned to André for advice” after launching Robert Mondavi Winery, and paid The Maestro the supreme compliment of calling him “one of the most influential figures in twentieth-century American wine making.” André also put his stamp on stylistic matters. His remark (to Benson) that “oak in the bottle is nothing else but seasoning” and accompanying criticism that “Some people overdo it [oak]” surely were prescient and have been echoed by latter-day aficiendos of balance.
André himself wrote what could perhaps be his epitaph, although he meant it as praise, not for himself, but for Benson’s book: in its Preface, he called the book “full of depth, full of reflections of winemakers struggling to open the gates to tomorrow.” Those words easily describe André Tchelistcheff’s own triumphant struggle: if we now stand in tomorrow, it is because we have walked through the gates André opened for us what seems like just yesterday.
In the Spring of 1969, Roy Andries de Groot, who turned to wine- and food-writing when he became blind, was sent to California by Esquire Magazine to write about the state’s wines, on the 200th anniversary of Junipero Serra’s planting of wine grapes in San Diego.
de Groot soon realized that what he really wanted to do was what he called his “immense project”: “a Classification of American Wines,” he called it, based on the sort of official hierarchy that had been developed by the French, in the famous 1855 Classification.
(de Groot also went on to classify the wines of the Pacific Northwest and New York State, hence his reference to “American Wines.”)
As he notes in his 1982 masterwork, “The Wines of California,” de Groot had pedigreed precedence for his audacious project. There not only had been the 1855 Classification, but, a century earlier, “in 1755, a first attempt had been made to rank the wines of Bordeaux,” he wrote, followed by another in 1833. So the project was neither as audacious nor as radical as it might have appeared.
Here in California, others have attempted, from time to time, to classify the state’s wines into quality tiers. Perhaps the most controversial has been Jim Laube’s 1989 book, “California’s Great Cabernets,” in which the Wine Spectator writer rather self-consciously established five “Growths” (just like the 1855 Classification), which he populated with dozens of wineries functioning at that time. It was a worthy effort—but one doomed to failure, as California, unlike staid Bordeaux, was in the process (and still is today) of sprouting new wineries like mushrooms after an Autumn rain. When Laube wrote his book, for instance, there was no Screaming Eagle, Harlan, Dalla Valle, Verite, David Arthur, Jarvis, Araujo. The book was destined for obsolescence even before it was published. (It does, however, remain an interesting read and is important as an historical document.)
de Groot established, not five, but four tiers in his classification, although he did not numerically denote them but instead used the adjectives “Great,” “Superb,” “Noble” and “Fine,” in descending order of quality. (The only wineries he put into the “Great” category were Heitz, Schramsberg and Stony Hill.) But, just as Laube’s book of seven years later was condemned to early obsolescence, so was de Groot’s, and for the same reason. As we look at his list today, we’re struck, not only by the non-inclusion of so many wineries that simply didn’t exist in 1982, but by others that were functioning at that time, but no longer are, or that continue to exist, but not at a very high level. The list, then, is sadly out of date, although like Laube’s book, “The Wines of California” makes for good reading.
I doubt that any wine writer will ever again attempt such a hopeless task as classifying the wines of California! But then, in this modern era of, say, the last 30 years, the public doesn’t need an official list. That task has been taken over, in practical effect, by critics. Can there be any question that California Cabernets and Bordeaux blends have been unofficially ranked already, through the reviews of Robert Parker, Wine Spectator and others? This ranking has the appearance of mathematical precision because it’s based on scores of the 100-point system. Thus, in order to determine the placement of any winery in the critical classification, all you have to do is look up its scores over the years, and that will determine its position in the hierarchy. Before you object that this is a pretty flimsy basis, remember that the 1855 Classification itself—which we all hold so dear—was based in part on the prices the wines had historically fetched. Since today, price and score are irretrievably intertwined, it’s not ludicrous to base a wine’s placement by its score: the highest-scoring wines will generally be the most expensive (although the opposite is not always the case!).
There’s one huge, qualitative difference, however, between an official classification, like that of 1855, and the unofficial one created by scores. The former can never change, or does so only agonizingly slowly (Mouton-Rothschild, originally a Second Growth, was not elevated to First Growth until 1973.) But the latter, unofficial classification is constantly morphing, as wineries come into and fall out of favor, reflected in their scores. The critical classification, then, has the advantage of a built-in resilience that makes it more adaptable to change and thus more descriptive of reality, as well as more useful. A critical classification can never become obsolete, by definition.
Where things get sticky, of course, is with the proliferation of critics. In 1855 the French had a single committee to make their classification. There was nobody to challenge it (although disgruntled proprietors always have complained about their placement). Twenty years ago we had only a tiny handful of critics to make their de facto classification, and few if any dared to challenge them. Today, everybody’s a critic. This is why we have the phenomenon of multi-source rating compilers, like CellarTracker, where consumers can track reviews from multiple sources side by side for the same wine.
What I find fascinating about the new order, with its proliferation of voices and the coming of age of a younger generation, is how impervious to change the old perceived hierarchy remains. In Bordeaux the First Growths still rule. In California, the Harlans and Screaming Eagles remain at the top, although they may have had to allow some room for a few other aspirants. Something about wine—or, rather, the way we perceive it—is remarkably conservative. I wish I had a time machine and could see what the top wines are fifty years from now. For some reason, I doubt if I’d be surprised.
In their splendid new book, The World Atlas of Wine (which I am devouring), Hugh Johnson and Jancis Robinson devote all of two paragraphs to Paso Robles (which Wine Enthusiast just declared our Wine Region of the Year). That is not near enough–for such an emerging region –and those two paragraphs could have been written ten years ago, for all the reader knows, because the information is so out of date.
The only Paso wine companies the authors name are Constellation, Treasury and J. Lohr, east of Highway 101. As for west of the Freeway, the only winery mentioned is Tablas Creek. This is what I mean by my “ten years ago” remark. Is it surprising that the only winery on the West Side the two Brits would think to mention was started by the Perrin family, of Chateauneuf-du-Pape?
I’m not bashing Jancis and Hugh so much as pointing out the difficulties of writing a coffee table book that purports to report the latest information on the wines and regions of the world, when the authors really have not kept abreast of what’s actually happening on the ground. This is always a challenge for the wine writer who’s a generalist, as opposed to a specialist (like me), who focuses on a single region. No one approach is perfect–but the Atlas’s sadly out-of-date reporting on Paso Robles (a region I happen to know quite well) makes me wonder about the accuracy and timeliness of the book’s reporting on other regions.
Jancis and Hugh did write a sentence that hints at what’s happening in Paso: “Paso Robles has earned a reputation for its array of blended reds and blends of Rhôn-ish whites…”. That is accurate–but I wish they’d gone into a little more detail. As I’ve written frequently the past few years, Paso Robles is creating the most innovative and stylish blends in California, and I wish they had singled out for mention (if not praise) some of the smaller, exciting wineries in Paso Robles. I finally wish they had moved beyond the stereotyped “east of Highway 101 is decidedly hot” producing wines that are “fruity, though hardly demanding” meme. If all you’ve ever tasted are the mass-produced wines of the east (and there are plenty of them) without checking out smaller wineries, like Vina Robles, then you’re not current on developments. While it’s true that the “Templeton Gap” influence, which brings cooler maritime air to western Paso Robles, grows weaker as it approaches the 101 Freeway, the cool air doesn’t just stop there. And in cool vintages, the east can actually excel over the west. And how about some mention of Gary Eberle in the Atlas? He’s east of the Freeway and producing fine wines.
Look, Paso Robles is soon likely to be sub-divided into 11 distinct AVAs. We have got to get over this simplistic east-vs.-west mentality. Things are a lot more complicated than that, and Paso Robles is a lot more exciting than the Atlas makes it sound.
If I see one more report of a “global wine shortage,” I’m gonna hurl.
It all started with a report from Morgan Stanley, the big investment bank, that “Global wine consumption has been on the rise almost without interruption…since the late 1990s,” while at the same time, “World production hasn’t managed to keep pace.” Next thing you know, every news outlet in the world is screaming that the sky is falling. My in-box has been filled with such reports, thanks to Google Alerts. Here, for instance, and here, and here, and here.
The Morgan Stanley report went viral, instantly, but does it hold water? My first reaction, yesterday, was not to believe it: California, which still supplies the lion’s share of wine to the U.S., had its biggest crop ever in 2012, and 2013’s harvest apparently also will be a large one. (We don’t have the details until the Dept. of Food and Agriculture issues its Crush Report next year.) And, this just in: In Washingron State, the 2013 harvest will be the biggest ever.
My skepticism also was fueled by my increasing suspicion of “news” on the Internet. Reporters eager to file deadlines rush to embrace findings from “authoritative” sources, and Morgan Stanley certainly seems like an authoritative source, doesn’t it? And yet we’ve seen all too often how “authoritative sources”, including–gasp!–banks, sometimes get things wrong. (Ever hear of sub-prime mortgages?)
Then lo and behold, Thursday morning’s San Francisco Chronicle had a front page article in the print edition on the subject. The online version was headlined “Experts dismiss prediction of global wine shortage.” Here it is.
In it, the paper’s reporter, Stacy Finz, cited numerous people holding important positions in the wine trade, banking and analysis, each of whom said, in effect, that the Morgan Stanley report is twaddle. Go ahead, read Stacy’s article.
The dangers of mindlessly embracing every new report or study without subjecting it to proper journalistic scrutiny are obvious. A local ABC News affiliate in reaction to the report ran this online article suggesting that wine lovers “might want to start stockpiling your favorite bottles.” Forbes picked up on this and wondered if the looming “shortage” doesn’t “present a good investment opportunity.” Next thing you know, here’s the L.A. Times, parroting the warning: “You may want to start stocking up now.”
It’s like that old party game of telegraph, where one person whispers something in someone’s ear and then, ten people later, the message is total gibberish.
Don’t get me wrong: I’m not disputing that there may be some upcoming shortage of wine in the future. Just last May, I blogged about similar reports that were surfacing about global shortages. However, as one of my esteemed commenters–the Hosemaster of Wine himself–wryly noted at that time, “isn’t there a shortage every ten years or so?”, the implication being that perhaps, just perhaps such dire predictions of shortages might benefit certain parties who stand to make more money if people start hoarding and prices rise. Who could such parties be? Hmm.
What troubles me about this latest feeding frenzy of media speculation is what has long bothered me about the Internet: “news” spreads virally around the globe and is routinely accepted as true by lazy reporters who then in turn are cited by even lazier bloggers, ad nauseum, until everybody believes it, except for the inconvenient fact that It may not be true. And if it’s not? Nobody’s going to come back in two years and accuse Morgan Stanley of getting their facts wrong. And even if someone did, I’m sure Morgan Stanley wouldn’t care.
The new wine books have been piling in all summer long. I’ve finally been able to get a handle on them, so here are my mini-reviews.
Hugh Johnson’s 2014 Pocket Wine Book, $18. Now in its 39th edition [!!!], this handy little guide–the “pocket” means it will fit into the back pocket of your blue jeans–has been educating wine lovers since 1977. I still have my original ’77 edition. It was a book I loved and treasured. The 2014 is easily twice its size, and probably won’t fit into anyone’s back pocket anymore. But it will be a good friend to a new generation of wine lovers.
The Book: Why the First Books of the Bible Were Written and Who They Were Written For, $17.95 soft cover. Michigander Allen Wright brings an academician’s eye to this easy-breezy account. I don’t think there’s much new here, but if you’re a history and/or religion buff, it makes for pleasant reading.
The Barefoot Spirit: How Hardship, Hustle, and Heart Built America’s #1 Wine Brand, $15.95. Barefoot founders Michael Houlihan and Bonnie Harvey reminisce about their little startup company that went on to become a powerhouse brand and was subsequently acquired by E&J Gallo. The book will appeal to brand-builders, marketers and P.R. types more than it will to the average wine buff.
Extreme Wine: Searching the World for the Best, the Worst, the Outrageously Cheap, the Insanely Overpriced, and the Undiscovered, $24.95. Economist Wine Veseth is well known in the wine blog world for his interesting, if sometimes quirky, analyses of wine and economics. This is his personal take, covering everything from celebrity wines and critter wines to Antinori.
Postmodern Winemaking: Rethinking the Modern Science of an Ancient Craft, $?. Clark Smith is a winemaker, writer and academic. His hard cover book is a good read, filled with technical minutiae on the buzziest topics, including micro-oxygenation, flavanols, soil profiles, reverse osmosis and a few well-timed digs at “bullshit” in marketing.
Sonoma Wine and the Story of Buena Vista, $34.95. Napa wine historian Charles L. Sullivan wrote this fascinating account of the rise of California’s oldest winery (now owned by Jean-Charles Boisset) and its flamboyant founder, the Hungarian “Count,” Agoston Haraszthy. The book is filled with fascinating tidbits spanning the period 1783 to today.
Wine Marketing Online: How to use the newest tools of marketing to boost profits and build brands, $29.95. New Zealander Bruce McGechan is a true believer in the power of the Internet and social media to move cases. He explains how, in this geeky tome, which can sometimes be a little obscure and hard to follow. But there’s plenty of useful stuff.
The World Atlas of Wine, $55. If there’s one wine book you buy this year, either for yourself or as a stocking-stuffer, make it this grand, hard-covered coffee table work of art. Penned by two of the world’s most famous wine writers, Hugh Johnson and Jancis Robinson, it’s worth the price for the maps alone. Johnson, of course, has been exploring this venue since 1971; I still have his 1977 World Atlas of Wine, a book I devoured and still turn to. Robinson joined up with him several years ago. For sheer beauty, precise writing and, again, those gorgeous maps, it’s a keeper, even if the capsule descriptions of wine regions can sometimes seem a little abbreviated.