At our weekly tastings at Jackson Family Wines, we’ve now finished with West Coast Pinot Noir and are ready to tackle Chardonnay.
I started Pinot many months ago with a roundup of wines from Santa Maria Valley. After that, in order going northward, came Santa Rita Hills, San Luis Obispo (Edna and Arroyo Grande valleys), Monterey County, the Santa Lucia Highlands and Chalone, the Santa Cruz Mountains, Carneros (both Napa and Sonoma), Russian River Valley, the “true” Sonoma Coast, Anderson Valley and, finally, Willamette Valley.
What did I find after this intensive tour de force?
All West Coast Pinot Noir is more alike than not. This is not to discount variations in alcohol level, ripeness and so forth; merely to ascertain that Pinot Noir, made competently in California and Oregon, has a character of delicacy, soft tannins, bright acidity and a juicy berry-ness that persists through changes in terroir and winemaking technique.
Still, there are broad differences. To me, Santa Maria Pinot Noir is characterized by black and blue fruits, brown spices, acidity and minerality. Santa Rita Pinot is balanced and complex, also with acidity but somehow more generous when young. San Luis Obispo Pinot can be variable: Edna Valley has varietal purity, Arroyo Grande ageability, in the best cases. Monterey County-appellated Pinots are simple but can be good values. Santa Lucia also is variable, depending on north or south; the wines are full-bodied and dense. Of Santa Cruz Mountains Pinot Noir, it is difficult for me to judge, since there is so little, and what there is is scattered over vast differences of terroir. Carneros Pinot Noir is earthy and minerally and sometimes soft; newer plantings are helping to increase quality. Russian River Pinot Noir is another case study in difficulty of specificity, since the appellation is so broad. In general, it is rich and balanced, often veering towards cola, sassafras and winter fruits (persimmons and pomegranates), and the best are classic. Sonoma Coast Pinot Noir is just beginning to declare an identity, and what a glorious one it is: wild, feral and intricate, and, at the top levels, spectacular. Anderson Valley possibly triumphs over all its southern neighbors in sheer balance and harmony, especially in great vintages, like 2012 and 2013; but there is so little of it, quantity-wise. Up in Oregon, Willamette Valley Pinot, equally as vintage-driven as Anderson Valley, is the most “Burgundian” of American Pinot Noirs, with earthy, mushroom and tea notes. My most recent tasting of them blew me away. Anyway, what an exciting six months this has been for us tasting freaks!
And now here comes Chardonnay. I’ll round the wines up in the same south-to-north geographic order, starting again with Santa Maria Valley. How do I chose which wines to include in our tastings? It’s purely arbitrary, although there is a method to my madness. Since I can’t have every wine from each appellation, I have to pick and choose. My first parameter for choosing is my own experience: I select wines I’ve reviewed for many years and have given good scores to. I’m also interested in wines I haven’t tasted (at all, or recently), if a publication I regard gives them good scores. For example, the October 2015 issue of Wine & Spirits has a “Year’s Best Chardonnay” section that will give me some guidance. Many of these wines are not available on the current market, but I keep my fingers crossed and hope that, when I call the winery and identify myself, I have just enough name recognition remaining (after being largely out of circulation for 1-1/2 years) to wangle myself a bottle.
Since I’ve been doing a lot of phone and website ordering of wines lately, I’ve encountered an aspect of the direct-to-consumer experience that I wasn’t very familiar with. Critics mainly depend on tasting samples being sent to us, which means we don’t have to hit the telephone and the Internet the way “ordinary” consumers do to buy wine. I must say that, by and large, the DTC system works quite well. Most wineries seem to use the same software (shopping carts, proceed to checkout, etc.), and it’s really easy and intuitive to use. The main problem is wineries who, deliberately or through ignorance, make it almost impossible to get in touch with them. There have been one or two instances where the phone tag got so severe that I gave up trying to obtain the wine. Why would a winery make it so hard for me to buy their wine? It is a mystery.
One other frustration: The rules concerning sending wine, even in-state here in California, are confusing when it comes to the details of how UPS, FedEx, GSO and other shippers work. I’m sometimes told that FedEx and GSO will not deliver wine to me at my local UPS Store—even though they have been doing just that for years. Some wineries tell me they’re not allowed to send wine overnight. What’s up with that, if I’m willing to pay for it? These rigidities all are the residue of Prohibition, that stupid “experiment” when alcoholic beverages were considered “demons” and their transport within the country was made almost impossible.
Anyhow, on to Chardonnay, still #1 in America after all these years. There’s a rumor going ‘round that says vintners are making it more “balanced.” That means, I suppose, picking it less ripe. That’s fine, but the risk is turning Chardonnay into a lean, green machine, instead of the opulent wine I, and most other people, like. As usual, it’s a balancing act.
TO ALL OUR FRIENDS WHO ARE SUFFERING FROM THE VALLEY FIRE: This is truly awful. Our hearts and prayers go out to you.
In anticipation of our tasting this Friday of wines from the “true” Sonoma Coast, I’ve been going over in my mind my understanding of this American Viticultural Area, which was declared an A.V.A. in 1987.
That was 28 years ago, but I don’t recall the controversy surrounding it until sometime in the late 1990s, when people began to point out that, at 480,000 acres, and stretching from the Pacific beaches to the Napa County line, it was not only one of California’s larger appellations—bigger than Napa Valley or the Santa Cruz Mountains—but containing so many different climates that to call it a single appellation was senseless.
Conventional wisdom was that the Sonoma Coast A.V.A. was pushed through and largely paid for by a single individual, who wanted to be able to label his Pinot Noirs and Chardonnays with something other than Sonoma Valley. Although the Sonoma Valley A.V.A. extends right down to Carneros, the popular view is that it’s a warmish to hot place, which, northwest of Sonoma Town and along the Valley of the Moon highway, it is.
There have long been a handful of vintners, though, who chose to grow grapes along what eventually became known as the “true” Sonoma Coast: an area just a few miles inland from the beaches, encompassing the first two or three mountain ranges. The unrest caused by the gigantic Sonoma Coast A.V.A. eventually grew so fierce that, in 2012, the government was compelled to recognize Fort Ross-Seaview as a sub-appellation of Sonoma Coast. At a mere 27,500 acres, most of it wildland. Fort Ross-Seaview represented an intelligent approach to detailing Sonoma Coast, one that I entirely supported. When it was finally approved, I was hopeful that additional “true” Sonoma Coast appellations would follow. Annapolis, in the north, seems logical. So does Freestone in the south, and possibly Occidental, although who knows what the names will be, because these things require agreement amongst warring parties, and the names often are compromises reached through lawyerly negotiations.
For me, the question concerning the “true” Sonoma Coast is, What are the differences between, say, Annapolis in the north, the done deal of Fort Ross-Seaview, and points south, whatever they’re called? It can’t be as simple as temperature, because if anything, the south is cooler, being closer to the Golden Gate; and elevation plays a crucial role on the far coast, with vineyards in the north higher up in the mountains, and thus above the fogline and more exposed to the intense solar radiation.
It will take us many years to really figure out the “true” Sonoma Coast. I hated the original appellation because it was so huge and amorphous, but I will give it credit for sparking the imaginations of writers, many of whom thought the only credible place for Pinot Noir in Sonoma County was the Russian River Valley.
The far Sonoma Coast is, and always will be, a place only the wealthy can afford to plant vineyards. I think the days of pioneers like Daniel Schoenfeld (Wild Hog) and Ehren Jordan (Failla) are gone. But I also reject the contention that major players, like Joseph Phelps, Jackson Family and Jayson Pahlmeyer, cannot succeed, with diligent and thoughtful approaches. The far coast, more than any other Pinot Noir region in California, will be a testing-ground for winemakers who aspire to greatness and are willing to gamble with disappointment. This is grapegrowing at its extremities, where an off vintage, much less a winemaking mistake, can result in catastrophe.
Sauvignon Blanc is one of those grape varieties that seems to benefit from judicious blending from multiple sources in California. Cool-climate Sauvignon Blanc can be audacious and savory in gooseberries, with a touch of pyrazine that can be too green for many people. Warm-climate Sauvignon can have delicious tropical fruit flavors but be a little candied. Either, by itself, can have limitations, especially in an off-vintage; but blending them together seems to smooth out the divots. While it’s true that some of my highest-scoring Sauvignon Blancs ever were Mondavi Tokalons, this is a rare exception in California; Sauvignon Blanc in our state veers towards the ordinary, and it takes some great grape sourcing and careful blending to come up with a serious wine.
Pinot Noir, on the other hand, is considerably more interesting as a single-vineyard wine. I’m not sure why, other than to trot out the usual theories of site-specificity, thinner skins and terroir transparency. Perhaps psychically we’re more forgiving to a slightly flawed Pinot Noir from a vineyard. I used to wonder why a great Pinot Noir couldn’t be a blend of, say, Santa Rita Hills and Anderson Valley. It can in theory, of course, but while I’ve experienced many, many very beautiful blended Pinot Noirs, the wine always seems more interesting and complex when the grapes are from a single vineyard.
Then there’s Cabernet Sauvignon. I’m tempted to say it, too, wants to be from a single vineyard, but there are so many interesting, great Cabs that break that rule. I, personally, am a huge fan of Cardinale, which is a blend of various vineyards in Napa Valley. Yes, I work for Jackson Family Wines, but I didn’t when I gave the 2006 100 points, and I’ve never had a Cardinale I didn’t find dazzling. So I can’t say that Cabernet has to be from a single vineyard to be world class.
I think Zinfandel is probably best as a vineyard-designate, although it has to be a super-great vineyard, well-tended, and, if possible, old vines. As for Chardonnay, I’m divided on that one. It’s such a winemaker’s wine (barrels, malo, lees) that the sourcing doesn’t seem like it should matter, as long as it’s from a cool climate. And yet, as I look over my Wine Enthusiast reviews, I notice that my highest Chardonnay scores were reserved for single vineyard wines: Failla 2010 estate, Williams Selyem 2010 Allen Vineyard, Rochioli 2010 South River Vineyard, Dutton-Goldfield 2010 Dutton Ranch Rued Vineyard, Ramey 2012 Ritchie Vineyard, Flowers 2011 Moon Select, Shafer 2009 Red Shoulder Ranch.
There’s something intellectual about a single-vineyard wine, especially if you’ve been to the vineyard, walked it, had it explained to you by the winemaker or grapegrower. The Allen Vineyard, for instance, is such a distinctive place; every time I have an Allen Chardonnay or Pinot Noir, I imagine that particular place, the slight slope, the vineyard tucked up against the hills to the west, Westwide Road on the east, and the Russian River just on the other side of Rochioli. It’s a “sweet spot,” midway between the chill of the southern valley and the warmth of Dry Creek Valley, a lovely corner of the Russian River Valley that I hope will someday be appellated as The Middle Reach.
The market, of course, rewards single-vineyard wines. I can’t prove it with data, but I bet if someone crunched the numbers, they’d find that single-vineyard wines are more expensive, on average, than blended wines. I think that a winery that produces a single-vineyard wine as a very special bottling, superior in their view to their blended wines, is in the catbird’s seat, but you can’t simply assume that a vineyard-designated wine has special properties. I’ve had plenty of sad vineyard-designated wines; some have been horrible. So you never know; you have to taste the wine. Consumers want assurances, but there are none in wine. Every rule has an exception.
When is it time for a winery to “offload” underperforming brands?
It happens. You’ve had a line, or SKU, in the market for years, but for some reason, it’s never gained traction. So the hard decision must be faced: Is it time to pull the plug on Grandma?
This is the situation Treasury Wine Estates is facing. The Australian company, which lost more than $100 million in 2013-2014, has brands “that [are] not a priority and may be retired [or] offloaded,” according the industry publication, The Drinks Business.
This can never be an easy decision for a big company like TWE. Companies love all their brands, the same way parents love all their children. You can’t throw an underperforming child under the bus, of course, but companies aren’t families, they’re business; and sometimes, “retiring non-priority brands”, or repurposing them in some way, is the only way to stay healthy.
* * *
Does this shock you? It shocks me. “One in four bottles of Californian Pinot Noir and Chardonnay have been through the industrial alcohol removal process supplied by ConeTech in the past year.” That’s another report by The Drinks Business, which adds that the spinning-cone process of lowering the alcohol content of wine is more popular than ever because “winemakers would rather take out alcohol from a ripe wine than risk creating lighter, possibly greener wines from harvesting earlier for naturally lower abvs.”
Well, as Dana Carvey’s character, The Church Lady, used to say on Saturday Night Live, Isn’t that special?
I’ve written before that I don’t mind some technological intervention to produce sound, clean, drinkable wines. These are what Americans want. Critics denounce them as Franken-wines, but to me, that just seems derogatory and mean. Besides, the truth is, since this de-alcoholization is done secretly, no one can ever know just which wines have passed through the spinning cone, so before you give such a wine 96 points and then have to appear foolish when someone outs you, restrain thy criticism.
However, I will venture to say that winemakers are resorting to this somewhat risky procedure because the public drumbeat against higher-alcohol wines has reached such a fever pitch that they feel they have no choice. Many of them, themselves, probably hate themselves for doing it—for giving in. Some of them may be under orders to do it, by the people who sign their paychecks. It’s hard for me to believe that any winemaker willingly and happily sends her wine to the spinning cone.
Speaking of those “greener wines” that are the potential result of picking early—which is the natural way to produce lower-alcohol wines—I’ve tasted some of them at big Pinot Noir tastings, and they’re dreadful. Well, I suppose if you like dried oregano, mint and green tomatoes, they’re all right, but if you prefer cherries and raspberries (which I do), you’ll be disappointed.
Thus we find ourselves staring directly at the schizophrenia running through our modern California wine business. The bullet quote in The Drinks Business article is this: “The consumer preference is for riper style wines, with juicy fruit, but consumers want this with more moderate alcohol levels.” Someone should politely tell consumers you can’t get ripe fruit without high brix, which in turn translates into healthy alcohol.
But that’s not a message that consumers want to hear, and so producers—caught between the proverbial rock and a hard place—increasingly are turning to the spinning cone. And if California goes back to a series of warm vintages, like we used to have, we’ll see even more wines spun out.
It must drive some winemakers crazy to hear that two-thirds of younger wine drinkers (ages 25 to 40) in America are mixing their wine with fruit juice, that nearly half are making club soda-based “cocktails” with wine, and 46% actually add ice to their vino!
Those are some of the findings from a new consumer survey by E&J Gallo on “the current state of Americans’ wine drinking attitudes and behaviors.”
Things might not be as dismal as those anecdotal tales of Chinese pouring Coca Cola into their Lafite or vice versa, but a hard-working winemaker who has studied long and hard figuring out how to create wines of terroir cannot be blamed for tearing her hair out when she learns that a 20-something is mixing her Chardonnay with an orange-peach-mango drink from Safeway.
Well, that’s kids for you! I, myself, have done all the above: on a hot summer day I’ve been known to make a wine cooler, even to the extent of adding a couple ice cubes from the freezer. I’ve put sparkling water into red wine on occasion, and thoroughly enjoyed the results.
It sounds sacrilegious, but why should we not feel free to fiddle with our wine? We paid for it, it’s our appetites we’re whetting, and there’s no law that says you can’t. After all, you can go to the finest restaurant in the world, and still feel that your food needs a little more seasoning. That’s not a criticism of the chef, it’s just personal preference. Nobody thinks twice about adding a little freshly-ground pepper to Thomas Keller’s sweet corn velouté, do they? What’s the difference between that and putting a splash of fruit juice into your wine?
I guess the bottom line is that we should all chill about wine more than we do. We get so uptight and fussy about it, no wonder wine seems like a huge and risky puzzle to so many people. I like this statement from the Gallo study: “Unlike previous generations, [younger wine drinkers are] seemingly unbound by traditions that have often governed wine.” That’s just fine with me. I love the good traditions behind wine—the history, the culture, the magic of food-and-wine pairing, the way wine encompasses so many aspects of human knowledge—but there really is some silly baggage we should jettison, and one of the silliest is the utter seriousness, amounting almost to an autopsy, that accompanies some aspects of wine appreciation, especially at the high end.
Anyway, lest winemakers despair that their art and craft is being sluiced away by juice, take comfort: I think the Gallo findings are probably exaggerated. It may be true, as the study says, that 66% of younger drinkers mix fruit juice with their wine, but I doubt very much that they do it all the time, or even most of the time. Probably, they do it a little bit, same as I do. If someone had asked me “Do you ever mix fruit juice with wine?” I would have answered “Yes,” and then hoped they’d follow up with, “How often,” to which I would have replied, “Not very much at all, and only when it’s hot.” I suspect that most wine drinkers buy and drink wine for the reason people always have: Because wine is damned good, in fact irreplaceable, all by itself.
- 9 of the 12 Chardonnays have alcohol below 14%
- 13 of 16 Other Whites have alcohol below 14%
- 8 of 9 Sparkling Wine, Rose and Others have alcohol below 14%
- 18 of 23 Pinot Noirs have alcohol below 14%
Did these wines make the cut because they really are the “top” wines of the vintage, or because the alcohol is low, which is where Wine Editor Jon Bonné prefers it to be?
Jon did select numerous Cabernet Sauvignons, red Rhone-style wines, Zinfandels and Other Reds that have well above 14% alcohol, but I suppose that’s because he had to include those varieties on his list, and for the most part, those grapes just don’t make good wine unless the brix is elevated enough to produce wines in the 14%s and even approaching if not exceeding 15%.
I’m simply puzzled. There are so many great Pinots and Chardonnays out there that don’t fit Jon’s restricted mold. And what’s up with that Calera 2012 Central Coast Pinot that made the list? At 14.6%, it’s easily the highest-alcohol Pinot of Jon’s bunch, but it certainly isn’t a Top 100 Wine of the year. I reviewed it last March 1, just a week before leaving my job at Wine Enthusiast, and gave it 86 points. It’s just what you’d expect: Not Josh Jensen’s top Pinot, not anywhere close to it, but his least expensive ($26), a nice everyday sipper that’s a blend of multiple vineyards along the Central Coast. (I think Josh must be praising the Gods of Caprice for that one!)
Haven’t we ridden this low-alcohol train about as far as it can usefully take us? There’s something fundamentally mashugana about it. I use the word “mashugana,” which is of Yiddish origin, deliberately, for in my version of street parlance, it means, not just “crazy,” but nonsensical. For it’s nonsensical to demand that California wine be picked underripe, just to satisfy the intellectual inclinations of a small band of adherents.
Jon himself seems not to sense the inconsistencies in his approach. In his introduction to the Top 100 article (after mentioning he’d hung out recently with Steven Spurrier), he tells us that, back in 1976, California wine “was as good as French” (a fact obvious to anyone after Cali wine swept the Paris Tasting). Then he adds that, whilst in London, “Our [i.e. California’s] wine promise was again unmistakable.” In fact, repeating a theme he’s held for some years, he trumpets “This is a golden moment for American wine,” which presumably means California wine, or certainly West Coast wine, “which is the scope of our annual Top 100 Wines.”
Well, if California wine was great 38 years ago, and has been in a “golden moment” for the few years that Jon’s been praising it, are we then to assume that between 1977 and 2008 or 2009, California wine was bad, unbalanced, irregular? I don’t think any credible person could claim that. Certainly our wines are wonderful now (the best really are world class), but they were wonderful in the 1970s and 1980s (when I started paying attention to them) and they were wonderful in the 1990s and 2000s (when I was paid to review them). They were wonderful through the second week of March of this year, when I left my old job, and they’re wonderful now, although I will confess I no longer taste as widely as I used to nor as broadly as Jon. But how much can have changed since last March? I would say California is in a golden century, not just a moment.
It takes, I think, a special form of mental jujitsu to dismiss higher-alcohol California wine, as Jon does, and then to come out with a statement like “Eight years ago, it would have been hard to imagine a wine like the 2013 Lo-Fi Cabernet Franc,” a wine that made Jon’s list. Well, it took me all of 40 seconds to go to my database and find Jonata’s 2007 El Alma de Jonata Red, a wine that is largely Cabernet Franc. I gave it 96 points, and while I don’t know precisely what the alcohol was, I really don’t care, either. And how about Lang & Reed? Great Cab Franc house, and has been for years. I could also mention Merryvale, Pride Mountain, Jarvis (both the estate grown and Will Jarvis’ Science Project), Peju, Constant and La Jota. All great Cab Francs. There was a Niebaum-Coppola 2002 Cabernet Franc that was so good, I still remember it. But perhaps Jon never tried it; he only arrived at the Chronicle in 2006.
I don’t mean to pick on Jon or anybody else. Shortly after he came to the Chronicle, I invited him to dinner, because I thought we Bay Area geeks should all be friends. He’s a perfectly nice guy. But I just don’t get this addiction to below 14% wines. Blind tasting clearly is the way to figure out what’s really going on—just ask Raj Parr and Adam Lee, if you know what I mean and I think most of you do. (Hint: World of Pinot Noir, 2011.)
If the Chron’s tasting panel really were tasting blind, their list wouldn’t be so heavy on the under-14% wines. It’s just not fair to be so harsh against all the others. I thought critics weren’t supposed to let their personal preferences affect their reviews. Have times changed?