I did my first big event for Jackson Family Wines yesterday, and I think it went pretty well. Despite a downpour, we had a full house. It was on the wines of the Santa Maria Valley, especially Pinot. I didn’t want it to be a JFW thing, so I asked my dear friends Dieter Cronje, from Presqu’ile, Chris Hammell, from Bien Nacido, Dick Dore, from Foxen, and James Ontiveros, from Native9 and Alta Maria, to participate, along with Denise Shurtleff (Cambria) and Jonathan Nagy (Byron).
Everybody did such a great job; I’m so proud of them. The idea was to give gatekeepers—somms, bloggers, writers, restaurateurs, merchants—a better idea of what the Santa Maria Valley is because, frankly, in my opinion, people don’t fully understand it. That’s because it’s fairly isolated and hard to get to, without great restaurants or hotels, and the valley floor is more about row crops than winegrapes. But, oh, the terroir is perfect on the benches and hillsides for Pinot Noir, Chardonnay, Syrah and other cool-climate varieties, as our tasting amply demonstrated.
The temperature warms up a degree or two with every mile you go inland in this west-east-running valley (courtesy of the transverse deforming action of the San Andreas Fault), so it was fascinating to taste the Pinot from the westernmost area, Presqu’ile, compared to the Pinot from the easternmost area, Byron, and everything inbetween. Sometimes, data actually verify hunches, and in this case, the data beautifully illustrate this temperature gradient. Check it out, from west [cool] to east [warmer]:
Presqu’ile [westernmost]: alc. 13.2%
Fermentation: 100% whole cluster
Native9 [very western]: alc. 13.5%
Fermentation; 100% whole cluster
Bien Nacido (central): alc. 13.7%
Fermentation: partial whole cluster
Foxen Julia’s Vineyard (toward the east): alc. 14.2%
Fermentation: 100% destemmed
Cambria (toward the east): alc. 14.6%
Fermentation: 100% destemmed
Byron (easternmost, warmest): alc. 14.4%
Fermentation: 100% destemmed
Alcohols go up as you travel to warmer inland areas. As for the fermentation, the Presqu’ile and Native9 winemakers felt the wines could benefit from the added tannins and body of stems, whereas the inland winemakers felt their wines were full-bodied and tannic enough to not need stems. Right in the middle is Bien Nacido, where you get partial whole cluster.
Isn’t that pretty? Such a sweet illustration of the way climate impacts winemaking decisions. And yet all the wines, in my opinion, showed a distinct Santa Maria Valley character: Spicy. Silky tannins. Great fruit, running towards the red: pomegranates, cherries. Great balance and complexity, as well as dryness. And great ageability. Afterwards, we had a library tasting, and the oldest bottlings, dating to 1997, were superb, among the best California Pinot Noirs I’ve ever had.
I ran into a few diehard somms who would never sell anything in their restaurants besides Burgundy, and that’s just fine, it’s a free world. But really, this was a sensational tasting, one of the best I ever went to. I wish you could have been there. We had it at Republique restaurant, on La Brea in L.A., which is on the site of the old Campanile, a restaurant I enjoyed ages ago. Chef Walter Manzke prepared some small plates to enjoy with the older wines, and that food was uncannily good. I’m still thinking about it.
Afterwards a group of somms and I hung out in the front of the restaurant, talking about cocktails. I do like a good vodka gimlet. But I have to say, in all sincerity, these Santa Maria Valley Pinots are awesome, from a cru as great as any in California, even if it doesn’t get the love of Santa Rita Hills or Russian River Valley. Maybe it will now start to.
See you tomorrow!
When it comes to coastal California Pinot Noir, we make much of the distinctions of terroir (“we” being the wine media, some winemakers and everyone else involved in this rather arcane conversation).
We know the regions we celebrate: Russian River Valley, Sonoma Coast, Carneros, Anderson Valley, Santa Cruz Mountains, Monterey County, San Luis Obispo, Santa Maria Valley, Santa Rita Hills and so on. We say (and may actually believe) that each region is unique. If this were not the case, then what difference would an appellation of origin make, anyway? If each of these regions is not truly different, the only thing we’d concern ourselves with would be the reputation of the winery and the quality of the wine.
But of course they’re different. Aren’t they? Anyone classically educated in Burgundy understands that Chambolle-Musigny is “feminine, elegant,” Vosne-Romanée “deep, rich, velvety but not heavy.” Gevrey-Chambertin is “masculine, complex and long-lasting;” Echézeaux “close-knit and elegant.” (Descriptions are from Michael Broadbent.) To expect anyone who loves California wine not to transfer these templates to California—in Californian-ese–is, frankly, magical thinking.
And so we insist that the Pinot Noirs (and Cabernets, and Zinfandels, and Chardonnays, and so on) from our different AVAs must be different; and, when we discover (if we do) that they indeed are, we feel content and justified. To discover that the world is the way you expect it to be, is a verification of our moral and intellectual good judgment. Life is good, when you can make sense of it according to your own terms. Without that sense-making, life turns disturbingly chaotic.
And yet, anyone who’s been around for a while will tell you that, when it comes to California wine, things aren’t that simple. It is not always possible to tell an Arroyo Grande Valley Pinot Noir from a Santa Lucia Highlands Pinot Noir, nor for that matter to tell a northern SLH Pinot (Morgan) from a southern one (Pisoni), as has historically been the case for the two Côtes, de Noirs and Beaune. As our grapes get picked riper than they used to, and vintages become warmer, regional distinctions become blurred. (This isn’t to say that picking early is a guarantee of terroir.) It may also be that the much-touted Dijon clones contribute a certain sameness to Pinot Noir. And there’s a standardization of winemaking technique (cold soaking the grapes, new French oak) that also covers or can mask terroir. It can be very difficult even for trained winemakers to discern their own wines in blind tastings—or even to agree on what characteristics their own terroir displays!
Terroir, then, is a conundrum, a paradox. In one sense, it’s a bunch of hokum. In another, common sense tells us it has got to be true. Are grapes not like humans? Someone from the Louisiana Bayou country is going to be a lot different than someone from the South Bronx (me). Where we were born and grew up puts an indelible stamp on us; no matter how much we might subsequently change, our upbringing never leaves us. This is the terroir of humans.
One could prove the truth of wine terroir and end all the discussions forever the following way: You could organize a blind tasting of all the experts. Give them flights of Pinot Noirs, from all of California’s major coastal regions, and ask them to come up with descriptors. Correlate all the findings in a statistically meaningful way. If there is such a thing as terroir, you should be able to tweak out reliable and consistent characteristics from each region. Then repeat the experiment for the next ten years.
But you can see that this is clearly impossible, on practical grounds, if no other; and whatever the conclusions, reputable people would object, and we would have to factor in their objections. We are therefore faced with the limitations of theory. Here, a few quotes are apt:
If the facts don’t fit the theory, change the facts.
The moment a person forms a theory, his imagination sees in every object only the traits which favor that theory.
The next quote isn’t specifically about theory, but it does say a lot about how Californians like to break society’s theories:
I moved to California because it’s a lot freer, you know? You can do what you want to do, and nobody bugs you.
And my favorite:
Before I got married I had six theories about raising children; now, I have six children and no theories.
I’m working on a project where we’re trying to figure out what makes Santa Maria Valley Pinot Noir different and distinct from all other coastal California appellations. I think, in my bones, that it is; I believe I’ve noted those differences, over the course of many years, and can describe them, even if I can’t explain them; and I know for damn sure that the Santa Maria Valley is utterly unlike any other coastal growing region, in climate but perhaps even more in earth. Every fiber in me insists that there’s a Santa Maria character to Pinot Noir. At the same time, for all this certainty, I know the enormity of the challenge in nailing it. Wish me luck.
I’m in Carneros today, visiting one of Jackson Family Wines’ newest estates, Carneros Hills, on the site the former Buena Vista vineyard and production facility on Ramal Road, on the Sonoma County side of that sprawling appellation, just over the Napa line.
Well do I remember the acclaim and hope that greeted Carneros’s emergence as an appellation on the wine scene. Los Carneros (the proper name) wasn’t declared an American Viticultural Area until relatively late, 1987,* by which time its neighbors—Napa Valley, Sonoma Valley, even little Suisun Valley and Solano County Green Valley—already were AVAs. Why it took Carneros so long, I don’t know; perhaps it was because it crossed county lines, which was something the TTB hadn’t encountered before. It’s not as if Carneros was a new place to grow grapes: the Carneros Quality Alliance says wine grapes were first planted there in the late 1830s, and by the 1870s, the first winery had been built.
With the formal creation of the Carneros AVA, the wine media went nutso over its prospects. This was just about the time I became a professional wine writer (although I’d been studying the wine industry and closely following developments in California for a decade prior to that). If I can sum up the general impressions conveyed by the then-famous writers, especially those in the San Francisco Bay Area, it was: At last! America’s (or California’s) “Burgundy” has been discovered! Finally Pinot Noir is being grown in the proper place, and vinified into wine by the proper winemakers! Now we’re going to see some world-class Pinot Noir! (Good Chardonnay, too, but it’s curious that Chardonnay has never “starred” in a California region or, to put it more bluntly, no region in California ever rose to fame on Chardonnay alone, the way Chablis, for instance, or Puligny-Montrachet did, in France.)
The excitement continued through, I’d say, the mid-1990s, but gradually subsided. Other Pinot Noir areas eclipsed Carneros: Russian River Valley (1983), Santa Lucia Highlands (1992), the western part of the Santa Ynez Valley now called Santa Rita Hills (2001), the Santa Maria Valley (1981), Anderson Valley (1983). It’s also curious that, while several of these preceded Carneros in the date of getting appellated, it was Carneros that generated the most excitement among the critical community at that time—at least, in my memory. The reason for that may well have been that wine writing in California in the 1980s and early 1990s was dominated by Bay Area and Northern California critics (it still is, although less so), who naturally would be expected to pay more attention, in those pre-Internet days, to their own back yard than to something far away.
By the early 2000s Carneros had lost much of its luster among that community. The reasons were varied, and had as much to do with law and social custom as with wine quality. One factor that led to the diminution of Carneros’s reputation was that the region, while a large one, simply lacked a critical mass of small, boutique wineries, the result of zoning regulations whose practical impact was that only large, well-heeled wine companies could afford to buy in. (The situation in, say, Santa Rita Hills and Anderson Valley was the exact opposite.) We can argue over whether a large wine company has the will to craft small, artisan wines, or not; but what is unarguable is that the critical community loves small, artisanal wineries, and is prepared to give them more of a break (if you will) than it is to large wine companies—an inequality of treatment that isn’t fair; but it is what it is.
I myself, during my years as a wine critic, had no problem with Carneros. I gave lots of its Pinot Noirs high scores: Etude was one of my perennial faves, as were MacRostie, Donum, Saintsbury’s single-vineyard bottlings, Kazmer & Blaise (the small project from Michael Terrien), Hartford, Signorello and the occasional Acacia. As for Buena Vista, it fared well, but wasn’t exceptional: some scores of 90, 91 and 92 points, but nothing more dramatic. Why that was, is hard to say. The wines seemed unable to push their way through excellence to brilliance. It’s always hard for a critic to discern why this is with a winery; the temptation to yield to simplistic explanations should be avoided. But wine writers hate to say they don’t know everything.
The Buena Vista winery and brand themselves have, of course, undergone vast changes in modern times. Once California’s oldest winery (1857), it went through several ownership switches; I’ve lost track of all the corporate parent companies, although I certainly remember Beam’s overlordship, when the great winemaker (and my friend) Nick Goldschmidt oversaw its production (along with that of Clos du Bois, Atlas Peak, William Hill, Gary Farrell and others). In 2011, Jean-Charles Boisset bought the brand name and the original stone winery, in Sonoma Valley. The next year, Jackson Family Wines purchased the Ramal Road vineyard and production facility, and announced the formation of a new brand, Carneros Hills.
Which is why I’m here today. The company has high aspirations for the estate. It ought to be able to rise to levels unattained in its prior history; the terroir is just fine, and the Jackson family has sunk a small fortune into winery improvements. We’ll have to wait and see how it all turns out.
* I relied upon Wine Institute data for this 1987 date. According to the TTB’s website, the date of approval for Carneros was 1983.
It was 101 degrees in Calistoga yesterday when I left, around 4:30 p.m. By the time I reached St. Helena it was down to 94. Then 87 in Napa city. As I crossed the Benicia bridge, across the Carquinez Straights on the 101 freeway heading back to Oakland, I could see, there in the distance, a huge, glowering wall of dark gray hovering on the horizon. At first it looked like the smoke from a forest fire; but it wasn’t, it was the coastal fog.
Bigger and more looming it grew as I drove south. In Richmond, I entered the maelstrom. The blue sky, the picturesque distance disappeared into the gloom; Mount Tam, to the west, vanished as completely as if it had been wiped off the face of the world. The temperature dropped until it was 65 degrees: nearly 40 degrees lower than when I’d left Calistoga, just 1-1/2 hours before. The fog hung low through Albany and north Berkeley, then evaporated as I got to Oakland, where it was again sunny, and the temperature had gone back up to the mid-70s. This was as beautiful, as classic an illustration of Cailfornia’s summer coastal climate as you could possibly wish for. It’s why northern Calistoga specializes in Cabernet Sauvignon (good Charbono, too), why Carneros is good for Pinot Noir, and why the near East Bay is too cold for any serious grapegrowing.
I’d been in Calistoga for a visit and tasting (of various Pinot Noirs) at Atalon, which is part of Jackson Family Wines’ portfolio. It’s on Tubbs Lane; nearby are Summers, Chateau Montelena, Tamber Bey and others. This is the warmest part of Napa Valley, its northwestern-most pocket, where the cooling influence from the Bay pretty much fizzles out. Bo Barrett once told me that there’s something he calls “the Calistoga Gap”—no, not part of the clothing store chain, but a low place in the Mayacamas through which, he said, cooler air from the Russian River Valley funnels in, moderating the temperatures. This may be so; to get to Calistoga from the Russian River Valley (as I’d done that day), you drive east up Mark West Springs Road as it roller-coasters over the mountains, twisting and turning its way towards Highway 128/29. But it’s not clear to me that the Russian River Valley air can actually find its way “over the hill”, to any meaningful extent. Maybe one of my smart readers can explain this. (I had Gus beside me, in the passenger seat, and for a while he seemed like he might throw up, because his little tummy doesn’t do well on twisting mountain roads. But he didn’t.)
The Tubbs Lane part of Calistoga is a distinctive place. To my eye, it’s a bowl of sorts: not like Napa Valley further south, in, say, Oakville or Rutherford, where you have the mountains (Mayacamas and Vacas) neatly lining the western and eastern sides, with the valley broad and expansive inbetween, like the sheet on a bed. Along Tubbs Lane there seem to be mountains everywhere except to the south; it is thus more of an amphitheater. Mount St. Helena looms immediately to the east: this picture, taken at Atalon, only hints at its majestic presence.
On the other side of the mountain, of course, is Lake County.
That 101 temperature yesterday in Calistoga shows how we’re in the midst of a long, severe heat wave here in California. That’s on top of the drought. The state has had some forest fires, but mainly in the Sierra Foothills and around Yosemite; the coast has largely been spared—so far. Everybody’s hoping it will continue to be. The heat is expected today—as I write these words—to be even worse than yesterday, not good news for anyone, including the grapevines that are so close to being harvested in record-early time.
Although it’s only August 1, I haven’t heard that growers are particularly worried. In fact, the scoop is that it will be another fine harvest, coming after 2012 and 2013. Lest anyone think vintage doesn’t matter in California, the evidence proves otherwise. At the Pinot Noir tasting at Atalon, which we did blind, we tasted through multiple Anderson Valley and Russian River Valley wineries, in two flights: the 2011 and 2012 vintages. There was no comparison. The 2011 flight contained some good wines but overall was disappointing. The 2012s by contrast were fat, lush, opulent. There wasn’t a single loser among them.
Have a great weekend!
Carlo Mondavi, whom I got to know and like last year in Kapalua, emailed to bring me up to date on his new project, RAEN, a Sonoma Coast Pinot Noir he’s making in collaboration with his brother, Dante.
His email prompted me to ask him some followup questions, which led to an exchange I thought is interesting enough to reproduce. The subject is Pinot Noir, and the role of stems in the fermentation.
Carlo had sent me this video of him and Dante making the wine. Along the way, Carlo says, concerning the whole-cluster fermentation he enjoys, “I can smell the greenness of these stems, they’re super-green.” My ears perked up at this, because I had thought that you don’t want green stems in the fermentation, you want brown, ripe ones, in order to avoid passing on that green, vegetal aroma and harsh tannins to the wine. So I asked Carlo, “If you whole cluster with green stems doesn’t that make the wine taste and smell green?”
He replied, “I…believe that the stems being green and thus under ripe or ideal is a complete misconception.” His response is worth quoting in full:
“In fact DRC and most of the best whole cluster examples are harvesting when the stems are electric green. This also means most likely and certainly for us that the sugars are lower and the extraction of bitter flavors will be lower. We also take into account sap flow…
“I believe that sap flow is greater in certain clones and in certain sites varying vintage to vintage… There is no perfect map so we go on taste and observation… To determine the amount of whole cluster vs destemmed fruit we ferment we run a quick tasting. We take the stem sans fruit, cut it up, put it inside a pastil bag and squeeze the sap out. We then observe the sap (how much, how sappy) then taste the sap to see how astringent it is. From there we make decide if we will use some, none or all of the whole cluster.… This past vintage we certainly used a great amount of whole cluster as it was a new moon and the sap seemed to much less than what we might have seen on a full moon.
“Thirdly I also like the balance of bitter and sweet… Stems add potassium and tannin to a wine and can balance the overly strawberry, cranberry, rhubarb fruit flavors… to me it gives the wine a middle palate of velvet and structure and in some examples and slight elevation of minerality.
“Waiting for full brown clusters is a major mistake in my opinion… If you wait that long you are looking at harvesting well north of 25 brix of sugar and in December in some sites. This would yield a wine of incredible bitterness and a PH that would be certainly unfermentable and unstable naturally. With that said where we make our cuts is where the rachis meets the shoot this area is brown and lignified. We make our harvesting cuts right in the middle of this browning area to minimize sap flowing out into the juice.”
Still puzzled, I asked Carlo, “In a vintage like 2011, I found some coastal Pinots to have a green, minty edge. So, where does that come from?”
Carlo: “Huh… That’s a Good question. I would think some stems, the local terroir and for late harvesters, botrytis… I see a bit of botrytis each year… Pinot noir clusters are so tight it just seems to happen when the heat comes after the rain or In some vintages with the humidity… With that said green can be no stems with green seeds or Rosie’s, tough under ripe skins or jacks… I have tasted de stemmed and 10 percent whole cluster wines and found them be more green than 100 percent whole cluster wines depending on the site and vintage… I also enjoy wine that can have a slight green note… I don’t see green to be bad so long as it is not over the top… Just like anything.”
I’ve never felt that whole-cluster fermentation is better than destemming, or vice versa. California Pinot Noir can be delightful either way. I do feel, as does Carlo, that stems can give Pinot Noir a fuller body and more tannins, not to mention spiciness. Still, I’m not quite convinced that green stems do not bring a green note to cool-climate Pinot Noir, and I’d love to hear the opinion of others.
This is one of the wine taster’s biggest conundrums: it’s easy to detect something in a wine but a lot harder to identify exactly what causes it. When I was a reviewer, I tried to avoid attributing specific results to specific causes, if I couldn’t be absolutely sure about the connection. Asking winemakers to explain can sometimes clear things up, but sometimes it can make you even more confused. Which is why I was always happy to leave the winemaking to the winemakers, if they’d leave the wine reviewing to me!
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.