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.
When I first started writing about wine, professionally, it was for Wine Spectator, but they also wanted me to write for their trade magazine, Market Watch, which I was happy to do, because it was more work for an underpaid freelance writer. I quickly learned to like that back end of the business, the intricacies of sales, marketing, P.R. and all the rest. I found it intellectually stimulating, like a chess game—and I still do.
I soon began to be invited to the numerous tastings in and around San Francisco. Among these were events specially designed by and for distributors and their clients. These were trade-heavy events. While there could be some pretty good wines served, most of the distributors didn’t seem particularly interested in them. They just wanted to be told how to sell them (and perhaps they also wanted just to drink wine and eat some good food!).
Those early experiences colored my view of distributors. As far as I could tell, they could just as easily have been selling widgits as wine. They didn’t care about the product itself (although they were willing to work hard), they wanted to maximize their sales. It was a rather demoralizing experience for me to realize that wine was being represented, through this important face to buyers, by such indifferent people.
Over the years, though, my attitude has softened. Every once in a while I complained (especially in this blog) about the inequities built into the distribution system, and I generally supported my friend, Tom Wark, in his American Wine Consumer Coalition efforts to bypass or improve the three-tiered system, which I felt unfairly discriminated against smaller wineries. However, every time I did so, someone I respected—usually a winemaker—would write in and tell me that I was failing to understand all the good that distributors do. So I began to double-check my premises, since some of these winemakers who were taking the time to write were highly respected by me.
So I’ve been open to re-evaluating my views on distributors for some time now, although I have to say my emotional sympathies still lie with Tom. Last Friday, I was invited down to participate in a meeting of Jackson Family Wines’ Southern California distributors. I couldn’t help but be struck by how much more educated—and interested—in wine today’s distributors are compared to their remote ancestors of twenty and more years ago. These people, gathered down in Orange County for a semi-quarterly meeting, struck me as young, really smart, eager and perhaps most of all, passionate about wine. Although I made a few comments, mostly the event was presided over by sommeliers and other wine experts, who led the rather largish group through some fairly serious tastings that everyone seemed to enjoy—and they were blind tastings, at that! The contrast between those widget distributors of the 1990s and these guys could not have been starker, or more welcome to behold.
There seems to be a tendency nowadays for the leaders of these guided tastings to provoke the audience to stretch their tasting vocabulary. For instance, when these leaders ask what flavors people are getting and someone says, “Mushrooms,” the leader asks, “What kind of mushroom?” I understand this approach, which gets the audience more intimately involved and stimulates their analytical powers. This isn’t particularly my way, since I tend to be more generalized about flavors, and I feel that structure is anyway more important that individual flavors, “structure” including the way the wine feels in the mouth, which is all-important. But if people want to talk about the differences between shiitake and hen-of-the-woods, that’s fine by me.
How much smarter and more educated everyone in the food chain has become: not just distributors, but bartenders, restaurant staff and, mostly importantly of all, the consumer.
* * *
Finally—last words!—remember some years back when everybody was talking about the “Parkerization” of wine, that term referring to a supposed overripeness, over-oakiness and high alcohol content of wine? Well, whether or not it ever was true, nowadays I perceive another style-driving trend: Let’s call it the IPOB-ization of wine (after the In Pursuit of Balance organization). I will begin with a question: Are we seeing some vintners, particularly those producing Pinot Noir, now deliberately picking their grapes underripe, in order to appeal to that small, but influential, cadre of writers, critics and sommeliers who insist that Pinot Noir must be low in alcohol in order to be balanced? I invite your answers. For myself, I think the answer is “yes.” And, as a certain Mr. Parker recently implied, underripe fruit merely results in underripe wine.
Now, I haven’t really been clear on what “In Pursuit of Balance” means since I went to their last tasting, in San Francisco, and Rajat Parr said (I paraphrase), “Some people think IPOB means we only like wines below 14% but that’s not true.” Well, I suppose, then, that “balance” can be applied to any wine, of any alcoholic strength, so what else is new? I’ve never heard of anyone being in favor of unbalanced wines. Then I was reading, in the new April issue of The Tasting Panel (and what an interesting ‘zine that’s turning out to be) a little article by Randy Caparosa in which he made some salient points, most notably that, at the last World of Pinot Noir (which I attended; I was underwhelmed by Raj’s Domaine de la Côte Pinot Noir), “There is still talk of the ‘high-alcohol problem’ in American Pinot Noirs, but in the vast majority of 200-plus wines tasted [at WOPN], an overweening sense of alcohol or ripeness just wasn’t’ there.”
Indeed. One could, I guess, argue that IPOB has had its intended effect, of driving down alcohol levels. On the other hand I could point out that high alcohol per se hasn’t been a problem in good Pinot Noir for years. Still isn’t.
If you’ve only come upon the California wine scene in, say, the last 15 years, you’d never know that, once upon a time, Carneros was one of the hottest appellations in the state.
I don’t have copies of articles from the 1980s that were calling Carneros “California’s Burgundy,” but that was the meme of the time in magazines and newspapers. I do have some older wine books that get the point across. E. Frank Henriques was a wine-loving Episcopal priest who wrote an obscure but useful book, The Signet Encyclopedia of Wine (1975, reprinted 1984), in which he says Carneros Creek’s Pinot Noirs (the winery was bought by Michael Mondavi in 2006) have “the classic Burgundy aroma,” whatever that means! Harvey Steiman, writing then if I recall correctly for the old San Francisco Examiner, similarly called a 1980 Carneros Creek Pinot “Burgundian.” John Winthrop Haeger, writing in 2004 in his fine book, North American Pinot Noir, wrote that Carneros Creek’s founder, Francis Mahoney, was “reminded…of Burgundy” when he first saw Carneros’s “hilly terrain and rocky subsoils.”
Another obscure but useful and, at the time, highly controversial book, Roy Andries de Groot’s The Wines of California (1982), referred to André Tchelistcheff’s description of Carneros’s climate as “so close to that of the upper [i.e., better] slopes of Burgundy that this would be an ideal place to grow a typical Burgundian grape…”. The Maestro did indeed grow Pinot Noir in Carneros, and he himself always said his 1968 vintage was one of his best ever; but it does not appear to have been particularly “Burgundian,” for in 1974 Robert Gorman, an amateur who seemed to know everyone who was anyone in Napa wine circles at that time, tasted the 1968 Beaulieu Pinot Noir and, in his book, Gorman on California Premium Wines (another fascinating obscurity), found it “unmistakably a Napa Valley wine [that] looks more like a Pomerol than a Burgundy.” That referred to its dark color: I myself tasted that wine in 2001, when it was 33 years of age. It was largely dead, but it still was big, dark and somewhat tannic and certainly not Burgundian.
Anyway, this introduction is simply to give some idea of the promise that Carneros held for Pinot Noir (and Chardonnay) from the 1970s into and through the 1980s. However, it’s fair to say that by the 1990s Carneros’s star began to fade. Other Pinot Noir regions—primarily the Russian River Valley, but also and increasingly, the westernmost part of the Santa Ynez Valley (now known as the Santa Rita Hills) were exciting critics, and Pinots from Anderson Valley, the Santa Cruz Mountains, San Luis Obispo County and the Santa Lucia Highlands were coming on strong. The combination of them eclipsed Carneros, which may also have suffered due to zoning restrictions that made viticulture possible only for larger wine companies that could afford great acreage, thereby shutting out the garagistes (of course that term didn’t yet exist) who had been the ones pushing the California Pinot Noir envelope.
At some point the Carneros Quality Alliance, a marketing consortium of local growers, was born, to boost awareness of this sprawling appellation that crosses two counties, Napa and Sonoma. I remember being in the thick of things in the 1990s and early 2000s when, as a wine critic, I was on the receiving end of press releases, invitations to tastings, etc. I never had the sense that the CQA was particularly well-organized or that it did a very good job of promoting the region, which seemed to slip further and further into marginality. It’s not that the wines weren’t good, occasionally very good. It was just that Carneros lost its luster by 2000, and seemed always to have to fight to be included on the short list of great wine regions.
The CQA now has morphed into the Carneros Wine Alliance (CWA), and they’ve lately embarked on a revised marketing and promotional effort, described in the April issue of Wines and Vines as a “new focus” to “raise awareness” of Carneros. Even some of the CWA’s leaders, such as Garnet’s Allison Crowe, concede that the CWA and Carneros the appellation “lost its focus in recent years.” In all the years I reviewed wine for Wine Enthusiast, the number of Carneros Pinot Noirs that scored very highly was disappointingly small, compared to California’s other coastal regions. I did give a Donum 2009 West Slope 97 points, a couple of Etudes 95 points (the 2006 Heirloom and the 2007 Deer Camp), also 95 points to the La Rochelle 2009 (which was from Donum Estate); there was a 94 point wine, the 2010 Mira, from Stanly Ranch (which Louis M. Martini purchased in 1942 and planted to Pinot Noir and Chardonnay, six years later), but these sadly were outliers. My chief gripe with Carneros Pinot Noir was that the wines could be overly acidic and a little earthy if not one-dimensional.
(I should add that Jackson Family’s La Crema brand produces a Carneros Pinot Noir that I’ve given generally good scores to for many years. They also have a Hartford Court “Seven Benches” Pinot, but I haven’t tasted it for a long time. Finally, the company bought the old Buena Vista Carneros production facility, and I’m highly looking forward to tasting those wines when they’re released at some point (not under the Buena Vista name, because Jean-Charles Boisset owns that). Historically, Buena Vista was capable of producing fine Pinot Noir from their Ramal Road vineyard.)
I do think that Carneros has not been at the forefront of Pinot Noir in California, but there’s no intrinsic reason why they couldn’t once again be there. After all, if André Tchelistcheff himself saw its promise, it must be there—and there are simply too many Carneros Pinots that more than hint at its potential. And so I eagerly welcome the CWA’s effort, which involves hiring a new P.R. firm for the appellation, which turns 30 years old next year. But success depends on more than public relations, obviously; the wines have got to be good to the point of compelling, in order for Carneros to regain the luster it showed twenty and more years ago.