Spent a delightful and as always an educational day yesterday accompanying some of our Sales people to a couple San Francisco restaurants. I always look forward to these trips, because they are sheer adventure. You never know what you’re going to get.
We went first to a small eastern Mediterranean place in the Mission District, Tawla, which has been getting huge press lately. It’s on Valencia at Duboce, a neighborhood that’s been undergoing a lot of pressure lately due to gentrification. But you know what? I was hanging out there 35 years ago, and it hasn’t changed that much! Still gritty, with (let us say) an interesting local street population. The somm was a guy who’s worked at a lot of Michelin restaurants but, he explained, wanted something smaller, where he could have a more creative, curated wine list.
Now, if you don’t know Scoma’s, it’s one of the mainstays of Fisherman’s Wharf. As I told the wine guy, who’s been there for 20 years, he’s probably served several generations of my family over the decades.
Each of these places and people was totally different. But each is part of the mosaic that makes up San Francisco. Although I’ve lived in Oakland for close to 30 years, I lived in San Francisco for a decade prior to that, and I still love going there. It’s only 3 subway stops away from my place, so it’s easy; driving and parking in S.F. is a total nightmare. Everybody gripes about housing prices in the City, but when I moved there, in 1979, everybody was griping then about the same thing! As I suppose they were in the 1940s. So the more things change… I think San Francisco is fundamentally unalterable, and I mean that in a good way. You can bend it, stretch it, but you can’t break it. It’s the old Barbary Coast: a little bit nice, a little bit naughty, and heart-achingly beautiful.
You know, some people have asked me if it’s not odd for me to have gone from being a wine critic to working for a wine company. My answer is always the same: not at all. I’ve always been a bit of an iconoclast (if that’s not already obvious) and I still am. I didn’t fit into a neat, tidy little package as a wine critic, and I don’t fit into a neat, tidy package working for Jackson Family Wines. The most important thing to me, in the intellectual sense, is honesty. I don’t lie well, I don’t spin well, it’s hard for me to hide my feelings (as my Facebook friends and Twitter followers no doubt are aware). When I meet people at restaurants and wine stores on these sales trips, I act exactly the same as I would at a cocktail party: put on a smile, try to engage, find things in common to talk about. If the people want to talk about the wines, I’m down with that, and the Jackson sales people I’m with often know more about the technical details than I do; together, we can answer any question (almost).
But from these trips I’ve learned something I really didn’t understand when I was a wine critic, and that’s the value of relationships. Wine critics don’t need to establish relationships in the industry. They can, of course (and we all do), but the essence of being a wine critic is that you’re a loner. I was a bit of a loner as a critic. You have to be; you have to keep your emotional distance from people whose wines you might have to trash. In sales, it’s different, and I truly enjoy making these connections. People are fabulous treasure troves to dig through, to discover who they are, where they’re coming from, what makes them smile. Which makes me look forward to next week, when I’ll be in Texas, from which I hope to be able to blog every day.
Driving back from Oregon to California, I was really struck by how abruptly the climate changes in a relatively short distance.
I had stayed the night in Medford, in the interior section of Oregon, right on I-5. The daytime temperatures were very hot, well into the 90s. Then you climb into all the mountains—the Siskyous, the Klamaths, Mt. Shasta—where the temperature is still pretty warm, but this is also a very wet climate: hence the thickly-forested stands of fir (and so many ugly scars from clear-cutting).
Then, when you hit California and get into the top of the Sacramento Valley around Redding, how quickly things change! Suddenly the thick stands of trees are gone, and so is the greenery, replaced by mile after mile of the sere, golden hills that give California its nickname, The Golden State. Where there are trees they are drought-resistant eucalyptus. Otherwise, in this barren, droughty part of the state, nothing grows, except where it is irrigated. All this, within a few hundred miles.
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I read in the news that the Petaluma Gap AVA petitioners still are waiting for TTB to approve their application (or not). I wrote about the effort in Nov. 2014, stating that I was “heartily in favor” of it, and that TTB would probably approve it “sooner rather than later.” Well, here we are, 20 months later, and still no approval! I don’t know if that qualifies as “later,” but it is what it is, and I still think the feds will allow it, although one of the petitioners was quoted in the article as saying, “It’s possible it could all be done this year,” which would definitely be “later” than I’d thought.
Here’s a list of all the other pending AVAs waiting for TTB action. As you can see, three of the nine are in California (although four of the nine are mere “expansions” rather than brand-new appellations). One of the pending ones is the Van Duzer Corridor, up in the Willamette Valley of Oregon. That’s where I’ve been spending time: the “Corridor” is a gap in the coastal hills, similar to the Petaluma Gap, that allows cool maritime air and wind to funnel in from the coast. Jackson Family’s Maple Grove vineyard is a little too far south to be influenced by the Van Duzer Corridor, so it wouldn’t be included, which is why we’re looking into an appellation for our area.
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I’m sorry, but I still think “orange wine” is a flash in the pan. Just because pre-scientific winemakers made this kind of dirty stuff thousands of years ago doesn’t make it romantic if it tastes weird. It just means we humans have learned how to make clean wine.
I just got back from up in the Willamette Valley working on that AVA project for Jackson Family Wines. Our particular vineyard is west of the town of Monmouth, in a part of the valley that does not have its own sub-appellation. That’s something I’m looking into, with the idea of coming up with a name that will satisfy our neighbors as well as the Tax & Trade Bureau of the U.S. Department of the Treasury, the agency that oversees such things.
It’s been a long and winding road, so far, but I’m making good progress—I think (and I’m knocking on wood as I write this, being a superstitious type). My initial plan, for a larger AVA that would have included many more of our neighboring grapegrowers and vintners, seems in retrospect to have been a little too ambitious. I’ve since scaled back, towards a smaller, more focused appellation, which seems like a better idea anyway, because smaller appellations tend to make more sense (from a terroir point of view). I mean, I’ve been the first to criticize gigantic appellations all my years as a wine reporter. So I’m glad we’re able to aim for something smaller, which is easier to understand, and to bring our neighbors with us.
One thing I’ve discovered about TTB is, they do not want to get in the middle of somebody else’s fight! And I can’t say I blame them. They’re probably understaffed; they’re in no position to play Judge Judy. It’s not their job to intervene between quarreling neighbors who disagree about where a boundary is or isn’t. TTB wants us—the petitioners—to get our act together and come to them as a united group that has fulfilled TTB’s basic requirements for approval of a new AVA. That’s not asking too much of us.
Another thing I’ve come to appreciate is how important it is to really understand the land you’re trying to get appellated. I understood, back when I made my first visit up here (last Fall) that it would take me a while to “get” the physical parameters of this part of the valley. Now I’m on my fourth trip, and it’s starting to sink in: I am beginning to understand the slopes and contours, the directionality, where the hllls are, what the elevations are, where the pinot noir thrives and where the it’s better for hazelnuts. I’m getting the roads, too: no more need for GPS. More than that, I’m figuring out the big view: the macro-terrain, where the bowls are, the amphitheaters, the natural topographic features on a many-miles scale. I now have my eye on one such: it seems like a consistent place (in fact it reminds me of the Coombsville appellation in Napa Valley, it’s so compact and geometric). The soils seems to be more or less the same throughout, so does the rainfall, and—well, I don’t want to get too far ahead of myself. But for me, this is the kind of stuff I love, the sleuthing, the research, the trying to make sense out of a whole lot of unconnected stuff until you begin to see the connections. And, of course, the people we are working with: growers and vintners. Hanging with them, picking their brains, sharing my thoughts, hearing theirs…it’s all so rewarding.
I’m still obviously an outsider, but it strikes me that the Willamette Valley is a huge place, 3.4 million acres, or 35 times bigger than the Russian River Valley; and lord knows, the Russian River Valley seriously needs to be sub-appellated. Willamette Valley already has six sub-AVAs (Chehalem Mountains, Dundee Hills, Eola-Amity Hills, McMinnville, Yamhill-Carlton and Ribbon Ridge), but it seems to my outsider eye that it will take many years if not decades to really figure this place out. I mean every nook and cranny, every slope, every orientation; and this isn’t even to mention the potential Grand Crus. The area to the west and south of Monmouth, which is where I’m working, is very little understood, but I’ll wager it’s going to be important. The little city of Independence, just two miles to the east, has serious plans to develop a winetasting infrastructure on the banks of the Willamette River, and Monmouth is popping up with cute little tasting bars and restaurants. The tourists aren’t flocking here quite yet: they’re going a little further north up the 99, to Eola, Amity and McMinnville. But that’s the beauty of path-breaking winemakers: their curiosity. Tell a winemaker that there’s the potential for beautiful Pinot Noir in an undiscovered region, and light the fire in her eyes. I’m not a winemaker, but it’s fun for a writer to be part of the discovery process, too.
In the end, though, you have to wonder what makes a great AVA—or, at least, one that’s perceived as great. It can’t just be the mere establishment of a perimeter. It can’t just be the petitioner’s claim that the appellation is unique (for most AVAs aren’t, to be perfectly honest). I guess what it takes is a long track record of producing great wine, which doesn’t happen overnight.
I couldn’t be more pleased with my tasting yesterday, but I don’t give the credit to myself; I give it to the wines. The idea was to taste some of our Oregon Pinot Noirs to a select group of people in Marin County. In many respects, this was the best tasting I ever went to, because it satisfied the requirements of a good comparative wine event. The wines were conceptually linked: all Oregon Pinot Noirs. Seven of the eight wines were current releases, although they weren’t all from the same vintage. The eighth wine was from 2005, but from the same winery and vineyard as one of the current releases, so we could see how these fine Oregon Pinot Noirs age. And there was a ninth “surprise” wine, much older than even the ’05, that I’ll describe shortly.
But the best part of the tasting was the logic of the order of wines. Seldom have I experienced a better gradation from lighter and more accessible to richer and more ageworthy. I didn’t really understand how compelling this spectrum would be until I arrived early to open the wines and taste. It was so obvious, like ascending a ladder or climbing a mountain, as it were. To a wine taster like me, this is glory, this is as good as things get, when the order of a lineup makes perfect sense. It is a thing of beauty.
I started with the lighter wines, of course, worked my way through the more complex ones, and then there was that 2005, so you could see that we don’t only say these great Oregon Pinot Noirs are ageable, we demonstrate it. Here was the order of the lineup, with very brief notes.
La Crema 2014 Willamette Valley. It was what I think of as the La Crema style: broadly appealing, fruity, easy to like, with some complexity. The alcohol was the highest on the table, some 14.5%. It was easy to appreciate (and I say this as a Jackson Family Wines employee, but also as an objective reporter) why these La Crema wines have been so successful in the marketplace.
Siduri 2014 Willamette Valley. There was a definite step up in complexity here, not just fruit but tea, mushrooms, earth notes. Still a wine to drink now.
Siduri 2014 Chehalem Mountains. Even earthier than the Willamette Valley, with oodles with cherries and wild mushrooms. One of the guests, a restaurateur, said he would make a porcini mushroom risotto with this.
Penner-Ash 2014 Estate. So new is JFW’s acquisition of Penner-Ash that not even I have all that much familiarity with it. This is their estate vineyard, formerly known as Dussin Vineyard. It represented an entirely new leap into complexity, starting off a bit closed due to tannins, then erupting into pomegranates, tart cranberries and a wonderfully earthy mushroominess. I would surely age this wine.
Gran Moraine 2013. A new winery from the JFW portfolio, and so complex. It elicited a fierce discussion from our group concerning what to drink it with. Quail, veal, risotto, salmon, steak, take your pick. A mineral-driven wine of great terroir and ageability.
Zena Crown 2013 The Sum. This is another wine that was new to me. Wow, what complexity. Very low alcohol (12.9%), dry, fairly tannic in youth, and mushroomy, with a sassafras and cola taste many of us noted. Lots of acidity, a serious, intellectual, ageworthy wine.
Angela Estate 2012 Abbot Claim. This is not owned by JFW but sold in California by Jackson’s Regal Wine Company. For me it was the top current release, although not the most expensive. Gorgeous perfume, with foresty scents and tons of wild raspberries. At four years, it’s starting to show some age; the bottle was throwing some light sediment.
Penner-Ash 2005 Dussin Vineyard. Showing its age: orange-bricky color at the rim. But so clean and vibrant, with marzipan, cocoa, raspberry tea and spice flavors. It had that “sweet but dry” richness you sometimes get from older wines.
I finished with the surprise wine, the Penner-Ash 1998 Dussin Vineyard. This was a Wow! wine for everybody. At 18 years it was still vital and alert, a wine with nervous energy, plenty of spine, pure, bright and delicious, with sweet fruit and a long finish. Some wines of this age die quickly in the glass. Not this one. I brought it with me afterwards to lunch and it was fabulous.
And speaking of lunch, we had our event at Tamalpie, which calls itself a pizzeria, and it does have fabulous pizza, but also does wonderful Cal-Italian fare. I would eat there all the time if I lived closer to Mill Valley.
I’ve been on a sharp learning curve about Oregon Pinot Noir for the past year or so. In all my years at Wine Enthusiast I was “the California guy” and so my exposure to wines not from my state grew increasingly limited—one major negative of being a regional specialist (but the positive, of course, is that you get very knowledgeable about your region).
Because of Jackson Family Wines’ involvement in Oregon, and particularly the Willamette Valley, I’ve been involved in a number of projects that require this study, and have been traveling up there with some regularity. So, when it came time to schedule the latest in my series of tastings at JFW, I decided on Oregon Pinot Noir.
Tasting Oregon Pinot Noirs is more challenging for me than tasting California Pinots. The latter are easier to “get”: generally fruit-forward, riper, softer and lusher. The Oregons, by contrast, have all sorts of earth, mushroom and black or green tea notes, firmer tannins and brighter acidity, all of which can mute them in youth, making them harder than their more southerly counterparts to appreciate straight out of the bottle. So it’s important to let these wines breathe, to see what they might begin to do down the road. Certainly, this was the case in yesterday’s tasting.
My three top wines were Penner-Ash 2013 Pas de Nom Pinot Noir (Yamhill-Carlton), $100, Zena Crowne 2013 Slope Pinot Noir (Eola-Amity Hills): $?, and Siduri 2014 Pinot Noir (Willamette Valley); $24. (These are all Jackson Family Wines, which numbered 9 of the 13 in the tasting.) Almost in the same league was the Evening Land 2013 Seven Springs Vineyard La Source Pinot Noir (Eola-Amity Hills), $75. All of my scores were at least 88 points; most were above 90, and the four I just cited all scored at least 94 points. I found, over the course of 2-1/2 hours of tasting, that I was raising my scores consistently over my initial impressions, which illustrates the point I made in the preceding paragraph about letting the wines breathe. I must say I found the Antica Terra 2013 Botanica ($75) a little too robust for my tastes. There was one wine whose score I lowered over the course of the tasting: The Cristom 2013 Marjorie Vineyard Pinot Noir (Eola-Amity Hills): $65. At first I loved it; everyone else in the tasting pointed out a funkiness that initially eluded me (I called it mushroomy). This resulted in a discussion about brettanomyces, and while I can’t say this wine had brett (because I didn’t do a lab analysis), after a couple hours in the glass the funk really took over, so I lowered my score to a still-respectable 91 points.
Oregon Pinot Noir offers a real counterpoint to its California brethren. It’s not a question of better-worse, but different. The Oregon wines also tend to be lower in alcohol: Of our 13 Pinots, only two were above 14% (Siduri Willamette and Penner-Ash Estate), and those were only 14.1%. All the rest were either in the 13s or, in the case of the Evening Land and the Zena Crown, 12.6% and 12.7%, respectively. These low alcohol levels make the wines fresh, vibrant and delicate, which is what Pinot Noir ought to be. Also, probably, more ageable. In general, I’d say that most of the bottles we opened were victims of infanticide.
This was the table when the tasting was finished.
Speaking at U.C. Davis last night before a group of graduating students and faculty was really a thrill. As I told the audience in my opening remarks, to me, UCD’s Viticulture and Enology Department is like the Vatican City—not in a religious sense, of course, but as the spiritual center of winemaking in California, probably in the U.S., and as one of the greatest places to learn winemaking in the whole world.
As a budding wine reporter in the late 1980s and 1990s and on into the 2000s, many were the times I telephoned one of the famous professors there, to interview him or her for a story: Anne Noble, Andy Waterhouse, Mark Kliewer, Carole Meredith, James Wolpert, Linda Bisson, Roger Boulton, James Lapsley, Andrew Walker. These were often for articles of a technical nature, and I was always a little apprehensive that my ignorance of technical topics would bore these learned men and women. But they were patient with me, and I hope I didn’t make too many errors in my reporting!
Even before I was a wine writer, I was reading books by the likes of Maynard Amerine and Vernon Singleton, figures who were as historic, to a wine geek like me, as George Washington or Benjamin Franklin. I knew about Dr. Olmo, who created the “Olmo grape varieties,” although I never had the opportunity to interview him. I was aware of UC Davis’s history, its importance in the evolution of the California wine industry, and how nearly every winemaker I ever met in California seemed to have graduated from there. So in my mind, UC Davis’s V&E Department loomed large, and still does.
Dr. Boulton, who holds the Stephen Sinclair Scott Endowed Chair in Enology Department of Viticulture and Enology, was kind enough to give me an hour of his time. We toured the Robert Mondavi Institute and the nearby Jess S. Jackson Sustainable Winery Building,
both remarkable structures and centers of study and innovation, and both of them superb testaments to the legacies of two remarkable men. Then it was off to the Sensory Theatre, in the Mondavi Institute,
for our actual tasting and talk. We went through five different clones of Pinot Noir all from the Cambria vineyard, in Santa Maria Valley, and all made identically, so that whatever differences there were had to come from the clones. That was interesting, and served the point of showing how different people discern different things in wine—even people of great education and training. Our conversation about the intricacies of marketing, critics and related topics became so involved that one of the event organizers had to cut it off, because time was up and the official program called for the presentation of awards to some of the top students. But afterwards, they had a most excellent barbecue on the lawn, and fortunately some of us were able to continue the conversation.
What a smart young group of future professional winemakers these grads are. Really brilliant, so well educated and conversant in the world’s wines. And they’re just getting started: most of them are now off to summer internships, in France, Chile, Napa Valley, all over the world—and then to their first jobs. Armed with such an excellent education, and with such smart, inquiring minds, they are a reassurance that the future of winemaking is in good hands.