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In Pursuit of Balance tasting, San Francisco

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A lovely tasting today at In Pursuit of Balance, really the best they’ve ever had. The venue was new: City View, in the Metreon Center, instead of RN74 like it was the last time I went. And what a crowd! This was clearly the buzziest place to be today if you were anywhere near San Francisco.

It’s impossible to taste everything, but I did get to quite a few Pinot Noirs, mostly 2012s. In general, you can say that this is a generous vintage, yielding balanced, supple and frankly delicious wines of great structure, although in a few cases, the acids were too fierce. The best of them need age. Here are a few standouts:

Domaine de la Cote. I have not been a fan of the 2011s which were green, but 2012 was a great success. The Bloom’s Field (12.5%) is sleek and streamlined, with a core of raspberries. It needs time.

Sandhi. Their ’12 Sanford & Benedict (13.5%) is a real beauty, charming and supple.

Knez. This was a new winery for me, out of Anderson Valley. The ’12 Demuth (13.3%) and ’12 Cerise (about 13.3%) both are gorgeous, the former tight, the latter more generous. Both need time.

Hirsch. First, it was good to hear that David is back at work! The ’12 East Ridge (13%) is powerful but delicate, with awesome structure. The ’12 Reserve (13.1%) is a wine I’d describe as Burgundian, with mushroom and tea notes to the raspberry core. Both wines need time.

Au Bon Climat. The 2011 Knox Alexander (13.1%) is huge in flavor, explosive in raspberry essence, yet gorgeously structured and dry. It certainly needs 5-6 years in the bottle.

Wenzlau. Another new winery for me. The Estate Santa Rita Hills (13.0%) is very acidic, almost lemony, with with solid raspberry-cherry fruit. I would give it six years.

Kutch. A pair of 2013s, the Sonoma Coast (12.3%) and the Rohan Vineyard (12.3%), from the Bohan-Dillon area of Fort Ross-Seaview. Two great wines. The former is delicate, the latter more potent and dramatic. I would cellar the Rohan for six years.

Native9 2011 Rancho Ontiveros (13.4%). A great success for the vintage, pale in color, lots of acidity, plenty of finesse. Drinking beautifully now.

Here are a few pictures of some old friends.

SashiSashi Moorman pouring. Raj Parr in background.

ClendenenJim Clendenen, one of the immortals

StevieStevie Stacionis, of Bay Grape in Oakland

CarloCarlo Mondavi. Sorry you have to crane your neck!

 JamesJames Ontiveros, Native9 and Rancho Ontiveros

EhrenEhren Jordan, of Failla


A 40-year retrospective tasting with the Richard Arrowood

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Last Wednesday’s historic tasting of 40 years worth of wines produced by Richard Arrowood was not only a testament to the oeuvre of one of California’s greatest living winemakers, but a refreshing reminder—if one were needed—of how well Sonoma Valley wines, red and white, can age.

Richard invited a small group of us to the tasting of some 60 wines. We gathered at his idyllic Amapola Creek Winery, in the hills above Sonoma Valley, just below Monte Rosso Vineyard, then motored further up the mountain to the home he shares with his wife, Alis, where the grand event took place.

Richard began his career at Korbel in 1965, created a series of famous, great single-vineyard wines at Chateau St. Jean in the 1970s, and then presided over his own Arrowood Winery (which eventually passed into the Jackson Family Wines portfolio.) He launched his Amapola Creek venture in 2001.

Space precludes me from writing about each of the sixty wines we tasted, but I will provide overviews of each of the flights, and include the top wine/s from each. Richard, in his introductory remarks, said one of his purposes was to show how well these wines can age. Indeed, the tasting illustrated that, many times over. All wines bear a Sonoma Valley appellation.

Flight 1. Chateau St. Jean Zinfandel.

These were all from the Wildwood (now Kunde Estate) and Glen Ellen (Moon Mountain) vineyards.

1976 Chateau St. Jean Wildwood Vineyards Zinfandel. Crowd favorite. Sweet blackberry jam, violets, bouquet garni, cocoa nib, espresso. Alcohol 13.9%. Score: 91.

Flight 2. Chateau St. Jean Cabernet Sauvignon.

These were from the Wildwood, Glen Ellen, Laurel Glen (pre-Patrick Campbell) and Jack London vineyards.

1977 Chateau St. Jean Laurel Glen Vineyards Cabernet Sauvignon. Good color. Spice. Cassis, black currants, cassis liqueur. Amazingly rich, sweet, still so fresh and vibrant. Superb. 13.9%. Score: 94

Fight 3. Arrowood white wines.

These were from the Alary and Saralee’s vineyards, both in Russian River Valley.

2009 Arrowood Saralee’s Vineyard Viognier. Tropical fruit, green melon, honey. Rich and exotic. Tremendous power. Great job balancing Viognier’s exoticness with structure and dryness. Drinking well now. 14.4%. Score: 94.

Flight 4. Arrowood Malbec and Syrah.

Except for the Sonoma County-appellated Malbec, these were all from Saralee’s Vineyard.

Arrowood 2004 Malbec. Good dark color at the age of nearly eleven years. Fruit drying out. Dried blackberry, grilled meat bone, shaved dark chocolate, cassis. Softly tannic. Tons of sweet black currant liqueur. Beautiful now. 14.5%. Score: 93.

But I want to praise a pair of Syrahs, the 2006 Saralee’s and the 2002 Saralee’s. Both scored 92 points.

Flight 5. Arrowood Cabernet Sauvignon.

These were all from the Monte Rosso Vineyard, or were Richard’s Réserve Spéciale bottling, except for the 1990 and 1991; I don’t know the grape sourcing on the latter two.

This was an incredible flight. It was hard to pick a “best,” but I went with the Arrowood 2005 Monte Rosso Cabernet. Good dark color. Heady, lots of black currants, cedar. Very rich, heady, sweet, opulent. Superb now and will age for many years. 15.8%. Score: 95. Concerning the alcohol level, the wine was not in the least hot.

Runner-ups: A pair of Réserve Spéciales, 1994 and 1993. Both were gorgeous 20-year old Cabs. I scored both at 94 points.

Flight 6. Amapola Creek Cabernet Sauvignon.

These were all from Richard’s estate vineyard, just below Monte Rosso. All the wines are eminently ageable.

2005 Amapola Creek Estate Vineyard Cabernet. Beginning to show bottle bouquet and development. Softly tannic, supple, rich in black cherries and mocha. Balanced, complex. Will drink well through at least 2025. 15.5%. Score: 94.

Flight 7. Amapola Creek Zinfandel.

Eight were Zins, mainly from the estate vineyard, with a few from Monte Rosso. Richard put a Petite Sirah in among them.

Amapola Creek 2008 Monte Rosso Zinfandel. Monte Rosso Zins, for me, can get too high and hot in alcohol, and the flavors can turn raisiny, even pruney. But the ’08 was the best of the lot, despite the heat waves of the vintage. I called it “claret-like” (an appraisal Margo Van Staaveren, sitting next to me, shared). Tons of fruit, spice and cocoa, balanced and elegant, yet always with Zin’s powerful, briary character. 15.1%. Score: 92.

Flight 8. Various Rieslings.

These were from Arrowood and Chateau St. Jean, and covered the vintages 1975-2009. The wines were from the vineyards Richard made famous with his Rieslings and Chardonnays of that era: Robert Young and Belle Terre, joined, later, by Hoot Owl and Saralee’s.

Tie for first:

1975 Chateau St. Jean Belle Terre Vineyards Johannisberg Riesling Individual Bunch Special Select Late Harvest (10.6%), and 1975 Chateau St. Jean Robert Young Vineyards Johannisberg Riesling Individual Bunch Special Select Late Harvest (10.0%). Score on both: 96. It is impossible to praise these very old white dessert wines enough. Possibly I scored them too low. In fact, the entire flight of eight wines was a masterpiece. It’s a pity people don’t drink more of these white late-harvest stickies, especially as they achieve the glories of senior citizenship.

For an extra treat, Richard invited a group of his former assistant winemakers over the years. They included Milla Handley (now Handley Cellars), Margo (Chateau St. Jean), her husband Don Van Staaveren (also from the old St. Jean days, now at Three Sticks), Heidi von der Mehden (Arrowood, now Merry Edwards) and, representing a younger generation, Erich Bradley (who was at Arrowood, and now is at Sojourn and Repris). Apologies to others who were present whose names I have not mentioned.

Richard's WMsA prestigious gathering of distinguished winemakers

ArrowoodRichard and my former colleague, Virginie Boone, of Wine Enthusiast

Richard Arrowood surely will be inducted one of these days into the Vintners Hall of Fame!


Networking in San Francisco’s wine and food scene

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I used to go to every P.R. event I was invited to—which was a lot—when I started out as a wine writer. With Wine Spectator cred, I was on all the A lists in San Francisco. When I moved over to Wine Enthusiast as chief California critic—a big step up in power—the invitations only increased.

It was really cool, I thought, to be welcomed at all those top restaurants and clubs, to be wined and dined on wine and food I wouldn’t otherwise be able to afford, to be treated with a certain respect and courtesy. But guess what? I soon tired of the scene, which, it seemed to me, was populated mostly by networkers looking to sell their products or services. I wasn’t networking; I already had the job I wanted.

For some years now, I’ve been pretty selective about what I go to. The invites still pour in, but I seldom feel the need to go: I’m happy snuggling up with Gus at night and reading a good book, watching something on the telly, or getting some work writing done on the computer. But last night was an exception. I’d gotten invited to a client meet-and-greet by Postcard Communications, an up-and-coming S.F. agency, whose offices are located in a cute little building on uber-cute Maiden Lane, two blocks east of Union Square. The firm represents restaurants, artisanal food producers and wineries.

I’m not entirely sure why I went; something prompted me to. So I took BART into the city (four stops) and was there promptly at six. It was the usual thing: grazing through tables of delicious foods and wines. Met some nice people; traded business cards; had some superficial chats. There are two or three individuals I plan to follow up with.

I stayed for about an hour, then—feeling like the old uncle in a group whose average age seemed to be about 24—I left. On the way home on BART four young men were break dancing for contributions. It was fun to watch and I wished I’d brought something less than a couple twenty dollar bills so I could give them a few bucks. (It felt weird asking for change. Should I have?)

And I thought: I don’t really need these networking events anymore, but they’re fun to go to occasionally, and moreover, they really are the bloodstream of the younger part of our wine and food culture. Everyone I met had already had three or four “careers” in their search for one that suited them. One guy had been a teacher, a techie and had worked in publishing, before ending up in the food business. These folks, at their tender age, are still figuring out where they want to be and what they want to do insofar as work is concerned. They’re happy to be living in San Francisco or the East Bay (although prices are killing them). For a veteran like me, it was refreshing to see such burgeoning passion and talent incubating in the Bay Area, which is such a remarkable fount of creativity, from the programmers of Silicon Valley to the musicians and chefs of Oakland. I sometimes think of it as a kaleidoscope of personalities, dreams, ambitions and skills, always shifting and transforming into beautiful patterns of symmetry and color. From it will emerge the successes of tomorrow.


Stories, stories, stories at Unified

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Great time yesterday moderating my panel at the Unified Wine & Grape Symposium on “Content is King: How to Craft and Feature Stories that Stand Out.”

We had a good-sized crowd—it filled the better part of a ballroom—which tells me that people really have a desire to master this storytelling thing. For my part, in my opening remarks I made three points I think hold true:

  1. What is a story? What makes a good one? How do you figure out how to tell your own, unique story?
  2. Once you have a story to tell, you need a medium to tell it through. There’s print, of course, but also the whole range of digital. (And, as one of my panelists pointed out, your tasting room staff is part of your story!)
  3. Once you’ve crafted a story and told it through your preferred media, you need a way to see if it achieved the results you hoped for. This is, of course, the famous (or infamous) ROI everybody talks about.

I suppose we could have a seminar on any one of these topics, they’re so complicated and filled with possibilities. As it was, we had only 75 minutes to get through it all, a hopelessly inadequate amount of time. But one must try! I believe the audience got so much information thrown at them from the three speakers (each of whom had a PowerPoint presentation), it must have been hard for them to take it all in. All I ever want, in these sorts of public events, is for folks to leave feeling like they were glad they came, and that they learned a thing or two they can use in the future. In this case, I’m sure they did. They had so many questions afterwards, we didn’t have enough time to get to everyone because we had to leave the room so the next panel could convene. Later, at the bar, I ran into a young guy whose family started a winery. He’d been to my panel. He said they were having trouble figuring out how to sell their wine. He’d come to “Content is King” hoping to learn about some magic bullets. Alas, there are no magic bullets. It’s hard work, selling what you make. Not for the faint-hearted.

I ran into many old friends: Mr. Darrell Corti (such a legend, and such a gentleman), Nicholas Mlller from Bien Nacido, Rick Kushman from the Sacramento Bee, the fabulous Nick Goldschmidt, George Rose (snapping pix all over the place), Nancy Light, Rick Smith from Paraiso, down in Monterey, whom I’ve known and liked for a really long time, and too many others to mention. Rick Smith is one of those salt-of-the-earth guys. He was a founding farmer/father of Monterey viticulture and wine and in particular the Santa Lucia Highlands (whose appellation status he helped create). It’s always a pleasure to meet old friends, but it also makes you feel your age when you remember how long you’ve known some of these guys. But I also made some new friends, including Melody Fuller, who it turns out not only lives near me in Oakland, but is the founder of the Oakland Wine Festival, which I’d never heard of (shame on me), but seems like a great thing for Oakland. My city has become a real hub of excitement, of restaurants and bars and the most interesting people moving in, so it’s only natural for us to have our very own wine festival, which I’m sure will be a huge success.


Talking to an audience with different levels of wine knowledge

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That was part of my challenge last week at a wine dinner I hosted, for Jackson Family Wines, at Ling & Louie’s, a fine Asian-fusion bistro in Scottsdale, Arizona.

Seasoned speakers know it’s helpful to have advance knowledge of who your audience is. (Actually, it’s “whom” your audience is, but that sounds so precious.) The more you know about them—their backgrounds, careers, level of wine knowledge—the better you can tailor your remarks to their interests and desires.

But this advance knowledge isn’t always possible, which is why some speakers will start things off by asking the audience questions. Where are you guys from? Do you work in the wine industry? Are you casual wine drinkers or collectors? Starting on this interrogatory note not only informs the speaker, it’s an ice-breaker that establishes an interactive back-and-forth, drawing the audience in and softening the initial atmosphere, which may be stiff, into one of cordiality and ease.

Sometimes, as I imply in the headline, your guests’ wine knowledge is all over the place. On Friday I had serious collectors as well as folks who couldn’t tell a Zinfandel from a xylophone. In this case, you have to tread a careful middle way. You don’t want to talk down to the true wine geeks, or to go over the heads of the novices. It’s a balancing act, but careful listening and sensitivity will help you hold everyone’s interest.

One thing that commonly happens is that a novice will ask a simple question whose answer the experts already know. You want to help the novice understand, but you don’t want to bore the experts. I’ve found that there are ways to answer the simple questions that will engage even the most knowledgeable people in the room.

For example, on Friday a woman asked me why Burgundy and California Pinot Noir taste so different (she preferred California), since they’re made from the same grape variety. You could see the Burgundy guys roll their eyes. I answered by asking the woman to imagine a globe of the planet. “See the lines of latitude in the northern hemisphere? Find Burgundy, then trace the latitude westward, across the Atlantic and the North American continent to the Pacific coast. Now, where are you?”

Before she could answer, someone (a guy) shouted out “Oregon. Washington.”

“Exactly,” I said. Then I went on, “Now, find Central California on our globe and follow the latitude line eastward, across North America and the Atlantic to Europe. Where are you?”

“Italy,” someone said.

“That’s right,” I said, “and not just Italy, but southern Italy, even Sicily. Now, imagine the difference in climate, and in summer daylight hours, between, say, Portland/Seattle and Sicily. Heat and sun ripen all fruit, including grapes. And that, my dear” (I told the woman, who was a sweet older lady) “is why Burgundy tastes different from California Pinot Noir. California is riper.”

The lady gave me a big smile. “That’s the first time I’ve ever gotten an answer to that question I could understand,” she said. She was happy, and I think I kept the interest of even the hard-core collectors.

Of course, the collectors would have been pleased to get into a detailed rap about Kimmeridgian soil, slopes, winemaking techniques and all that, but that would have been a MEGO moment for everybody else. So we had struck a balance. It’s also fair to point out that people in the audience at events like this have their own responsibility for its success. There’s always a “most knowledgeable guy in the room” who, devoid of manners, will want to drop his expertise just to show off, or perhaps to challenge the speaker. Fortunately, most experts have the awareness and self-control to behave themselves, in order to foster the greater good, which is the audience’s happiness. The experts at my event certainly behaved responsibly, and I made it a point, as best I could, to hang out with them afterward.

I never forget that my guests don’t have to be there. They choose to be there, thereby doing me an honor. The least a host can do is return the honor by respectfully listening and sensitively leading everyone in the same direction.

* * *

Tomorrow is my session at the Unified Wine & Grape Symposium, in the lovely capital of California, Sacramento. Our topic: Content is King: How to Craft and Feature Stories that Stand Out. I’m moderator; fortunately,I have some truly great panelists. It’s amazing how this meme of “the story” has grabbed hold of the wine industry’s marketing and communications people, isn’t it. Anyhow, if you’re there, come on up and say hi.


Learning from somms

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Great time yesterday tasting wine over lunch at a fabulous restaurant, The Loft, at the Montage Resort in Laguna Beach. “Fancy-schmancy,” my grandma Rose would have called it. Chef Casey Overton’s food rocked; the pairings were excellent. Our guests were about a dozen local somms and retailers. The hours flew by and the conversation never lagged, so I guess you’d say it was a success. I certainly enjoyed myself.

It always amazes me that professionals on the retail side of things are so interested in my former job as a wine critic. I mean, I’m there to talk about the wines, the vineyards, the winemakers and so on. There are certainly great stories to tell. But people want to hear about the nuts and bolts of the critic’s job. How do you taste? How do you score? These are things of great interest, I guess, but it’s all the more strange to me given that most somms have a natural (and perfectly understandable) antipathy to critics. They (somms) work really hard to master their trades, and then in comes some customer who wants the latest 100-point wine, instead of depending on the somm’s latest insights.

That would annoy me, too.

I think for somms, and better retailers, the critics basically landed their jobs through a combination of luck and maybe some skill, but certainly not the skill set that a sommelier develops, especially one who’s deep into the certification process. They look at critics and think “That guy doesn’t know nearly as much as I do about [fill in the blank], and yet he’s got more influence on consumers than I’ll have in a lifetime.” This is a profound truth, and there is an element of unfairness. At the same time, it’s life—reality—the way things are—so the somms have to deal with it. Perhaps some of the fascination with the critic’s job is because most critics seem like remote beings, up on some pedestal or magic mountain or something. They’re not really human: they’re brands. There’s the Robert Parker brand, the Jim Laube brand, the Antonio Galloni brand, and, up until last year, the Steve Heimoff brand. I don’t think that’s the way any of us planned it, or even wanted it, but it’s how things turned out.

For myself, one of the biggest challenges of being branded was to try to put people at their ease. But we (all of us; the media, buyers, consumers) have elevated critics to such high levels that they can almost seem like gods. This is understandable in part because we have given over to the critics one of the most fundamental parts of our minds—the ability to make judgments—a part of our mind that really should never be entrusted to someone else. And then, in order to justify this abdication of our own judgment-making capacity, we convince ourselves that the critics must have some insight into the divine—must be in touch with something greater than we can comprehend—otherwise how could we live with ourselves, knowing we’ve entrusted our judgment to a mere mortal?

Of course, that’s nonsense. Critics aren’t divine, any more than anyone else. But the psychology of how we think and make decisions and feel about ourselves is at play here. These are enormous stakes, of enormous interest to people who think about such things, so it’s only natural that these somms and retailers would want to know more about how a critic thinks. We’re all trying to make sense of our world, aren’t we?

All of which makes me wonder about the future of critics. Will they always be with us? Will they go away? If they do, to whom will the public turn for advice? We are at a crucial crossroads here. The public is more confused than ever, what with the proliferation of wine brands, but at the same time they’re more ornery than ever. Older wine drinkers, who are rapidly fading away, are more conservative, but younger ones—bless their souls—are adventurous. This means that any winery can be famous for fifteen minutes. The question is, how does a winery achieve brand loyalty? This is the biggest question the industry faces going forward.


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