Last Saturday’s tasting and panel discussion on “The Neighborhoods of the Russian River Valley,” sponsored by the Russian River Valley Winegrowers Association as part of their winter “Pinot Classic” event, was interesting, as these terroir-oriented seminars always are. But, as I told the audience, for me at least it smacked of “déja vu all over again.”
The theme was to see if we could isolate and identify the characteristics of Pinot Noirs from three different “neighborhoods” of the greater Russian River Valley: Green Valley, Laguna Ridge and the Middle Reach.
To help walk us through an understanding of these regions were four talented winemakers: Michael Browne (Kosta Browne), representing Green Valley; Rod Berglund (Joseph Swan), representing Laguna Ridge, and Mark McWilliams (Arista), representing the Middle Reach. Our panel moderator was Mike Sullivan (Benovia), whose long career in the Russian River Valley gives him broad, general oversight.
My role, in Rod Berglund’s words, was to be “the cleanup hitter and let us know if what, from an outside observer standpoint, what we say makes sense or if we are all just full of [it].” I thus spoke last.
I must now briefly digress to quote some passages from my 2005 book, “A Wine Journey along the Russian River.” This is from a section called “Carving Up the Valley”:
After the 2001 harvest, a group of [Russian River Valley winemakers] began gathering to taste the wines from different parts of the appellation. Their focus, obviously, was on Pinot Noir … The object was to see whether it made sense to carve up the valley into sub-AVAs … The vintners would get together every so often for a few hours to taste and see whether they could detect consistent differences in the wines … Exactly where these divisions are and what they should be called are years away from being determined … the Russian River Valley Winegrowers Association itself has suggested three sub-AVAs: the Middle Reach, Laguna Ridges [sic] and the Santa Rosa Plain (counted as one), and Green Valley, which has had AVA status since 1983. You can think of this as a warm-cool-cold continuum.
I wrote those words in 2004. Now here we are, ten years later, and it’s as if I wrote them yesterday. Pretty much the same winemakers, talking about the same topic—it’s as if the last ten years hadn’t ever happened.
Why these new AVA processes take so long (and they always do) is a matter of complexity; no small reason is simply because people are busy, and it takes a great deal of effort to come to agreement (especially in so large and crowded a place as Russian River Valley). Still, I confess to finding it surprising that this particular process has dragged on for so long. There’s no question that the Russian River Valley needs to be broken up into smaller, more meaningful AVAs. At 96,000 acres (according to Wine Institute), it’s the 21st biggest AVA in California (of more than 100), bigger than Alexander Valley, Chalk Hill, Sonoma Valley and Sonoma Mountain combined—and you can throw Santa Rita Hills in there for good measure and there’s still a skosh of acreage left over.
As I wrote in “Journey,” “[T]he Middle Reach does deserve its own AVA status.” I believe this on several bases: historical (the name “the Middle Reach” is very old, by California standards, and Pinot Noir there dates to the 1960s) and because the wine quality is so high and so consistent across all properties. Indeed, the Middle Reach probably has the greatest quality overall because, being the warmest part of the valley, it ripens the grapes well even in cooler years, whereas a place like Green Valley—the coldest neighborhood—may struggle in a chiller like 2011 and even in the more moderate 2012 vintage to get the grapes to full maturity. A well-made Middle Reach Pinot is spectacular on release, yet we know from the experience of older wineries (Rochioli, Williams Selyem) that the best bottles are capable of twenty years of development.
I think Laguna Ridge also makes sense. You have there wineries whose Pinot Noirs are lush, tannic and earthy, and need time to develop in the bottle. I think the current thinking now is to separate out Laguna Ridge (in the hilly south-central part of the valley) from the Santa Rosa Plain to the east, which makes sense; but that leaves unnamed a huge swathe of Russian River Valley, stretching roughly from Highway 12, east of Highway 116, northward almost to Windsor, and containing some of the Russian River Valley’s most famous wineries and vineyards. It surely deserves appellation status too, and why not Santa Rosa Plain? Although, as I noted in “Journey,” Rod Berglund at that time had suggested a Windsor Hills AVA for the more northerly part of this stretch.
I had written, too, that Bob Cabral had suggested a West River AVA (to pick up where the Middle Reach trails off), while Dan Goldfield had suggested dividing Green Valley into Upper and Lower (based on elevation); and I’m sure there are others with even more creative ideas. So we can begin to see why this process of new AVAs takes so long. This is complicated stuff!
I wish the Russian River Valley Winegrowers well in this latest push. As I wrote in 2004, things then seemed to have been put on hold, “but that has only slowed, not stopped, the momentum for sub-appellating the valley.” My hope is that, with last Saturday’s public event, the momentum has been regained.
(P.S. As I noted in “Journey,” and Rod Berglund again reminded us on Saturday, legally and technically there is no such thing as a “sub-AVA.” All AVAs are created equal, it seems, in the eyes of the government! But for conversational purposes, I have no problem referring to sub-AVAs.)
Gus was there too
We had a fantastic lunch at Michael Mina yesterday (don’t even get me started on the short ribs!). It was my first sales trip (for Jackson Family Wines), to which they had invited a small bunch of top sommeliers in the Bay Area. The wines were no slouches: Matanzas Creek 2012 Bennett Valley Sauvignon Blanc (awesome with the hamachi sushi), Stonestreet 2011 Broken Road Chardonnay (so crisp and lemony-minerally), 2006, 2007, 2009 and 2010 Cardinale and 2007 and 2009 Verite La Muse. Two of those wines (2006 Cardinale and 2007 Verite) were among the only five wines I ever gave perfect 100s to during all my years at Wine Enthusiast, so it was pretty special to taste them again. The ’06 Cardinale of course had more bottle age than it did when I reviewed it (in 2009, I think it was), and it was just about as beautiful as Napa-Bordeaux wine gets. OMG I wouldn’t mind having a few cases of that! The 2010 being younger was more tannic, and if it didn’t have the sheer dazzle of the ’06 it had plenty of elegance. As the late, great Harry Waugh would say, it will make a great bottle.
As for the Verities, what can I say. That Alexander Mountain Estate (where the grapes come from) is one of the world’s great vineyards and if you think I’m saying that just because I work for JFW you don’t know me or the estate. Somebody said that Verite wines have had ten 100s (one from me, nine from Parker), more than any other California wine. I don’t know that for an absolute fact, but there’s no question that Pierre Seillan is doing amazing things up there on that mountain. (By the way, this led to a little conversation about whether Bordeaux blends are better from a single vineyard or a blend. Unlike Verite, Cardinale is a blend: the 2006 was from Mount Veeder, Howell Mountain, To Kalon, Stags Leap, Spring Mountain and St. Helena, but, as I said, it was absolutely a 100-point wine. So, no, a great Bordeaux blend can be a blend OR a single-vineyard wine. And there’s no reason in principle why a great Pinot Noir can’t be a blend, if you think about it.)
I so enjoyed being with those smart, young somms. They ask the best questions. One in particular, Ian Burrows, from Atelier Crenn, in the Marina, really hit me up with some great ones. Why do I give high scores to some varieties (Cabernet Sauvignon, Pinot Noir) and not to others? I explained that, since I reviewed only California wines, although I might like, say, a Pey-Marin Riesling, I’m not about to give it 100 points, or a Charbono from Summers or a Gruner from Von Strasser, much as I like those wines. He pressed me, which was delightful, because it makes me think more deeply about stuff than if I’m just thinking off the top of my head. To be interrogated like that—not in a mean, threatening, third-degree way, but in a journalistic, curious way—is very good. It makes you justify your thoughts and actions and think about things you might not have fully thought out before.
The somms asked lots of questions about being a wine critic and scoring and how do you taste and so forth, and at one point—we were talking about blind tasting—I found myself saying something I’d never said before, at least, with such conviction. “Wine critics really should be held to higher standards of accountability,” I said. There is so much we don’t know about how they taste and review wines. I added, “With all the immense power they have in the marketplace, they should be far more transparent.” I believe that. When I was a critic, I tried, through my blog, to offer more openness and transparency about the actual process than any other critic I knew of (and I think I did a good job). I also was open about my own internal doubts. “Do you ever doubt yourself when reviewing?” Ian asked. “Yes!” I told him. You can’t not doubt yourself. Pride goeth before a fall. Of course, you need to be confident in your abilities, but you also must never forget that you are human and thus fallible. (If you do, experience has away of humbling you, as for instance when you call a Petite Sirah “Merlot” in front of a crowd.) You also must not forget that, if you’re a critic, you’re playing with people’s lives–I mean, the people from the winery whose livelihood you may jeopardize with a poor score. Believe me, that is a very sobering thought.
They started calling my neighborhood in Oakland “Uptown” a few years ago. That was when the restaurants began moving in, and the new condos and bars and clubs, making it one of the Bay Area’s hottest ‘hoods. But one thing Uptown never had was a fancy wine tasting event for the public.
Well, Saturday night brought a breakthrough of sorts. It was called the Spring Wine Event, and it was held in a place called Impact Hub, a former auto showroom (I think it was Cadillac-Porsche) back when this stretch of Broadway was called Auto Row. The redeveloper has taken the industrial-sized place and turned it into a high-ceilinged, post-modern space perfect for events of this sort.
I’d been invited to the tasting by a guy, Michael DeFlorimonte, whom I’d never heard of, so I called him up to ask why he’d reached out to me. Seems a winemaker had recommended he ask me, especially since I live only a ten-minute walk away. So Mike did, and I’m so glad. He explained to me that the event was largely for the African-American community, which is fantastic, because that community has been overlooked and underserved by the broader wine industry, which seems like it focuses its efforts (at the premium end, at any rate) elsewhere—why, I’ve never known.
Anyway, this was a glamorous event. I was underdressed, as I usually am. Most of the wines being poured were from tiny new wineries I’d never heard of, many of them produced at a facility on Treasure Island, which is familiar to Bay Area motorists as the mid-way point on the Bay Bridge between San Francisco and Oakland. I’m going to have to go out there one of these days to check out this interesting, urban wine scene.
Here are some of the wines I really liked: L’Objet Wines 2009 Pinot Noir Reserve, a $32 blend of Russian River, Santa Maria Valley, Anderson Valley and Sonoma Coast; Longevity 2013 Pijot Grigio ($24), from Livermore Valley, actually a rosé and a very good one; Urban Legend 2012 Windem Ranch Sauvignon Blanc ($19), which confirms everything I’ve always liked about Lake County; and Greyscale 2011 Cuvée Blanc ($34), a Sauvignon Blanc-Semillon blend from Napa Valley made in the Graves style. There were a few wines that were pretty ordinary, and two in particular that were disasters: both from a high-end, expensive Napa Valley producer whose name I will not reveal, but whom you all would recognize. They were awful, horrible, crimes against wine, and my first thought on tasting them was, “Wow. They dumped these wines at a tasting where they thought people might not be that discerning.” I considered saying something to the pourer, but then reconsidered: not my problem. But it was very sad. Does this sort of thing go on very much? Did the winery think no one would notice because it was “only” downtown Oakland? Someone noticed: me.
It was old friend’s day at yesterday’s Bordeaux tasting, sponsored by Maisons Marques & Domaines. Not only was the wonderful Xavier Barlier there to greet me, but I ran into Fred Swan and Wilfred Wong, so there was also some nostalgic recollecting. But not too much—we were there for the wines.
I didn’t taste everything, but here are my abbreviated notes. [All retail prices are my own estimations, based on wholesale price.] As you can see, you can take the wine critic out of the game—but you can’t take the game out of the wine critic!
Chateau d’Armailhac 2010 [$120]: Great Pauillac structure on this 5th growth; firm, dur. Glorious stuffing, all black currants. Very complex and mouth-filing, a very good wine. Drink 2022 and beyond. Score: 95.
Chateau d’Armailhac 2000 ($175). A little lacking in depth, but with plenty of charm. Very pure and refined. Drinking beautifully now with, say, a fine grilled entrecote. Score: 91.
Chateau Clerc Milon 2010 ($200). Great depth, a real beauty, but so tannic. Heaps of blackberries and cherries. Fabulous acidity. Will make a great bottle after, say, 2022. Score: 93.
Chateau Clerc Milon 2006 ($170). Not a big wine, in fact a little thin. But it’s delicate and refined. Drink up. Score: 88 points.
Chateau Palmer 2006 Alter Ego de Palmer ($175). Fleshy, meaty, with blackberry and black currant flavors as well as a bacon fat, truffly richness. But very tannic. Seems best opened in the next few years. Score: 88.
Chateau Palmer 2004 ($320). A dramatic wine, in the midst of an evolution and not showing well right now. Neither hard nor soft, but the tannins are strong and there’s plenty of elegance. With lots of fruit, it should develop after 2020. Score: 90.
Chateau Palmer 1999 ($475). A gorgeous wine and a great success for the vintage. Surely approaching its peak now. So supple and rich in sweet cherry pie filling, with wonderful acidity and tannins. Silky and absolutely delicious, a standout in this tasting. Score: 96.
La Parde de Haut-Bailly 2008 ($39). Solid, masculine, still with hard tannins. The vintage was not great but the wine has good fruit and will drink well in, say, 5-6 more years. Score: 88.
La Parde de Haut-Bailly 2010 ($50). Solid, a litte gutsy. Very dry and tannic, some rusticity. Not an ager, but a clean, well-made wine. Score: 88.
Chateau Haut-Bailly 2010 ($180). A huge wine, with dusty tannins and good acidity. Lots of fruit, with a pleasant, Graves minerality. Needs many years. Drink 2022 and beyond. Score: 94.
Chateau Haut-Bailly 2003 ($110). The wine is showing considerable evolution, with the fruit revealing secondary notes. Still some tannins to shed. A good wine that should open further by 2018. Score: 90.
THE FOLLOWING WINES ARE FROM CHRISTIAN MOUEIX’S PORTFOLIO AND WERE POURED BY CHRISTIAN.
Chateau de Sales 2010 ($37). A lovely wine, round and feminine. Oodles of black currants and cassis, so sweet and tender. Significant tannins, but it’s soft enough to drink now and through 2022. A great value in a Pomerol. Score: 92.
Chateau Certan de May 2008 ($115). A hard wine, with big, tough tannins, but some lovely fruit. Tons of black currants and minerals. Needs time. Give it another ten years to come around. Score: 93.
Chateau Certan de May 2010 ($190). Far greater depth and complexity than the 2008, in fact twice the wine. Such opulence and craftsmanship. Very fine, balanced and elegant, but young. Wait until 2025, for starters. Score: 95.
Chateau Hosanna 2010 ($275). For me, a bizarre wine. Too oaky. Incredibly strong, spicy, black currants, chocolate nibs, anise. California style, fat, opulent. It is said this wine needs a great amount of time to come around, but I would not take the gamble, especially at this price. Score: 87.
Chateau Hosanna 2004 ($NA). Same style as the 2010, a big, oaky, New World-y wine. Beginning to show its stuff, but still nowhere near ready. I scored it 91 points based on potential.
Chateau Lafleur-Gazin 2007 ($45). A rustic wine, hard around the edges, but good fruit. Ready to drink now-2015. Score: 86.
Chateau Magdelaine 2008 ($105). Soft, fleshy, what you want a Saint-Emilion to be. Mainly Merlot, with lots of red cherries and red currants and a lovely mouthfeel. Needs time. Drink after 2020. Score: 93.
Chateau Puy-Blanquet 2011 ($27). A nice wine, with some lovely fruit, but for me, too sharp in acidity. I said this to Christian and he remarked, “Well, the vintage…”.
Le Petit Mouton de Mouton Rothschild 2007 ($300). This junior Mouton is delicious in black currants and cassis, although it lacks the power of the Grand Seigneur. Drink 2019 and beyond. Score: 91.
Chateau Mouton Rothschild 2005 ($950). Possibly it was just me, but this wine wasn’t showing well despite the vintage’s reputation. Primary fruits starting to evolve, but it’s a bit raw. But you have to give it the benefit of the doubt, especially considering the stellar reviews the wine has received from top critics. Undoubtedly it is going through an awkward phase. I did not rate this wine and would like to taste it again from another bottle.
Chateau Mouton Rothschild 2010 ($1500). An awesome wine, huge, magnificent, clearly a Great Growth. Masses of black currants, perfect oak, gorgeous acids and tannins. Will improve for decades. This was so stunning I swallowed rather than spit. Potentially a perfect wine. Score: 99.
To San Francisco today for a Bordeaux tasting, at Wine & Wall, the interesting space just south of Market, near the Embarcadero, that’s such a hotspot of a neighborhood. I know little about the event, except that it involves the following wines:
Château Hosanna 2004 | 2010
Château Certan de May 2005 | 2008
Château Magdelaine 2008
Château Haut-Bailly 2003 | 2010
Château Mouton Rothschild 2005 | 2010
Château Pichon-Longueville Comtesse de Lalande 2006 | 2010
Château Ducru-Beaucaillou 1995 | 2003
Château Palmer 1999 | 2004
which of course makes it pretty compelling.
I haven’t paid much attention to Bordeaux for years, overwhelmed as I was with California wine, although I do follow, at a distance, Bordeaux’s fortunes in the trade pubs. The question for Bordeaux, it seems to me, is whether it can hold onto its glorious reputation among a new generation of wine lovers. In Bordeaux’s favor is the old maxim—Newton’s first law of motion, actually—that an object in motion will continue in motion at the same speed and direction unless acted upon by an unbalanced force. The object in this case obviously is Bordeaux sales, which have continued in motion for many centuries. It can be argued that Bordeaux’s popularity threatened to become unhinged in the 1960s and 1970s, but that Bob Parker came along at the very moment when Bordeaux needed a boost, and a serious one at that; and that is exactly what Parker gave it, with his triumphant review of the 1982 vintage. It can be equally argued that, now that Parker is receding from the scene, the props are disappearing from Bordeaux’s stage, leaving it increasingly bare. We shall see.
I, personally, can see no reason why Bordeaux logically should hold onto its reputation. Worldwide competition has narrowed their appeal; high prices make most consumers look askance. Just this morning, Harpers, via Wine Business.com, reports that the chateaux are already discounting their 2013s, as “Buyers [show] a continued lack of confidence” in the Queen of Wines. Then, too, 2013 was supposedly “the most difficult” vintage in a long time, and Bordeaux consumers are notorious for being vintage-sensitive. This is so unlike the situation in California, where vintage matters far less. It may not be true, as long alleged, that “Every year is a vintage year in California,” but surely vintage differences here—even between an iffy year like 2011 and a superb one like 2012 and (we think) 2013—are more nuanced.
Anyway, I’m looking forward to renewing my acquaintance with the wines of Bordeaux. I’ll be looking for any hedonic pleasure I can find, since pleasure is what I want wine to provide. I’ve reached a point where I can’t really make excuses for a young wine that’s too tannic to enjoy, under the theory that all it needs is 10 or 20 years in the cellar to be drinkable. I’ll pay particular attention to the 2010s, which Parker rated so highly. The ‘03s and ‘04s fared less well, reputationally, but then there are the ‘05s, which for Parker at least was a stellar vintage.
I quote Parker! Yes, now that I’m a “civilian” with no particular allegiance to any publication, I see no reason not to, at least where Bordeaux is involved. Like many people, I rely on the advice of critics, in my selection of movies to see, restaurants to patronize, tech gadgets to buy, and Parker still seems to be the authority when it comes to Bordeaux. I will report on the results of today’s tasting tomorrow. Then I’m off on my first official visit for Jackson Family Wines: a couple days hanging out at the Panorama Vineyard, in the Arroyo Seco, and meeting with Carmel Road’s winemaker, Ivan Giotenov. I’ll be staying at the Inter-Continental; if you’re in the area, give me a shout.
Old friend Nick Goldschmidt braved the terrors of I-80 through Berkeley and Emeryville to visit me in Oakland yesterday. We grabbed some sushi to go and walked over to the park, where we sat on a bench by the lake, with all the seagulls and geese, and talked. (Yes, Gus came, too.)
What did we talk about? Wine, of course. I got caught up on his adventures (Nick seems always to be somewhere in the world making wine) and he got caught up with mine. We spoke about wine critics, and Nick made an interesting statement.
He said, in effect, that he thought wine writers/reviewers should actually live in the places they write about, in order to understand the culture. For instance, he said, when Nick travels to Chile, he lives with winemakers, not in a hotel, eats their food, plays with their kids, and in general absorbs the culture. Chileans eat a lot of sushi, which accounts for many of their wines. Argentinians, by contrast, eat a lot of beef.
So what about traveling writers, like Jancis, Parker, Galloni? I asked. They don’t live in the wine regions they write about but they seem to do a pretty good job. And, I pointed out, I don’t live in wine country either.
“Yes, but you live in the Bay Area and easily travel up to Napa and Sonoma,” Nick said, which is true; and it’s also easy for me to get to the Central Coast. On the other hand, lots of wine writers only visit overseas regions once or twice a year—and then they tend to go to the same old wineries over and over, and this, too, bothered Nick.
I suppose it’s true that living in or near the wine country you write about makes the writing somewhat more authoritative. I’m not sure I agree that an understanding of the “culture” is all that relevant, though. It can’t hurt, but I like to feel that I could take the skills I’ve learned—having a decent palate and all that—and apply them to the wines of France or Croatia or South Africa, if I was reviewing them.
Winemakers always want to feel that the people critiquing their wines have as thorough an understanding as possible of those wines—where they’re from, what the underlying philosophy is, how they were made and so forth. This is perfectly understandable. The relationship between a critic and the wines he reviews is a very intimate one. This is why many wineries—not most, but a lot—won’t allow critics to taste their wines, except with the winemaker on the premises. I personally don’t subscribe to that approach, as I think it’s short-sighted; but then, I come at this from the critic’s point of view.
I think Nick’s questions raise deeper issues, and reflect an ongoing uneasiness about wine critics on the part of many winemakers. They (winemakers) work their butts off to make wine, and then their success or lack thereof is in the hands of writers who are, let’s face it, largely uncredentialed. We also talked about where wine criticism is heading, as the Boomers fade from the scene and print publications continue to try to figure out how to stay relevant. Nick asked me what I thought, and I had to admit I don’t know. After all these years of kicking the subject around on steveheimoff.com, the jury’s still out on how Millennials (the future of wine) will be basing their buying decisions in 5, 10 years.
Speaking of Nick, whose wines I’ve adored for a long time (he’s so talented), I will miss tasting the fantastic range of great wines that used to come my way, not to mention the interaction with so many talented California winemakers, some of whom have been nice enough to contact me and wish me well. I was lucky in my job: I got to taste the best that California has to offer. Not that I’m complaining: I still get to taste some fabulous wines from Jackson Family. Long before now, I should have congratulated Virginie Boone for inheriting the Napa-Sonoma portfolio of my former job at Wine Enthusiast. Good for her: she deserves it.