Cameron sent me another batch of wines, which I was glad to review. In general, the Cameron Hughes brand continues to provide fantastic value for the money. His business, briefly, is to function as a negociant: vintners who want or need to sell their wine, privately and off-the-record, know and trust Cameron. We never know where the wines come from, although Cameron does provide “hints.” I did have a problem with one bottle, as you’ll see, but the rest are wines I would gladly drink anytime.
95 Cameron Hughes 2013 Lot 596 Monte Rosso Vineyard Cabernet Sauvignon (Sonoma Valley); $35, 15.2%. This is one of the more expensive Cameron Hughes wines, but it is from the deservedly famous Monte Rosso. And it’s quite a good Monte Rosso: dark, deep, rich and ageable. Cabernet hardly gets more intense than this, with an explosion of blackberry jam, black currants, blueberries, cassis liqueur and a penetrating minerality suggestive of graphite. Throw in the oak, and you get smoky-sweet vanillins. This is a serious wine for red wine drinkers, a wine of sinew and muscle, potency and mouth-filing depth. But it never loses that inimitable grace and dignity we expect from the vineyard, far above Sonoma Valley. The alcohol is admittedly on the high side; there is some jalapeño heat. But it’s an integral part of the wine’s personality. Delicious to drink now despite the massive tannins; a good steak will cut right through them. But I would not be surprised if this wine were not evolving over the next ten-plus years.
94 Cameron Hughes 2013 Lot 597 Cabernet Sauvignon (Napa Valley); $32, 14.9%. This wine is so inky black and tannic, you might think it was a Petite Sirah. Cameron says it’s from the famous Stagecoach Vineyard, and it does have fantastic mountain concentration. The tannins are considerable: they sting the mouth and shut it down. A fatty, char-broiled steak would work, but far better is to age this wine for eight years, maybe even longer. There’s so much going on way down deep under the astringency: black currants and black raspberries, cassis liqueur, leather, violets, dark chocolate, mushu plum sauce, smoky oak, herbs, spices, the works. The wine is absolutely dry, none of that semi-sweet cult thing going on, and while there’s some headiness from alcohol, it’s even-handed, just enough to let you know this is a wine of heft. I really admire this Cabernet.
94 Cameron Hughes 2013 Lot 470 Petite Sirah (Oakville); $19, 14.9%. And while we’re on the subject of Cabs that might be Petite Sirah, here’s a strong, young Petite Sirah that might be a Cab! It’s black in color, except around the edge, where it glows garnet. The aromas and flavors are thick with blackberries, black currants, blueberries and dark chocolate, wrapped into firm, authoritative tannins, and finished with significant new oak. There’s also a meatiness, like the salted, charred fat on a steak. This is a big, big wine, entirely dry, but sweet in fruit. Cameron calls it “bombastic”; not a bad word. It’s Petite Sirah, Napa-style. In fact, Oakville-style, which is to say, classy and sophisticated. This is by far the greatest value in Petite Sirah I’ve ever seen. Get as much as you can; it is not only fantastic now, it will develop in the bottle for many years.
93 Cameron Hughes 2013 Lot 457 Meritage (Napa Valley); $18, 14.9%. Great price for a blend this rich and satisfying. It’s a little generic, in the way of a good New World Bordeaux blend, but I can’t imagine that anyone would fault it for that. A blend of Merlot, Cabernet Sauvignon, Malbec and Petit Verdot, it’s fleshy, with broad black currant, bitter chocolate, plum and cherry fruit flavors. Shows its pedigree in the finesse of the tannins and crisp acidity. Very good now, and should hold for six years. A steal at less than twenty bucks.
92 Cameron Hughes 2013 Lot 444 Meritage (Napa Valley): $19, 14.9%. This is quite a distinguished wine, but it’s very young and rather impertinent at this time. (“Impertinent”: I always liked that old-fashioned term for a wine that’s immature, gawky, all primary fruit and barrel influences.) Here are the particulars: bone dry, full-bodied and tannic, with deep, complex blackcurrant, dark chocolate, espresso and oak flavors, and a firm minerality that adds to the architectural integrity. Cameron suggests that the wine, a Merlot-Cabernet Sauvignon blend, comes from Oak Knoll, which might account for its fine structure. The wine will improve over the next 5-6 years, maybe a little longer, so decant and enjoy with its ideal partner, steak. Nineteen bucks? You have got to be kidding.
92 Cameron Hughes 2013 Lot 599 Cabernet Sauvignon (Napa Valley): $29, 14.9%. This is a very good Cabernet and a good value. Cameron says it’s from a producer that “sells for $135.” I don’t doubt it, given the plethora of Napa Cabs that now cost triple digits. The wine is inky black. It smells of black currants and oak, a young, vigorous aroma. Flavorwise, it’s very rich in black currants, cassis, unsweetened baker’s chocolate, charred beef fat and spices such as cloves and black pepper. The finish is long, clean and thoroughly dry. All in all, a fancy wine that gives lots of pleasure, and develops in the glass as it breathes.
89 Cameron Hughes 2012 Lot 503 Pinot Noir (Santa Maria Valley): $15, 15.3%. At a time when Pinot prices are rising, this is a very good value. On the minus side, it’s a little too hot, with a distinct red chili powder heat from high alcohol. That aside, it’s dry and silky, with pretty tannins and good acidity. The flavors, of cranberry, raspberry, cola, spices and leather, are complex. Ready to drink now, especially with grilled lamb or salmon.
88 Cameron Hughes 2013 Lot 600 Cabernet Sauvignon (Oakville); $29, 14.9%. The grapes got exceptionally ripe, to judge from the flavors of chocolate-covered raisins and raspberry jam. There’s also a lot of smoky oak, and thick, sweet tannins. It’s a good wine, full-bodied and soft, and benefits from some olive and herbaceous complexities, but it’s not really what you except from a top-notch Oakville Cab. If it cost a lot more, as Oakville Cabs do, it wouldn’t be worth the price, but for less than $30, it has enough fanciness to recommend it. Drink up.
Not Rated But Reviewed Cameron Hughes 2012 Lot 2012 Private Reserve Cabernet Sauvignon (Napa Valley): $75, 15.5%. This is a big, rich, soft wine, made in the modern cult style of high alcohol and generous oak. For me, though, it’s marred by bretty aromas, which may be why the actual producer unloaded it. It may have been an off-bottle, but I can’t recommend it.
As you may know if you read me regularly, I’ve been having some wonderful wine tastings with my friends at Jackson Family Wines. Over the last 1-1/2 years we’ve done multiple sessions of mainly California wines: Pinot Noir, Chardonnay, Cabernet Sauvignon, Rhone blends and so on. Our next theme is sparkling wine. It’s been, like, forever since I went to a bubbly tasting, so I’m particularly excited.
When I set up these tastings, I first develop the theme. But then it’s time to choose the wines. There are so many choices that you have to have some kind of system, and I do. I realize it may not be perfect, but what system is?
My initial criterion is to pick wines I, myself, have given high scores to. It’s been a while since I was an everyday critic, but not that long. Of course, you can learn a lot from tasting average, or even mediocre, wines, and I’ve included some of those in my tastings. But for the most part, I want to try wines that are high-end, and the best way to do that, IMHO, is to look at critical scores.
Here are the critics I routinely check out: Robert Parker/Wine Advocate; Wine Spectator; Antonio Galloni’s Vinous; and my former employer, Wine Enthusiast. I have subscriptions to three of them; Enthusiast doesn’t charge (I think they should, but that’s not my call). I also try and look at Food & Wine and a few other publications, but those four are my must-sees.
If all of the major critics give a specific wine a high score, it’s a go for my tastings. Usually, the critics are pretty close. Someone may give something 96 points, someone else may give it 92 points, but that’s okay, it’s ballpark. Every once in a while, I come across a wine somebody gave mid-90s and somebody else scored mid- or even low 80s. The lesson is that sometimes the critics can’t agree amongst themselves. In that case, it’s fun to see how my score, under blind conditions, matches up to the other critics’. My impression, which is simply that—an impression, not the result of a database crunch—is that Galloni and Parker tend to give higher scores to California wines than Wine Spectator. Wine Enthusiast is less predictable. But then, they’ve had some turnover in their California coverage.
I wonder how people who don’t like the critics or the 100-point system go about choosing wines for tasting. In Europe you can always do hierarchical tastings since they have formal tiers, but here in California, we don’t. You can’t do a First Growths of Napa Valley the way you can in Bordeaux. Some writers try to get around this absence of rankings by producing their own: I Googled “first growths of napa valley” and got 4,180 results. These can be interesting to read, but they have problems: They’re only the writer’s opinion, the writers may not have had access to everything (who does?), and even worse, the rankings change over time. One year Chateau Montelena is in; the next, it’s not, and Futo is, or Kenzo, or Yao Ming, or some other newcomer. So if I was doing a Napa Cabernet tasting (and I haven’t yet, but I will), I’d make things simple for myself by looking up what the major critics say. Of course, that doesn’t mean I’ll be able to get the wines I want! I have some pretty good connections, but even for me, some of these wines are totally impossible to buy.
At any rate, comparative tasting, done blind, is one of the most thrilling and instructive things a wine writer can do. In fact, it’s a prerequisite for the job. I’m very fortunate that Jackson Family Wines gives me the budget for it. I sure couldn’t afford to do it on my own!
I couldn’t have been more pleased that in yesterday’s tasting I gave the Verite 2012 La Joie * a perfect 100 points. (All wines marked with an asterisk are from Jackson Family Wines.)
It was back in 2009 that I gave the 2006 La Joie a near-perfect 98 points. A year later I gave the 2007 Verite La Muse 100 points. So you could say these wines, produced by Pierre Seillan, delight and amaze me and rise to my highest expectations of what California-Bordeaux can and should be.
Our tasting was entirely blind. The other wines and their scores were Matanzas Creek 2011 Journey * (96 points), Rodney Strong 2012 Rockaway Cabernet Sauvignon (88 points), Hall 2012 T Bar T Ranch Cabernet Sauvignon (90 points), Hidden Ridge 2012 Impassable Mountain Reserve 55% Slope Cabernet Sauvignon (91 points), Lancaster 2012 Nicole’s Red Wine (91 points), Arrowood 2012 Reserve Speciale Cabernet Sauvignon * (92 points), Stonestreet 2012 Legacy Red Wine * (98 points), Stonestreet 2011 Christopher’s Cabernet Sauvignon * (88 points), Silver Oak 2011 Cabernet Sauvignon (92 points), Cenyth 2010 Red Wine * (93 points), Anakota 2012 Helena Montana Vineyard Cabernet Sauvignon * (93 points) and Kendall-Jackson 2012 Jackson Estate Hawkeye Mountain Cabernet Sauvignon * (93 points).
The vintages all were either current releases or the most current releases I was able to obtain buying direct from the wineries. I should add that I also was pleased that one of my fellow tasters, Chris Jackson, also scored the Verite ’12 La Joie a perfect 100 points. When the paper bags came off, it was high-five time.
As some of my readers know who followed my career, I never gave very many 100 point scores, but one was that ’07 La Muse. These Verités are extraordinary wines. They are of course blends from mountain vineyards throughout Sonoma County; it was those wines, in part, that led me to understand that a California-Bordeaux does not have to be sourced from a single vineyard in order to attain perfection. In fact, quite the opposite can be argued: That having your choice of multiple pedigreed vineyards, rather than having to source from only one, allows the winemaker to fill in the divots in order to produce a more complete, wholesome wine. Of course, this implies a very high level of skill on the part of the blender! Nor would I concede that such a blended wine doesn’t display terroir. (Another blend I gave 100 points to was the 2006 Cardinale, made from grapes grown in Mt. Veeder, Howell Mountain, Stags Leap and Oakville.) I do think a great Pinot Noir should probably come from a single piece of dirt, but even here I could be wrong.
It often is said that the difference between Sonoma-grown Bordeaux wines and Napa Valley Bordeaux wines is that the former are earthier and more “French.” I think that is largely true; the tannins are firmer and there is slightly more herbaceousness in the form of sweet dried herbs and often a floral character reminiscent of violets. Most of the wines in yesterday’s tasting were grown on the western slope of the Mayacamas, not far from places like Spring Mountain and Diamond Mountain, in fact just on the other side of the ridge. But Napa Valley is one mountain range further inland and so is that much warmer and drier; the resulting wines tend to be lusher, more opulent, and higher in alcohol. But I would not want to over-emphasize those distinctions. Suffice it to say that some of these Sonoma Cabs, especially from the west side of the Mayacamas, are stunning and ageworthy.
I don’t hesitate to praise the Jackson Family wines just because I work there; in fact it makes me very happy to see them do so well. As I said, the tasting was absolutely blind. Nobody had any idea what the wines were, although that didn’t stop us from guessing. I was troubled by the relatively modest score of the ’11 Stonestreet Christopher’s, a wine I’ve always liked (I gave the ’06 and ’07 both 96 points, for example), but as you know 2011 was “the year summer never came,” and this wine, grown at 2,400 feet on the winery’s Alexander Mountain Estate, is exquisitely sensitive to vintage conditions. I think the fruit, in that brutal environment of 2011, just didn’t get ripe enough (although it’s only fair to add that Wine Advocate gave that wine 94 points. So maybe I just didn’t “get it”).
Anyhow, bravo to Sonoma County for doing so well. I think for our next tasting we’ll do Jackson Family’s Napa Valley Cab/Bordeaux blends against some of the top-rated wines in the valley. That will be interesting, if expensive, and I’ll report on the results right here!
If I you were told that this was painted by a knockoff painter who specializes in fake Renaissance paintings, would you like it?
Would you buy it? Would you hang it in your livingroom?
What if I told you that, actually, it was painted by Raphael—arguably the third most-famous Renaissance painter (after Leonardo and Michaelangelo)? Would knowing that change your perception, your feeling about it?
Would you be more exalted, more inspired, more impressed, more awed knowing it was an authentic Raphael masterpiece?
I suspect the answer is, Yes, you’d be more impressed knowing it’s a Raphael. But why? The painting itself, in either case, real or fraudulent, is exactly the same: same colors, same images, same glow. It clearly took talent to paint it: Whether it was Raphael, or the knockoff guy, is irrelevant in that respect. So why does knowing it’s a Raphael cause you to feel so differently about it?
This is a parallel to the question of great wines I’m so fascinated with. If I take a wine that is, by all critical consensus, a masterpiece—let’s say, 2010 Cheval Blanc, a Parker 100, Enthusiast 100, Spectator 98—and pour it for you from a brown paper bag, and I don’t give you any visual clue whatsoever concerning what I think about it (I am poker-faced, as it were), but just hand it to you and say, “What do you think?,” what do you think you’d say? Assuming you have a decent palate, you’d probably say, “Pretty good wine.” If I really pressed you to give it a score, maybe you’d do 94 or a 95; psychologically, it’s almost impossible for someone tasting blind or, in this case, double-blind, to rate a wine higher than that, because, in the absence of knowledge of its identity, the risks of being too high (or too low for that matter) are simply too grave. So 95 points is probably the best you’re going to be able to do, and I strongly suspect you’d be lower than that.
Instead of the double-blind thing, let’s say I give you a glass of the wine with a broad smile on my face—I’m clearly pleased—and say to you, “My friend, this is a masterpiece. Perfect scores from Parker and Enthusiast. Almost perfect from Spectator. Smell it; savor it; this is a wine you will remember for a long time.” I bet you’re going to agree with me (and with Parker, Spectator and Enthusiast) and be dazzled. (Yes, this presumes you can appreciate a great Bordeaux/St. Emilion. But of course you can; otherwise, you wouldn’t be reading this blog.)
See, in this case the knowledge of the wine’s identity–with all the associations it conjures up—is silently working its magic on your brain, shifting your perceptions upward, inclining you to favor it—just as if I gave you a glass of wine I told you was Two-Buck Chuck, you’d probably be inclined downward in perception. Same phenomenon with the painting and the wine.
This analogy settles, I think, the objective-subjective question we’re always dealing with: Is wine appreciation objective? Yes, in the sense that a professional should be able to identify its quality up to a very high level. In terms of point scores, I’d put that level—as I said above—at about 95 points. All very great wines are 95 point wines.
But to get above 95 points you have to let the subjective appreciator within you have free range. That is the best way, the most logical way to stretch that 95 points up to 98, 99, 100. You have to know the wine is Cheval Blanc, just as you have to know the painting is by Raphael, to really experience its greatness. For a large measure of that greatness has nothing to do with what’s in the glass; it was created, and exists, in your mind.
By the way, the reason this is important, and not just some bit of esoteric sophism, is because it relates directly to prices. If we accept the fact that you can potentially add hundreds of dollars to the price of a bottle of wine solely due to its psychological-subjective impact on the brain, then we have opened up a can of worms, or perhaps the better metaphor is that we have carved out a slippery slope. For those of us witnessing mudslides in this El Nino California—events that destroy homes—a slippery slope, unrestrained, can wreck utter havoc on the things that slide down it.
P.S. This post was inspired by an article in yesterday’s San Francisco Chronicle about this painting, “Portrait of a Lady With a Unicorn,” said to be by Raphael.
I’d call it a super-tasting, our event on Wednesday in which we sampled 13 of the top Syrahs from California.
The background was Jackson Family Wines’ purchase, about a year ago, of Siduri Wines, which also included the Lee family’s lesser-known brand, Novy. Now, I’d always given very high scores to Novy’s Syrahs and other Rhone-style wines, going back to the 2000 Page-Nord Syrah (94 points). It was clear to me that Novy was a top Rhone producer in California, but I wanted to more clearly understand the wines, especially in light of the competition. So I thought, let’s taste some Novy reds against the most critically-esteemed Syrahs and red Rhone blends in California, and see how things stack up.
I asked Adam Lee for his suggestions as to which Novy wines to include in the lineup, and he suggested 2013 Simpson Vineyard Syrah-Grenache (Dry Creek Valley), 2011 Syrah (Santa Lucia Highlands) and 2013 Susan’s Hill Vineyard (Santa Lucia Highlands, from a part of the Pisoni Ranch). Beyond those, I selected the rest: Saxum 2011 Bone Rock; Tensley 2013 Thompson Vineyard Syrah (with a Santa Barbara County appellation but actually from the Los Alamos Valley); Zaca Mesa 2012 Black Bear Block Syrah (Santa Ynez Valley); Copain 2012 Halcon Syrah (Yorkville Highlands): Alban 2011 Seymour’s Syrah (Edna Valley): Colgin 2012 IX Estate Syrah (Napa Valley): Qupe 2011 Bien Nacido X Block “The Good Nacido” Syrah (Santa Maria Valley); Arnot-Roberts 2013 Clary Ranch Syrah (Sonoma Coast, from way down to the south, near the Marin County line); Kongsgaard 2013 Syrah (Napa Valley, from the Hudson Vineyard in Carneros) and Donelan 2012 Obsidian Vineyard Syrah (Knights Valley).
Let me tell you, California flights don’t get any better than this!
We tasted the wines, as usual, blind. There were eleven of us, and we took our time, discussing each wine separately, but going back and forth. There was quite a bit of unanimity, but for this posting I’m using only my own impressions.
Despite the conventional wisdom that you can’t sell Syrah, these wines should be enough to convince even the most confirmed doubter that, when well-grown and well-made, Syrah is one of California’s best red wines. It’s common to say that there are two styles of Syrah in California: a riper style from warmer regions such as Paso Robles and a more structured style from cooler regions like Edna Valley. In general, this is true, although there are notable exceptions; for instance, Alban’s wines, from Edna Valley, are high in alcohol (the Seymour’s was 15.6%). Still, in general there are two styles: (1) higher alcohol, more extracted, darker in color, softer, richer and fuller in body, and (2) lower alcohol, paler in color, more delicate, less ripe, earthier, more nuanced and crisp. In our tasting, the quintessential #1 style was the Saxum (15.3%, Paso Robles); the quintessential #2 style was the Arnot-Roberts (11.8%, Sonoma Coast/Petaluma Wind Gap), which was so pale it could have been Pinot Noir. (But I liked it a great deal despite the lack of typicity.)
Either style can succeed critically, but it’s fair to say that, among the top critics (including myself, when I was a critic), the former style, #1, gets the better scores. On this occasion, I have to say that the Alban and Saxum wines were not among my favorites. I could and did appreciate the soft charm of the Saxum, but the Alban, at 15.6% alcohol, was just too porty.
My top wines—the style I really love—cannot be described as Northern Rhone or Southern Rhone, but rather is balanced, in a rich, sexy, California way. Tied at 98 points each were the Novy 2013 Susan’s Hill and the Donelan 2012 Obsidian. Both almost exploded the top of my head off. Unbelievable richness and concentration, massively saturated wines, so complex and flavorful you could hardly believe it, yet both of them with superb structure and integrity. Close on their heels was the Colgin, which RJP gave 98 points; all I could muster up was a measly 95! The alcohol on that wine was 15.3%, quite high, but the wine had no heat, or perhaps it’s accurate to say it had a pleasantly warming feel. As good as it was, I wrote, “Needs time.”
I also quite liked the Zaca Mesa, the Copain, the Qupe and the other two Novys—I scored them all above 90 points. While the others didn’t rise to the magic 90 level, they were still delightful; and it might be that, in another tasting with another lineup, they might have shown better. It always strikes me in these blind tastings that the wine’s place in the flight, and the other wines that accompany it, are very important. For example, the Copain (which I gave 90 points) came immediately after the magnificent Donelan; the first thing I wrote was, quote, “Not fair after the last wine,” and some of the other tasters led off their remarks by saying something similar. Which is why it’s so important for the critic to try and set aside everything that’s going on in his head and his palate and try to be fair and objective about every wine. Who knows? Had the Copain come before the Donelan I might have given it 91 or even 92 points. That is the subjectivity factor in tasting, which every honest critic will admit exists. The public needs to constantly be reminded of the shortcomings of every type of wine tasting.
Anyhow, this tasting has provided me with a fresh perspective on Syrah, and I intend to give that sometimes maligned variety more of a drumbeat than I have in the past. At this level, it’s a better wine than Merlot, making it a lovely choice for that steak, pork chop or game—in fact it occupies a distinguished place between heavier Cabernet Sauvignon and lighter Pinot Noir as the ideal medium-bodied, complex, dry red table wine.
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I’ll be in Mexico next week, doing some wine tastings for Jackson Family Wines. Will try to blog everyday. Have a great, peaceful weekend.
I have to say the results were mixed in this latest tasting, which we did on Friday. All the wines were tasted blind. Several were stunning; most were delicious despite imperfections; a few were just average.
These hills and valleys, west of Buellton, are of course famous for running on an east-west orientation, allowing the cool maritime air to funnel in over the vineyards, so that, despite being at quite a southerly latitude—about the same as parts of Algeria and Tunisia—the climate is cool. The average water temperature in the Pacific in these parts is only in the low 60s, and the average high temperature in Lompoc, where the winds come from, in July is a measly 72 degrees, cooler even than in Burgundy.
The soils are variable: the appellation is not particularly large (30,720 acres), but spans two separate hill ranges and the valleys between them, making for differences in exposure and wind patterns, although it can be said that a fair amount of limestone makes the soils somewhat unique for California. This limestone can add a tang of minerality, especially to the white wines.
All of the wines were current releases, 2012s and 2013s. I bought most of them direct from the winery. The wines were poured about 90 minutes prior to the tasting, which enabled them to lose a bit of their chill, and breathe.
My top-scoring wine, at 96 points, was the Longoria 2013 Fe Ciega (13.5%, $50), a marvelous wine that only got better in the glass. So delicately structured, with such finesse, brilliant acidity, perfect integration of oak (only 18% new) and with bracing minerality. The vineyard of course is Richard Longoria’s own, located in the cooler, western end of the AVA. This is Richard’s first bottling of Fe Ciega Chardonnay, and what a stunning debut it is, an utterly captivating, first-class Chardonnay.
Close on its heels—nipping, you might say—was the Liquid Farm 2013 “Four” (14.2%, $74). This is a blend of four vineyards (Rita’s Crown, Clos Pepe, Kessler-Haak and Radian) and is the winery’s most expensive Chardonnay. I gave it 94 points for its ripe flamboyance, chalky-minerally mouthfeel and superb peach, pineapple and nectarine fruit. “Very fine, dry, will age, “ I wrote.
Not far behind that was veteran Babcock, in the form of the 2013 “Top Cream” (14.5%, $45). At 93 points, it’s a big wine, flooded with apricots, pineapples, buttered toast and honey. All that volume could be a catastrophe, but Brian pulled this off with distinction. “Top Cream” refers to the layer of gravely loam in which the vines grow, although the wine itself is also creamy rich.
I also loved the Sanford 2012 Rinconada (14.5%, $45), which I gave 92 points. Although Richard Sanford long ago lost his eponymous winery, the fine Rinconada vineyard, which he planted in 1995 adjacent to the famous Sanford & Benedict Vineyard, in the southernmost hills of the appellation, continues to produce glorious wine. The perfume on this—pineapples, peaches, buttered toast, cinnamon—is alluring, while the wine itself turns citrusy and delicate, an “intellectual” Chardonnay, I wrote.
I liked the least expensive wine in our flight, the Kessler-Haak (14.6%, $29) enough to give it 91 points. It came immediately following the magnificent Longoria, and although made in a total different style—riper, bigger—it hardly suffered in comparison. Tiers of pear drop, white flowers, banana cream pie and butterscotch, and the complexity was fine.
After these five 90-plus wines we come to the 2012 Sandhi (12.8%, $36), low in alcohol as you’d expect, which I gave 89 points. I found myself lowering the score as the wine aired, because its initial impression, with a muted arom, lots of tart acidity and a certain thinness, never went away. In fact, since I had a “mystery” ringer in the flight, I wondered if this were the white Burgundy I’d snuck in. I settled on 89 points because it was elegant and “a food wine,” but it was really outclassed in richness by some of the other wines.
Just one point below the Sandhi, at 88 points, was the Bonaccorsi 2013 Melville (12.8%, $40). I liked it quite a bit, finding it “brimming with honey, tropical fruits, smoke and buttered toast,” but there was some peach-pit bitterness throughout that lowered the score.
Then we come to an 87 pointer. Sanguis is a label I’ve been acquainted with since meeting Matthias Pippig years ago. The wines seem somewhat modeled after Sine Qua Non. The reds can be spectacular, the whites exotic. This 2012 “Loner” (13.8%, $60) is 100% Bien Nacido Chardonnay, which means it is NOT Santa Rita Hills, but Santa Maria Valley, an AVA that’s right next door, and with a similar climate. It was included in the tasting due to a miscommunication with the winery. The first thing I wrote on tasting was “Ripe, California style,” packed with guavas and pineapple jam. My score of 87 was a difficult one for me to settle on. At various points the wine seemed oxidized, maybe even bretty; then, a few moments later it recovered its poise, then lost it, then regained it. Sometimes you get a wine you just aren’t sure how to deal with. This was one of those.
At 86 points was my “mystery” wine, a 2011 Meursault from Pascal Marchand. The vintage was by all accounts a good one but I must say this wine did not please me. Perhaps it’s my California palate. From the get-go I found it oaky, and the acidity was, I wrote, “brutal, almost sour.”
Eighty-six points was the best I could do for the Brewer-Clifton 2013 Hapgood (14.7%, $70). It was a bit hot in alcohol, although it did offer a great big mouthful of pineapples, peaches, lemons and minerals. I had started off giving it a higher score, but as the wine warmed in the glass the alcohol really showed through. Parker loved this wine, by the way. He called the winery’s 2013s “a significant change in style,” being “more exuberant…and ripe,” but in my opinion, this change, if in fact it occurred, was not favorable.
We also had the Brewer-Clifton 2013 “3D” (14.0%, $75), at 86 points another disappointment, although Parker loved it too. I wrote “disjointed” as soon as I smelled it; another taster called it “hostile.” It just seemed harsh and over-oaked.
Also scoring 85 points was the 2012 Sea Smoke “Streamside” (14.9%, $90). After the first whiff I wrote “Ripe, fleshy, maybe some brett.” It had solid pineapple and grilled oak flavors, but there was “something off” that made it clumsy and let the oak show through. It had sort of a sweet-and-sour Chinese sauce flavor. I think the main problem was the alcohol level. I realize this is a shockingly low score for this wine. Most critics were kinder. But you have to go with your impressions, and in a blind comparative flight like this one, I trust mine.