Perhaps the most refreshing development in the world of wine is the gradual rejection of strict wine-and-food-pairing do’s and don’ts, in favor of “Don’t worry about it, if you like it, just do it.”
This liberating thought struck me as I was reading through this article in yesterday’s Napa Register which paraphrased MW Tim Hanni as “vehemently eschew[ing] wine pairing as a concept in both the East and the West, and encourag[ing] consumers to drink the wines of their choice with Chinese foods.”
We’ve gotten so used to mandatory wine-and-food rules that it’s hard to understand just why we adhered to these arbitrary injunctions for so long. I suppose it all started long ago, in Old Europe, although I don’t think that, in the 19th century, the esthetic tastemakers of wine were as ideological about pairing as were more modern, mainly American writers. Once Prohibition ended and a spate of wine books appeared on the scene, the rules were elevated to near-sacred status, with writers declaring with Papal infallibility what to eat with what to drink. That tendency towards rigid ideology in taste seems peculiarly American.
The inflexibility persisted well into modern times. I think the first book I can recall that began to bend—not break—the rules was “Red Wine With Fish,” David Rosengarten’s and Josh Wesson’s 1989 tome, which began to loosen the shackles. That book made a dent, but only a little one: the field in which I worked, wine writing and reviewing, helped to keep the old walls from tottering, for the simple reason that our editors expected us to recommend foods with the wines we wrote about, and it hardly would have been suitable for me to write, “Drink this Pinot Noir with anything you friggin’ want, because it really doesn’t matter.” I mean, that would have been a good way to lose your job!
Hence, I’d sit there, after the review was finished, and rack my brain to discern what foods I thought the wine would be magical with. Sometimes I’d browse through my extensive collection of cookbooks for ideas. And I was perfectly serious and sincere.
Yet, as the years passed so pleasantly, I found myself increasingly uncomfortable making such restricted judgments. In my own personal life, off-stage and in the non-visible comfort of my home, I tended to drink just about anything with anything else: Chardonnay with a hamburger, Pinot Noir with brown rice and tamari sauce, Zinfandel with sole, Sauvignon Blanc with lamb chops. I enjoyed it all, and, while I felt vaguely guilty about being so dogmatic in my published writings, didn’t really worry about it.
How refreshing it is to reach a point where America has become a mature wine-drinking country where people don’t feel the need to adhere slavishly to somebody else’s rules. Having said that, I’m sure that somebody is going to write in and say that wine critics themselves are obsolete dinosaurs imposing their ivory tower pronouncements on the plebes below. I don’t agree. Consumers still need and want somebody with more time and knowledge than they have to break it down and explain the ins and outs of wine to them. What they don’t want or need are authoritarian ideologues who threaten them with purgatory if they don’t obey the pairing rules. At this rate, we might, here in America, reach a point where wine critics are anachronisms. We’re not there, yet. But I’d be perfectly happy to see that day arrive.
The cousins, Gus and I are driving down to L.A. this morning for five days of family fun, centered around a bar mitzvah. We didn’t want to make anything elaborate for dinner, so opted for burgers on the grill. I’d been given this bottle of Kendall-Jackson 2006 Napa Mountain Cabernet Sauvignon, from Mount Veeder,
as a welcome gift when I joined Jackson Family Wines in March, 2014, so it seemed appropriate to drink it on this occasion. With the salad, we had the Paco & Lola Albarino
I liked so much last year when I first encountered it.
I made the burgers, with store-bought organic, grass-fed beef.
I mixed in a little salt, pepper and garlic powder, plus a bit of Dijon mustard, then Keith grilled ‘em up nice and rare. For the buns, I like an English muffin, in this case sourdough. Some horseradish-infused mayo, backyard-grown romaine, thinly-sliced red onion, home-grown tomatoes and avocado, and of course some melted cheddar, and voila.
We had a nice Caesar salad
and the acidity on the Paco & Lola stood up well to the anchovies.
Meanwhile, the cork on the Cab had broken halfway while I was pulling it, and then the bottom half plunged into the bottle, so I had to resort to a coffee filter and a mason jar to strain it. (Necessity, the mom of invention.)
But the result—sort of an inadvertent double-decant—was glorious. At 8-1/2 years of age, this Mount Veeder Cab was everything you’d want a mountain Cab to be, and with years ahead of it. Melted tannins, gobs of Veeder blackberries, cherries and chocolate, fine acidity, a glorious, delicious wine.
I entitled this post “the simple pleasures” because in truth I think that most reports of wine-and-food pairing tend towards fine restaurants or expensive foods. But that’s not the way we drink and eat most of the time, is it? It’s not the way I do. You don’t need to be in a white-tablecloth restaurant paying a fortune to enjoy great wine and food. Our hamburgers would have been a treat anyway for a non-beef eater like me, but having such a nice wine uplifted the experience, making it a special treat on the evening before our trip.
Actually, we don’t have to be in L.A. until Thursday, so tomorrow, Wednesday, we’re spending the night in Pismo Beach. This is a place most people, I suspect, drive right by on the way to, or from, L.A. and San Francisco. I once spent a weekend down there, years ago, just to check it out, but I’m sure Pismo’s changed a lot since then. I’ll report on what I found tomorrow.
If there’s a new no-makeup, or low makeup, look for women—and the Wall Street Journal says there is–then I’m a fan. I never did like that Tammy Faye Bakker over-the-top clown face, although I did like Tammy Faye herself, who seemed to be a big-hearted, fair-minded, loving woman who never hesitated to part company with her co-religionists when she felt they were wrong on an issue.
The WSJ article suggests that the tendency for stars such as Jennifer Anniston and Reese Witherspoon to “brave the big screen with little-to-no visible makeup” is a welcome alternative to the “fully made-up look of [the] Kardashian sisters,” a look that “social media [has] helped spread…”. Cosmetic companies, the article reports, “are responding with lighter foundations, sheerer lip glosses and new products” that allow women’s faces to look like what they really are, rather than somebody’s fantasy of what they should be.
This is great news: what America has always needed are people comfortable in their own skins.
And the wine connection? Pretty obvious, really. You can draw a straight line between the no-makeup look and the emerging taste among American wine drinkers for wines that are less oaky and less extracted.
We can all agree that there is such a trend. You hear it from sommeliers and from consumers themselves. Wineries are listening and reacting accordingly. I do not believe that things are as dire as some winemakers and some wine writers allege; we don’t hear overwhelming consumer demand for no oak, or for wines that must be below 14% alcohol by volume. What consumers want are wines that taste of the grapes, and not of toasted barrels and prunes. Well, we all want that.
Actually, speaking of poor Tammy Faye (she died in 2007), the winemaker Jean-Noel Formeaux du Sartel, who co-founded (with his wife, Marketta) Chateau Potelle (whose Mount Veeder estate was purchased by the Jackson family in 2007), twenty-plus years ago told me, as we sipped his fabulous VGS Zinfandel on the winery’s deck, that in his view too many California wines were “like Tammy Faye Bakker,” in that they were too big, extracted, ripe and oaky. His vision was to craft wines more in “the French style”: balanced and elegant. So this current importuning for “balance” is nothing new.
However it has picked up steam, and social media has certainly played a role in that. I’m onboard, if this movement really is about balance and not an ideological quest for a sort of ethnic cleansing in wine. I do think our era is defined, in part, by a desire for a new kind of simplicity and purity. Post-Sept. 11, post-Great Recession, and still in the midst of political and cultural schism, we collectively yearn for a stripping-away of what’s irrelevant, so that we can focus on the real, the true, the sincere, the credible. This applies to women’s faces; it applies to wines; it applies to the foods we put into our bodies. It’s a good revolution to have, and to be part of.
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Correction: An earlier edition of this story misstated the date of Tammy Faye Bakker’s death.
My seminar (with Pedro Rusk) at Saturday’s K-J Heirloom Tomato Festival reminded me once again of what a powerful interest people have in learning about wine-and-food pairing and how to make fabulous foods. It’s interesting when you consider that people in this country are absolutely inundated with information about food. It’s a never-ending avalanche: columns in the papers, POS materials in supermarkets, online sites, T.V. cooking shows and cookbooks, cookbooks, cookbooks up the yin yang. Most of us have access to more recipes and how-to’s than we’d be able to use in several lifetimes, and yet we still show up at seminars like Pedro’s and mine for more.
It’s an almost religious quest. People go to Mecca or Lourdes, or just to their favorite house of worship on Sunday, in order to connect with something bigger than themselves, and hopefully become more than they feel they are. They buy self-improvement books, they meditate and pray, they’re constantly on the alert for something that will make their lives more complete and happy. And they go to large public events, like the Tomato Festival.
Of course, there’s an element of just wanting to be in a large, happy crowd on a glorious September day, listen to live music, drink some good wine and eat fabulous food—and man oh man, was that food great! I still feel like I inhaled a bowling ball on this, the morning after. To think that chefs can do so many things with a single ingredient—the tomato—is mind-boggling.
I’m talking about the seminars, though. It’s odd that some of us are so driven to always “up” our food game. In order to investigate the phenomenon, I turn to myself, and my own head, which is at least as curious about new approaches to food as is yours, in all likelihood. My first impression, in examining myself, is puzzlement. Why do I still subscribe to Bon Appetit? Why am I drawn, like a moth to a flame, to the Food Section of the S.F. Chronicle? I don’t subscribe to the other local papers, but when I’m at the gym and someone has tossed aside the Contra Costa Times or Oakland Tribune, I’ll pick it up and see if there’s a recipe somewhere inside. I have at least 40 cookbooks, have given away at least that many to friends, and I go to online sites like The Food Network several times a month; and yet, with all that data at my fingertips, I’m still hungry (forgive the metaphor) for more. I sometimes wonder if this almost obsessive search for perfect recipes and wine pairings isn’t a form of psychological compensation for a spiritual emptiness I feel inside; but such self-introspection can be morbid, and leads nowhere, so I try to avoid it. Still, do I really expect to find another pasta pesto recipe that will bring me to glory? Is there a way to roast a chicken that’s more orgasmic than the ones I’ve practiced for decades? Can there be a risotto more perfect than the ones I’ve cooked most of my adult life?
I suppose, if I were really, really into it, I’d master some new form of cooking, like baking. But who’s got the time, and besides, within a half-mile of my home are stores where I can buy every kind of bread there is, almost fresh from the oven (the San Francisco Bay Area has got to be one of the world’s greatest sources of bread). If anything, I’m shortening the amount of time I spend in the kitchen. Twenty years ago, especially if someone special was coming for dinner, I’d start prepping the day before, and the afternoon before the meal would be consumed with chopping, dicing, slicing and reducing sauces. Nowadays I look for the most delicious food I can make in the least amount of time. That’s not likely to change, even when I retire and don’t feel the pressures and time constraints of work. So why this relentless drive for more recipes?
Maybe it’s as simple as this: To eat is to be alive, and moreover, to indulge in one of the most pleasant aspects of being alive. (I’m reminded of those old commercials for Carl’s Junior: “Don’t bother me, I’m eating.”) It is imaginatively possible that we could have a powerful drive to eat and not necessarily possess an accompanying capacity for the intense satisfaction of eating. Therefore, to be interested in food—to anticipate eating, to think of the next opportunity for great, delicious food—is to authenticate our lives, to celebrate the fact that we are still alive and not dead, to exult in our physical health. When my mother was dying, in the hospital, yet still conscious until nearly the very end, she did not relish the meager foods that were brought to her, and I doubt (although I don’t know for sure) that in her private thoughts she thought about food at all. But then, she already had one foot in another world, a world in which eating (so far as we know) is non-existent or at least non-essential. So she had let go of food-thinking, which was replaced by a form of thinking most of us have yet to experience.
But for those of us who remain alive and kicking, eating is (along with one or two or three other activities) the most glorious thing we can do. As full as my belly feels at this moment, I know that, in a few hours, I will once again have that craving that starts as a vague desire at the fringes of consciousness, then gradually invades the thinking process until, finally, I arise from my seat and head toward the shrine of the refrigerator. The religious symbolism is apt: my search for another great recipe is no less than a quest for purification and redemption. The Most Perfect thing in the world, which is the subject of every religious and moral philosophy, may not be obtainable in this life, and certainly isn’t through eating. But the Almost Most Perfect food is always out there, beckoning, promising, tantalizing with salient possibility. When we stop heeding its call we, too, will have one foot in the other world. Until then, we live, thrive, love, drink, and eat.
I’ll be co-conducting a wine-and-food pairing event at Saturday’s big Kendall-Jackson Heirloom Tomato Festival. It’s the eighteenth time the event, which is one of the biggest in Sonoma County, has been held—and I’m embarrassed to say I’ve never gone. Everyone has told me how amazing it is, so I am totally looking forward to it.
My particular role, which I’ll share with Pedro Rusk, one of the winery’s educators, is to talk about some white wines that make good summer drinking. Of course, I’ll also point out that no wine needs to be limited to just one season, despite the media’s penchant for suggesting that Big Reds (Zins, Petite Sirahs, Cabs) are good for warming the blood in winter, while delicate light whites are “the perfect poolside sippers,” to use one of the many hackneyed clichés that wine writers so often trot out.
Wine writers and wine critics, such as I used to be, possess many skills, but presiding over public tastings and food-and-wine pairings isn’t necessarily one of them. On the other hand there is a population of people out there in the wine industry who are quite proficient at the entertainment aspects of public educational tasting events, but who would make lousy critics and writers. The two skills are separate, yet they also are related. Both call for a knowledge of wine. Both call also for some understanding of the food pairing properties of wine. My own approach to this latter has never been overly precious, as readers of this blog might know. There is the danger of pretentiousness in suggesting that such-and-such a wine must be paired with such-and-such a food; or that certain pairings are lethal to both the wine and the food. There are very few “perfect” pairings, just as there are very few “lethal” ones. I was trying to think of an awful pairing, and came up with oysters and Cabernet Sauvignon. Yes, that would be over-the-top, nausea-inducing horror. But fortunately most wines will go with most foods, and you won’t have to worry about the Pairing Police knocking down your door and busting you. My attitude towards pairing is exactly the same as that expressed by the French sommelier, Gerard Basset, who was quoted in today’s South China Morning Post: “If there’s one area that can be over-thought… it’s pairing wine with food. [Basset’s] advice is to keep it simple.”
The other aspect of doing these educational tastings is, of course, to have the type of personality that is comfortable being in the spotlight, can yak it up with a smile and induce people to want to hear more, and one moreover that doesn’t have stage fright. I’m pretty good at being in the spotlight, so that doesn’t throw me. But I think even the best of public speakers has a little trepidation prior to going out there, live, before an audience. You just have to know your stuff, take a deep breath, pull out your natural charm and have confidence.
If you read this, either directly through my blog, or through Facebook or Twitter, and you’ll be at the Tomato Festival, please drop by Pedro’s and my seminar and say hi.
In the 1980s and early 1990s, I was a fairly frequent visitor to Square One, the restaurant Joyce Goldstein had opened, in 1984, in the Jackson Square neighborhood of downtown San Francisco.
There, I was treated like a regular, mainly through my acquaintance with the sommelier, Peter Granoff, whom I had met earlier when he’d served in the same capacity at the old Mark Hopkins Hotel. Well do I remember strolling into Square One on any given night, usually by myself after an evening of doing something else that had brought me to the area from my home in Noe Valley. I’d take a seat at the bar and order something off the chalkboard menu—a little pizza or focaccia, some fettucine, wood-fired grilled shrimp—while Peter surreptitiously brought me tasting sips of the most interesting wines of the evening. Peter also held regular wine tasting classes in a small room of the restaurant. It was there that I learned, more than anyplace else, about Condrieu, Cote Rotie, Spanish sherry and other wines to which I would otherwise have had little access.
These were not mere wine tastings. Peter’s boss, Chef Joyce, provided delicious little plates to wash down the wine. One night, a blind tasting of Monterey County Chardonnays (Estancia, Morgan, Pinnacles, Talbott, Chalone, Wente and so on) was paired with a signature crab cake with mango salsa, and ginger-marinated pork loin on a bed of corn pudding.
That food was, of course, California cuisine, or what came eventually to be called California cuisine, although Joyce herself, after extensive research for her new book, Inside the California Food Revolution, writes that exactly who coined that phrase remains a mystery. Not mysterious at all, though, is what California cuisine means. Joyce Goldstein: “…restaurants broadened from formal and ceremonial to more democratic and casual. Kitchens that had been hidden were opened up to become part of the dining room. Chefs who had toiled behind closed doors in anonymity became stars. Ingredients such as arugula, baby greens, and goat cheese, virtually unknown previously, became household items…”. California’s fabulously diverse ethnic constitution, including Mediterranean, Asian and Latin American cultures, also became part of the mix that contributed to the new, complex combinations that constituted California cuisine, whose “one common element,” Joyce writes, was “fresh, seasonal ingredients, preferably raised nearby.”
I hadn’t known Joyce had written this book until I ran into her son Evan, an old friend, at a wine tasting event. I’d told him how much I’d always longed for a formal history of California cuisine, which was restaurant-based long before it became a staple of home kitchens. Evan smiled and told me there was one: He arranged to have the publisher, University of California Press, send me Inside the California Food Revolution. If you’ve ever hankered for an insider’s account of everything and everyone from Alice Waters and Chez Panisse to Wolfgang Puck, Jeremiah Tower, the French Laundry, Laura Chenel, Zuni Café and, yes, Joyce Goldstein (as insider as they get), this is the book. It recounts, in loving terms, what Mark Miller (Fourth Street Grill and Santa Fe Bar and Grill, both in Berkeley) describes as “California cuisine[‘s] revolutionary [nature], in terms of not only its fashion, its style, but also its culinary ethos.”
The California food revolution cited in Joyce’s title spilled over, of course, to the California wine revolution—or perhaps it’s fairer to say that both were the result of the revolutionary attitude that always has characterized California. In the book, too, you will find references to Paul Draper and Ridge (whose wines Alice Waters celebrated early at Chez Panisse), Randall Grahm and Bonny Doon, Josh Jensen (Calera), Dick Graff (Chalone), Bob Long (Long Vineyards) and others. Interestingly, Joyce, in retrospective hindsight, goes back to this period to foreshadow wines “with overly hard tannins, too much oak, and in time, higher alcohol levels”—shades of today’s ongoing debate. But that is another story.