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.
Getting my chops back as a taster isn’t hard at all. It’s like bicycle riding: once you know how to do it, you can take some time off and then get right back on and go places.
As I wrote yesterday, I’m going be reviewing wines here on my blog, after 1-1/2 years off. But it’s not like I ever stopped tasting. I reviewed Jackson Family Wines for the winery newsletter, and—let’s face it—I didn’t exactly stop drinking! I found myself instinctively reviewing and rating every bottle that I came across. Old habits die hard.
The question sometimes comes up with wine critics, Can’t you just drink wine without analyzing it? Well, no. I mean, anyone who purports to think more than the average Joe about wine probably gets analytical about it. The one question I can never get away from is, What is this wine’s quality? Is it super-duper? Is it average? Does it suck? I think we all do that, those of us in the industry. We make value judgments.
That doesn’t mean that every time I have a new wine, I’m writing a little mini-review in my head. But there is a form of thought, consideration and judgment that wouldn’t be very hard for me to put into words, if that was my wont. Nor does it mean that I can’t enjoy a wine that’s average. I can. I’ve known people in my life who wouldn’t have been caught dead drinking anything less than a First Growth or Grand Cru. I felt (and feel) sorry for them. Snobs. But then, I also feel sorry for folks who only drink plonk, and claim that there’s no difference between wines anyway, so why spend a fortune when you can get the same thing for eight bucks? That’s not true. I wonder if they say the same thing about automobiles, or stereo systems, or clothing?
So here I am, getting back into the reviewing business. But I’m not going to let it to be like it was at Wine Enthusiast, when I often felt like a prisoner in a cage made of wine bottles. So much wine coming in, more and more everyday, and you have to taste and review every single one of them. It cuts into your social life, I can tell you that, and becomes a tedium. I doubt if some of the more famous critics, who taste scores if not hundreds of wines a day, will ‘fess up to that. But it does. I don’t think I ever let the tedium get in the way of my reviews, though; and it’s also true that alcohol stimulates me, so that even when I’m tired, wine perks me up. There were days when I felt like I couldn’t face another flight, so tired was I; but as soon as I jumped into it, my fatigue went away, and the sheer intellectual and physical challenge stimulated my body and mind and allowed me to perform. Going to the gym can be that like: every serious gym rat knows that, on those days when you feel like your dogs are draggin’, if you can get to the gym you have the best workouts.
I have no expectations about where this reviewing thing is headed. I’m playing around with the idea of charging a reviewing fee; there’s a lot of work involved in wine tasting (picking up boxes at the UPS Store, breaking down the cartons, dealing with the Styrofoam, washing and recycling the bottles only begins to describe it), and after all, I have bills to pay, like everyone else. It doesn’t seem to me that charging for reviewing would “taint” my reviews, but I’ll leave it to my readers to decide if they think it does. (Troll alert: I don’t care what you think.) I mean, if a steveheimoff.com review has potential value to wineries, then I’d think the least they would want to do is sustain me at a fair price. Right?
Here, you see, is the false dichotomy that infects so many of our wine conversations today: that there are “two different kinds” of wine and that we, as consumers and writers, “must pick one or the other,” as if we were in a vinous civil war where no one is permitted to be neutral and like both sides equally.
That is once again the premise of this think piece in San Francisco Magazine, whose very headline starkly presents the choice said to be confronting us: “Should You Be Drinking Parker Bombs or Trendy Reds?” The article lists six red wines from California that all received “a perfect score from the Wine Advocate” and then contrasts them with six other red California wines “which probably aren’t going to net any 100-point scores…”.
Civil wars are dreadful things. Most people caught up in them, I suspect, would prefer to be left alone to live their lives in peace, but the fact of a civil war makes that practically impossible. We saw this in our own American Civil War (particularly in the border States) and we see it again, horribly, in places like Syria and Iraq, where common people—husbands and wives, children and old people, farmers and merchants and mechanics and teachers—get sucked against their wills into the crosshairs of the most disastrous arguments. Sometimes—often—it seems like these are arguments between maniacs, “full of sound and fury, signifying nothing,” as Macbeth described Life, “a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more.”
I submit that this false dichotomy is just such “sound and fury,” that it signifies absolutely nothing, except the unfortunate tendency of the media to fasten on anything that smells of controversy. Those proffering the argument that there are two kinds of wines, and that we must choose, frankly are almost exclusively from the “trendy reds” side of the spectrum. You never hear people who like Harlan or Verité or Saxum say that lighter red wines, such as Domaine de la Cote or Frog’s Leap Cabernet, are undrinkable. No sane or fair wine writer would take that position; if she were to do so, her credibility would be instantly undermined.
And yet the opposite is not the case; that is, writers and somms who like a lighter style of red wine (whatever that means) are able to charge, with impunity, that bigger red wines (whatever that means) are somehow marred or tainted or suspect.
How did we ever arrive at this impasse? More importantly, why do we suffer it to exist, in the exchanges that pass for our national wine conversation, which is supposed to be polite and reasoned, not polemical? This is why I have referred to the purveyors of the “lighter” side of the argument as the Taliban. (See here and here, for instance.)
An extremist, whether religious or cultural or stylistic, who insists that his interpretation of scripture is the only correct one is, by definition, a radical. And haven’t we seen that radicals of all stripes are the last things we need in this world?
So I return again to my old argument: When it comes to “lighter” or “more powerful” red wines, we don’t have to choose. We don’t have to feel as though we must choose, just because some authority (a sommelier, a newspaper columnist) tells us we must. People are so uncertain and insecure about wine; they look for whatever slender reed they can find, to grasp onto lest they be sucked into the quicksand of utter confusion. And this is why those purveyors of false choices do such a disservice to American wine drinkers. By creating the pretense that there is a true canon, as opposed to a false religion, they add to the confusion and, in the process, sow dissention where there ought to be nothing but respectful analysis and personal choice. It’s not and never has been “either-or.” It’s both. I wish that this phony argument, which now has enjoyed more than its expected fifteen minutes of strutting on the stage, would, like Macbeth’s walking shadow, go away and be heard no more.
I’ve been a California wine guy for a long time, but in the 1980s, I was happily catholic, in the old sense of the word, derived from the Latin meaning “universal.” I studied and drank every classic wine and region I could get my hands on, from Old Europe to New World California, and everything inbetween.
But by the 1990s my job was to write about and review California wine. Once I got a reputation as a go-to guy for California, the transom opened (do you know what a transom is? A free lifetime subscription to steveheimoff.com if you do), and I was swamped with wines from the Golden State—to my pleasure, I might add. But the corresponding sadness was that the wines from the rest of the world necessarily had to take a back seat.
I’ve long maintained that there are two legitimate ways to be a professional wine critic: You can specialize in a region (as I have done), or you can generalize. Some people think nothing of covering Australia, Austria and Anderson Valley. They bring their innate sense of tasting to whatever region they’re in, and if they’re lucky enough to have a budget to fly all over the place, they can actually bring a sense of the ambiente of the region to their writing.
That was, alas, not to be my fate. But California is a big place, one that you can spend a lifetime traveling through and trying to understand. That ended up being my forte.
Lately, I’ve been tackling Italy. Now, Italy is probably the greatest challenge for the person seeking to understand an entire country. It’s so vast, with so many regions and varieties. I suspect my friend and former colleague, Monica Larner, who now reviews wines for The Wine Advocate, considers herself still a student of Italy, despite her vast knowledge of that country. I am by contrast an absolute dilettante.
How does one go about understanding a brand new region? Carefully and humbly. I’ve always known at least the fundamentals of Italian wine, but to delve into it and be immersed in its fantastic intricacies is something else. It’s not only the technical details of the denomination system, it’s tackling the flavors and textures, which are so different from our wines here in California.
For example, last night I drank a Dolcetto d’Alba from the Tenuta I’Illuminata winery. It’s a Piedmont wine and I don’t think there’s anything remotely resembling it in California. So dry and tart, so bitter on its own, nothing you’d want to drink as a cocktail sipper, the way a fresh young Cabernet or Pinot might suffice. I went through my Wine Enthusiast reviews, and the highest score I ever gave a California Dolcetto was 88 points. That was for the Acorn 2010 Alegria Vineyard, in the Russian River Valley. To read the text of my September, 2013 review—“you might think it was Pinot Noir”—I can almost recall its succulent fruitiness, but this L’Illuminata Dolcetto is anything but sucuulently fruity. How, then, does a “California palate” make sense of such a wine?
Well, by expanding your mind. We all get used to certain kinds of things in our lives. We settle into our routines, hang out with the same people, go to the same places, eat the same foods. It’s understandable, but at the same time, when you’re plunged into a world profoundly different from the one you’re used to, you have two alternatives: to reject it as weird, or to set aside your predilections and try to understand it.
As a wine critic, there’s really only one legitimate approach, the latter: to try and understand something that, at first, doesn’t make sense. And for this, you need two things: study, and imagination. The “study” part mean that you need to read up on what smart people have had to say about that region and wine. The “imagination” part means that you have to understand how people actually drink the wine, in the region where they live. This is the “ambiente” I’m talking about.
With this Dolcetto d’Alba, I can imagine drinking it with very rich foods. Take some fatty meat (beef, sausages), put some tomato sauce on it, add some mozzarella cheese into the equation, figure out how to work in wild mushrooms, don’t be shy about the garlic and black pepper. Decant the wine for an hour or two. You know how some people complain that the opulent red wines of California pale after a while? This Dolcetto is the opposite: it gets more interesting.
Does it matter that it’s an 88 point wine and not a 98? Not to me. Am I embarrassed to admit I don’t know much about Italian wine? Not at all. I’ve learned, through blogging, the importance of telling the truth—transparency, they call it. “The truth will make you free.” And—even more importantly—I’m happy that I retain the ability to learn, to be surprised, even after all this time. How cool is that?
Haha, people have been saying the 100-point system is irrelevant for at least 100 years. Well, maybe the last 10 years. And now comes this blog from the Napa Valley Wine Academy that makes it official.
Well, who or what is the Napa Valley Wine Academy? They call themselves (on their website) “America’s premier wine school” and say they are an “approved program provider” for the WSET. So they must know what they’re talking about, right?
Here are their reasons why the 100-point system is “irrelevant”, according to the author, Jonathan Cristaldi:
- “Parker’s influence continues to wain” [sic; he meant “wane,” but what’s a little spelling error now and then?)
- no other critic’s influence is as important as Parker’s [true, dat]
- people “don’t just buy when a wine garners big points” [well, nobody ever said points were the only criterion by which people make buying decisions]
- and besides, WSET seekers “will have the power to raise a collective voice that is louder than any one critic.”
I need to break this last point down. Do you suppose that there ever will be a “collective voice” of sommeliers? I don’t. Put ten somms in a room and you’ll have more smackdowns than a mixed martial arts bout. These people seldom agree on anything, unless it’s that Burgundy is the best red wine and Riesling is the best white wine. So how, exactly, will this “collective voice” operate?
- “the future of wine ratings is a future of recommendations, not points or scores…”
Proof? There is none. “If wishes were horses, beggars would ride,” the old nursery rhyme tells us. Merely wishing that individual critics will fade away, in favor of crowd-sourced opinions spread via social media, is the biggest wish-fantasy around. When Cristaldi tells us that “Friends and confidants will replace the lone wine critic,” he has absolutely no proof; no evidence supports it, except anecdotally; and even if the Baby Boomer critics, like Parker, are retiring or dying off, there is no reason to think that their places will not be taken by Millennials who just might be the future Parkers and Tanzers and Gallonis and Laubes and Wongs and, yes, Heimoffs. (Certainly, you know as well as I do that there are ambitious bloggers who ardently wish that were the case!)
So do I think the 100-point system will still be around in the future? Yes. It will, because schools still grade test scores on the 100-point system and Americans “get it” and know in their bones the difference between 87 points and 90 points. Will there be other graphic systems around (puffs, stars, and the like)? Sure. Will there be long-form wine writing that relies on the informative impact of words, rather than graphic signifiers? Yes. All of the above will make for a robust wine-reviewing scene.
Honestly, I continue to fail to understand why some people get so worked up over the 100-point system. It’s like a mania, the wine-reviewing equivalent of Obama birtherism. People: calm down. There are so many more important things to get upset about.
Where I will end this post is to re-quote Cristaldi’s quote from Jon Bonné, the former wine critic for the San Francisco Chronicle. Jon said (according to Cristaldi), “The 100-point system is flawed.” Well, breaking news! Thank you, Jon, for pointing that out.
Of course the 100-point system is not perfect. What system is? But the 100-point system has educated more people, sold more wine and benefited more wineries than anything else ever invented. That’s pretty cool, and like the old saying goes, if it ain’t broke, don’t fix it.
Sauvignon Blanc is one of those grape varieties that seems to benefit from judicious blending from multiple sources in California. Cool-climate Sauvignon Blanc can be audacious and savory in gooseberries, with a touch of pyrazine that can be too green for many people. Warm-climate Sauvignon can have delicious tropical fruit flavors but be a little candied. Either, by itself, can have limitations, especially in an off-vintage; but blending them together seems to smooth out the divots. While it’s true that some of my highest-scoring Sauvignon Blancs ever were Mondavi Tokalons, this is a rare exception in California; Sauvignon Blanc in our state veers towards the ordinary, and it takes some great grape sourcing and careful blending to come up with a serious wine.
Pinot Noir, on the other hand, is considerably more interesting as a single-vineyard wine. I’m not sure why, other than to trot out the usual theories of site-specificity, thinner skins and terroir transparency. Perhaps psychically we’re more forgiving to a slightly flawed Pinot Noir from a vineyard. I used to wonder why a great Pinot Noir couldn’t be a blend of, say, Santa Rita Hills and Anderson Valley. It can in theory, of course, but while I’ve experienced many, many very beautiful blended Pinot Noirs, the wine always seems more interesting and complex when the grapes are from a single vineyard.
Then there’s Cabernet Sauvignon. I’m tempted to say it, too, wants to be from a single vineyard, but there are so many interesting, great Cabs that break that rule. I, personally, am a huge fan of Cardinale, which is a blend of various vineyards in Napa Valley. Yes, I work for Jackson Family Wines, but I didn’t when I gave the 2006 100 points, and I’ve never had a Cardinale I didn’t find dazzling. So I can’t say that Cabernet has to be from a single vineyard to be world class.
I think Zinfandel is probably best as a vineyard-designate, although it has to be a super-great vineyard, well-tended, and, if possible, old vines. As for Chardonnay, I’m divided on that one. It’s such a winemaker’s wine (barrels, malo, lees) that the sourcing doesn’t seem like it should matter, as long as it’s from a cool climate. And yet, as I look over my Wine Enthusiast reviews, I notice that my highest Chardonnay scores were reserved for single vineyard wines: Failla 2010 estate, Williams Selyem 2010 Allen Vineyard, Rochioli 2010 South River Vineyard, Dutton-Goldfield 2010 Dutton Ranch Rued Vineyard, Ramey 2012 Ritchie Vineyard, Flowers 2011 Moon Select, Shafer 2009 Red Shoulder Ranch.
There’s something intellectual about a single-vineyard wine, especially if you’ve been to the vineyard, walked it, had it explained to you by the winemaker or grapegrower. The Allen Vineyard, for instance, is such a distinctive place; every time I have an Allen Chardonnay or Pinot Noir, I imagine that particular place, the slight slope, the vineyard tucked up against the hills to the west, Westwide Road on the east, and the Russian River just on the other side of Rochioli. It’s a “sweet spot,” midway between the chill of the southern valley and the warmth of Dry Creek Valley, a lovely corner of the Russian River Valley that I hope will someday be appellated as The Middle Reach.
The market, of course, rewards single-vineyard wines. I can’t prove it with data, but I bet if someone crunched the numbers, they’d find that single-vineyard wines are more expensive, on average, than blended wines. I think that a winery that produces a single-vineyard wine as a very special bottling, superior in their view to their blended wines, is in the catbird’s seat, but you can’t simply assume that a vineyard-designated wine has special properties. I’ve had plenty of sad vineyard-designated wines; some have been horrible. So you never know; you have to taste the wine. Consumers want assurances, but there are none in wine. Every rule has an exception.