Archive for: April, 2018

Getting Geeky about Malbec

Amber LeBeau in Bordeaux, Napa Valley, Washington wine, Wine grapes, Wine Knowledge

Published on April 17, 2018

Continuing our celebration of the oddly named Malbec World Day we’re going to get geeky here at Spitbucket about the Malbec grape.

What’s In a Name?

In Jancis Robinson’s Wine Grapes, the entry for Malbec is under Cot (or Côt) because of the association with grape’s likely birthplace in the region of Cahors in the historical province of Quercy in southwest France. Ampelographers note that like Côt many of the other early names for the grape such as Cos, Cau, Cor and Cors all seem to be contractions of Cahors.

However, the first written account of Malbec was in Pomerol in 1761 as Noir de Pressac (black of Pressac). The name likely referred to the individual who first cultivated the vine. From Pomerol, the grape made its way to the Left Bank region of the Medoc. Here it took on the new name of Èstranger (stranger) or Estrangey.

The name Malbec came from a grower named Malbeck who propagated the grape in what is now known as Sainte-Eulalie in the Premières Côtes de Bordeaux AOC of the Entre-Deux-Mers region.

When a Mommy Grape and a Daddy Grape Cross-Pollinate…

In 2009, DNA analysis discovered that Magdeleine Noire des Charentes–the mother grape of Merlot (Check out the Academic Wino’s Who’s Your Daddy? series on Merlot)– and an obscure grape from the Tarn department called Prunelard were the parent varieties of Malbec.

In addition to being a half-sibling of Merlot, Malbec has done a bit of its own “cross-pollinating” being a parent grape to Jurançon noir (with Folle blanche) and Caladoc (with Grenache).

Malbec in Bordeaux

Malbec used to be far more prevalent in the Bordeaux region. In fact, Stephen Brook noted in The Complete Bordeaux that it was the most widely planted grape in the vineyards of Lafite in the 18th century. Many estates classified in 1855 had Malbec account for as much as 50% of their blends in the early 19th century.

However, the latter half of the 19th century would usher in the decline of the variety due to its sensitivity to coulure and mildew. Following the devastation of phylloxera, many growers who did replant chose to replace Malbec. The easier to grow Cabernet Sauvignon and Merlot were favored choices. Into the 20th century, Malbec was still present, particularly in the Right Bank. However, the devastating frost of 1956 killed off a significant number of plantings. This practically signaled the death knell for the grape in Bordeaux.

There are still some small plantings in Bordeaux. The most significant strongholds are the Côtes de Bourg and Côtes de Blaye. In St. Emilion, Cheval Blanc and Jean Faure are two notable estates with some plantings of Malbec. In Pomerol, Chateau L’Enclos (owned by the Adams family who also owns Chateau Fonplegade in St. Emilion) also maintain some Malbec.

On the Left Bank, a 1 ha block of old-vine Malbec is still producing for Ch. Gruaud Larose in St. Julien. Fellow 2nd Growth, Ch. Brane Cantenac in Margaux grows a few parcels of Malbec (as well as Carmenère). In the Graves region of Pessac-Leognan, Ch. Haut Bailly owns a 4 ha block of 100+-year-old vines that includes a field blend of all six Bordeaux varieties–including Malbec and Carmenère.

Malbec in Argentina

Malbec vines growing in Argentina.

Michel Pouget introduced Malbec to Argentina, bringing pre-phylloxera cuttings of the grape from Bordeaux to the country in the 1850s.

Compared to their French counterparts, clusters of Malbec in Argentina are smaller with tighter berries. These smaller grape berries have a skin-to-juice ratio that produces deeply colored wines with intense black fruit.

The Bordeaux influence in Argentina is still felt today with producers like like Léoville Poyferré (Cuvelier de Los Andes), Michel Rolland (Clos de los Siete), Cheval Blanc (Cheval des Andes), Hélène Garcin-Lévêque (Poesia) and Lafite-Rothschild (CARO) having projects in Argentina making both varietal Malbec and using it in Bordeaux style blends.

Malbec in the United States

The grape is widely planted throughout the US including in states like Missouri, Idaho, Georgia, Arizona, Virginia, North Carolina, New York, Maryland, Texas and Michigan. Here it is made as both as a varietal wine and as a blending component.

In Napa Valley, despite being a regular feature of popular blends like Opus One and Joseph Phelps Insignia, Malbec is sometimes considered the “Gummo Marx” of the Bordeaux varieties. Part of the grape’s low standing in the region was historically due to poor clonal selection. However, as better clones from Cahors and Argentina become available, growers in Mt. Veeder, Coombsville and Atlas Peak are increasing plantings.

Outside of Napa, Malbec is widely planted in the San Joaquin Valley where it is used for mass-produced bulk blends. However, there are quality minded producers making varietal Malbec wines throughout the state. Key areas include Paso Robles, Dry Creek Valley, Santa Ynez, Lodi and the Sierra Foothills.

Red Willow Vineyard in Washington State.

In Washington State, Malbec has the distinction of being the most expensive grape per ton. The average price for a ton of Malbec in 2016 was $1,587. In contrast, Cabernet Sauvignon was $1,442/ton, Merlot $1,174/ton, Chardonnay $940/ton and Semilion (the most expensive white grape) at $1,054 ton.

While Red Willow Vineyard in the Yakima Valley helped pioneer the grape in Washington State, Paul Gregutt in Washington Wines and Wineries: The Essential Guide notes that Casey McClellan of Seven Hills Winery was the first to plant the grape in Walla Walla in the early 1990s.

Want More Malbec?

Check out the hashtags #MalbecWorldDay and #WorldMalbecDay on Twitter and the Malbec tag on Instagram for more fun.

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60 Second Wine Review — Chambert Gourmand Cahors

Amber LeBeau in 60 Second Reviews, Wine reviews

Published on April 17, 2018

Today is Malbec World Day (Why it isn’t World Malbec Day, I don’t know) so I thought I would share a few thoughts on the 2012 Château de Chambert Gourmand from the Cahors region of southwest France.

The Geekery

Château de Chambert is a very old estate in Cahors, founded in 1690 by Madamoiselle Lalvallette. In 1857, one of her descendants married into the Bataille family with the estate passing into their care.

The French General Marie Désiré Pierre Bataille, a hero of World War I who died at the battle of Col du Bonhomme, was born at the Chateau.

Today the estate is owned by the Lejeune family who began converting the property to biodynamics in 2007. At around 160 acres, it’s the largest certified biodynamic producer in Cahors.

Stéphane Derenoncourt, the notable Bordeaux consultant (of Canon-la-Gaffelière, La Mondotte, Pavie-Macquin and Les Carmes Haut-Brion fame) assists the winemaking.

The Gourmand label is the estate’s “bistro wine” and is usually majority Malbec with some Merlot blended in.

The Wine

Medium intensity nose. Red fruit mixed with blue flower notes that aren’t very defined. Around the edges is a subtle herbalness.

Red cherry plum notes characterize this wine.

On the palate those red fruits come through and are more pronounced as cherry plums. A little bit of black pepper spice joins the party with the still undefined herbal notes. Medium-plus acidity seems more tart than fresh and also amplifies the grippy medium-plus tannins. The moderate finish brings back the floral notes but mostly ends with the tart cherry plums.

The Verdict

At around $9-12, this bistro wine is meant to be enjoyed with food and it did pair well with the burger I had it with. But I suspect that it’s probably at least 2 years past when it should have been opened as the faded fruit is not enough to balance the acidity and tannins at this point.

Though I would have no qualms with trying a newer vintage as I can see it delivering a fair amount of value.

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Product Review — SommSelect Blind Six

Amber LeBeau in Blind Tasting, Product Reviews, Wine Knowledge

Published on April 16, 2018

For a review of another blind tasting service see my post Lifetime Vintage’s Blind Tasting Bundles – An Incredible Study Tool

Master Sommelier Ian Cauble (of the movie Somm fame) has a unique subscription program designed to teach people how to blind taste better–the SommSelect Blind Six.

Each month for $199 you receive 6 bottles (3 whites and 3 reds) that are individually wrapped in black tissue paper. I decided to give the subscription a go. Below is my experience with my first month’s box (Spoiler alert if you haven’t done April’s wines) and my thoughts on if the subscription (and wines) are worth the cost.

What You Get

In the box, you’ll find 6 individually wrapped bottles numbered 1-6 as well as an envelop containing both instructions and an answer packet to reference after you’ve tasted the wines. The first thing I noticed when I opened the box was that they didn’t indicate on each bottle if they were red or white nor was there any info in the Blind Tasting Instruction Packet. The numbered stickers on each bottle are different colors but not with a consistent pattern to distinguish white versus red. I took a wager on the most logical set up being trying the 3 whites first so I went with trying bottles #1-3 which, happily, were all white.

In the instruction packet, Cauble gives tips on what to look for in each stage of the evaluation as well as what common “clues” often mean. These tips range from things that are fairly well known–like under Sight the tips about looking at the meniscus and how the color varies from the intensity of the core to the rim is a sign of age–to more interesting observations like his note under Nose & Palate that the aroma of dry bay leaf is common in Cabernet Sauvignon from moderately warm climate regions like Napa. While the former can often be found in discussions about blind tasting, the later is the kind of insight you usually only get first hand from someone with experience in blind tasting.

Likewise, the answer packet (which I’ll discuss below) also gives numerous precise details about things to look for in evaluating color and structure that you don’t readily find from other resources.

Tasting the White Flight

Using the Coravin on the white wine flight.

Cauble recommends having a neutral third party person open the wines and pour them into a decanter. While I clearly see the benefit of this approach–not the least of which is that splash decanting is probably the most underutilized tool in wine appreciation–I went a different route for three reasons.

1.) Neither my wife nor I wanted to miss out on the fun so we didn’t have a “neutral third party”
2.) I didn’t want to open up and waste 3 bottles of wine. [Note: Cauble does recommend doing the tastings as part of a multi-course dinner and with friends]
3.) I didn’t have 3 decanters of the same size and shape–which does make a difference
3.5) I also didn’t want to clean 3 decanters along with 6 wine glasses to be brutally honest

So we decided to break out the foil cutter and as carefully as possible use scissors to cut off the tip of the black tissue paper and remove the top of the capsule without seeing any identifying markings. Wine #3 was a screwcap so I just closed my eyes and twist. It felt like I was kid back at home trying to get something out of my parent’s closet while deliberately avoiding the corner where they kept the presents. Then we Coravin each bottle to pour out 2 samples of the cork-sealed wines.

Now other people might take the approach of just blind tasting one bottle a night and enjoying the wine with dinner or what not.

It’s certainly an easier and less wasteful approach. However, we really wanted to compare the 3 together because we felt that it allowed us to go back and forth with contrasting color and aroma. It is also more conducive to the blind tasting format of formal examinations. The beauty of the Coravin is that it allows us to only pour two samples of each without pulling the cork and wasting the wine.

Wine #1

The most noticeable thing about this wine was the “onion peel” color with pink hues.

Medium intensity nose with apple and citrus notes along with a white floral element that wasn’t very defined. There was also a subtle doughy element that made me think of raw pastry dough as opposed to something toasty like oak or Champagne.

On the palate the apple fruits came through much more than the citrus with a lot of weight and depth for a medium-plus bodied white wine. This wine had texture that filled the mouth which started my brain going towards Oregon Pinot gris. Medium acidity was enough to keep it fresh but not racy or citrusy like I associate with Italian Pinot grigio. No signs of new oak but that doughy element from the nose could have been from partial neutral oak. Moderate length finish ends with the lingering white flower notes that I still couldn’t quite pin point.

My guess: An Oregon Pinot gris in the $18-20 range. At this point in my practice I’m not going to focus on guessing age.

Turned out to be: 2016 Scarbolo Pinot grigio, Friuli Venezia Giulia, Italy (Wine Searcher Ave: $14)

Wine #1 — Should have paid more attention to the color.

In hindsight, I should have paid more attention to the color that comes from a practice of skin contact that is far more common in Italy than Oregon. I let the stereotype of “light, citrusy” supermarket Italian Pinot grigio sway me into thinking that this wine was too good and too weighty to come from Italy. Granted, living in the Pacific Northwest I’m naturally bias due to my greater familiarity with Oregon Pinot gris.

Also, (thanks to Cauble’s notes in the Answer Packet) I realized that I should have paid more attention to that “subtle doughy element” from the nose. In Cauble’s notes he describes “hints of peanut shells, stale beer” which plays along those lines of what I was picking up. It wasn’t Champagne biscuity or Muscadet leesy but there was something there that I now know I should look out for–particularly in higher end Italian Pinot grigio from regions like Friuli.

Wine #2

Light yellow color, almost watery with some green specks.

High intensity nose. Wow! This wine is screaming out the glass with lemon citrus (both fruit and zest) and the smell of concrete after rain.

On the palate, those citrus notes comes through but so does the stoniness. This wine is screaming minerality–like liquid stones in your mouth. There is also a sense of salinity in the wine that amplifies the minerality. Clearly I’m thinking Old World here but which grape? Medium-plus acid tilts me away from thinking Sauvignon blanc/Sancerre and more to Chardonnay/Chablis. Medium body with a long finish that lingers on those stoney notes. Very fantastic wine and my favorite of the flight.

Crazy good Petit Chablis. Minerality for days.

My guess: A village-level Chablis in the $25-30 range.
Turned out to be: 2016 Agnes et Didier Dauvissat Petit Chablis, Burgundy, France (Wine Searcher Ave $17)

Outstanding wine and a scorcher of a deal for a Petit Chablis. I was even tempted into thinking this could be a Premier Cru instead of a village-level Chablis because of how vibrant it was. Ultimately I defaulted back to village level because, while it did jump out of the glass, my notes on the wine were still rather short. You expect more layers and complexity with a higher level Chablis. But still, an outstanding bottle and way above what a Petit Chablis typically delivers.

Wine #3

Moderate yellow. Definitely darker than #2 but not golden or anything that would hint at oak.

Medium-plus intensity nose. Spiced d’Anjou pear with LOTS of white pepper. I tried really hard not to jump to conclusions but this was screaming Gruner Veltliner right from the get-go.

On the palate the spiced pear carries through and is joined by some ripe apple notes. The ripeness of the apple and the pear had me wondering if this was maybe a warmer climate Gruner like from California or (Northwest bias again) Oregon. Medium-plus acidity and a sense of stoney river rocks ultimately brought me back to Old World and Austria. No signs of oak. Light bodied with a moderate finish that lingers on the white pepper spice.

My guess: An Austrian Gruner Veltliner in the $14-17 range.
Turned out to be: 2016 Weingut Bauerl Gruner Veltliner Federspiel, Wachau, Austria (Wine Searcher Average $9)

Another crazy good value. Would be a killer glass pour at a restaurant.

While not “New Zealand Sauv. blanc easy”, this was definitely the easiest one in the entire Blind Six. Cauble promises to pick classic examples of each wine style and I don’t think he could have picked a more classic Gruner Veltliner than this.

Tasting the Red Flight

I had a bit of a ego boost with the white flight getting 3/3 grape varieties right and 1.5/3 with the regions–going to do a half point for that way over-performing Petit Chablis. However with the red flight my ego got thoroughly deflated.

My wife and I did the red flight tasting before a meal and decided to make a game of it. After we sampled and evaluated the wines, we compared each to our meal to see what was the best pairing. The “winning bottle” got the cork pulled to be finished with the rest of the meal. We really liked this game and think we’ll make it a staple moving forward with doing the Blind Six.

Wine #4

Light ruby color. Can read through it. Some fuschia hues.

Medium-plus intensity nose. Very ripe Rainier cherries, cranberries with herbal notes–mint and fennel.

Those red fruits and herbal notes carry through but the cherries taste more richer on the palate than they smelled on the nose. Almost candied even. High acidity balances that richness and still keeps the fruit more red than black. Medium tannins and medium body contribute to the wine feeling a little thin. Rather short finish ends on some spice notes that aren’t very defined though hint at being in the baking spice family (cinnamon, clove) suggesting partial new oak? Definitely thinking Old World Pinot with this.

Should have paid more attention to the fuschia hues and candied cherry notes.

My guess: A basic Bourgogne rouge (maybe Cote de Beaune-Villages?) in the $25-30 range.
Turned out to be: Jean-Paul Brun Domaine des Terres Dorees Morgon, Beaujolais, France (Wine Searcher Ave $18)

My wife briefly suggested Gamay as a possibility but we dismissed it because the acids were too high–though in his notes Cauble rates the acidity of this wine as medium-plus. In hindsight, the “candied cherry” and the fuschia hues should have registered more.

Yeah, this was a total miss for me.

Wine #5

Moderate ruby. Can still read through it but much darker than #1. Slight blue hues.

Medium intensity nose. Noticeable oak spice and vanilla. Black cherries and black berries.

On the palate, the oak still dominate with the dark fruit. Medium-plus acidity keeps it from being syrupy with medium tannins holding the structure well. Moderate length finish ends on the oak. This is screaming California Pinot.

While you probably wouldn’t suspect Syrah being blended in, it would be hard not to peg this as anything but a Cali Pinot.

My guess: A California Pinot noir in the $33-38 range.
Turned out to be: 2016 Tyler Pinot Noir, Santa Barbara County, USA (Wine Searcher Ave $36)

This was, by far, the easiest one of the red flight and I was seriously close to taking a stab that it was Central Coast as well. It was very oak driven and didn’t have any of the elegance I associate with Sonoma Coast, Russian River or Carneros Pinot noir. It wasn’t bad at all (and it certainly not a huge Kosta Browne wannabe) but it definitely was as stereotypical “Post-Sideway Cali Pinot” as you can get.

Wine #6

Medium garnet with some rim variation that has an orange huge. Can’t read through the core.

Medium-plus intensity nose. Lots of dried roses and tarry tobacco spice. Some red fruits–cherries, pomegranate and cranberries. Also a little animal earthiness.

The red fruits carry through but aren’t as defined on the palate as they were on the nose. It’s the tarry tobacco and high tannins that dominate. Still just medium-plus body though with the alcohol weight. High acidity makes your mouth water and highlights tobacco spice notes and helps keep the floral rose petals from the nose alive. The animal earthiness become more defined and linger on the moderate finish.

This isn’t your “modernist” style Gaja, Antinori, Renieri or Banfi style Brunello. Tasting this made me realize that I need to look into more “old school” style producers.

My guess: A basic Barolo in the $40-45 range.

Turned out to be: 2012 Padelletti Brunello di Montalcino DOCG, Tuscany, Italy (Wine Searcher Ave $48)

Once again my wife had the suggestion that maybe this was Sangiovese–which we evaluated more critically this time. The orange hue and the cherry notes played along. But ultimately we thought that the high tannins and high acidity fit the profile of Nebbiolo/Barolo much more than Sangiovese. Turns out, our scale of “high” is apparently Ian Cauble’s medium-plus.

In hindsight, and after reading Cauble’s notes, I realize that I have vastly more experience with “modern” style Brunello producers than I do with some of the classic, old school style of Brunello that Cauble describes in the Padelletti. A big takeaway from this experience is that I need to branch out more in this area.

For dinner we were having Italian sausage with penne and red sauce so this was the “winning bottle” from a food pairing point of view though the Morgon with the fennel notes was a close second.

Ian’s Notes — aka Where You Went Wrong

Tasting a Pinot grigio and Gruner in a flight together really highlighted the similarities and differences between the two.

It’s incredibly enlightening (and humbling) to read a Master Sommelier’s notes on a wine you just tasted. For each wine there are numerous “clues” in color, aroma and structure that Cauble points out that make perfect sense when you go back and revisit the wine.

Like how did I miss the crushed raspberries with the Morgon Beaujolais–one of the tell tale signs of Gamay? How did I not notice the fennel and orange peel from the Brunello?

While there are going to be subjective differences (like the high/medium-plus ratings), overall there is immense insight to be gained in reviewing Cauble’s notes. Beyond just laying out all the clues that you may or may not have gotten, Cauble chimes in with tips about other “lateral wines” that blind tasters often confuse with each other.

For instance, Pinot grigio, Albarino and Gruner Veltliner are part of a trio of “neutral bitter varieties” that often trouble blind tasters.

Cauble encourages you to look for a subtle sensation of “over-steeped green tea” at the back of the palate and front of the lips and then try to differentiate from there. Gruner will have the distinctive white pepper (and apparently daikon-raddish which I need to look for) while Albarino will have more canned peaches and Pinot grigio will have that “stale beer” and “peanut shell” element that I also need to start looking more for.

With the Morgon Beaujolais that I completely whiffed on, Cauble goes into brief detail about how different Cru Beaujolais are from the popular associations with Gamay and describes how they are commonly confused for Northern Rhone Syrahs and Loire Cabernet Franc from Chinon. While I, personally, didn’t confuse the Morgon for either of those two–I have a motivation now to actively compare good quality Cru Beaujolais with each.

In fact this is a suggestion that Cauble makes repeatedly throughout the tasting packet–if you have trouble with something then do comparison tastings (non-blind) with what you tasted and what you thought it was. This is another area where the Coravin becomes a valuable tool. The next night after we did the red flight, my wife and I grabbed a Beaune Montrevenots (a tad higher than Cote de Beaune-Village level) and compared it side by side to the Morgon. That was immensely educational (the candied cherry of the Beaujolais was even more pronounced compared to the tart cherry of the Beaune) and we plan to do the same with getting a Barolo to compare side by side with an old school Brunello.

Is it Worth it?

Depends.

If you are looking at it from a straight dollar value of the wine, then maybe not. At $199 for 6 bottles you expect an average wine value of around $33 a bottle. I don’t know how close this month’s box is to the norm but going off of Wine Searcher’s average prices (which is based on retail and not the wholesale that SommSelect is likely getting), I received $142 worth of wine for an average of $24 a bottle. Assuming that SommSelect is already making a healthy retail mark up, it’s fair to see how some subscribers might chaff at the hard numbers.

That said, these were exceptionally well curated wines that in nearly each case drank at a higher price point. If I went with the upper end of my price ranges for each wine (which, like how I score wines with my 60 Second Reviews, is mostly based on what price I feel would be a good value for this wine) that would be $180 for an average of $30 a bottle. Not ideal but not feeling like I’m getting ripped off either.

But the bigger value in the SommSelect Blind Six is truly with Cauble’s notes. For students seeking higher level certifications with WSET and the Court of Master Sommeliers, there is a dearth of material out there when it comes to learning more about blind tasting. There are some online resources (and great podcasts) from GuildSomm and each program includes some material when you pay for courses. When it comes to wine books, Neel Burton’s The Concise Guide to Wine and Blind Tasting is pretty much the only game in town.

Truthfully, for the most part, budding wine geeks are on their own in this arena.

If you are serious about wanting to be a good blind taster and are already investing thousands into seeking higher level certifications–this will probably be well worth it to you.

The benefit of the SommSelect Blind Six is that you can easily structure your own self-study program for blind tasting with essentially a Master Sommelier as your personal tutor. The examples that Cauble pick are truly classic and while you might disagree with some of his assessments, you can’t fault the logic and soundness of his conclusions.

But, most importantly, along with the individual wines you taste in the Blind Six, Cauble’s notes helps you pinpoint the strengths and weakness in your approach. With his suggestions of other things to taste and insight into his own personal approach, you can craft a game plan to tackle those weaknesses so you can become a better blind taster.

After one round of the Blind Six, I feel that, yes, it is undoubtedly worth it. Maybe not for the casual wine drinker but most definitely for the wine geek or ambitious wine professional who truly wants to get better at blind tasting.

I’ll continue to review each month’s box to not only track my own progress in blind tasting but to also see how the value/price per bottle ratio trends.

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60 Second Wine Review — Brilliant Mistake Cabernet Sauvignon

Amber LeBeau in 60 Second Reviews, Napa Valley, Wine reviews

Published on April 15, 2018

A few quick thoughts on the 2014 Brilliant Mistake Cabernet Sauvignon from Napa Valley.

The Geekery

Brilliant Mistake was founded in 2013 by John and Stacy Reinert with Rebekah Wineburg making the inaugural vintage, sourcing Cabernet Sauvignon from vineyards in Rutherford and the Stags Leap District.

With a background that included stints at Tenuta dell’Ornellaia, Staglin, Rudd and Buccella, Wineburg finished the 2013 vintage before returning to Buccella and later moving on to Quintessa. She was succeeded at Brilliant Mistake by Maayan Koschitzky, a protege of Philippe Melka.

An Israeli native, Koschitzky started in the wine industry with Margalit Winery in Galilee before moving to Napa Valley in 2011 to work at Screaming Eagle and then Dalle Valle.

At this year’s Premiere Napa Valley, Brilliant Mistake was one of the top selling lots at the auction joining the likes of Chappellet, Shafer Vineyards and Ovid to help raise more than $4.1 million for charity.

The Wine

Rich dark fruit like plums characterize this Napa Cab.

Medium-plus intensity nose. Very rich dark fruit–black plums, blackberry and noticeable oak spice.

On the palate, those rich dark fruits carry through. However, I was pleasantly surprised at how well balanced the richness was with the medium-plus acidity. The noticeable oak spices of clove, cinnamon and allspice are also present. But the oak is well-balanced with the sweet vanilla playing a supporting role in rounding out the high tannins. Very full bodied and seductive mouthfeel with a long, minute-plus finish that lingers on the juicy black fruits.

The Verdict

This is your classic, hedonistic Napa Cabernet Sauvignon but an exceptionally well made one. It seduces you with the bold, rich dark fruits. But it certainly toes the line with enough acidity and structure to keep it from being sweet and one dimensional.

While it’s drinking absolutely scrumptious now, I’m skeptical at how much better it will get with bottle age over the next 5-10 years. Compared to its Napa peers, the wine is well priced at $150-175 a bottle. However, I can see this wine eclipsing the $200 mark soon enough.

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Knowing Rioja — A Look at the New Rules

Amber LeBeau in Shopping for Wine, Wine Knowledge, Wine marketing, Wine regions

Published on April 15, 2018

This month, the Consejo Regulador of DOCa Rioja unveiled a new marketing campaign around the slogan Saber Quién Eres “‘Knowing who you are” to coincide with several changes in the wine laws taking effect in the Spanish wine region.

The idea behind the 11 million euro ($13+ million USD) campaign is to reconnect consumers with Rioja by highlighting the traditions and values behind the region’s wines that, according to the marketing director for the Consejo Regulador DOCa Rioja, “rises far above short-lived trends”.

The Drinks Business‘ Patrick Schmitt break down several of the new rules in a recent article of which I’ll highlight three–one that I’m thrilled to see and two that I think are bad ideas.

Viñedos Singulares — Single Vineyard Wines

First announced in June 2017, this is probably the most exciting change for wine lovers. As fans of Burgundy and the many spectacular vineyard designated wines in the US know, having the name of a single vineyard on the label connects the wine to a distinct story and terroir. While often the regional name has more marketing power, having a single vineyard designation is one way for a winery to stand out from its peer as well as charge a premium for the extra distinction.

But where Rioja’s Viñedos Singulares is unique (especially compared to the US) is with the added quality restrictions that vineyards and wineries must abide by in order to use the single vineyard designation. Most notable are:

Vineyard in Rioja Alavesa.

*The vineyard (not necessarily the vines) must be at least 35 years of age.
*If the grapes are being purchased by a different winery, that winery must have had a commercial relationship with the vineyard for at least 10 years prior to using the Viñedos Singulares designation.
*All the grapes must be hand harvested
*Along with more restrictive yields and periodic quality checks.

In contrast, in the US the only restriction on vineyard designation is that the wine be composed of at least 95% grapes sourced from the named vineyard on the label.

I think this is a fantastic change and one that I would love to see adopted by other regions. A clear benefit for wine drinkers in seeing a Viñedos Singulares designation on a label of Rioja is that you can be fairly certain that the vineyard is relatively established and that the winery working with the grapes have had a reasonable amount of time to learn about the terroir and personality of the vineyard. While no label designation is ever a concrete guarantee of quality, this is one designation that does put a considerable amount of commitment behind its use.

Changing Joven to Genérico

Seriously?

Photo by Raysonho @ Open Grid Scheduler / Grid Engine. Released on Wikimedia Commons under CC-Zero

I suspect many wineries will just drop the term “Genérico” in lieu of putting no aging designation on the wine.

Are you telling me that while you can spend over $13 million on a marketing campaign, no one could spend more than $50 to figure out that having a quality level of wine called “Genérico” is not a stellar idea? I don’t speak Spanish but I have to feel that the term “Genérico” is just as unsexy in its native tongue as it is in English.

In trying to figure out the logic behind this move, the closest I found was this post by CataVino that referenced John Radford’s 2006 book The New Spain: A Complete Guide to Contemporary Spanish Wine. Here Radford notes that “new wave” winemakers were adopting the term to break free from the typical “oaky” connotation of the traditional Crianza/Reserva/Gran Reserva designations.

With Joven already being fairly well established to mean a wine with little to no oak character, the need to change to something so….generic seems pointless and detrimental from a marketing perspective.

Do the folks at the Consejo Regulador DOCa Rioja really see people asking “Waiter, I think I’ll have a glass of Genérico, please”?

Espumosos de Calidad for Sparkling Wines from Rioja

While not as bad of an idea as the Joven/Genérico debacle, I don’t see much benefit moving away from the clearly established name of Cava to something that is more difficult for English-speaking consumers in the UK and US to ask for.

I will admit that Cava does have a little bit of an image problem with the mass produced bottles of Freixenet and Codorníu painting a broad brush of Cava being nothing more than “cheap fizz”–far better than the Cooks, Andre’s and Korbels of the world but not much more. But quality minded Cava producers (and even Freixenet and Codorníu) are aware of that problem and have been making moves to elevate Cava’s images with the designations of Premier Cru and Grand Cru sites with more restrictive yields and aging requirements.

Cava vineyards in Penedes.

Rioja’s Espumosos de Calidad designation does add on its own restrictions, mandating a minimum of 15 months of aging (as opposed to 9 months for standard Cava) with the designations of Reserva (min. 24 months) and Gran Añada/Reserva (min. 36 months) likewise going above and beyond their Cava counterparts in Catalonia and elsewhere.

I applaud the idea of wanting to elevate the image and quality expectations of Cava–and for the winery’s benefit, the average cost of a bottle–but I definitely think this is a case where “a rising tide lifts all boats”. It seems far more fruitful to work with the greater Cava Consejo Regulador to raise the quality level and image of Cava across the board than it is to try and carve out your own little niche and identity.

I understand that thinking is counter intuitive to regional boards like Consejo Regulador of DOCa Rioja whose whole purpose is to promote Rioja’s niche and unique identity but Cava’s identity as Spain’s sparkling wine has long ago superseded individual regional identity (even that of its base in Catalonia). The likelihood of restaurant wine lists or wine shops separating out and distinguishing Rioja Espumosos de Calidad from its Spanish sparkling peers is slim to none. Likewise, the odds of most consumers making a mental distinction between the different bubbles is also slim to none.

While wine geeks like me might encounter a Rioja Espumosos de Calidad with some excited curiosity, it’s really not going to be that different of a reaction to encountering one of the new Cava de Paraje Calificado Grand Crus.

But while the later can build off the marketing of a “higher quality Cava” and association with the Grand Crus of Champagne, the former seems destined to get lost on the label–not really serving its purpose of helping the consumer “know Rioja”.

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60 Second Wine Review — Anne de K Exception Pinot noir

Amber LeBeau in 60 Second Reviews, Wine reviews

Published on April 14, 2018

A few quick thoughts on the 2010 Anne de K Exception Pinot noir from Cave de Kientzheim-Kaysersberg in Alsace.

The Geekery

Cave de Kientzheim-Kaysersberg is a co-operative founded in 1955 based around the villages of Ammerschwihr, Sigolsheim, Kientzheim and Kaysersberg. Located between the major winemaking towns of Colmar and Ribeauvillé in the Haut-Rhin region of Alsace, most of the vineyards are planted on the low slopes of the Vosges Mountains.

The co-op is made up of 130 vineyard landowners, many of them descendants from the original founding families, with parcels in the Grand Cru terroirs of Furstentum, Kaefferkopf, Mambourg and Schlossberg as well as the notable lieu-dits of Altenbourg and Patergarten. All the Grand Crus and lieu-dits are farmed sustainably.

The Wine

Dried cherries and star anise spice characterizes this Alsatian Pinot noir.

Medium-minus intensity. Some faint cherries and a little herbal tomato leaf note. There is a slight spiciness along the edge that isn’t very defined.

On the palate, the cherry notes come through but are still very faint. The spiciness becomes more defined as star anise and has seemed to replace the herbalness from the nose. High acidity makes the mouth water but with the lacking fruit has a tart bite to it. Medium-minus tannins have more edge to them than a Pinot should which contributes to the skeletal feel of this wine. Short finish.

The Verdict

Admittedly my experience with Alsatian Pinot noir is fairly limited but my gut tells me that the very light style of this wine is not meant for aging. It probably was drinking at its peak 3 to 4 years ago when its high acidity amplified the fresh cherry flavors that would have made a good food pairing for hearty sausages, particularly with the anise/fennel spice.

Now with the freshness of that fruit gone, the wine is just tart and thin. At around $24-28, it’s priced like an upper-tier Hautes Cotes de Nuits Bourgogne Rouge or a mid-tier Bourgogne Rouge with the Burgundies offering better value and more aging potential.

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Oh dear heaven — the woeful ‘7s’

Amber LeBeau in Bordeaux, Shopping for Wine, Wine Knowledge

Published on April 12, 2018

Recently I came across a tweet that made me chuckle.

En Primeur week, day 2… Featuring our 2017, described by Head of Duclot merchant house, Ariane Khaida: The best vintage ending in 7 since the 1947! pic.twitter.com/y0LTVrFOXH

— LYNCH-BAGES (@lynch_bages) April 10, 2018

I absolutely adore Lynch-Bages but I’m not sure that this is the best marketing approach for Duclot. While I get the point of this tweet, I fret that the 2017 Bordeaux vintage may have a bit more in common with the other “7 vintages” than the legendary 1947 and it’s probably not wise to remind folks of this woeful trend.

2007 — The quintessential “Cellar Defender” vintage. A wet and rainy summer saved by a warm September that produced wines that are exceptionally light on fruit and alcohol but have enough charm for short term consumption–especially when paired with food. While it certainly wasn’t a vintage for wine drinkers who favor big “New World-ish” style wines of Napa, it’s a vintage that still holds some positives for fans of “classic clarets”.

Especially compared to their 2008 & 2006 counterparts, the value of many 2007s right now are terrific.

If you have a 2007 in your cellar as well as some 2009/2010, this is the bottle you pull tonight for dinner–even if it is just pizza or a burger. Several of these wines–such as the 2007 Léoville Poyferré I reviewed–will certainly deliver more than enough pleasure to merit their price.

1997 — Rainy vintage that diluted flavors and brought mildew problems. However, this vintage like 2007 (and 2017) is a beneficiary of increased knowledge and technology that has tempered the impact of troublesome vintages. Good wineries, especially those who can afford to be highly selective in the vineyard and final blend, will still make good (albeit not great) wine–just in much smaller quantity. Ian d’Agata notes that this vintage (as well as 2007, 1994, 1999 and 2002) is one that shouldn’t be written off.

1987 — A cool year that favored the early ripening Merlot grape on the Right Bank and the warmer soils of the Graves. Until 2017, this was probably considered the best “7 vintage” since 1947. The biggest problem for 1987 was that it followed a string of gorgeous vintages in the early 1980s which artificially inflated the prices for the quality. Though I have to admit that I would have been tempted by a $75 Chateau Lafite.

Following the very successful 2015/2016 vintages and with quite a bit of 2009/2010 still on the market, you have to wonder if 2017 will follow the same fate?

1977 — “Worst vintage of the Decade” says Jeff Leve of The Wine Cellar Insider. Ouch. Severe frost from late March into April particularly ravaged the early budding Merlot vines on the Right Bank. However, for 1977 birth year babies it was fantastic for vintage Port in the Douro.

1967 — A cool spring followed by a hot July/August only to be capped by a cold September and then a rainy harvest month of October. Particularly rough for the Medoc.

1957 — Another rainy, wet vintage marked by a very cold summer. If you have a 1957 Bordeaux still lying around, you better hope that it is a Sauternes.

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60 Second Wine Review — 2004 Opus One

Amber LeBeau in 60 Second Reviews, Napa Valley, Wine reviews

Published on April 10, 2018

A few quick thoughts on the 2004 Opus One from Napa Valley.

The Geekery

Opus One was founded in 1979 as a joint partnership between Robert Mondavi and Baron Philippe de Rothschild of Ch. Mouton-Rothschild.

In his 1989 book, California’s Great Cabernets James Laube describes Opus as one of the “First Growths” in California back when they were making around 11,000 cases a year.

The 2004 Opus One is a blend of 86% Cabernet Sauvignon, 7% Merlot, 4% Petit Verdot, 2% Cabernet Franc and 1% Malbec with around 22,000 cases made.

The Wine

Simple black currant fruit characterize this wine.

Medium intensity nose. A mix of dark fruits that aren’t very defined, noticeable oak spice but also some tertiary tobacco notes.

On the palate those dark fruits become slightly more defined as black currants and bring an herbal element with them. Medium-plus acidity adds freshness and balances well with the velvety soft medium-plus tannins. The mouthfeel is the best part of the wine by far. The mix of oak and tobacco spice are still present and last thru the moderate length finish.

The Verdict

This was the third time I’ve had Opus after tasting the 2009 at an event and 2011 at the winery. I was very underwhelmed with both but have been told repeatedly by wine folks that “Opus needs time” and that it’s unfair to judge them with less than 10 years of bottle age. After trying an Opus now with more than 13 years of bottle age, I have to wonder what follows the old proverb after “Fool me thrice…”.

Especially at the $300+ price point (with the 2004 now around $450 a bottle), I can name dozens of Bordeaux wines at or below that level that deliver way more value and pleasure. From Napa, there are bottles from Chappellet, Groth, Bevan, Frank Family, Moone-Tsai, Diamond Creek, Blankiet, Dominus and more that I would be happily content with having 2-3 bottles of for the price of one Opus.

It’s not a horrible wine but it is distinctly one that you are paying more for the name than anything else and, frankly, I’m done paying.

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Wine Geek Notes 4/9 — Organic Wine, 2017 Bordeaux and Component Wines

Amber LeBeau in Bordeaux, Geek Notes, Natural Wine, Shopping for Wine

Published on April 9, 2018

Here is what I’m reading today in the world of wine.

Isabelle Legeron MW: why it matters what wine we drink and food we eat by Alistair Morrell for The Buyer (@TheBuyer11)

I recently finished reading Clark Smith’s Postmodern Winemaking: Rethinking the Modern Science of an Ancient Craft where he advocates for a balance between winemakers using all the tools at their disposal (like reverse osmosis, cross-flow filtration, etc) but not lose sight of “soulful winemaking” and letting the wine tell the story of where it came from. It’s almost a contradictory position that is the vino-equivalent of the Kobayashi Maru.

Throughout the entire book, Smith advocates for, above all, more transparency in winemaking. A winemaker shouldn’t use any tool or additive that he or she would not feel comfortable openly talking about. In that regard, he and Master of Wine Isabelle Legeron would be kindred spirits.

In her interview with Alistair Morrell, Legeron draws the connection between consumers’ concerns over sourcing and knowing what’s exactly in their food and how that is changing the wine they are drinking. However, as I discovered in researching for my article about Vegan wines, the wine industry has a bit of a halo effect that has long been given a free pass in most consumers’ minds because—it’s just grapes, right? Well….not exactly.

Like Smith, I don’t think winemakers should be demonized for using technology but I also find sympathy with Legeron’s view that consumers should know what kind of chemicals are being used in the vineyards, what additives like Mega-Purple or oak chips do and what in the world was done to make a wine like Apothic Brew exist.

The article also touches on some of the issues that “natural producers” dealt with in the troublesome vintage 2017 which brings me to my next article of interest.

Ch. Rauzan-Ségla in Margaux

The 2017 Bordeaux Barrels Diary: A View from the Top at Château Canon by James Molesworth (@JMolesworth1) for Wine Spectator (@WineSpectator)

As the 2018 en primeur tastings wrap up, we’re getting ready for the start of the 2017 Bordeaux Futures campaign. I’m buckling down into my research as I plot my own personal strategy and purchases. I bought very heavily in the 2015 and 2016 campaigns so I naturally expect to buy much less in 2017.

But I’ll still buy something. My initial instinct is that 2017 could serve as a fair “cellar defender” vintage meant to be open for more short term consumption. I use the term “cellar defender” because my cellar will now have a nice stash of 2015/2016 that I will need to fight off the temptation to open too soon–a fate that has unfortunately befallen many of my 2009/2010 gems. If I want to get the full value of my pleasure investment in these potentially great 2015/2016 wine, I will need to have a few good “sacrificial lambs” to help keep my grubby paws off the good stuff.

The key will be in sorting through the hype and fluff to find the real value. I don’t want to pay filet mignon prices for my mutton.

The Chanel Group’s holding of Ch. Canon, Ch. Rauzan-Ségla and now Ch. Berliquet intrigue me because the first two have undoubtedly been on the upswing and reaping the benefit of investments in the vineyards and winery. Rauzan-Ségla has particularly impressed me with delivering quality results in the troublesome 2012 and 2013 vintages. While I would not want to go into the $100+ range, if the 2017 is priced in the $75-80 range like those 2012/2013s then I might be intrigued.

However, having the Chanel team now at Ch. Berliquet (which is priced in the $35-40 range) could be some very enticing mutton

Making Varietal Wines in Bordeaux by Vicki Denig (@vicki_denig‏) for Seven Fifty Daily (@SevenFiftyDaily). Brought to my dash via John Corcoran (@jncorcoran1).

Going along with my Bordeaux mood, I got very excited reading about this new project with Michael H. Kennedy II of Component Wine Company in Napa (a protege of Aldo Sohm) and Château Lynch-Bages to come up with a special series of varietal wines from some of the Cazes family’s holdings in the Left Bank.

While blending is always going to be intimately connected with Bordeaux, the chance to try the individual components in isolation (from such a high quality producer) is worth geeking out over. Of course it will depend on if the price is crazy or not. While I expect to pay $100+ for Ch. Lynch-Bages, I’m not sure a varietal Cabernet Franc from them at that price is going to entice me. My optimistic hope is that these Component wines will be priced more in the $35-45 range.

I signed up for Component Wine Company’s mailing list to keep an eye on this project and will post any updates.

What’s On Deck for SpitBucket

In addition to getting knee deep in readings about the 2017 Bordeaux vintage and Futures campaign, I’m also prepping for my upcoming trip to Paso Robles for Hospice du Rhone at the end of this month and a trip to Burgundy at the end of May. So expect to see a few more posts geeking out about Rhone varietals and a couple more installments in my “Keeping up with the Joneses in Burgundy” series.

My top wine at the 2017 Wine Spectator Grand Tasting was this Adobe Road Cabernet Sauvignon from the Beckstoffer Vineyard Georges III in Rutherford.

In the middle, I’ll also be attending the Wine Spectator Grand Tour Tasting in Las Vegas. You can check out the first part of my three part series from last year’s Grand Tour Tasting here.

While my blog postings won’t be as frequent during my travels, I will still be posting regularly to Instagram and Twitter so feel free to follow me on those platforms as well.

Cheers!

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60 Second Wine Review — 2000 Beaucastel Châteauneuf-du-Pape

Amber LeBeau in 60 Second Reviews, Wine reviews

Published on April 9, 2018

A few quick thoughts on the 2000 Château Beaucastel Châteauneuf-du-Pape.

The Geekery

According to Harry Karis in The Chateauneuf-du-Pape Wine Book, the origins of Beaucastel date back to 1549 when Pierre de Beaucastel purchased land in Coudoulet. The property came under the control of its current owners, the Perrin family, in 1909 when Pierre Tramier purchased the property and turned it over to his son-in-law, Pierre Perrin.

Beaucastel is most notable for using the 13 historic grape varieties of Châteauneuf-du-Pape. According to their website:

Grenache and Cinsault provide warmth, colour and roundness; Mourvèdre, Syrah, Muscardin and Vaccarèse provide structure, aging abilities, colour and a very straight taste; Counoise and Picpoul provide body, freshness and very particular aromas.

Since the 1960s, all the vineyards have been farmed organically with several parcels biodynamic.

The 2000 vintage was a blend of 30% Grenache, 30% Mourvèdre, 10% Syrah, 10% Counoise, 5% Cinsault and 15% combined of Vaccarèse, Terret noir, Muscardin, Clairette, Picpoul, Picardan, Bourboulenc, Roussanne.

Each grape variety is harvested and fermented separately. For reductive grapes like Mourvèdre and Syrah, fermentation is done in oak barrels while oxygen-sensitive grapes like Grenache are fermented in cement tanks. The finished blend is aged for a year in large foudres. Around 16,665 cases made.

The Wine

Savory grilled meats notes feature prominently in this wine.

High intensity nose. Lots of tertiary notes–meatiness, leather and tobacco spice. Dried red cherries come out with some air.

On the palate, those savory characters come through but more “animal-like”. Two Brett Stars but very well balanced with smoke and tobacco spice. Medium-plus acidity takes the dried red cherry notes and bring them back to life with freshness. Medium tannins are quite soft but still provide good structure. Long finish ends on the spice and meaty notes.

The Verdict

Gorgeous on several levels. For folks who like savory and tertiary notes, this wine is drinking perfectly now and with the acid will probably still be giving pleasure for at least 3-5 more years.

Well worth the $100 average retail but even at a restaurant mark-up around $185, I still think this is an exquisite bottle.