Tag Archives: Avize

60 Second Wine Review — Gosset Petite Douceur Rose

A few quick thoughts on the non-vintage Gosset Petite Douceur Extra Dry Rosé Champagne.

The Geekery

Founded in 1584 by Pierre Gosset in the village of Aÿ, long before sparkling wine was produced in Champagne, Gosset is the oldest winery in the region. Since 1994, the négociant house has belonged to the Renaud-Cointreau group, owners of the Cognac house Frapin. Gosset makes around 100,000 cases a year.

According to Peter Liem in Champagne: The Essential Guide, Gosset is one of the few major houses (along with Lanson, Alfred Gratien and Vilmart & Cie) that ardently avoids having their base wines go through malolactic fermentation which is usually employed to soften the naturally high acidity of Champagnes, making the wines more approachable in their youth. Historically, Krug and Salon have kept a policy of not encouraging MLF but they don’t take steps to avoid it like Gosset and the other aforementioned houses with the use of temperature control, barrel hygiene, pH and sulfur adjustments.

The Petite Douceur Rosé is a blend of 60% Chardonnay and 40% Pinot noir with 7% of Pinot being red wine added for color. The fruit was sourced from the Grand Cru Villages of Ambonnay, Avize, Bouzy and Le Mesnil-sur-Oger and the Premier Cru village of Cumières located in the Vallée de la Marne. The Champagne was aged 3 years on the lees before being bottled with a 17 g/l dosage.

The Wine

Photo by Juhanson. Released on Wikimedia Commons under CC-BY-SA-3.0

Fresh raspberry and vibrant acidity characterize this Champagne.

Medium-plus intensity nose. Mix of red fruits–strawberry and raspberry–and floral notes. Also a little orange peel.

The red fruits carry through the palate but what is most remarkable is how well balance it is for a sweet Extra Dry with 17 g/l dosage. The acidity is fresh and vibrant, perfectly matching the weight of the fruit and dosage. Smooth mouthfeel and long finish with some spice notes emerging.

The Verdict

At around $90-100, this is an exceptionally well made Champagne.

It tastes drier and more balanced than many Bruts north of the $100 mark and is a considerable jump in complexity from many $50-80 rose Champagnes.

Subscribe to Spitbucket

New posts sent to your email!

60 Second Wine Review — 2004 Comtes de Champagne Taittinger rose

A few quick thoughts on the 2004 Taittinger Champagne Comtes de Champagne Rosé Brut.

The Geekery

Tom Stevenson and Essi Avellan note in Christie’s World Encyclopedia of Champagne & Sparkling Wine that the historical Comtes (or Counts) of Champagne date back to the mid-9th century but the title of Count of Champagne did not appear in records till 1077.

Among the notable Comtes was the 12th century Theobald II who was one of most powerful people in France and a rival to the king. When his descendant Joan of Navarre married Philip IV, the titled was united with the crown under their son Louis X.

The Taittinger line is named after Joan’s grandfather, Theobald IV, a famous poet that moved the court from Troyes to Reims. The Taittingers purchased his 13th century home shortly after World War I and named their prestige cuvee after the Comte in 1952. The first Comtes de Champagne Rosé was released in 1966.

The 2004 Comtes Rosé is sourced 100% from Grand Cru vineyards (Ambonnay, Avize, Mesnil, Mailly, Oger, Verzenazy and Verzy) and is a blend of 70% Pinot noir (including 12-15% red wine from Bouzy) and 30% Chardonnay. It was aged for 5 years on its lees before being bottled with a dosage of 9 g/l. Around 25 cases was imported to the United States.

The Wine

Photo by Fir0002/Flagstaffotos. Released on Wikimedia Commons under CC-BY-NC-3.0

Lots of rich red fruits like pomegranate in this Champagne.

Medium-plus intensity nose. Very red fruit dominant–raspberry, strawberry and even pomegranate. There is also quite a bit of Asian spices as well.

On the palate, the Champagne is very rich and full-bodied. The red fruits and spice carry through and bring some toasty notes along. The finish is very short which may hint that this wine is still too young.

The Verdict

Around $220-250, this rosé has a lot of weight and presence. It’s almost calling to be paired with a steak.

There is a lot of complexity that makes it well worth the price. However, the short finish is a bit disappointing. If you’re going to splurge, probably should wait a couple more years.

Subscribe to Spitbucket

New posts sent to your email!

60 Second Wine Review — Lallier Brut Rose

A few quick thoughts on the non-vintage Lallier Brut Rose Grand Cru.

The Geekery

In the 2018-2019 edition of his Champagne Guide, Tyson Stelzer notes that while Champagne Lallier is a relatively young house, founded only in 1996, the roots of the Lallier family in Champagne dates back 5 generations.

In 1906, René Lallier inherited Champagne Deutz with that house staying in the Lallier family until 1996 when Louis Roederer took over. The family soon after started their namesake domaine in the Grand Cru village of Aÿ and hired Francis Tribaut as chef de cave in 2000. When James Lallier decided to retire in 2004, he sold the estate to his winemaker with Tribaut taking Lallier from a production of 50,000 bottle to around 400,000 bottles today.

The rose is 100% Grand Cru made of 80% Pinot noir sourced from Aÿ and Bouzy and 20% Chardonnay sourced from Avize. The rose is produced in the saignée method where instead of blending red Pinot noir wine into a white base, the must sees a short period of skin contact for the red grapes with the juice bled off and primary fermentation initiated. This method of rose production is not common in Champagne though houses like Laurent Perrier, Jacquesson, Larmandier-Bernier and Francis Boulard are notable practitioners of this style.

The wine spends 24-36 months on the lees before it is bottled with a dosage of 9 g/l. Around 600 cases are imported to the US.

The Wine

Photo by Rillke. Uploaded to Wikimedia Commons under CC-BY-SA-2.0

The blood orange notes in this Champagne are delicious!

High intensity nose of strawberries and blood oranges. There is a subtle spiciness as well.

On the palate, the Champagne has a lot of weight and silky mouthfeel. Very fresh, vibrant acidity enhances the minerality and gives lift to the wine. The red fruits carry through but the gorgeous blood orange is what persists the most through the long finish.

The Verdict

A delicious Champagne that is the complete package. Beautiful nose, weighty, silky mouthfeel with vibrant fruit and minerality.

It is well worth its $45-50 price tag and easily outshines rose Champagnes that are in the $60-75 range.

Subscribe to Spitbucket

New posts sent to your email!

Thought Bubbles – How to Geek Out About Champagne

By Joseph Faverot - [1], Public Domain, on Wikimedia CommonsLast week I got into a bit of a tizzy over some ridiculous things posted by a so-called “Wine Prophet” on how to become a “Champagne Master”. See Champagne Masters and their Bull Shit for all the fun and giggles.

But despite the many failings of Jonathan Cristaldi’s post, he did dish out one very solid piece of advice–to learn more about Champagne, you have to start by popping bottles. I want to expand on that and offer a few tidbits for budding Champagne geeks.

I’m not going to promise to make you a “Champagne Master”–because that is a lifelong pursuit–but I will promise not to steer you towards looking like a buffoon regurgitating nonsense about Marie Antoinette pimping for a Champagne house that wasn’t founded till 40+ years after her death.

Deal? Alright, let’s have some fun.

1.) Start Popping Bottles!

Pretty much you can stop reading now. I’m serious. Just go try something, anything. Better still if it is something you haven’t had or even heard of before. Pop it open and see what you think.

They say it takes 10,000 hours to master anything so take that as a personal challenge to start getting your drink on. Well actually that 10,000 hour thing has been debunked but mama didn’t raise a quitter.

Though seriously, if you want to make your tasting exploration more fruitful, here are some tips.

Make friends with your local wine shop folks

On Wikimedia Commons under PD-US from United States Library of Congress's Prints and Photographs division under the digital ID ppmsca.05590.

Online retailers can be helpful as well but sometimes it’s good to have a face to put with a bottle.


They pretty much live and breath the wines they stock. They know their inventory and you can usually tell when they have a passion to share their love of wine with people. Admittedly not every shop is great but go in, look around, ask questions and see if you find a good fit. Finding a great local wine shop with folks whose opinions you trust is worth its weight in gold for a wine lover. Once you’ve found that, the door is open for you to be pointed towards a lot of fantastic bottles that will only enrich your explorations.

Learn the differences between négociant houses, grower producers and co-operatives

In Champagne, you can often find on the label a long number with abbreviations that denote what type of producer made the Champagne.

NMnégociant manipulant, who buy fruit (or even pre-made wine) from growers. These are the big houses (like the LVMH stable of Moët & Chandon & Veuve Clicquot) that make nearly 80% of all Champagne produced. These Champagnes aren’t bad at all. Most are rather outstanding.

But the key to know is that while there are around 19,000 growers, the Champagne market is thoroughly dominated by several large négociant houses. Chances are if you go into a store (especially a grocery store or Costco), these wines are likely going to be your only options. You should certainly try these wines but you may have to do some leg work to find the whole wide world of Champagne that exists beyond the big names. This is a big reason why making friends at the local wine shop (who often stock smaller producers) is a great idea.

RMrécoltant manipulant, who make wine only from their own estate fruit. These are your “Grower Champagnes” and while being a small producer, alone, is not a guarantee of quality, exploring the wines of small producers is like checking out the small mom & pop restaurants in a city instead of only eating at the big chain restaurants. You can find a lot of gems among the little guys who toil in obscurity.

CMcoopérative-manipulant, who pool together the resources of a group of growers under one brand. This is kind of the middle ground between true Grower Champagne and the big négociant houses. Some of these co-ops are small and based around a single village (like Champagne Mailly) while others cover the entire region (like Nicolas Feuillatte which includes 5000 growers and is one of the top producers in Champagne). Some of these are easier to find than others but they are still worth exploring so you can learn about the larger picture of Champagne.

An example of a négociant (NM on left) and grower (RM on right) label.

Pay attention to sweetness and house style

While “Brut” is going to be the most common sweetness level you see, no two bottles of Brut are going to be the same. That is because a bottle of Brut can have anywhere from Zero to up to 12 grams per liter of sugar. 12 grams is essentially 3 cubes of sugar. Then, almost counter-intuitively, wines labeled as “Extra Dry” are going to actually be a little sweeter than Brut. (It’s a long story)

By  Kici, Released on Wikimedia Commons under public domain

Though to be fair, if they served Champagne at McDonald’s, I would probably eat there more often. It is one of the best pairings with french fries.


This is important to note because while Champagne houses often won’t tell you the dosage (amount of sugar added at bottling) of their Bruts, with enough tasting you can start to discern the general “house style” of a brand.

For instance, the notable Veuve Clicquot “Yellow Label” is tailor-made for the sweet tooth US market and will always be on the “sweeter side of Brut” (9-12 g/l). While houses such as Billecart-Salmon usually go for a drier style with dosages of 7 g/l or less. If you have these two wines side by side (and particularly focus on the tip of your tongue) you will notice the difference in sweetness and house style.

The idea of house style (which is best exhibited in each brand’s non-vintage cuvee) is for the consumer to get a consistent experience with every bottle. It’s the same goal of McDonald’s to have every Big Mac taste the same no matter where you are or when you buy it. All the major négociant houses have a trade mark style and some will be more to your taste than others.

Explore the Grand Crus and vineyard designated bottles

While Champagne is not quite like Burgundy with the focus on terroir and the idea that different plots of land exhibit different personalities, the region is still home to an abundance of unique vineyards and terroir. These are best explored through bottles made from single designated vineyards but these can be expensive and exceedingly hard to find.

Quite a bit easier to find (especially at a good wine shop) are Grand Cru Champagnes that are made exclusively from the fruit of 17 particular villages. There are over 300 villages in Champagne but over time the vineyards of these 17 villages showed themselves to produce the highest quality and most consistent wines. All the top prestige cuvees in Champagne prominently feature fruit from these villages.

To be labeled as a Grand Cru, the Champagne has to be 100% sourced only from a Grand Cru village. It could be a blend of multiple Grand Cru villages but if a single village is featured on the front of the label (like Bouzy, Mailly, Avize, Ambonnay, etc) then it has to be exclusively from that village. Since the production of the Grand Cru villages represent less than 10% of all the grapes grown in Champagne, you would expect them to be fairly pricey. That’s not the case. Many small growers have inherited their Grand Cru vineyards through generations of their families and are able to produce 100% Grand Cru Champagnes for the same price as your basic Champagnes from the big négociant house.

They may be a little harder to find than the big négociant houses, but Grand Cru Champagnes from producers like Pierre Peters, Franck Bonville, Pierre Moncuitt, Petrois-Moriset, Pierre Paillard and more can be had in the $40-60 range.

While not as terroir-driven as single vineyard wines, tasting some of the single-village Grand Crus offers a tremendous opportunity to learn about the unique personality of different villages in Champagne and is well worth the time of any Champagne lover to explore.

2.) Great Reading Resources

Truthfully, you can just follow the advice of the first step and live a life of happy, bubbly contentment. You don’t need book knowledge to enjoy Champagne–just an explorer’s soul and willingness to try something new. But when you really want to geek out and expand your knowledge, it is helpful to have solid and reliable resources. There are tons of great wine books dealing with Champagne and sparkling wine but a few of my favorites include:

A few favs

Tom Stevenson and Essi Avellan’s Christie’s World Encyclopedia of Champagne & Sparkling Wine — The benchmark reference book written by the foremost authorities on all things that sparkle.

Peter Leim’s Champagne [Boxed Book & Map Set] — This set ramps up the geek factor and dives deeper into the nitty gritty details of Champagne. The companion maps that shows vineyards and crus of the region are enough to make any Bubble Head squeal.

David White’s But First, Champagne — A very fresh and modern approach to learning about Champagne. It essentially takes the Christie’s Encyclopedia and Peter Liem’s opus and boils it down to a more digestible compendium.

Robert Walter’s Bursting Bubbles — Thought provoking and a different perspective. You can read my full review of the book here.

Ed McCarthy’s Champagne for Dummies — A little outdated but a quick read that covers the basics very well. I suspect that if the “Wine Prophet” read this book, he wouldn’t have had as much difficulties understanding the differences between vintage and non-vintage Champagnes.

Don & Petie Kladstrup’s Champagne: How the World’s Most Glamorous Wine Triumphed Over War and Hard Times — One of my favorite books, period. Brilliantly written work of historical non-fiction about the people who made Champagne, Champagne. If you ever wondered what was the big deal about people calling everything that has bubbles “champagne”, read this book about what the Champenois endured throughout their history and you will have newfound respect for what the word “Champagne” means.

3.) Next Level Geekery

As I said in the intro, the pursuit of Champagne Mastery is a lifelong passion and you never stop learning. Beyond the advice given above, some avenues for even more in-depth exploration includes:

The Wine Scholar Guild Champagne Master-Level course — I’ve taken the WSG Bordeaux and Burgundy Master courses and can’t rave enough about the online programs they have. Taught by Master Sommeliers and Masters of Wine, the level of instruction and attention to detail is top notch. They also offer immersion tours to the region.

Jancis Robinson’s Purple Pages — This Master of Wine is one of the most reliable sources for information and tasting notes on all kinds of wine but particularly for Champagne.

Allen Meadow’s Burghound — While Burgundy is Meadow’s particular focus, he does devote a lot of time reviewing and commenting on Champagne and, like Robinson, is a very reliable source. But the caveat for all critics is to view them as tools, rather than pontiffs.

Visit Wineries

By Webmasterlescordeliers - Own work, CC BY-SA 3.0, on Wikimedia Commons

If you get a chance to riddle, it will be really fun for the first couple of minutes. Then you realize how hard of a job it is.


Even if you can’t visit Champagne itself, chances are you are probably near some producer, somewhere who is making sparkling wine.

All throughout the world there are producers making bubbly from African wineries in Morocco, Kenya, Zimbabwe and South Africa; Asian wineries in China and India; to more well known sparkling wine producing countries in Australia, Argentina, Chile, United Kingdom and Eastern Europe.

In the United States, there is not only a vibrant sparkling wine industry in the traditional west coast regions of California, Oregon (Beaver State Bubbly) and Washington State but also New Mexico, Missouri, New York, Virginia, Michigan, Ohio, Texas, Georgia, Colorado and more.

While they may not be making wine in the “traditional method”, there is still benefit to visiting and tasting at these estates. Especially at small wineries where the person pouring could be the owner or winemaker themselves, these experiences can give you an opportunity to peak behind the curtain and see the work that happens in the vineyard and winery. As wonderful of a resource that books and classes can provide, there really is no substitute for first hand experience.

So have fun and keep exploring!

Subscribe to Spitbucket

New posts sent to your email!

Champagne Masters and their Bull Shit

By Comite Champagne - Own work, CC BY-SA 3.0, On Wikimedia CommonsFood & Wine recently published an article by wine educator and “prophet” Jonathan Cristaldi titled “Pop These 25 Bottles and Become a Champagne Master”.

The article had so many mistakes (some glaringly obvious) that it made my head hurt.

While I wholeheartedly support any message that begins with “Pop these bottles…”, if you don’t want to look like a bloody fool to your friends, let me tell you some of things you SHOULDN’T take away from Cristaldi’s list.

1.) Veuve Clicquot did not developed techniques to control secondary fermentation and perfect the art of making Champagne. (Intro)

Oh good Lordy! At least Cristaldi later redeemed himself a bit by accurately noting that Dom Perignon spent his entire career trying to get rid of the bubbles and didn’t invent Champagne. But this is a whopper of marketing BS to start an article with.

First off, let’s give Veuve Clicquot due credit for what her and cellar master, Anton Mueller, did do. From 1810 to 1818, they developed in their cellars the technique of riddling to remove the the dead sediment of lees left over from secondary fermentation to produce clearer, brighter Champagnes. Important, yes. But even this technique wasn’t perfected at Veuve Clicquot with a cellar hand from the Champagne house of Morzet and M. Michelot perfecting the pupitre (riddling rack) that truly revolutionized Champagne production.

Further more, riddling has nothing to do with controlling secondary fermentation. It merely deals with the after-effects that happens months (usually years) after secondary fermentation was completed.

Credit for understanding the secondary fermentation that produces the bubbles in Champagne goes to Christopher Merret who delivered a paper in London in 1662 on the process of adding sugar to create gas in wines. But the process was fraught with challenges and risks. Regularly producers would lose a quarter to a third of their production due to exploding bottles because it was hard to calculate just how much sugar you needed to add to achieve the desire gas pressure in the bottle.

By Albert Edelfelt - Photograph originally posted on Flickr as Albert EDELFELT, Louis Pasteur, en 1885. Date of generation: 27 August 2009. Photographed by Ondra Havala. Modifications by the uploader: perspective corrected to fit a rectangle (the painting was possibly distorted during this operation), frame cropped out., Public Domain, on Wikimedia Commons

Pasteur’s work detailing the role of yeast in fermentation and Jean-Baptiste François’ invention to precisely measure how much sugar is in wine, contributed far more to the Champagne’s industry efforts to “control secondary fermentation” than a riddling table did.


The major breakthrough for that came in 1836 when Jean-Baptiste François, a pharmacist and optical instrument maker, invented the sucre-oenomètre that allowed producers to measure the amount of sugar in their wine. This led to the development in the 1840s of a dosage machine that could give the precise amount of sugar to each bottle to avoid explosion. These developments, followed by Louis Pasteur’s work in the 1860s on the role of yeast in fermentation, set the industry on the road to “perfecting the art of making Champagne”.

Truthfully, it was a team effort with many hands involved. Its disingenuous (and, again, marketing BS) to give exorbitant credit to anyone for making Champagne what it is today.

2.) No vintage of Krug’s Grande Cuvée is the same because it is not a vintage Champagne! (Item #2 & Item #4)

Likewise, Dom Perignon is not “a blend of several older vintage base wines”. This is one of the most glaring errors of Cristaldi that he repeats throughout the article. He doesn’t seem to truly understand the differences between vintage and non-vintage Champagnes.

A non-vintage or “multi-vintage” Champagne.
Note the lack of a vintage year on the label.

Non-vintage Champagnes, like Krug’s Grande Cuvée, are blends of multiple years that need to be aged at least 15 months. As Cristaldi correctly notes, some examples like Krug are aged far longer and can include stocks from older vintages but it, itself, is not a vintage Champagne. This is why you do not see a year on the bottle.

A vintage Champagne, such a Dom Perignon, is the product of one single year and will display that year on the bottle. By law, it needs to be aged a minimum of 36 months. You can’t “blend in” older base wines from another vintage. If you want an older base wine, you need to age the entire vintage longer.

3.) Speaking of Dom Perignon, the “6 vintages released per decade” thing hasn’t been true since the 80’s (Item #4)

Again, marketing mystique and BS.

While, yes, the concept of vintage Champagne was once sacred and reserved only for years that were truly spectacular, today it all depends on the house. Some houses, like Cristaldi notes with Salon, do still limit their vintage production to truly spectacular years. But other house will make a vintage cuvee virtually every year they can.

In the 2000s, while the 2008 hasn’t be released yet (but most assuredly will be), Dom Perignon declared 8 out of the 10 vintages. In the 1990s, they declared 7 out of 10–including the rather sub-par 1993 and 1992 vintages.

Now, as I noted in my post Dancing with Goliath and tasting of the 2004 & 2006 Dom Perignon, LVMH (Louis Vuitton Moët Hennessy) credits global warming for producing more “vintage worthy” vintages. There is certainly some truth to that. But there is also truth in the fact that LVMH can crank out 5 million plus bottles of Dom Perignon every year if they want and have no problem selling them because of their brand name.

Seriously…. there is so much Dom being made that it is being turned into gummy bears.


And, if they don’t sell… well they can always make more gummy bears.

4.) Chardonnay grapes do not take center stage in every bottle of Henriot (Item #5)

The Henriot Blanc de Blancs is certainly awesome and worth trying. But so are their Pinot noir dominant Champagnes like the Brut Souverain and Demi-Sec (usually 60% Pinot according to Tom Stevenson and Essi Avellan’s Christie’s World Encyclopedia of Champagne & Sparkling Wine) and the vintage rosé (at least 52% Pinot plus red Pinot noir wine added for color). Even Henriot’s regular vintage Champagne is usually a 50/50 blend. Again, not to discredit a great recommendation to try an awesome Champagne from a well regarded house, but it is just lazy research for a “Champagne Master” to describe Henriot as a “Chardonnay dominant” (much less exclusive) house.

If you want to talk about Chardonnay-dominant houses, look to some of the growers based around the Grand Cru villages of Avize, Cramant and le Mesnil-sur-Oger in the prime Chardonnay territory of the Côte des Blancs. Here you will find producers like Agrapart & Fils, Franck Bonville, Salon-Delamotte and Pierre Peters that, with few exceptions–such as Agrapart’s 6 grape cuvee Complantee and Delamotte’s rosé, can be rightly described as putting Chardonnay “on center stage in every bottle”.

5.) No, not all the vineyards that go into Cristal are biodynamically farmed. (Item #6)

Some great resources if you don’t want to sound like an idiot when spouting off about your “mastery” of Champagne.

In November, I got a chance to try the new 2009 Cristal with a brand ambassador from Louis Roederer. And while I noted in my post, Cristal Clarity, that Roederer’s push towards eventually converting all their vineyards to biodynamics is impressive–right now they are only around 41% biodynamic. Of course, most of this fruit does get funneled towards their top cuvee, but in 2017, that was still just 83% of their Cristal crop.

6.) No, Taittinger’s Comtes de Champagnes are not Chardonnay only wines. (Item #11)

The Comtes de Champagne is a series of prestige vintage cuvees made by Taittinger to honor Theobald IV, the Count of Champagne. This includes a scrumptious Comtes de Champagne rosé that is virtually always Pinot noir dominant.

In the 1930s, Pierre Taittinger purchased the historical home of the Comtes de Champagne in Reims. Renovating the mansion, they released the first Comtes de Champagne in 1952. Yes, that was a Blanc de blancs, but the rosé version followed soon after in 1966. While there are some vintages where only one style is released (such as only the rosé Comtes de Champagne in 2003 and the Blanc de blancs in 1998) in most vintages that are declared, both versions are released.

7.) I doubt Queen Victoria and Napoleon III time traveled to drink Perrier-Jouët’s Belle Epoque (Item #14)

By W. & D. Downey (active 1855-1940) - collectionscanadanpg.org, Public Domain, on Wikimedia Commons

With all the Champagne houses with histories of being ran by widows, it’s kind of surprising that no one has ever done a special bottling for the world’s most famous widow.

Perrier-Jouët’s first release of the Belle Epoque was in 1964.

While Cristaldi may have been trying to insinuating that those long, dead Champagne aficionados enjoyed the wines of Perrier-Jouët available during their time (which were FAR different in style than they are today), he’s dead wrong to say “Napoleon III, Queen Victoria and Princess Grace of Monaco were all fans of this gorgeous bubbly, which boasts classic white-floral notes (hence the label design), along with candied citrus and a creamy mouthfeel.”

I’ll give him the benefit of the doubt, though, on Princess Grace since she didn’t pass away till 1982.

Likewise….

8.) Marie Antoinette was dead more than 40 years before Piper-Heidsieck was founded (Item #15)

Kinda hard to be a brand ambassador when you don’t have your head. (Too soon?)

Again, I suspect this is just lazy research (and/or falling for marketing BS). Taking into consideration that the picture Cristaldi uses for his recommendation of Piper-Heidsieck (founded in 1834) is actually a Champagne from Charles Heidsieck (founded in 1851), the betting money is on general laziness.

A bottle of Piper-Heidsieck, in case Jonathan Cristaldi is curious.

Now for most people I wouldn’t sweat them getting confused about the three different Champagne houses with “Heidsieck” in the name. While Champagne is nothing like Burgundy with similar names, there are some overlaps with the Heidsiecks being the most notable.

As I recounted in my recent review of the Heidsieck & Co Monopole Blue Top Champagne, the three houses (Heidsieck & Co. Monopole, Charles Heidsieck and Piper-Heidsieck) trace their origins to the origin Heidsieck & Co. founded in 1785 by Florens-Louis Heidsieck.

But Piper-Heidsieck didn’t appear on the scene until 1834 when Florens-Louis’ nephew, Christian, broke away from the family firm to establish his own house. Even then, it wasn’t known as Piper-Heidsieck until 1837 when Christian’s widow married Henri-Guillaume Piper and changed the name of the estate.

Now wait! Doesn’t the label on a bottle of Piper-Heidsieck say “founded in 1785”? That’s marketing flourish as the house (like the other two Heidsieck houses) can distantly trace their origins back to the original (but now defunct) Heidsieck & Co. But Christian Heidsieck and Henri-Guillaume Piper likely weren’t even born by the time Marie Antoinette lost her head in 1793, much less convincing the ill-fated queen to drink Piper-Heidsieck with her cake.

It’s not an issue for regular wine drinkers to fall for marketing slogans. But someone who is presenting himself as a wine educator (nay a Wine Prophet) should know better.

9.) Carol Duval-Leroy is not one of the few women to lead a Champagne house (Item #21)

Beyond ignoring the important roles that women like Lily Bollinger, Louise Pommery, Marie-Louise Lanson de Nonancourt, Mathilde-Emile Laurent-Perrier and Barbe-Nicole Ponsardin (Veuve Clicquot) have played throughout the history of Champagne, it also discounts the many notable women working in Champagne today.

The De Venoge Princes Blanc de Noirs made by a pretty awesome female chef de cave, Isabelle Tellier.


Maggie Henriquez, in particular, is one of the most powerful people in Champagne in her role as CEO of Krug. Then you have Vitalie Taittinger of that notable Champagne house; Anne-Charlotte Amory, CEO of Piper-Heidsieck (and probable BFFs with Marie Antoinette’s ghost); Cecile Bonnefond, current president of Veuve Clicquot Ponsardin; Nathalie Vranken, manager of Vranken-Pommery; Floriane Eznak, cellar master at Jacquart; Isabelle Tellier, cellar master at Champagne Chanoine Frères and De Venoge, etc.

Is there room for more women in leadership in the Champagne industry? Of course, especially in winemaking. But let’s not belittle the awesome gains and contributions of women in the history (and present-day) of Champagne by sweeping them under the rug of “the few”.

Though what did I expect from a man who literally uses a woman as a “table” in his profile pic on his personal website?

Is there an end to the pain? God I hope there is an end…

Though not as egregious as the glaring errors of mixing up Vintage vs Non-vintage and touting long-dead brand ambassadors, I would be amiss not to mention one last thing that upset at least one of my very good Champagne-loving friends on Facebook.

At the end of his article Cristaldi throws out two (very good) recommendations for a Californian sparkling wine from Schramsberg and a Franciacorta made in the traditional method in Italy. While I appreciate that Cristaldi does point out that these two items are technically not Champagnes, it is hard not to miss the general laziness in how he leads off his article by describing the list of wines to follow as “… some of the most iconic Champagnes out there, featuring an array of styles and price-points, so study up and become the Champagne know-it-all you’ve always wanted to be.” Again, mostly just a sin of imprecision and sloppiness.

To sum up this article, my dear Champagne-loving friend, Charles, had this to say about Jonathan Cristaldi’s article on Food & Wine.

The article is “riddled” errors. The author should be given an “ice bath” so that he can contemplate “disgorging” himself of the idea he is a master. At the very least someone should burst his “bubbles”. The article never should have made it to “press”

Now what?

I’m not going to claim to be a “Champagne Master” (though I’ll confess to being a Bubble Fiend) because frankly I don’t think that title really exists. Even Tom Stevenson and Master of Wine Essi Avellan who literally wrote one of THE books on Champagnes and sparkling wine, probably wouldn’t consider themselves “Champagne Masters”.

To celebrate the Supreme Court decision in US v Windsor that legalized gay marriage nationwide, my wife and I threw a party in honor of the 5 justices that voted for equality.

But I do think that people who put themselves in positions as wine educators or wine influencers owe it to their fellow wine lovers to provide them with good information. Encouraging people to open bottles and try new things is terrific advice. Backing that advice up with falsehoods, embellishments, conflicting and confusing statements? Not so terrific.

No one knows everything and people make mistakes. It’s human nature. Hell, I’m sure I made at least 1 mistake in this post. But 9+ errors (2 of which are basic ‘Champagne 101’ stuff) is failing the readers of Food & Wine and everyone that those readers pass this faulty information along to.

Wine drinkers deserve better from our “prophets”.

Note: A follow up to this article can be found at Thought Bubbles – How to Geek Out About Champagne

Subscribe to Spitbucket

New posts sent to your email!

Book Reviews – Bursting Bubbles

A few thoughts on Bursting Bubbles: A Secret History of Champagne and the Rise of the Great Growers by Robert Walters.

Overview

Robert Walters is an Australia wine merchant and importer who over the years became bored and jaded with the Champagnes produced by the large négociant houses. A chance tasting of Larmandier-Bernier’s Terre de Vertus reignited his passion for the wines of the region. This book recounts his trek throug Champagne visiting several grower producers like Anselme Selosse, Francis Egly, Pascal Agrapart, Jérôme Prévost and Emmanuel Lassaigne.

Throughout the book, Walters gets his vino-mythbuster on and debunks 10 common myths relating to Champagne such as the fact that Dom Perignon didn’t invent Champagne (he actually spent his entire career trying to get rid of the bubbles), placing a spoon in a Champagne bottle does not help retain the bubbles, smaller bubbles are not a sign of higher quality and more.

I didn’t always agree with some of his extrapolations such as when Walters tries to dispel the myth that blending Champagne makes “a sum better than its parts” (Myth VI). I understand his point that blending wines made from vineyards scattered across a large region negates any chance of terroir showing through. However, I do think something should be said for the skill of the winemaker in using a palette with many different colors of paint to create an evocative picture. While you can argue that the large négociant houses are sourcing from too vast of an area, I think few would argue that producers in Bordeaux are not showing terroir in their blends.

Wine or Sparkling Wine?
Photo by Fab5669. Released on Wikimedia Commons under CC-BY-SA-3.0

Vineyards in the Grand Cru village of Mailly.

The overriding theme of the book is that Champagne should be considered a wine first and a sparkling wine second. Walters contends that many in the wine industry give Champagne a free pass and do not judge it critically on the same standards that we judge other great wine regions.

In contrast to the work of the small “great growers” he highlights, many producers in Champagne practice viticulture and winemaking practices that would be considered anathema in fine wine estates across the globe–such as the extensive use of chemicals, excessively high yields, harvesting unripe grapes and mass adulteration in the winery.

Walters makes a lot of opinionated arguments and critical points that will certainly chafe some wine lovers the wrong way. But they do give you reasons to think.

Some Things I Learned

The journey through many of the smaller villages of Champagne and their different terroirs was very fascinating. While it wasn’t an academic exploration (like the Champagne section in The Wine Atlas), it was still interesting. The chapters (beginning with Part XVI) in the Aube (Côte des Bar) were my favorite. This region is considered the backwoods cousin of Champagne and is often ignored in favor of the more prestigious regions of Côte des Blancs, Montagne de Reims and Vallée de la Marne yet it may actually end up having the best terroir in all of Champagne. It certainly seems to be a hotbed for dedicated growers with a chip on their shoulders that are raising the bar on what quality Champagne is.

Trash In the Vineyard?
By 808 Mālama pono - Own work, CC BY-SA 3.0, on Wikimedia Commons

This doesn’t really jive with the luxury image of Champagne.

The most horrifying idea that Bursting Bubbles introduced me to was the concept of “boues de ville“, the (thankfully now discontinued) practice of literally using city garbage to fertilize the vineyards of Champagne (Part VI). The thought of broken glass, batteries, plastic milk jugs and soda cans littering the vineyards of some of the most prestigious wines in the world made my jaw dropped and rushed me to Google where….yeah, this apparently happened from the 1960s till it was outlawed in 1998.

Getting geeky, I loved reading about Selosse’s “perpetual blend” inspired by the solera system of Sherry (Part X). For several of his Champagnes, Selosse keeps them in casks that he “tops up” with the new harvest every year while only bottling a small portion. So for example, the blend for his Champagne Substance started in 1986. This means that his recent release that was disgorged 05/2016 theoretically had wines from 19 vintages.

Walters’ cryptic snarkiness about a négociant running a tourist trap on the Avenue de Champagne in Epernay (which he wouldn’t name) had me playing detective to find out the identity of this mysterious Champagne house that supposedly made wines that taste like “battery acid plus sugar” (Part V).

Wines I Want to Try Because of This Book

One of the more enjoyable sections of Bursting Bubbles was when Walters dispelled the myth that Champagne is made from only 3 grapes (Myth V). I knew that there were other grapes permitted beyond Chardonnay, Pinot noir and Pinot Meunier but finding Champagnes that actually featured these obscure grapes was like trying to find a unicorn at the Kentucky Derby. But throughout the book Walters name drops several of these unicorns that I’m hunting for.

I had this Pierre Gerbais at a Champagne tasting featuring over 20 bottles and this was my runaway WOTN. It makes me eagerly want to find more Pinot blanc Champagnes.

Pascal Agrapart ‘Complantee’ – from the Grand Cru village of Avize, this wine has the 3 traditional grapes as well as Arbanne, Pinot blanc and Petit Meslier.

Aurelian Laherte ‘Les 7’ – This wine gets even geekier with adding Fromenteau (probably Pinot gris) to the 6 grapes used in the Agrapart.

Cedric Bouchard ‘La Boloree’ – 100% Pinot blanc from 50+ year old vines.

Vouette et Sorbee ‘Texture’ – 100% Pinot blanc with zero dosage.

Aubry ‘Le Nombre d’Or’ – a blend of six grape varieties with 3 g/l dosage.

Pierre Gerbais L’Originale – 100% Pinot blanc from vines planted in 1904. (SCORE! After getting this book and making this list, I had a chance to try this wine courtesy of a friend. You can read my 60 Second Review of it here.)

New Reading Recommendations I Got From This Book

One of my favorite things to do with books is to scour their references and notes section in the back to find new reading materials. Sometimes the author will make a direct recommendation in the book, as Walters did (in ‘Disclaimers’) for people looking for Champagne producer guides. The new additions that Bursting Bubbles added to my “To Read” list are:

Peter Liem’s Champagne [Boxed Book & Map Set]: The Essential Guide to the Wines, Producers, and Terroirs of the Iconic Region
Michael Edwards’ The Finest Wines of Champagne: A Guide to the Best Cuvées, Houses, and Growers
Tyson Stelzer’s The Champagne Guide 2018-2019: The Definitive Guide to Champagne
Becky Sue Epstein’s Champagne: A Global History
Thomas Brennan’s Burgundy to Champagne: The Wine Trade in Early Modern France
Kolleen M. Guy’s When Champagne Became French: Wine and the Making of a National Identity
Michel Bettane & Thierry Desseauve The World’s Greatest Wines
Andrew Jefford’s The New France: A Complete Guide to Contemporary French Wine
Gérard Liger-Belair’s Uncorked: The Science of Champagne

Final Thoughts

Regular readers know that I have a strong affinity for wines made by small, family-owned wineries. In my recent review of some LVMH (Louis Vuitton Moët Hennessy) Champagnes, I started it with the quote “You buy the big houses for the name, you buy the growers for the wine” , so I went into reading this book expecting to have a lot of sympathy with Robert Walters’ view.

But I found myself disagreeing with him more often than I agreed.

Worth Pondering Though

I don’t agree with his view that the use of dosage distorts the essence of “true Champagne” and that “toasty, biscuity” flavors are superficial, cosmetic notes and are not marks of “great Champagnes”. (Part VII).

I do agree that great Champagne should go with food.
This 2002 Lanson Noble Cuvee Blanc de Blancs spent 14 years aging on the lees and was bloody fantastic with Portuguese Pastéis de Bacalhau (fried salted cod).

I don’t agree that the bubbles in Champagne “get in the way” of appreciating the true quality of Champagne. That came from a quote of grower Cédric Bouchard (Part XX) and while, in the Epilogue, Walters says that he doesn’t agree with Bouchard that bubbles get in the way of terroir, he still highlights Bouchard point to say that, in his opinion, a “great Champagne must be a great wine first, and a great Champagne second.” This statement follows an entire book where he advocates serving Champagne at warmer temperatures, in large wine glasses and even decanted, while touting the positive benefits of minimizing the bubbles in Champagne.

In debunking the myth that flutes are the proper vessels for Champagne (something advocated by folks like Wine Enthusiast’s Jameson Fink), Walters says:

If you have a real wine in your glass, the kind of wine that I am advocating for in this book, it deserves a real wine glass that will showcase the quality that is on offer. — Robert Walters (Myth VIII)

 

 

 

What Makes Great Champagne?

In Walters’ view, great Champagnes are ones that can be served as still wines even after they’ve lost their bubbles. While I will confess that I’m curious enough to experiment more with intentionally decanting and degassing Champagnes, I can vividly recall numerous bottles of gorgeous Champagnes that I’ve enjoyed that tasted horrible warm or the day after when the bubbles were gone. The fact that those wines did not taste good as still wines is not reason enough for me to dismiss them as “not great Champagnes”.

While I agree with Walters’ main argument that we should judge Champagne and Champagne producers on par with how we judge other great wines in the world, I do not think it is required to shelve the uniqueness of Champagne to do so. The bubbles give me pleasure. Ultimately, that is what I look for in any wine–does it give me pleasure drinking it?

There were other areas that I found common ground in Bursting Bubbles. I fully support exploring the terroir of single vineyards and single village wines, instead of just cranking out millions of bottles of mass regional blends.

Top Shelf Gummy Bears Though…

There is so much Dom Perignon flooding the market that they are literally turning it into gummie bears.
It’s hard to see this happening with a Chateau Margaux or a Corton-Charlemagne.

An astute point that Walters make is that in most great wine regions, a mass regional blend would be at the bottom of the quality pyramid like an AOC Bourgogne or Bordeaux Supérieur. But in Champagne, you can make 5 million bottles a year of Dom Perignon sourced from hundreds of vineyards across at least 21 villages and it is called a “prestige cuvee”. Wine drinkers should start thinking more critically about where their Champagne is coming from and who is making it.

So while I understand Walters’ point that “Champagne should be considered a wine first and a sparkling wine second”, I’m going to part ways with him when it comes to separating the sparkling from the wine.

I can easily find great Burgundy, great Bordeaux, great Rieslings and the like. The world is awash with great still wines. But when it comes to Champagnes, and yes, I believe there are great Champagnes, I don’t want my bubbles to burst.

Subscribe to Spitbucket

New posts sent to your email!

60 Second Wine Reviews – Jean Fannière Origine

A few quick thoughts on Champagne Varnier Fannière’s Cuvee Jean Fannière Origine Extra Brut.

The Geekery

Champagne Varnier Fannière is a small grower producer with vineyards in the Grand Cru villages of Avize, Cramant, Oiry and Oger. Since 1989, it has been ran by 3rd generation vigneron Denis Varnier.

The Jean Fannière Origine is an Extra Brut Grand Cru sourced primarily from 60+ year old vines in Cramant. The wine is a non-vintage blend of 100% Chardonnay that is aged 5 years on the lees before it is bottled with 3 g/l dosage.

According to the Christie’s World Encyclopedia of Champagne & Sparkling Wine, this tiny récoltant manipulant (RM) produces only around 3,000 cases a year. They are noted for a house style that is smoother than typical Côte des Blancs wines because they bottle at a lower pressure. Champagne is usually bottled around 5 to 6 atm (atmosphere) with Prosecco bottled between 3.5 to 4 atm. My guess is that Champagne Varnier Fannière is bottling in the 4.5 to 5 atm range.

The Wine

High intensity nose. Very aromatic with a mix of citrus and white flower notes. There is subtle pastry dough which has me thinking of a lemon tart but the citrus is a bit richer.

On the palate you can get the smoothness from the lower pressure but it is definitely more lively than a Prosecco. The pastry comes out a lot more as does the rich citrus but there is also a racy streak of minerality that is mouthwatering. This reminds me quite a bit of the 2009 Roederer Starck Brut Nature that I had a few weeks ago. Exceptionally well balanced for the low dosage.

The Verdict

At around $60 this is a better bang for the buck that the Roederer Brut Nature ($79) but the Roederer has a premium being a vintage Champagne. Still the Jean Fannière Origine is a very character driven Champagne that would charm most Champagne geeks.

Subscribe to Spitbucket

New posts sent to your email!

Dancing with Goliath


“You buy the big houses for the name, you buy the growers for the wine.”

In my post Cristal Clarity, I featured the quote above while discussing the dichotomy in the world of Champagne between the mega-corp négociant houses and the small grower producers. As I sat down for dinner at Daniel’s Broiler in Bellevue for their 10th Annual Champagne Gala, that quote began ringing in my ears from the moment the staff handed me my “long neck” of Moët & Chandon Brut Imperial.

For the second straight year, Daniel’s Broiler partnered with LVMH (Louis Vuitton Moët Hennessy) for their annual gala. From listening to other attendees, a few years ago the gala was also LVMH-centric with the wines of Veuve Clicquot featured and it sounds like the very first Champagne Gala at Daniel’s was also based around Moët & Chandon.

It seems that LVMH dominants the attention of Daniel’s wine team as much as it dominants the global Champagne market.

Passed hors d’oeuvres paired with Moët & Chandon Brut Impérial “long necks”
Treasure cove oysters with salmon roe, chili, ginger and chives. Crostinis with brown-butter scallions, wild mushrooms and ricotta.

This….was an interesting experience. I know the use of Champagne flutes is going out of fashion but being told that this was the “hot new trend” in drinking bubbles struck myself (and I suspect most of the room) as quite odd.

Trying to “smell” the long neck Moët & Chandon


The Moët & Chandon Brut Impérial is a non-vintage blend made up of more than 100 different wines with 20-30% being “reserve wines” from older vintages. The blend varies from batch to batch and will usually have 30-40% Pinot noir, 30-40% Pinot Meunier and 20-30% Chardonnay. I was quite surprised to learn from the LVMH brand ambassador, Coventry Fallows, that the dosage for the Brut Imperial has been lowered over the years to 9 g/l. That is still on the “sweeter side” of Brut but it is an improvement over the 12 g/l that skirted the line between Brut and Extra Dry and a huge change from the 20 g/l dosage of their White Star label that was once a staple on the US market but has since been discontinued.

I think Garth Brooks sang a song about this.


While we were sipping our long necks and pairing them with the oysters and wild mushroom crostini, it was hard not to notice how utterly nondescript and indistinct the Brut Imperial was. It could have been a Cava, a Crémant or a Prosecco and no one would’ve fluttered an eye. It could have even been a sparkling wine in a can and still deliver the same neutral experience.

I asked my table mates if, instead of the Moët, they were sipping the Coppola Sofia California sparkler, would they have noticed a difference? Everyone said no which I think is a big crux for Moët and why this marketing gimmick is missing the mark. The Brut Imperial Champagne, itself, is nothing spectacular and memorable and it kind of feels like LVMH is getting bored with the brand that they crank out around 30 million bottles a year of.

Is the message that LVMH truly wants to send with these “long neck Moëts” is that Moët & Chandon Brut Imperial is the Bud Light of the Champagne world?

I wonder if this will fit into a bottle of Bud Light?


First utilized by Moët for the 2015 Golden Globes, it appears that LVMH is trying their darnedest to make “fetch happen” with sipper tops on 187 ml splits. As a hugely successful multinational conglomerate, LVMH’s branding is closely associated with luxury (with many of their Champagnes like Veuve Clicquot and Moët & Chandon needing that association as part of their branding) which makes it a bit humorous that they’re marketing their wine by making you feel like you’re drinking a beer.

But hey… it’s Champagne! And its gold colored so you’re being both chic and avant-garde at the same time! There’s that, I guess.

If you want to indulge in your inner Coachella hipster, you can purchase your own Moët sipper top on Amazon and, of course, can find Moët & Chandon Brut Impérial at virtually any wine shop, grocery store or gas station.

However, considering that you can get four 187 ml Sofia cans for the same price as one Moët Brut Imperial split (minus the $8 “long neck adapter”) and still have the same amount of care-free fun drinking your bubbles like beer, I think I’m going to pass. I’ve always been more of a SXSW girl anyways.

Seated hors d’oeuvre paired with Moët & Chandon Grand Vintage Brut 2008
Seared scallops and prawns with tangerine-saffron cream, fresh herbs and vol-au-vent.

The highlight of the event was the expertise offered by LVMH Brand Ambassador Coventry Fallows who was a wealth of knowledge and is very skilled at presenting the wines she represents. It was unfortunate, however, that rather than give her more time to offer more in-depth and detailed information about each wine to the group as a whole, her presentation was shorten for each wine to just a few moments with her working the room, going from table to table with the overall noise of surrounding tables drowning out her answers to the various questions presented.


But, from the little bit that I was able to gleam from her in those brief moments, I learned that the general philosophy of Moët & Chandon is that “Bigger is Better” and that, in addition to being a significant négociant buyer of fruit, they are also the largest vineyard owner in Champagne and are constantly seeking out more quality land to add to their holdings. This is encouraging because as we discovered with the wines of Roederer, the more direct house control of the process from grape to glass, the more likely you are to get a high quality and character driven product.

With those thoughts in mind, I was eager to try the 2008 Vintage Brut which represents only around 5% of the house’s production and is made entirely from estate-owned fruit.

The 2008 Moët & Chandon Brut is a blend of 40% Chardonnay, 37% Pinot noir and 23% Pinot Meunier. It was aged 7 years on the lees before being bottled with a dosage of 5 g/l that is the lowest among the entire Moët line. Much of the fruit sourced for the wine comes from Premier Cru and Grand Cru vineyards that have been declassified from the Dom Perignon range.

The wine had medium minus intensity on the nose with some candied hazelnut and spice pear notes. On the palate, the pear seemed to go away and was replaced by more appley-notes while the candied hazelnuts become more pastry dough–like a nut-filled apple strudel. The finish was quite short.

And the Vintage Brut is a huge step up from drinking beer.


The mouthfeel was the star with smooth, silky bubbles that showed great balance between the acidity and the low dosage. The reason why so many Champagnes veer towards the “sweeter side of Brut” is because sugar is the magic pill when it comes to insuring a smooth and velvety soft mouthfeel that is so desirable–especially for the American market. It takes high quality fruit and skilled winemaking to accomplish similar results without the crutch of sugar so I will certainly give Moët’s chef de cave Benoit Gouez his due credit for his craftsmanship and balance with this Champagne.

However, there are plenty of well crafted and well balanced Champagnes (including many 100% Grand Crus) that can be found for around $40-55, far less than the $65-70 that the Moët & Chandon Grand Vintage Brut usually commands. On the other hand, as a “baby Dom”, it actually is a better value when compared to spending $130-150 for some of the less-exciting vintages of Dom Perignon. (More on that below)

For me, the food provided by Daniel’s head chef Kevin Rohr was far more exciting with the scallops being perfectly pan-seared and fresh. The tangerine-saffron cream added a delightful twist of flavor that seemed both light and rich. The prawns were more hit and miss with half the table having no issue but the other half describing a “chlorine” and overly fishy taste to them that suggest there may have been some bad ones in the batch.

Salad paired with Moët & Chandon Rosé Impérial
Crisped duck breast with butter lettuce, Laura Chenel’s chèvre, pink peppercorns and pomegranate glacé.

Another tidbit from Ms. Fellows was that the house style of Moët is that of “Freshness and Crispness”. Perhaps no other wine showcased that emphasis more than the Rosé Impérial.


The Rosé Impérial is a non-vintage blend like the Brut Imperial with the percentage of grapes in the blend varying from batch to batch. The blend is usually around 40-50% Pinot noir, 30-40% Pinot Meunier and 10-20% Chardonnay with the rose coloring come from the addition of 20% blend of red Pinot noir and Pinot Meunier wine. Like the Brut Imperial, the dosage is 9 g/l with around 20-30% of reserve wine to help insure consistency.

The wine had a medium-plus intensity nose with cherry aromas and fresh red apple peels. Outside of the 2004 Dom Perignon, it had the best nose of the night. The palate carried that lively freshness through with the apple peel being the strongest note but with some strawberry notes joining the cherry on the finish. The one major slight, which was an unfortunate shared trait among all the wines of the evening, was the incredibly short finish that completely disappears mere moments after swallowing.

At around $50-55, you are still paying a premium for it being a rosé (and the Moët name) but, in hindsight of the evening, the Rosé Impérial is one of the better values in the entire Moët portfolio.

Again, the food was excellent with the pairing enhancing the wine. The pomegranate glacé with pink peppercorns were immensely charming and complimented the sense of freshness of the rosé with the tanginess of the chèvre cheese adding some length to the short finish of the wine. Even though it was certainly not “crispy” by any definition, the duck was beautifully cooked and juicy.

Entrée paired with 2004 and 2006 vintages of Dom Pérignon
USDA Prime beef tenderloin with butter-poached North Atlantic lobster tail, green risotto and Béarnaise sauce.

While technically part of Moët & Chandon, LVMH prefers for people to think of Dom Perignon as its own house and entity. Indeed, its production is distinct from the rest of the Moët lineup with its own chef de cave, Richard Geoffroy, overseeing production. Like the man himself, the wine has been the subject of many myths and breathless soliloquies.

Some of the hype is richly deserved with many bottles of Dom Perignon being ranked as some of the greatest wines ever made.

For myself, personally, the 1996 Dom Perignon will always hold a warm spot in my heart as a magical wine that made the light bulb flick on for me about the beauty that wine offers. In many ways, I’m always comparing every wine I taste to that sublimely perfect bottle of 1996 Dom which may be why I’ve been so dishearten watching (and tasting) the changing style of Dom Perignon.

Of course the change started happening long before my magical 1996, but at some point Moët & Chandon made the decision that Dom Perignon was going to be marketed as more of a brand and lifestyle rather than necessarily as a wine. When you no longer have to sell something based on just the intrinsic quality of the wine, you are no longer limited in how many bottles you can produce. Though notoriously secretive about exact production figures, as of 2013 estimates were that around 5 million bottles of Dom Perignon are produced each vintage.

If Daniel’s runs out of ideas for future Champagne Gala events, we know there will always be plenty of Dom available.

While I’m sure they are having no problems selling those 5 million bottles each year (especially since the excess production has allowed the price to drop from $200-240 to around $130-150) perhaps it is no surprise that companies are finding plenty of Dom Perignon available to make gummie bears with.

The concept of “Vintage Champagne” was originally centered around the idea of a special bottling made only in exceptional vintages, but we are now seeing more and more vintages of Dom Perignon declared with 13 of the 41 vintages made between 1921 and 2006 coming after 1990. There are upcoming plans to release a 2008 & 2009 vintages as well. The increase in declared vintages is credited to global warming producing better vintages but, in comparison, Champagne Salon has only released 8 vintages since 1990. And in the years that they do declare a vintage, Salon only makes around 60,000 bottles.

The trade-off, of course, is fewer gummie bears.

That said, while Dom Perignon is clearly no longer one of the top prestige cuvees in the world. It is still a good Champagne, sourced from Premier Cru and Grand Cru vineyards in Aÿ, Avize, Bouzy, Verzenay, Mailly, Chouilly, Cramant and Le Mesnil-sur-Oger, that can deliver adequate pleasure in the $100+ range so I enjoyed the opportunity to try two vintages side-by-side.

Double fisting Dom

The 2004 vintage is a blend of 52% Pinot noir and 48% Chardonnay with a dosage of 6 g/l. The exact details for the 2006 Dom Perignon weren’t given out at the dinner (and I couldn’t find them online) but I suspect the dosage is similar and Robert Parker has described the 2006 as more Chardonnay dominate. Each vintage of Dom Perignon is now released in three tranches called Plenitudes with the first (or regular) release of Dom being P1 that is released after the Champagne has spent 8 years aging on the lees.

My wife was originally annoyed about the uneven pours of the two Doms (2004 on left, 2006 on right) until she tasted them and realize she wasn’t missing much with not getting more 2006.


The second release of each vintage (P2) will see 16 years aging on the lees with the final plenitude (P3) being released after 21 years. While I have not had the privilege of trying a P2 or P3 release, there has only been 19 and 4 releases respectively, I will confess to being intrigued at their potential though admittedly not terribly excited to spend the $360-1600 to purchase a bottle.

The 2004 had medium plus intensity aromatics that was actually quite inviting. It had an intriguing mix of tropical fruit and spice that had me thinking of the grilled cinnamon rubbed pineapple you get from a Brazilian steakhouse. There was also a fresh cedar and tobacco box component that takes you to a cigar humidor. These are usually notes I associated with a nice red Bordeaux so I thoroughly enjoyed the extra complexity it gave to the Champagne.

Unfortunately not all these notes carried through to the palate which tasted more butterscotch like a Werther’s Original. The mouthfeel was still fresh, keeping with the house style, and while the finish was longer than any of the other Champagnes, it was still regrettably short. The finish did introduce, though, a spiced pear component that I found intriguing if not fleeting.

Both the rose and 2008 vintage overshadowed the 2006 Dom Perignon.


It paired very well with the beef tenderloin and, particularly, the lobster and Béarnaise sauce. Overall, the 2004 would be a wine that I would be content with for around $130-150 though certainly more thrilled with if I paid closer to $80-100.

The 2006, on the other hand, was pretty disappointing. I will give it the benefit of the doubt that it is a young release, and like with the Cristal, probably would benefit from more bottle age. You could also argue that it wasn’t benefiting from being compared next to the superior 2004 Dom Perignon (though technically the vintages themselves were of similar quality). But to be quite frank, the 2006 Dom Perignon lagged behind even the 2008 Moët & Chandon Grand Vintage Brut.

The nose was the most shy of the night with medium minus intensity. Some faint citrus peel and toasted coconut flakes. Very light and indistinct. It could have been served as a long neck beer like the Moët & Chandon Brut Imperial and it might not have made a difference. To the wine’s credit, those faint notes did carry through to the palate and added a praline pastry quality that seemed more buttery when paired with the lobster. The finish, following the chorus of the evening, was fleeting.

Dessert paired with Moët & Chandon Nectar Impérial
Champagne-poached pear with vanilla pot de crème and spicy glazed pistachios.

The Moët & Chandon Nectar Impérial is the house’s demi-sec offering and like with Roederer’s Carte Blanche is a tasty little gem that shows how overlooked the demi-sec category is. Following the pattern of the other wines of Moët & Chandon, this non-vintage Champagne is a Pinot dominant blend that includes 20-30% reserve wines. The exact composition varies but is usually around 40-50% Pinot noir, 30-40% Pinot Meunier and 10-20% Chardonnay. The dosage is 45 g/l or 4.5% residual sugar. To put that in context, that is just slightly less sweet than a late harvest Riesling like the 2015 Chateau Ste. Michelle Harvest Select that had 47 g/l residual sugar.

But balance is the name of the game and you can not underestimate the ability of the acidity and bubbles to offer an exceptional counter to the sweetness. Even though I compared the dosage to the sweetness level of the CSM Harvest Select Riesling, truth be told, I would reckon that most people who tasted the Moët & Chandon Nectar Impérial side by side with something like the 2015 Eroica Riesling (a relatively dry Riesling with great acidity and 11.8 g/l of residual sugar) would feel that the Riesling was sweeter.

The wine had medium intensity with candied oranges and fresh white peaches. Those notes carried through to the palate with the candied oranges morphing more into an apricot note. Next to the 2004 Dom Perignon, this had a tad longer finish than the other Moët wines which was a pleasant way to end the evening. While it didn’t jive with the raspberry sauce used in the dessert, it did very well with the vanilla pot de crème. While there are other demi-secs in the $45-55 range that have impressed me more, this was still a very solidly made Champagne with great balance that should be placed near the top of the Moët & Chandon portfolio.

Overall Impressions

At the beginning of the event, Shawna Anderson, regional sales manager for Moët Hennessy USA, talked about the difference between the wines of the big houses like Moët & Chandon and grower producers. She said that with growers you never know what you get but with houses like Moët you get a consistent experience each time. And she’s right.

While I’m sure most readers can gleam my transparent affinity for hand crafted wine by smaller grower producers, I do not discount that there are sub-par and disappointing wines made by small growers. I also do not discount that large houses are built upon decades of sustained excellence that lay the bedrock of their growth. Likewise, I can’t argue that houses like Moët & Chandon are not consistent.

But then…. so is McDonald’s.

Outside of the 2006 Dom Perignon, I wasn’t disappointed with any of the wines featured at the Champagne Gala. Though I could certainly name at least a half dozen other Champagnes at lower or equivalent prices to the Moët & Chandon line up (some by big houses, some by smaller growers) that out performed the Champagnes of Moët & Chandon in delivering character and complexity, I can’t say that any of these wines are bad and not deserving to be purchased and enjoyed by people wanting a reason to celebrate.

It’s perfectly fine if you want to go dancing with Goliath. But folks should be clear that what they’re paying for in seeking the privilege of that dance is not necessarily for the quality in the bottle but, rather, for the name on the label.

For a review of last year’s Champagne gala see A Toast to Joy and Pain.

Subscribe to Spitbucket

New posts sent to your email!

Cristal Clarity


On November 29th, Esquin Wine Merchants in Seattle hosted a tasting featuring the Champagnes of Louis Roederer. The event featured 7 wines that was highlighted by a sampling of the newly released 2009 Cristal and curated by Roederer brand ambassador Cynthia Challacombe and Esquin’s Arnie Millan.

It was a wonderful evening of trying some truly outstanding Champagnes. I left the event not only with several bottles but also with two important lessons learned.

1.) The Roederer vintage Brut and Blanc de Blancs are some of the best bang for the bucks not only in the Roederer portfolio but also among all premium Champagne.

2.) Mamas, don’t let your babies grow up to open their Cristal too soon.

The Geekery

There is a big dichotomy in the world of Champagne between the huge mega-corp producers like Louis Vuitton Moët Hennessy (LVMH), which produces tens of millions of cases across its various brands like Dom Perignon, Veuve Clicquot, Moët and Chandon, Krug, Ruinart and Mercier, and smaller growers and producers.

While the wines of huge négociant houses like those of the LVMH stable aren’t bad, some, like Ruinart, in particular, are outstanding, it is a fair argument that sometimes the produce of these Goliaths can lack some of the character, heart and excitement of what you can find in the Champagnes of smaller growers. I say sometimes because magnificent wines can be found in many different incarnations–including in the cloths of Goliaths–but there is a reason why the marketing of the big mega-corps is more about the image and the brand than it is about the story of the vineyards and the people behind it.

As a sommelier friend of mine once aptly noted, “You buy the big houses for the name, you buy the growers for the wine.”

That said, while the house of Louis Roederer and its MTV-ready prestige cuvee of Cristal is often grouped as one of the big Goliaths, I can’t help but admire the twinkle of a “grower’s soul” that peaks out underneath the glitzy exterior of these wines.

The Champagnes tasted


Founded in 1733, the house is still family owned with Frédéric Rouzaud, great-grandson of Camille Olry-Roederer, being the 7th generation of the Roederer-Rouzaud family to run the estate. While officially a négociant, Louis Roederer owns a substantial amount of vineyards including nearly 600 acres of Grand Cru and Premier Cru vineyards that supply the vast majority of their needs. I was very pleasantly surprised to hear from brand ambassador Cynthia Challacombe that the only Champagne that Roederer uses purchased grapes for are for its entry-level non-vintage Brut Premier and even that is 70% estate fruit.

While Roederer does make around 3 million bottles of Champagne a year (or 250,000 cases), that doesn’t even crack the top 10 in production/sales in the Champagne region–lagging behind not only Pommery and Piper-Heidsieck but also far behind the 48 million bottles combined produced by the LVMH mega-Goliaths of Moët and Chandon and Veuve Clicquot.

This relatively small scale of production and majority control of grapes allows Roederer to be more hands on throughout the winemaking process from grape to bottle. This can also be seen in the house’s push towards converting eventually all of its vineyards to biodynamic viticulture. By 2012, they were Champagne’s largest biodynamic grower with around 160 acres (65 ha) being farmed under the system. Ms. Challacombe noted that the estate is now 41% biodynamic (around 246 acres) with the rest still being farmed organically and sustainably.

The Wines
Prices listed were the event pricing for the evening at Esquin.


NV Brut Premier- ($49) A blend of 40% Chardonnay, 40% Pinot noir and 20% Pinot Meunier that is aged 3 years on the lees and bottled with 9-12 g/l dosage. Considering that the minimum aging requirement for non-vintage Champagne is only 15 months on the lees, it is admirable that Roederer holds their entry-level non-vintage to the same minimum of 3 years aging that is expected of vintage Champagnes.

The extended aging does pay off with a medium-plus intensity nose with aromas of tree fruit, candied ginger and apple pastry tart. On the palate, the mouthfeel is round and smooth with more apple notes coming out. It’s a tasty Champagne but my qualm is with how quickly the flavors fade and how short the finish is. I was expecting more persistence on the palate with how aromatic the nose was. For a sub $50 Champagne it is solid but I wouldn’t pay above that price.

2009 Brut Nature (Philippe Starck edition)- ($79) A blend of 66% Pinot noir/Pinot Meunier and 33% Chardonnay that is aged 5 years on the lees and bottled with no dosage. Sourced from a single vineyard in the village of Cumières in the Montagne de Reims, with a label designed by French designer Philippe Starck, this wine stands out from the rest of the Roederer line-up in both aesthetics and in profile. With its zero dosage and intense acidity, this was a sharply controversial wine at the tasting with many people not preferring this style.


I, on the other hand, absolutely adored this wine. It was by far the most mineral-driven and complex wine of the evening. High intensity aromatics of spiced pears, white flowers coupled with Turkish figs and graham cracker crust. On the palate, another chapter of the story unfolds with apple peels, water chestnuts and white pepper all backed by a bracing streak of rocky minerality. Even after the glass was empty, you could still smell the intense aromatics of the Champagne inside the glass. Stunning wine. It’s not for everyone but, for someone like me, it is a remarkable value for how much complexity it delivers.

2010 Blanc de Blancs- ($79) 100% Chardonnay from declassified vines in the Grand Cru villages of the Côte des Blancs, particularly Avize, that are usually allocated for Cristal. The wine is aged 5 years on the lees and bottled with 9 g/l dosage. Again going above and beyond the minimum aging for a vintage Champagne (3 years), the Blanc de Blancs is treated like a Tête de cuvée and, in many ways, this bottle of Champagne outshines many houses’ Tête de cuvée–even Roederers!

Essentially a “baby Cristal”, the medium plus intensity nose is extremely floral and fresh. It smells like Spring time with a neighbor baking cookies next door and the warm air bringing you a waft of that aroma intermingling with flowers and fresh cut grass. On the palate, the floral notes continue with an incredibly satiny mouthfeel that actually feels like you are drinking flower petals. The cookie notes on the nose morph into more brioche on the palate, still serving as a back drop to the overwhelming floral notes. Liquid lillies. Considering that this wine outshone the $200+ Cristal, and easily puts many other $100+ Champagnes to shame, this wine is an absolute steal for its quality level.

Tasting Sheet


2011 Brut Rosé- ($67) A blend of 63% Pinot noir and 37% Chardonnay that is aged 4 years on the lees and bottled with 9 g/l dosage. For the rosé color, both short maceration and blending with red Pinot noir wine is used. The keynote of “freshness” being part of the Roederer house style strikes through with this rosé taking me back to Plant City, Florida outside Tampa for their Strawberry Festival held every March.

Medium intensity on the nose with fresh strawberries and an intriguing streak of basil as well. Unfortunately the aroma fades rather quickly which made it a bit of a let down following the downright intoxicating bouquets of the Brut Nature and Blanc de Blancs. The mouthfeel is smooth and well balanced with the strawberry and basil notes carrying through. But, again, it fades with a short finish. There is always a bit of a premium when it comes to the pricing of rosés but this one is a bit of a stretch for delivering quality that matches its near $70 price point.

2008 Vintage Brut- ($70) A blend of 70% Pinot noir and 30% Chardonnay that is aged 4 years on the lees and bottled with 9 g/l dosage. Like the Blanc de Blancs, this Champagne also gets some of the declassified lots (presumably Pinot noir) that are allocated for Cristal as well as being sourced from it owns dedicated estate vineyards in the Grand Cru villages of Verzy and Verzenay.

Medium plus intensity nose that was only bested by the 2009 Brut Nature for best nose of the night. Cream puff pastry and hazelnuts. What was most enthralling was how it evolved over the short sample tasting to show the many different stages of making cream puff pastry from the fresh dough to baking the golden puffs and filling them. The freshness of the cream is also quite noticeable on the nose and carries its way to the palate where it is met by a little orange zest.


The mouthfeel was knee-bendingly silky, bested again only by one other wine–the 2010 Blanc de Blancs. Between the nose and mouthfeel, this Champagne was as close to a complete package as you could get and overall was my wine of the night. At around $70, this is an absolute steal that should leap frog on any Champagne lover’s purchasing list many, many Champagnes that are much more expensive.

NV Carte Blanche Demi-Sec- ($44) A blend of 40% Chardonnay, 40% Pinot noir and 20% Pinot Meunier that is aged 3 years on the lees and bottled with 38 g/l dosage. As any sommelier or retailer who inwardly cringes when consumers request dry Brut bubbles to be served with their sweet wedding cake will tell you–the Demi-Sec category of sparklers is often woefully overlooked. I truly think it is because most people haven’t experience these wines and have painted a picture in their mind of wines that taste much more overtly sweet than they actually do.

The key to demi-sec wines is balance and the Roederer Carte Blanche is one of the most exquisitely balanced demi-sec bubbles that I’ve ever had. Medium intensity note redolent of fresh peaches with apple pastry tart mixed in. Focusing on the tip of your tongue, you can pick up the sweetness but it is so subtle and balanced by the acidity and bubbles that I would wager that even many experienced tasters would think it was more in the 12-17 g/l Extra Dry category than a Demi-Sec. Many Proseccos taste far sweeter than this elegant and exceptionally well made Champagne.


Unlike the premium pricing for rosés, this under-the-radar category is exceptionally undervalued with the Roederer Carte Blanche being a screaming good deal for under $60 much less under $45.

2009 Cristal ($232) A blend of 60% Pinot noir and 40% Chardonnay that is aged 6 years on the lees and bottled with 8 g/l dosage. Sourced exclusively from Grand Cru vineyards in the villages of Avize, Aÿ, Beaumont-sur-Vesle, Cramant, Mesnil-sur-Oger, Verzenay and Verzy this is the crème de la crème of the Roederer portfolio. It’s a wine with a legendary history that was created for Russian royalty and is featured in music videos, movies and the Instagram pics of anyone wanting to show off. It elicits “oohs and ahs” whenever it is brought out. It truly is one of the Champagne world’s top prestige cuvees.

It’s also one of its most disappointing.

To be fair, this is because Cristal’s Veblen and “bling-worthy” status encourages people to pop and pour them almost as soon as they hit the market. Despite wine writers and Champagne lovers repeatedly urging people to hold onto their Cristals, these wines are often opened far too young. As Antonio Galloni of Vinous noted in his survey of Cristals from 1979-2002, this behavior is “… ironic, if not downright tragic, considering Cristal is a wine that starts peaking around age 15-20, and that can last much longer under ideal storage conditions.”

Now my experience with Cristal is no where near as extensive as Galloni’s but the opportunities I’ve had to taste of now four different vintages of Cristal (the 2004, 2006 and 2009 soon after release and the 1994 when it was 12 years of age) have followed a consistent pattern. The newly release Cristal Champagnes that I tried when they were 6 to 8 years old were very underwhelming with my tasting notes littered with descriptors of “short” and “simple”. While the 1994, which was still relatively too young and from a rather sub-par vintage, was vastly more intriguing and has ranked as one of the best wines that I’ve ever had.

This 2009 Cristal, while undoubtedly well made and with immense potential, ranked only above the entry NV Brut Premier in its showing at the tasting. And that’s not an indictment on the wine. It’s just a reality of tasting a wine that is miles away from it peak drinking window.


But it is not like the wine was undrinkable. It was just exceedingly simple. Medium minus intensity nose with vague floral and tree fruit notes. Some slight pink peppercorn. Its strongest attribute at the moment is the mouthfeel that shows hint of the silky flower petal texture you with get the Blanc de Blancs. In fact, the whole profile of Cristal is its litany of hints.

It has hints of the nose of the 2008 Vintage Brut.
It has hints of the mouthfeel of the 2010 Blanc de Blancs.
It has hints of the complexity of the 2009 Brut Nature.

If you could combine those 3 Champagnes into one bottle, and tell folks that it was Cristal, you would have legions of happy Champagne drinkers who would gladly shell out $200+ and feel like they’re getting more than their money’s worth. But, instead, you have a bottle that is drinking at this moment on par with what you can get from the Roederer house already for between $49 (NV Brut Premier) and $67 (2011 Brut rosé).

It truly is about this moment.

But, again, the 2009 Cristal is not a bad wine and I’m not saying that this is a wine that you shouldn’t buy if you have the money and inclination. I’m just saying that this isn’t a wine that you should open right now. The pedigree is there. The terroir is there. The care and dedication of the Champagne house is there. But if you are going to invest the money and your personal pleasure into getting a spectacular bottle of Champagne than you have to have patience and/or be willing to splurge for the premium of an aged example of Cristal that has been properly cellared.

Otherwise, do yourself a favor and save a boatload of cash by checking out some of the far less heralded and less “bling-worthy” bottles of vintage Champagnes from Roederer. There is truly some spectacular stuff coming out this house that over deliver on pleasure.

Subscribe to Spitbucket

New posts sent to your email!