Note: This wine was a sample at the 2019 Wine Media Conference.
A few quick thoughts on the 2019 Audrey Wilkinson Gewurztraminer from the Hunter Valley.
Now owned by the Agnew family of Agnew Wines, Audrey Wilkinson is a historic estate in the Hunter Valley. Founded in 1866 by brothers Frederick and John Wilkinson, it was the first vineyard established in Pokolbin.
When Audrey joined the family estate in 1897, he introduced cement fermenters and new techniques for handling the grapes in the winery. His wines would go on to win numerous awards at some of Australia’s most prestigious wine competitions.
Acquired by the Agnews in 2004, the heart of the Audrey Wilkinson vineyard is still one of the oldest in the Hunter Valley. The family maintains a 20 ha estate that includes a small block of Gewurztraminer.
There would be no excuse for not pegging this as Gewurz in a blind tasting. It has the typicity nailed.
High-intensity nose– lots of lychee and rose petal terpenes. This screams Gertie from across the room. However, it also has lime and apricot notes adding complexity.
On the palate, the wine tastes distinctly dry with the lime note emphasizing medium-plus acidity. Very mouthwatering. There is a fair amount of weight and roundness with some phenolic texture. It’s not distracting at all with the fruit balancing well with the full-bodied weight of the wine. Long finish lingers on the lychee with a slight ginger note coming out.
This wine is probably not going to make its way to the US, unfortunately. However, at around $18 USD (Wine Searcher estimate), it would be a very solid bottle if it did. Most likely in the US, you’d see it more on restaurant wine lists. No doubt, its dry style, fresh acidity and high quality would pair very well with a variety of cuisines.
I can easily see a savvy somm falling in love with this wine. And if you happen to come across it, I’m sure you will too.
Even if you don’t work in the wine industry, imagine an entire year’s worth of your work wiped out. Think about all those steps, sweat and hours in the vineyards going up in smoke. Perhaps insurance and safety nets will help offset some of the financial losses. But nothing offsets a punch to the gut.
You still feel it. But you learn to manage it and move forward. This is what Australian winemakers are doing right now. However, they don’t have to do it alone.
So in the spirit of Yael Cohen’s Fuck Cancer movement, I encourage the wine community to #FuckTheFires and commit to supporting our brothers and sisters in the Australian wine industry.
There are numerous ways that people can help.
Consumers — Drink Australian Wine, especially from small family producers
Just a small assortment of the many tremendous Hunter Valley wineries that could use your support.
It begins and ends with you. Consumers who care and want to make an impact need to vote with their wallets. You need to ask for and actively seek out Australian wines at your local wine shops and restaurants.
While some producers may have lost their 2020 vintage, there are plenty of bottles of current 2016-2019 wines out in the market. The cash flow of moving those bottles through the supply chain and emptying backstocks will help cushion the blow of a down vintage in 2020. Find these bottles and drink up. This is the easiest thing that anyone can do to help the Australian wine industry.
I know this is tough in many markets–especially in places like the United States where the Australian “selection” is dominated by a handful of big names and mass-produced brands. While the supermarkets aren’t likely to change anytime soon, independent wine shops and restaurants can be more responsive. And, believe me, if customers start asking for more Australian wines, they will rise to meet the demand.
Importers and Distributors — Promote and expand your Australian portfolios
This is more of a personal plea to my American compatriots back home. Because even though we’re the largest wine import market by value, the perception of Australian wines for many US consumers is still of low-priced critter wines and fruit bombs. While those wines helped pave the way for Australian wines into the States, they certainly don’t reflect the realities of Australian wine today.
David Lowe was inspired by the great Dry Creek Zins of Fred Peterson of Peterson Winery. His Mudgee Zinfandel strikes me as a mix of the red-fruit & peppery spice of a Dry Creek Zin with the mouthfeel and texture of a ripe Paso wine.
There’s so much more to Australian wines than fruit and furry critters. Please, help give American consumers a chance to discover this.
Wine Shops & Restaurants — add more Aussie options to your selection
I know you guys are caught in the middle between what consumers are buying and what you can actually get from importers and distributors. But being caught in the middle means that you can also push at both ends.
Highlight your Australian wine selection by pointedly putting them in front of consumers. And let them know why you’re doing this. Something as simple as a line on a menu saying, “To support the wineries and families dealing with the effects of devastating fires, we proudly offer this selection of Australian wines for you to enjoy” goes a long way towards bringing awareness to consumers.
Of course, we want consumers to lead the way and dictate demand. But dictations often need a prompt to get going. Seize on that and give consumers a prompt to consider Australian wine. In chicken and egg scenarios, successful businesses are rarely the chicken. So take the lead and be proactive in your promotions.
Wine Writers and Influencers — Talk About Australian Wines
Sasha Degen and her mom, Jean, run a tiny winery dedicated to single-vineyard wines. Sharon Parsons did a lovely write up on Degen during the 2019 Wine Media Conference in the Hunter Valley.
Yes, there’s so much exciting and interesting stuff out there in the world of wine to write about. But next month, next year and so on, all that exciting and interesting stuff is still going to be there. So mix things up!
I’m not saying that you need to turn your blog or social media feed completely over Australian topics. However, now is the time for us to turn the spotlight on Australia for something good.
Currently, when Australian topics come across newsfeeds, it’s almost always for something heartbreaking. The fires, the floods and drought. We don’t need to whitewash or sugarcoat the negatives. But we shouldn’t dwell on them either. Australia is so much more than just natural disasters and things that can kill you.
Let’s change the narrative by sharing the stories of dynamic Australian winemakers forging ahead. Let’s talk about how Australia is a microcosm for wine–combining the history of many of the world’s oldest vines and multi-generation family winemaking with innovation that is at the forefront of climate change and the future of the wine industry.
But most importantly, let’s make sure that in the minds and hearts of wine consumers that Australia doesn’t get left behind once the news cameras leave.
Wineries — Hold solidarity tastings featuring your wines and their Australian peers
The wine industry is unique in that while it’s a business and every winery is technically competing against each other; it’s also a community. There are too many other threats to our industry–declining interests by younger generations, neo-prohibitionism, government regulations, tariffs, unstable economies, climate change, hard seltzer and other beverages–that merit more concern.
Whether it’s across the street, across the country or globe, we’re all in this together. The health and success of all our businesses–wineries, shops, restaurants, writers, educators–depends on consumers being engaged and intrigued with wine.
That’s why it would be a fabulous idea for wineries in other regions to host “solidarity tastings” featuring their wines alongside their Australian counterparts.
This will not only highlight how interconnected the world of wine is but help deepen the understanding and appreciation of guests who could try Cab, Shiraz, Sauvignon blanc, etc. from a local favorite next to an expression of that grape from somewhere in Australia. But instead of being done as a competition, it’s done in the spirit of community–perhaps even to raise funds supporting relief efforts in Australia.
Events like the Hospice du Rhône do a great job of highlighting the community among winegrowers. I remember being fascinated with how many Californian, French and South African winemakers attended this seminar. They were there to taste and ask questions of the panel from Barossa just like the rest of us.
This is a powerful message to send because, while this time it’s Australia, who knows which wine community will be next?
California, Washington, Canada and South Africa are certainly not strangers to devastating brush fires. Flooding, drought and mudslides are hitting European and South American wine regions with increasing frequency as well.
Even if you’re a skeptic about climate change causing these, there’s always the vagarities of devastating earthquakes like those that Chile, New Zealand and Italy have endured. This won’t be the first time that the wine community comes together for support and it certainly won’t be the last.
Why this matters
The timing and impetus for the industry to respond to the fires by supporting the Australian wine community couldn’t be more stark. The industry once again is wringing its hands over how to reach Millennials and Generation Z. But how many times do we need to be beaten over the head with the same messages?
Note: All the wines reviewed here were samples provided on a press tour.
Back in my retail days, premium Napa Sauvignon blanc was always some of the hardest wines to sell. I’d have fantastic producers like Araujo, Bevan, Cakebread, Grgich Hills, Duckhorn, etc. sit on the shelf untouched. Even during the peak white wine season of summer, it took every bit of handselling savvy to get these bottles into baskets.
You’d think that good wine wouldn’t be that difficult to move, but Napa SB had two knocks against it.
1.) It’s a white Napa wine (usually) over $20 that’s not Chardonnay. (Because, hey, why not get Chateau Montelena or Moone-Tsai Chard instead?)
2.) It’s a Sauvignon blanc over $20. (Why spend more than Kim Crawford or Oyster Bay?)
Now I’m not saying that it’s impossible to sell a Napa Sauvignon blanc over $20.
Obviously, these bottles are selling somewhere (such as tasting rooms). But it’s a tough sell in many retail settings because of the way that most US stores are laid out.
Here you’ll often see varietal wines from New World regions like California, New Zealand, Chile and South Africa all grouped together. Napa Sauvignon blanc rarely seems like a compelling value when stocked among their more value-oriented peers. Even if a shop had a dedicated “California” or “American wine” section, these wines are still competing against sub-$20 options from Washington State, Sonoma, Monterey County, etc.
The few Napa bottles that manage to stay under that magical $20 mark–like St. Supery, Mondavi and Honig–tend to fare better. But even these wines regularly lose sales to other regions.
This is because, in the minds of many consumers, Napa Sauvignon blanc doesn’t have a distinctive style–only a distinctive price tag.
And while they’re more likely to swallow the Napa price for Chardonnay (and, of course, Cabernet Sauvignon), that halo effect rarely reaches the Sauvignon blanc aisle.
Instead, customers who are interested in spending top dollar for Sauvignon blanc are more likely to go over to the Old World aisles for Loire or White Bordeaux. Here, the premium pricing of Sancerre, Pouilly-Fumé and Pessac-Leognan doesn’t drag each other down. More importantly, they promise a unique regional identity–which is key.
Back in the varietal section, those few customers reaching for the top shelf are more apt to grab Cloudy Bay. Or maybe one of the few other high-quality New Zealand Sauvignon blanc wines that make their way to the US. Even if you don’t know the producer, seeing the words “Marlborough” and “New Zealand” on the label promises something distinctive.
What is Napa Sauvignon blanc promising?
Something less green and herbaceous than New Zealand? Maybe. Though some producers have been experimenting with things like early harvest, heavier crop load and canopy shading to create more NZ-like flavors.
Something with a lavish texture and noticeable oak influence? Perhaps. These tend to be the more expensive and highly rated examples of Napa Sauvignon blanc. But, again, you have the question of why should a consumer who’s looking to spend top dollar for that style not go with a Chardonnay or white Bordeaux instead?
Which brings us back to the muddled middle that premium Napa Sauvignon blanc finds itself in. It’s not a value-priced wine. But it’s not as distinctive as other premium white wine categories.
Napa has to deliver something compelling–something interesting–to merit those lofty prices.
Of course, Napa wine is always going to be premium priced because of the high cost of land here.
They can’t rely just on the name “Napa” or even the quality in the bottle. Yes, having an outstanding wine helps sell in the tasting room where people can try it for themselves. But you don’t always have that privilege on the sales floor or restaurant table. Those premium bottles have to be hand-sold by an enthusiastic wine steward or sommelier who has already been wowed by the wine.
Though here’s the rub.
Every steward and sommelier is going to have dozens upon dozens of bottles that they’re passionate about. Everything from geeky varieties, obscure regions, small-lot productions to wineries with great stories–they all need handselling. Even hand-sold wines need to find ways to stand out from the pack.
In search of interesting Napa Sauvignon blanc.
During my trip to the Stags Leap District, I had many showstopping wines. And, yes, that included some absolutely delicious Napa Sauvignon blanc.
I noticed a pattern that many of the best examples prominently featured the Sauvignon Musqué clone. This caught my attention as growers in the Arroyo Seco region of Monterey County are also using this clone to make some thoroughly intriguing wines.
A few of my favorites were:
2018 Taylor Family ($40) made from 100% Musqué clone from Yountville.
2017 JK Ilsley ($35) also from Yountville and majority Musqué.
2017 Stag’s Leap Wine Cellar Rancho Chimiles ($40) made from 86% Musqué. This was way more aromatic and textural than SLWC’s regular Aveta Sauvignon blanc ($26) that is only 8% Musqué.
But as delicious as those wines were, it’s hard to say that they were compelling enough to merit a $20+ price tag–especially compared to the similarly delicious Sauvignon Musqué from areas like Arroyo Seco that cost far less. Picturing these bottles sitting on the same retail shelf, it’s not hard to see the higher-priced Napa bottles gathering dust.
However, there was one Napa Sauvignon blanc-based wine that more than stood out as being worth every penny.
I was already familiar with Elizabeth Vianna’s outstanding Cabernet Sauvignon. Nestled in the southern end of the Stags Leap District, neighboring Clos du Val and one of Shafer’s vineyards, this is obviously prime red wine territory. But instead of offering the typical Carneros Chardonnay that is omnipresent in Napa, Chimney Rock’s flagship white is a fruit-forward but elegant white Bordeaux style blend–with a twist.
Bordeaux-style wine made by a Brazilian winemaker at a Cape Dutch-inspired winery in the heart of Napa. There’s a lot going on at Chimney Rock and it’s all delicious.
Vianna has never been a fan of Semillon from Napa. Compared to Bordeaux, Semillon gets too lush and fat here. Now winemakers could do a juggling act with early harvests (like they do in the Hunter Valley) to retain acidity. But while that may work for a low alcohol varietal wine requiring long term aging, it’s not necessarily the ideal match for adding depth to Napa Sauvignon blanc.
Instead, Vianna and her predecessor, Doug Fletcher, fell in love with the “secret ingredient” hidden in many of the best white Bordeaux–Sauvignon gris.
Chateau Palmer in Margaux; Haut Brion, Smith Haut Lafitte and Pape Clement in Pessac-Leognan; Valandraud, Fombrauge and Monbousquet in St. Emilion. Depending on the vintage, you’ll often find anywhere from 5% up to 50% (2018 Blanc de Valandraud) of Sauvignon gris in these highly-acclaimed wines.
So what the heck is Sauvignon gris?
Jancis Robinson, Julia Harding and José Vouillamoz’s Wine Grapes notes that Sauvignon gris is a color mutation of Sauvignon blanc. Similar to the Pinot gris mutation of Pinot, it’s not known precisely where Sauvignon gris first emerged.
One possibility is the Loire, where the grape is known as Fié. Ridiculously low yielding, the vine was almost wholly lost to phylloxera as producers replanted with other varieties. It’s only recently, with the rediscovery of abandoned old vine vineyards such as Jacky Preys’ site in Mareuil-sur-Cher, that Sauvignon gris is getting another look.
Compared to Sauvignon blanc, Sauvignon gris tends to have slightly thicker skins often with a pink hue. It produces wines of medium-plus to high acidity with pronounced, concentrated flavors of melon, mango, stone and citrus fruit as well as a robust floral component. In the cooler climates of the Loire, it can add some subtle herbaceous notes though it rarely gets as green as Sauvignon blanc.
In addition to the Loire and California, producers in Chile, Argentina, Uruguay, Moldova and New Zealand are also experimenting with Sauvignon gris.
A tasting of three Chimney Rock Elevage Blanc
Tasting the Elevage Blanc and other Chimney Rock wines with Elizabeth Vianna and Kenneth Friedenreich, author of Oregon Wine Country Stories.
The winemaking of Elevage Blanc is very Bordeaux-like with a mixture of barrel fermentation and stainless steel using several yeast stains for complexity. The barrel component (usually around 1/3 new French and 1/3 neutral) sees frequent bâttonage beginning with 3-4 times a week and then gradually decreasing. The wine often goes through malolactic fermentation for stability. Depending on the vintage, around 3000 cases a year are made.
Medium-plus intensity nose of tropical fruit with a savory, smokey component. Proscuitto wrapped melon-balls comes to mind. Along with the melon is some noticeable spiced pear.
On the palate, the pear and oak spices (nutmeg, clove) come through with a little cardamon. The slightly salty, savory, smokey notes are there as well but less pronounced than they were on the nose. The full-bodied mouthfeel is well balanced with medium-plus acidity–giving a lot of life to this wine. But the moderate finish lingering on the spice shows that its time is nearing the end. Still quite impressive for a 10+-year-old white wine.
High-intensity nose. Intense fresh and grilled peaches. Less noticeable oak than the 2008 with the smokiness being more flinty. This one was also the most floral of the three with a mixture of elderflower and white lilies. Very mouthwatering bouquet.
On the palate, the peaches carry through joined by apples that also have a grilled component. Again, the oak is far less noticeable with maybe some subtle vanilla creaminess to go with the full-bodied richness. However, the high acidity keeps this wine well in check. The mouthwatering grilled peaches continue throughout the long finish. The highest proportion of Sauvignon gris and one of the best wines I had on the entire trip.
Medium-plus intensity nose–apple and citrus-driven (star fruit, lemon). It’s the only one of three without a smokey, savory component. However, the oak is noticeable with pastry dough and clove spice. With air, tropical mango emerges as well as very ripe apricot.
On the palate, the toasty pastry and ripe tree fruit (apple & apricot) carry through. While not as heavy and oaky as a Chard, this one definitely feels the weightiest with the pastry tart element. Medium-plus acidity helps keep the full-bodied wine balanced. It also highlights more of the citrus flavors from the nose, bringing some pomelo to the party. Those more defined fruits offset the oak flavors, letting the citrus dominant the medium-plus length finish.
Definitely was one of my top wines of 2019. Such a stellar white that still has several years to go.
While 2014 was my clear favorite, each of these Elevage Blancs was well worth a premium $50 price. They had complexity with each vintage showing its own distinct and unique personality.
It’s clear that Sauvignon gris, itself, adds interesting elements when blended with Sauvignon blanc that you don’t always get with Semillon or Muscadelle in white Bordeaux. Most notable for me was how Sauvignon gris seems to deal with oak, steering the wine towards more savory flavors as opposed to just “oaky” notes.
In contrast, I feel like Semillon and Sauvignon blanc tend to absorb oak flavors like a sponge–making the wine feel more Chardonnay like. It was notable that as the quantity of SG decreased, the oak in the Elevage Blanc became more noticeable.
Blend vs. Varietal
Only the 2016 vintage of Elevage Blanc could be labeled as a varietal Sauvignon blanc. But maybe ditching the varietal designation is the answer to avoiding that muddled middle which plagues these Napa white wines? While a New World “white blend” aisle probably doesn’t get as much traffic as the Sauvignon blanc section, it doesn’t come with the baggage either.
A premium Napa white blend isn’t competing with the value-driven options from New Zealand, Chile and elsewhere. Instead, it can pull more of the “halo effect” of the Napa name as it stands out from various white blends from Lodi, Paso Robles, Sonoma, Washington State, etc.
There is still the question of regional identity, but not many regions have staked a claim to Sauvignon gris. No matter which style you go with–crisp, stainless or lavish, oak-driven–Sauvignon gris adds its own “twist” to the wine. This is something that Napa can sink its teeth into, crafting a distinct regional style of Sauvignon blanc/Sauvignon gris blends.
Though, they better hurry before someone else beats them to the punch.
The wine world has a wicked way of promoting FOMO–a fear of missing out.
From the luxury end, there are cult wines and trophy bottles. In years past, score hounds would scavenge the shelves looking for highly-rated gems before they sold out.
Now for wine geeks and wanderlust Millennials, the entire world of wine is a temptress. But what we fear missing out on is not what the pack is gobbling up. Instead, our minds quiver at the thought of missing out on what’s new and exciting by settling for what’s old and boring.
Why feel content with the same ole Cab and Chardonnay when you could have Touriga Nacional and Grenache blanc?
Yeah, Champagne is charming. Prosecco is perfect for patio sipping. But that’s what everyone else is drinking. It’s what you can find in every wine shop. You can’t have FOMO if there is nothing to be missed.
And that’s the dirty little secret of the human psyche.
Despite the real repercussions when we let FOMO reach anxiety levels, we still crave it. We still crave the thrill of the hunt. But how much thrill is there in shooting ducks in a basket?
In the world of sparkling wine, finding premium Aussie bubbles is a tough unicorn to bag. Unless, of course, you’re one of the 25 million people who call Australia home.
Now yes, we’ll get some sparkling Shiraz exported.
Actually Australia is home to many unicorns. If only I could’ve found a way to keep these frozen for the plane ride home.
Though the ones that make their way to the US tend to be mass-produced and underwhelming. Of course, there is the ubiquitous YellowTail, which has several sparklers in their line up. However, that’s basically the “Fosters of Australian wine”–a well-known ambassador but not really a benchmark.
But only around a fifth of Australia’s sparkling wine production gets exported. That means you need to go down under to even get a hint of what the rest of the world is missing out on. Luckily, I got such a chance this past October during the Wine Media Conference.
There, in both the Hunter Valley and neighboring Mudgee, I was able to try several sparkling wines that I could never find in the States. But I barely scratched the surface. Even spending extra time in Sydney, I found that the highly regarded Tasmanian sparklers were surprisingly difficult to find.
I’ll share my thoughts on many of the sparklers I tasted below. But first a little geeking about Australian sparkling wine.
Australia isn’t an “emerging” sparkling wine producer.
I’d imagine it was quite the scandal having a non-French sparkler served to the French emperor.
Up in the Hunter Valley, James King began producing sparkling wine around 1843. King’s wines would receive great international acclaim–doing particularly well at the 1855 Paris Exposition. Yes, that1855 Paris Exposition. At the end of the event, King’s sparkling Australian wine was selected as one of only two wines that were served to Napoleon III at the closing banquet.
It’s hard to know exactly what these first Aussie sparklers were. King, in particular, was noted for the quality of his Shepherd’s Riesling (Semillon). However, he also had Pinot noir in his vineyard as well.
These early Australian sparklers were made using the traditional method of Champagne.
The 20th century saw more innovation in sparkling wine techniques with producers experimenting with a “twist” on the Champagne method known as the Transfer Method or transvasage. (We’ll geek out more about that down below) The exact date and who was the first to pioneer this technique in Australia is not known though Minchinbury helped popularize its use.
In 1939, Frederick Thomson started using carbonation (or the “soda method”) to make his Claretta sparkling fizz. We should note that while many cheap sparkling wines (including some so-called “California Champagnes”) are made with added carbonation, in Australia these wines can’t be labeled as “sparkling wines.” Only wines that get their effervescence through fermentation (either in a bottle or tank) can use the term.
Speaking of tanks, adoption of the Charmat method took hold in the late 1950s–beginning with Orlando’s Barossa Pearl Fizz. Today, the tank method is gaining in prominence–especially with the strong sparkling Moscato and “Prosecco” market in Australia. (More on both of those a little later too.)
The 1980s saw a spark of French interest in Australia.
Much like in California, the big Champagne houses took an interest in Australia’s growing sparkling wine industry. In 1985, both Roederer and Moët & Chandon invested in new estates.
Roederer help found Heemskerk as a joint-venture in Pipers Brook, Tasmania. But eventually Roederer moved on from the project–selling back their interest in the estate in 1994.
Throughout Australia, sparkling wine accounts for around 6% of production. In Tasmania, that number jumps up to 30%.
Moët’s Domaine Chandon at Green Point in the Yarra Valley of Victoria, though, saw immediate success thanks to the work of the legendary Tony Jordan–who sadly passed away earlier this year.
Like Roederer, LVMH also looked to Tasmania as a potential spot for sparkling wine production. However, they wanted a location more prime for tourism and cellar door sales.
Bollinger was also briefly a player in Australia’s sparkling wine scene through their partnership with Brian Croser in Petaluma. However, the hostile takeover of that brand by the Lion Nathan corporation in 2001 seemed to have ended Bollinger’s involvement.
Today, except for Domaine Chandon (and Pernod Ricard’s Jacob’s Creek), most all of the Australian sparkling wine industry is wholly domestic. This makes me wonder if this is why Aussie sparklers are so hard to find outside of Australia?
Even the most prominent players like Treasury Wine Estates (Wolf Blass, Penfolds, Seppelt, Heemskirk, Yellowglen) and Accolade Wine (Banrock Station, Arras, Bay of Fires, Hardy’s, Croser, Yarra Burn) have their origins as Australian conglomerates before they gained an international presence.
Understanding this is a big part of understanding Australian sparkling wine. Like the traditional method, fermentation happens in the bottle. However, it’s not happening in the bottle that you’re taking home. Instead, after secondary fermentation and aging, the wine is emptied into a pressurized tank at around 0°C where the lees are filtered out. Then the sparkler is bottled anew with its dosage.
The Champenois themselves use transvasage for 187ml airline splits and half bottles as well as large format Champagnes starting with double magnum (3L Jeroboam) in size. This is because these odd formats would be difficult to riddle without excessive breakage.
The Australians were keen to adopt the labor and cost-saving benefits of the transfer method and it’s the most widely used technique. It allows wineries to increase efficiency without sacrificing the quality character of autolysis. Ed Carr of Accolade Wines noted in Christie’s that the difference is as much as $30-40 AUD per case compared to traditional riddling. Plus, winemakers can do one last “tweaking” (such as SO2 and acidity adjustments) before final bottling.
However, many boutique producers stick to using the traditional (instead of transfer) method. These bottles are labeled stating “Methode champenoise,”“Methode traditionnelle” or simply “Fermented in this bottle.”
The sparklers that are made using the transfer method are more likely to state that they are “Bottled Fermented” or “Fermented in the bottle.”
Australian Moscato & “Prosecco”
As elsewhere in the world, Australia has had its own “Moscato Boom.”
Now usually Moscato is associated with the Moscato bianco grape of Asti (Muscat Blanc à Petits Grains). However, in Australia, the term is used to refer to the whole Muscat family when the wine is made in a light, sweet style with low alcohol. So a bottle of sparkling Australian Moscato can be made from Moscato bianco, Muscat of Alexandria, Orange Muscat, Moscato Giallo or a blend of multiple Muscats.
The King Valley in north-east Victoria has a strong Italian heritage. The Glera/Prosecco grape thrives in the cooler southern end of the valley with vineyards planted at higher altitudes.
Australian Prosecco is also apparently a big deal–though I didn’t personally encounter any bottles on my trip. The first Australian Prosecco was made by Otto Dal Zotto in King Valley (or “Victoria’s little Italy”) in 2004. The success of that wine and others caught the attention and ire of producers in the Veneto.
This led Italian authorities to take some dramatic steps in 2009. First, they petitioned the EU to change the grape’s name from Prosecco to Glera. Then they expanded the DOC to the province of Trieste, in Friuli Venezia Giulia, where there is a village named Prosecco. This gave them the justification to claim the entire region as a protected geographical area.
Obviously Australian wine producers balked at this with the conflict between the two parties still ongoing. But while Australian Prosecco can be sold domestically, none of these wines can be exported into the EU.
A few of the Australian Sparklers I’ve enjoyed this year.
Amanda and Janet de Beaurepaire at their family estate. Amanda’s parents, Janet and Richard, started planting their 53 hectares of vineyards in 1998.
De Beaurepaire 2018 Blanchefleur Blanc de Blancs – $45 AUD (Purchased additional bottles at winery)
I’ve got a future article planned about the intriguing story of the De Beaurepaire family and the genuinely unique terroir they’ve found in Rylstone, southeast of Mudgee. The family’s name and ancestors come from the Burgundian village of Beaurepaire-en-Bresse in the Côte Chalonnaise. So it’s no surprise that their wines have a French flair to them.
It’s also no surprise that their 2018 Blanchefleur was quite Champagne-like. Indeed, it was the best sparkling wine I had on the trip. A 100% Chardonnay with 15 months on the lees, this wine had incredible minerality. Coupled with the vibrant, pure fruit, it screamed of being something from the Cote de Blancs. I’m not kidding when I say that this bottle would stack up well to a quality NV from a grower-producer like Franck Bonville, Pierre Peters, De Sousa or Pertois-Moriset.
Peter Drayton 2018 Wildstreak sparkling Semillon-Chardonnay – $30 AUD
I had this at an Around the Hermitage dinner that featured many gorgeous wines. But the folks at the Around Hermitage Association started things right with this 80% Semillon/20% Chardonnay blend that spent 18 months on the lees. Hard to say if this was transfer method of not. However, the toasty autolysis notes were quite evident with biscuit and honeycomb. Very Chenin like. In a blind tasting, I’d probably confuse it with good quality sparkling Vouvray from a producer like Francois Pinon or Huet.
BTW, the Around Hermitage folks made a fun short video about the dinner (3:20) which features an interview with me.
With a blend of 63% Chardonnay, 19% Pinot noir and 18% Pinot Meunier, this is another bottle that is following the traditional method and recipe. Sourced from the cool-climate Orange region of NSW, which uses altitude (930m above sea level) to temper the heat, this wine spent almost two years aging on the lees. Lots of toasted brioche with racy citrus notes. It feels like it has a higher Brut dosage in the 10-11 g/l range. But it’s well balanced with ample acidity to keep it fresh.
Hollydene Estate 2008 Juul Blanc de Blancs – $69 AUD
Hollydene Estate Winery in Jerrys Plains is about an hour northwest of the heart of the Hunter Valley in Pokolbin.
Made in the traditional method, this wine is 100% Chardonnay sourced from the cool maritime climate of the Mornington Peninsula in Victoria. It spent over 60 months aging on the lees and, whoa nelly, you can tell. Hugely autolytic with yeasty, doughy notes to go with the lemon custard creaminess of the fruit.
Peterson House 2007 Sparkling Semillon – ($60 AUD)
If you love sparkling wine, make sure you book a trip to Peterson House. Each year they release more than 30 different sparklers. Beyond just the traditional varieties, they push the envelope in creating exciting bubbles. You’ll find sparklers made from Verdelho, Pinot gris and Sauvignon blanc as well as Chambourcin, Petit Verdot and Malbec.
I’m generally not a fan of overly tertiary sparklers. But this wine made a big impression on me during the conference.
Wow! A vintage sparkling traditional method Semillon that spent 11 years on lees. 11 years!
Robert Stein NV Sparkling Chardonnay and Pinot noir – $25 AUD
I raved about the Robert Stein Rieslings in my recent post, Send Roger Morris to Mudgee. But there are so many good reasons to put this winery (and the Pipeclay Pumphouse restaurant) on a “Must Visit Bucket List”. The entire line up is stocked with winners–including this Charmat method sparkler.
At first taste, I had this pegged for transfer method. It wasn’t as aggressively bubbly and frothy as many tank method sparklers can be. However, the considerable apple blossom aromatics should have tipped me off. If this ever made its way to the US for less than $30, I’d recommend buying this by the case.
Gilbert 2019 Pet Nat Rose – $25 AUD (Purchased additional bottles at winery)
Gilbert’s Sangio Pet-Nat was just bloody fantastic. I wish I brought more than one bottle home.
It’s always trippy to have a wine from the same year (2019)–especially a sparkler. Gilbert harvests the Sangiovese in February and bottles before the first fermentation is completed each year. Released in July, this wine was surprisingly dry and is teetering on the Brut line with 12.5 g/l residual sugar. Very clean with no funky flavors, this wine had a beautiful purity of fruit–cherry, strawberries, watermelon and even blood orange.
The Christie’s Encyclopedia notes that Domaine Chandon shot out of the gate partly because of the lessons that Tony Jordan learned at Napa’s Domaine Chandon. In particular, Jordan was well aware of the challenges of dealing with grapes from warm climates. In Australia, Domaine Chandon casts an extensive net by sourcing from cool-climate vineyards in both Victoria and Tasmania. They have vineyards not only in the Yarra Valley but also in the King Valley, Macedon Ranges, Whitlands Plateau and Strathbogie Ranges as well as the Coal River Valley region in Tasmania.
For the fruit that comes from Tasmania, Domaine Chandon follows the tact used by many Australian sparkling wine producers. They press the fruit at local press houses in Tasmania before transporting the must in refrigerated containers to the mainland. This helps maintain freshness and ward off spoilage organisms.
The 2013 vintage Brut is 47% Chardonnay, 50% Pinot noir and 3% Pinot Meunier. As in Champagne, Domaine Chandon ages their vintage sparklers at least 36 months on the lees. Fully fermented in the same bottle, it tastes very similar to other Moët & Chandon sparklers with rich, creamy mouthfeel holding up the ripe apple and citrus notes. An enjoyable bottle priced in line with its peers.
Bleasdale Sparkling Shiraz (tasted in London at the WSET School) – Around 15 euros
I’ll admit that the color of sparkling Shiraz is always very striking.
Admittedly I’m still on the search for a genuinely impressive sparkling Shiraz. But this Bleasdale came close. Like the Paringa I’ve reviewed previously, it’s sweeter than my ideal though I get the winemaking reasons behind that.
Sparkling red wines are notoriously tricky to pull off because you have to balance the tannins. This is why many of these wines often have more than 20 g/l sugar.
Most sparkling reds come from the same regions as premium Australian still reds. Think places like the Barossa, McLaren Vale or the Langhorne Creek (Bleasdale). Interestingly, producers will harvest these grapes at the same time as those for still reds wine. Instead of harvesting early to retain acidity, producers want the extended hang time for riper tannins.
However, these sparklers sorely need acidity to balance both the intense fruit and sweetness. While secondary fermentation does add carbonic acid, I suspect that these wines are routinely acidified.
Still, this Bleasdale had enough balance of acid to go with the dark plum and delicate oak spice. That got me wondering how well this would pair with BBQ pulled pork.
Or, if I’m brave, maybe I’d pair some of these Aussie sparkling unicorns with steak de cheval.
I’m not sure what prompted this particular dictum but reading it reminded me of Brand Australia’s wine marketing woes. People got so use to seeing cheap, cheerful “critter wine” flooding the market from down under that the idea of Australia making premium, high-quality wine almost became a non-entity.
Which kind of puts a damper on the 2400+ Australian wineries not named Yellow Tail, Jacob’s Creek, Lindeman, Black Opal or Wolf Blass, doesn’t it?
In the huge shadow of the “Yellow Tail” effect, Australian wines today only command around 1% of the premium export market in the US. In contrast, 95% of Australian wines in the US retail for around $8 per bottle.
And both numbers may be shrinking.
While Australia is seeing some positive growth in export value to markets in Asia and Canada, it was recently announced that exports to the US has declined by $27 million in value.
It seems that Americans are getting a bit bored of the critters. The novelty of criminals has piqued some interest but that too will inevitably wane. Plus, gimmick labels like 19 Crimes certainly aren’t doing much to burnish the image of Australian wine for consumers.
Catch Up Marketing?
In response to the decline, the trade organization Wine Australia has invested $4.2 million to promote premium Australian wines. They’re spending a good chunk of that money rehabbing the image of Australia wines abroad.
This past July, they hosted several Master Sommeliers, Masters of Wine, wine buyers and media personalities at Lake Tahoe for an event called Australia Decanted. Featuring high-quality producers like Tyrrells, Penfolds, Vasse Felix, Clonakilla, Yalumba, John Duval Wines and Shaw & Smith Wines, the conference highlighted the people and terroir that often get overlooked by American consumers.
Next October, the Wine Bloggers Conference will be in the Hunter Valley of New South Wales–the first time the conference has been held outside of North America. Undoubtedly, a huge focus of that conference will be giving bloggers and other wine industry folks a chance to experience the world of Australian wines beyond Riverland and Riverina.
Are We Repeating The Same Mistake In Washington?
Here in Washington State, Jamie Goode’s warning is also pretty timely. Recently the American Association of Wine Economists (AAWE) published the “Top 10 Table Wine Brands” in the US by dollars.
You have the usual suspects of bulk California supermarket brands (and Yellow Tail, of course) but look at who is rounding out the top 10 with almost $177 million in sales.
Chateau Ste. Michelle.
Now being a bit of a Washington State-homer, I will be quick to point out something important. The quality of CSM wines are head and shoulders above the Barefoot, Sutter Home, Franzia and Yellow Tails of the world. While it is clear that the owners of Ste. Michelle Wine Estates are ambitious about expanding their portfolio with new labels and acquisitions, I take comfort in knowing that we’ll likely never see a bourbon barrel-age or cold brew hybrid wine coming out of Woodinville anytime soon.
In some ways, you could say that Chateau Ste. Michelle’s inclusion on this list is a good thing. Could this be a glimmer of hope that more Americans are drinking just a little bit better?
Perhaps. But there is a lot about this chart that gives reasons for pause.
Who Writes The Narrative Of “Brand Washington”?
Even if the quality of their wines are higher than entry-level wines from California, Australia and elsewhere, the overwhelming dominance of CSM wines in distribution still means that the banner of “Brand Washington” is being led by our entry-level wines.
Walk into any supermarket and look for Washington wine with multiple facings on the shelf. While Constellation’s Hogue or Gallo’s Covey Run ($5-6) might be there, chances are you will find only Chateau Ste. Michelle’s Columbia Valley ($6-10) label.
Or you may find one of CSM’s many, many, many sister brands like Columbia Crest Two Vines ($5-6), Grand Estates ($7-10), 14 Hands ($7-10), Snoqualmie ($6-8), Red Diamond ($6-8) or their 1.5L bulk brand Stimson Lane ($9-10).
Outside of Washington State, these may be the only Washington wines that consumers are exposed to–the state’s cheapest. Even within Washington, it’s near impossible to go into a grocery store or look at a wine list without being overwhelmed with “choices” of multiple different Ste. Michelle Wine Estates brands.
Again, the quality of these wines are undoubtedly higher than Apothic or Menage a Trois. However, the narrative of “Brand Washington” being told to consumers is still being written by just one company–and with its cheapest wines.
Has Trickle Up Marketing Ever Worked?
Even if the narrative is much more “impressive” and slightly less cheap than the story of Yellow Tail or other entry-level wines that Jamie Goode is warning about, there is still risk to the Washington State wine industry in letting the entire branding of the state be made by one dominant brand.
Has there ever been a wine region where “Trickle Up” marketing has worked? Has an industry that first introduced itself to consumers with their lowest, entry-level wine ever been able to successfully rise above that initial perception?
Inflation aside, was Napa Valley ever known for its $6-10 wines? Oregon? Bordeaux? Burgundy?
It’s almost like we’re expecting an upside down “halo effect”. We’re hoping that our bottom priced wines “trickle up” and lead the way. When what we should be doing is having our top quality, premium wines dictate our narrative to consumers
Again, has that ever worked?
Maybe Washington State will be the one to break the mold. If Chateau Ste. Michelle is our “bottom”, that is certainly a step above many other regions.
But there is a lesson we should learn from the pratfalls of other wine industries. Once the die of your brand has been cast in the minds of consumers, it’s really hard to recast.
Breakout Session — Advanced Strategies for Facebook and Instagram
My other options for the morning sessions were How to Seal the Deal with a Kick Ass Media Kit and How to Craft a Compelling Professional Pitch which seem to be heavily tilted towards seeking paid promotions from wineries. Since I have little interest in those kind of gigs, I opted for this seminar hosted by Carin Oliver of Angelsmith, Inc.
I haven’t figured out what I’m doing with Instagram yet. I like pretty pictures as much as the next person but I get bored easily with bottle porn. Tell me something about the wine or vineyard beyond just “Yum!” or “Beautiful!”.
The “How to Make Wineries Adore You” session also didn’t seem like my calling.
I was hoping that Oliver’s talk would show me the value of Instagram as well what’s the best use of Facebook. While she gave great insights on how Facebook treats blog and business pages, I quickly realized that her talk was geared towards “influencers” who want to make themselves marketable to wineries. Again, that’s not me.
Can Google Read? How your Writing Affects Your Rank in Google Search
This was an awesome session! John Cashman and Nancy Koziol (The Oethical Oenologist) of Digital Firefly Marketing gave a terrific presentation that was the most fruitful of the entire conference.
Around 2/3 of my traffic comes from search engines so I was eager to learn how that happens. Cashman and Koziol explained search engine optimization and the current understanding of how Google analyzes and ranks pages. But the best part was Koziol’s section on how to be a better writer and make your posts more readable.
The old adage that American wine drinkers “Talk dry but drink sweet” has a lot of truth to it. The sweet Bruts of Gloria Ferrer fit that bill very well.
It probably wasn’t the best idea to schedule this session after lunch but sommelier Sarah Tracey (The Lush Life) did a great job of pairing Gloria Ferrer sparklers with various nibbles.
I wasn’t thrilled with the wines as the Gloria Ferrers were on the sweeter side of Brut with 12.2 g/l residual sugar (2010 Anniversary Cuvee $45) to 12.8 g/l (Rose $29). While the US and EU allows up to 15 g/l under the Brut category, in Champagne the limit is 12 g/l. Believe me, you can taste the difference.
Live White & Rosé Wine Blogging
I missed the Wine and Cheese Pairing with Cheeses of Europe and the Lightening Talks so I could finish yesterday’s Day 2 recap but I made it in time for the second round of chaotic blogging.
This style of blogging is still not my cup of tea but I was introduced to some awesome wines.
1.) Bodega Garzón 2017 Albarino — An Albarino from Uruguay! This was a first for me and I totally geeked out over the differences between this and the Albarinos I had the day before from Rías Baixas. The Garzón was crisp but more rich in the mouthfeel with riper fruit flavors. It also didn’t have the trademark salinity of the Galcian Albarinos.
2.) Dr. Loosen 2016 Wehlener Sonnenuhr Riesling GG Alte Rebben — A super geeky old vine Riesling sourced from 100+ yr vines that are still planted on their own rootstock. Crisp and dry with only 6.9 g/l residual sugar, it was a welcomed contrast to the Gloria Ferrer “Brut” sparklers from earlier.
3.) Troon Vineyard 2017 Riesling — I actually got a “sneak peak” taste of this before the speed blogging which I really appreciated. This complex, orange wine-style Riesling merits way more attention than what could be given in 5 minutes. Sourced from biodynamically grown grapes in the Applegate Valley of Southern Oregon, this wine spent 2 weeks macerating with its skins before being fermented dry and aged in neutral oak barrels. Lots of interesting flavors that I don’t regularly associate with Riesling like cumin and saffron with cantaloupe rind. Great texture and mouthfeel with a long finish.
With a more intimate setting, it was great hearing behind-the-scenes anecdotes about what it’s like starting a winery and the challenges that come with it. Of course, those great stories also came with great wines with the Truth Teller Right Bank Bordeaux-style blend Satire and Armstrong’s Cabernet Franc being my favorites. Look for some upcoming 60 Second Wine Reviews on both.
Back in January, I wrote a post called Wine Clubs Done Right that detailed my discovery of Tablas Creek’s Wine Club program. Which I promptly joined. As I noted in that post, I don’t join many wineries’ wine clubs. They rarely offer compelling value. Plus, I don’t like being committed to buying quantities of wine that may eventually shift in style due to changing winemakers/ownership, etc.
However, while exploring the Tablas Creek story and all they had to offer I found many compelling reasons to pull the trigger and join. Much to my surprise, the folks at Tablas Creek were actually interested in my tale and offered on their blog some cool behind the scene insights into their thought processes in how they set up their wine club programs.
You usually don’t see that kind of receptivity and transparency with many wineries but, as I’ve found out in the nearly eight months since I’ve been a member of Tablas Creek’s wine club, that is just par for the course with them. It’s not marketing or show. These folks are really just wine geeks through and through. They love what they are doing and sharing that passion with others.
If you are wine geek yourself, I honestly can’t recommend a more exciting winery to discover.
Jancis Robinson’s Wine Grapes is still my holy writ (and I like Harry Karis’ The Chateauneuf-du-Pape Wine Book chapter on grapes). But when I’m away from my books and want to check up on a Rhone variety, there is no better online source than the Tablas Creek site. Plus, the particular winemaking details they cover in the entries is often stuff that you won’t find in many wine books because it comes from their decades of hands-on experience working with these grapes between themselves and the Perrins’ Ch. Beaucastel estate.
But enough with the effusive gushing and let’s get down to some hardcore geeking over the 2017 Tablas Creek Vermentino from the Adelaida District of Paso Robles.
Counoise vine outside the tasting room at Tablas Creek.
Tablas Creek Vineyards was founded in 1989 as a partnership between the Perrin family of Château de Beaucastel and Robert Haas of Vineyard Brands. As I noted in my 60 Second Review of the 2000 Beaucastel Châteauneuf-du-Pape, the Perrins have been in charge of the legendary Rhone property since 1909.
Aaron Romano of Wine Spectator noted that Haas also helped launch Sonoma-Cutrer and promoted on a national stage the prestigious California wines of Chappellet, Joseph Phelps, Hanzell, Kistler and Freemark Abbey. In 1980, he co-founded the distribution firm Winebow Group.
Planting Tablas Creek
The vineyards of Tablas Creek with some of the rocky limestone soil visible.
Haas and the Perrins saw the similarity in maritime climate and limestone soils of the Adelaida District and Rhone. They purchased 120 acres west of the city of Paso Robles and established Tablas Creek. Planting of their estate vineyard began in 1994. Today the winery has 115 acres of biodynamically farmed vines–producing around 30,000 cases a year.
Utilizing its close connection to the Chateauneuf estate, Tablas Creek would go on to become an influential figure in the Rhone Ranger movement in the United States. They did the heavy lifting of getting cuttings from Beaucastel through quarantine and TTB label approval. Over the years, Tablas Creek would help pioneer numerous varieties like Counoise, Terret noir, Grenache blanc and Picpoul in the US. Additionally, the high quality “Tablas Creek clones” of Syrah, Grenache and Mourvedre have populated the vineyards of highly acclaimed producers across California, Oregon and Washington.
In the mid-2000s, Robert’s son Jason joined the winery and is now the general manager. He’s also the main contributor to Tablas Creek’s award-winning blog.
Vermentino from Giorgio Gallesio’s ampelography catalog published between 1817 and 1839.
Wine writers and producers hotly debate the origins and synonyms of Vermentino. Some ampelographers claim that the grape came from Spain via Corsica and Sardinia sometime between the 14th and 17th centuries. However, DNA evidence point to potentially the mainland of Italy as the birthplace. Here they suggest that the Vermentino of Tuscany, Corsica and Sardinia are the same grape as the Ligurian Pigato and the Piemontese Favorita.
But, Ian D’Agata, in his Native Wine Grapes of Italy, notes that these conclusions are vigorously disputed by Italian growers, particularly in Liguria, who point out that Pigato produces different wine compared to other Vermentino. D’Agata finds Pigato to create “bigger, fatter wines” with a creamier texture than most Vermentino. The name “Pigato” may have derived from the word pigau in the Ligurian dialect, meaning spotted. It could be a reference to the freckled spots that appear on the berries after veraison.
It is possible that the grape is a relatively recent arrival to Sardina. The absence of Vermentino in the 1877 Bollettino Ampelografico listing of Sardinian varieties suggests this. However, the 1887 edition later included it. Today the grape plays a prominent roll in Sardinia’s only DOCG wine–Vermentino di Gallura.
The connection to Favorita seems to be less disputed, though.
Vermentino vineyards in Sardinia.
Robinson, Julia Harding and José Vouillamoz note in Wine Grapes that historically the grape was believed to have been brought to Piedmont originally as a gift from Ligurian oil merchants. The first documentation of the vine was in the Roero region in 1676, where it was a “favorite” table grape.
Almost two decades earlier, in the Piemontese province of Alessandria, a grape named “Fermentino” was described. Growing in vineyards along with Cortese and Nebbiolo, this may be the earliest mention of Vermentino.
Historically, as Favorita, the grape has a long history of being blended with Nebbiolo. It was a softening agent, used to smooth out the later grape’s harsh tannins and acid. This is very similar to how producers once blended white grapes like Trebbiano and Malvasia with Sangiovese in Chianti.
While once the primary grape of Roero, in recent decades, Favorita has fallen out of favor. In its place, Arneis and Chardonnay have gained in popularity.
Rolle/Vermentino grapes growing in southern France.
Outside of Italy and Corsica, Vermentino also grows in the Languedoc-Roussillon. Here the grape is known as Rolle. Beyond Europe, Lebanese producers are growing in the Bekaa Valley. It has become one of the fastest-growing “alternative grape varieties” in Australia. As of 2016, there are nearly 300 acres across Victoria, the Hunter Valley, King Valley, the Barossa and Murray Darling.
While Tablas Creek mostly focuses on Châteauneuf-du-Pape grapes, they were one of the first US producers of Vermentino. They planted the vine in 1993 based upon the recommendation of the Perrin family’s nurseryman. He thought that Vermentino would do well in the soils and climate of the Adelaida District. While initially used as a blending component, the winery has been making a varietal Vermentino since the 2002 vintage.
Growing in popularity
In 2008, there were around 20 acres of the Vermentino planted in California when there was some speculation that the grape could have appeal to Sauvignon blanc drinkers. By 2017 that number had jump to 91 acres as producers like Tablas Creek, Seghesio in the Russian River Valley, Mahoney Vineyards, Fleur Las Brisas and Saddleback in Carneros, Unti Vineyards in the Dry Creek Valley, Gros Ventre Cellars in El Dorado, Brick Barn in Santa Ynez, Twisted Oak in the Sierra Foothills and others began receiving acclaim for their bottlings.
Outside of California, notable plantings of Vermentino are in the Applegate Valley of Oregon (Troon Vineyard and Minimus Wines). You can also find it in the Texas High Plains (Duchman Family Winery) and Monticello AVA of Virginia (Barboursville Vineyards).
In 2017, Tablas Creek produced 1430 cases of Vermentino. While some producers age their Vermentino in neutral oak, Tablas Creek fermented and ages theirs in stainless steel tanks.
The mix of citrus and yellow peach notes is very intriguing with this wine.
High-intensity nose. Very citrus-driven with kefir lime, pink grapefruit and pummelo–both the zest and the fruit. There is also a tree fruit element that seems a bit peachy. But I would put it more in the less sweet yellow peach category than white peach.
On the palate, those citrus notes carry through and have an almost pithy element to them. Not bitter at all. But it adds weight and texture to the medium body of the wine. The medium-plus acid is mouthwatering and lively but well balanced with the acid highlighting the yellow peach note. The palate also introduces some racy minerality with a very distinctive streak of salinity that lingers long throughout the finish.
The best way I can describe this 2017 Tablas Creek Vermentino is if a New Zealand Sauvignon blanc, a sur lie Muscadet from the Loire and an Italian Pinot grigio had a threesome. This would be their baby.
Such a fascinatingly unique and character-driven wine. It combines multiple layers of tropical and tree fruit with acidity, minerality, weight and texture. Well worth its $27 price.