Showing posts with label Chablis. Show all posts
Showing posts with label Chablis. Show all posts
Saturday, September 25, 2010
Parker Rants at Bibou's Expense
Consider a recent statement from a regarded critic:
"...the food was as great a bistro fare as one can imagine...the snail ragout, boudin noir, terrine en crout, out-of-this-world beef marrow bones as well as superb stuffed pig's feet with foie gras over a bed of black lentils had me in Rabelaisien Nirvana."
Then consider this:
"...better yet [there was] no precious sommelier trying to sell us some teeth enamel removing wine with acid levels close to toxic, made by some sheep farmer on the north side of his 4,000-foot foot elevation vineyard picked two months before ripeness, and made from a grape better fed to wild boar than the human species....we all know the type-saving the world from drinking good wine in the name of vinofreakism."
Seems kind of hard to believe they were uttered by the same person yet they were, by none other than the wine advocate himself, Robert Parker. Apparently, Parker dined a few nights ago at one of my favorite restaurants in Philadelphia, Bibou. That's him in the photo (above right), arms draped over the couple behind Bibou, Charlotte and Pierre Calmels. You can view the photo and quotes above, along with a laundry list of what Parker drank, in their original context at Philadelphia Inquirer columnist Michael Klein's blog, The Insider.
What really strikes me about the above diatribe is not so much the obvious case of diarrhea of the mouth but rather the fact that Robert Parker found it necessary to turn a simple moment — a photo op and a chance to send some much deserved praise the way of an excellent neighborhood bistro — into a self-serving opportunity to protect his own crumbling hegemony. What he's trying to protect against, lest I've left you scratching your head, is from what he obviously views as the culprit of his seemingly waning influence: the conversely increasing influence, erosive as Parker apparently views it, of independently voiced — and often freely disseminated — current trends in wine thought. Clearly, the emperor is piling on the moth balls in his own defense.
I could easily see someone thinking, "Okay, McDuff, you're just taking this as your own Parker-like opportunity to put a spin on things, to self-promote." But I have no such illusions of grandeur. If Parker was thinking of any one person, it may have been Alice Feiring, true-wine advocate extraordinaire and author of "The Battle for Wine and Love: or How I Saved the World from Parkerization." However, I think what Parker was actually having a meltdown over is, again, the ever increasing influence of an ever increasing number of voices being publicly expressed in the wine world. Bloggers, writers, sommeliers, retailers, bulletin board subscribers, distributors and importers, heck, maybe even collectors....
It's not really about what Parker called "vinofreakism." Rather, there is an undeniable backlash, though it's hardly universal, against what another wine critic, Eric Asimov, has coined "the tyranny of the tasting note." In this context, perhaps it's even more appropriate to think of as the tyranny of the wine rating system. Parker, like many of his peers at other major wine publications, has built his empire upon it and he is now clearly feeling the pinch.
Parker was right about at least a few of the things he was quoted as saying in Klein's article. The food at Bibou is indeed top-notch, an example of French country/bistro cuisine at its finest. And, as I pointed out in my original review of Bibou, everything about the BYOB, from the ease of its food to the quality of stemware and service, makes it a great place to take a broad variety of wines, be they classic or adventurous, heavy-hitters or simple pleasures.
So, I hope my point in this second half of my own little diatribe is even more obvious than that expressed in part one. Go to Bibou. Take good wine. Enjoy the company of good friends. Eat well. And leave the agenda where it belongs.
Bibou
1009 South 8th Street
(between Carpenter and Washington)
Philadelphia, PA 19147
215-965-8290
Bibou on Urbanspoon
"...the food was as great a bistro fare as one can imagine...the snail ragout, boudin noir, terrine en crout, out-of-this-world beef marrow bones as well as superb stuffed pig's feet with foie gras over a bed of black lentils had me in Rabelaisien Nirvana."
Then consider this:
"...better yet [there was] no precious sommelier trying to sell us some teeth enamel removing wine with acid levels close to toxic, made by some sheep farmer on the north side of his 4,000-foot foot elevation vineyard picked two months before ripeness, and made from a grape better fed to wild boar than the human species....we all know the type-saving the world from drinking good wine in the name of vinofreakism."
Seems kind of hard to believe they were uttered by the same person yet they were, by none other than the wine advocate himself, Robert Parker. Apparently, Parker dined a few nights ago at one of my favorite restaurants in Philadelphia, Bibou. That's him in the photo (above right), arms draped over the couple behind Bibou, Charlotte and Pierre Calmels. You can view the photo and quotes above, along with a laundry list of what Parker drank, in their original context at Philadelphia Inquirer columnist Michael Klein's blog, The Insider.
What really strikes me about the above diatribe is not so much the obvious case of diarrhea of the mouth but rather the fact that Robert Parker found it necessary to turn a simple moment — a photo op and a chance to send some much deserved praise the way of an excellent neighborhood bistro — into a self-serving opportunity to protect his own crumbling hegemony. What he's trying to protect against, lest I've left you scratching your head, is from what he obviously views as the culprit of his seemingly waning influence: the conversely increasing influence, erosive as Parker apparently views it, of independently voiced — and often freely disseminated — current trends in wine thought. Clearly, the emperor is piling on the moth balls in his own defense.
I could easily see someone thinking, "Okay, McDuff, you're just taking this as your own Parker-like opportunity to put a spin on things, to self-promote." But I have no such illusions of grandeur. If Parker was thinking of any one person, it may have been Alice Feiring, true-wine advocate extraordinaire and author of "The Battle for Wine and Love: or How I Saved the World from Parkerization." However, I think what Parker was actually having a meltdown over is, again, the ever increasing influence of an ever increasing number of voices being publicly expressed in the wine world. Bloggers, writers, sommeliers, retailers, bulletin board subscribers, distributors and importers, heck, maybe even collectors....
It's not really about what Parker called "vinofreakism." Rather, there is an undeniable backlash, though it's hardly universal, against what another wine critic, Eric Asimov, has coined "the tyranny of the tasting note." In this context, perhaps it's even more appropriate to think of as the tyranny of the wine rating system. Parker, like many of his peers at other major wine publications, has built his empire upon it and he is now clearly feeling the pinch.
* * *
On a more grassroots, more down-to-earth level, what I'm just as galled by is the possibility that Parker's diatribe might actually turn-off some true wine and food lovers to the idea of dining at Bibou. What a nasty case of guilt-by-association that would be.Parker was right about at least a few of the things he was quoted as saying in Klein's article. The food at Bibou is indeed top-notch, an example of French country/bistro cuisine at its finest. And, as I pointed out in my original review of Bibou, everything about the BYOB, from the ease of its food to the quality of stemware and service, makes it a great place to take a broad variety of wines, be they classic or adventurous, heavy-hitters or simple pleasures.
The very same dish of foie-gras stuffed pig's trotters over a bed of lentils, mentioned by Parker, was a highlight of my last visit. Rich it was but over-the-top, as it might sound, it was not. All its elements were in harmony.
On that same August trip, the 2007 Chablis of Gilbert Picq showed much better than Nicolas Joly's Savennières "Les Clos Sacrés" 2005.
Likewise, Coudert's 2007 Fleurie "Clos de la Roilette Cuvée Tardive" was in a prettier spot than the 2006 Arbois Poulsard "Vieilles Vignes" from Tissot.
The real star of the lineup, though, was a bottle of 1997 Château Musar, eloquently expressive and a delight with the pig's foot and lentils.
So, I hope my point in this second half of my own little diatribe is even more obvious than that expressed in part one. Go to Bibou. Take good wine. Enjoy the company of good friends. Eat well. And leave the agenda where it belongs.
Bibou
1009 South 8th Street
(between Carpenter and Washington)
Philadelphia, PA 19147
215-965-8290
Bibou on Urbanspoon
Posted by David McDuff 9 comments @
Labels: Arbois, Bekaa Valley, Bibou, BYOB, Chablis, Coudert, Fleurie, Gilbert Picq, Musar, Nicolas Joly, Philadelphia, Restaurant Report, Robert Parker, Savennières, Tissot
Saturday, September 12, 2009
Two Burgs Too Soon: Thoughts on Fat, Acidity, Heat, Wood and... Ladybugs?
In the wake of Wednesday’s questions about the aging capacity of Savennières from a warm, ripe vintage, today’s post brings two similar questions – one very closely related, one not so much. Both questions happen to be broached in the context of Burgundy. And both wines were tasted in the same context as the Savennières, with food and friends on Labor Day.
The first wine on the block was a Chablis from the 2006 vintage, a year that (very much like 1997 in Savennières) gave richer, riper wines than is the norm. The question in this case is not how the wine has fared but rather how it may develop over the course of time. Here’s what Rosemary George has to say about the vintage:
Chablis Grand Cru "Les Clos," Domaine Louis Michel et Fils 2006
Closeout; price unknown. 13% alcohol. Cork. Importer: Vineyard Brands, Birmingham, AL.
Very creamy, both on the nose and in the mouth. Kumquats, orange oil and persimmons lead off on the front palate, with ripe apricots following down the mid-stretch and full-on pear nectar rounding out the finish. This is big, opulent Chablis, bearing no overt wood influence but carrying substantial fat on its frame along with an immodest spark of heat on the finish.
There’s minerality here but you really have to dig to find it, much like you do the acidity; in this context, the above reference to “invisible acidity” makes perfect sense. I suspect that the acidity and mineral components will both unfurl and become more integral as the wine ages and sheds some of its fat. My greater concern with how this might develop is the heat, as I think out of balance alcohol is far less likely to resolve over time. Pleasant drinking now, but far from classic for Grand Cru Chablis.
Vosne-Romanée, Domaine Mugneret-Gibourg 2004
~50ドル. 13% alcohol. Cork. Importer: Wine Cellars Ltd., Briarcliff Manor, NY.
There’s a lean, spicy wood inflection right up front, with an aromatic profile redolent of fish oil and campfire smoke. Very dry, high-toned wood aromatics remind me of a cedar closet or, more specific to a very clear memory scent, a fresh set of cedar shoe trees. Underneath it all is a rather elegant core of classic Vosne character – firm red berry fruit, spice and fine tannic structure. We’re a good five years too early on this one but I can’t help but wonder if the wine will ever find its way out from under its oily, cedar-y topcoat.
As my tasting notes suggest, I was initially convinced that Mugneret-Gibourg’s 2004 Vosne-Romanée was suffering from a simple case of over enthusiastic oak treatment. The more I thought about it, though, the more I started to question my first impressions. I tend to associate cedar flavors and aromas with American oak – think Ridge Zinfandels or old Rioja – rather than French barrels. And what was the deal with the aromas of rendered fish oil? That’s not a reduction issue that I’m aware of, and it’s sure not Vosne terroir.
Then it hit me. Could it be the blight of the ladybugs?
I first read at Burgundy Report of the theory that a preponderance of ladybugs in the vineyards and, more importantly, in the winery, may have contributed to what Bill Nanson calls the “2004 vintage character.” It seems that there was a much larger than normal influx of ladybugs, or coccinelle, on the Côte d’Or during the 2004 harvest. As beneficial as these pretty little insects can be in the vineyard, it apparently takes no more than a few on the sorting table or in the fermentation vat to potentially imbue the eventual finished wine in question with methoxy pyrazines, natural chemical compounds that carry strong aromatic signatures even in trace quantities.
Now, I haven't sat down recently with a representative flight of 2004 red Burgundies to put this to the test, nor do I drink red Burg five nights a week as it seems does Mr. Nanson. But I don’t think I’m grasping at straws. Two key aroma factors – rancid oil and cedar – mentioned in Bill's article were clearly present in this Vosne-Romanée. In either case – ladybugs or oak – I'm not sure I see the domineering aromas integrating or fading with time.
In summary, both of these Burgundies display immediately redeeming qualities and show promise deep in their respective hearts, but I'm not sure either will be able to overcome its specific difficulties. Time will tell. Time, that is, plus a few more bottles, which I don't have. Anyone out there looking to make a contribution in the name of research?
The first wine on the block was a Chablis from the 2006 vintage, a year that (very much like 1997 in Savennières) gave richer, riper wines than is the norm. The question in this case is not how the wine has fared but rather how it may develop over the course of time. Here’s what Rosemary George has to say about the vintage:
2006 is a good vintage in Chablis; July was very hot; August cooler and September warm and sunny. The grapes were ripe and healthy, for Nathalie Fèvre, the healthiest grapes since her very first vintage in 1988. Yields were slightly lower than average. If there is a criticism, acidity levels are lower than in 2004 and 2005. However, Dominique Gruhier from the Domaine de l'Abbaye du Petit Quincy in Epineuil, referred to 'invisible acidity' it is there, but nicely camouflaged by weight and fruit in the wine.
Chablis Grand Cru "Les Clos," Domaine Louis Michel et Fils 2006
Closeout; price unknown. 13% alcohol. Cork. Importer: Vineyard Brands, Birmingham, AL.
Very creamy, both on the nose and in the mouth. Kumquats, orange oil and persimmons lead off on the front palate, with ripe apricots following down the mid-stretch and full-on pear nectar rounding out the finish. This is big, opulent Chablis, bearing no overt wood influence but carrying substantial fat on its frame along with an immodest spark of heat on the finish.
There’s minerality here but you really have to dig to find it, much like you do the acidity; in this context, the above reference to “invisible acidity” makes perfect sense. I suspect that the acidity and mineral components will both unfurl and become more integral as the wine ages and sheds some of its fat. My greater concern with how this might develop is the heat, as I think out of balance alcohol is far less likely to resolve over time. Pleasant drinking now, but far from classic for Grand Cru Chablis.
Vosne-Romanée, Domaine Mugneret-Gibourg 2004
~50ドル. 13% alcohol. Cork. Importer: Wine Cellars Ltd., Briarcliff Manor, NY.
There’s a lean, spicy wood inflection right up front, with an aromatic profile redolent of fish oil and campfire smoke. Very dry, high-toned wood aromatics remind me of a cedar closet or, more specific to a very clear memory scent, a fresh set of cedar shoe trees. Underneath it all is a rather elegant core of classic Vosne character – firm red berry fruit, spice and fine tannic structure. We’re a good five years too early on this one but I can’t help but wonder if the wine will ever find its way out from under its oily, cedar-y topcoat.
As my tasting notes suggest, I was initially convinced that Mugneret-Gibourg’s 2004 Vosne-Romanée was suffering from a simple case of over enthusiastic oak treatment. The more I thought about it, though, the more I started to question my first impressions. I tend to associate cedar flavors and aromas with American oak – think Ridge Zinfandels or old Rioja – rather than French barrels. And what was the deal with the aromas of rendered fish oil? That’s not a reduction issue that I’m aware of, and it’s sure not Vosne terroir.
Then it hit me. Could it be the blight of the ladybugs?
I first read at Burgundy Report of the theory that a preponderance of ladybugs in the vineyards and, more importantly, in the winery, may have contributed to what Bill Nanson calls the “2004 vintage character.” It seems that there was a much larger than normal influx of ladybugs, or coccinelle, on the Côte d’Or during the 2004 harvest. As beneficial as these pretty little insects can be in the vineyard, it apparently takes no more than a few on the sorting table or in the fermentation vat to potentially imbue the eventual finished wine in question with methoxy pyrazines, natural chemical compounds that carry strong aromatic signatures even in trace quantities.
Now, I haven't sat down recently with a representative flight of 2004 red Burgundies to put this to the test, nor do I drink red Burg five nights a week as it seems does Mr. Nanson. But I don’t think I’m grasping at straws. Two key aroma factors – rancid oil and cedar – mentioned in Bill's article were clearly present in this Vosne-Romanée. In either case – ladybugs or oak – I'm not sure I see the domineering aromas integrating or fading with time.
In summary, both of these Burgundies display immediately redeeming qualities and show promise deep in their respective hearts, but I'm not sure either will be able to overcome its specific difficulties. Time will tell. Time, that is, plus a few more bottles, which I don't have. Anyone out there looking to make a contribution in the name of research?
Thursday, June 18, 2009
Laurent Tribut and The Mystery of Picasso
Whether you’re a modern art buff, a student of painterly technique or a card carrying member of the Pablo Picasso fan club, if you’ve never seen “The Mystery of Picasso,” you should. In this 1956 release, filmmaker Henri-Georges Clouzot captured the visual aspects of Picasso’s full creative process on film. With Picasso drawing and painting on translucent paper behind which Clouzot set up his camera, the viewer is able to see the artist at work – adding, changing, completely obscuring then adding more – until each piece reaches what Picasso deemed to be completion. Most of the pieces you’ll see in the trailer below are quick and relatively minimalist. There are other works in the film, though, that are intricate, layered and intense. There are pieces where Picasso seemed to have finished but would then add another layer, even paint an entirely new picture over top of what already appeared a beautiful work. It’s a powerful demonstration of painting as an additive form of art.
Tracie B. – soon to be Tracie DoBi (congratulations, y’all!) – provided all the inspiration I needed for this post. She wrote up the exact same wine I’m about to (albeit from a different vintage) not long after I’d picked up a bottle at one of my occasional wine shopping stops.
Chablis Premier Cru “Côte de Léchet,” Laurent Tribut 2006
20ドル ((削除) 32 (削除ここまで)). 13% alcohol. Cork. Vineyard Brands, Birmingham, AL.
Intense lime and mild washed-rind cheese aromas. Sapid minerality and medium acidity, at least by Chablis standards. The aromas aren’t so much pretty as they are brooding and profound. Pear skin and subtle vanilla notes add a touch of comfort. Served cold, this is pure Chablis, mineral and crisp, not at all unlike the best Muscadets of the Pays Nantais.
Warmer, it becomes clear that, in spite of the wine hailing from closer to Épernay than Dijon, this is indeed white Burgundy, fleshy and stony.
Don’t ask me to explain it any more clearly than I’m about to but I sensed a twisted spine in the structure of Laurent Tribut’s 2006 “Côte de Léchet,” as if its nerves and muscles had wound-up then released but never quite returned to their original position. Its quirks – from cheesy aroma, to a slightly sour/bitter note on the finish, to that crooked stance – may be signs of imperfection but those imperfect notes make the wine all the more interesting. In any event, the fact that there is no such thing as a “perfect wine” aside, I don’t think Tribut is a producer who’s aiming for a sense of polished perfection; rather, he’s simply striving to make wines that are true to their place and time.
In the days since first reading Tracie’s post, in which she wrote less about Tribut’s Chablis itself than she did about the wine world’s all too often myopic anti-obsessions with Chardonnay, I’ve encountered a couple of other pieces that got me thinking along rather cubist lines. First, there was Samantha Dugan’s take on why so many people say they don’t like Champagne. (I find a similar phenomenon and have a similar pet peeve when it comes to Riesling, Sam.) And more recently, there was Christopher Watkins’ discussion of Carignane (and Chardonnay) at 4488: A Ridge Blog.
All of these vines and wines have something in common. There are plenty of bad examples floating around out there, whether coarse, saccharine, obese or headache provoking. People drink a couple of bad Chardonnays (or Champagnes or Rieslings…) and then make a blanket declaration that they don’t like Chardonnay. Period. It’s human nature, and it’s one of the most frustrating roadblocks encountered in trying to open peoples’ eyes to the pleasures in all sorts of wine, not just one color or type. Chardonnay, though, offers up a trait that makes it stand apart from these other grapes and styles of wine.
When you see Picasso at work, you see him creating something from essentially nothing. Sure, he has pens, markers, paint and a brush, but he’s adding something where nothing existed before.
In contrast, when Chardonnay is grown in a decent place by a caring farmer, its very Chardonay-ness, or its Chablis-ness, is already there when the fruit is picked and crushed. The winemaker is not working with a blank slate but rather with a medium – a sculpture, if you will – that is already largely finished. The best winemakers, at least in my opinion, will simply find the right frame for their wine and then gently guide their work to completion, adding as few strokes as possible along the way. Malolactic is fine if it’s natural to the wine’s physiology. There’s nothing wrong with barriques if the scale or spine of the wine calls for them.
But far too many winemakers place the emphasis of their title on the “making,” not the wine. Too many look at their just pressed juice as a blank slate, as a canvas wide open to the additive arts. Chardonnay offers up what’s perhaps the biggest, blankest piece of canvas in the wine world, making it far too easy for good raw material to take on monstrous proportions. And nobody likes a cheater.
Tracie B. – soon to be Tracie DoBi (congratulations, y’all!) – provided all the inspiration I needed for this post. She wrote up the exact same wine I’m about to (albeit from a different vintage) not long after I’d picked up a bottle at one of my occasional wine shopping stops.
Chablis Premier Cru “Côte de Léchet,” Laurent Tribut 2006
20ドル (
Intense lime and mild washed-rind cheese aromas. Sapid minerality and medium acidity, at least by Chablis standards. The aromas aren’t so much pretty as they are brooding and profound. Pear skin and subtle vanilla notes add a touch of comfort. Served cold, this is pure Chablis, mineral and crisp, not at all unlike the best Muscadets of the Pays Nantais.
Warmer, it becomes clear that, in spite of the wine hailing from closer to Épernay than Dijon, this is indeed white Burgundy, fleshy and stony.
Don’t ask me to explain it any more clearly than I’m about to but I sensed a twisted spine in the structure of Laurent Tribut’s 2006 “Côte de Léchet,” as if its nerves and muscles had wound-up then released but never quite returned to their original position. Its quirks – from cheesy aroma, to a slightly sour/bitter note on the finish, to that crooked stance – may be signs of imperfection but those imperfect notes make the wine all the more interesting. In any event, the fact that there is no such thing as a “perfect wine” aside, I don’t think Tribut is a producer who’s aiming for a sense of polished perfection; rather, he’s simply striving to make wines that are true to their place and time.
* * *
In the days since first reading Tracie’s post, in which she wrote less about Tribut’s Chablis itself than she did about the wine world’s all too often myopic anti-obsessions with Chardonnay, I’ve encountered a couple of other pieces that got me thinking along rather cubist lines. First, there was Samantha Dugan’s take on why so many people say they don’t like Champagne. (I find a similar phenomenon and have a similar pet peeve when it comes to Riesling, Sam.) And more recently, there was Christopher Watkins’ discussion of Carignane (and Chardonnay) at 4488: A Ridge Blog.
All of these vines and wines have something in common. There are plenty of bad examples floating around out there, whether coarse, saccharine, obese or headache provoking. People drink a couple of bad Chardonnays (or Champagnes or Rieslings…) and then make a blanket declaration that they don’t like Chardonnay. Period. It’s human nature, and it’s one of the most frustrating roadblocks encountered in trying to open peoples’ eyes to the pleasures in all sorts of wine, not just one color or type. Chardonnay, though, offers up a trait that makes it stand apart from these other grapes and styles of wine.
When you see Picasso at work, you see him creating something from essentially nothing. Sure, he has pens, markers, paint and a brush, but he’s adding something where nothing existed before.
In contrast, when Chardonnay is grown in a decent place by a caring farmer, its very Chardonay-ness, or its Chablis-ness, is already there when the fruit is picked and crushed. The winemaker is not working with a blank slate but rather with a medium – a sculpture, if you will – that is already largely finished. The best winemakers, at least in my opinion, will simply find the right frame for their wine and then gently guide their work to completion, adding as few strokes as possible along the way. Malolactic is fine if it’s natural to the wine’s physiology. There’s nothing wrong with barriques if the scale or spine of the wine calls for them.
But far too many winemakers place the emphasis of their title on the “making,” not the wine. Too many look at their just pressed juice as a blank slate, as a canvas wide open to the additive arts. Chardonnay offers up what’s perhaps the biggest, blankest piece of canvas in the wine world, making it far too easy for good raw material to take on monstrous proportions. And nobody likes a cheater.
Thursday, May 29, 2008
Notes from a Sunday: Memorial Weekend Edition
In between the two sessions of grilling covered in my last post, I accepted an invite from friends for a slightly different vein of Memorial weekend dining. Bill was planning to roast a leg of lamb from the highly acclaimed Jamison Farm. I was only too happy to oblige in helping to put a dent in said leg. As it turned out, he also had his mind set on pulling corks from a few heavy hitters and some bottles with sentimental associations. We actually dove straight into a Grand Cru Chablis. After a cursory taste, however, we opted to retreat temporarily toward something simpler, certainly of interest but a touch less daunting as an aperitif – and no cork involved.
Pfalz Weißer Burgunder Kabinett trocken, Weingut Münzberg (Lothar Kessler & Söhne) 2006
Along with their full range of other specialties, the Kessler sons, Gunther and Rainer, turn out pure, vibrant examples of Pfalz Weißer Burgunder (aka, Pinot Blanc) from their family estate, Weingut Münzberg. There’s an aspect right up front in this wine that The VLM and, apparently, David Schildknecht, writing about Weißer Burgunder in general, both nailed: creamed corn. While I’ve cited that flavor in a negative context in a past tasting note (on Tocai, not Pinot Blanc), here it’s an integral part of the wine, forward at first but eventually fading and intertwining with the wine’s more elegant facets. Those facets of elegance are expressed by the white peach and yellow apple fruit and the fine mineral character that emerge with aeration. There’s an overall impression of medium acidity and clean, crisp framework. The integrated nuance of corn adds freshness as well as a sweet, starchy flavor snap, which is finished off by a tactile suggestion of white grape skins. A good quaffer and quite food friendly, it’s only a shame that it no longer sells for the 15ドル price tag of a couple of years ago. 20ドル. 12% alcohol. Vinolok. Importer: Petit Pois, Moorestown, NJ.
Chablis Grand Cru “Les Clos,” Vincent Dauvissat 2005
Right out of the barrel, so to speak, this showed classic Dauvissat flavors of lemon rind dusted generously over white river stones that have yet to be polished to complete smoothness. Along with good persistence, there’s a very sapid wood element, already well integrated. In fact, as far as integration goes, I was surprised at how well this terribly young wine was showing already. Plenty of lime pith and mineral laced fruit on the palate. I got the sense as the wine warmed and aired a bit that, wrapped up by its currently gripping acidity, there’s a richer, more voluptuous wine waiting to emerge. At this point in its evolution though, I was surprised by its overall lack of concentration and muscle. Very good wine but not clearly elevated above or differentiated from Dauvissat’s Premier Cru offerings. Price unknown; currently sells online for 125ドル-225. 13% alcohol. Natural cork. Importer: Vineyard Brands, Birmingham, AL.
Gevrey-Chembertin Premier Cru “Aux Combottes” Vieilles Vignes, Jacky Truchot-Martin 2003
Even though I sold Truchot's Burgundies for a short period many years ago, I owe the majority of my more recent experiences with Jacky Truchot’s wines to Bill; he’s got to be one of the now retired producer’s biggest fans. This one was a showstopper. Say what you will about the ripe-fruited or even atypical aspects of 2003 Burgundy, here the quality of the vintage brought sheer loveliness into play. Immediate impressions were of pickled plums and Christmas spice cake, with signature Truchot aromas of wild cherries and clay lurking beneath. There was another element that took me a few moments to nail down: sarsaparilla (sasparilla, if you prefer). Really beautiful wine. Silky, fine tannins, balanced acidity, sweet, nuanced fruit; it had the whole package and then some. I hope, for Bill’s sake, not mine, that he has more of this stashed away for another day. Price unknown; most likely 70ドル-100. 11-14% alcohol. Natural cork. Importer: Weygandt/Metzler, Unionville, PA.
Sancerre “Clos la Neore,” Edmond Vatan 2006
After the Gevrey-Chambertin and a wonderful plate of roast lamb, fingerling potatoes and sautéed chard, I’ll admit to having a hard time giving Vatan’s Sancerre the attention it was due. Good company and good food put it into perspective as something that was opened just for pure enjoyment – not that the other wines weren’t as well. What I can say is that Vatan’s Sancerre is like few others. It lacks the fresh, fruity attack of lemon and grapefruit tones of much other Upper Loire Sauvignon. However, it makes up for that with intense stoniness – more round than racy – a highly perfumed aspect of lime oil and muscular, fleshy acidity. The wine’s intense physiological extract suggests both very old vines and very low yields. Though I’ve never had a mature bottle, I expect that this could get very interesting with age. Regrettably, if my understanding is correct, 2006 was Vatan’s last vintage. It’s not cheap for Sancerre but, if your budget allows, it would be worth snagging a bottle or two while the possibility of doing so remains. 49ドル. 13% alcohol. Natural cork. Importer: Wine Cellars Ltd., Briarcliff Manor, NY. “Acquired from a Private Collection.”
Loazzolo “Piasa Rischei” Vendemmia Tardive, Forteto della Luja 2003
Given that fresh berries are coming into season, it seemed to make sense to open something sticky as accompaniment. Mr. and Mrs. Bill visited Forteto della Luja on their honeymoon and haven’t stopped raving about the Scaglione family’s wines. Loazzolo is a small DOC zone situated in the Langhe hills near Asti, Alba and Acqui Terme. The single vineyard “Piasa Rischei” is a blend of 95% Moscato and 5% Passula, one of several wines produced at Forteto della Luja but the only one that falls under the Loazollo DOC. It’s not just a late harvest wine but also a long harvest wine; picking begins in late September and continues into November. At each tri, harvesters select only fruit that is showing early signs of being affected by botrytis. About 15% of the fruit goes through the passito process, being partially dried on canvas mats.
The end result is a still wine with surprising density and concentration. Given the relatively dark flavors and lower than typical frizz of their Moscato d’Asti, which I’d tried on an earlier occasion, I shouldn’t have been surprised. Ripe, musky melon and honeyed peach fruit intermingle with the golden aromas of autumn leaves in a dry forest. Sweet, loamy and spicy, this was as contemplative as it was easy to enjoy at the end of a lovely evening. Price unknown. 11.5% alcohol. Natural cork. Purchased in situ.
Pfalz Weißer Burgunder Kabinett trocken, Weingut Münzberg (Lothar Kessler & Söhne) 2006
Along with their full range of other specialties, the Kessler sons, Gunther and Rainer, turn out pure, vibrant examples of Pfalz Weißer Burgunder (aka, Pinot Blanc) from their family estate, Weingut Münzberg. There’s an aspect right up front in this wine that The VLM and, apparently, David Schildknecht, writing about Weißer Burgunder in general, both nailed: creamed corn. While I’ve cited that flavor in a negative context in a past tasting note (on Tocai, not Pinot Blanc), here it’s an integral part of the wine, forward at first but eventually fading and intertwining with the wine’s more elegant facets. Those facets of elegance are expressed by the white peach and yellow apple fruit and the fine mineral character that emerge with aeration. There’s an overall impression of medium acidity and clean, crisp framework. The integrated nuance of corn adds freshness as well as a sweet, starchy flavor snap, which is finished off by a tactile suggestion of white grape skins. A good quaffer and quite food friendly, it’s only a shame that it no longer sells for the 15ドル price tag of a couple of years ago. 20ドル. 12% alcohol. Vinolok. Importer: Petit Pois, Moorestown, NJ.
Chablis Grand Cru “Les Clos,” Vincent Dauvissat 2005
Right out of the barrel, so to speak, this showed classic Dauvissat flavors of lemon rind dusted generously over white river stones that have yet to be polished to complete smoothness. Along with good persistence, there’s a very sapid wood element, already well integrated. In fact, as far as integration goes, I was surprised at how well this terribly young wine was showing already. Plenty of lime pith and mineral laced fruit on the palate. I got the sense as the wine warmed and aired a bit that, wrapped up by its currently gripping acidity, there’s a richer, more voluptuous wine waiting to emerge. At this point in its evolution though, I was surprised by its overall lack of concentration and muscle. Very good wine but not clearly elevated above or differentiated from Dauvissat’s Premier Cru offerings. Price unknown; currently sells online for 125ドル-225. 13% alcohol. Natural cork. Importer: Vineyard Brands, Birmingham, AL.
Gevrey-Chembertin Premier Cru “Aux Combottes” Vieilles Vignes, Jacky Truchot-Martin 2003
Even though I sold Truchot's Burgundies for a short period many years ago, I owe the majority of my more recent experiences with Jacky Truchot’s wines to Bill; he’s got to be one of the now retired producer’s biggest fans. This one was a showstopper. Say what you will about the ripe-fruited or even atypical aspects of 2003 Burgundy, here the quality of the vintage brought sheer loveliness into play. Immediate impressions were of pickled plums and Christmas spice cake, with signature Truchot aromas of wild cherries and clay lurking beneath. There was another element that took me a few moments to nail down: sarsaparilla (sasparilla, if you prefer). Really beautiful wine. Silky, fine tannins, balanced acidity, sweet, nuanced fruit; it had the whole package and then some. I hope, for Bill’s sake, not mine, that he has more of this stashed away for another day. Price unknown; most likely 70ドル-100. 11-14% alcohol. Natural cork. Importer: Weygandt/Metzler, Unionville, PA.
Sancerre “Clos la Neore,” Edmond Vatan 2006
After the Gevrey-Chambertin and a wonderful plate of roast lamb, fingerling potatoes and sautéed chard, I’ll admit to having a hard time giving Vatan’s Sancerre the attention it was due. Good company and good food put it into perspective as something that was opened just for pure enjoyment – not that the other wines weren’t as well. What I can say is that Vatan’s Sancerre is like few others. It lacks the fresh, fruity attack of lemon and grapefruit tones of much other Upper Loire Sauvignon. However, it makes up for that with intense stoniness – more round than racy – a highly perfumed aspect of lime oil and muscular, fleshy acidity. The wine’s intense physiological extract suggests both very old vines and very low yields. Though I’ve never had a mature bottle, I expect that this could get very interesting with age. Regrettably, if my understanding is correct, 2006 was Vatan’s last vintage. It’s not cheap for Sancerre but, if your budget allows, it would be worth snagging a bottle or two while the possibility of doing so remains. 49ドル. 13% alcohol. Natural cork. Importer: Wine Cellars Ltd., Briarcliff Manor, NY. “Acquired from a Private Collection.”
Loazzolo “Piasa Rischei” Vendemmia Tardive, Forteto della Luja 2003
Given that fresh berries are coming into season, it seemed to make sense to open something sticky as accompaniment. Mr. and Mrs. Bill visited Forteto della Luja on their honeymoon and haven’t stopped raving about the Scaglione family’s wines. Loazzolo is a small DOC zone situated in the Langhe hills near Asti, Alba and Acqui Terme. The single vineyard “Piasa Rischei” is a blend of 95% Moscato and 5% Passula, one of several wines produced at Forteto della Luja but the only one that falls under the Loazollo DOC. It’s not just a late harvest wine but also a long harvest wine; picking begins in late September and continues into November. At each tri, harvesters select only fruit that is showing early signs of being affected by botrytis. About 15% of the fruit goes through the passito process, being partially dried on canvas mats.
The end result is a still wine with surprising density and concentration. Given the relatively dark flavors and lower than typical frizz of their Moscato d’Asti, which I’d tried on an earlier occasion, I shouldn’t have been surprised. Ripe, musky melon and honeyed peach fruit intermingle with the golden aromas of autumn leaves in a dry forest. Sweet, loamy and spicy, this was as contemplative as it was easy to enjoy at the end of a lovely evening. Price unknown. 11.5% alcohol. Natural cork. Purchased in situ.
Posted by David McDuff 0 comments @
Labels: Burgundy, Chablis, Chardonnay, Edmond Vatan, Forteto della Luja, Gevrey-Chambertin, Jacky Truchot, Loazzolo, Moscato, Münzberg, Pinot Blanc, Pinot Noir, Sancerre, Sauvignon Blanc, Vincent Dauvissat
Saturday, January 19, 2008
Some Recent Tastes
Just a few bottles I've enjoyed with meals and/or with friends over the last couple of weeks that didn't make their way to full posts but were more than worthy of mention. I really do need to get back to Exploring Burgundy. And I can never get enough Riesling.
Mosel Ürziger Würzgarten Riesling Auslese #19, Alfred Merkelbach 2005
Far from profound but nonetheless well balanced and brimming with green apple, white peach and transparent slatiness. A confectionery hint on the rear palate picks up on the wine’s residual aspects more so than up front. A food friendly style, this would make a lovely companion to seared scallops or lightly cured ham.
20ドル. 9% alcohol. Natural cork closure. Importer: Michael Skurnik (a Terry Theise Selection), Syosset, NY.
Petit Chablis, Domaine Vincent Dauvissat 2004
Oyster shells and a bit of fishing pier funk on the nose. Very mineral, medium in scale, and just starting to develop a not unattractive oxidative note, followed by plenty of bitter lemon fruit. Drinking very well at the moment, it should continue to deliver immense pleasure (in spite of the pier funk) in the short term.
20ドル. 12.5% alcohol. Natural cork closure. Importer: Vineyard Brands, Birmingham, AL.
Chablis, Domaine Laurent Tribut 2006
Hitting lots of high notes. Steely, bright and very tight, this should begin to get interesting in another year. Good length, with plentiful limestone-driven mineral character.
25ドル. 12.5% alcohol. Natural cork closure. Importer: Vineyard Brands, Birmingham, AL.
Chablis Premier Cru “La Forest,” Domaine Vincent Dauvissat 2005
There’s breed showing through here, on a stony, gunflint driven frame, with green pear and lemon oil accents. However, it’s disjointed and a tad hot. Needs time to come around to a better place.
40ドル. 13% alcohol. Natural cork closure. Importer: Vineyard Brands, Birmingham, AL.
Dolcetto d’Alba “Coste & Fossati,” G.D. Vajra 2005
Burton Anderson singled out Vajra’s “Coste & Fossati” as the only Albese Dolcetto worthy of inclusion in his wine guide, Burton Anderson's Best Italian Wines. While I enjoy plenty of other Dolcetti d’Alba, I’m inclined to agree with his summation. This is a pleasure to drink in its youth but possesses an aromatic depth and a certain elegance that is less evident in most other Dolcetto. Dark cherry fruit, crushed flowers and freshly turned, loamy earth are at once plentiful yet subtly expressed on both the nose and palate. Very delicate, finely grained tannins. Worthy of your best Burgundy glass, where the aromas of most other Dolcetti might be prone to fall apart. Not as intense as the 2004 but still lovely, it’s just starting to come out of its shell and should hold and develop well for another five years.
29ドル. 14% alcohol. Natural cork closure. Importer: Petit Pois, Moorestown, NJ; Martin Scott, New York, NY.
Chianti Classico, Isole e Olena 2004
Translucent ruby in the glass and lovely right out of the gates, with pure cherry fruit, laced with rosemary accents. After 30-45 minutes of air, it becomes more clearly delineated, with the cherry taking on a sweet yet graceful vanillin tone thanks to a well-executed aging regimen in large, old oak casks. Bright acidity provides lift, lively tannins give texture and, with more air, spice notes drive home the fruit. On day two, the wine is darker, rounder and feels richer in the mouth if a bit more diffuse than on day one. Yummy stuff, built for food.
21ドル. 13.5% alcohol. Natural cork closure. Importer: Petit Pois, Moorestown, NJ; Martin Scott, New York, NY.
Mosel Ürziger Würzgarten Riesling Auslese #19, Alfred Merkelbach 2005
Far from profound but nonetheless well balanced and brimming with green apple, white peach and transparent slatiness. A confectionery hint on the rear palate picks up on the wine’s residual aspects more so than up front. A food friendly style, this would make a lovely companion to seared scallops or lightly cured ham.
20ドル. 9% alcohol. Natural cork closure. Importer: Michael Skurnik (a Terry Theise Selection), Syosset, NY.
Petit Chablis, Domaine Vincent Dauvissat 2004
Oyster shells and a bit of fishing pier funk on the nose. Very mineral, medium in scale, and just starting to develop a not unattractive oxidative note, followed by plenty of bitter lemon fruit. Drinking very well at the moment, it should continue to deliver immense pleasure (in spite of the pier funk) in the short term.
20ドル. 12.5% alcohol. Natural cork closure. Importer: Vineyard Brands, Birmingham, AL.
Chablis, Domaine Laurent Tribut 2006
Hitting lots of high notes. Steely, bright and very tight, this should begin to get interesting in another year. Good length, with plentiful limestone-driven mineral character.
25ドル. 12.5% alcohol. Natural cork closure. Importer: Vineyard Brands, Birmingham, AL.
Chablis Premier Cru “La Forest,” Domaine Vincent Dauvissat 2005
There’s breed showing through here, on a stony, gunflint driven frame, with green pear and lemon oil accents. However, it’s disjointed and a tad hot. Needs time to come around to a better place.
40ドル. 13% alcohol. Natural cork closure. Importer: Vineyard Brands, Birmingham, AL.
Dolcetto d’Alba “Coste & Fossati,” G.D. Vajra 2005
Burton Anderson singled out Vajra’s “Coste & Fossati” as the only Albese Dolcetto worthy of inclusion in his wine guide, Burton Anderson's Best Italian Wines. While I enjoy plenty of other Dolcetti d’Alba, I’m inclined to agree with his summation. This is a pleasure to drink in its youth but possesses an aromatic depth and a certain elegance that is less evident in most other Dolcetto. Dark cherry fruit, crushed flowers and freshly turned, loamy earth are at once plentiful yet subtly expressed on both the nose and palate. Very delicate, finely grained tannins. Worthy of your best Burgundy glass, where the aromas of most other Dolcetti might be prone to fall apart. Not as intense as the 2004 but still lovely, it’s just starting to come out of its shell and should hold and develop well for another five years.
29ドル. 14% alcohol. Natural cork closure. Importer: Petit Pois, Moorestown, NJ; Martin Scott, New York, NY.
Chianti Classico, Isole e Olena 2004
Translucent ruby in the glass and lovely right out of the gates, with pure cherry fruit, laced with rosemary accents. After 30-45 minutes of air, it becomes more clearly delineated, with the cherry taking on a sweet yet graceful vanillin tone thanks to a well-executed aging regimen in large, old oak casks. Bright acidity provides lift, lively tannins give texture and, with more air, spice notes drive home the fruit. On day two, the wine is darker, rounder and feels richer in the mouth if a bit more diffuse than on day one. Yummy stuff, built for food.
21ドル. 13.5% alcohol. Natural cork closure. Importer: Petit Pois, Moorestown, NJ; Martin Scott, New York, NY.
Posted by David McDuff 4 comments @
Labels: Alfred Merkelbach, Chablis, Chardonnay, Chianti, Dolcetto, GD Vajra, Isole e Olena, Laurent Tribut, Mosel, Piedmont, Riesling, Sangiovese, Vincent Dauvissat
Tuesday, August 14, 2007
Exploring Burgundy: Petit Chablis
Petit Chablis, Domaine d'Elise 2005 (Wine Traditions, Falls Church, VA)
By Burgundian standards, Domaine d’Elise, established in 1970, is an estate in its infancy. Current proprietor and winemaker Frédéric Prain acquired the property in 1982. As well known, perhaps, for his collection of sports cars as for his wines, M. Prain came to wine late in life after a career as a civil engineer. His 13-hectare property consists of a single parcel that abuts the Premier Cru Côte de Lechet and spans into Petit Chablis. Two things distinguish Frédéric's wines from the norm in Chablis: late picking and late bottling. The former provides, obviously, very ripe fruit and the potential for roundness in the finished wines; the latter is more complicated, as it entails not only lees aging but also results in wines that show an autolytic character in the bottle. All of the estate’s wines are fermented and aged in vat; oak does not play a role.
My relationship with the wines of Domaine d’Elise could be characterized as one of benign neglect. I sold the wines for years yet rarely took them home or drank them. I’d been meaning to try the ’05 Petit Chablis, though, for a while. When we took a spur of the moment trip to a local Japanese BYOB a few nights ago, the opportunity presented itself as I found it the only remotely appropriate wine in my little staging fridge. When planning allows for a preparatory shopping trip, I’ll often take a sushi session as an opportunity to enjoy good Sake. Otherwise, German or Austrian Rieslings are my usual go-to options. Chablis has also worked out in the past. Crisp texture, nervy acidity, citric tones and clean minerality – classic elements of Chablis – are all complementary to the palette of flavors and textures in a typical sushi/sashimi assortment. In this case, however, the match was not fortuitous. The wine was certainly interesting though it seemed to be going through a bit of a funky stage. It was intensely stony, quite fleshy and showed persistent acidity. What made it unusual was its relative lack of fruit, the expected lemony and herbal hints being usurped by a somewhat bitter earthiness reminiscent of the aromas and flavors of washed rind cheese. Armed with some technical knowledge of the producer’s cellar practices, I might chalk the funk up as an expression of autolysis, replacing the primary flavors of fruit with a more secondary aspect of yeastiness. In retrospect, the wine would have paired better with, well, a washed rind cheese, or perhaps a small, roasted game bird. Sushi wine it was not.
If I had another bottle in the larder, I’d love to revisit d’Elise’s 2005 Petit Chablis in another couple of years. As this was a lone ranger, I’ll just have to chalk it up as a good wine opened on the wrong occasion. Not the first… and I’m sure not the last.
By Burgundian standards, Domaine d’Elise, established in 1970, is an estate in its infancy. Current proprietor and winemaker Frédéric Prain acquired the property in 1982. As well known, perhaps, for his collection of sports cars as for his wines, M. Prain came to wine late in life after a career as a civil engineer. His 13-hectare property consists of a single parcel that abuts the Premier Cru Côte de Lechet and spans into Petit Chablis. Two things distinguish Frédéric's wines from the norm in Chablis: late picking and late bottling. The former provides, obviously, very ripe fruit and the potential for roundness in the finished wines; the latter is more complicated, as it entails not only lees aging but also results in wines that show an autolytic character in the bottle. All of the estate’s wines are fermented and aged in vat; oak does not play a role.
My relationship with the wines of Domaine d’Elise could be characterized as one of benign neglect. I sold the wines for years yet rarely took them home or drank them. I’d been meaning to try the ’05 Petit Chablis, though, for a while. When we took a spur of the moment trip to a local Japanese BYOB a few nights ago, the opportunity presented itself as I found it the only remotely appropriate wine in my little staging fridge. When planning allows for a preparatory shopping trip, I’ll often take a sushi session as an opportunity to enjoy good Sake. Otherwise, German or Austrian Rieslings are my usual go-to options. Chablis has also worked out in the past. Crisp texture, nervy acidity, citric tones and clean minerality – classic elements of Chablis – are all complementary to the palette of flavors and textures in a typical sushi/sashimi assortment. In this case, however, the match was not fortuitous. The wine was certainly interesting though it seemed to be going through a bit of a funky stage. It was intensely stony, quite fleshy and showed persistent acidity. What made it unusual was its relative lack of fruit, the expected lemony and herbal hints being usurped by a somewhat bitter earthiness reminiscent of the aromas and flavors of washed rind cheese. Armed with some technical knowledge of the producer’s cellar practices, I might chalk the funk up as an expression of autolysis, replacing the primary flavors of fruit with a more secondary aspect of yeastiness. In retrospect, the wine would have paired better with, well, a washed rind cheese, or perhaps a small, roasted game bird. Sushi wine it was not.
If I had another bottle in the larder, I’d love to revisit d’Elise’s 2005 Petit Chablis in another couple of years. As this was a lone ranger, I’ll just have to chalk it up as a good wine opened on the wrong occasion. Not the first… and I’m sure not the last.
Posted by David McDuff 0 comments @
Labels: Burgundy, Chablis, Chardonnay, Domaine d'Elise, Exploring Burgundy, Petit Chablis
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