Last week I was working with a corporate client leading a tasting for some 50 of their employees. The experience level in the group ranged from a few seasoned veterans to a larger group not much beyond the novice level. As I asked them to examine a particular wine, I was struck by how scattered they were in their approach to simply picking up the glass and smelling; specifically how many of them were looking all over the room as if seeking some kind of divine intervention to figure out what was in the glass. 

It then struck me how consistent my approach was to tasting wine and that this consistency is a vital part—no make that an absolute requirement--to becoming an experienced taster. It also made me think about some of the major challenges for a beginner and the fact that there are multiple major disconnects about wine. Here are a few of those disconnects along with some potentially effective strategies/solutions for beginning tasters.

Disconnect I: Wine is a liquid that smells and tastes like other things

Apple juice may smell and taste like apple juice and milk like milk, but anything brewed, fermented, or distilled smells like a host of things beyond the base material. Wine is no exception, creating a lot of wonderful but intimidating complexity for the beginning taster.

 Disconnect II: Wine has no inherent vocabulary

With wine we are left to use the language of seeing, hearing, and feeling to describe what we smell and taste--as if the experience wasn’t already subjective enough. And isn’t all experience subjective?

Disconnect III: The expectation that learning how to taste wine is somehow different than learning about anything else.

This is perhaps the biggest disconnect of all. Most of the human race is visual-dominant when it comes to internal representational systems (A way of saying how we think). We perceive, learn, and remember in still images and movies inside our “heads.” Learning about wine, odd as it may seem, is no different in that there’s a vitally important visual aspect to our experience of smelling and tasting that allows us to make sense out of what’s in the glass. For most, this visual component is completely unconscious.

It’s All about Knowing How to Begin

Beyond these major disconnects, perhaps the biggest challenge for a beginning/novice taster is knowing how to start; literally having a starting
routine of some kind. After watching the corporate group trying to sort through their flight of wines I came to conclusion that most beginners have no idea of how or where to start other than picking up the glass, sticking their nose into it, and then pretending they look like they know what they’re doing. I’ve been there and remember it well.   

With the strategic modeling work I’ve done over the last couple of years with MS and MW colleagues, I’ve come to the conclusion that something all experienced tasters share—without exception—is a consistent starting routine. This routine includes how we “address” the glass in terms of picking it up, putting it to our noses, and--arguably even more important—what we do with our eyes when we initially start to smell a wine. It’s not unlike playing golf where having a consistent routine when addressing the ball and setting up a shot is crucial to one’s consistency and ultimately one’s success in the game. Dealing with a glass of wine is no different. How one holds the glass, where it’s placed on or near the nose to be able to smell, and how we actually smell the wine are all part of the routine. Further, where we look and what we say to ourselves is equally important in terms of our being consistent.

Establishing a Consistent Starting Routine

Developing one’s starting routine involves finding the right glassware stance, using the right starting eye position combined with an internal  auditory prompt in one’s own voice.  Here are the steps to getting one’s routine together.

Glassware Stance

I: Getting Started 

a. Resting point: where the glass is placed

b. Glass angle: finding the sweet spot

c. Passive vs. active inhalation: smelling with the mouth closed or open

Finding the resting point: I remember George Riedel demonstrating how to smell wine to a group by saying to place the glass on your upper lip.
 
Finding the sweet spot: now slowly (emphasis on slowly) start to angle the glass up until you can really smell the wine. Somewhere between 45° and 55° you’ll find your sweet spot. It can be slightly different with different kinds of glasses. But try to remember generally where it is as it’s the beginning of your “zone.”  Next, as you start to angle the glass slowly upwards be aware of what happens to your torso/upper body, head, and eyes—all of the above move downwards. That’s important.

Passive vs. active inhalation: most of the human race smells wine with just their nose—as in with their mouth closed. I call this “passive” inhalation. But there is a small percentage of us, self included, who smell wine with their mouth slightly open, and breathe in (and out) gently through nose and mouth at the same time. The beginner needs to find this one out quickly, because there might be the odd chance that he or she may be able smell dramatically better by simply opening their mouth--as in "active" inhalation. I’ve written previously about my epiphany during a Cognac master class. For me, the simple act of opening my mouth was literally the difference between being able to detect single components in the glass, much less to be able to smell at all. 

To find out if “active inhalation” works for you, do a quick check; try pulling the glass away from your face by at least half an inch. Open your mouth about a quarter of an inch and breathe in gently through your mouth and nose at the same time (Remember to breathe out too!). Can you smell more? Less? Is it impossible to do? Make note if it works better and remember to use it--especially with high alcohol wines (as in fortified) or spirits.

Finding a Consistent Starting Eye Position

I’ve written about the importance of eye positions in tasting previously. I’m convinced that one simply cannot become an experienced taster unless one uses a consistent starting eye position as well as other consistent eye patterns when smelling and tasting. The reasons have to do with eye accessing cues and memory function. Using a consistent start eye position is a vital part of having a tasting routine; it literally is the mental trigger that starts the smelling and tasting sequence. It’s also part of being able to shut the world out. When the eyes go to a specific location, it’s a signal to the brain to focus on the task at hand as completely as possible (in this case is smelling and/or tasting the wine), and to delete/ignore the avalanche of other sensory data available at the moment. Being able to concentrate--ferociously—is an important key to becoming a good taster.

Exercise: finding your starting eye position

As you pick up the glass and start smelling the wine do the following: 
 
a. Start by looking down in front and/or to the left/right


b. As you smell the wine move your eyes side to side slowly

c. Use your free hand to point EXACTLY where your eyes are looking

Find your zone - the place that feels the most comfortable WHILE you talk to yourself

Tips:

a. Use “SOFT” eyes!

b. Repetition: practice going to your spot multiple times

 c. Keep smelling the wine when you’re moving your eyes!

Two Important Points

First, it’s important to note that there is no right or correct way of doing this. Everyone’s starting eye position/location is unique. Most people find their zone down center or down left. Others find it down and to the right. A very small group of tasters I’ve worked with don’t look down when smelling and instead look out at horizon level. Again, whatever place feels best for you and allows you to focus and concentrate is your very own unique eye position. Find it and use it consistently. You’ll be glad you did.

Second, remember this is the starting point we’re talking about and your eyes will go to other locations quickly to access different memory functions needed as you explore the wine. To repeat, your eyes will NOT stay in the starting position throughout the smelling/tasting sequence. To
do so would feel … well, really odd.

Using an Auditory Prompt

Without exception, all the Masters I worked with prompt the smelling and tasting sequence with an internal auditory phrase in their own voice. Here are some of the phrases used:

“What’s there?” 

“What am I smelling?” 

“What’s in the glass?”

“What kind of fruit (etc.) is it?”

“What is this on the end of my fork?” (Just kidding)

Now we can begin …

With knowledge of glassware stance, starting eye position, and auditory prompt, the beginning taster is now set up and ready to go. But what’s next? How to figure out what the wine smells and tastes like. This goes back to one of the disconnects mentioned above, specifically the one about wine being a liquid that smells and tastes like other things. The bad news is that being a good taster requires a lot of experience, i.e., tasting a lot of wines over a prolonged duration of time. In doing so, one develops a highly acute memory of different smells and tastes. The good news is that everyone without exception possesses all the hardware and software needed to do just that. But how to start? That’s a good question and my
solution is a concept called “Front Loading” and using what I call the “Basic Set.” We’ll cover it in the next post. Until then, à votre santé!

This is the fourth and final post of my list of markers for classic grapes and wines. The last post included markers for Cabernet family grapes, Pinot Noir, and Gamay. This final post will include markers for Rhône grapes and more. As I’ve previously written, the intent of posting my list of markers is for the reader and/or student to use them as a starting point for putting their own list together. I hope this helps in some way. A santé!

VI. Grenache

Southern Rhône Grenache Blend

Sight: medium to deep ruby.
Nose: ripe, intense baked red and black fruits, wild savory herb (garrigue), black and white pepper, mushroom, stony earth, and large wood (not barrique). Some wines display pronounced game, dried meat and soy/jerky qualities.
Palate: full-bodied and dry to bone dry.  
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus; tannin: medium-plus to high. 
 
ID Keys: the best Southern Rhône blends like Châteauneuf-du-Papes and Gigondas combine ripe-baked red and black fruits, high alcohol, pepper, garrigue, stony earth, and considerable tannins. Stylistically, lower-end wines such as simple Côte du Rhone are light, fruity, and sometimes made with carbonic maceration. Wines from better appellations such as the two above can be powerful, tannic, and very age worthy.

Australian Old Vines Grenache

Sight: deep, opaque ruby red.
Nose: ripe, powerful, intense red and black fruits with black pepper-spice, pronounced mint-eucalyptus, a touch of earthiness, vanilla, and oak spice.  
Palate: full-bodied, powerful, and dry. 
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus; tannin: medium-plus to high.  
 
ID Keys: a full-throttled red with very ripe, jammy red fruits, pepper-spice, and a pronounced minty quality, with high alcohol and lots of tannin.  
 
VII. Syrah

Northern Rhône

Sight: medium to deep ruby with purple highlights.
Nose: black and red fruits, white and black pepper, floral, sour green plum, bacon/smoked meat, Mediterranean herbs, tobacco ash, stone-mineral, and oak.
Palate: medium to full-bodied and dry to bone dry.
Structure: alcohol: medium to medium-plus; acidity: medium to medium-plus; tannin: medium-plus to high.  
 
ID Keys: look for the combination of floral, red and black fruits, pepper, greengage (sour green plum), tobacco ash, smoky-meats, and stony minerality.    
 
Australian Shiraz - Barossa

Sight: opaque ruby purple.
Nose: ripe, concentrated black fruits as well as red and dried fruits; also black and white pepper, sweet spice, leather, and wood. American oak is traditionally used giving the wines pronounced vanillin, coconut, baking spices, and sawdust. It's also important to note that many producers now use French oak or a combination of French and American oak. 
Palate: full bodied and dry.  
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus; tannin: medium to medium-plus and infrequently high. 
 
ID Keys: typical Barossa Shiraz is rich, ripe, and powerful, and can sometimes be confused with Zinfandel. Shiraz usually displays more depth of color than Zin; also look for the emphasis of black fruits, pepper, mint, leather and the use of American Oak. Mint and eucalyptus notes are very common. 

VIII. Mourvèdre

France: Bandol

Sight: very deep ruby.
Nose: ripe black and red fruits, pronounced savory herb, pepper-spice, reductive earth-farmyard, and wood. 
Palate: full-bodied and bone dry to dry. 
Structure: alcohol: medium-plus to high; acidity: medium-plus to medium-high; tannin: medium-plus to high.  
 
ID Keys: Mourvèdre-based wines combine ripe fruit, savory herb, and earthy aromas with considerable tannins. Some wines display considerable reductive qualities as well.

Spain: Monastrell – Murcia/Jumilla

Sight: opaque ruby purple.
Nose: ripe even jammy black fruits with fig, date, and prune; also savory herbs, pepper-spice, and vanilla-oak notes.
Palate: full-bodied and dry with ripe fruit and more earthiness than on the nose.
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus; tannin: medium to medium-plus.  

ID Keys: Monastrell from Jumilla combines ripe, jammy fruits, savory herb, and notes of both mineral and earth—but not nearly the tannin as found in wines from Bandol.  

IX. Nebbiolo

Piedmont: Barolo and Barbaresco

Sight: medium to deep ruby-garnet with considerably rim variation. Orange and brown can be found at the rim even in young wines. 
Nose: rose petal floral, tar, dried red cherry and cranberry, vegetal-forest floor, mushroom/truffle-earth, and wood; a unique combination of floral and earthy aromas. 
Palate: medium to full-bodied and bone dry.  
Structure: alcohol: medium-plus to high; acidity: medium-plus to high; tannin: high. 
 
ID Keys: color gradation (orange in the rim), high acidity, and very high tannins make Nebbiolo fairly easy to recognize.  Also look for the dried fruit and floral qualities. The wines are often austere, tart, and incredibly tannic when young.  

X. Sangiovese

Tuscany: Chianti Classico

Sight: medium to deep ruby. Can display rim variation in youth.
Nose: bright red fruits with tomato leaf-green herb, sandalwood, chalky earth, and wood notes. Some wines have Cabernet blended in and display darker fruit qualities as well.
Palate: medium to full-bodied and dry. 
Structure: alcohol: medium to medium-plus; acidity: medium-plus to high; tannin: medium-plus to medium-high.

ID Keys: tart red (and black) fruits, anise/herbs, sandalwood, chalky earth, and high acidity are key factors. The use of Cabernet and new oak can alter the Sangiovese character, sometimes considerably.

Brunello di Montalcino: Brunellos are made from 100% Sangiovese Grosso and see longer time in wood by law; thus the wines tend to be more evolved on release than a typical Chianti Classico or Vino Nobile.  
 
Vino Nobile di Montepulciano: Vino Nobiles are allowed up to 30% other grape varieties other than Sangiovese and often display more black fruit characteristics as well as a larger percentage of new wood.  
 
XI. Barbera

Italy: Piedmont

Sight: medium ruby to ruby purple.
Nose: bright, tart black and red fruits, bitter green herb, floral, and mushroom-earth. Small barriques are sometimes used and give the wines vanilla, sweet spice, and toast notes.
Palate: medium to medium-plus bodied and dry to bone dry.  
Structure: alcohol: medium to medium-plus: acidity: medium-plus to high; tannin: medium to medium-plus. 

XII. Tempranillo

Spain: Rioja Reserva and Gran Reserva

Sight: medium to deep ruby garnet.
Nose: dried red fruits, dried herb, and sunbaked earth; traditionally made wines show pronounced American oak character (dill-dried herb, vanillin, sweet spice, sawdust).
Palate: medium to medium-plus bodied and bone dry to bone.  
Structure: alcohol: medium to medium-plus; acidity: medium-plus; tannin: medium to medium-plus.  
 
ID Keys: traditional Rioja Reserva combines dried red fruits, leather, earth, and pronounced American oak flavors. Gran Reserva wines show even more oxidative character. It’s important to note that more producers are using French oak or a combination of French and American oak. 

XIII. Zinfandel

California--Dry Creek Valley

Sight: medium to deep ruby.
Nose: a combination of red, black, and dried fruits with black and/or white pepper, bramble-briar, sweet spices, oak, and high alcohol. Some wines also display notes of peach-apricot and yogurt.
Palate: full-bodied and usually dry, but full-bodied wines often display jammy or stewed fruit with a touch of residual sugar.  
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus; tannin: medium to medium-plus.  
 
ID Keys: the tendency for Zinfandel to ripen unevenly is a key to recognition; some wines will show both raisiny and under ripe fruit in the same glass. Generally, Zinfandel tends to be a full-throttle red with ripe, jammy fruit, and pepper-spice qualities.

XIV. Carmenère

Chile

Sight: deep ruby.
Nose: ripe black fruits with pronounced pyrazenic notes: green peppercorn, green herb/pepper-vegetal. A touch of earthiness is common. 
Palate: medium to full-bodied and dry. 
Structure: alcohol: medium to medium-plus; acidity; medium to medium-plus; tannin: medium to medium-plus.  
 
ID Keys: Carmenère  is similar to Merlot with supple fruit, but the vegetal green peppercorn qualities make it unique and unmistakable.  
 
XV. Malbec

Argentina: Mendoza

Sight: deep ruby purple.
Nose: ripe black cherry/berry and cassis with tart cranberry secondary notes; also violet, green herb, iron/blood, and wood spices. Some wines can display a touch of dusty earthiness.
Palate: medium-plus to full-bodied and dry.
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus; tannin: medium to medium-plus. 
 
ID Keys: a combination of deep purple color, ripe and unripe fruits and floral qualities. 

XVI. Pinotage

South Africa

Sight: medium to deep ruby. 
Nose: blackberry, mulberry, green pepper, peppercorn, green herb, iron/blood, and medicinal notes. 
Palate: medium to full-bodied and dry. 
Structure: alcohol: medium to medium-plus; acidity: medium to medium-plus; tannin: medium to medium-plus.

ID Keys: bright black fruits and the peppery-medicinal-band aid quality are keys to recognizing Pinotage. 

This is the second installment of markers for classic grapes and wines. The initial post covered several of the most important white varieties including Chardonnay, Sauvignon Blanc, and Riesling. This post will wrap up major white varieties including the aromatic grapes Viognier, Gewürztraminer and Muscat. Before diving in I’d like to offer some sage advice. After watching students take their Master’s tasting exam over two days last month in Aspen, I was struck by how often some of the tasting basics were completely missed with tragic results.  o here are some pointers to remember when practicing in the future:  
 
Phenolic bitterness vs. tannin: don’t confuse the phenolic bitterness in an aromatic white grape with oak or tannin. Both may taste bitter and may even feel a bit astringent on the palate but any substantial presence of new oak will come accompanied by all the spice/toast/vanilla aromas and flavors. Bitterness in an aromatic grape is just that—it’s bitter.

Oak vs. no oak: calibrate the presence of oak as accurately as you can. Above all, you must be convinced of oak presence by finding evidence in both the nose in palate. Unless you’re really sold on it, assume there’s little or no oak and what oak there may be is used, large format—or both.

Calibrate oak by using extremes: if you’re really stuck on finding oak and not sure if it’s even there or how much of it there is, put up an image in
your mind’s eye of the label of a California Chardonnay that is notorious, no make that shameless, in its use of new oak. Take a look at the label and ask yourself if it’s yes or no for the wine you’re tasting in the moment. The answer will come instantly. Take heed and move on.

Barrique vs. large format: small format barrels will always show more oak influence. Larger barrels show less and lend more textural elements to wine. I’ve heard some describe the aroma of used wood in white wines as “cheese rind” or mushroom. I’m inclined to agree. 

Earth vs. no earth: another basic and very important point but one that is often missed. Calibrate the presence of inorganic (rocks) and organic (dirt) earth. Look for both on the nose and palate. You must be convinced by strong evidence or the lack thereof before heading down the rosy path for New World or Old World style. If in doubt, once again turn to visualizing labels and using extremes. Example, for a New World wine with little or no earth, pick the label of the fruitiest-ripest-most-over-the-top red like a Barossa Shiraz or California Zinfandel. Ask yourself if it’s yes or no for the wine you’re tasting. The answer will come quickly. 

Calibrating structure: as in alcohol, acid, and tannin, as precisely as you can especially in regards to medium vs. medium-plus vs. high. The best tool for doing so, and I’ve written about this previously, is to visualize a scale or dial with increments marking low, medium, high etc., and a button that moves along the scale. Make your scale big, bright, detailed, and position it at eye level. Then practice calibrating all the structural elements with extremes. For example, for acidity, imagine biting into a fresh lemon slice and tasting/feeling just how remarkably acidic it is. Use that for your high acidity reference. Then compare that to the acidity in water—as in no acid whatsoever. Use other liquids or fruits to calibrate medium and other markers on the scale. Do the same with tannin, alcohol, and finish. A little practice using a visual scale/dial for calibrating structure and one becomes really proficient at it in a very short time. 

Some parting gems: 

Color: really get the difference between straw, yellow, and gold in white wines and ruby vs. garnet in reds.  

Remember to taste old wine from time to time.

Be comfortable with your voice in terms of speaking in front of a panel of examiners. Practice your “radio” voice and record yourself if necessary.

Time management: if time is an issue practice talking through wines out loud--without wines—using the stop watch function on your smart phone. With the right tasting/vocal pace timing should never be an issue.

Finally, remember to really listen to yourself as you describe the wines and trust your experience and instincts. If it quacks like a duck and walks like a duck, IT’S A DUCK!

White Grapes and Wines, Part II

V. Semillon: Bordeaux Blanc - with Sauvignon Blanc

Sight: medium to deep straw.
Nose: ripe apple-pear fruit with notes of wax-lanolin, floral, lemon citrus, and earth.  Some wines are blended with Sauvignon Blanc and oak aged.
Palate: medium bodied and dry with a waxy texture and notes of gravelly earth and oak.  
Structure: alcohol: medium to medium-plus; acidity: medium-plus. 
 
ID Keys: the combination of waxy texture, racy acidity, presence of earth and oak are keys to recognizing Semillon-based White Bordeaux. Some wines show a reductive note from mercaptan.
 
Sauternes – Barsac

Sight: medium yellow to gold.
Nose: botrytis notes are common: honey, ripe stone fruits, butterscotch, sweet spices, and vanilla-oak with a touch of earthiness.  
Palate: medium-plus to full-bodied; medium sweet to very sweet depending on the specific wine and vintage.  
 Structure: alcohol: medium to medium-plus; acidity: medium to medium-plus.

ID Keys: honey and botrytis notes, residual sugar, and the presence of oak.  
 
Australia

Sight: straw or deep yellow depending on the style of the given wine.
Nose: traditional wines are oak-aged for long periods of time and the aromas reflect such with elements of baked fruits, butterscotch, sweet spices, vanilla custard, and oak. Newer styled wines, especially those from the Hunter, have little or no oak with bright lemon-lime citrus, floral, and sour apple flavors.  
Palate: oak-aged wines are rich, full-bodied, and developed with nutty, oxidative notes. Newer styled wines are lighter in body with higher acid and less alcohol. Both styles are very dry.
Structure: alcohol: medium-minus to medium-plus; acidity: medium-plus to high.  
 
ID Keys: look for oxidative qualities with ripe fruit, butterscotch and new oak in traditional wines. Newer, non-oaked wines are remarkably distinctive wines with relatively lower alcohol and very high acidity.   

VI. Gewurztraminer: Alsace

Sight: deep straw to pale yellow.  
Nose: exotic, highly-perfumed nose of ripe stone fruits, lychee, sweet citrus, pronounced floral (rose petal and jasmine), and earth-mineral. Wood rarely used.
Palate: medium-plus to full-bodied. The palate is rich, viscous, and sometimes oily with the hallmark phenolic bitterness on the finish; wines commonly have more than a touch of residual sugar even to the point of being slightly sweet. 
Structure: alcohol: medium-plus to high; acidity; medium-minus to medium. 
 
ID Keys: Alsace Gewurztraminer is unmistakably flamboyant with its heady, exotically perfumed nose, succulent off-dry fruit, oily texture, bitter finish, and lack of acidity. 

VII. Viognier

Northern Rhône: Chateau Grillet & Condrieu

Sight: medium straw.
Nose: pronounced floral (white flowerer and roses), stonefruits, honey, and stony mineral.  Some wines are aged in new oak.
Palate: medium-to full-bodied and bone dry to dry.
Structure: alcohol: medium to medium-plus; acidity: medium-plus.  
 
ID Keys: the combination of pronounced floral notes, ripe stone fruits, minerality, and a touch of bitterness on the finish. Some wines offer new oak aromas and flavors with more acidity and less alcohol than New World counterparts. 

California

Sight: deep straw to deep yellow gold.  
Nose: profile similar to Condrieu, but much riper fruit and without minerality. Fruits include apricot/peach/nectarine, golden apple, and orange as well as honey and floral elements. A high percentage of new oak and full malolactic are often used. 
Palate: medium-plus to full-bodied with ripe sweet (even canned) fruit and the hallmark touch of bitterness on the finish; new oak common.  
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus. 

ID Keys: ripe, often over-ripe stone fruits, floral notes and the use of new oak;  like Chardonnay with canned peaches and bitterness on the finish

VIII. Muscat

Alsace

Sight: deep straw  to deep yellow. 
Nose: very similar palate to Alsace Gewurztraminer in style with an exotic floral (orange blossom and rose petal) and spicy nose; aromas include lychee, ripe stone fruits, and earth-mineral. Wood rarely used.
Palate: medium-plus to full bodied and dry. Similar in character to Alsace Gewurztraminer but with relatively higher acidity; often the perception of sweetness on the palate even when dry and still the hallmark bitterness on the finish. 
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus.

ID Keys: very similar to Alsace Gewurztraminer but with higher acidity. 
 
Moscato d’Asti

Sight: very pale straw with medium bubbles.
Nose: intensely grapey nose with peach, apricot, strawberry, and other fresh fruits highlighted by bright sweet and tart citrus and touch of mineral. 
Palate: light-bodied, slightly sparkling, and off-dry to slightly sweet. Fruit punch or fruit bowl in style. 
Structure: alcohol: very low (5.5%!); acidity: medium-plus. 
 
ID Keys: light-bodied and low alcohol; delightfully fruity, off-dry, and slightly sparkling. Spring in a glass.

Muscat de Beaumes de Venise - Vin Doux Naturel

Sight: medium to deep yellow.
Nose: spirity (from mutage/fortification), ripe white fruits, honey, floral, orange citrus, and bitter citrus peel; oak presence found in some wines. 
Palate: full-bodied and medium sweet.
Structure: alcohol: high (15% or higher); acidity: medium-plus.

ID Keys: all the fruity qualities of dry Muscat but with added spirits (and sometimes wood flavors).

IX. Pinot Gris-Grigio

Alto Adige Pinot Grigio

Sight: pale to medium straw with a touch of rose/copper. 
Nose: tart apple, green pear, citrus, lees, straw, almond, and stone/mineral. 
Palate: medium-bodied and bone dry to dry; tart apple/citrus, lees, and mineral notes with slight phenolic bitterness on the finish.
Structure: alcohol: medium to medium-plus; acidity: medium-plus.  
 
ID Keys: most Pinot Grigios are relatively light and citrusy with tart fruit, almond, and mineral notes with phenolic bitterness.

Alsace Pinot Gris

Sight: deep straw to medium yellow with a hint of copper. 
Nose: ripe, smoky yellow apple and melon with sweet and tart citrus, floral, honey, and dark earth-mineral.
Palate: medium-plus to full-bodied and dry to off-dry in style (some wines show noticeably residual sugar).  Very ripe fruit with an earthy character; botrytis notes often found even on wines dry in style with considerable phenolic bitterness on the finish.
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus.  
 
ID Keys: full-bodied and off-dry with rich, smoky pear-melon fruit and earthiness. Many wines have residual sugar with a rich, palate-coating mouthfeel; the texture is often described as “oily.”
 
X. Marsanne: Rhône

Sight: deep straw to yellow gold.  
Nose: ripe golden apple, peach, and melon fruit with citrus and jasmine floral notes. Wines are often blended with Roussanne and oak-aged displaying oxidative qualities and a waxy-nutty character similar to some styles of Semillon.
Palate: dry, rich, and full bodied.
Structure: alcohol: medium-plus to high; acidity: medium to medium-plus.

ID Keys: ripe fruits, waxiness, high alcohol, and earthiness are keys to recognition.

X. Grüner Veltliner

Sight: pale to deep straw.
Nose: style varies with different regions/climates and even classifications (Wachau). Cool climate wines tend to be lighter in body with tart green apple/pear, bright citrus fruits and herbal-vegetal qualities (celery, caraway, radish, white pepper, lentils) with earth and/or mineral. Wines from warmer regions have much riper fruit with notes of peach-nectarine, rhubarb, yellow apple, honey and more. Further, warmer climate wines often show botrytis character. Regardless, the pepper/rotundone notes in Grüner make it very distinctive.
Palate: wines are generally very dry and styles range from light and racy to rich, weighty, and grand depending on specific region and producer.  
Structure: alcohol: medium to high; acidity: medium-plus to high acidity. 
 
ID Keys: can be light and racy or full-bodied and grand. The ripe fruit and the celery-radish-white pepper combination are unique for Grüner.

XI. Albariño

Sight: pale to medium straw.
Nose: white peach, green pear, mandarin/orange, and lime-citrus with notes of floral, light herb, hops/Pilsner/lees, and wet stone minerality. Wood rarely used (barrica).
Palate: light to medium bodied and bone dry to dry. 
Structure: alcohol: medium to medium-plus; acidity: medium-plus.  

ID Keys: combination of peach, sweet citrus and herbal-citrusy character with aromas of flowers, beer/hops/lees, and mineral. Albariño is often describe as “Viognier nose and Riesling palate.” 

For a country about half the size of Texas, Italy is a land of extremes. In the south, Sicily is closer to Tunisia than Rome with Mediterranean and African influences visible across the cultural spectrum. In the far north, Alto Adige is almost as equally removed from the universally held stereotype of a Tuscan landscape of misty hills lined with Cyprus trees dotted by the occasional terracotta topped villa. The region was part of the Austro-Hungarian Empire until the end of WWI. Bolzano, its major city of some 100,000-plus, is just a leisurely 90 minute drive from Innsbruck Austria, site of the 1976 winter Olympics. It’s no surprise that over 70% of the people in Alto Adige primarily speak German and rarely Italian. 
 
Several times during my recent stay I overheard one of the local winery contacts say that they had gone to school in “Italy” or were about to head south to vacation in “Italy.” I would remind said person that we actually were in Italy only to be met with a shrug and the briefest hint of a smile. Regionality, as it does elsewhere in Italy, runs deep. I can’t blame any of them. One look at Bolzano and its surroundings and you’re definitely not in mainstream Italy, much less Kansas. Take, for instance, the remarkably steep hills encompassing the Santa Magdalena DOC that jut up dramatically from the northwest section of the city you’ll know why. With its black diamond slope terraced vineyard, one could easily be in the Wachau of Austria or the Mittel Rhein of Germany.  
 
In terms of wine production, Alto Adige is one of the Italy’s smallest regions with just over 5,000 growers farming some 13,000 acres. Napa Valley, by comparison, has over 39,000 acres under vine while the Chianti DOCG has over 41,000 acres planted. But quality here is king with over 98% of the wines produced of DOC level. The region’s climate combines alpine influence with warm temperatures during the growing season. That’s because the Dolomites and the Swiss and Austrian Alps in the north act as an enormous rain shadow protecting the area from temperature extremes during the winter. Mediterranean influence from the south makes for some of the hottest temps in Italy during the summer. Together both create wide diurnal shifts with a marked separation between high daytime and low night temperatures. For viticulture, that means the fruit—both apples and grapes--achieves good ripeness levels and yet retains high natural acidity, a magic combination that makes the wines versatile and in some cases lends considerable potential to age. 
 
The Alto Adige region is patchwork of valleys and mountains with vineyards planted between 600 and 3,300 feet. The soils range from calcareous and limestone near the ever-present Dolomites, to volcanic porphyry and moraines, the remains of glaciers that retreated from the region some five to six million years ago. The region is home for over 20 grape varieties with the soil largely determining the variety planted; whites on the chalk and limestone closest to the Dolomites and red grapes thriving in the Moraines and porphyry-based soils.

Geography: the Flux Capacitor

Think Back to the Future movies and the Y-shaped circuit that enabled the stainless steel DeLorean to journey through time (http://backtothefuture.wikia.com/wiki/Flux_capacitor). The comparison works. Alto Adige’s three major valleys form a letter “Y” with Bolzano as its hub. 

To the northeast is Valle d’Issarco, just minutes away from the Austrian border. Chiusa and Bressanone are the most important towns and the historical abbey, Abbazia di Novicella, is one of the leading coops - producers. The abbey dates from the 12th century and the Santa Maria Assunta is one of the most beautiful small basilicas I’ve ever seen—it’s a must see. Here in the Valley d’Issarco the soils are mainly granitic and white grapes predominate with some excellent Schiava produced as well.

The Val Venosta lies to the northwest with Merano the major city. The Venosta is the driest region in Alto Adige and also one of the centers for apple production. It’s the most scarcely planted valley of the three with poryphry and volcanic soils; whites predominate plantings. The region is also known for its mild climate and Merano has long been regarded as an excellent spa town. 
 
The Oltradige valley in the south is the largest of the three valleys and the heart of Alto Adige wine production. Appiano and Caldaro are the most important villages. Limestone and porphyry soils are found as well as moraines. White wines account for 56% of the production with vineyards planted between 1,000 and 2,300 feet. The village of Tramin, a spiritual home to the Gewürztraminer grape, is also located here.

At the center of the flux capacitor is the city of Bolzano, one of the warmest parts of the entire region. Here the vineyards of the Santa Maddalena DOC rise steeply out of the northwest part of the city. The soils are poryphry-based and perfectly suited to Schiava-based reds as well as Lagrein.  
 
Coops: a Reality Check

One belief I had to quickly shed while in Alto Adige was a long-held notion that coops are mere factories cranking out oceans of wine mediocre in quality at best. Over 70% of the wine in Alto Adige is coop-produced and a lot of it is very good to outstanding. In talking to winemakers, I learned that the region’s vineyards are severely fragmented in terms of ownership just like Burgundy. Thus, like Burgundy commercial winemaking on any scale can only exist in a cooperative context. Vineyard owners are generally non-wine professionals and have had the vineyards passed down to them by older generations. The relationships between coop winemakers and vineyard owners were closer to a négociant/owner in terms of the emphasis on quality fruit and lower yields. Terlano is a perfect example of one of the several Alto Adige coops making exceptional wine.  

The Grapes

Here’s a quick survey of the major varieties from the region.

Whites

Pinot Bianco: grown throughout the region. Pinot Bianco isn’t usually a grape that gets everyone dangerously excited but I was surprised, no make that shocked, at how well it can age give the right conditions. To point, Klaus Gasser of Terlano opened bottles of the winery’s Pinot Bianco from 1982 and 1955. The ’55 was deep golden in hue and still very fresh and alive. So much for the belief that whites don’t age well. Old wine aside, Alto Adige Pinot Bianco shows bright citrus fruit with white blossom notes on the nose and steely minerality on the palate. It’s a delicious shellfish wine.

Pinot Grigio: there’s an ocean of Pinot Grigio made all over northern Italy, much of it unremarkable. The best wines from the variety are definitely from Alto Adige and combine bright green pear/pear skin, and juicy citrus fruit with wet stone minerality.  

Gewürztraminer: it’s interesting to note that in Jancis Robinson’s just published and completely brilliant tome “Wine Grapes” (over 1,200 pages and weighing in at 6.7 pounds) a listing for Gewürztraminer is missing in action. Searching the index one is pointed to the Savignin entry with the explanation that what we call Gewürztraminer is actually a genetic mutation of the other Alsace grape. Not sure what that does to the village of Tramin’s claims to be the ancestral if not spiritual home for Gewürztraminer but there you are. In terms of style, Alto Adige Gewürztraminers have all the pungent floral and spicy fruit qualities one expects from the grape without the blowsy quality. At best, the wines are luscious, spicy, and
perfumed. They’re also delectable with soft-ripened cheeses.

Riesling: the few Rieslings I tasted during the week reminded me of scaled down versions of Austrian bottlings with tart citrus fruit and stoney minerality.  

Grüner Veltliner: one comes across Grüner in the north near the Austrian border. Here the style resembles the lighter versions from the Austrian Kamptal region versus the richer Federspiel and Smaragd wines of the Wachau. Still there’s plenty of the peppery and slight vegetal notes that make Grüner so delicious.

Kerner: another grape that usually goes under the radar and for good reason—it’s not exactly riveting. But I did find several wines, most notably the Praepositus from Abbazia di Novacella, to be delicious, with ripe Fuji apple and quince notes and a wonderful floral quality.

Sylvaner: I’ve long thought the Silvaners from Franconia (especially those from Hans Wirsching) to be the best on the planet. Now I’m more than willing to concede that there are several producers making outstanding Sylvaner in Alto Adige with all the smoky succulent apple/pear and tart citrus fruits one could hope for.

Sauvignon Blanc: here is really the only instance I found a bit of identity crisis among all the Alto Adige wines. Not really a surprise given that Sauvignon Blanc suffers the same wicked fate in California as well--not knowing whether to emulate New Zealand or Sancerre, and sometimes heading directly in between with unique, sometimes bizarre results. The best Alto Adige Sauvignons were sharply etched and citrus-dominated while others suffered from either too much sulfur or too much oak. However, there is great promise for the grape here.

Moscato Giallo: thought to have been brought to the region by the ancient Romans. Dry and succulent, fully dessert sweet versions are
made.

White Blends: blends based on Chardonnay, Pinot Bianco, Sauvignon Blanc, and Pinot Grigio are a long-held tradition in Alto Adige, and they can be quite good as well as age worthy. In particular, Manicor’s Reserve della Contessa and Terlano’s Nova Domus Riserva are outstanding. 

Reds

Schiava: I’ll go out on a limb here by saying the next uber geek hipster red wine will be Schiava. It’s a wonderful combination of Pinot-elegance and tart Barbera acidity with unique savory qualities. Light in color, fairly concentrated, and Beaujolais-like, it can be served chilled and goes with any and everything. You might see it also labeled as Vernatsch or Edel Vernatsch (remember the German influence!). The best Schiava-based wines are from the Santa Maddalena DOC where they are blended with a maximum 10% Lagrein. Try one—it’s delicious!

Lagrein: other than ease of pronunciation (it rhymes with wine), Lagrein could also be the next total geek wine. Malbec-purple in color but with Merlot-soft tannins and a tart, savory, and floral character all its own. Another must try.  

Pinot Noir: the Pinots I tasted during the week reminded me of Spätburgunders from Germany with tart cranberry/rhubarb fruit, and beet, tea/herb, and earth notes. Elegance and finesse are common hallmarks.

Merlot: primarily grown in the warmer south closer to Trento; bottled both as a single varietal and blended with Cabernet Sauvignon. The best examples have lush black fruits, herbal notes and minerality.

Cabernet Sauvignon: ditto above, with the best examples showing vibrant blackcurrant and herb notes with clay earth.

Moscato Rosa: my new favorite sticky. Moscato Rosas are luscious, just-right sweet, and spicy. Chocolate wine!

Random Thoughts

Apples! Alto Adige is the center of apple production in Italy and one of the major suppliers to the European continent. The valley floors are filled with apple orchards with vines on hillsides and terraces. However, a high bounty is placed on top orchards grown on steep hillsides.

Foods: when in Bolzano, makes sure to try the local dumplings called knödels, made from cheese, beets, speck (local ham like prosciutto), or spinach. The crunchy unleavened bread called schüttelbrot is also delicious.  

Restaurants: Patscheiderhof is an old farmhouse restaurant outside Bolzano built in 1776 that serves traditional local fare including delicious knödels.

Favorite Wines of the Trip

1. 2012 K. Martini & Sohn Pinot Bianco, “Palladium”
Lots of intensity and ripe fruit for Pinot Bianco with vibrant acidity and a touch of chalky minerality.

2. 2012 Castelfeder Pinot Grigio
Racy citrus and Pippin Apple fruit with notes of bitter almond and mineral.

3. 2012 Erste Neue Pinot Grigio
Sleek, supple texture with tart acidity; flavors suggest green pear, citrus blossom, and chalk.  

4. 2011 Abbazia di Novacella Sylvaner “Praepositus”
Ripe pear, green melon, key lime, and citrus blossoms with mineral underlay; focused, concentrated, and racy with an intense mineral mid-palate. Outstanding.

5. 2006 Cantina Terlano Sauvignon Blanc “Quarz” (from magnum)
Tart citrus, restrained grass/herb notes, and pronounced salty mineral; the palate is racy and seamless; wonderful balance and length.

6. 2010 Cantina Terlano Nova Domus Riserva
A blend of Chardonnay, Sauvignon Blanc, and Pinot Bianco. Vibrant Fuji apple/green pear and white flowers with bright lemon citrus notes.

7. 2011 Cantina Val Isarco Gewürztraminer “Aristos”
Ripe peach, tangerine, and ginger spice flavors with pronounced floral notes.

 8. 2012 Elena Walch Schiava
Tart cherry and cranberry notes with savory herb and a touch of earth.

9. 2011 A. Egger-Ramer Santa Maddalena “Reisegger Classico”
Richer than regular Schiavas with more depth of fruit and earth/mineral notes. Juicy, ripe, and forward with tart finishing acidity.

10. 2011 St. Michele Appiano Pinot Nero
Smoky cranberry and sour cherry fruit with beet root, tea, leather, and spice; lots of mineral on the mid-palate with older wood and tart
acid on the finish

11. 2011 Castel Sallegg Lagrein
Ripe black fruits with violet, anise/herb, green leaf, and earth/mineral notes; more restrained on the palate than expected, but still very juicy and fruity with tart acidity and minerality on the finish.

12. 2009 Kellerei Kaltern Passito Moscato Giallo “Serenade”
Fruit dried for 4-5 months and then aged in wood for two years; 210 grams residual with nine grams total acidity; crystallized pineapple and preserved lemon with honey; luscious fully sweet with honey, dried flower and anise notes; utterly delicious.

The Wente Clone Turns 100

This week saw two important celebrations for 100th birthdays in the wine world. First, an outstanding symposium at Wente Vineyards in Livermore on Monday celebrating the 100th anniversary of the Wente clone of Chardonnay. I was fortunate to have the opportunity to chair a panel of industry experts that included Phil Wente from the winery; Greg LaFollette, winemaker and owner of LaFollette wines; Stephane Vivier, winemaker for Hyde de Villaine wines; Nancy Sweet of the Foundation Plant Services at U.C. Davis; and long-time colleague Chuck Hayward of J.J. Buckley Fine Wines in Oakland. Our mission was to map the birth and evolution of the Wente clone of Chardonnay in California over the last century.

 Before you leave this page to go microwave something or turn on the Weather Channel, allow me to explain as it’s become all too easy to bash anything remotely related to the Chardonnay grape. In fact, we’ve gotten just as good at berating Chardonnay as taxes, the dismal weather in the Sunset District of San Francisco during the summer, or how remarkably annoying Katie Perry’s voice is after a very short period of time. But all this fuss over the popularity of Chardonnay is a very recent thing. Consider for a moment that in 1960 there were only 260 acres of Chardonnay planted in the entire state of California. That’s right, 260 acres, or less than half a square mile for anyone doing the math. Further, the state agricultural census listed Chardonnay as a “miscellaneous” white grape until 1968. Mind you, a varietal bottled Chardonnay wasn’t even commercially sold until 1936. It was made by, you guessed, Ernest Wente. 

It was the famous “Judgment of Paris” tasting in 1976 and the success of the 1973 Chateau Montelena Chardonnay that initially spurred the tremendous growth of Chardonnay plantings, much of which was comprised of the Wente clone or variations thereof. One could even argue that the most site specific grape in California from the 1970’s through the late 1980’s was Chardonnay because of the consistency of the plant material (as in the Wente clone).  Today the Chardonnay world is very different indeed. As of 2010, there are over 95,000 acres planted in California, an increase of over 400 percent from those long ago days of the early 1960’s. Combine that with the factoid just recently released that the white wine market in the U.S. is now the largest wine market on the planet, and Chardonnay becomes even more important to our wine gestalt. In the end, we may complain about Chardonnay all day--but we simply cannot ignore it.

As for the symposium, it was a wonderful blend of Wente family history (truly one of the great families of California wine) with a lot of technical data including spider graphs (which always make me squint) about the morphology and evolution of the Wente clone through the years. The big surprise of the event was Chuck Hayward’s “CSI” work on uncovering how the Wente clone got to Western Australia from California in 1955. The answer is via Dr. Harold Olmo of U.C. Davis clonal research fame, who OK’d the initial shipment of vine cuttings and who also went on to help establish several of the best cool climate growing regions in that state. 

Also notable were comments made by fellow Masters and good friends Peter Granoff and Sally Mohr. When asked about sommeliers and why they need to consider Chardonnay for their programs, Peter responded by saying that sommeliers need to “put their egos aside” and just do their jobs. Sally Mohr responded by pointing out that while everyone makes such a fuss over white Burgundy, we’re at the point now that where the best Chardonnay vineyards in California should be considered the equal of their Burgundian counterparts in terms of wine quality. I completely agree with both. 

The entire symposium can be viewed in three parts via U-Stream:

http://www.ustream.tv/recorded/23405528

d’Arenberg Turns 100

The second big birthday bash happened this past Tuesday night at the Old Mint building in San Francisco. A group of more than a hundred gathered to celebrate the 100th anniversary of d’Arenberg, one of Australia’s most unique and iconic wineries. If not familiar, the winery was founded in 1912 by Joseph Osborn, a teetotaler and then director of Thomas Hardy and Sons winery. Osborn purchased the 60 acre Milton Vineyards in the hills just north of the townships of Gloucester and Bellevue, now known as McLaren Vale. Fruit was sold to local wineries until the construction of a cellar in 1928. In 1943 Frank’s son, Francis d’Arenberg Osborn (known as “d’Arry”), returned from school at age 16 to help his father run the business. d’Arry eventually assumed management in 1957, and in 1959 launched his own label called d’Arenberg, named after his mother Frances Helena d’Arenberg. The d’Arenberg wines quickly started winning medals in major competitions and within 20 years the winery gained both national and international recognition. The rest, as they say, is history.

Today Chester Osborn, the fourth generation, oversees winemaking duties. The vineyards are still located in McLaren Vale about an hour’s drive from Adelaide. The climate, while definitely hot during summer months, is all about diurnal shift as the nights are much cooler due to the proximity to the ocean. That makes for wines with high natural acidity regardless of the ripeness level--and high acidity means good balance and longevity, both hallmarks of the d’Arenberg wines. 

Chester makes as many as 16 different wines in any one vintage, from a Pinot Meunier-based sparkler all the way to a tawny port-styled fortified sticky. My favorites over the years have been the Riesling called the “Dry Dam,” the old vines Grenache called the “Custodian,” and the reserve Cabernet called “Dead Arm.”  It goes without saying that all the d’Arenberg wines have quirky names with a story behind each. Beyond that, Chester is all about sustainable practices in the vineyard, and minimal--and I do mean minimal--intervention in the winery. In terms of the latter, only traditional basket presses are used and the wines are rarely, if ever, racked during barrel aging.  That’s because Chester believes a certain amount of reduction is needed to offset the natural oxidation that a barrel environment provides. 

The event started off with a tasting of over 40 wines including older vintages as well as newly released Shiraz and Grenache vineyard designates from the 2010 vintage. Here are notes on my favorites:
 
Older Vintages

2004 “Dry Dam” Riesling: quintessential Aussie light saber Riesling with intense lime and mineral flavors and atom-smashing acidity.

2002 "Thieving Magpie" Shiraz-Viognier: projectile blueberry and violet plasma. Amazing aromatics with a seamless, spicy, and delicious palate. Hedonistic.

2001 "Galvo Garage": a Cabernet blend with Merlot and Cabernet Franc. There’s a common notion that Aussie wines don’t age well and that the Cabernets are second rate. I think we can toss both ideas out in the backyard next to the square wheel and the eight track player. At 11 years young the Galvo is vibrant, harmonious, and just starting to show its stuff. 

New Releases

2010 “The Beautiful View" Grenache: wild strawberry jam meets a pepper grinder beneath a grove of eucalyptus trees. Rich, juicy, spicy, and savory. 

2010 “The Vociferate Dipsomaniac” Shiraz: an immensely concentrated red with dark fruit compote, exotic Asian spices, and savory herb notes. Think Humvee in ballet slippers. Shameless. Take cover.

http://www.darenberg.com.au/


Cheers! Happy 100th to both the Wente clone and d’Arenberg. Here’s to 100 more!

Double Bond came across my radar through a good friend and colleague. This small Central Coast winery was founded by biochemist John Klacking. The winemaking team is headed up by retired physicist John Thunen, who has a long successful track record in small batch production. Double Bond’s portfolio is made up entirely of limited production single varietal wines from established vineyards in Edna Valley and Santa Barbara County. Especially noteworthy are the Chardonnay and Pinot Noir from the Edna Ranch and Wolff Vineyards in Edna Valley, and the Syrah from the Larner Vineyard in the Ballard Canyon of Santa Ynez Valley.  Partner Sean McCaffrey says the philosophy of Double Bond is all about combining the best fruit sources with minimal winemaking. The results are impressive. Here are my notes for the wines.

2008 Chardonnay, Edna Ranch Vineyard, Edna Valley 14.2% $28 SRP
Notes: bright, forward tropical fruits with Meyer lemon-lime citrus, a touch of savory herb, and vanilla cream spice. Elegant, well-balanced, and seamless. The best Edna Valley Chardonnay I’ve tasted in a very long time.

2008 Pinot Noir, Wolff Vineyard, Edna Valley 13.8% $45 SRP
Notes: cranberry, sour cherry, and beet aromas with notes of red flowers, lavender, black tea, and barrel spice. Forward, supple, and very long.

2009 Pinot Noir, Wolff Vineyard, Edna Valley 15.2% $45 SRP
Much riper style than the 2008 vintage. Ripe, plummy fruit with notes of craisin, savory herb, mint, and pronounced barrel spice. Rich, lush, and spicy.

2008 Syrah Lanner Vineyard, Santa Ynez Valley 15.9% $48 SRP
Ripe black fruits with kirsch, pepper spice, black licorice, dried savory herb, bitter chocolate, and coffee notes. Touch of heat on the finish. Dense, powerful, and concentrated.