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Dark times for pinot?

[vines at felton road]Here’s part two of a New Zealand Winegrowers trade tasting; the first part covered sauvignon blanc, this will deal with pinot noir, the third installment will run down a few rieslings, and everything else will appear in the fourth installment. Notes are of the hit-and-run variety due to the format, so please read them in that context.

Matua Valley 2008 Pinot Noir (Marlborough) – Green leaves (perhaps beet greens) with a powdery underbelly. Hardly undrinkable, but tastes more like an experiment than a pinot noir. (3/09)

Saint Clair “Vicar’s Choice” 2008 Pinot Noir (Marlborough) – Dry red fruit. Underripe. (3/09)

Saint Clair 2008 Pinot Noir (Marlborough) – Clean red berries and Juicy Fruit™ gum. Candy’s rarely a positive descriptor for pinot noir. (3/09)

Palliser Estate “Pencarrow” 2007 Pinot Noir (Martinborough) – Tart. Rhubarb and cranberry. Smoke and a little minerality, with hints of depth on the finish. Very crisp. Not entirely balanced. (3/09)

Palliser Estate 2007 Pinot Noir (Martinborough) – Beet, plum, and weedy tannin. This wine throbs at a baritone pitch, never really adding anything other tones of interest. Disappointing. (3/09)

Dashwood 2007 Pinot Noir (Marlborough) – Black cherry, sour dill, and severe char. Vile. (3/09)

Stoneleigh 2007 Pinot Noir (Marlborough) – Light black fruit with clarifying acidity. Juicy and pleasant. (3/09)

Babich 2007 Pinot Noir (Marlborough) – Sweetish candy notes. Black plum, orange rind, golden beet, and a hint of anise. This doesn’t entirely escape a certain synthetic character, either. Iffy. (3/09)

Oyster Bay 2007 Pinot Noir (Marlborough) – Flat. Seashell and dirty asphalt. Yuck. (3/09)

Nobilo “Icon” 2007 Pinot Noir (Marlborough) – Pretty fruit; a blend of black, red, and purple. Soft and clean. There’s nothing here but fruit, and while it’s good in that style, it’s a little more like juice than wine. (3/09)

Nautilus “Opawa” 2007 Pinot Noir (Marlborough) – Golden beet and concentrated weed…both the invasive plant and the kind you smoke…with a short, bitter finish. Thoroughly underripe. (3/09)

Matua Valley 2007 Pinot Noir (Marlborough) – Prune, black cherry, and burnt coffee. Short, and that’s probably for the best. (3/09)

Vavasour 2007 Pinot Noir Awatere Valley (Marlborough) – Sharp and short, but what’s here is tasty, fun, and crisp. Red berries, mostly. (3/09)

Allan Scott 2007 Pinot Noir (Marlborough) – Green grass and high tides forever. Actually, maybe just the green grass. And dill. Dull. Dull dill. (3/09)

Babich “Winemakers’ Reserve” 2007 Pinot Noir (Marlborough) – Pure red fruit, apple, clementine. Crisp, with a sandy texture. Good basic pinot. (3/09)

Nautilus 2007 Pinot Noir (Marlborough) – Sugary red and black plums, finishes like some bizarre sort of candy. (3/09)

Saint Clair 2007 Pinot Noir Pioneer Block 4 “Sawcut” (Marlborough) – Cran-grape juice. Light, sour, and underripe. (3/09)

Staete Landt 2007 Pinot Noir (Marlborough) – Reserved, dry, and difficult, with chalky minerality. Very long, though. A little bizarre, perhaps, but it might be worth holding for a while, to see what happens. (3/09)

Spy Valley 2007 Pinot Noir (Marlborough) – Plummy. Short, simple fruit. Clean. (3/09)

Wild Earth “Blind Trail” 2007 Pinot Noir (Central Otago) – Beet, blood orange, and luminescent red fruit with hints of herb. Fun, with good quality for its price. (3/09)

Amisfield 2007 Pinot Noir (Central Otago) – Smoked dill, heavily-filtered dark fruit, and some heat. Long, but to little purpose. An absent wine, and just no good. (3/09)

Woollaston 2006 Pinot Noir (Nelson) – Black fruit with a candied edge, coal at the core, and hints of additional minerality. Coarse and short, but intense while it lasts. Not all that much fun to drink. (3/09)

Montana “Brancott” 2006 Pinot Noir “Reserve” (Marlborough) – Butter soup. Awful. (3/09)

Whitehaven 2006 Pinot Noir (Marlborough) – Stale nuts. Flat. Horrid. (3/09)

Hans 2006 Pinot Noir (Marlborough) – Beet, asparagus, and bitterness. Yuck. (3/09)

Wild Earth 2006 Pinot Noir (Central Otago) – Mixed berries and dark soil studded with morels. Deep, with the first stirrings of complexity. Medium-length finish. Very good. (3/09)

Isabel 2005 Pinot Noir (Marlborough) – Green berries. Tart and weedy, with watermelon Jolly Rancher on the finish. Short. A disappointment. (3/09)

Wither Hills 2005 Pinot Noir (Marlborough) – Black fruit tarted up like candy lozenges. (3/09)

Palliser Estate 2007 Pinot Noir (Martinborough) – Green beets (rather than beet greens) and pinkish fruit, with a powdered cotton candy texture. (3/09)

Gladstone 2007 Pinot Noir (Wairarapa) – Biting, skin-bitter, and high-toned. Lavender aromas. Weirdly interesting, though I think it would be difficult to identify as pinot noir. (3/09)

Waimea “Spinyback” 2007 Pinot Noir (Nelson) – Dirty (in a good way), but the palate is soapy and the finish pure Styrofoam. (3/09)

Te Mania 2007 Pinot Noir “Reserve” (Nelson) – Quite volatile and high-toned, with pinkish-purple fruit, plus a great deal of bite and chew. Spicy. Perhaps a touch woody, but it should integrate if so. (3/09)

Montana “Brancott” 2007 “T” Pinot Noir “Terraces” (Marlborough) – Red cherry, strawberry, raspberry. Simple fruit, but there’s not much else. Very light, with good balance. (3/09)

Huia 2007 Pinot Noir (Marlborough) – Sour dill and other herbs with a chalky finish. Awkward. (3/09)

Muddy Water 2007 Pinot Noir (Waipara) – Black cherry and black truffle with a heart of darkness. Elegant and pure. Lovely. (3/09)

WJ Coles Successors “The Crater Rim” 2007 Pinot Noir Blacks Lot 7 (Waipara) – Promising at first, but then…? Plummy fruit without a finish of any kind. Where’s the rest of the wine? (3/09)

Valli 2007 Pinot Noir Waitaki (Central Otago) – Intense blueberry. Very juicy. Pulses at the core. Piercing at first, but it’s all upfront; the wine’s finish goes nowhere, leaving only a lingering hint of tannin. (3/09)

Mud House “Swan” 2007 Pinot Noir Bendigo (Central Otago) – Smoky/musty raspberry, beet, and sugarplum. OK, but there’s a candied element that detracts. (3/09)

Carrick 2007 Pinot Noir (Central Otago) – Toast and char. Extremely ungenerous. Hard throughout. Whatever killed this wine – and it’s most certainly, if prematurely, dead – must include the barrels. (3/09)

Pinot noir is New Zealand’s second most planted variety. That’s sort of staggering to think about; more than any of the Bordeaux grapes, more than syrah, more than pinot gris, and even more than chardonnay. If sauvignon blanc is the grape on which New Zealand’s commercial fortunes rest, pinot noir is the grape in which its qualitative reputation is almost solely invested. (At least for now, that is; syrah has shown great promise, though finding a market for it will be a different issue.)

But while a good deal of international hype has been whipped up over the quality and potential quality of the country’s pinots, there are four factors that hold it back: ripeness, price, quantity, and identity.

New Zealand’s top pinot noir producers have concluded that pushed-ripeness (“overripe,” if one prefers a value judgment) pinot noir is, at best, a controversial product. For many, the quest is not for more, but rather for less, and some even bottle their reserve bottlings only in what might, by the rules of Burgundy and other regions, be considered the “lesser” (that is, cooler and less ripe) years. Of course, good wines are produced at many different conceptions of ripeness. Yet most winemakers acknowledge that it is all too easy for them to make monster pinot noir, and many feel that it is not in their interest to do so. (On this point I agree with them, but that’s obviously based on my personal preferences.)

Price is a persistent issue with pinot noir from anywhere; the tariff for entry into the realm of quality pinot noir is usually fairly high, and attempts to find cheaper alternatives are rarely met with success. This is no less true in New Zealand, and the above notes bear this out; a little less than half the wines are under $20, and the vast majority of those range from nearly-undrinkable to, at best, drinkable simplicity. Among the country’s best pinot noirs (not, in general, represented in these notes), prices ranging from around $40 to the higher double-digit realms are the norm; the triple-digit super-cuvées with which a few overreaching New Zealand producers have experimented haven’t found traction here, as yet.

Of course, wherever there’s good pinot noir, there’s not much of it. The very best wines are, like the best pinots from pretty much everywhere else, small-production entities. (Site-specific bottlings aren’t yet a major factor; New Zealanders’ caution in this area is warranted and admirable, since many vineyards are far too young to have clearly separable terroir signatures, and clonal identities are, in many wines, far more dominant at the moment.) The most cultish bottlings are snapped up by locals via long-closed mailing lists, and the rest must service not only the homeland, but also many other markets in which New Zealand has had a longer presence than it has had in the States. So to speak of high-quality, limited production pinot noir is one thing, but to actually acquire a selection is another. The promotion challenges are considerable; if there are only a dozen cases available for the entire United States, and some of that must be opened for otherwise-unfamiliar retailers, sommeliers, and press, there’s not going to be much wine to sell. And thus, there’s not much chance of marketing traction for the wine, the brand, or the grape. Larger-production wines do better at this, but as the above notes indicate, many of those wines aren’t very good, which is a brand-building danger of its own.

All of these factors contribute to the difficult question of New Zealand pinot noir’s identity in the worldwide marketplace. The wines that are available everywhere are “cheap for pinot”, but in reality aren’t all that cheap…and, mostly, aren’t all that good either. Many better wines are only anecdotally available, and most certainly aren’t cheap. The existence of the former damages the case for the latter, but the general unavailability of the latter makes it impossible to counter this effect.

And that’s not even the biggest problem. Putting aside “commoditized” pinot noir for a moment, quality-oriented wines from this grape must compete in a world marketplace that is rather laden with options from elsewhere, priced pretty much the same. Lovers of a riper, more full-throttled “Californian” style will find wines from New Zealand that fit their palate, but in tiny quantities and equivalent prices, so what – other than pure curiosity – is their impetus to explore the category? Lovers of a more restrained, “Burgundian” style will find wines made with that philosophy in mind, whether or not the wines actually taste Burgundian (mostly, they don’t; if there’s any region with which the wines have a vague kinship, it’s the Willamette Valley), but this is an audience that’s very, very resistant to New World pinot noir…and again, the prices for wines of equivalent quality are not particularly divergent. So again, what’s the motivation to shift funds from one to the other?

Given that most (though certainly not all) New Zealand producers’ best pinot noirs are deliberate attempts to scale back New World-style ripeness, it’s crucial that these wines be placed in front of critics, traders, and consumers who dislike the more powerful style. Only then will any market presence be enhanced. The wines will always be a difficult sell, but here is where their low quantities become a virtue; the audience doesn’t have to be huge to sell through the wines.

And further progress must be made on the “bargain pinot” front. There is evidence that pinot noir of quality, if not necessarily much complexity, can be made in New Zealand. Many of the best producers bottle a forward, fresh, “drink now” bottling specifically targeting this market; these wine, rather than wretched mass-market cheapies, must come to represent New Zealand pinot noir in the popular mindset, or consumers will always be wary of “trading up” to the pricier wines. Nothing from this tasting better exemplifies the necessary qualities than the Wild Earth “Blind Trail” from the Central Otago, which often retails for under $20. No, it won’t make anyone forget Chambolle-Musigny, or for that matter Domaine Drouhin Oregon, but then again it’s not supposed to.

Unfortunately, the rather high percentage of wines in this tasting that come from Marlborough does not represent the best path towards this goal. There aren’t many regions in the world where pinot noir and sauvignon blanc grow to high quality side-by-side, and based on the evidence thus far Marlborough isn’t about to add itself to that list. To be sure, there are quality pinots made in the region (and a tiny number of real stars), but there are very few versus the total number produced. Overall, 45% of New Zealand’s pinot noir comes from its most industrial region, followed by 28% from the hype-heavy Central Otago (rife with young vines and untested potential, despite the hype), just 11% from its (so far) best region – the Wairarapa, including Martinborough – and a relative trickle from Nelson, the Waipara, and elsewhere. This is not a recipe for progress.

Within the confines of this tasting, it would be a rather lengthy process to list the failures, for they are numerous. Of special note, however, have to be those wines that grossly under-perform at their price points; those include Spy Valley, Amisfield (a perennial underachiever), Whitehaven, Palliser Estate, Huia, Isabel, and – most shockingly for me, since I’ve liked the wine in the past – Carrick. There are some surprising names on that list.

The successes? At the lower end – which is relative for this grape – Palliser Estate “Pencarrow”, Stoneleigh, Nobilo “Icon”, Vavasour, and the Babich “Winemakers’ Reserve” perform well, though all are surpassed by the quality/price ratio of the Wild Earth “Blind Trail”. At the higher end, Wild Earth and Muddy Water are the only real standouts.

Riesling star

[riesling at kahurangi estate]Here’s part three of a New Zealand Winegrowers trade tasting; the first part covered sauvignon blanc, the second with pinot noir, and everything else will appear in the fourth installment. Notes are of the hit-and-run variety due to the format, so please read them in that context.

Saint Clair “Vicar’s Choice” 2008 Riesling (Marlborough) – Varietally true, but that’s about all to be said about it. Light, with an equally light sense of sweetness. Drinkable but dull. (3/09)

Babich 2007 “Dry” Riesling (Marlborough) – Loaded with mercaptans. Sharp as a razor, but fruitless. Flat. Boring. (3/09)

Spy Valley 2007 Riesling (Marlborough) – Slight sweetness, apple, gritty steel, and a few drips of petrol. Long. Not bad, albeit simple. (3/09)

Palliser Estate 2007 Riesling (Martinborough) – Intense lime, lemon, and limestone, but the wine is balanced rather than enormous or top-heavy. In fact, the balance is rather impressive. A wine of substance. The quibble is the a lack of complexity, though it’s young and there’s plenty of time. (3/09)

Dry River 2007 Riesling Craighall “Amaranth” (Martinborough) – Vivid. Crushed glass and rocks, both liquefied. Excellent acid/sugar balance. Incredibly pure. Very, very, very long. Incredible, and clearly the best wine of the entire tasting. (3/09)

Waimea “Spinyback” 2007 Riesling (Nelson) – Wet and fun. Slate. Fruit-forward, with slight tropicality. A bit simple, but good, with some potential upside as the wine ages. (3/09)

Neudorf 2007 Riesling Brightwater (Nelson) – Slightly reduced but still accessible. Mineral-dominated (gravel and sand). Dried Granny Smith apple. High-quality. (3/09)

Allan Scott 2007 Riesling (Marlborough) – Grassy. Light green plum. Synthetic finish. Very simple. (3/09)

Villa Maria “Cellar Selection” 2007 Riesling (Marlborough) – Ultra-clean and “perfect,” but it lacks the additional intensity and/or complexity it would need to achieve greatness. Long, dry, and mineral-overwhelmed (mostly because there’s not much else), with little future indicated. Still, a good enough wine for early drinking. (3/09)

Mud House 2007 Riesling (Waipara) – A hollow balloon of dusty minerality, lime rind, and grapefruit. Short. (3/09)

Mount Grey 2007 Riesling (Waipara) – Rich, silky, and tropical. Not enough acidity. Some plastic weirdness, as well. (3/09)

Amisfield 2007 “Dry” Riesling (Central Otago) – A smoked crystal core with a hint of cherry. Dark, brooding, and earthy. Quite enticing. (3/09)

Felton Road 2007 Riesling (Central Otago) – Lots of sugar, front-loaded and obvious, but with the requisite acidity to match it. An explosion of apples follows. Big and long. Wow. (3/09)

Forget sauvignon blanc. The future of New Zealand white winedom might be riesling.

Of course, it will take a long while before we’ll know whether or not this is true. For one thing, the vines tend to be very, very young (the oldest in New Zealand are in the hands of an unfortunately commercial winery). For another, they’re not always planted on the best sites (that is to say, few know where the actual “best sites” are, as yet). Additionally, the market for riesling is a fickle and frequently absent one, even in the best of cases. But New Zealand riesling plantings and exports continue to rise on a slow-but-steady incline, according to the data. So while there’s not explosive demand or supply, there’s a growing interest. Slow, steady growth suits this slow, steady grape.

Stylistically, most New Zealand riesling of note is off-dry. Dry versions of quality are rare. Fully sweet and/or botrytized versions tend to be better, but are ubiquitous enough that there’s a lot of tedium and indifference, much of it overpriced, some of it well-priced to no good effect. Outright sweet riesling is harder than people think.

Regionally, there’s no one source of excitement. Martinborough, Marlborough, Nelson, Waipara/Canterbury, Central Otago…all have promising (and less so) wines to show to the world. Potential diversity is thus suggested, but it will take years to work out the shape of that diversity.

In this tasting, it’s clear that the median point for riesling is higher than it is for any other grape on offer (and based on my historical tastings, this is generally true). I don’t believe this indicates something fundamental about inherent varietal quality, but rather a disinterest in mucking about with this particular grape as a function of its lack of popularity. Were these sauvignon blancs, they’d be focus-grouped to death, with the concomitant cellar machinations following. But riesling? Many wineries will ask: what’s the point? The result is, overall, better wine, with fewer lows. And the highs? Slightly higher as a percentage of the total, I’d say, though that’s an unscientific assessment.

Obviously, the Dry River and the Felton Road are the stars of this tasting, though the Amisfield, Neudorf, and Palliser Estate are all high-quality wines. The Dry River needs to be good at its price, which is nearly twice that of any other wine. Is it worth it? Yeah, probably.

Finally, a note: in 2002, Villa Maria told me that they were exerting a special focus on what they referred to as “Alsatian varieties.” Villa Maria is a huge, sometimes industrial, producer, but as they’re family owned, they don’t have to engage in the ridiculous market-whoring contortions that many publicly-traded wineries suffer. As such, I think their “Alsatian” focus represents an honest belief that there’s real potential for that particular palette of grapes in New Zealand. Villa Maria knows their market and their country’s overall potential as well as anyone, so theirs is an opinion I take seriously.

Kiwi cornucopia

[mid-veraison grapes]Here’s the final installment of a New Zealand Winegrowers trade tasting; the first part dealt with sauvignon blanc, the second with pinot noir, and the third with riesling. Everything else is here. Notes are of the hit-and-run variety due to the format, so please read them in that context.

Kim Crawford 2008 “Unoaked” Chardonnay (Gisborne/Hawke’s Bay) – Sweet tropical candy. Dried fruit. Rainier cherry? Eh. (3/09)

Babich 2008 “Unoaked” Chardonnay (Marlborough) – Bitter but clean. Rinds and gravel. Seems off-dry. OK. (3/09)

Villa Maria “Private Bin” 2008 Chardonnay (Marlborough) – Ripe orange and fig with a hint of butter. Big, clean, and nice. This is what cheap chardonnay should taste like. (3/09)

Oyster Bay 2008 Chardonnay (Marlborough) – Spice and milk. Is there fruit? It’s hard to say. Worked to death, and no fun. (3/09)

Chardonnay is being abandoned as a commodity grape in New Zealand. That’s not a reflection of plantings – it’s quite widely-grown, though it pales in comparison to sauvignon blanc, and isn’t even quite as popular as pinot noir – but a reflection of its marketing, which is mostly nonexistent in the States. (In New Zealand itself, things are a little different.) And – I can’t believe I’m about to say this – it’s a shame.

The unoaked style has fresh potential on the ground in its country of origin, but as an export wine isn’t of much use; it’s probably not worth the tariff to get these friendly, simple wines to other shores. However, the fruit intensity of the better New Zealand chardonnays (most of which are oaked to some degree) is so vivid and pure that it would be a shame to abandon the grape. None of which are represented here, in my opinion, and it’s true that the world hardly needs more chardonnay, but I think there’s real potential that, while not going untapped, is perhaps going unrealized by worldwide consumers.

One caveat on the preceding notes: these chardonnays were tasted immediately after the sauvignon blancs, and (in my opinion) suffered in contrast with the acidity and green intensity of that grape.

Hans 2007 Viognier (Marlborough) – Lanolin and pretty flowers. Oil, peanut, some spice. Oak? I’m not sure. Fantastic flavors, though they’re sticky and thick. Lurid, as many viogniers are. Not bad? Particular, for sure. (3/09)

I keep tasting interesting viogniers from New Zealand, and then returning to find they’ve fallen on harder times. It’s a cranky grape, for sure, with as many detractors as fans. But if there’s potential, and someone can figure out how to retain some acid in the wine, there’s probably a market.

Nobilo “Regional Collection” 2008 Pinot Grigio (East Coast) – Big yellow/white/green fruit with a flat finish. Simple and boring. (3/09)

Nautilus 2008 Pinot Gris (Marlborough) – Very sweet and spicy. Wobbly Wine as Pop Rocks. (3/09)

Te Mara 2008 Pinot Gris (Central Otago) – Sticky pear, spice, and minerality. Good intensity. Vivid. Neon-electric. I’d call this a CGI pinot gris, and in a good way, but it’s not for everyone. (3/09)

Spy Valley 2007 Pinot Gris (Marlborough) – Grass, pear skin. Balanced but insignificant. (3/09)

Hans 2007 Pinot Gris (Marlborough) – Lotion, dried pear. A lingering impression of something being fried, though it’s not clear what. Weird and not very good. (3/09)

There has been an explosion of pinot gris in New Zealand. Why? Ask winemakers. When they’re being honest, they’ll tell you that it’s a mystery to them, as well. But they’ll be in the process of making one while they tell you that. Whether there’s an insatiable demand for the grape, or just a demand “created” by the fact that there’s rather a lot to sell, the fact is that New Zealand is awash in the stuff.

Fruit-forward, a little sweet, and flaw-free. That’s the recipe for a successful commercial white wine, and so much pinot gris from New Zealand is made this way that its cash-cow role is rather clear to see. But there’s a problem. It’s not that so few rise to any real significance, it’s that even among the bottlings that don’t try, few of them are of much interest at all. In fact, some winemakers will – with an embarrassed tone – tell you exactly that, if you ask. And yet, they’re producing the wine in ever-increasing quantities. By the numbers, less than 200 hectares in 2000 have become over 1300 hectares in 2008, and exports have skyrocketed from 200,000 liters in 2004 to almost 1,300,000 liters in 2008. Who’s buying this stuff? No one I know. Yet there must be a market somewhere. Asia? The UK? Australia?

Pinot gris can be interesting in two ways: rich, mineralistic, and spicy in the mode of Alsace (and the only successful wine of this tasting, the Te Mara, is in that style), or mineral-driven but clean and clear, in the mode of regions Germanic and northeastern Italy. Otherwise, it’s a boring grape that makes offensively inoffensive wine.

Much more is going to have to be done with the grape to convince me that it’s worthwhile for so much of it to be produced in New Zealand. For now, it’s their California chardonnay. And I don’t mean that as a compliment.

Spy Valley 2005 Gewürztraminer (Marlborough) – Mercaptans. Old cashews and tin. Useless. (3/09)

While I’ve often said that gewürztraminer is a grape with which New Zealand could make a big international splash, had they only the will, the fact is that there’s no worldwide clamor for alternative gewürztraminer sources. (In fact, New Zealand’s exports of gewürztraminer fell last year.) Certainly this wine will do nothing to convince anyone. Look to Gisborne and Martinborough for much, much, much better examples, the best of which hold their heads high in the company of Alsace, the unquestioned best region for the grape.

Monkey Bay 2007 Rosé (East Coast) – Disgusting synthetic aromas and flavors. Blech. (3/09)

No comment.

Oyster Bay 2007 Merlot (Hawke’s Bay) – Watermelon Jolly Rancher. In a merlot? No thanks. (3/09)

Kennedy Point 2005 Merlot (Waikehe Island) – Blueberry soup with biting tannin. Ick. (3/09)

Villa Maria “Private Bin” 2007 Merlot/Cabernet Sauvignon (Hawke’s Bay) – Herbed blueberry and blackberry. Simple, clean, and good according to the nose. But the palate? Baked. And the finish is horrid. (3/09)

Trinity Hill 2006 Merlot/Cabernet Sauvignon Gimblett Gravels “The Gimblett” (Hawke’s Bay) – Chunky peanut butter, which melds with a gravelly texture. Incredibly rough. Uninteresting despite the terroir signature. (3/09)

Hans 2001 Merlot/Cabernet Sauvignon “Spirit of Marlborough” (Marlborough) – Ripe fruit (mostly black), fresh tobacco, smoke, and black dirt. A bit short and unsubstantial, but OK. (3/09)

There are quality wines made from the Bordeaux varieties in New Zealand. Obviously, none are represented above (and the prices being asked for these wines are ludicrous in relation to their quality), but they absolutely do exist. And not just from Hawke’s Bay, though that’s where current attention is focused. Waiheke Island has its stars, certainly, but the rest of the (largely unknown in the U.S.) Auckland-surrounding and Northland appellations have potential. Elsewhere, it’s very much a producer-by-producer thing.

Kennedy Point 2007 Syrah (Waiheke Island) – Cassis, blueberry, and cranberry with a long, sugary finish. No good. (3/09)

Trinity Hill 2007 Syrah Gimblett Gravels (Hawke’s Bay) – Blueberry, bark, smoke, and dirt. Drinkable. (3/09)

The Australia-New Zealand rivalry in so many things rarely intrudes on matters vinous. In fact, for a long while the industries complemented each other’s markets: New Zealand imported a lot of hefty Australian reds, while Australia provided a ready market for New Zealand’s crisp, clean whites. Each seemed to be able to fill a perceived hole in the other’s stylistic range. Often, the only time Australia would come up in discussions with New Zealand winemakers would be as contrast to a fairly widespread belief that, given New Zealand’s climates, looking to Australia for viticultural advice would be a mistake. Yes, New Zealand is very clearly a New World producer, and this is reflected in their wines, but in terms of philosophy it was decided that Europe would be the model.

In making this choice, New Zealand chose a difficult path for itself, because the slow advance of vine age, the painstaking revelation of terroir, and the endless search for complexity, balance, and soul necessary to model an industry after Europe (for whether or not one agrees with these characterizations, those are the beliefs being pursued) are not aligned with the most commercially successful New World winemaking practices. New Zealand’s successes have, in fact, come largely along those latter lines: fruit-forward, varietally-designated wines that make an immediate impression. Yet it’s clear, especially from the relentless focus on pinot noir – that most difficult of grapes – that the aspiration to do otherwise remains. And each year, a few more New Zealand wines enter into a conversation in which they can hold their own with their inspirations. Not equality, yet, but quality.

In that process, a minor revelation has snuck up on New Zealand’s winemakers: they can produce high-quality syrah. And that while, at its best, it doesn’t taste like European syrah, it tastes a lot less like Australian shiraz. Power, intensity, concentration…these are not its calling cards. But earth? Underbrush? Sensitivity to terroir? They’re coming along.

New Zealanders can barely contain their glee. No, they’re never going to “beat” the commercial dominance of Aussie shiraz – they could never produce that sort of quantity, even if they uprooted all the sheep and replaced them with syrah vines – but they could, perhaps, drive a deep wedge into a notion that the source for quality New World syrah is their much larger neighbor to the northwest. And they can do it by directly appealing to those who find many Australian shirazes (and some of their Californian and South African counterparts) too brawny. As anyone familiar with the Aussie/Kiwi rivalry can imagine, there’s not much resistance to this idea.

Supposition? Speculation? Not really. Consider: the grape is, almost universally, called syrah – not shiraz – on New Zealand bottles. That’s no accident.

As for the wines in this tasting? They obviously won’t convince anyone of anything.

The I in wine

[merchant sculpture, venice]Does arrogance go hand-in-hand with professional criticism?

In response to my recent musings on Robert Parker and his anti-engagement style of online discourse, one of the nicest wine-loving folk I know wrote, after several paragraphs of worthy comment, this rather provocative coda:

Thin skin is a tough play in the wine critic game. Arrogance, even worse.

The latter characterization is something I’ve thought about quite a lot over the years. Because it must be said, almost every professional (which I’m defining as paid) wine critic I’ve ever met has a discernable arrogance. Including, though it hardly needs to be reiterated for anyone who knows me, myself.

Now, it’s true that some handle their arrogance better than others. The most successful seem to employ one of two techniques: a passionate humility in their non-critical life, or an equal measure of self-deprecation that usually, but not always, takes the form of humor. I wouldn’t argue that most critics are off-puttingly arrogant, though some certainly are…but still, the character is there in virtually everyone who plies the trade.

Why? Well, I think there are actually two different questions therein. First: is arrogance an essential part of being a critic? And second: does being a critic make one arrogant (or increase that quality, if it already exists)?

I’m afraid I believe the answer to both is yes. Everyone has an opinion, but a paid critic is compensated for theirs under an assumption that others will subordinate their opinions to the critic’s. Otherwise, what market would there be for a critic’s opinions? The critic will succeed or fail based on the perceived value of that subordination (or, sometimes, just because the critic is an unusually entertaining communicator), but the basic fact of a critic’s professional existence is one that puts their judgment “above” that of others. Moreover, to even want to be placed in such a position in the first place betrays a core confidence that one’s opinions can be judged more worthy than others’. The cognitive leap from that to the definition of arrogance looks a lot like standing still.

And if that arrogance somehow isn’t there to begin with, the process of criticism seems to bring it out. Anyone who’s been a fan of the most successful bloggers as they’ve risen from obscurity to compensated fame can see the process at work. Exploration becomes knowledge. Knowledge becomes authority. Argument for the sake of knowledge acquisition becomes argument from authority. Questions become statements. Statements become accusations. What was independent becomes establishment. None of this makes the blogger less successful – in fact, it seems to escalate fame, which is a phenomenon I’m not going to explore here – but it does affect their interactions with their audience.

The only defense is self-examination. Constant, relentless, and even harsh self-examination. Without it, there can be no mitigation. And without mitigation, trouble inevitably ensues. Oh, I could tell embarrassing stories about that

(Another time.)

One caveat: I’d argue for a separation between arrogance as a character trait vs. arrogance as a way of dealing with the rest of the world. They often go hand-in-hand, but they don’t have to. Someone may state their opinions in a voice of unimpeachable authority (earned or not), but they don’t have to be a bastard about it. Staying on one side of that line seems to me to be the key difference between tolerable arrogance and insufferable arrogance.

Unfortunately, the immediacy of the internet brings out the worst in many inherently arrogant types. There’s no time for self-examination when someone is wrong, after all. Many critics have the self-awareness (often coupled with a lack of time, which can be very helpful in this regard) to use the internet in what I’d call “safe” ways – one-to-many communication, like blogs – rather than as a participant in opinionated free-for-alls, like online wine fora.

And those that don’t? Well, sooner or later they get into a lot of trouble. And they behave very, very badly at times. I could undoubtedly fill the next few hours with stories from my own past, but let’s leave lower-tier critics out of this for the moment, and head right to the top. Guess who?

Oh my….in their blind tasting of 2004 (I have no affiliation other than one tasting I do for Howard and Bob each year,but like the professionalism of their tastings)……another “evil” wine blew away the competition…and very noteworthy ones at that….that anti-“terroir” “transparency” creation…..Lascombes looks to have had a sure-fired great showing….of course let me say it before The Usual Suspects chime in….it won’t last…won’t improve…just a terribly bad wine that people actually like to drink and makes friends for all of Bordeaux…that a do…

Now, I could be as snarky as usual and wonder how someone who is paid for their words can be so persistently incoherent, but then again we could all use an editor from time to time.

I could also spend a while explaining the background of this quoted post, but there’s probably no need. The intent should be clear even if one has no idea of the details. What makes it worse is that it was a thread-starter. Given the identity of the critic who posted it, everyone on that forum is going to click on the thread to read it. And then…what? What contribution is being made here? None. It’s not even an argument. It’s finger-pointing (mostly the middle one) in text form, for no reason other than to – yet again – mock unnamed interlocutors.

Is arrogance to blame here? Well, that’s part of it, yes. There is an obvious implication in this and so many other posts from the same source that what’s most important is not that his criticisms be useful or even right, but that they be acknowledged as right. However, to me, that isn’t arrogance. That’s an inexplicable inferiority complex covered up with arrogance, unfiltered by what my commenter referred to as “thin skin.” And it remains unworthy of the critic in question.

Look, I don’t want to turn this post – and especially not this blog – into a bash-fest over one particular critic. We all have our faults, and some of us put them on display a little more frequently than we’d like. But here’s a plea meant for all of us who do any sort of criticism: remember what’s actually “important” about what we do. It’s the work. Not us.

Our ellipses are sealed

In a typically ellipsis-ridden but less unreadable than usual post on his forum, Robert Parker took on a swath of his readers with a highly rhetorical non-question:

Can anyone offer a meaningful definition to the following:
1.Modern wine-making
2.traditional wine-making
3.high alcohol
4.transparency
5.terroir

…which he followed with a lengthy missive questioning, and dismissing, their use as characterizations of wine. But with the possible exception of “transparency” (I’m not a subscriber, and thus can’t search his tasting note database), I’m quite certainly Parker himself has used all these very terms to describe wines, and will do so again in the future. In fact, several respondents make that very point:

The Wine Advocate uses phrases like “traditional” and “old-style” in reviews all the time, including Parker’s. How come these terms are only meaningless when other people use them?

As recently as your classification of Châteuneuf-du-Papes (a very useful classification), you used the terms traditional and modern. What did you mean by them?

In light of this, I have a rhetorical question of my own: does anyone think Parker will actually respond to those questions?

To be sure, the quoted responses are only slightly less rhetorical than Parker’s initial volley, or the mildly snarky response I just typed. But they’re important. Not because I think Parker has an interesting answer for them – I don’t; I think he was just sniping at people with whom he disagrees, an all-too-familiar mode of communication from a critic who, given his position, should really be above such things – but because they raise a useful point about the language we use to describe wine.

As I’ve argued fairly recently, wine has its own vocabulary. The greater the population of that vocabulary, the more expressive the language. Putting aside debates about what each term may or may not mean (and I certainly have thoughts on that), does anyone really experience utter mystification at a wine labeled high-alcohol? Or two wines contrasted as more modern and more traditional? Are those terms absolutely, 100% meaningless to any and all readers? Yes, the borders are indistinct and personal, but isn’t that inevitable with as subjective a practice as wine commentary?

I note with pleasure that, in the thread under consideration, two of the Wine Advocate’s more thoughtful critics contribute searching responses on several of the terms, which is probably something the initial questioner didn’t expect. There’s value in their musings, but even more in the existence of such a discussion; isn’t a conversation, even one that ends in disagreement, better than the sort of derisive mocking in which Parker is engaging? And after all, the world’s most powerful critic does, in his heart of hearts, know better. For in the same post, he writes:

there is no need to dig a deep trench and denigrate everything that doesn’t fall within some tightly defined parameter bereft of any merit or careful examination

Indeed, Mr. Parker. Indeed.

Update: color me surprised. Then again, these aren’t the definitions Parker asked for from others, just an acknowledgment that he does indeed use some of the mentioned terms. In a way this makes his initial post worse, because as this followup makes explicit:

I asked for definitions from the USUAL SUSPECTS that constantly use them as frequently as our government is bailing out financial institutions…just wanting to see how they defined them…of course no revelations or significant substance has yet appeared

…Parker openly admits he has no interest in dialogue, but merely wants to mock everyone else’s.

Puffeney the magic savagnin

Puffeney 2002 Arbois Savagnin (Jura) – “Is this sherry?” asks the first person who tastes this without knowing its identity. A very reasonable guess, though the wine’s bigger than most sherries with this particular bony profile, and there is rather more limestoney, pale green fruit – especially on the finish – than any dry sherry of my acquaintance would dare show. This achieves terrific presence and pressure without ever seeming heavy, which is quite a trick, and as each layer of intensity is peeled back, a new one emerges with ever-so-slight shifts in emphasis. Fantastic stuff. (3/09)

The wines, like dust

[shriveled grapes]In a very good, but sure-to-be-attacked, article, Eric Asimov of The New York Times looks at the ever-roiling controversy over ripeness and pinot noir in California.

One of the key reasons it’s a good article is also one of the reasons it’s most likely to draw criticism: it’s mostly one-sided. Asimov talks to, and then agrees with, those pursuing less elevated ripeness and antagonistic to the modern search for more. But I think that much of the criticism will be misguided, for two reasons.

First, some will misunderstand Asimov’s role at the NYT. He is both wine writer and wine critic, sometimes within the same article. The latter job must, by its very nature, deal in opinion and subjectivity. He is, in this article, very clearly utilizing his critical voice, despite a wealth of supplementary information all too often (these days) abandoned by critics and left for writers. And there’s no mistaking Asimov’s position. Critics are, after all, paid to take a stand. That will, at times, necessitate choosing sides.

As for the potential argument that Asimov should, as a writer, be more objective, it’s worth pointing out that you’ll never, ever hear anyone issue this complaint when a writer agrees with them. Nonetheless, it doesn’t apply here; Asimov is rejecting the overworked modern quasi-journalistic dodge of “on one hand…but on the other hand” that passes for (and fails to be) analysis in our times, and his writing is better for it. Again, he’s a also a critic and working as one here, in which case he’s being paid specifically to act as a filter for his audience. He can’t do that if he fails to exercise his judgment.

Second, Asimov never claims that the lower-ripeness style is better. That would be a claim to objectivity, and thus misguided. Instead, he says he prefers it, which is a very different thing.

Third, Asimov addresses and dismisses one of the major complaints of New World pinot noir producers: that resemblance to Burgundy must be an essential mark of quality. It’s true that it pinot noir would usually benefit from being as good as the best Burgundy (after all, the French had a rather significant head start), but this is a very different thing than asserting it should be like Burgundy. The fame of Burgundy rests on several pillars, and one of the most important is site-specificity. If that fame has any value at all for New World producers (and I’m not arguing it must; winemakers should hold to their own qualitative goals), it should be as support for the idea that pinot noir is wonderfully expressive of place…and thus, there is very little reason why a pinot noir produced outside Burgundy should “taste like” any sort of Burgundy, unless the terroir is exactly the same.

Fourth, finally, and perhaps most importantly, Asimov gets to the core of the issue in a way few mainstream wine writers do. The ultra-ripe pinots and their less-ripe counterpoints, plus everything in-between, evince occasional differences in soil and mesoclimate, but their primary differentiator is intent. The producers of wines for which “syrup” is considered an organoleptic virtue do not have their hands tied by a terroir they cannot escape, they want to make wine that way. And the same is true for those who make lighter, crisper styles; it’s not that they’re prevented from making the other kind of wine, it’s that they don’t want to.

Now, one may legitimately ask: is this contrary to the previous assertion, that pinot noir is particularly expressive of place? It may seem so. But it’s worth taking another look at Burgundy and asking the same question. Is there style variance within Burgundy, even among producers of the same site’s grapes? If the answer’s yes – and it is – then site-specificity hasn’t been refuted. Instead, an old truism has been reasserted: whenever there’s conflict between the hand and the land, the hand always wins.

(Epilogue: well, that didn’t take long.)

Somewhere, a place for us

Jamie Goode laid the gauntlet down. Of course, he did it on Facebook, so I doubt most people did more than trip over said gauntlet on their way to superpoking someone. Nonetheless, he got my attention…which might just mean I spend too much time looking at the ground, wary of things over which I might stumble. Anyway, this is what he said:

Terroir matters but what exactly is it? We need a good definition.

Right now, anyone who’s been around the online wine fora block for a few years (or decades, in my case) is rolling their eyes. Terroir is one of the trifecta of grossly overworn subjects, along with the efficacy of scoring wines and their ever-escalating cost, that has been so thoroughly masticated that there’s absolutely nothing new to say, though there’s an ever-revolving crowd of newbies to say it. Long-timers know each others’ arguments and positions by heart.

So why would I – one of those eye-rolling long-timers – want to dip my toes once more into this exceedingly tepid and turgid water?

Blame Jamie Goode.

Usually, the definition offered up is “somewhereness” (I prefer “placeness”). Both are a little un-rigorous. They tell us what terroir means, but not what it is. I think we can do better.

Let’s start with the fundamentals. I’ll begin with one of the most controversial things I could write: terroir exists. It’s true that not everyone believes this. “Terroir is bullshit,” claims one well-known California winemaker of my acquaintance, and he’s hardly alone in saying so. “Terroir is marketing,” claim a number of his brethren elsewhere in the Golden Two-Buck Chuck State. (I’m sorry, was that snarky? Hey, it’s a blog. Snark is what we do.) And so forth. If terroir doesn’t exist, then everything that follows is a waste of time. It still might be. But I think that the definition, or perhaps the argumentation leading up to it, will actually take care of this foundational problem. Judge for yourself, later.

Much later.

Continuing with the fundamentals, wine is a construct made with a defined number of inputs. Only two, in fact. They are:

  1. the grape(s)
  2. the winemaking

You’ll notice the distinct lack of the word “terroir” in that list. Not to worry. Because the grape, too, leaves the vine having accepted its own collection of inputs:

  1. the grape(s) inherent characteristics
  2. the viticultural choices made by the grape grower
  3. all other grape-changing effects not produced by human intervention

That last part includes the weather over that growing season. But it also includes longer-term meta-effects. Anything that changes the chemistry of the vine (and thus the grape) in any measurable way would be one of these meta-effects.

The meta-effects are terroir. Well…more or less.

What meta-effects? The list is well-known, if not necessarily universally agreed-upon. Non-comprehensively, these include overall mesoclimate (this is the proper term, not the usually-deployed “microclimate”), anything that effects water retention, sun exposure, heat retention, soil chemistry (and thus soil type(s)), and so forth. Broadly speaking, these meta-effects can be broken down into two categories: those below the surface of the ground, and those above it.

For some, we’ve gone far enough, and with a little more specificity in that list will have defined terroir in a satisfactory fashion. But if that were all there is to it, Jamie wouldn’t have dropped his gauntlet on Facebook’s scuffed-up floor. Very, very few people argue that what I’ve just iterated doesn’t exist, or doesn’t have an effect on grapes…and those that do argue the point seem unacquainted with basic agriculture. Any farmer will tell you, without necessarily knowing or caring about terroir, that these effects both exist and affect their practices in a fundamental and inexorable way. However, we need to continue, because not everyone is willing to stop their definition in the realm of the sciences, or at least the evidentiary. For this we can probably blame the French.

Part of the definitional problem is that terroir is a borrowed word with no obvious English equivalent (that is to say, there’s a translation, but it’s not what we mean when we talk about terroir in the context of wine). To many French folk, the word is imbued with much more than climate and chemistry. Anyone who has seen a “produits du terroir” sign while driving the French countryside knows this; the word has quasi-historical implications, and certainly is laden with a measure of cultural baggage that is, to the French, inseparable from geography. Some even talk about human inputs as being part of terroir, though a rigorous definition of this type would have to include everything from training methods to complete site (re)constructions of the type practiced by certain mega-wineries, and that’s most certainly not what the human-input proponents mean. Others claim that people themselves are part of terroir, arguing that the majority portion of the word “viticulture” is not “viti,” but “culture.”. Traditions are sometimes mentioned. As are other living creatures. And so on.

[Geisberg & Osterberg over Ribeauvillé]While these diversions appeal to the romantic in me, they pose a definitional problem. I’m going to solve that by insisting on another fundamental precept: terroir must have clear, scientifically-measurable, and scientifically-repeatable boundaries. If it does not, then a definition is going to be impossible, because it can mean different things to different people. Since we’re here to define terroir, that’s not of much use. Moreover, imposing a structure on the concept of terroir doesn’t preclude the consideration of any of these other categories of influence. Far from it. I certainly think that human inputs exist (I’ve mentioned some of the forms already), and I think that traditions absolutely matter for certain wines, though not for others. What remains to be determined is whether or not they have anything to do with terroir.

Tradition has a more specific name in wine lingo: typicity. Some think that typicity should fall under the definition of terroir, and most who think that live in the Old World, in places where the traditions of wine run deep into the centuries. However, following from the determination that terroir must have scientifically-measurable and scientifically-repeatable boundaries, typicity cannot be part of terroir. Why not? Because while there are components of typicity that can, under certain circumstances, be derived from the immutable qualities of grape varieties and terroir, those components are not the entirety of the concept. Winemaking – practices and style – must also be considered. Thus, taken as a whole, typicity isn’t inherent, it’s artificially imposed. And remember that there are wines whose typicity is a matter of great debate among their advocates. Does a Cotat-produced wine from the Mont-Damnés really taste of Mont-Damnés despite being so different from other producers’ interpretations? Does Brun’s “l’Ancien” taste like Beaujolais or not? How much sangiovese is too little in a Chianti, or tempranillo in a Rioja? There are also wines whose typicity is a matter of arbitrarily choosing date ranges; is Bordeaux “typically” blended with Hermitage or not, and what sites and/or grapes does a given label actually comprise? Is a Mâcon botrytized or not? Montrachet: sweet or dry? What is a Rasteau “supposed” to be? Are varietal bottlings or blends the true Alsatian tradition?

I could go on for a long while, but these examples are all well-known among controversy-loving wine geeks. And they all serve to illustrate the basic impermanence and subjectivity of typicity. Thus, it cannot be part of our definition of terroir.

What about culture? Again, which culture? Greek? Etruscan? Roman? Roman Catholic monastic? Germanic? French? Many cultures may have contributed to the viticulture of a long-planted site. But the cultures were different. And even within narrower groups, culture is not steady-state, it’s a shared environmental construct in constant motion. To say that terroir includes culture is to introduce a permanent variable into the equation. That may satisfy a romantic urge, but it’s of little use when trying to construct a definition with any utility or rigor.

How about creatures other than man? It depends: are said creatures a permanent influence on a given set of vines, and – this is important – in a way that affects grape chemistry, or are they transitory? Most pests, like glassy-winged sharpshooters, or the phylloxera louse, are transitory; they (or the parasites they carry) may affect grape chemistry, but it’s hard to call something a permanent influence when it eventually kills the vine, and when it’s fully mobile under its own power. Grape-noshing birds might seem to be a permanent fixture, but they don’t influence grape chemistry, just quantity (if they ate underripe grapes, performing a sort of avian green harvest, then maybe we could include them…though maybe not, since unless they’re trained their influence is hardly predictable, and thus not scientifically measurable).

One biological entity might be part of terroir, though, and that’s botrytis cinerea, the fungus known in certain forms as noble rot. That botrytis affects grape chemistry is unquestionable, its effects are predictable, and thus the effect is scientifically-measurable. And if a site has a clear and permanent predilection to be affected by botrytis (or the opposite), then it can be said to be part of the site’s inherent characteristics…thus, more or less scientifically-repeatable. So it should be part of terroir, right?

[St-Jean-de-Minervois]One objection is obvious: if terroir is to be scientifically-repeatable, its form should be a constant, or close to it. Thus, if a vineyard isn’t botrytis-affected every single year, botrytis cannot be part of terroir. Right?

This seems an easy escape clause from what appears to be a thorny definitional issue. In fact, it’s too easy, because it misapplies the concept of terroir. In any case, there’s a better reason to eliminate botrytis from the list of terroir-influencing sources. Bear with me here…what follows will seem to be a bit of a diversion, but it will eventually come back to and explain this point.

One more thing we can probably blame the French for goes right back to one of those frequently-heard Californian objections to the concept: terroir is marketing. Because the fact is that, for many, it is very much a point of differential and qualitative marketing. And it has been used in both positive and negative ways. The latter is what gets other winemakers’ backs up, because some will insist that only certain wines “show terroir”…those wines usually being those with a long tradition of site, varietal, and winemaking continuity, and thus (obviously) few of which are placed anywhere in the New World.

Others will point to a generalized inability to, in controlled double-blind conditions, inerrantly identify specific terroirs as proof that terroir does not exist. Two things are worth mentioning here. First, anyone with enough experience has met tasters – many, but certainly not all, of them grape-growing winemakers – who seem to be able to identify sites with surprising regularity. Sometimes, they can even do this by tasting the grapes themselves. A remarkable talent? Maybe. More likely, it’s long familiarity. The wine generalist may not be able to reliably differentiate Schlossberg from Sommerberg, but a specialist in Alsatian wine will be better, and someone who grows grapes on those sites will often prove to be quite adept. Second, however, is the more fundamental objection: the “proof” thus demonstrated by such tastings is not that terroir does or doesn’t exist, but that it is not always useful for the consumer of wine. Again, hold onto that thought for a moment or two.

The (indeed highly marketable) idea of a “terroir wine” is an entirely different concept from the basic definition of terroir. Note that nowhere in my proposed definition have I mentioned a requirement for terroir to be organoleptically identifiable. A wine may or may not show its site-derived characters , just as it may or may not show its varietally-derived characters, and just as its winemaker-derived characters may or may not be obvious. In no case would a taster, having failed to discern certain qualities in a wine, deny the existence of the grape(s) or the winemaker. Yet for some reason, when terroir is not discernable, they’re perfectly willing to deny its existence. This is remarkably insensible; remember our farmers, who would weep at the notion that one plot of ground is pretty much the same as any other. If farmers acted on such an absurd belief, a lot (more) of them would be out of work.

This brings us to the key point: it’s not that terroir is useless or irrelevant in terms of wine appreciation, but that its actual point of application in the process that leads from vine to wine is wholly within the vineyard. In other words, in the purview of the farmer, not the taster. There may be terroir for the taster to discern, or there may not, but there is always terroir for the farmer to discern and deal with.

So to return to our moldy conundrum, is botrytis part of terroir? From the farmer’s perspective, the question is not about botrytis, but about an affinity for botrytis. That predilection is something with which the farmer must deal, compensating (or not) according to the demands of the wine, just as a mesoclimate-derived predilection for extreme August heat is a factor with which the farmer must deal. Botrytis can be prevented or encouraged, yes, but the predilection itself cannot be eradicated without significant changes to other aspects of the terroir (proximity to water, altitude, water retention, diurnal temperature effects, etc.). In other words, the terroir is not the fungus itself, but the predilection for the fungus…a property of the site, not of the mold. This keeps us safely within the boundaries of our earlier assumptions; the yearly presence of botrytis may or may not be fully predictable and thus not scientifically-repeatable, but the chance of a site’s embrace/rejection of botrytis most certainly is predictable and scientifically-repeatable. What follows from this seems to be a firm, clear standard: no biological entities aside from the vine itself have terroir effects.

Right?

Well, what about the wee beasties in the soil itself? Worms, bugs, bacteria, and so forth…are they or are they not part of the terroir of a site? And what about grasses and other things planted in and around the vineyard? How about eucalyptus trees in the neighborhood, from which oils adhere to grapes, affecting the taste of the resulting wine? And how about pollen from nearby lavender fields, often cited as a “natural” flavorant in wines from Provence?

The fashion in which we dealt with fungus shows the way forward. It’s certain that the physical and chemical makeup of the soil is indeed affected the creatures living in it (and, it might be added, by cover crops and other in-vineyard plants of that nature). Since we previously asserted that soil chemistry is part of terroir, surely these chemistry-modifying biological entities are also part of terroir.

Again, no. Botrytis affects the chemistry of the grape in predictable and measurable ways only given its presence…which is not assured, only predicted. The same holds true for things living in the soil; they can move away, or be killed by means physical and chemical, or experience a growth spurt one year and a decline the next. In other words, they’re a variable influence, like the weather. The only aspect of their existence that may be part of a site’s terroir is, as with botrytis, a predilection of that site to encourage or inhibit such biological entities.

In both cases, the key point is that our fungi, annelids, bacteria, and so forth are an effect of terroir, not a cause thereof. They exist, or not, as a response to the site…just as the vines themselves do. And while it’s true that they also may affect the site, the same is true of vines, whose questing roots may change the physical nature (and thus the water retention, and as this proceeds over a very long time the geological composition) of a site. Yet the vines themselves are a response to the terroir, not the terroir itself.

Which brings up another question. Doesn’t the preceding demonstrate feedback effects that suggest terroir is an evolving system? Yes. Without external management (which is in direct opposition to the concept of inherent terroir; management is man-made), it is impossible to think that a site does not change over time. Soils change. Vines are uprooted, and their younger replacements’ roots access different soil realms, leading to different vine chemistry. Mesoclimates change, not least in response to anthropogenic climate effects. Farming methods change, causing chemical and biological discontinuities in the soil as viticulturalists adopt, then abandon, various treatments and theories. Weather “events” and regular old erosion change entire vineyards, permanently. And as the previous paragraph demonstrates, the biome created by a given terroir has its own inexorable effect on the terroir.

So how can there be terroir if there’s no continuity? Well, remember what I wrote earlier: terroir is not tradition. Continuity is not a foundational requirement for the existence of terroir. Identity is…but even then, the identity that matters is an agricultural one, not the kind required by a taster for the purposes of identification. Again, terroir is about farming, not tasting.

This is, I think, a hard mindset for people to accept. Of what use is terroir if 1) it’s not about identifiable qualities in wine, and 2) isn’t even a consistent factor?

The response to this will begin to sound familiar: this isn’t a significant question, because terroir isn’t about tasting. That there’s enough identity and continuity for some experienced tasters to identify some terroirs is both a marvelous thing and a demonstrable truism, and in fact without identity and continuity as expressed in finished wine we wouldn’t be having this conversation in the first place, because no one would care whether or not there was such a thing as terroir. But the entity to which terroir actually matters is the grape hanging on the vine, not the person putting his nose and lips to a glass. Everything else is a mere ancillary benefit, not the effect itself. Terroir is of tremendous utility to the grape, even if it lacks the consciousness to know it.

Oh…and as for eucalyptus, lavender, and the like? An apparent vineyard signature, perhaps (until the offending plants are cut down, or the wind shifts), but an external influence no more intrinsic to the site than a “pool” of humidity birthing dormant fungal spores, or farmer spraying fungicide. So no…not terroir.

Moving on…

Here’s another fundamental concept that follows directly from the above discussion of marketing: all sites have terroir. All sites. Despite what those who which to use it as a wedge marketing term would like you to believe.

“But what about wine X, or Y? There’s no terroir there!”

What did I just say? “All sites.” Terroir is in the vineyard. Whether or not it is in the wine is irrelevant to its definition (though a given taster may care about this very much; I, myself, have a general preference for wines that reveal terroir). The most industrial multi-site blend comes from sites that have their own measurable terroir, even if the only thing discernable in the finished wine is the chemical stew used to bludgeon unpalatable grapes into commercial submission. (Sorry. Again with the snark.) Which is another way of stating yet another fundamental concept: quality has nothing to do with terroir.

Again, we run counter to traditional usage. Terroir, for many commentators, is all too often a synonym for the qualitative phrase “good terroir.” Certainly that’s as misguided as employing “wine” as a synonym for “good wine.” It may stand to reason and the law of averages that not all terroirs are “good,” whatever standards one may wish to apply to that qualitative assessment, and we could delve into the reasons a terroir may or may not be “good,” but they’re all subordinate to one of our guiding principles: scientifically-measurable properties. All qualitative assessments of the “good/bad” type are subjective, and thus not scientifically-measurable.

So are we any closer to an actual definition of terroir? I think so. And here – heaven knows you’ve waited long enough for it – is my proposed definition of terroir:

Terroir is a biological outcome derived from the interaction of mesoclimate, geography, and geology (including soil chemistry), expressed by the entity sustained by that interaction and possessing a chemically identifiable identity, but excluding the influence of external biological entities.

Now comes the important part: let’s pick at it. I’m quite sure it can be improved – certainly it can be made shorter – with a little external biological input.

(And Jamie…are you happy now?)

Just say note

[wine tasting]The poor tasting note. Beloved and loathed, essential and useless. And now, finding its very purpose questioned. It’s enough to give a laundry list of anthropomorphized fruits and vegetables a complex.

Via Vinography…itself via Eric Asimov (don’t you just love the self-referential, navel-sucking blogosphere?)…there are some interesting musings on the benefits and/or dangers of the form out there. (For example: here and here.) Since tasting notes are, by far, the most common form of written expression on the subject of wine, this is a matter of some import. And, of course, as a generator of seemingly endless iterations of the genre, I’ve some thoughts on the matter.

It’s sometimes said by the jaded online wine literati that tasting notes are the least interesting form of wine commentary. That’s not true. Ratings and scores are. This is not the forum for well-worn arguments about the utility or sensibility of scoring wines against each other, except to note that in the end, ratings provide only two potentially useful bits of knowledge: 1) the scorer’s personal hierarchy of preference, and 2) a demonstration of something well-known before the widespread use of scores…that, in the main, there’s fairly widespread agreement on the qualities and identities of the world’s best wines.

Since the latter – a long-held, “establishment” view of wine – is one of the things many of scoring’s most ardent advocates claim to be subverting with their rating systems, there’s a particular irony involved in this result. And in any case, it’s where that general and congenial agreement collapses that a discussion of wine quality becomes truly interesting.

But we’re already off-topic. It’s probably true that, after ratings, tasting notes are the next least-interesting form of wine commentary. However, the gap between the gold and silver medals (or, I guess, their opposites) is rather larger than one might first suspect. For tasting notes can delve directly and succinctly into the areas of interest I just mentioned: the measures of quality and difference that bring actual diversity of opinion to the worlds of wine production and appreciation.

That’s can, not do. Naturally, this is a standard few tasting notes actually attain. Why? Lack of skill, sure – wine writing’s no more overwhelmed with brilliance than any other pursuit – but that’s not the key reason. Many with demonstrable skill still produce tasting notes that fall short of this standard. The reason is that tasting notes of depth and literacy, that enlighten as much as they reveal, that contextualize while they characterize, are difficult and time-consuming to research and write. And the simple fact of the matter is that most people don’t want to spend that much effort, especially when notes aren’t that well-compensated (from top critics, on a per-note basis) or, as most are, produced simply for the love of it.

Should they? No. Not because I wouldn’t like to see it reflected in the collective body of tasting notes, but because I don’t care for the concept of “should” here. It’s not up to me or anyone else to dictate to people the whys and hows of their notes. They’re as personal as expression gets from the appreciation (rather than production) side. It takes great depth of knowledge to write longer-form notes that enlighten, and it takes even greater skill to distill that enlightenment back into short-form notes. But there’s no way to develop that skill without exploring the form in a sort of personal apprenticeship; wine writers, even the best of them, are not produced from whole cloth, they’re created by a long process of self-development and collaborative feedback. To insist on formalization before that development is to narrow the wonderful diversity of voices and modes of expression, and while this might have surface appeal for the bewildered consumer overwhelmed with competing and contradictory authorities, it’s ultimately bad for both wine writing and wine itself.

A better approach to the problem identified by Asimov – that tasting notes, as currently conceived, confuse rather than educate the consumer – might be to suggest ways in which the form might be improved without stunting that essential development, and from which interested writers may select those techniques that work for them, and reject those that don’t.

One caveat, though: I reject the notion that the seeming impenetrability of tasting notes to the novice is evidence of their lack of utility. All fields of specialized knowledge have their subject-specific nomenclatures. For some reason I’ve never understood, wine aficionados are unusually sensitive to the existence of theirs, either clinging to it out of misplaced snobbery or, more often, deliberately subverting it to the point of true disutility. Why? Look, if all a consumer wants is for someone with the mantle of authority to point to a tasty bottle of wine, then they don’t need to learn the lingo, and there’s no need to infantilize the jargon in a vain attempt to cradle these people within the fraternity. They’re not interested, because what they want is a shopping list. And if another consumer wants a deeper and more specialized experience, they’ll make the effort to learn what they need to learn, just as an enthusiast of cars, or baseball, or stamp collecting will. Wine folk need to stop apologizing for their grammatical flights of fancy in a misguided attempt to entice the uninterested, and instead concentrate their efforts on those that care enough to play along.

So how can tasting notes be made more useful? An obvious first answer is to lengthen them, bringing background, history, context, and food pairings into play. Many excellent writers do exactly this. But, as I noted, it’s a laborious process. And not just for the writer; there are readers who don’t want all that background, who just want to know about the wine, and will find deeper and more verbose explorations no less off-putting than the jargon they were designed to supplant.

There may not be one solution that pleases all audiences. But there are improvements that can be made. Whether in long- or short-form notes, the essential points of “difference” are worth more emphasis than they currently receive. A tasting of fifty chardonnays from the same region will result in a lot of mostly-identical notes. As with a mathematical equation, one could go through each note striking out the constants and leaving the variables intact. I don’t mean that commonalities should actually be excised (though it’s an intriguing idea), but that a note can, and perhaps should, speak more to the question: why this one rather than that one? And in what situations? That, certainly, is of more interest than noting the presence of tropical fruit aromas for the twentieth consecutive time.

Another technique, and one that I’ve been working on myself, is to make the note less about what the wine tastes like, and more about the experience of drinking the wine. That’s not a distinction that makes sense to everyone, so let me expand on that point a bit.

In a typical tasting note, there are two components: the organoleptic assessment (I tasted these fruits, I found these structural elements, and so forth) and the qualitative assessment (I liked it, the previous vintage was better, it probably won’t age, etc.). The latter is sometimes turned into a score, and sometimes not. It is commonly assumed that the latter is also the full representation of the taster’s personal reaction to the wine. It may be, but I suspect that in most cases, it’s not. And this is the verbiage that’s missing in most notes.

Why restrict the grammar of wine notation to plants, rocks, and chemicals? Why not talk about mood? A wine might remind one of a sunny day in a golden field (a white Southern Rhône), or a chilly drawing room in an old European estate (a German riesling). Or of the wine’s character as if it were a living thing? An Austrian weissburgunder may stand stiff and Teutonically rigid, like a soldier guarding palace gates, while a Santa Barbara pinot blanc might be as relaxed and easygoing as any “dude”-uttering Californian.

People express discomfort with this sort of language, but they shouldn’t. In the latter pair of examples, all the descriptors are doing is standing in for a set of characterizations that could be done with the standard grammar, but in a far less interesting way. A “stiff, Teutonic” pinot blanc could be ungenerous with its fruit, high-acid, and with a significant mineral component that reminds one of Germanic wines, especially riesling. Its qualities would seem to be held in reserve, perhaps to be teased out with age. The wine would be the opposite of “showy” or “easy.” And its “relaxed, easygoing” Santa Barbara counterpart would have more forward fruit that’s immediately accessible on first sip, lower acidity and less structure in general, and an approachability that suggests against careful study in search of something more purely emotional. The first wine encourages the taster towards analytical exploration, the latter encourages the taster to stop thinking so much and enjoy the experience. These are common reactions to wines; why are they so infrequently reflected in the language we use to describe those same wines?

There’s so much more that can be said. Wines may transport one to a place, or a memory. An old red Burgundy may recall a sunset, a young Madiran the blackest midnight, a Kumeu chardonnay the first rays of dawn. A Sardinian vermentino may transport one to the docks, a saline breeze from the sea filling the air, as the first fishing boats return with the morning’s catch. A Zidarich vitovska may be so iconoclastic and difficult to grasp that it becomes an intellectual task to drink, while a young zinfandel may make one laugh out loud at the sheer fruity joy of it. And all these responses will be informed by, but also depend on, context…a notion I’ll explore in a moment.

[note-taking]Overly serious tasters reject this sort of verbiage for several reasons. First, there’s simple repression; these are more personal reactions that the coldly clinical forms in common use, and not everyone is comfortable with that level of revelation. Second, there’s the fear that such descriptors are less useful because they’re overly personal; that a wine described as “cold” means nothing to a reader unless the issue under consideration is something scientifically measurable, like temperature.

But this is silly. Unless we move to fully chemical tasting notes, wherein quantities of the various esters, structural elements, and so forth are given in numerical form, there will always be an inherent individualism to wine description. One person’s freshly-picked Granny Smith apple is another’s elevated malic acid. Different tasters use gooseberry, boxwood, or cat pee for what is essentially the same character, found so frequently in sauvignon blanc. And not everyone knows what a Makrut lime leaf smells like, even though it may be the best way to express what a taster is experiencing; what meaning does that term have to the uninitiated? If the answer is “none,” then how can its use be justified? Yet if it’s the right descriptor, how can it not be used? Even structural elements cannot be pinned down so easily; for example, we may find agreement that a wine is acidic (given sufficient experience identifying acid in isolation from other components), but its balance in relation to other elements will be a personal assessment, not a scientific one, and so moving from “acidic” to “too acidic” is fraught with the uncertainties of personal judgment.

Further, consider the utility of tasting notes from a more objective, less enthusiast-oriented perspective. Does anyone head to their store in search of a wine that “tastes of apricots and gravel?” Ever? No, of course not. But they might want a fun crowd-pleaser for a party. Or something that’s going to impress their oenophilic boss at a formal event. They might desire a wine that will satisfy rather than make intellectual or emotional demands after a difficult day at work. One that provides a revelatory moment wherein they finally understand the appeal of nebbiolo. Something that reminds them of their honeymoon on Santorini, or a wine that will challenge every assumption they have about Italian whites. Grocery list notes cannot respond to these desires – they lack the vocabulary – but more personal, emotional notes can.

Next, it’s important to render an opinion. But remember that an opinion doesn’t have to be a rating, or a simple binary expression of approval/disapproval. If a wine is confusing, say so. If a wine is enthralling despite its objective flaws or imbalances, say so. If a wine is compelling at first taste but a chore to drink, say so. Though some do indeed drink (and thus notate) in a rigidly binary way, sorting all wines into yes/no categories, I suspect most don’t. Wines and the potential contexts in which they can be experienced are far more varied than such a simplistic, neo-Neanderthal response. A deeper, broader, and more nuanced way of talking about wine embraces this diversity.

Finally, remember that there are as many different ways to express thoughts on wine as there are wines. There’s not just one style, and those who find (say) the list-and-score method wanting can turn to commentators who possess a more personally appealing style. And there’s power in that. For while it’s important that individual expression be preserved in all its diverse forms, the corpus of that expression is also worthy of consideration. Each commentator brings their own colors and styles to the weave, and though it’s not true that a collective perspective is inherently superior to the personal kind, it’s hard to deny the mind- and palate-broadening potential of all those individual pieces knitted together in a vast tapestry of knowledge, emotion, and thought.

No, the tasting note is definitely not dead. It rises again, but unlike the Phoenix it must sometimes change forms to be reborn.

2, 4, 6, hate…

A dispiriting update to this post on the rate of corked wines here at oenoLogic: through the first two months of the year, adjusting for screwcapped and other synthetically-sealed wines, I’m finding nearly 6.5% of my bottles TCA-enhanced. Sadly, many of them have been on the older side, and mostly irreplaceable. That number is akin to the “bad old days” of the last decade or so, and while we’ll see what the greater statistical accuracy of larger numbers brings, I think we can all agree that it’s aggravating. Perhaps last year was an anomaly, not a trend?