Far From The Madding Crowd

DSC_0222Chappellet Winery is not just someplace you pop into on your way to somewhere else. Being there is never a fun bit of serendipity, never a surprise. You have to want to go there. In fact, you should want to go there.

That’s appropriate given the Chappellet family’s pioneering role in today’s Napa Valley wine industry. Since 1967, when Donn and Molly Chappellet left Los Angeles, five children in tow, and traded in a comfortable, some might say more civilized, way of life for a new beginning half way up Napa’s Pritchard Hill, the Chappellets have been a mainstay in the growth, development, and increasing popularity of Napa wines. With the founding of their eponymous winery in the Vaca Mountains on the eastern side of the valley, they proved that great wines can be made from the bold and concentrated fruit that thrives in such a setting, paving the way for many of Napa’s finest wineries to follow their lead and do the same.

To continue reading my review of Chappellet Winery. . .

http://www.americanwineryguide.com/winery_reviews/chappellet-winery/861/

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The High Costs of Low Prices

winebooks 005Part of the WSET’s Diploma studies is the composition of a research paper that focuses on some of the more pressing issues currently at play in the global wine industry. The following is my look at the challenges created when discounting becomes standard operating procedure. With this paper receiving a passing grade I’m now only a couple of steps away from completing the Diploma. I can’t get there fast enough. 

Introduction

All wine drinkers love a good bargain. Few things are better than walking into a shop or supermarket and finding a great bottle for half-price, or seeing the store is running deep discounts on shelves of favorite labels. But when the customer gets more wine for the dollar, it stands to reason that somebody else along the line – grower, producer, distributor, retailer – is going to get less. And, even with slashed prices, is the consumer really getting their money’s worth? In the end, low prices might not be a bargain for anyone.

In 2000, California boasted 1450 bonded wineries, nearly half of the total 2904 wineries sprinkled across the United States. Twelve years later, the US’s most productive state’s roster had ballooned to 3754 wineries, compared to 8806 for the US overall (Wine Institute). No matter how you look at those figures, that’s an enormous growth in production capacity in a very short time. And, despite the ongoing drop in wine production across Europe’s major producers, there has been enough growth globally to keep overall production constant. Even though consumption in the United States has been steadily rising for years, European consumption continues to wane (BKWine). With more competition for market share increasing globally, every stakeholder in the wine world knows that there is a constant need to keep the widening river of wine flowing from the winery to the consumer. The next vintage is not going to wait.

There are many reasons that wines are discounted in order to spur sales. Some are logistical – the need for shelf space for newer product, wineries’ need to make room for the next vintage, distributors faced with mounting inventory. Others are financial, and for most segments of the wine industry, the most pressing of these is cash flow. Revenue is oil for the gears of commerce; nothing in any industry runs without a steady cash flow. If product sits too long at any point in the chain – winery, distributor, or retail outlet — everybody begins to suffer.

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Low prices are a good thing for consumers. But there comes a point where low becomes too much of a good thing, where consumers are getting less than what they paid so little for.

The one tried-and-true method, historically, to ensure market activity, has been the simplest one: make the wine cheaper so more people will be more interested in buying it. It is axiomatic that if consumers believe they are getting more, whether in terms of quality or quantity, for their money, they are more inclined to part with their hard-earned cash. There are various ways that shoppers are enticed to become customers. Stores run closeout specials, offering older vintages or hard-to-find labels. There are sales where discounts of 30-50 percent are offered; two-for-one bargains, or buy one, get one for five cents are also common. In recent years, online flash markets have mushroomed, giving wineries, especially small and medium wineries that have trouble gaining entrance to the portfolios of major distributors, a chance to unload inventory quickly and with fewer attendant costs. Another venue for attractive sales are large discount retailers like Costco, Walmart, and Aldi, where the stores set intentionally low profit margins, allowing for rapid turn-around of the limited labels they stock.

Of these methods, flash sites — online vendors who act as short-term, direct-to-consumer liquidators for wineries desperate for both cash and reduced inventory – and low-margin markets like Costco create the greatest danger for established brands. “Wineries have mixed feelings about flash sites… Selling wines through the sites can upset distributors and retailers, some of whom pay more for the wines than the flash prices. Another concern is that regular customers or wine club members might happen on flash sales at lower prices than they have already paid, though most flash offerings have short exposures” (Franson).

Discounts good? Discounts bad?

The recent global recession that kicked off in 2008, the effects of which continue to linger world-wide, underscored the cash-based and seasonal natures of the wine industry and offered a look at how the industry behaves when the wine river is slowed or dammed. Writing in The New York Times in July 2009, Eric Asimov explained the ripple effect. “Consumption and sales are actually up, industry analysts agree. But people have turned away from expensive wines, buying two $8 bottles instead of one $20 bottle. As a result, growers in high-status areas who don’t already have contracts for their grapes are having trouble selling them, and prices are way down” (Asimov).

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Much has changed on the American wine scene since Agoston Haraszthy, founder of Buena Vista Winery in Sonoma, set in motion what would become the California wine industry. Nearly 90 percent of American wine comes from California. Wineries continue to open at a breath-taking pace, which is a good thing as the thirst for wine, here and abroad, continues to grow.

He continued, “Russian River pinot noir grapes, for example, which sold in 2008 for $2,800 to $4,500 a ton, are now going for $1,800 to $2,800 a ton, said Bill Turrentine, president of Turrentine Brokerage, a leading California broker of wine grapes. Napa Valley cabernet sauvignon is selling for $2,000 to $3,000 a ton, he said, down from $3,500 to $5,500 in 2008.”

In 2012, because of similar market conditions, the chairman of the New Zealand Grape Growers, Stuart Smith, accused that nation’s two largest grocery store chains of driving prices down and crippling producers. Smith “suggested a ban on alcohol pricing in advertising to make supermarkets rethink their heavy wine promotions” (stuff.co.nz). Smith contended that 90 percent of New Zealand wines were sold on deep discount, compared to only a quarter of the stores’ other merchandise. “I’m sure some [wines] are selling, on occasion, below cost” (stuff.co.nz). In Australia last April, Decanter magazine reported that ongoing reduction programs at Treasury Wine Estates, Pernod Ricard, and Accolade wines had many growers wondering how they themselves would manage to remain in business. “ ‘All 505 Murray Valley wine grape growers are trading well below break-even,’ MVW’s chief executive, Mark McKenzie, told Decanter.com. ‘We are very concerned with the winery tactics on prices, which will force vineyards into insolvency’” (Decanter).

Lower wine retail prices might be hurting growers, but surely customers can only benefit from such deep discounts, right? Not necessarily. In a 2013 interview with the BBC program Watchdog, renowned British wine critic, Oz Clarke, explained that due to taxes, tariffs, and the cost of materials, consumers, when buying a £5 bottle, are purchasing only about 20d of wine, and not very good wine at that. “Is it me or do most of these bottles seem to be discounted most of the time?” Clarke asked. “And, if this is the case, are we getting an amazing deal when we pick up a bottle of half-price plonk, or are we having the wool pulled over our eyes by some smart marketing device” (BBC)? Clarke pointed out that, given those aforementioned costs, that it’s not until consumers reach for bottles in the £10-15 range that they start to buy wine with any fair value. “So you might want to think twice the next time you see all those enticing offers” And it’s not only the consumer who suffers. According to some, too much movement in pricing tarnishes the retail sector as well. In the same telecast, Allan Cheesman, former wine director for the United Kingdom chain Sainsbury, suggested that wine discounts are not nearly as transparent as the customer might think, saying that wines listed as discounted from £12 to £6 usually aren’t worth the original price to begin with. “Probably wasn’t worth six, actually,” he said. “I would say as a member of the trade, the industry, that it’s not doing us any good, our reputation, ethically. It’s something I’d like to see the back of” (BBC).

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Growers, producers, wholesalers, retailers — players in every sector of the global wine marketplace are finding that deep discounts cost them in more ways that just lower revenues.

In a recent article in his blog, The Wine Economist, Mike Veseth, quotes an article from British Master of Wine Tim Atkin, who insists that wine prices are too low, echoing Clarke’s point that customers are getting nothing when buying the cheapest bottles. “If wine is so cheap that it is no longer seen as having any special qualities, will it lose its distinctive identity and become just an alcoholic beverage, vulnerable to competition from beer, spirits and cider? Has this already happened? Perhaps it has in the UK, if Atkin is right about collapsing quality” (Veseth Economist).

The effects of price-cutting, it appears, are more negative, throughout the wine industry chain from grower to customer, than positive. Customers save money but end up with an inferior, wine-like beverage, not bottles of recognized quality. Retailers see more product turnover but within tighter profit margins. Distributors move increasingly larger amounts but need to squeeze higher priced labels from their portfolio in order to carry the wines that the discount shopper wants. Large producers lose market share for their higher priced wines, forcing them to produce even more of their value labels. Smaller producers who specialize in more expensive, boutique wines find gaining or holding any place in the market a titanic challenge. Growers find asking prices shrinking and contracts disappearing, and must often resort to dumping their fruit on the bulk market at any price they can get. From vine to vendor relationships are tensed and frayed.

Will the bubble burst?

One sector where these dynamics seem not to be in play, or certainly not with the same widespread negative effects, is in Champagne. The popularity of the wine from that region is due, largely, to the large brands – the grandes marques – that have been assiduously developed and marketed over the last century and more (Robinson RM). And the image that has been marketed has been one of luxury. In the eyes of some business insiders, Champagne might have the strongest and highest-priced territorial brand among all wine producing regions, due mostly to a long history of luxury promotion, astute management and luck (Lockshin, Charters 118) “There are 20 well-known grandes marques, robustly priced champagnes that are made in such quantity that they have to blend dozens and often hundreds of different ingredients to produce a consistent style When you serve your guests one of these, they now they are being treated to something with a certain price tag, reputation and familiarity” (Robinson Brand). If, as studies show, people buy more expensive wines for special occasions, then expensive wine is special (Veseth Wine Wars 36). Historically, Champagne’s price has marked it, without question, as a luxury good. So what happens to a brand whose quality is tied to high prices when those prices plummet?

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Despite appearances, market conditions in Champagne are not always sunshine and blue skies. Tensions between deeply discounted “value” brands and the premium labels of the Grand Marques have started to shake the historically solid cachet that attaches to all things Champagne.

That’s been the situation in the past several years in UK markets where, Nicolas Feuillatte commercial director Julie Campos believes, certain producers must be selling below cost, calling the discounts “inexplicable.” In an interview with The Drinks Business late in 2013, Campos pointed to rising trouble with the European Champagne market. “I say inexplicable because the pricing doesn’t add up to the cost bearing in mind what a replacement bottle of Champagne would cost these days… it’s obvious there are offers around that are below cost” (Schmitt). Furthermore, Campos pointed out, because grape prices have been rising faster than Champagne retail prices, the grapes alone now account for 42 percent of Champagne’s total production cost, up from the recent mark of 30 percent. As a consequence, she suggested that the current deep discounts were connected to an immediate need to convert stock into cash to pay for the cost of producing Champagne. “I think the promotions are linked to economic problems in Champagne, rather than an attempt to buy market share” (Schmitt). Campos later opined that Champagne producers had developed “an addiction to promotion” (Smith).

This compulsion for deep discounts affects both own-store labels like Pierre Darcy and De Vallois (Schmitt) and higher priced grandes marques bottlings (Glass of Bubbly). But this is in the UK. In the US, at least for the past several years, discount Champagne has been almost impossible to find (Yarrow). In fact, with the steady slide of the Euro, combined with a strengthening US economy and attendant consumer confidence, producers remain bullish on the American market. “We’re happy because this helps our profit margins,” said Frederic Rouzaud, managing director at Louis Roederer, who expects to increase spending in the US in the coming year. (Chow). Still, despite the rosy outlook across the Atlantic, Champagne producers need to exert some control over non-stop discounting and shore up their eroding public image. This was underscored in late 2013 by a 1 percent drop in value and a 2.7 percent drop in volume sales. These numbers seem benign until compared to the respective 13 percent and 10 percent rises in non-Champagne sparkling wines. (Green). “If big Champagne houses continue to go down the promotional route and try to match the price of sparkling wine, consumers will think they are similar products and we will struggle to get strong equity in Champagne,” said Oliver Dickson, senior brand manager for Piper-Heidseick. Explaining his firm’s goal of rebuilding market equity lost due to rampant discounting, he added, “It’s our intention from 2014 onwards that Piper-Heidsieck never drops below £20. It’s very difficult to drive equity messaging if it’s sold at half-price” (Green). Increasing prices and maintaining high prices will help Champagne remain a luxury brand. Ongoing discount promotions will serve only to damage the brand irreparably. It is time for the Champenois to choose what they want their future to look like (Lockshin, Charters 118).

Death by a thousand cuts

There are times in the market where reliance on low prices and constant discounting bring harm not simply to an individual product, but to an entire brand. One of the more documented examples of this lately is the most recent bust (in an perpetual cycle of boom-bust) of Australia wine and the dilution of what is known as Brand Australia. In 1996 the Australian government issued a study and set of ambitious goals called Strategy 2025, outlining their plans to surge into the international wine market and, in a few short years, become the preeminent player in the field. Despite reaching their initial goals early, the Australian wine industry finds itself in confusion, its future uncertain (Veseth WW 46).

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The Australian wine market has found that protecting its critters has not been without a cost. Exporting too many cute and furry animal brands around the world has blinded consumers to the great amount of fine wine that the country produces

Many in the industry, both in Australia and abroad, point the finger for their tattered market at mass-market wines, specifically Yellow Tail and other “critter” labels that have cast a shadow on Australian wine, obscuring much of that nation’s vinous output in the international marketplace. In the first decade or so of this century, Yellow Tail has remained the best-selling import in the US; even when Aussie exports plummeted in 2009 due to global recession woes, Yellow Tail stayed strong. As recently as 2011, the popular kangaroo label outsold all French producers combined (Veseth WW 139).

According to British wine critic Jancis Robinson, the market strength of Yellow Tail has “ ‘left most Americans with the impression that Australian wine is sweet, cheap, and adorned with a ’critter’’ ” (Fickling). Pernod Ricard SA’s Premium Wine Brands unit chimed in, saying that “A focus on volume sales and not value building” had hurt the reputation of Australian wine, in a October 2011 government inquiry submission (Fickling). John Casella, managing director of Casella Wines, the maker of Yellow Tail, fired back, insisting that Australian market troubles cannot be laid at the foot of his popular brand. “Yellow Tail is at a certain price point and people buy it because it’s there; the Toyota Corolla didn’t destroy the Lexus,” Casella argued. “Someone buying $12 wine doesn’t buy $6 wine” (Fickling). Casella contends that there is room in the marketplace for more upscale Australian wines, although it’s hard to imagine that the 8.5 million cases of wine he ships to America each year have left little room for other Australian wines, regardless of their price. (Veseth WW 140).

Yet, to be fair to Casella, other forces are at play in Australia that have caused exports to drop – nearly 10 percent in 2011. Even Yellow Tail sales in the US were down 7.8 percent in the first half of 2012. One, due to growth in other economic sectors, the Australian dollar is stronger than it has been in some time (Fickling). Also, the global thirst for Aussie plonk seems to be a bit fickle; international favor in the Popular Premium category (wines priced at $5-7) is shifting to Chile and Argentina (Love). With all these downturns, are there any bright spots in the future for Australian wine? Perhaps.

As of July 2013, sales for Australian wine priced in the $7.50 to $9.99 range grew by 14 million liters, and by 16 million liters in the $10 and above slot. Wine Australia’s chief executive Andrew Cheesman found hope in these figures, saying “The growth across higher price segments suggests Australia’s continued strategy to build a stronger perception of the quality of Australia wine is achieving cut-through” (Love). Cheesman believes that success in these areas is essential to the health and sustainability of his country’s presence in international markets (Love).

Another reason for optimism, albeit with some caution, is the rise in Australian exports to China. China, while a burgeoning market for international brands, is beginning to slow, with a steady decline projected for the next several years (Collins). At the beginning of 2010, Australia had gained a foothold there as number two importer behind France, with a 22 percent share of the market (Veseth WW 199). If Australia can hold steady in China, grow its premium wine exports, and slowly erase the image of their wines as nothing more than “cheerful, cheap, and sweet” (White) there is a chance that the goals set for Brand Australia back in 1996 might still be possible.

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Works Cited

Asimov, Eric. The New York Times. “Where Anxiety Is All That Is Flowing,” July 28, 2009. http://www.nytimes.com/2009/07/29/dining/29pour.html?_r=1&

Chow, Jason. The Wall Street Journal, “Champagne Makers See Opportunity in Weak Euro,” March 18, 2015. http://www.wsj.com/articles/champagne-makers-raise-a-glass-to-weak-euro-1426705276

Clark, Oz, BBC Watchdog, November 13, 2013 https://www.youtube.com/watch?v=1Yg5is6UDRI

Collins, Guy. BloombergBusiness.com, “U.S. Demand Seen Driving World Wine Market Growth, Deglise Say, January 25, 2015. http://www.bloomberg.com/news/articles/2015-01-26/u-s-demand-seen-driving-world-wine-market-growth-deglise-says

Decanter magazine, “Grape Price Cuts Will Send Us Bust: Murray Growers,” April 2014, p. 6.

Fickling, David. BloombergBusiness.com “Yellow Tail Maker Plans $10 Wine As Dollar Shaves Profits,” August 27, 2012. http://www.bloomberg.com/news/articles/2012-08-27/yellow-tail-maker-plans-10-wine-as-dollar-shaves-profits

Franson, Paul. Wines and Vines, “Leading Flash Sales Sites Identified,” Feb 1, 2011. http://www.winesandvines.com/template.cfm?section=news&content=83556

Glass of Bubbly. “Cut Price Champagne: Bargain Bonanza or Brand Damaging?” April 24, 2014. http://www.glassofbubbly.com/cut-price-champagne-bargain-bonanza-or-brand-damaging/

Green, Martin. OffLicenceNews.co, “Champagne Supplier Warns Against Discounts,” December 12, 2013 http://www.offlicencenews.co.uk/news/fullstory.php/aid/13825/Champagne_supplier_warns_against_discounts.html

Karlson, Per. BKWine magazine, “State of the World wine production and grape growing 2014: France back on top for wine,” November 11, 2014. http://www.bkwine.com/features/more/state-world-wine-production-grape-growing-2014-france-back/

Krause, Nick. Stuff.co.nz., “Discounts Hurt Winegrowers,” September 27, 2012. http://www.stuff.co.nz/business/farming/7734332/Discounts-hurt-winegrowers

Love, Tony. AdelaideNow.com. “Why The World Doesn’t Want Australia’s Wine Anymore,” July 15, 2013. http://www.adelaidenow.com.au/lifestyle/sa-lifestyle/why-the-world-doesnt-want-australias-wine-anymore/story-fnizi7vf-1226679796783

Lockshin, Larry; Charters, Steve, ed.. The Business of Champagne: A Delicate Balance.” Routledge. Oxford, United Kingdom. 2013.

Robinson, Jancis. “RM Champagne No Shortcut to Quality,” February 6, 2010. www.jancisrobinson.com/articles/rm-champagne-no-shortcut-to-quality?

Robinson, Jancis. “Champagne – A Wine or A Brand? June 1, 2013. www.jancisrobinson.com/articles/champagne-a-wine-or-a-brand

Schmitt, Patrick. The Drinks Business, “Champagne Deals Push Prices Below Cost,” November 28, 2013. http://www.thedrinksbusiness.com/2013/11/champagne-deals-push-prices-below-cost/

Smith, Hamish. Drinks International.co, “Champagne Discounting A Bilateral Challenge,” November 29, 2013. http://www.drinksint.com/news/fullstory.php/aid/4181/Champagne_discounting_a_bilateral_challenge.html

Veseth, Mike. The Wine Economist, “Are Wine Prices Too High? Or Too Low? (Wine’s Golden Age & Its Disconents), December 23, 2014. http://wineeconomist.com/?s=Wine%27s+golden+age&submit=Search

Veseth, Mike. Extreme Wine, Rowman & Littlefield. Lanham, Maryland. 2011.

Veseth, Mike. Wine Wars, Rowman & Littlefield. Lanham, Maryland. 2011.

White, David. Terroirist: A Daily Wine Blog, “A Conversation with Jancis Robinson,” October 31, 2012. http://www.terroirist.com/2013/10/a-conversation-with-jancis-robinson/

The Wine Institute, April 2015. http://www.wineinstitute.org/resources/statistics/article124

Yarrow, Alder. Vinography: A Wine Blog, “Where Is All The Deeply Discounted Champagne?” September 20, 2010. http://www.vinography.com/archives/2010/09/where_is_all_the_deeply_discou.html

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No, It’s Somm-Thing Else

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Not me.

So, you’re studying to become a sommelier?

Uh, no. Not exactly.

Since I started formal wine studies five years ago I’ve answered this question approximately seven gajillion times. At first it made me nuts, but I’ve gotten used to it. I know as well as most folks in the wine industry that the majority of people just don’t know that much about wine and the various roles that exist in the wine trade. The question, really, is an innocent one. And, with any open-minded inquiry there comes a chance to teach, to explain. Just last week I was asked again how I liked being a sommelier. Maybe I do need to explain myself.

So what am I doing with all these wine classes and examinations that I insist are so rigorous?

Well, when you change careers at 50 years of age, you need some credibility, something that tells your new colleagues that you actually know something, that you’ve earned your spot. When a prospective employer asks about your strengths, saying “I like to drink” isn’t going to carry the day. You have to have something more to offer. When I made the jump years ago from journalism and public relations to teaching high school English, I had a master’s degree in English, and many years of guiding other writers, editing articles, and overseeing complex productions. And if high school is anything, it’s a complex production. With wine, I needed at least a “degree,” if not some experience to offer.

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Bags of experience.

Soon after I started taking classes through the Wine & Spirit Education Trust (WSET), which is based in London, England (www.wsetglobal.com), I landed a job in a fine wine shop. Then it was off to the tasting room at a well-regarded winery in Napa. I started contributing articles to a number of newspapers, magazines, and online wine tourism sites. At the same time I was helping to host wine tastings, advising small collectors on their cellars, and answering a steady stream of questions from friends and relatives who had found themselves in a wine pickle at some restaurant or store. All of a sudden, after a few years, I realized I was building the credibility I thought I needed the wine classes to give me. So, I considered putting the books aside and diving whole-heartedly into the work. But I’m so close to the WSET Diploma that I realize I have to keep going, I have to see it through. Besides, to give up on something so challenging so close to completion is not the example I want to set for my children, even if they are young adults. So the work of learning continues.

But I’m still not studying to be a sommelier. Most folks have this image of sommeliers as snobby, self-serious intimidators who guard the wine vault at fancy restaurants, ready to beat back the rabble at every turn, who don’t miss a chance to turn up their nose or roll their eyes at any diner they consider their inferior. Which is to say everyone in the restaurant. Even though that character, for the most part, is disappearing from the American wine landscape, that’s the image many people still have. Friendly or fussy, the hard work of a sommelier, and running a busy restaurant’s wine program is absolutely hard work, holds little attraction for me. Giving up freelancing from home so I can work nights for someone else? I don’t think so.

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It’s work, but it’s fun work. Really fun work.

Now, there are those in the wine world who see programs like the WSET as a waste of time, who deride the “alphabet soup” that clutters the business cards of people who have gone through this or any number of other, often less well known, programs. (If you want to learn more about these programs and their certifications, here’s a good place to start: http://winefolly.com/review/guide-to-wine-education-courses/) These are folks who think that the only wine education that matters comes from experience. To be honest, they have a point. One can learn an awful lot from books and classwork, but in the end those efforts can only reward you so much. If you really want to learn wine, you have to stick your nose in a glass. You have to taste. And taste. And taste. Then you need to read, you need to ask questions of the more experienced, and, if possible, you need to travel to as many places, near and far, that produce wine. There is no substitute for legwork, or “stem work,” when it comes to learning about wine.

So, no, I’m not a sommelier. I don’t import wine, nor do I sell wine. I certainly don’t make wine. After years in journalism, public relations, and teaching, I know that I’m at my best when I’m writing or talking about something. My list of skills thins out pretty quickly after that. These days, I’m committed to writing and talking about wine, and in doing so I hope to help others learn more, drink more, and enjoy wine as much as I do. (Yeah, like that’s possible.)

Now, if you’ll excuse me, I need to go open up some learning. I suggest you do the same.

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Legwork doesn’t get any better. Domaine de la Romanée-Conti in Burgundy, France, has a wall to keep enthusiasts like yours truly out of their very valuable grapes. To my left, bolted onto the stone, is a sign in English and French  with a polite request for compliance. I didn’t get to walk in this vineyard, but I did get to glean some leftover fruit from the one next to it, which sounds pretty pedestrian but it remains a special memory from our days in Burgundy.

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It Must Be Refreshing!

In a talk at the Culinary Institute of America at Greystone a few months back, noted British wine writer, Jancis Robinson MW, explained her top criteria for any wine she encounters: “It must be refreshing!”

Given that simple yet demanding yardstick, I think Robinson would have found a great deal to like about almost all the wines presented at a recent tasting of New Zealand sauvignon blanc in San Francisco. Arranged in celebration of Sauvignon Blanc Day 2015 by David Strada, marketing manager in the United States for New Zealand Winegrowers, the April 24 tasting spotlighted a number of wines that excel both in the glass and at the cash register. Following the informal walk-around tasting, attendees enjoyed a four-course meal courtesy of Farallon, the popular San Francisco restaurant, which highlighted even further the wines’ versatility and complexity.

These sauvignon blancs hailed almost entirely from the South Island appellation of Marlborough, with a couple of wines from the Hawke’s Bay and Martinborough regions on the North Island. While all unique, they shared many typical descriptors: floral, citrus, mineral, herbal, grassy, creamy. A few leaned towards tropical when it came to fruit flavors, but lemons and limes and grapefruit predominated. And, with little to no oak treatment on most of the wines, textures were crisp and precise. The quality of the wines, overall, was high, and the affordable pricing made them only more attractive.

Please take a look at the wines, along with some of my immediate impressions. Moving quickly at tastings like this I find I can’t, and don’t really want to, compose formal, structured tasting notes. Sometimes simpler is better. The last thing I want to do is create more questions than answers. What’s a gooseberry? Exactly. I don’t know either. What I want you to remember are images, and maybe a few key words. If you can’t recall the names of the wines, you can always show your local wine monger the pictures below. I encourage you to start looking for these wines, which are just the right thing as the season begins to warm. You, and your budget, can thank me later.

Glasses up. Get to work, writers!

Glasses up. Get to work, writers!

Seresin: Light in the mouth, relatively simple, moderate acid. $25 Sileni: Fresh flowers. Grapefruit. Refreshing acid, very good fruit. $14 The Silent

Seresin: Light in the mouth, relatively simple, moderate acid. $25
Sileni “The Straits”: Fresh flowers. Grapefruit. Refreshing acid, complex flavors, long finish. $14 “The Straits” was also an ideal accompaniment to a baby beet salad (w/ toasted almonds, red beet relish, and sherry vinaigrette) at lunch. One of the afternoon’s more impressive values.

Clos Henri: medium-plus body, earth on finish, good complexity. $24 Jackson Estate: Complex nose, bright fruit, with lemon/lime on palate. Medium acid. $17 Momo: Earthy nose, hints of musk, but with a perfumed finish. $12

Clos Henri: medium-plus body, earthy on finish, good complexity. $24
Jackson Estate: Complex nose, floral notes, bright fruit, with lemon/lime on palate. Medium acid. $17
Momo: Earthy nose, hints of musk, but with a perfumed finish. $12

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Spy Valley Envoy: Aromas of flowers and cream, a dusty minerality on the palate. Refreshing acid; complex. $22
Tiki: Classic profile, with loads of tart citrus and green apple flavors. Bracing acidity. $15
Trinity Hill: Citrus and tropical notes on nose and palate, excellent finish. $15

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Sorry for the blurry photo. The staffer responsible has been put on unpaid administrative leave. It won’t happen again.
Brancott Estate “Flight Song”: This brought out my Irish — “the green, green grass of home!” On the simpler side, with medium acid and a medium finish. If a friend says she likes the grassier NZ suav blancs, this is your go-to. $12
Brancott Estate: Toasty biscuit on nose; smooth mouthfeel, with tart, citrusy flavors. Medium acid, long finish. $9

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Craggy Range Te Muna Road: Most complex nose and palate of the entire lot; great structure, with fruit, acids, alcohol, and texture all in balance. Long finish. $16 (!) Paired nicely with the main dish of spring pea risotto, grilled Louisiana prawns, pea shoots, with aged balsamic. A versatile, delicious wine that plays way above its price point.

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Giesen: Bracing, zippy, classic profile, with plenty of mouthwatering acid. Great finish. $10
Huia: Savory notes, flinty, sleek mouthfeel, earthy on the finish. $18 (An hour later, opened quite a bit, adding hints of talc, shellfish, minerality).

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Sileni Cellar Selection: A fascinating nose, very clean and polished, with complex fruit flavors, racy finish. $11

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Wither Hills: Citrusy, green apples, hints of tropical fruit, creamy mouthfeel, great structure, long finish. $13 (!)

Three wines not pictured here are Hunky Dory, a tasty, but simple quaffer, $15; Nautilus, citrus flavors with a creamy mouthfeel, $17; and, Matua, simple, soft on the palate, medium acid, short finish, $10.

Also in the line-up this day were six sauvignon blancs from California. Placed at the end of the rotation, they were a jarring change in almost every way from the 20 wines that had preceded them. For me, personally, the clashing profiles cast the American wines, for the most part, in an inferior light. While one or two California labels had the bright acid and steely feel of the NZ wines, the rest came across as a bit flabby and not that interesting. The California wines also tended to carry higher price tags, which only strengthened the argument that, in the end, sauvignon blanc from New Zealand is an unbeatable value.

[Note: these wines are all under screw cap. As you can see, that is no longer, and hasn’t been for some time, an indication of quality. In the immortal words of Count Rugen, “Stop saying that!”]

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When In Spain… Notes From Jerez

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As some of you might recall, my daughter, Katie, is in Spain for the year as a Fulbright Teaching Assistant. As a part of the Fulbright program she is required to pursue a cultural education project, focusing on a particular aspect of life in Spain. Well, the apple must not fall very far from the tree because her project is to study the food and wine of Spain. Talk about a practical, and satisfying, immersion experience. She recently took a weekend trip to Sevilla with a fellow Fulbrighter. Together they spent a day in Jerez exploring that city’s greatest export. The following notes and pictures are Katie’s. This piece opens a new chapter in The Grape Belt‘s annals as she is the site’s inaugural guest blogger. Hope you enjoy her look at Jerez. Cheers!

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Our guided tour started late, but it’s Spain on a holiday so that wasn’t too surprising. What was surprising is that we had to wait outside in the courtyard and not in a tasting room or wine shop, which is typical of the other experiences I’ve had.

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The guide seemed to be knowledgeable enough, but she had a distracting, thick accent, which made understanding just about everything she said quite difficult. She also did not spend much time explaining sherry in general, how the process began, what the steps were, or how important sherry is in Jerez and the surrounding region.

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Luckily, I had done a quick read of some articles explaining sherry so I wasn’t completely lost, but the fact that she assumed we knew such things was quite presumptuous. I mean, I like being treated like a competent, intelligent adult, but this is one of those moments where I could have used a tutorial. The tour only lasted about 20 minutes and we rushed through the storehouses, but it was still incredible to walk among the barrels and smell the sherry. And, to experience the bodega with such a small group made for a much more intimate and therefore impressive experience.

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Then, it was straight to the tasting room, where we tasted eight sherries from dry to sweet. I have never tasted so much sherry before nor did I appreciate the range of aromas and flavors that sherry has to offer.

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There wasn’t much explanation of the type of sherry we were drinking as you would receive at a typical winery tasting, where the guide might remind you of the bottling, aging, and storage process before giving you a pour. Here, it was more of a “well, here’s the fino…do you like it?” This meant we spent most of the time reading the label to get some clues as to what we were supposed to be tasting in the sherry or what we might pair it with.

This sherry, our first, was dry, not long finish, fresh, light, smells oaky/almost buttery. Looks super clear with a hint of pink when held up to a white surface but from the side it looks more like a light hay.

This sherry, our first, was dry, with not a very long finish; fresh and light, with an oaky aroma and hints of butter. In the glass it is super clear with a hint of pink when held up to a white surface, but from the side it has more of a light hay color.

The tasting room hostess said this would be saltier and it is popular in Japan with sushi. Smells less buttery and the color is slightly darker. More tannic, pucker-feel in the mouth and definitely tastes of salt.

The tasting room hostess said this would be saltier than the Manzanilla and that it is popular in Japan as a pairing with sushi. This wine was less buttery on the nose, and the color is slightly darker. In the mouth it is more tannic, and, as the guide suggested, stronger saline flavors.

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This wine reminded me of the sherries my father has tried to introduce to me at home, and so was strangely familiar. It has a strong taste, more like a spirit, with less fruit flavors than the previous samples. Most of the flavor is up front, and the finish isn’t very long at all.

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This sherry is 20 percent alcohol, redder and darker  than the one before. A bit lighter with aromas, again, of maple and caramel, but sweeter and easier to drink, with more fruit. A darker wine in every way, but with lighter flavors,  almost like honey.

Amontillado has a dark, amber-like color. This sample smelled syrupy and sweet, like caramel or maple syrup.  Sarah said, “it tastes like lady whiskey.”

Amontillado has a dark, amber-like color. This sample smelled syrupy and sweet, like caramel or maple syrup. Sarah said, “it tastes like lady whiskey.”

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The color of this sherry is dark brown, and it smells like a fish market. Happily, it doesn’t taste like one. In fact,once you get it past your nose it has a super sweet taste— like candy, maybe a chocolate-orange bark, and has a creamy consistency. It’s easy to see how it might pair with a variety of cheeses.

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This sherry is one of Lustau’s most celebrated wines and has won many international awards. Really dark, almost coffee color. It reminds me of being in a hospital, with aromas that are sweet but slightly sterile. Sharper, with more noticeable alcohol on the palate. Both the consistency and flavors are super syrupy.

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As it’s being poured, you can see it comes out silently like molasses, and smells like a Ricola cough drop, with a sweet and sappy aroma; and, while the aromas remind me of a pine forest,  the wine looks like chocolate, and tastes like dried fruit, maybe raisins or figs. The finish is very long. Definitely good as a syrup over ice cream.

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I think Sarah and I both found the oloroso to be the easiest to drink and the mildest. The drier sherries were a bit too “alcohol-y,” whereas the sweeter sherries were so sweet and syrupy that I don’t think I could drink them on their own. I think our consensus on the sherry tasting was that it was a great experience and fun to try out, but I know I will not be ordering sherry at a bar or casually after a nice meal anytime soon. I think I’ll stick to unfortified wine for now.

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Other observations:
People in Jerez drink sherry at bars instead of a glass of wine or beer. Walking through the streets you see great numbers of locals out on terraces and eating in the plazas and everyone is drinking sherry. We arrived in Jerez on a holiday so it was even more pronounced, but we did wander down this one alley lined with bars and there were families and couples, old people and young people, sitting on stools in the alleyway and it seemed as though everyone was having a glass of sherry and some tapas. It felt like what must be a quintessential Jerez experience. Sarah and I both joined in and ordered a glass of sherry (I ordered fino and she ordered the house oloroso that came out of an unlabeled glass bottle looking like moonshine) to fit in with the locals. I wish I had just gotten a glass of wine because I struggled sipping down another sherry after our tasting, but it was worth it to be part of the Jerez experience.   — by Katie Riley

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To Love Wine Means To Love Learning

For the past three years I’ve had the privilege and pleasure to attend the Symposium for Professional Wine Writers. Now in its 11th year, the symposium, held at the Meadowood Resort in St. Helena, brings together writers at all levels of the global wine trade, from the famous to those just getting started. Along with industry representatives, local winemakers, and publishing leaders, writers spend four days discussing current editorial trends, the state of the wine industry, both domestic and global, and sharpening their analytical and writing skills with a variety of classroom and tasting sessions.

This year’s symposium featured U.S. Poet Laureate Billy Collins and Jancis Robinson, the first female and first non-industry member to earn the prestigious Master of Wine designation. Robinson, one of the world’s premier wine writers and critics, led several tasting sessions and discussion panels, and made herself accessible to conference attendees at every turn.

It’s said that good writing not only tells but shows. With that in mind, let’s emphasize the show. Below is a collection of images from the symposium for you to enjoy. So, grab a glass of wine and let’s head to Napa!

Our first order of business on Day One was a chance to get "Down and Dirty" at Raymond Vineyards in Rutherford. Here, Julia Case, Dong Li, and I find out if we are going to fit within the Raymond framework.

Our first item of business on Day One was a chance to get “Down and Dirty” at Raymond Vineyards in Rutherford. Here, Julie Case, Dong Li, and I find out if we are going to fit within the Raymond framework.

I love working outdoors on projects that require me to carry a glass of delicious wine wherever I go. Tamara makes sure we all have the proper tools for our wok among the vines.

I love working outdoors on projects that require me to carry a glass of delicious wine wherever I go. Staff member Tamara Stanfill makes sure we all have the proper tools for our work among the vines.

Joe Papendick, head gardner at Raymond, begins to explain the finer points of sustainable, organic, and biodynamic farming, and why compost is so damn beautiful.

Joe Papendick, head gardener at Raymond, explains the general elements of sustainable, organic, and biodynamic farming, and why compost is so damn beautiful.

Is it just me, or do things look a bit clearer when glimpsed through a glass of wine?

Is it just me, or do things look a bit clearer when glimpsed through a glass of wine? Okay, I guess it’s just me.

As we found out, over and over again, Raymond is not your typical Napa winery. Their hands-on approach, for example, is a bit different than that found in other tasting rooms.

As we found out, over and over again, Raymond is not your typical Napa winery. Their hands-on approach, for example, is a bit different than that found in other tasting rooms.

Given that many wineries in the valley were preparing for parties held in conjunction with the annual Premiere Napa Valley events, I couldn't tell what displays were gala decorations or, simply, Raymond being Raymond.

Given that many wineries in the valley were preparing for parties held in conjunction with the annual Premiere Napa Valley events, I couldn’t tell what displays were gala decorations or, simply, Raymond being Raymond.

The Red Room, one of valley's celebrated and unique private tasting room. My fellow WWS attendees and I were treated there to a private tasting hosted by Stephanie Putnam, Raymond's winemaker, and Jean-Charles Boisset, the winery's owner and most vigorous promoter.

The Red Room, one of Napa Valley’s most celebrated private tasting rooms. The three of us were treated there to a private tasting hosted by Stephanie Putnam, Raymond’s winemaker, and Jean-Charles Boisset, the winery’s owner/proprietor  and its most vigorous promoter. The Raymond wines, across the board, are restrained and elegant, an intentional marriage of French and California styles.

The symposium's first full day was dedicated to the craft of writing, as well as current publication trends in the industry. The day got underway with a smart, and often funny, keynote address by U. S. Poet Laureate Billy Collins (2001-2003), titled "There Stands the Glass: Description and Story."

The symposium’s first full day was dedicated to the craft of writing, as well as current publication trends in the industry. The day got underway with a smart, and often funny, keynote address by U. S. Poet Laureate Billy Collins (2001-2003), titled “There Stands the Glass: Description and Story.”

One of the surprising bits of information came from this "word cloud" that shows Bordeaux dominating in the numbers of stories found in wine publications. This is despite the fact of Bordeaux's steady drop recently in market share and influence. The interesting stories about developments in the wine world can be found in many of the other regions, which, clearly are still being ignored.

One of the many surprising bits of information came from this “word cloud” that shows Bordeaux dominating in the number of stories found in wine publications. This is despite the fact of Bordeaux’s steady drop in recent years in both market share and influence. The interesting stories about developments in the wine world can be found in many of the other, small-type regions, which, clearly, are still being somewhat overlooked.

One of the great benefits of attending the symposium is the wide range of Napa wine we are served at various events. Every year I come across a few producers I've never heard of, or bottles I'd never be able to obtain on my own. And the meals at Meadowood, as one attendee said, "the best conference food you'll ever see." I concur.

One of the great benefits of attending the symposium is the wide range of Napa wines we are served at various events. Every year I come across a few producers I’ve never heard of, or bottles I’d never be able to obtain on my own. And the meals at Meadowood are, as one attendee said, “the best conference food you’ll ever find.” No argument here.

Can't have lunch on a sunny California day without a few fine whites to enjoy. More than a few attendees did their best to taste through all the whites and reds before lunch hour ended and we were called to our next session.

Can’t have lunch on a sunny California day without a few fine whites to enjoy. A number of attendees did their best to taste through all the whites and reds before lunch hour ended and we, er, I mean, they were called to the next session.

Most of the sessions at the symposium are quite educational, and the best ones, like the best wine articles, have a personal story or context. In this grouping, Karen MacNeil, author of the bestselling The Wine Bible, facilitated a panel comprising members of the Chappellet and Venge families, important threads in the fabric of the Napa Valley for three generations. We heard their stories and tasted some of their fine wines. Hands-on learning doesn't get too much better.

Most of the sessions at the symposium are quite educational, and the best ones, like the best wine articles, have a personal story or context. In this grouping, Karen MacNeil, author of the bestselling The Wine Bible, facilitated a panel comprising members of the Chappellet and Venge families, important threads in the fabric of the Napa Valley for three generations. We heard their stories and tasted some of their fine wines. Hands-on learning doesn’t get too much better. (Unfortunately, none of my photos of the speakers were uniformly flattering, and so I decided to let everyone retain their dignity.)

Several sessions focused on the changes in magazine publishing as the emphasis on digital content and delivery continues to grow. In this general audience presentation, moderated by Betsy Andrews of Departures.com, Joe Czerwinski, managing editor, Wine Enthusiast; Davina Baum, director of digital content, Afar.com; and, Kristin Tice Studeman, contributing editor, Style.com, all offered insights into their current practices and where they think digital publishing might be heading in coming years. One thing was clear: the genie of digital publishing is not going back in the bottle.

Several sessions focused on the changes in magazine publishing as the emphasis on digital content and delivery continues to grow. In this general audience presentation, moderated by Betsy Andrews of Departures.com, Joe Czerwinski, managing editor, Wine Enthusiast; Davina Baum, director of digital content, Afar.com; and, Kristin Tice Studeman, contributing editor, Style.com, all offered insights into their current practices and where they think digital publishing might be headed in coming years. One thing was clear: the genie of digital publishing is not going back in the bottle.

There's quite a bit of wine at this gathering. When morning comes around, and the going gets tough, the tough get going. And it's almost always with a cup of coffee in hand.

There’s quite a bit of wine consumed at this gathering. When morning comes around, and the going gets tough, the tough get going. And it’s almost always with a cup of coffee in hand.

Day Three was dedicated to career development and discernment, always an important topic in a field where making a living is never less than challenging. We started with a panel discussion led by Evan Goldstein, MS, who elicited some pearls of experiential wisdom from three of the brightest stars in today's wine industry: Andrea Robinson, MS; Jancis Robinson, MW; and, Karen MacNeil. Together they offered more than enough for their listeners to chew on.

Day Three was dedicated to career development and discernment, always an important topic in a field where making a living is never less than challenging. We started with a panel discussion led by Evan Goldstein, MS, who elicited pearls of experiential wisdom from three of the brightest stars in wine today: from left, Andrea Robinson, MS; Jancis Robinson, MW; and, Karen MacNeil. Together they gave their listeners plenty to think about.

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Our day at the Culinary Institute of America at Greystone (CIA) is a special day for all attendees, year after year. Every element of service provided is exceptional, and some more than others. The set-ups for our large tastings are always impressive.

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This tasting, “From Barrel to Bottle to Cellar — Exploring Napa Valley Cabernet Sauvignon at Different Ages and Stages,” was both instructional and fun. Discussion of these wines was candid and energized. Led by Jancis Robinson, there was little consensus among attendees about the selected wines, proving once again that wine is, in the end, a truly personal experience.

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The wines were, from left, Louis Martini, Chimney Rock, Araujo, and Staglin. Despite its common market status, the Martini (1995, 2005, 2013) held its own. The Chimney Rock (1996, 2005, 2013) was the most consistently structured and viable. The first two vintages of the Araujo (1993, 2000, 2012) were gone, with little value to be had; the 1993 split the room with some attendees trying unsuccessfully to defend the brown sludge most found in their glass. The final wine, Staglin (1996, 2003, 2013) was big and sturdy in the final two vintages; the ’96 was fading but still interesting and worth enjoying.

Will Lyons, a Londoner who writes regularly for the Wall Street Journal led a tasting session, with Joe Czerwinski from Wine Enthusiast magazine, on Napa Valley sauvignon blanc. Emphasis was placed on composition of various styles of tasting notes. The wines ranged from a simple $20 bottling all the way to a triple figure, oak-aged production.

Will Lyons, a Londoner who writes regularly for The Wall Street Journal, led a tasting session, with Joe Czerwinski from Wine Enthusiast, on Napa Valley sauvignon blanc. Emphasis was placed on composition of various styles of tasting notes. The wines ranged from a simple $20 bottling all the way to a triple figure, complex, oak-aged production.

The job of a good wine writer is finding something special to say. Simple analyses of several wines that taste confusingly similar does nothing for ones reader. Making the wine come alive is the writer's job.

The job of the wine writer is to find something special to say without sounding exclusive or elitist. Also, simple analyses of several wines that taste confusingly similar does nothing for the reader. Making the wine come alive, by informing, entertaining, or educating, is the writer’s goal, and a constant challenge.

The highlight of the week is the Fellowship Dinner, which attendees share with local winemakers who have each sponsored an established or budding wine writer who has proven themselves worthy of the support. To start the celebration this year, sparkling wines from a number of Napa producers were poured. To no one's surprise, the wines flowed freely.

The highlight of the week is the Fellowship Dinner, which attendees share with local winemakers who have provided scholarships to both established and budding wine writers who have proven themselves worthy of the support. To start the celebration this year, sparkling wines from a number of Napa producers were poured. Predictably, the wines flowed freely.

Dining at Meadowood, whether a simple meal in the Grill or several gourmet courses at an event like the symposium, is always a special treat. Impeccable presentation and service are axiomatic. And, having fifteen wines from some of Napa's finest producers to enjoy with the meal is a treat nonpareil.

Dining at Meadowood, whether a simple meal in the Grill or several gourmet courses at an event like the symposium, is always a special treat. Impeccable presentation and service are axiomatic. And, having fifteen wines from some of Napa’s finest producers to enjoy with the meal is a treat nonpareil.

The three whites offered, while tasty, didn't really shine until the cheese course at the end of the meal. The middle row, for the most part, stole the show, as a unit. Overall, not a clunker in the group, most of the wines showed beautifully. My top wines were Seavey, Shafer, and Mondavi. But the contest was a close one all around. Okay, I'll be honest -- I really had no use for the Hourglass malbec. Just didn't do it for me.

The three whites offered, while tasty, didn’t really shine until the cheese course at the end of the meal. The middle row, as a unit, stole the show. Overall, not a clunker in the group, and most of the wines showed beautifully. My top wines were Seavey, Shafer, and Mondavi. But the contest was a close one all around. Okay, I’ll be honest — I really had no use for the Hourglass malbec. Just didn’t do it for me.

Until next year. Cheers!

Until next year… Cheers!

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Please Pay Attention

DSC_0575_4If you’ve enjoyed wine for any period of time, and I don’t mean the past several hours or days, you know that there is more pleasure to be had the more attention you pay to what’s in your glass. For many would-be wine lovers, learning how to be more mindful when it comes to wine can be a tricky thing. My fellow wine writer, Lauren Mowery, recently wrote a smart piece for both the Village Voice and her blog, Chasing the Vine on this exact subject. I don’t normally post other people’s work here on The Grape Belt, but Lauren explains the best ways to get the most from your wine so succinctly that I just had to share it. I’m confident that if you are able to bring even a few of the focus points she suggests to your next good glass of wine, you’ll find that entirely new paths to pleasure will open in front of you.

Remember when your parents and teachers told you to pay attention? They weren’t trying to badger you. They were trying to prepare you for the wonderful world of wine. Cheers!

http://chasingthevine.com/2015/01/17/mindful-drinking-will-make-your-wine-taste-better/

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