Statistics show that nobody reads blogs on Friday, but wine has been tasted and notes have been scratched in purple ink. A couple of nights back, over steak and duck at Apiary, after some 1990 Cote de Beaune and before a couple of stickies, we cracked a trio of American classics; two from Ridge and a Dunn Howell Mountain Cabernet from 1981.
Upon first opening, the Dunn showed surprisingly thin, for a typically long lived wine, but it’s always a journey with these mountain beasts. One of the bottles that first did it for me, one of the first tastes to awaken a real interest, was Dunn’s ‘86 Napa Cab. At the time, my soft palate didn’t know what to make of the monstrous ’86 Howell Mountain Cab, but the harmony of the fruit and the earth I found in that ’86 Napa Cab seemed to me to be all that a big CA red should.
But back to the wine currently staining the linens on the tasting table behind my eyeballs: After about 35 minutes of air, the Dunn Cabernet Howell Mountain 1981 proves to be a slumbering giant, full of burly brambly mountain fruit. The palate is expansive, deeply gripping, and the finish’s long path is peppered with a patchwork of wild woodland herbs. The alcohol pulls in at a clockwork 13%, thought the wine- long integrated as it may be- is many shades heavier.
The Ridge Zinfandel York Creek 1994 also begins a little closed and while the body does build with ample air, this wine is not as lush as previous tastings, though the fruit hasn’t receded entirely. Both color and clarity are still crisp and the wine shows only the slightest hint of its age. The red fruit is still slightly out front of its earth component, but it is no longer penetrating. Forest floor and ancient spice box persist through the subtle, but undulating finish.
The Ridge Geyserville 1992, at this point in its career, is a dead ringer for a fruit forward Napa Cab five or six years its senior. Slip one of these into a blind tasting of late ’80s CA Cabernet and blow some minds/palates. Geyserville is a classic of the Napa establishment, and in my experience, this wine always shows well, though the true aging potential varies from vintage to vintage. I’ve also found that recent vintages seem to drink better younger, making them all the more difficult to squirrel away for further maturity, full integration, and secondary flavor development. For a true classic and always a palate expanding, Ridge Geysereville (and most of Ridge wines besides the Monte Bello) can still be acquired for around (a wholly fair) thirty bucks.
I have so much backed up material and so many unpublished tasting notes, that I didn’t take down a single word last night at St. Anselm, though we opened and enjoyed: Foris Pinot Noir 2009, Antiqv2s (Antiqus) Syrah Garys’ Vineyard 2004, and Livingston Moffet Cabernet Rockpile Vineyard 1994; all interesting and noteworthy each in their own right.
Re: St. Anselm, I’m not sure there is a better compliment one can give a chef or his team, but I didn’t notice until after we ate that iron-willed head chef and grill-master Yvon was not in the building. Though the pacing seemed a little off (not much of a crime on a sold out Friday night), the various steaks and chops arrived in the glorious state to which St. Anselm patrons have grown accustomed.
Well, I kinda skipped out on that whole new years thing, so my March resolution is to get more material onto/into this blog, starting right now, from piles of backed up notes.
A note on bottle variation. At a certain level of quality, bottle variation can be a welcome surprise. Case in point, I’ve opened a number of bottles of Andrew Will Klipsun Merlot ’99 in recent months and the last two, had they been poured blind and side by side, I don’t think I would have pinned them as from the same continent or time, let alone the same bottling. The one I opened last night was a surprisingly Bordeaux-like beast showing mainly dark earthy and relatively fruitless characteristics- all damp leaves, pine tar, and forest floor. As a whole this ’99 Klipsun Merlot is drinking more like what I would expect from this label’s Sorella, which is Chris Camarda’s deliberately Bordeaux-style blend. It’s certainly possible that these last two bottles’ contents were identical and that this last couple of weeks aging was a definable turning point, but it’s neither a great chance (given the aging arc of Merlot) nor a verifiable one.
Those deep red and black fruits that were so lush and forward in previous examples of this wine are present here, but more in the capacity of great background harmonies, like Barbara & Joy (aka The Choir) on the Black Crowes’ Southern Harmony and Musical Companion. Speaking of the Black Crowes, I was just listening to Amorica and not many records have a better closing track: a beautifully forlorn road ballad that would be far less without the color fills and purposefully meandering solos of keyboardist Eddie Harsch (Hawrysch). God bless old weird Ed, his rock & roll name, and his important work.
Two weeks into the new year and I’m already 12 days (and five years) behind on my resolution(s). Back to life… back to reality. Well, if reality were a pile of rare wine and 46oz axe handle ribeyes. I’m so scattered that I’m quoting Soul II Soul, but I digress… from my digression. Red meat & red wine is just one of those (combination of) things, right up there with the all-time greats. And while a number of interesting and beautiful reds (and one white- Wind Gap Trousseau Gris 2011) were sipped over succulent charred animal flesh at St. Anselm, it is the St Innocent Pinot Noir Shea Vineyard 2001 that most warrants documentation.
St. Innocent is one of those great American owner/winemaker situations, where proprietor Mark Vlossak makes some of Oregon’s most compelling (single vineyard) bottled produce. The hardiest examples from the stronger vintages defy the absurd common wisdom that American Pinot Noir doesn’t age well. And the finest expressions of Shea vineyard grapes age as well as any American Pinot Noir; far greater longevity than a francophile will ever admit. And this one is fairly interesting, over a decade after crush.
So, I finally watched Knuckleball, which reminded me acutely that baseball was my first love, well before wine, or even women. If you have ever loved anything about any sport that wasn’t based in some re-wired tribalism, Knuckleball will warm the cockles of your heart. Didn’t know that R.A. Dickey was a born again Christian, but one of many reasons I stopped following organized sports was that I didn’t want to support the livelihood of thugs and felons. So, like saddling up to an Irish bar, let’s leave the religion and politics at the door (for today). But if I find out that Charlie Hough, The Niekro brothers, and Tim Wakefield are all born again, and that only by taking the New Tastament version of Jesus Christ Superstar into one’s heart, can you truly take the spin off of that demoniacle changeup, I’ll be very upset. Regardless, if I do follow baseball this season, it’ll likely be the Blue Jays that interest me. May the force be with you, R.A.
Back to the wine: St. Innocent Pinot Noir Shea Vineyard 2001 is showing slightly less fruit than previous tastings, but no less expansive baseline of furry dry raspberry, brambly, but thornless, and a lesser presence of red cherry. There’s a broad mid-palate of dusty crushed granite, dry earth, pine tar, ancient cedar chips, and just a touch of gaminess. With further breath the mid-palate opens to palate-suckingly dry, before a deceptively long, undulating finish. It’s beautiful stuff, but have a large glass of clear cool water handy. Always remember: Hydration is your friend. It makes tomorrow possible. From the weight and breadth of the St. Innocent Pinot Noir Shea Vineyard 2001, it’s difficult to discern how much life this wine has left in it, but it’s well worth pairing with a well-marbled world-class steak today.
I’m insanely behind on my posting; more so than I’ve been since I began doing such things. But helping a guy open a restaurant will do that, and I’m quite proud of what we put together, in a very short period of time. While I still have piles of CA content to get to, here are some tasting notes that should have been posted quite some time ago…
[It was] another Monday night at the bar at Apiary and the place is buzzing; not bad for August [yeah, that’s how far behind on tasting notes I am!]. By request, I’ve brought nothing but whites: one long shot, a probable, and a couple of sure things. First, the long shot: Van Duzer Oregon Sparkling Wine Methode Champenoise 1991. I bought this wine for basically nothing at all, from an unverified source, assuming- like the seller- that this wine was likely well beyond its pleasurable drinking window. That being said, 1991 has proven to be one of the longest lived vintages ever for most OR wines that have been around that long, and Van Duzer bottles some high art, on their best days. * And I know I’ve said it 1,000 times before, but it bears repeating that Chef Scott Bryan of Apiary (formerly of Veritas) puts out- every night- some of the best, wine friendliest, food that has ever existed on this vile rock they call Manhattan.
The foil off, and the cork still has some pressure behind it, the CO2 persists, and the initial pour shows a respectable head for a 21 year old American bubbly. It’s pale gold, or brilliant straw, bubblier than expected, and it’s rather captivating immediately. The nose is deeply yeasty, but subtly, not pungent. The palate shows bright integrated Meyer lemon zest over a broadly bready body, with a slightly creamy texture in the mid-palate, and faint mingling notes of raw honey and honeysuckle…. Van Duzer Oregon Sparkling Wine Methode Champenoise 1991 is unquestionably one of the most pleasant palate surprises of the year, to date. At the price that was offered, I should have grabbed the 2 cases that were available…
While unanimously declared a tough act to follow, the hesitating beauty to my right, Roy (Apiary’s Wine Guru), and I moved on to the Vincent Girardin Chassagne Montrachet Le Cailleret 1999. I can’t overstate how universally fantastic and underrated world wine is from 1999. It’s a solid- if not classic- vintage in many major wine regions from the Rogue Valley to Ribera del Duero, and represents many of the last “bargains” from overpriced earth, like that of Bordeaux and Burgundy.
In the glass the the Girardin Chassagne Montrachet Le Cailleret ’99 is as much caramel as gold, though the pictured softness is condensation on the glass, not the telltale cloud of oxidation. The nose is ripe with a damp earthy funk over a building tide of increasingly prevalent salt air. The palate is soft and integrated, with a citrus spike, punctuated by a flutter of honeybell rind, dancing about a tight mineral core. I would love to blind taste this one on a roomful of Burgundy snobs who scoff at such negociant wines.
It would be dishonest of me to give full tasting notes on this Guigal St Joseph Lieu Dit 2007 as I can’t locate my notes on the matter. But I do have a small list of bullets from Roy: “apple, papaya, lychee, white river stones, limestone, calcium- medium long finish, med+ weight.” The wine was quite beautiful and deserves a more considered review, but the above list represents the only primary resource I have from that evening.
While I will get back to my flash sale wine site reviews sooner than later, I have a pile of tasting notes that I’ve been sorely neglecting, and opening and noting random old bottles is one of my very favorite activities. Toward the end of a recent meal, my cousin, Jon, offered up a 375ml bottle: Weingut Johannishof Johannisberg Riesling Beerenauslese 1976. While it came with the caveats and disclaimers that often surround the opening of a bottle of such age (and questionable provenance), with enough sugar and decent acidity, a decently stored wine like this can survive a long time. At 36 years after harvest, this particular split bottle ended up worth its weight.
I’m listening (and have been for some time) to Aaron Freeman’s new album, Marvelous Clouds. While said artist, formerly known as Gene Ween, made some curiously shiny production choices, and there is definitely some filler here, there is also some signature Gener… er… Aaron Freeman songwriting. All other things being equal, if there is a future, Aaron Freeman- including all aliases past and future, will be recorded as one of the finest American songwriters of our time. It really is a shame that so many of his hardcore fans are drunken jackasses, making it impossible for Freeman to make any serious headway as a solo artist as Gener.
At an acoustic Gene Ween set at a pre-op Joe’s Pub, I joined the applause as two hammered Ween fans we escorted out of the venue, from two of the farthest seats from the front door. It wasn’t their random outbursts, audible throughout the room, that got them expelled back to New Jersey, it was the projectile vomiting over their table, and onto the floor that led management to throw the red card.
In case you live under a rock, or don’t care, Aaron Freeman recently disbanded Ween, effective immediately, in a public announcement. His Weenmates, including Mickey Melchiondo (aka Dean Ween), found out when everyone else did. In further unfolding developments, Freeman was forced to cancel solo tour dates due to poor ticket sales and made a public overture to his friends from Ween to help him out, for the fans. For my money, as long as they don’t play that miserable Terminal 5 again, I’d prefer to have Ween in the world than to not. There must be Ween.
But anyway, Aaron’s new record is unquestionably worth a listen, and Mickey will be more than happy to take you fishing. No kidding. I’m seriously, you guys.
Oh right, I just tasted some old rare Riesling, and made some notes. Johannishof Johannisberg Riesling Beerenauslese 1976 is a deep, golden ruby hued, caramel color and it wears the weight of a 5 puttonyos tokaji. Caramel apple gives way to subtle but deep red berry and floral notes, and finishes with a light dusting of baking spices. This wine is definitely holding on, at this point in its life, rather than evolving, but it is still quite enjoyable.
One of the quietly classier flash sale wine sites around is Vitis.com. Vitis offers one wine at a time and organizes professional reviews, background and bottle information, and a pairing recipe, in a visually appealing way. Selections can be hit or miss, and as I click over right now, I see yet another Oriel selection. Oriel has been placed widely and repeatedly throughout the flash sale market. I’ve always respected Oriel’s business model, but I’ve never been terribly impressed with their wine per price, and they make much more sense to me at flash sale prices.
But if you don’t like the deal, just wait for the next e-mail. And when Vitis is on, you can claim some reasonably rare stuff, properly aged, at rock bottom prices, such as the ’01 Alenza Ribera del Duero and the ’95 Felsina Chianti Classico Rancia Riserva, I’ve picked up in recent months, well below market rate.
Vitis has also had a few of my favored tasty cheapys recently (at lowest national prices): Byron Chardonnay, Marques de Carceres Reserva, and Marti Fabra Masia Carreras, each of which represent excellent with-food drinking per dollar.
So, I’m listening to Jack White’s new record, Blunderbuss. Jack White is so fucking cool that it kind of pisses me off, though I have begrudging respect for just about everything he does. And as far as people who get to do whatever/wherever/whenever they want, in that Kid Rock on a bender kind of way, he seems to deserve it. And unlike Kid Schlock, Jack White can really play (and write) and he has at least as deep a respect for all that which came before, as all that which lies ahead. He’s constantly working on music in a creative and deliberate way, such that even when I’m not that interested in the resulting recording, his prolific drive is inspiring.
While I am big fan of the first 3 White Stripes records, most especially De Stijl (unquestionably one of the finest rock records of our time), I haven’t been enthralled with much of White’s recorded work since. I was going to mention what I thought of the new record, but White reminded me, at Stephen Colbert’s expense, that talking about music is bullshit:
“You want to talk about music? That’s ridiculous. It’s like dancing about architecture or singing about paintings.” – Jack White
Jack, I’m sure there are a dozen modern dance companies in this town that would be happy to interpret the work of Gaudi, they kind of do that already just by existing. And I’m fairly certain that Dan Bern (who is just one man) has written a dozen songs about paintings and sculptures and plays, though I suppose all of those songs are really about women. And yes, Jack, I take your fairly obvious point, well illustrated, about the singularity of art.
But I digress. I’m really just waiting around to find out that Jack White doesn’t actually exist and what we believe to be Jack White is really just an intricate Johnny Depp character. Maybe he’s really that good.