I had only recently stumbled upon and found significant fascination in the Burgundy of Denis Mortet when I heard the news that he had taken his own life, early in 2006. It was his ’96-’98 Gevrey Chambertin Lavaux St. Jacques which first struck my palate’s interest. I had ordered but not yet received a parcel of his Gevrey Chambertin from the mid ‘90s and upon the news, I snapped up what else I could. To experience the wine of a deceased master is a glorious indulgence, finite and fleeting. It’s both a celebration of life and an acknowledgement of loss and of mortality, and I afford great respect to bottles from winemakers like Denis Mortet, David Lett (The Eyrie Vineyards), and Alois Kracher.
All that Nico, John Cale, Lou Reed, and Velvets en masse, that has been injected into my now through the grace of David Byrne Radio, got me seeking out other semi-related cool tracks. After pulling up Nico’s cover of “These Days,” which was so artfully appropriated by Wes Anderson for the soundtrack of The Royal Tenenbaums, I found other thoughtful renditions of the same. While I knew that tune was originally by Jackson Browne, I didn’t know that he wrote it when he was 16, until he told me. Then YouTube informed me that Elliott Smith (2nd Tenenbaums soundtrack connection) also covered that track live, which thankfully some nerd posted, and I also came across a pretty and breathy version by St. Vincent. But as YouTube giveth, YouTube also taketh away. Apparently, the Foo Fighters, Bon Jovi, Nate Dogg, Alien Ant Farm, and Rascal Flatts have all recorded “songs” with the same title as (but otherwise unrelated to) the Jackson Browne classic, each one more soul crushingly worthless than the last.
The Denis Mortet Gevrey Chambertin en Motrot 1997 is bright, though softening, translucent ruby in the glass, and there’s just a touch of sedimentary cloud to the color, but no signs of oxidation. The first waft is of an earthy, flirting with swampy, funk, though the latter begins to wane with air. The palate is of dry raspberry, subtle tart cherry, leather and ancient cigar tobacco. This is a refined medium-bodied pinot and there is a greater overall presence and depth here than has been found in other recent lithe ’97 Burgundies. As the swamp dries up, damp fall leaves remain, and an encompassing, but not overwhelming dryness approaches the palate. And the last glass is raised to the memory and fruits of a tormented master.