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Jean-Michel Guillon Bourgogne 2002 and Tom Petty’s Heartbreaking Soundtrack from She’s The One

July 31, 2011 Leave a comment

Once again, I’m dipping into the mixed case of Bourgogne rouge and I’m deep into the 2002s. Today’s is Jean-Michel Guillon Bourgogne Pinot Noir 2002. 100% Pinot Noir, as the label- and regional norm- attest, from the village of Gevrey Chambertin. Guillon produces a handful of reds from some important plots in and around Gevrey Chambertin and a smaller handful of whites of slightly more humble sourcing.

I’m listening to Tom Petty & The Heartbreakers’ soundtrack from Ed Burns’ second film, She’s The One. While there has been an awesome amount of great music written, over the years, specifically for films, very little of it stands on its own as a record in the catalog of a specific artist the way that this one does for Petty. Besides the fact that half the tracks on the record remind me of the woman I used to live with back in Seattle, the songs coalesce in a way that made a decent movie aesthetically three dimensional. This record contains some of Petty’s prettiest song craft (“Angel Dream”), a great Blood on the Tracks breakup song (“Hope You Never”), and a remarkably well placed cover of Beck’s “Asshole” from his raw as hell One Foot in the Grave record.

Medium ruby to garnet in the glass, this Guillon Bourgogne 2002 opens with a near-typical Burgundy earthy funk, but with ruminations of briny sea air. The palate immediately delivers raspberry liqueur, dark tart cherry and cigar box. The wine is medium bodied with initially just a touch of effervescence to the texture, which blows off with some breathing time. The raspberry sweetness that exists and persists on the nose comes off much drier on the palate, leaving almost no sweetness on the tongue. This ’02 Guillon Bourgogne has good structure and length, but despite its intricate nose (for its pedigree), the palate is somewhat austere. It’s difficult to discern from the flavor and texture profiles here if this wine has time left to evolve or if the fruit will only thin out from here, on its way past its plateau. Perhaps we’ll revisit in a year or two.

Hot Nights in NYC: Rampolla Sammarco ’94 at Novita and Sex Mob Does Bond

July 29, 2011 Leave a comment

A fitting label for a classic Italian red.

Amongst some of the finest, most consistent Italian food in New York, at Novita, I braved the $28 corkage fee and brought a bottle of Rampolla Sammarco 1994. Castello dei Rampolla Sammarco is the original bio-dynamic Super Tuscan, predating (1980) the much more hyped (and expensive) Ornellaia, both of whose vines reside deep in the heart of Chianti Classico, also next door to Sassicaia and Solaia. As far as I’m concerned Rampolla Sammarco is one of the classic Italian red wines and it has always felt like an Italian take on Bordeaux to me, encompassing a cabernet-based structure and a deeply earthy berry character.

I’m listening to Sex Mob Does Bond. Sex Mob is a New York based jazz quartet lead by Steven Bernstein and his slide trumpet. They don’t play together as often as they used to, largely because each of the band’s members is involved in so many other bands and projects, but when I first moved back to Brooklyn from Seattle, Sex Mob was regularly playing the midnight set at Tonic (RIP) for $5. I don’t believe I’ve since spent better entertainment dollars. Sex Mob does Bond is a collection of interpretations of John Barry’s legendary soundtrack work from the James Bond film series, taken to the jazz club level. The resulting record maintains both the power and subtlety of the original John Barry orchestral compositions while completely transforming the language by which they are conveyed, renewing the vitality of their spirit.

Work, work, work, all the time.

Rampolla Sammarco 1994 is rich with black and red fruits, ash, underbrush, pine needles, a dusting of white pepper, a hint of menthol, and wisp of chalkdust to the nose. There are also notes of overripe raspberry, tobacco, cedar, and after an hour+ of breathing time, smoked bacon emerges from the depths of the glass. The finishing mouthfeel is as dry as the Sahara. This ’94 Sammarco is far more integrated than a recent ’95 of the same, which is still a tannic monster, begging for several years more of cellaring. Conversely a recent ’93 Sammarco tasted 10 years older and was showing soft, powdery tannin, giving it that old cabernet (in a good way) feel. This ’94 Rampolla Sammarco displays fine integrated tannin, just hinting at approaching powdery. It is full and complex with excellent structure giving the impression that it has several good years left to evolve and likely adecade or more to live. This wine is ideal for roast lamb, braised beef, or a peppercorn fillet.

Pacific Northwest Daydreaming: Foris Port 2002 and Jimi Hendrix’ Stages

July 27, 2011 1 comment

And a pretty label too...

I’ve gone back into the mixed case of half-bottles and pulled to taste, Foris Port 2002. Foris is a high quality, low cost wine producer in Cave Junction, OR (Rogue Valley) whose first estate vines were planted in 1974. While it’s their unreasonably inexpensive per quality Rogue Valley Pinot Noir that has kept me coming back, I’ve also tasted and enjoyed several of their whites and stickies, and beyond Syrah and Cabernet Ports, they currently bottle a good number of different varietals (Pinot Noir, Chardonnay, Gewurztraminer, Riesling, various Cab, etc.).

I’m listening to the Jimi Hendrix Stages Box Set which, in all my years of collecting live shows, both official releases and bootlegs, remains one of the greatest documents of American music of whose existence I am aware. Each of the 4 discs is a single set from ’67 (Stockholm), ’68 (Paris), ’69 (San Diego), and ’70 (Atlanta). Just a brief listen to these shows reminds one of just how good Jimi actually was and the recording quality here is about as high as it gets, given the era and circumstances. There is so much listening gold on these discs, but it’s hard not to give the nod to the ’67 disc as tops. Not only is it clear that Jimi’s sounds was already fully developed, but he was in the process of writing his best songs. On the Stockholm ’67 disc, when he shyly admits, before a glorious “Burning of the Midnight Lamp“, that he and the band had never before played that tune in front of people, one gets a tiny glimpse of the man’s sincerity and the joy he took in doing what he did.

The back tells several stories.

The 2002 Foris Port was made from 100% Cabernet Sauvignon and spent 19 months in barrel. It was bottled at 18% alcohol and 8.5% residual sugar. The resulting port-style wine is aging quite well and, by the time of these notes this one had the advantage of a couple of days sealed by the Vacu Vin, after having been opened. The wine is aging beautifully and what was once (pleasantly) grapey at last taste is now more raisin and chocolate, though fruit still persists in the form of wild blackberry jam. Foris Port 2002 drinks almost unreasonably nicely for the price point yet the residual sugar and current mouthfeel lead me to believe this wine will continue to age with grace for the better part of the decade. If you are unfamiliar, do yourself a favor and pick up just about anything bearing the Foris name and taste a secret slice or Oregon.

Back to Bourgogne Rouge and (John Hartford’s) Back in the Good Old Days

July 24, 2011 Leave a comment

Back into the mixed case of 2000-2005 Bourgogne Rouge and next up for tasting is Domaine Robert Chevillon Bourgogne 2000. While this Bourgogne Rouge is Chevillon’s générique Pinot Noir, they are known primarily for their (Grand Cru quality) Premier Cru Nuits St Georges and I have been impressed especially with (and continue to hoard a few of) their Les St Georges and Les Cailles releases of vintages past. Those of the late ’90s were drinking beautifully at last tasting.

I’m listening to John Hartford’s “Back in the Good Old Days” from his 1971 landmark Aereo-Plain album. In that same year, Hunter S. Thompson’s “Fear & Loathing in Las Vegas” appeared in Rolling Stone and John C. Lilly wrote Center of the Cyclone. Aereo-Plain marked the moment when the hippies met the hillbillies (none of whom cared to be drafted) and some pretty fantastic music ensued. Hartford’s band for Aereo-Plain included Vassar Clements, one of the most naturally gifted and accomplished bluegrass fiddle players that ever lived.

Back in the glass, the Robert Chevillon Bourgogne 2000 is deep ruby. There’s an earthy funk to the nose that’s heading toward animal, almost barnyard, but not heavy enough to obscure the soft red fruits, raspberry, and cherry. On the palate, those red fruits are joined by ripe black currant. There is an acidic structure to the finish that suggests that this wine will happily last another few years, properly cellared. These aged base line Burgundies continue to provide excellent drinking per dollar.

Gerard Bertrand, Where For Art Thou? and Tom Waits’ Wild Years

July 22, 2011 Leave a comment

This is how I came to review Gerard Bertrand Viognier 2010 today: Several years back, a friend returned from the south of France with one of the finest substances ever to pass my lips. The wine of power and poise in question was a Gerard Bertrand Le Viala 2001. I snapped up the few I could find back here in the states, but very little came into the country and I haven’t seen anything more recent that 2002 and can only assume they’re no longer exporting it. Other friends retrieved a 6-pack of the 2005 Le Viala (which had gotten expensive) directly from the winery a couple of years ago. I have since seen nothing available outside of France. Recently, at my local(est) wine shop, I saw and immediately purchased 4 red, 2 rose, and 1 white, all Gerard Bertrand, and all under $15.

Light, crisp, and inexpensive.

I’m listening to Tom WaitsThe Heart of Saturday Night (1974) and trying fathom just how many Marlboros were required to turned that voice into the one on Small Change (1976), which ground out “Bad Liver and a Broken Heart” and “The Piano Has Been Drinking”. Granted, the grittiness of Waits’ vocal tone was often exaggerated for effect, but in his softest moments on “Drunk on the Moon” and “Heart of Saturday Night,” he’s more silk than sandpaper. Waits has been doing his own thing for a very long time at this point, and while a number of his more recent records have been largely noise projects, at the heart of it, he’s one of the greatest living storytellers, and he’s worn so many voices.

In the glass, the Gerard Bertrand Viognier 2010 is very pale gold and from first sip, the palate is soft and integrated, but its lively, palate cleansing, acidity gives it significant vitality. It’s ripe with pear, peach, apricot, melon, pineapple, and orange blossom. At its price point, this ’10 Gerard Bertrand Viognier is a top notch summer white that will pair well with most poultry, fish, pasta, and salads.

Whitcraft Syrah Stolpman Vineyard 2007 and Rana’s Greatest Hits

July 20, 2011 Leave a comment

I enjoy both Whitcraft as a winemaker and Stolpman Vineyards for their fine syrah. I am more familiar with Witcraft for their pinot noir and recently, a nearly decade old Whitcraft Pinot Noir sourced from Bien Nacido Vineyard showed quite favorably, at my table. So, when Whitcraft Syrah Stolpman Vineyard 2007 came up on the boutique flash discount site Lot18, at the lowest available price in the country, I grabbed enough to qualify for free shipping. Speaking of which, Whitcraft Pinot Noir Bien Nacido 2007 is up on Lot18.com right now, expires soon.

Nice wine and a great label font.

I’m listening to Rana’s “Carbombed Again” from their Here in the USA album. Members of Rana are involved in multiple other bands and projects now, though they do occasionally still play together here in the NYC. About a decade ago, they were actively writing effective songs, rocking hard every time out, and packing a small circuit of local clubs. During the stripped down rock resurgence of that time which birthed the White Stripes and the Strokes, Rana seemed poised to get as big as they desired/deserved. Their best stuff like “Carbombed” and “Backstage Pass” sounded undeniably anthemic in their moment(s) and, as of today’s listening, they stand the brutal test of time, like champions.

Having sampled an assortment of  Stolpman syrah as expressed by the winemakers at Ojai, Arcadian, and at Stolpman Vineyards, I know that they grow world class grapes. This Whitcraft Syrah Stolpman 2007 is yet another worthy expression of said lovely fruit. It’s deep, dark, almost opaque red, heading toward black. Is Vamp still a color? The experience opens with a nose of smoked meat and morning fog. The palate is predominantly dry black raspberry and the mouthfeel is lush; it’s dense and brambly, but not biting. This is big, high alcohol (14.9%) syrah, that manages to stop short of brooding. It’s surprisingly integrated for a wine of it’s youth and build, but much of the palate is yet to evolve and it will most certainly benefit from another few years in the cellar, and will likely drink quite well for another decade.

Ken Wright Pinot Noir McCrone Vineyard 1998 and Cash by Johnny Cash

July 18, 2011 Leave a comment

An American classic.

I’m at the bar again at Apiary, checking in with the menu updates and tasting some world class pinot noir. Before this post, Ken Wright Cellars was already officially the most reviewed wine label here on WineGeist and I make no apologies for it. Ken Wright is an artist and I dig his work. Most recently, I was floored by the experience of a Ken Wright Pinot Noir McCrone Vineyard 1998. Much pinot from that vintage in OR was a little off, and what was nice tended to age quickly. In this way, ’98 OR pinot is similar to the much maligned ’98 Cote de Nuits wines (Burgundy). Even in 1998 OR and Cotes de Nuits, as in all challenging vintages, great winemakers generally find a way to make nice wine.

I’ve been reading (finally) Cash, Johnny Cash’s eponymous autobiography. I’m very near the end and am already planning to pick up Cash’s previous autobiography, Man in Black, if only to get the 3 or 4 stories he says are in it, which he didn’t feel like retelling in the more recent book. Cash also penned Man in White, a novelization of six years in the life of St. Paul the Apostle, which will not likely make the reading cue anytime soon. But back to Cash, by Johnny Cash: like him or not as a musician, a performer, or a man, but there’s an undeniable honesty to his tales and there just aren’t that many people who have ever been able to tell first hand tales of touring with Elvis. It’s been a highly entertaining read.

Tasting notes at Apiary.

Back to the Ken Wright Pinot Noir McCrone ’98, which turns out to be far more comparable to 1996 Cote de Nuits, which will likely prove to be the longest lived vintage for that region, of the decade. But we’ll discuss that in another 7 years or so. The Ken Wright PN McCrone ’98 is shockingly fresh for its age and has a long backbone of firm acidity. This leads me to order the Scottish salmon (yes, red with fish!) with asparagus, shaved fennel, trout roe, and white port beurre blanc, which paired swimmingly. The initially somewhat muted nose shows wild raspberry, black cherry, and ash. These notes pass seamlessly into the palate where they mingle with damp fall earth and a suggestion of petrol. After over an hour of breathing, a hint of apple dryness blankets the mid-palate. This is a nuanced wine of excellent structure and concentration that is drinking beautifully at over a decade in bottle.