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Theory Kitchen, Sad Cowboy Music, and Giving a Shit
If necessity is the mother of invention, then the mother of inspiration is a deadline… for something else. I’m on the precipice of a comprehensive inventory and professional off-site storage project that will see 200 cases go out the door of my shop- via the cavernous basement, which is far from the front door- and all I can think about is how many blog posts behind I am.
It’s late and I’ve just been to a Theory Kitchen event, and I am again reminded that giving a shit (and attention to detail) goes a long way. The kid who runs the show is the same age now I was when getting obscenely high and paying my rent interviewing (and photographing) musicians, writers, and artists for print magazines back before Seattle died. The ‘90s were a magical time for getting away with it in America (RIP HST!).
I’m drinking, amongst other things, a K Vintners Syrah Morison Lane 2001. Full disclosure, I love the wines of Charles Smith. I haven’t particularly enjoyed the company of the man himself (though I’d certainly give it another shot- over the right Chateauneuf du Pape), but his wines are very good, on the low end, and expansive and otherworldly, at their very best. But it’s clearly on the back end of its plateau. Those dusty tannins and that distinct apply dryness in the back will, over the next few years, head toward the predominant front note, on its way to becoming deep, slightly cloudy, brick-toned water, if stored properly, and eventually a sullen dry vinegar. On the off chance you have any in your cellar, drink it sooner than later.
I’ve been in a prolonged phase of sad cowboy music, the like of which I haven’t seen since first discovering Townes Van Zandt, however many years ago that was. And these days I can’t stop listening to The Dave Rawlings Machine’s Nashville Obsolete. Just now, writing that down, I almost dropped a tear. It’s a good goddamn record, in an era that’s goddamn short on good goddamn records. I’ll admit to having erased “Candy” from the album on my iphone, and it really does feel kind of silly and extraneous amongst the incisive story telling, verse, and chord progression of “The Weekend”, “Shorthaired Women”, “The Trip“, and “Pilgrim”.
Three hours after first opening, this wine- K Vintners Syrah Morison Lane 2001- really smells, in the glass, like a Hermitage twice its age, and the palate really isn’t that far off, minus the nod toward animalia. Deep blackberry fruit, earth, tar, basalt, ancient woodland herbs; an encompassing, pensive mouthful. A pleasantly dark way to end an evening. Thanks for that, Chuck.
Sean Thackrey @ St. Anselm: Wednesday, April 4th
Post-tasting carnage.
While I still have a pile of tasting notes to relay (’07 Volnay Premier Crus, Brewer Clifton Pinot and Chard ’02-‘09, Damilano Barolos, Ribera del Duero ’93-’96…), but it’s not every day that I get to host an event with one of my favorite winemakers in the world, at one of my favorite restaurants in New York.
On Wednesday April 4th, Sean Thackrey will be joining us as at St. Anselm, here in Brooklyn, for a tasting and dinner event, featuring the widest selection of Sean Thackrey wines ever assembled. While we are down to a waiting list for the 8:30pm seating, there are still tables available for the 5:45pm seating. Please e-mail me (WineGeist@gmail.com) or call St. Anselm directly (718.384.5054 – ask for Krystal) to claim remaining seats.
Four (non)vintages of Pleiades.
But first, I’ll gush a little: Sean Thackrey is an American original. He was an unconventional high level hobbyist, sourcing techniques he translated himself from ancient texts. It’s no wonder he discontinued his career as an art dealer to go pro (back in the ‘80s), as one of this country’s most unusual winemakers, who makes some of the most interesting (and tasty!) American wine. While his exceedingly rare Orion starts at around $100 these days, and will live (and improve) for decades, Thackrey’s non-vintage Pleiades blend starts at around $25 at retail and is a substantial tasting experience. Somewhere in between lie his Aquila Sangiovese, Andromeda Pinot Noir, and Sirius Petite Sirah, each worthy of serious (sirius?) consideration.
The Orion label goes back to '86, but '92 was the first vintage sourced from the Rossi Vineyard, planted in 1905.
While I’m neither a car guy nor a TV guy, I recently came across Oz & James’ Big Wine Adventure (thanks BBC!). And while it can be difficult to watch James May stain upon brilliant winemakers and slug down rare syrah like it’s a hip flask of Old Overholt at a ball game, the dynamic between his deliberate drunkard’s brutishness and Oz Clarke’s world-class wine poncery is bloody brilliant (if you want to be all British about it). Anyway, have a click and take a look at what happens to James’ face upon tasting Thackrey’s Orion. And no, it’s not the wrong clip, Thackrey just doesn’t appear until the next segment, beginning at 5min 21sec. Enjoy!
If anyone is seeking a musical (poncery) interlude, here’s the best live music thing I’ve attended in quite some time, even if it was 2pm on a Friday afternoon (and I may have told some people that “I was in a meeting”). The full hour show is available free (godbless NPR!):
http://www.thegreenespace.org/events/thegreenespace/2012/mar/30/soundcheck-live-andrew-bird/
Here are the full event details:
Wine Tasting and Dinner w/ Sean Thackrey
@ St. Anselm, 355 Metropolitan Ave, Brooklyn, NY
Date: Wednesday, April 4th
Time: 2 seatings at 5:45pm and 8:30pm
Price: $52 (prepaid) for the basic tasting
**supplemental plates, glasses, and bottles a la carte
For $52 (pre-paid) per person: meet the winemaker, Sean Thackrey, who will lead a tasting of his Lyra Viognier 2010, Aquila Sangiovese 2002, Pleiades XXI, Sirius Petite Sirah 2009, and Orion California Native 2009. This will be accompanied by a vegetarian small plate and salad.
Available at an additional charge: 2 supplemental small plates (elk medallions and shellfish of the day), an abbreviated dinner menu, and an extensive selection of Sean Thackrey wine, including numerous vintages of Pleiades, Sirius, Andromeda Pinot Noir, and at least 10 vintages of Thackrey’s flagship, Orion, sourced from the Rossi vineyard, planted in 1905. Thackrey will remain on hand during the dinner to discuss any and all of his wines that guests choose to order.
Those who wish to experience the basic tasting, order another glass and a modest entree, can escape for about $100. Those guests less concerned with price can build a truly unique tasting experience, from what is unquestionably the largest selection of Sean Thackrey’s wine ever offered publicly, at one time.
Price: $52 (prepaid) per seat
– Includes: vegetarian small plate, salad, and tasting glasses of Lyra Viognier ’10, Pleiades XXI, Aquila Sangiovese ’02, Sirius Petite ’09, Orion California Native ’09.
– 2 supplemental small plates, abbreviated dinner menu, and an extensive list of Thackrey wine will be available, at additional cost.
Contact: Jack Chester
– WineGeist@gmail.com
Sean Thackrey:
http://wine-maker.net/
St. Anselm:
http://www.stanselm.net/
https://www.facebook.com/pages/St-Anselm/140900289276127
WineGeist:
http://winegeist.net
https://twitter.com/#!/WineGeist
http://www.facebook.com/WineGeist
d’Arenberg Ironstone Pressings 1997 and the Emotional Rollercoaster of Vinyl
This d’Arenberg Ironstone Pressings 1997 was tasted directly after the ’97 Rosenblum Zin Sauret and oddly, it made a fitting transition, but we’ll get to the specific tasting notes in a minute. d’Arenberg is a 4th generation family wine company helmed by the unique Chester Osborn whose bottled produce is as unusual and worthy of sincere investigation as the man himself. d’Arenberg is a relatively large producer for the artisan level quality and is just as ready to sell you a ubiquitous $10-15 blend (Stump Jump, d’Arry’s Original), or a moderately priced single-vineyard offering (The Derelict), as a rare and powerful (and pricey) bottle made from 100+ year old decrepit vines, who have already lost a limb to age (The Dead Arm). While I have never met the man, never profited from the sale of any of his labels, I am an avid consumer of it, and it would be dishonest to not admit my bias. Look for the tall, skinny label that reminds you of a diver’s flag and there’s a pretty good chance, there’s some nice juice under it.
I’m listening to an awesome pile of records, which is four obsolete recorded music formats ago, for those of you under 30. I don’t know why it took me so long to set up the turntable and phono stage, particularly with the Krell CD player refusing to open its door, and yes, I tried asking nicely. I had apparently forgotten the frustration of those records that never sounded like they should have. Some albums were recorded digitally and were simply transferred to the analog format for its own sake rather than being specifically re-mastered for the process, which is why the Flaming Lips’ wonderful Yoshimi Battles the Pink Robots sounds completely flat on its super cool translucent red vinyl. And I pre-ordered two consecutive Andrew Bird albums, Mysterious Production of Eggs and Armchair Apocrypha, both of which showed up literally stuck to the sleeve, as if put away wet, and have never once played clean. And then one settles into a sincerely crafted masterpiece, such as Radiohead’s Kid A (on double 10”) which just ended or the 200gram virgin vinyl re-mastered pressing of Hendrix’ Axis Bold as Love, whose controlled chaotic left-handed genius current courses through my auditory system. Now one quickly recalls that every advancement in audio (before digital compression) was a failed attempt to sound as warm and as real as a record. Because we’re all bold as love, just ask the axis. He knows everything.
The d’Arenberg Ironstone Pressings 1997, even at this age, is brooding in the glass and immediately shows copious black and spiced red fruit, cavernous depth, awesome length, and the (al)most unbearable concentration of being. Please forgive the hyperbolic alliteration, but I did warn you that I’m listening to Jimi on vinyl, and this wine really is a stunning blend of typical Australian varietals (Grenache, Shiraz, Mourvedre), pushed to a-typical greatness. It drinks like a burly, brambly, dry-but endlessly lush, version of the previously tasted and much evolved Zin. The ’97 Ironstone Pressings is showing an unusual nose, currently dominated by red cherry, menthol, and volcanic ash. The massive fruit on the palate, after some breath, seems poured over crushed granite with hints of smoked game. Its texture is luscious and rich with an up front (non-syrupy) sweetness and a deep palate-shaking dryness before the long finish. This is a wine that I’ve followed for some time, and unlike the ’98 (which matured much more rapidly), this ’97 d’Arenberg Ironstone Pressings has finally and fully come into it’s own. I look forward to future consideration of the ’97, while getting back into my stash of ’01s and ‘02s, of that same skinny label.
Pax Syrah Griffin’s Lair 2002 and Phish Disclosure
After the unexpectedly weighty ’86 Beringer Cab Private Reserve, over world class steak, whose name shall not be spoken, the follow-up (or the closer, if you’re into baseball metaphors) was a Pax Syrah Griffin’s Lair 2002. As those familiar will know, wine is no longer bottled under the Pax label and the new wines from that former partnership now sell under the Donelan Family Wines label, while Pax Mahle, the winemaking partner, currently produces Wind Gap Wines as well as the remarkably concentrated and complex Agharta wines. All legal discord aside, all involved continue to produce and release compelling syrah-based wine. I have not tasted a wine in which Pax was involved that wasn’t a worthy experience and, full disclosure, I remain on the Agharta mailing list.
A quick glance at the few Twitter accounts that Mahle bothers to follow, seems to indicate that he’s down with the hippie music. And since I co-edited Relix Magazine’s tribute to Phish (with Jesse Jarnow), shortly after their disbanding, and penned its lead feature, on the Tom Marshall/Trey Anastasio songwriting team, let’s talk about them. This will likely get me banned from PhantasyTour (is that still a thing?), but it’s not okay to pretend that Phish is the band that they were prior to their post-hiatus disbanding. The millennium show was a profound, albeit drug addled, high water mark
; it was the thing that all of those crescendos were building toward. The silence that followed was deafening.
The members of Phish are all unquestionably skilled musicians, but they once wielded the power of the sustained crescendo, unlike almost any other, creating a glorious cacophony affectionately known as Phish Noise, to the nerdiest* of the flock. The best of Phish’ current jams sound a lot more like rehearsed segues, or parts of recycled ones, than the maintained mathematical chaos that once ebbed and flowed between songs. And most of the songwriting since the re-banding is, lyrically and sonically, retread at best. To anyone who insists that Phish is as good today as they were up to the millennium, do a couple of shows dead sober, for a change, and tell me what you hear. The 3 most interesting projects, made by any members of Phish, since 2000’s Farmhouse and The Siket Disc: Mike Gordon & Leo Kottke’s Clone, Mike Gordon’s Inside In, and Joey Arkenstat’s awesome and absurd concept album Bane, “produced” by Mike Gordon.
The Pax Syrah Griffin’s Lair 2002 is deep, opaque purple in the glass, fading to concentrated ruby, at the very rim. There is significant sediment, adding to the depth of the color, and forcing me to curtail my swirling habit. There’s a massive attack of concentrated black and red fruit on the palate, but the lushness of the mouthfeel puts kid gloves on that aggression. After some breathing time, red currant becomes a dominant presence and there’s something just a touch green, hiding in the depths, under layers of smoke and wood, pine tar, and white pepper. The nose is largely of blackberry brandy and glycerine, though with further air, some of the fruit and complexities of the palate become apparent to the olfactory. After a long finish, there’s a slight aftertaste of dry roasted nuts. The Pax Syrah Griffin’s Lair 2002 is fresh(er than expected) and bold and ripe, but much to my surprise, it’s still showing hot enough to singe the hair, but not the flesh, leading me to believe that this wine has at least a handful of good years left in it. Perhaps its best is yet to come.
Coventry.
*Here in Brooklyn, the term ‘nerd’ is a complement. Nerds make all the good stuff.
Whitcraft Syrah Stolpman Vineyard 2007 and Rana’s Greatest Hits
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.
With Wistful Grace, Jaffurs Syrah Santa Barbara County 1997
Jaffurs Syrah, particularly the biggest of the single vineyard releases, has been getting well deserved high ratings of late from some guy named Bob, but Craig Jaffurs has been making and bottling nice Rhone varietals since his first professional releases after the ’94 harvest. I came across a parcel of 6 bottles, not long ago, of Jaffurs Santa Barbara County Syrah 1997, believing there to be a chance that the wine inside had not successfully made it with us, here to the future. They came with good provenance and neck levels, but one never knows how a regional blend meant to be consumed in its youth will weather the years. Of the 6 bottles, all were drinkable, but at least two were outstanding and well worth the gamble.
Santa Barbara boutique production.
While certainly past its prime, it’s not by much and the wine is aging gracefully, maintaining a wide flavor profile. It still has its red fruit sweetness, but is clearly into its decline, resulting in a wistful kind of harmony, not unlike a Jayhawks tune. That band has seen many incarnations, but it’s always been a vehicle (particularly since the ’97 departure or Mark Olson) for the songs of Gary Louris, the second greatest songwriter of all time, from Minnesota, next to one Robert Allen Zimmerman. I was just listening to “The Man Who Loved Life” off of the Jayhawks classic album Sound of Lies, also a 1997 vintage. The lyrical imagery is so thick that it’s several stories in one, all punctuated by a foreboding tone that ebbs and flows, and ends, in a cacophony of vocal harmonies and heavy piano chords. It’s as layered and as moving as a profoundly expressed syrah.
Speaking of which, back to Jaffurs Syrah Santa Barbara County 1997. It’s deep ruby, though lightening and growing more translucent. It has surprising weight on the palate for its age and amongst the red fruits, palate smacking tart cherry prevails. With a little more breathing time a portrait of the bottle as a young wine emerges: asphalt, savory herbs, white pepper, anise. What’s left of its tannin is powdery and soft and there’s a slight acidic bite at the beginning of its long finish, letting the palate know that it still has life, but its structure is just beginning to break down.
Three Young Wines Over (Midweek) Sunday Night Italian Dinner
Having gone to this midweek Sunday Night Italian dinner directly from the Sherbrooke portfolio tasting, with a brief stop at home to pick up some bottles and La Piazetta in my neighborhood for cannolis, there are a few new wines that need mention. I don’t review many new wines and never bother with a point scale and while my tasting notes are sparse from yesterday’s trade event, several things must be said. First, Henri Boillot is currently making some of the finest white Burgundy I’ve ever tasted. The Puligny Montrachet Clos de la Mouchere 2009 is as round as it is deep with intoxicating aromatics and can only improve for at least another 5 years and sustain for at east another 5. The Boillot Corton Charlemagne is attractive though currently much bigger and more pungent than the Puligny. Another year or two in bottle will likely find it rounder, more complete, but it is certainly not lacking in character today. While tale of the quality of 2009 in many of the most significant regions in France has spread farther and wider than the actual wines (to date), it speaks volumes that the Boillot Pommard ’08 and Volnay Les Fremiets ’07 are also drinking quite nicely today and these wines clearly have many years to evolve.
Oh iphone 3G, how dost thou camera suck?
As the price of the average Chateauneuf du Pape and much of the rest of the Rhone creeps skyward, some of the few deals left to be had in that region come from Gigondas and the Dauvergne Ranvier Gigondas Vin Rare 2007 was a standout amongst the hundreds of bottles represented, particularly at it’s price point. Also noteworthy were two (very) sweet whites at the dessert table, both new to my palate: Ca’ Rugate La Perlara recioto Di Soave 2008 and Chateau Perray Joannet Bonnezeaux Les Menus Clos 2009. Try either of these with a tarte tatin, or cheese plate with artisanal honey.
At dinner, an impressive array of meat products and red sauces were prepared (thanks Bill!) and as such, I brought some meaty syrah. But first, there was a selection of meats and cheeses with which with which I opened a nicely chilled bottle of Donelan Family Venus 2009 (90% Rousanne 10% Viognier). For all the sins that American wines are often accused as related to the nose, this one escapes, having almost no apparent alcohol with which to obscure the abundant fruit. The Venus had rigid acidity, lending to the notion that it intends to drink well for a good few years, and a lightly creamy mid-palate that stood up to a moderately diverse cheese plate in the creamier and saltier directions. The palate is briefly buttery, showing light minerality at the end, but it’s the crsip acidity that carries the apple-pair and hint of citrus through the finish. As with just about every new wine of any varietal, another 6 months in bottle should smooth over that tiny bite that lingers. After a long breath, the last of the Venus made a palate-smacking intermezzo en route to various meat and pasta dishes.
In the background: Starmaiden of Brooklyn rockers, Sloppy Heads.
Very recently I found some 2006 Milbrandt Syrah The Estates Wahluke Slope on one of the better discount sites that have been springing up and this selection became the first big red of the evening. I have tasted and thoroughly enjoyed several vintages of Syrah produced from these same grapes under Charles Smith‘s K Vintners label and was anxious to taste the wine made by the Milbrandt family themselves. Upon opening, the nose was almost non-existent* with small amounts of black and red fruit intermingling beneath glycerine and a little alcohol, but aromatic expansion would occur. Rather than a single block of a single vineyard as the label may seem to indicate, the ’06 Milbrandt Estates Wahluke Slope is 100% Syrah from three estate Wahluke Slope vineyards (67% Northridge, 22% Talcott, 11% Pheasant). The concentration is considerable as is the complexity, though slightly shy of what Charles Smith achieved is his ’06 Milbrandt bottling. While the nose opened up somewhat over time, the palate became thick (in a good way) and the distinct presence of boysenberry and soft earth rose to the top over bramble, with hints of spice and a trace amount of something almost menthol; followed by a deceptive, lingering finish. While less inherently forward than the K Syrah, the overall weight is quite similar and will make an interesting side by side tasting in the coming years (both new vintages and past). *This wine was tasted two days after shipping, which can affect it’s showing.
Boring picture of an unusual foster child wine.
The final wine that accompanied our savory feast was Pax Syrah Cuvee Christine 2007. But before the tasting notes, full disclosure. The wine was made and barreled by Pax Mahle, but due to a split between Mahle and the Donelans, it was blended by then new Donelan Family winemaker, Tyler Thomas. Further disclosure, I was on the mailing list when the label was Pax and and remain on the Donelan mailing list. I actively follow the winemaking of Pax Mahle and have a number of bottles of his various wines going back to his 2000 Lauterbach Syrah and I am on the mailing list of both of his current projects: Wind Gap and the remarkable Agharta. What can I say, I like a nice syrah.
Pax Syrah Cuvee Christine 2007 is a lighter wine (Rhone) styled to be more approachable early in it’s life than previous vintages and as such, it doesn’t have the palate encompassing weight of the ’05 or ’06. Still it’s a full bodied wine by any standards and exhibits cassis amongst it’s distinct berry characteristics. It’s earthy and broad on the palate and finishes with a flourish of spice. It’s the kind of wine that begs to be consumed with the powerfully savory, not unlike the Italian feast with which this one was enjoyed, but it would have been just as contented to hang with barbecue, or a really good pepperoni pizza.
