Archive for May, 2009

1991 RIDGE Monte Bello: The Greatest Of Them All? -or- Life, I Love You, Cheers! -or- Wine As Zen Awareness Ritual -or- A Monte Bello Mash Note

May 29, 2009

Were I to ape a sly trope from the folks over at Slaked, I might dare fashion this in epistolary form, that is to say, as a love letter. Because I could. Because I love this wine. Because I am IN love with this wine. Because this wine IS love. And because I think it loves me. Because when it shares itself with me, I feel so, so, so very good. I feel loved.

I think it’s safe to say the history of Monte Bello is a history filled with some extraordinary wines. But they can’t all be the greatest. And of course “greatest” is entirely subjective. Truth be told, I’ve never had a Monte Bello I didn’t like, and I’ve always found tremendous character on offer in all the vintages. So I guess in discussing greatness, it’s not so much that I’m looking for the one that is “better” than the rest; rather, I think what it is that strikes me so deeply about the ’91 is how perfectly it encapsulates, summarizes, epitomizes, and showcases ALL that Monte Bello is and can be. It just has everything.

I’m certainly not alone is this assessment. Steve Heimoff gave it 96 points in Wine Enthusiast. No less than Leon Adams of Decanter said that the 1991 Ridge Monte Bello is one of the greatest and most accessible Cabernet-Merlot blends he had ever tasted from the New World. And Stephen Tanzer wrote that it is “a world-class cabernet, certainly among the top dozen made in California during the last 20 years.”

Not that wine critics are the be-all and end-all. They’re important, and can be very helpful, but, as noted in a comment to a previous post, friends and loved ones are a vital barometer as well. My missus and my father have birthdays just days apart, and this past October, to celebrate an important “milestone” birthday, I gave them a bottle of the ’91 to share. If I could spell the sound of two deep sighs of pleasure, I would; no other tasting note required. I have rarely felt better in life than seeing these two people, so very important to me, feel so good.

That is the 1991 Monte Bello to me; a liquid summation of all that is good in life; a potable reminder that there’s magic in the mountains, wisdom in the fog, vision in the ocean, knowledge in the earth; a quaff-worthy testament to searching out love in its pure depths, passion at its vibrant heights. Drinking the 1991 Ridge Monte Bello is a zen awareness ritual, practiced to remind oneself to be where one is, to breathe, to savor.

1991 Ridge Monte Bello, I love you. Thank you.

Scenes From A Tasting: RIDGE Wines On The Detroit Palate!

May 29, 2009

Received a wonderful set of photographs recently, from a pair of vertical tastings of RIDGE Geyserville and Lytton Springs that were hosted by Dave Burzynski of Champane’s Wine Cellar and International Marketplace, in Detroit, Michigan. I’ve posted a sample below, and may I say, thank you to Dave for sharing his experiences! Anyone else out there who has visual documentation of their times with RIDGE, please feel free to share as well! Enjoy the pics:

1999 RIDGE California Lytton Estate Grenache: Tasting Via Tasting -or- Food As Analytic -or- How A Dish Can Show A Wine’s Other Side

May 28, 2009

OK, a fairly long-winded title, to say the least. So here’s the gist: Essentially, rather than assessing this particular wine via a more “standard” tasting MO (i.e. tasting notes in the traditional sense), I thought I’d try to explain it in the context of what it was paired with at our table tonight.

Because my missus and I have a five-month baby girl at home (Miss Clara Bay), dinners aren’t quite the same as they used to be; they’re rather more rushed, and we’re often eating quite different meals from one another. Tonight, because Lil’ Miss fell asleep somewhat sooner than she’s been prone to of late, we were able to indulge in a comparatively more relaxed pace, but we definitely had different dishes on our plates. That the ’99 Lytton Estate Grenache performed magnificently, if quite differently, in its assigned role with each meal, is testament to its complexity and flexibility.

Amy (my lovely missus, and, might I say, a possessor of a quite refined palate, admittedly in recovery from the hormonal spoilages of pregnancy!) had the following:

A Mole Burrito in a whole wheat tortilla, with pinto beans, jack and white cheddar cheeses, sour cream, red pepper, and grilled potatoes. (For the purposes of this analysis, we’ll consider this the more “muscular” of the two dishes).

As to myself, I had the following:

Steamed broccoli and cremini mushrooms tossed with olive oil and sprinkled with Sale Alle Erbe Delle Marlunghe (a favorite Italian herb salt), stirred into pre-steamed tofu marinated in Bragg’s Amino Acids, topped with fresh avocado, and served over short grain brown rice. (This, for the same purpose outlined above, shall be deemed the more “elegant” of the two dishes.)

Cutting right to the chase, here’s the amazing thing; contrary to what one would seemingly expect, the “muscular” dish made the wine seem more muscular, and the “elegant” dish drew out the more elegant characteristics! Totally counter-intuitive! Rather than some sort of expected counter-balancing effect at work, the wine somehow performed high-wire acts of culinary empathy; morphing to support and engage the dishes, rather than offset them. Quite wild to experience, actually …

With Amy’s dish, given that there was alot of smoky umami-ish-ness on offer courtesy of the mole sauce, we were hoping for some degree of acidity from the wine, particularly given that we also had sour cream, potatoes, and beans to contend with. And while the acids certainly did their job, it wasn’t what one noticed about the wine. Rather, the Grenache was just flat out charitable with even more umami-ish-ness! It was just one big, savory happy family! It was as if the mole sauce (admittedly crafted elsewhere) had in fact been made with this wine!

With my dish, there were earthy notes from the mushrooms certainly, but for the most part, what came up off my plate with a more grainy (brown rice), green (broccoli & avocado), slightly sweet (steamed tofu), and slightly tangy (Bragg’s) array of notes. And what did the wine up and do? It went all floral and elegant! Tons of beautiful dried jasmine and lavender notes, everywhere! And tons of herbality, granularity, and gently sweet and tangy fruit! Stunning!

In short, this is just a ridiculously complex, and wickedly flexible culinary companion.

And on another note, it’s yet another example of how conservative our winemaker’s projections of longevity can often be. According  to Paul Draper’s label notes from 2001, this wine should have been at its best between 2002 and 2007! I think it’s safe to say that, as far as Amy and I were concerned, this wine, in ’09, was perfect, tonight!

Some Follow-Up On The Viognier Question: Co-Fermentation and the 2005 Ridge Vineyards California Syrah Lytton West

May 28, 2009

You may remember a post from a couple weeks ago regarding Syrah and Viognier:

http://ridgewine.wordpress.com/2009/05/07/hurrah-syrah-or-to-blend-or-not-to-blend-the-viognier-question/

The post was sparked by a comment on WestCoastWineNet indicating that someone felt that one should never blend Viognier with quality Syrah.

I had the opportunity to correspond with Monte Bello winemaker Eric Baugher recently about these two varietals (which I was very eager to do, as Ridge doesn’t actually “blend” the two per se; rather, we co-ferment …), and he very kindly put some thoughts down for me, and accordingly, for you!

“The idea of co-fermentation isn’t new, we see greater complexity and color develop when zinfandel co-ferments with field varietals such as petite sirah, carignane, alicante bouschet, mataro etc.   In the northern Rhone valley, viognier has been used in small percentages to co-ferment with syrah to aid in stabilizing the abundant color of syrah and to temper tannin extraction.  This has been successfully done for hundreds of years.  I would also say that viognier has a few extra weeks of ripening ahead of syrah, so in the northern Rhone valley, on a cold year, the viognier might bring ripeness to the wine.

Now, in Dry Creek Valley, the weather is much more favorable for bringing syrah to full ripeness. The challenge for us is that the viognier can become extremely overripe by the time syrah is harvested.  Fortunately, we have two small parcels of viognier that have northeast exposure to help moderate the rate of ripening so in the fermenter the brix doesn’t increase significantly. 

Chemically, there are non-pigmented phenolics within the viognier skins that have a strong affinity for bonding to side-groups of the anthocyanin pigment of syrah.  Once these bonds are formed, they remain soluble and stable within the wine and provide a deep blue/purple spectrum of color.  Viognier also has a beautiful pungency of apricot, peach, and white flower which helps lift the total aroma of syrah which tends to be dark and gamey.” -EB

My original post referenced a specific Ridge wine, the 2005 Lytton West Syrah, which features 6% co-fermented viognier, and my experience with this wine (we have been pouring it in the MBTR with some degree of regularity lately as it’s very much moving into an exquisite stage of early optimum pourability …) very much jibes with Eric’s assessments above; to me the viognier performs three very key roles here: 1) Intensification and preservation of coloration, 2) Enhancement of viscosity/silkening of mouthfeel, and 3) Counterbalancing of aromatics. Put another way, the viognier does wonders for the color, and accordingly the aging and development of this wine; it also soothes and rounds out the mouthfeel, taking the oft-times rough, even granular chalkiness of syrah and giving it a far more luxurious palate encasement; and it delivers a brilliantly floral and lively counterbalance to the deep and dark syrah aromatics.

05YLW1-L

I am a tremendous fan of the ’05 Lytton West Syrah, and although syrah from the Lytton property is of extraordinarily fine character and quality, this wine most certainly benefits from the addition of the co-fermented viognier.

RIDGE In The Round was unable to schedule a tasting session for this wine the last time we poured it, so I’m going to get it on the menu again this weekend, and hopefully, I’ll be able to post a RIDGE Round Table Report next week!

Wine Writers and Ethics: Food For Thought?

May 28, 2009

Has anyone out there read the lastest on Wine Writer Ethics in the Wall Street Journal? I know Jancis Robinson has written extensively about this issue recently, and Dr. Vino has played a big role in exposing some of the incidents that led to this becoming a hot topic, so you may already be hip to the brouha-ha, but if you haven’t yet dug into the subject, I recommend giving this a read, and of course, please feel free to post your thoughts!

http://online.wsj.com/article/SB124330183074253149.html

Truly One From The Vaults: A Piece Of Ridge History -or- The Great 4488 Rides Again!

May 28, 2009

What an astonishingly excellent piece of Ridge history our President and COO Mark Vernon has gifted me today! Ridge-o-philes, prepare thyselves! As explained by Mark, the scan below is “page 1 of Ridge’s original BW4488 Taxable Removal Record Book. The ATF (TTB) requires all wineries to keep track of the wine they remove from their ‘bonded’ inventory so that the proper wine tax can be calculated and paid to the ATF. (This book) contains the records from the beginning through 1973.”

Fantastic! Check it out … (you can click on the image for full-size) …

 

4488RidgeTaxBooklet

 

Aaaah, Ridge memorabilia. I love it! Thanks Mark!

 

And not to be greedy, but anyone else out there got anything fun on offer?

RIDGE In The Round: The RIDGE Round Table Reviews The 2004 California Zinfandel Oltranti!

May 28, 2009

So, this edition of RIDGE-In-The-Round owes a debt of strategic gratitude to the good folks over at the wine blog “Two Days Per Bottle,” where the tasting MO is predicated on the notion that wines should be tasted and analyzed over the course of two days, as opposed to just one sitting. This is at least sort of exactly what we did for our new review subject, the ’04 Ridge Oltranti. We tasted different bottles on Saturday and Sunday, and I also tasted a “carry-over” bottle.

04ZOL1-L

My compatriots in the RIDGE Round Table differed slightly across the two days; unavoidable given weekend scheduling. I personally remained constant across both days, as did Zani Nesvacil. On Saturday, we were joined by Barry Campbell, Tara Einis, and Karen Cai, and on Sunday by Kyle Kurani, Amy Monroe, and Darren Gardner.

So, let’s begin!

First, appearance, specifically the belly, or middle (Engagingly referred to by one of our tasters as “The Meniscus!). Oddly enough, perhaps, cranberry came up more than once; in fact, it came up 5 times! Raspberry was also noted a couple times, as was amber. The limn (or “halo”) got “salmon” “pink,” and “strawberry,” and two tasters noted its seemingly expanded width. As to my notes, I have it “husky burgundy hues with a pale raspberry limn — fairly rapid legs and a medium-weight glaze” on Saturday, and on Sunday gave it “striated shades of raspberry-to-salmon meet dark cranberry, with a fairly wide limn and a clear edge beyond — thin but confident legs.”

Aromatics was where conversation really took off! It was amazing the array of references and descriptors that poured forth. Here is just a sampling: pipe tobacco, cigar box, cedar, humidor spice, light tar, dried dark fruits, dried strawberry, and from my notes: pipe tobacco, cedar, toffee, blackberry seeds, cigar box wood, pomegranate, blood orange rind, salted dried prune candy (Saturday) and tobacco, cedar, cigar box, English plum pudding, and Orange Pekoe tea (Sunday). There was a fair amount of debate about the citrus character in the nose, and although no one could totally agree, we all conceded it had something to do with oranges and tea!

Everyone was in total agreement on acid placement at the Front of the wine; there was no acid to speak of showing on our tongue tips, rather, it was firmly located along the sides of the tongue. Tannins were equally and equitably analyzed, in that we all pretty much agreed that they were most present across the back of the tongue along the taste buds, with a slow-developing but strong residual presence between inner lips and teeth.

Cherry, plum, and fig were the three most common descriptors to emerge as regards the mid-palate fruit, but all seemed to concur that acids and tannins were still holding the majority court as far as flavor profile, which seemed to suggest to most participants that either the fruit is a) not yet to emerge, or b) not going to emerge. Given that this wine has only just been released, I think it’s pretty safe to say that A should be the case. That said (and this was noted during our tasting) we’re also somewhat judging against the last Oltranti release (which was actually the ’05), which comparatively was probably a slightly more fleshy, plump, mouth-filling offering. The ’04 is certainly leaner, and accordingly, probably far more of a food wine than a sipper, which was definitely the case with the ’05. Personally, I wasn’t seeing a whole lot of fruit during my Saturday session, but on Sunday I noted everything from orange peel and dried cranberry to fried green tomatoes and fruit tea! (One participant also noted Fig Newton, which I agreed with as far as the fig part, but less so the sweet bread … And another taster noted açaí berry, which I thought was absolutely spot on!)

The finish was collectively noted for being highly spice-driven, as well as the strong vibrancy of the acidity. I think it’s safe to say everyone agreed that both the Petite Sirah and the Carignane really make their presence felt on the finish in particular. And although I didn’t note it until the Sunday tasting, I definitely agreed when it was pointed out that there was some Umami presence emerging as well.

To summarize, I think we all felt some version of the same thing, which is that this wine evidences a somewhat singular dichotomy, in that it smells older, and drinks younger, than it actually is. Does this make it deceptive? Discordant? I don’t think so at all. To borrow a great phrase from one of our Saturday tasters, the ’04 Oltranti is rather a “wolf in sheep’s clothing!” To be sure, it’s fascinating, and personally, I think some bottle age is going to settle this wine into a highly quaffable offering; one that evidences great and exotic complexity, making it perfect for the table. I was about to write “if not for the picnic” but even as I thought that, I remembered that it was the #1 seller last weekend, with a great number of the bottles going out to the picnic area! Anyhow, per winemaker Eric Baugher’s projections from 2005, this wine is still 1-3 years from being “fully developed”; so be on the lookout; delicious wine on the horizon!

And that’s the latest from the RIDGE Round Table!

Have you tasted this wine? If so, comment! Send us your thoughts, observations, tasting notes, etc., we’d love to hear from you!

2008 Monte Bello: Final Assemblage Tasting Notes

May 23, 2009

I’ll confess two things:

1) I was not able to taste the new (and most likely final)  assemblage at the actual Monte Bello Collector Event; I was just too busy.

-And-

2) Having now tasted it, I’m REALLY excited … I do try to be objective when I assess our wines, but I wouldn’t be here if I didn’t love Ridge, so of course there is a fair share of love coming from my corner of the ring, but I have to say, I’m feeling particularly loverly after tasting this offering today …

I’ll backtrack here a bit and note that there has been alot of discussion about the fact that the blend is currently a two-varietal construction; after the component tasting in March, there was a tangible degree of excitement about both the co-fermented Cabernet Sauvignon and Cabernet Franc, and especially about the Petit Verdot. Conversation about the Petit Verdot continues, and Monte Bello winemaker Eric Baugher has said he’ll be keeping some separate and in barrel for a final look in the fall; but all that said, we may very well be looking at the first two-varietal Monte Bello in some two decades … Exciting? I think so, though not necessarily just because of the architecture per se, but rather, because the wine is currently showing … well … deliciously! Im particularly happy with the heightened presence of merlot in the new blend, as I think it is bringing a tremendous amount to the aesthetic table; the blend is currently seventy-one percent cabernet sauvignon and twenty-nine percent merlot.

When I first set out to really analyze the ’08 sample, I tried to hew to my “standard” methodology of assessing appearance, aromatics, front, mid-palate, and finish, and despite my somewhat giddy travails, I did manage to maintain at least that degree of methodological consistency. That said, restraining my “standard” prose proved far more difficult; much as I would have loved to keep my winespeak within the realm of the accepted aroma-wheel world of descriptors, I found myself instead writing the most goofily euphoric lines; some embarrassing, some nonsensical, most at least hopefully informative (if not for tangible accuracy than at least in spirit), and in the end, I decided to go ahead and stick with the “raw” version; meaning, I’ve decided to include the early and perhaps rather more surreal drafts of my attempts to craft tasting notes on this ’08 Monte Bello assemblage.

So here goes (and one last disclaimer, this is essentially the first-wave lunatic visceral reaction to this wine; no pretense to accuracy or objectivity is implied, rather, this should only be construed/received/interpreted as a record of one taster’s reveries in mid-taste …)

2008 Ridge Vineyards Monte Bello
(“Final Assemblage” as of 5.15.09, tasted 5.22.09)

Appearance:Beautiful inky blackness, squid ink blackness, black grape grapeness, dark plum rolled in ashes, a black grape dropped in hot tar … such a glaze, a Karo glaze, molasses legs!

Aromatics:Pecan pie and street vendor pralines? Nutty sweetness? Certainly baked and herbed poultry, meaning clove. And Calimyrna fig, naturally. And how many shades of smoke here? Campfire smoke mostly, but also fireplace, firepit, and just plain smoke. What kind of smoke? Smoke smoke. Umami smoke. Pipe smoke? No! Cocoa smoke! Is there such a thing? There is here! Woody as well, the wood without the smoke, perhaps even cedar-y …

Front:INTENSE acidity! And an unexpected gardens-worth of herbs both fresh and dried. And pistachio nuts! Cassis and anise, obviously, and even brandy’d apples … Naturally there is blackberry as well, and some black currant …

Mid-palate: Toffee notes, and just completely mouth-covering tannins. And pressed flowers. And more nuttiness, but now the sweet and roasted nuts are giving way to roasted almonds, but dry-roasted, and most definitely not candied. And again the anise, or is it now licorice? Well, no doubt about the chicory …

Finish: Tannins and acids to spare, but all in balance, so excellent accordingly! Fruit becoming herb, earth becoming spice, intricate to the Nth, and quite a long, three-hundred-and-sixty-degree’d circumference of components; put another way, an oenologic erector set painstakingly crafting an esophageal passageway from taste buds to tummy, clinical in its precision. I stand humbled, submissive, mastered.

Man, I think I really love this wine …

I read this to my missus just now, and I asked her, I said, “What do you think, is it too weird?” And she said, “I don’t know, but I just poured myself some more!”

More Vintage Wine Labels: Ridge California Zinfandel Lytton Spring 1972

May 22, 2009

Another brilliant vintage wine label courtesy of Mr. William Powell, the 1972 Ridge California Zinfandel Lytton Spring! And there is a good piece of trivia associated with this wine, anybody know it?

 

72 LyttonSpring

Wine and Jazz: Abstract Of A Manifesto

May 22, 2009

Save for very few exceptions, we play jazz in the Monte Bello Tasting Room. From early New Orleans polyphonics and big band swing, through bop, post-bop, hard-bop, to cool, orchestral, and beyond, it’s pretty much jazz all the time. From Louis Armstrong, Benny Goodman, and Count Basie, through Charlie Parker, Miles Davis, and Bill Evans, to Thelonious Monk and Lee Morgan and beyond, it’s jazz, jazz, The Jazz. Why?

I suppose the answer is fundamentally two-fold; there are practical reasons, and there are aesthetic ones. On the practical side, jazz is usually “up” enough to match the energy of a tasting room on a weekend, yet restrained enough to not be obtrusive; rhythmic enough to be felt below the head, cerebral enough to be heard between the ears; hip enough to not be stodgy, familiar enough to soothe. And at least in terms of what I select, it’s instrumental, meaning no vocals to invade the vocal space I prefer occupied by our staff and our guests. Jazz is also both classy, and funky; uptown and downtown; sophisticated yet slightly seedy.

This takes us to the aesthetic side of the equation. I fiercely believe that great art emerges from the holy mojo intersection of spontaneity and craft; the idea that you have to train an entire lifetime to act, at the moment of truth, as if you’ve never learned a thing at all. Craft without spontaneity is a dullard’s game, and spontaneity without craft is self-indulgence and sloppiness. It’s when the two cross that the hoodoo hits. This is what makes jazz magic, and this is what makes wine magic. Sure you can make wine as a technician, even very good wine. But you can’t make wine that transcends explanation, moves into the realm of the inexpressible, conjures and foments both spiritual and sensual excitement, without a little bit of that funky untrained wisdom of the ages; the knowledge that can’t be taught, the lessons that can’t be laid out, the truth that can’t be told. A great vineyard manager, a great winemaker, is part scientist, part shaman; part farmer, part painter; part concrete, part mist; part laborer part conjurer; part oenologist, part philosopher. 

John Coltrane was legendary for the rigor of his practice, his obsessional devotion to his craft, the meticulousness of his technique. But he played like a gentle man possessed by an insane spirit; twisted, pulled, and pushed to seek just one more secret, one more truth, to make the soul’s inexplicability cogent.

The great figures in wine have similar reputations; hard-working, diligent, devoted men and women driven by an unnameable passion to weld the human world and the natural world in the service of aesthetic pleasure, artisan singularity; the both metaphoric and tangible creative act as expression of solidarity with the forces of sun, moon, soil, water, nature.

This is why, when you enter the Monte Bello Tasting Room, you may hear Thelonious Monk strike adjacent keys simultaneously to find the music in between. Because that’s what wine is. The music in-between. What you taste is what doesn’t truly exist. Except it does.


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