Posts Tagged ‘Bob Dylan’

My Wine Pages: My Ridge Anniversary!

July 17, 2011

Today is a special day for me; it’s the day I celebrate my Ridge Anniversary. July 17th. The day I signed my offer letter for employment with Ridge Vineyards. It was an indisputably life-changing day.

When I first came to Ridge, Donn Reisen was still with us, and The Great Recession had not yet occurred. The 2001 Monte Bello had not yet received a 99 point rating from Robert Parker, and this blog did not yet exist. I was not yet a husband, nor a father. I am proudly, miraculously, both now.

Things have certainly changed.

July 17, historically, it seems to me, has not proven to be either a particularly auspicious, or inauspicious date. I mean, admittedly, Constantinople fell to the First Crusade on this date, but, well, that was a long time ago.  Though it does call to mind for me They Might Be Giants’ version of ”Istanbul, No Constantinople”:

So take me back to Constantinople
No, you can’t go back to Constantinople
Been a long time gone, Constantinople
Why did Constantinople get the works?
That’s nobody’s business but the Turks

Which, I should note, was originally performed by The Four Lads. See for yourself Le Difference!

The Four Lads

They Might Be Giants

 And it was, in fact, the day that Walt Disney opened Disneyland is Anaheim, California, back in 1955. But, well, that was just Goofy …

 It was also Jimmy Cagney’s birthday, which should certainly count for something. And in fact, it was actually the day Billie Holiday passed, which really counts for something.

Lady Day

 Which most certainly calls to mind a great poem by Frank O’ Hara …

Frank O' Hara

 …entitled “The Day Lady Died” …

It is 12:20 in New York a Friday
three days after Bastille Day, yes
it is 1959, and I go get a shoeshine
because I will get off the 4:19 in East Hampton
at 7:15 and then go straight to dinner
and I don’t know the people who will feed me
I walk up the muggy street beginning to sun
and have a hamburger and a malted and buy
an ugly NEW WORLD WRITING to see what the poets
in Ghana are doing these days
I go on to the bank
and Miss Stillwagon (first name Linda I once heard)
doesn’t even look up my balance for once in her life
and in the GOLDEN GRIFFIN I get a little Verlaine
for Patsy with drawings by Bonnard although I do
think of Hesiod, trans. Richmond Lattimore or
Brendan Behan’s new play or Le Balcon or Les Nègres
of Genet, but I don’t, I stick with Verlaine
after practically going to sleep with quandariness
and for Mike I just stroll into the PARK LANE
Liquor Store and ask for a bottle of Strega, and
then I go back where I came from to 6th Avenue
and the tobacconist in the Ziegfeld Theatere and
casually ask for a carton of Gauloises and a carton
of Picayunes, and a NEW YORK POST with her face on it
and I am sweating a lot by now and thinking of
leaning on the john door in the 5 SPOT
while she whispered a song along the keyboard
to Mal Waldron and everyone and I stopped breathing.

I get nostalgic when I think of anniversaries, and my inner hobo old bluesman man comes out. I get melancholic, and wise, and mournful, and excellent. And in a strange way, I also get young again. Which calls to mind Bob Dylan’s great song, “My Back Pages”:

Crimson flames tied through my ears
Rollin’ high and mighty traps
Pounced with fire on flaming roads
Using ideas as my maps
“We’ll meet on edges, soon,” said I
Proud ’neath heated brow
Ah, but I was so much older then
I’m younger than that now

Which then calls to mind my re-write of another verse from this song, which I just wrote:

In a pourer’s stance, I aim my wine
At the visitors who teach
Fearing not that I’d become my guests
In the instant that I preach
My wineway led by allusion notes
Poetry from stern to bow
Ah, but I was so much older then
I’m younger than that now

Which means nothing other than that I learn alot by being here. I have learned SO MUCH by being here.

Sometimes I just stop, look around, and say to myself, “Wow, I work at Ridge!”

July 17th. To paraphrase a line from Ice Cube, “Today was a good day.”

Folk Art, Folk Wine: A Thief In The House Of The Grape

July 7, 2011

Wine, done well, is a folk art.

Just as Robert Johnson osmosized the best of Son House and Charley Patton in the service of crafting his own transcendent contributions to the country blues; just as Jack Kerouac bubbled, toiled, and troubled up a cauldron of Look Homeward, Angel and Han-Shan; just as Miles Davis took the singular path of deifying Louis Armstrong by learning, deconstructing, and redrawing him, so too do the great producers of great wine look both homeward and forward as they seek their own paths to creation.

Folk art is a thieves’ game in a world where thievery still has its own moral code. Be it Robin Hood or John Dillinger, we love someone who stands for something strangely higher that the base art of a theft. In the world of Wine Noir, sure, you break the law. But only because your heart rides high above the fray, and what you seek is not a victory in the courts, but a peace in the soul.

How does a painter like Picasso or Jackson Pollock become famous for breaking all the rules? By learning them! How did Bob Dylan usurp Woody Guthrie as the voice of a vanishing America? By taking Guthrie for all he was worth!

How does Ridge Vineyards’ Paul Draper make “pre-industrial” wine in a post-industrial world?

Folk art, by art college standards, would seem to be a “process-oriented” endeavor; meaning, the act of creation is as vital as the creation itself. To properly create folk art, then, means coming to the table with your history intact, so as to act in the moment as if you have no history at all. This is jazz, this is haiku, this is abstract expressionism. And if the act is the product, then documentation of the act is the inheritance; meaning, if anyone else is ever to experience the art, there has to be some record of the act. Thus, the canvas, the recording, the page; these become the legacies to learn from. In the case of wine, this is the bottle itself; the donated legacy of all that came before it. To taste it as it slips into the winds of history is to connect the past to the present to the future. This is what Robert Johnson did as he sat at Charley Patton’s knee, and this is what the future’s great winemakers do as they drink the ghosts of vintages past.

There is a simple little piece of equipment you can likely find in just about any winery in the world. If you’ve ever attended any sort of barrel tasting, you’ve probably seen one. It looks sort of like a small glass tube with a squeezable handle, and it’s used for extracting wine from a barrel. More often than not, it is deployed when someone wishes to taste a wine in development —a glimpse into the future — to see where a wine is headed.

Small wonder that it’s called a Thief.

Don’t Tickle Me Elmo, Just Play Piano To The Sounds Of Me Drinking Wine!

June 27, 2011

Which is likely to go down as one of the weirder blog post titles in the 4488 history …

But, there is in fact a point.

Which is this; I was very recently scrolling & strolling through the search engine referral metrics that WordPress very kindly provides (please click here for compendiums of some of the rather more strange and wonderful items that have appeared in past queues), and I couldn’t help but notice the almost laughable omnipresence of The Muppet’s saxophone player, Zoot. I quite literally referenced him once, in a long ago post (found here), and ever since, he’s proven to be an unlikely evangelical inadvertantly proselytizing the gospel of Ridge. Blowing our tune, as it were …

So I was sitting here thinking about Zoot, and The Muppets. Which inevitably led me to thinking about Elmo. Which reminded me that today is Elmo Hope’s birthday! June 27, 1923!

I have great affection for people like Elmo Hope. Not only because he was a great artist, player, performer, and composer, but because he’s a tad unsung; he labored years under the shadows of giants like Bud Powell and Thelonious Monk, and I am not sure he’s that well-known outside of — to borrow a quote from Bob Dylan — a small circle of friends.

Which leads me to think about Ridge. It’s a funny thing; amongst a small but admirably devoted cadre of loyalists, I think Ridge is fortunate to enjoy a rather exalted reputation. But conversely, I could probably stand up on our knoll and throw rocks at Cupertino for weeks on end, and probably not hit more than 5-6 folks who have any idea who we are, where we are, or what we do.

(disclaimer: i don’t actually throw rocks off the knoll.)

Which is kind of like being Elmo Hope. He could have probably thrown rocks at Manhattan all day, every day, and not have hit more than a few folks who knew just what a great player he really was.

So today, I am celebrating lives under the radar; the unsung artists of our times, those whose talents and contributions far exceed their recognitions. Do I include Ridge in these categories? Hard to say. On one hand, I certainly don’t wish to disparage those who do know us, and I certainly wouldn’t wish to sound ungrateful for whatever awarenesses and praises we’ve accrued over the years. But on the other hand, being on the “public” side of the Ridge enterprise, I am also acutely aware of just how short our shadow is often cast.

And speaking of shadows, I believe it was the very astonishingly great Michelangelo who is credited with stating that, “The true work of art is but a shadow of the divine perfection.”

And it was the very great poet Li-Po who wrote the following (translation by David Hinton):

Among the blossoms, a single jar of wine.

No one else here, I ladle it out myself.

Raising my cup, I toast the bright moon,

and facing my shadow makes friends three,

though moon has never understood wine,

and shadow only trails along behind me.

Kindred a moment with moon and shadow,

I’ve found a joy that must infuse spring:

I sing, and moon rocks back and forth;

I dance, and shadow tumbles into pieces.

Sober, we’re together and happy. Drunk,

we scatter away into our own directions:

intimates forever, we’ll wander carefree

and meet again in Milky Way distances.

And it is me who says, here’s to you Elmo, or should I say Hope, and to you, shadows, and to all who wander carefree amongst ye … I raise you a toast; a Syrah dark as a shadow …

Juxtapositions …

June 17, 2011

Were you to say, “The sun went down in honey, and the moon came up in wine,” I might say, “Raising my cup, I toast the bright moon, and facing my shadow makes friends three, though moon has never understood wine, and shadow only trails along behind me.”

But were you to say, “She said that all the railroad men just drink up your blood like wine,”  I might say “Drinking together among mountain blossoms, we down a cup, another, and yet another.”

And were you to in fact say, “A bottle of white, a bottle of red, perhaps a bottle of rosé instead,” I might actually say “You, pretty girl, wine-flushed, your rosy face is rosier still.”

But if in the end, what you actually decide to say is, “We’re gonna bring a case of wine, hey, let’s go mess and fool around you know, like we used to,” then it’s quite likely that what I’ll say is, “Who can leap the world’s ties and sit with me among the white clouds?”

 

ZAP, Bob Dylan, and The Greatest Tasting Note Movie Ever Shot!

January 24, 2011

Ok, that heading may be just a tad misleading, possibly hyperbolic, but the truth is, ZAP is coming this weekend, the video for Bob Dylan’s “Subterranean Homesick Blues” remains one of the great pieces of celluloid history ever shot, and my footage of winemaker Eric Baugher tasting the 2009 Geyserville barrel sample (which we’ll be sneak-previewing at ZAP this weekend) has got Oscar written all over it …

What??? Not familiar with ZAP? Ok, for the uninitiated amongst you, ZAP is as follows:

http://zinfandel.org/default.asp?n1=15&n2=659

And Ridge will be there, amongst a veritable who’s who of Zinfandel producers, as follows:

http://zinfandel.org/default.asp?n1=15&n2=654&member=

As will Nadia G …

But about Bob Dylan, and my footage of Eric, dig this still:

And then dig this movie:

http://www.youtube.com/watch?v=IvCZz5lSafM

Pizza & Zinfandel: What’s the perfect pairing?

November 3, 2010

Given that my daughter is about two months shy of turning two, it’s perfectly reasonable that I’ve got” Goldilocks and the Three Bears” on my brain (and you can add to that “Grandfather Twilight,” “Cool Daddy Rat,” “Charlie Parker Plays Be-Bop,” “Green Eggs and Ham,” and “One Leaf Rides the Wind”); and given that I’ve got “Goldilocks and the Three Bears” on my brain, it’s no surprise that the immortal mantra of “Too Hot, Too Cold, Just Right” is on a loop inside my brain.

 

My daughter’s current favorite source for the Three Bears saga …

 

So there I was, having pizza for lunch — four cheese and olive pizza, to be precise — and I was staring down three bottles of Ridge Zinfandel. All of them were already open, so they were accordingly all fair game.

Pizza & Zinfandel

 

I took a bite, then took a swig. 2008 York Creek. “Too Hot!” Which was strange; the York Creek ABV is only one percentage point higher than the Geyserville, but somehow, this pairing drew a tad too much of the heat out. So I took another bite, and then another swig. 2008 Geyserville. “Too Cold!” Meaning something about the pizza really drew out the acidity, and it felt ever so slightly sharp, like a tongue stuck to metal (midwesterners who’ve been through a midwestern winter, you know what I’m talkin’ ’bout!). So another bite, and another swig. “Just Right!” 2008 Lytton Springs.

Today, that’s the stand I’m taking. The Ridge Vineyards 2008 Lytton Springs is the best pizza-pairing wine in the whole world, and I’ll stand on Bob Dylan’s coffee table and say that! (with all due apologies to Townes Van Zandt and Steve Earle!)

Townes Van Zandt


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