Posts Tagged ‘Miles Davis’

Things I’m Thankful For …

November 22, 2012

I am an admittedly idiosyncratic traditionalist, in that I am rarely much for traditional traditions, but am conversely rather boffo for my own rather less-than-traditional iterations thereof; which makes it all the more of a personal revolution in the offing that I am posting these words today.

This is, of course, the rambling preambling to the preamble of my annual “Things I’m Thankful For” post; which I traditionally, per the terms of my own tradition, post on the 23rd of November. Which I was dead on track for doing again this year. Except here it is, Thanksgiving, and I’m feeling all thankful-laden, and it simply feels odd not to commit these lines to the blog-o-web on this most gratitudinous of days. Yet it’s the 22nd, a proposition that defies convention. But blast it all, tradition be damned, what? On with the show! Pip Pip!

When I ponder the word Thankful, I see my wife’s face. As I do when I ponder the other following words:

Fortunate, Blessed, and Grateful.

These are of course self-referential. When I simply ponder her, as opposed to how I feel when I consider the blessing upon me that is she, these then are some of the words that come to mind:

Wise, Beautiful, Magical, Powerful, Amazing, Fragile, Astounding, Tender, Perfect, and Love.

I am so thankful for my wife. My friend, my lover, my partner, my wife. I am so thankful for my wife. One can define the almighty in whatever ways one wishes, of course; but if the definition of God has something to do with that which gives life to life, that which governs all, that foundational being that is the alpha and omega of all things, then she has dominion over all my world. She is the Bodhisattva come to help me, the Savior come to save me, the God come to raise me. I am so thankful for my wife.

And I am so thankful for my daughter, before whom I am a positively helpless puddle of mush. What hasn’t this small, beautiful creature given to me? There is no shade of blue in the sky, no streak of green in the sea, that she has not alerted me to. No whisper of wind in the night, no chirp of bird in the day, that she has not called my ears toward. There is no tear duct in my eye she has not drained of its feeling, no cavity of my heart that she has not filled. What hue of autumn leaf, what scent of springtime blossom, has she not drawn me to? What a thing, to have a daughter! I am so thankful for my daughter.

For my wife, and my daughter, I am so thankful. A Love Supreme.

Which reminds me that I am also distinctly grateful for John Coltrane.

And wine glass sizes drawn in fractions. Like 19.75 oz. glasses.

And the wines that inhabit them.

Like, perhaps, the 1981 Monte Bello, which tasted so fine just this past Sunday.

Which would also taste so fine in, for example, a flat-bottom glass.

I am so thankful for people who drink red wine from flat-bottom glasses.

And grandparents. There is no insanity like the insanity of grandparents. That my little family of three – Papa Bear, Mama Bear, Baby Bear – has two hearty and hale sets of grandparents, is a blessing beyond compare. To watch our little girl in their blissful company is a gift unimaginable. I am so thankful for our parents; grandparents to our wonderful daughter. I am so thankful for this.

As I am for the knoll at Monte Bello. Such a place to stand and contemplate the void, to be temporarily one with the ancestors staring at the walls and seeing truth.

I am thankful for poetry, and the wines that have, through time, lubricated its fragile and complex gears.

Like, for example, the 2004 Buchignani Ranch Zinfandel, which tasted so fine just … yesterday.

There are few moments greater than the moment when your father and your wife bring to their respective lips the wine you have poured for them. I am thankful for these moments.

I am thankful for Haiku.

I am thankful for people who do not ask me to throw away their chewing gum upon their arrival at the Monte Bello Tasting Room.

In fact, I am thankful for people who do not chew gum.

I am thankful for wooden canes, and limping through vine rows relying on one.

I am thankful for Amy Monroe, Sam Howles-Banerji, and Kirsten Anderson. If you’ve ever come to Monte Bello, and accordingly felt a bit of magic enter your soul and there take up permanent residence, there to be called upon whenever your worry and care threaten to overwhelm you in the pursuit of your conventional happinesses, it is likely because you were moved by Amy and/or Sam and/or Kirsten. They are in the practice of providing memories that will last forever, and they are rather excellent at this endeavor. They have given me so much to be thankful for, and are to me canonical saints in the pantheon of Monte Bello magic.

I am thankful for the word canonical.

And the word Vertical. And the thing that is, in winespeak, a Vertical.

And the Estate Cabernet Vertical, which will not be available for much longer. I am thankful it is still available, because the 2004 Estate Cabernet, is, in particular, one of the best wines I’ve ever had. It was also one of my first loves upon joining the family at Ridge, and in it, I taste my good fortune.

I am thankful for P.G. Wodehouse, for having given to the world Jeeves and Bertie Wooster, of whose exploits with the cow-creamer, last night, were so delightful to read.

I am thankful that I do not believe in decent-tasting “entry-level” wines costing $10/bottle, any more than I believe in decent-sounding “entry-level” Telecasters costing $100.

I am thankful for windows that lock and unlock with ease.

I am thankful for wines that taste especially fine whilst standing at windows gazing out at trees in autumn. Like the 1992 Monte Bello, which, out of a 375ml bottle, tastes especially fine whilst standing at a window (open or closed, whatever, it’s easy to lock and unlock) gazing out at a tree in autumn.

I am thankful for candles.

I am thankful for bow-ties, which, perhaps come the New Year, I shall resolve to wear more of.

I am thankful for champys, and the people who use the term.

And for the people who drink champys.

I am thankful for champys.

And Bodhisattvas.

I am thankful that Ridge has found a place in its heart to place me.

I am thankful that, in lieu of a manpurse, I wear sportcoats.

I am thankful for everyone who comes to Monte Bello in the summertime, and doesn’t comment of the fact that I am wearing a sportcoat.

I am thankful for Aaron, Antonio, Barry, Emma, Jane, Jenny, Karen, Kathryn, Kim, Lori, Michael, Nancy, Peter, Samantha, Sonja, and Tara. Because Hospitality is holy, and they are the true keepers of the faith. The foundational saints. The canonical hosts. To truly “host” a guest is an essential act of love, compassion, empathy, sympathy, faith, and kindness. I am thankful for these wonderful human beings, and for the generosity of spirit they so consistently offer.

I am thankful for the XTC song “Dear God.”

I am thankful that the new 2008 Mazzoni Home Ranch is such an absolutely excellent contribution to the Mazzoni canon.

I am thankful for high-quality buff cloths, and the wine hosts that know how to use them.

I am thankful for ritual, and what it teaches us, and I am thankful that the world of wine is so ritualized.

I am thankful for people who, when confronted by those who know a bit more than themselves about something, think first, “Wonderful!” as opposed to “Snob!”

I am thankful that I know so little, because I look so forward to learning.

I am thankful that a great deal of my “work” at Ridge is “learning” more about wine.

Learning more about, for example, the 2007 Monte Bello. For reasons soon to be revealed!

I am thankful for things that are soon to be revealed, as I do not enjoy surprises or secrets, though I am thankful for them. Thankful that they offer the opportunity for revelation.

I am thankful for Son House.

I am thankful for anyone who can figure out a way to work wine into a tattoo without looking like a rather foolish sort.

I am thankful for Syrah co-fermented with Viognier.

I am thankful that part of my “job” at Ridge involves sitting at table with people like Kathy and Ingrid, and “working” on food & wine pairings.

I am thankful that I very often have occasion, while at work at Ridge, to deploy the term “culinarily companionable.”

I am thankful that I get to write this blog. Not only is it a still-very-overwhelming honor, but it also allows me to make up a great many words; a great many made-up words that, when discovered and subsequently called out as being made-up, become the springboard for me to deliver my patented lecture on the true value of language and its purposes. Which no one needs to hear anymore.

I am thankful.

I am thankful for trumpet mutes, and the jazz players who deploy them.

I am thankful that Ridge makes wine like Thelonious Monk made chords.

I am thankful that Sumano’s bakery makes Watsonville Sourdough.

I am thankful for drinking wine, eating bread and cheese, and riding ferries.

I am thankful that Bellwether Farms makes San Andreas. And I am thankful for being able to taste it while sipping on 1978 Monte Bello.

I am thankful for harvest videos, and the opportunity to make them.

I am thankful for #Harvest2012.

I am thankful that I do not dream in hashtags.

I am thankful that if one Googles “Generation X Characteristics,” the very first entry that appears lists the following:

• Cynical

• Skeptical

• Independent

• Problem-solvers/resourceful

• Defy Authority

• Reality driven

• Distaste “touchy feely”

• Technology Competent

• Resist Hierarchy

• Multitasker

I am thankful that I still manage to rarely use the word “Google” as a verb.

I am thankful for walking cities.

I feel thankful when I go walking in a city, and the person I am walking with says, “My, that looks like a nice wine shop!”

I am thankful for Christopher Robin, Winnie the Pooh, and all the denizens of the Hundred-Acre Wood.

I am thankful for the poet Sharon Olds, because she writes about woman things in ways that can truly move a man.

I am thankful that as soon as we were installed in our little post-birth “hotel” at the hospital, my very exhausted and triumphantly beautiful wife called for Cava and Monte Bello.

I am thankful that when my wife calls for champys, she calls for Coupe glasses.

I am thankful for coupe glasses.

I am thankful for trains.

I am thankful for movies made before 1970.

I am thankful for music made before 1980.

I am thankful for wine made before 1990.

I am thankful for balsamic vinegar made before 2000.

I am thankful for books made before 2010.

I am thankful for wonderful exceptions to the above.

I am thankful for wine poured before I wrote “I am thankful for wine poured …,” like, for example, any of our Syrah/Grenache blends.

I am currently thankful for the 2008 Ridge Vineyards Lytton Estate Syrah/Grenache, and I am previously grateful for all the other vintages.

I am thankful that my daughter just announced that her Grandpa “stinks like Thanksgiving.”

I am thankful that some people still roller skate.

I am thankful for limousine drivers that do not park in spaces reserved for the disabled.

I am thankful for wine drinkers that are not drunkards.

I am thankful that calm, clear-headed, self-possessed, serious, alert, concerned, cool, exacting, rigorous, thoughtful, vigilant, and pure are all synonyms for “sober.”

I am thankful that, while it’s today in the news that it’s going to happen, Nikki Sixx’s “Heroin Diaries” is not yet, in fact, a Broadway Musical.

I am thankful that, for the fourth year in a row, I have the opportunity to praise Haig’s Hummus. I am thankful for Haig’s Hummus. And I am thankful for the way Haig’s Hummus tastes when it’s in your mouth, wrapped up in a big balloon-size swallow of Ridge chardonnay.

I am thankful for Ridge Chardonnay. Especially the 2010 Monte Bello Chardonnay, which, when released, will F%*&KIN blow your mind.

I am thankful for %*&.

I am thankful that we have a President who likes wine.

I am thankful for Zen.

I am thankful for the Monterey Bay, and how it makes Carignane taste. Especially Ridge Carignane. Which always tastes so nice, but tastes especially nice when sipped next to Monterey Bay.

I am thankful for John Olney, and I am thankful for the Carignane that he makes.

I am thankful for everyone at Lytton Springs, and for the opportunity to make this appreciation public. I am especially thankful for my counterpart Sandy Johnson, because her greatness humbles me daily, and it is good to be humbled. And I am thankful for her friendship, because it is good to have friends. And I am thankful for her colleagues that I get to, albeit infrequently, work with, namely Jason and Eliot. I wish I got to see them more, because I am always thankful for the opportunity. And it’s good to be thankful.

I am thankful that I rarely see myself in the mirror making air quotes.

I am thankful for Paul Draper, Eric Baugher, John Olney, David Gates, Kyle Theriot, Will Thomas, Shun Ishikubo, and Muiris Griffin, for the absurdity of how much they’ve taught me, and how patient they’ve been with me.

I am thankful for when Petit Verdot gets ripe. Because if swampy and funky can become fragrant and floral, then beauty is forever possible.

I am thankful for every moment there is not violence.

I am thankful for funny instructions on fading paper, push-pinned to dirty corkboard, that say things like, “If  you see a mountain lion, don’t bend over,” because who bends over when they see a mountain lion? And I am thankful that this is based on a true story.

I am thankful for true stories. And made up ones as well.

I am thankful for the opportunity to read poems that were written by people who were drinking wine while they were writing.

I am thankful to Ryan Moore, because he is my boss, and he seems to kind of like me. Which really feels good.

And I am thankful that the fates and powers that blessed Ryan with a wonderful wife have now blessed him with a beautiful, wonderful child, because I am very happy for him, and it’s good to be happy for other people.

I am also happy for myself, and am thankful that I have been blessed with a wonderful wife and a beautiful, wonderful child.

I am thankful that the obvious similarities between myself and my boss obviously continue.

I am thankful for the days when my boss calls and says things like, “Have you tasted the 2007 Dynamite Hill recently?” And I say, “No.” And he says, “Can you pull a bottle and taste it, and tell me what you think?” And I say, “Yes, boss.”

I am thankful for, in no particular order: Love, and the Lack of Hate.

Also for Charlie Christian, Sonny Rollins, Bud Powell, Lester Young, Bill Evans, Charlie Parker, Duke Ellington, Django Reinhardt, Miles Davis, Wes Montgomery, Zoot Sims, and Grant Green.

I am thankful that Duke Ellington is the Monte Bello of Jazz, and that Monte Bello is the Duke Ellington of Wine.

I am thankful for what localism teaches us about being peaceful with one another.

I am thankful that wine from our estates makes people feel peaceful.

I am thankful for peace.

I am thankful.

I am thankful for the certainty that this list will never end, and that, when confronted with all the wonderful things I’ve inadvertently omitted from this iteration of this list, I will have another opportunity at some future time to make amends.

I am thankful for ancient Mountains-and-Rivers Poetry.

I am thankful that I work on a mountain.

I am thankful to Ridge, for forever altering my life in momentous ways I could have never imagined, for, above all else, affording me the means to support my family.

I am thankful to Ridge for trusting me to speak for Ridge.

I am thankful for Merlot.

I am thankful for pine cones.

I am thankful for rattlesnakes, and the ones that don’t bite me.

I am thankful to Penske, for renting me the truck that carried me from New York to California, for helping to prove in yet one more way that Northern California is indeed the promised land, for stopping when I needed it to stop, at that truck stop where I first got on the phone with Nicole and inaugurated the process that would eventually culminate in my being hired by Ridge, and for starting again when it was time to start driving again to California.

I am thankful for my parents. And your parents.

I am thankful for anyone who buys a fine bottle of wine for their parents.

I am thankful for parents who buy Monte Bello from the birth year of their children.

I am thankful for the poetry of Dylan Thomas.

I am thankful for every moment, in every corner of the world, in which someone eats a slice of pizza, then takes a rather healthy swallow of really good wine.

I will never admit it to her, but in truth, I am thankful that my wife did not allow me to name our daughter “Pizza” as I wanted to, because even though this would guarantee I would spend my life saying, “I love you, Pizza” over and over, it wouldn’t have in fact been particularly fair to our daughter, and if there’s one thing that being a parent teaches you, it’s that love means someone else.

I am thankful for pizza.

I am thankful for pizza and wine.

I am thankful for, not Chivas Regal in a $5 room (as Tom Waits had it), but pizza and a $400 Monte Bello.

I am thankful for art, and those who mean to make it.

I am thankful.

I am thankful.

I am thankful.

Happy Thanksgiving to all, and to all a good day.

I am thankful you read this.

I am thankful for that which you feel thankful for.

I feel thankful for you, whoever you are.

I feel thankful.

I am thankful.

Thank you.

Classics: The Gospels of Pauls — Part II — THE BIG REVEAL!

May 4, 2012

For a thorough refresher on Part I, please click here.

As to a summary, it was the 3rd anniversary of our blog going live. And it was the birthday of the late, great jazz bassist Paul Chambers.

To celebrate, a tasting construct was born: 4 “classic” Ridge wines, 4 “classic” Paul Chambers performances. Paul Draper, Paul Chambers. The Gospels of Pauls.

The challenge? Pair them.

Our guests for the tasting were eleven wine bloggers.

A more eclectically driven, passionate bunch would be hard to come by.

But had they the moxie to go on camera in defense of their pairings?

Of course!

Because they’re wine bloggers. They do what they do because they love it. Nothing more, nothing less. They have no fear.

I wish to thank them all, for making a lunatic proposition not only enactable, but magic.

Each at their own pace embraced. Each in their own way believed.

And with them, through them, by them, we had a tasting in which new ways to understand both wine and music were revealed.

Revealed.

I encourage you to read them, follow them, know them. And you will know them by their blogs. They are:

Barton Orchard
There are few who know Ridge better than him. I learn something new every time we taste together.

Corkzilla
A writer after my own heart; someone who truly understands wine & music … and accordingly, who understands art.

Food Porn
One of the smartest, funniest, most cleverly and wisely written and constructed blogs out there …

Luscious Lushes
The beating heart of the wine bloggers world …

NorCal Wine
Smart, serious, passionate — Receptive, open-minded, sensitive — Disciplined, driven, devoted.

Rachel Voorhees
Round and round she goes, can she stop? No one knows! The rare writer who has discovered the 25th hour. Will to wine power.

Santa Cruz Mountains and Santa Clara Valley Wines
Our regional specialist. A writer of place.

SF Wine Blog
Impossibly comprehensive, impossibly humble, impossibly talented.

Stay Rad
The best new wine blog I’ve yet encountered, hands down. Read this. It’s tremendous.

Wine As$*&le
Nose in glass, tongue in cheek. The Oeno Bunker-Buster.

Yumivore
One eye to the heavens, one eye to the earth. One of the best visualists out there. Makes you want to eat and drink and eat. Yum indeed.

THE BIG REVEAL!

The Big Reveal begins with my “pairings.” Which were as follows:

2001 Ridge Vineyards Monte Bello

Such a round, voluptuous tone, such a beguiling reconciliation of seriousness and play. A decadence of timbre that makes you want it so bad, but a complexity that makes you force yourself to stop and pay attention. You want to swing with this, move with this, love with this, you want its girth to sprawl out on your tongue and lay its fruits out for your own hip-twisting intake. This is no shaking bag of bones, this is meat, this is flesh, this something to hold onto. This is surely the wet tenor tone of Sonny Rollins.

2000 Ridge Vineyards Monte Bello

The beckon and the dodge. The hint and the withdrawal. Provocation and denial, the slightly evil mitigation of desire. You want it, you feel it, it’s implied, then it’s promised, then it’s gone, then it returns. What is this strange seductive mantra, this hallucinogenic Om? It is humility at altar, as you meditate your way into the deep elusivity on offer. It bends, it twists, it takes off layers at a pace your singing palate cannot manage without trembling. But you look, and all is simple, all is pure, all is everything and nothing, all is nothing more than what you thought it should be, all the parts are in their place, there’s nothing clever, not a trick in sight at all, it’s just so simple, it’s the truth that can’t be had until the soul is past exhausted; only then, only then, does the mystical make sense. Surely this must be the taste of Miles Davis.

1999 Ridge Vineyards Lytton Springs

Conception. An Orion of fireflies beading a smear of trees in a breeze slow like river grasses. Cutting your left hand’s outline out of dark construction paper is the sky alight tonight, as if the trees were not between us and the moon, but cut away. Searching is the word to name the sound of John Coltrane. Not exuberant, furious, impassioned, thundering, but SEARCHING—how to climb the keening staircase of the notes, up through a cut-out in the sky— And when you don’t believe that fireflies reflect the constellations, then your lashes go down wishless. Millions produced, only one required for conception. Ascension. Surely this is the taste of Lytton Springs.

1997 Ridge Vineyards Geyserville

Surely Monk. The Haiku of Jazz. The Jazz of Wine. The Wine of Monk.

THE BIG REVEAL!

The Big Reveal concludes with seeing how we all matched up. Who thought what went with which. Who thought which went where.

–Two were with me on Wine #1. Luscious Lushes and Stay Rad felt the Rollins.

–Three were with me on Wine #2.  SF Wine Blog and Santa Cruz Mountains dug the Miles connection, and Luscious was with me again.

–I was all alone on Wine #3. Coltrane and Lytton? No one but me.

–Wine Asshole said it right from the start, the one OBVIOUS pairing with this wine was Monk. I agreed. So did Santa Cruz Mountains, SF Wine Blog, and Barton Orchard.

You can see the full pairing schematic below:

 

The Jazz. The Wine. The Ridge.

The Wine. The Jazz. The Ridge.

Classics: The Gospels of Pauls (3rd Anniversary Wine Bloggers Tasting at Ridge Vineyards!)

May 2, 2012

Classics: The Gospels of Pauls

The following summary of our recent and very special Wine Bloggers Tasting is broken up into two parts: in Part I, I run down a description of how the tasting was constructed, and in Part II, I reveal my notes and pairings, and how they matched up with our guests.

Part I

Classics: The Gospels of Pauls. This was the theme for our very special 3rd Anniversary edition of our Wine Blogger Tasting series.

A short film was running on a loop as our bloggers arrived (publishing controls prevent my running the video here, but you can see it in the background during the blogger videos at the end of this post); over a soundtrack featuring the Miles Davis composition “So What,” from the album “Kind of Blue,” (a track famous for its immortal bass line, created and performed by the great Paul Chambers, one of our two Pauls for the day) and a compendium of images of Paul Draper (Ridge Vineyards winemaker) and Paul Chambers (bassist on an astonishing array of canonical Jazz albums) the following paired quotes ran:

“Everyone is influenced by everybody, but you bring it down home the way you feel it.” 
-Thelonious Monk

 ”We’ve always made wines that we loved to drink.”
-Paul Draper

“When you have great vineyards that produce high quality grapes of distinctive individual character, this is not only an environmentally and socially responsible approach, it’s also the best way to consistently make fine wine.”
-Paul Draper

It’s all about creation and surprise. It just needs to be appreciated and watered like flowers. You have to water flowers. These peaks will come again.
-Sonny Rollins

“Overall, I think the main thing a musician would like to do is give a picture to the listener of the many wonderful things that he knows of and senses in the universe.”
-John Coltrane

“My aim is to take these pieces of ground, and allow them to express themselves.What I demand of a great wine is that it reflects nature,not the hand of the winemaker; it has to have that connection to the earth.”
-Paul Draper

“I had finally realized that you didn’t need a degree in oenology to make great wine.”
-Paul Draper

“If they act too hip, you know they can’t play shit.”
-Miles Davis

Our guests were seated. The theme was then revealed.

As past readers of this blog may recall, the “theme” of the tasting is rarely, if ever, announced ahead of time. In a previous post I had made clear the tasting would be a celebration of jazz and wine, in honor of the event coming on both the 3rd anniversary of this blog going live, and the anniversary of Paul Chamber’s birth, but I hadn’t explained what we were actually going to do, or taste. I did let slip one hint; I had intimated filming would be involved, due to my intention of sharing details about this event during my panel talk at this year’s Wine Bloggers Conference.

Anyhow, the theme.

Classics: The Gospels of Pauls

Meaning what?

Meaning that we would blind-taste four ”classic” Ridge wines, while listing to four “classic” Paul Chambers performances. Attendees would then “pair” the songs to the wines, based on their tasting and listening notes. Then, attendees were to go on camera, and explain their choices. After all attendees had their turns, I would then reveal my “pairings” and justifications, and we would then cross-check all the results to see how we’d all matched up.

My goals in constructing the tasting in this fashion were two-fold:

1) I wanted to take advantage of the calendrical confluence (this blog’s 3rd anniversary & Paul Chambers’ birthday) as an opportunity to discuss the procedural and philosophical parallels between the production of great jazz and great wine, and ideally then take this out to the larger realm of how all great art is produced; emerging, as I believe it does, from that peculiar and wonderful intersection where mojo meets craft, knowledge meets instinct, juju meets technology, passion meets knowledge.

-and-

2) I wanted this event to be a living enactment of the greater possibilities inherent in the winery-wine blogger relationship; per my goals for the panel talk at the conference (“The Winery View of Bloggers”), I wanted to be able to show how this unique relationship allows for something more than the conventional producer-reviewer paradigm to rule the aesthetic day.

As to the selection of wines and performances, this was of course a tad tricky, because my biases are fairly obvious.

So, for the wines, I elected to rely instead on “external” assessments of just what exactly constitutes a “classic” Ridge wine.

Here is what I chose, with a very brief explanation of why after each:

2001 Monte Bello – recent 99 point rating from Robert Parker

2000 Monte Bello - winner of the “Young Cabernet” competition at the Judgment of Paris 30-year re-enactment

1999 Lytton Springs - Winemaker Eric Baugher’s choice for a “classic” zinfandel

1997 Geyserville - Winemaker Paul Draper’s choice for a “classic” zinfandel

And as to the songs, I selected four indisputably canonical recordings from four indisputably canonical artists, as follows:

So What - Miles Davis (from “Kind of Blue,” probably the greatest jazz album ever recorded)

Bemsha Swing - Thelonious Monk (from Monk’s “Brilliant Corners” album, rightly regarded as one of the most important and influential recordings of the modern jazz era)

Paul’s Pal - Sonny Rollins (from “Tenor Madness”; inarguably one of the greatest saxophone-centric jazz albums ever recorded, and an early milestone in the career of this recent Kennedy Center honoree; incidentally, the song is named for Paul Chambers)

Mr. P.C. – John Coltrane (from “Giant Steps”; one of a few significant albums that firmly established John Coltrane as one of the greatest jazz players ever to stalk the earth; this song is also named for Paul Chambers)

As noted above, I asked each guest to go on camera to explain their pairings. And while I won’t unveil the full video versions until the conference in August, I invite you to please enjoy the following compendium of short clips in the meantime (for best playback results, please select the “YouTube” link in the lower right corner of the video screen, to watch the clips directly on YouTube):

This concludes Part I of our post. Stay tuned for Part II!

–Appendix I–

Three of our guest wine bloggers have already put up wonderful posts about this very special tasting event; to enjoy their perspectives, please click the following links:

http://norcalwine.com/blog/51-general-interest/684-on-wine-jazz-and-inkblots

http://foodporn.com/1pescygourmet/2012/04/ridge-wine-blog-anniversary-tasting.html

http://stayradwineblog.com/2012/04/22/drink-that-tune-a-blogger-tasting-at-ridge-vineyards/

And to see some wonderful images from the event:

http://www.facebook.com/media/set/?set=a.436568686357255.117495.222824271065032&type=1

Ain’t No Strangers To The Rangers, Gots The Rhones In Our Bones!

March 17, 2012

March 24-25, it’s on.

It’s a rockin’ Rhone time
it’s blow your dome time, baby

The Rhone Rangers descend on San Francisco next weekend, and none shall be the same ever again.

The 24th? Winemaker’s Dinner. Who shall be there? Ridge Vineyards, of course. Along with …

Big Basin Vineyards, Crystal Basin, Curtis Winery, Davis Family Vineyards, Domaine de la Terre Rouge, Donelan Wines, Folin Cellars, Hahn Family Wines, Katin, Mount Aukum Winery, Pear Valley Vineyards, Qualia Wines, Quivira Vineyards & Winery, Tablas Creek Vineyard, Wesley Ashley Wines and Zaca Mesa Winery.

Word.

And the 25th? The Grand Tasting. The GRAND Tasting.

grand

adjective

1.

impressive in size, appearance, or general effect: grand mountain scenery.

2.

stately, majestic, or dignified: In front of an audience her manner is grand and regal.

3.

highly ambitious or idealistic: grand ideas for bettering the political situation.

4.

magnificent or splendid: a grand palace.

5.

noble or revered: a grand old man.
 
 
Impressive. Majestic. Idealistic. Magnificent. Revered. Grand. The GRAND Tasting.
 
Word.
 
 
And what will Ridge Vineyards be pouring? None other than the following:
 

2010 Ridge Vineyards Buchignani Ranch Carignane (special pre-release, winery-only offering!)

2010 Ridge Vineyards Lytton Estate Petite Sirah (not yet released, only the 2nd nationally-distributed Ridge Petite Sirah EVER!)

2007 Ridge Vineyards Lytton Estate Syrah (new ATP release, winery-only!)

2006 Ridge Vineyards Lytton Estate Syrah/Grenache (sold out ATP offering; last “public” appearance!)

1999 Ridge Vineyards Lytton Estate Syrah (uber-rarity from the library vaults!)

Word.

SAN FRANCISCO 2012 – A WEEKEND CELEBRATION OF AMERICAN RHONES

Recently sat down with two colleagues to start tasting some of the wines to be showcased at the event. If you wish to fly-on-the-wall yourselves, please dig the visuals …

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.

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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