Category Archives: View From The Vineyard

Poise, elegance, balance – a Nureyev wine

You forget just how steep the vineyards can be in Tuscany. Rolling hills, lone cypress trees, hilltop villages and medieval fortresses, yes, they all spring to mind when you think of Chiantishire. But, crikey, this is a steep slope.

We are at the top of the hill and the vines on both sides are majestic, the patterned seersucker rows stretching hypnotically into the distance. This is EM Forster country, but all I can think of is: I hope this driver knows what he is doing. There are four Land Rovers in single file formation, and our driver waits until the one in front has negotiated the slope before engaging the gears. And away we slither.

But, of course, we need not have worried. Riccardo Giorgi and his team are not only excellent winemakers, but they are expert at manoeuvring four wheel drives around the vineyard. And what a vineyard!

Tenuta Perano lies in the heart of the Chianti Classico region in Gaiole. And the reason for the procession of four wheel drives is because Frescobaldi have invited 50 or so of their distributors from around the world to enjoy their first sight of the new estate. Later on there will be hot air balloons, a presentation from Lamberto Frescobaldi and a steak cooked by rock star Panzano chef Dario Cecchini.

Two things strike you immediately: the altitude (“it is 500 metres above sea level compared to 250 metres for Nipozzano,” Lamberto Frescobaldi tells me later, over dinner). And the estate lies in a beautiful amphitheatre which catches every last drop of the sun. This is balanced by the tramontana wind, which sweeps through at night to lower the temperature. It is this combination of altitude, vineyard siting and the free draining galestro soil that gives the Perano wines such character.

The estate now produces three wines, a Classico, a Classico Riserva and a Gran Selezione “Rialzi”. “There will be no IGTs from here,” says Lamberto. I can’t wait to taste them over dinner.

But first, I almost come a cropper in the hotel air balloon. It all looks a bit precarious and the wind isn’t helping, but I manfully haul myself into the small basket with three other distributors, all of us wearing looks of trepidation. The weather is playing up, and it takes a long time before lift-off, and when it does the hot flame which our pilot blows into the balloon seems to come perilously close to my head. These days I haven’t got much up top and for a moment I worry about getting my bonce singed. Meanwhile, one of the spectating distributors shouts up to the pilot: “Don’t lose that salesman – he’s my best man and sells thousands of cases!”

When we eventually make it back down – thank God – we are then taken on a tour of the winery – probably the most pristine I’ve ever seen.

And then comes the T-bone!

The legendary showman Cecchini (strapline: Abandon Hope All Ye Who Enter) enters to a blaze of klaxon horns. “To the table!” he exhorts, kissing everyone, and dishing out huge wedges of beef. It is complete chaos but no-one seems to care. The steak is sublime – and doesn’t he know it! Later on I queue to get my photograph taken with him like some fawning teenager. But, then, everyone else does.

Meanwhile, I listen to Lamberto talk about the wines. “We are looking for poise and elegance, and balance here,” he explains. He tastes the Classico. “This is a Nureyev wine,” he says.  The Riserva has more weight, but the tannins are sweet and soft. “This is a feminine wine,” he says. And then we move on to the Gran Selezione, the Rialzi, which means rise in the land. “This one is masculine,” he says.

Talking of masculinity, here comes the marching Cecchini again, now singing. Best to keep my head down, eat his steak and drink the wonderful wines.

Michele Chiarlo is the Picasso of the wine world

“We are – and always will be – only Piemonte,” says Michele Chiarlo.

We are standing in the cellars at Chiarlo’s Calamandrana winery and the still sprightly 83 year-old is telling his audience of worldwide distributors where his priorities lie. We are the lucky ones who have been invited to his annual symposium, and Michele, who still visits the winery every day, is proudly showing us around the barrel room. The Alliers oak tonneaux are gleaming, but as Michele explains; “I want to capture exactly the terroir and not the oak. These here are merely to prepare the wine for release.”

This terroir-driven focus has always been at the heart of the Chiarlo philosophy, further proof of which is Michele’s insistence on producing single-varietals rather than blends and only using indigenous grape varieties. This philosophy has been infused into his sons, winemaker Stefano and Alberto, who takes care of sales and marketing. The focus is rooted in an exceptional collection of vineyards in the Barolo and Barbera appellations.

But it wasn’t always like this. Michele chuckles; “fifty years ago, when I started making Barbera, people thought I was crazy.” But the proud owner of La Court has had the last laugh. “We have made our reputation with Barbera.” It continues to this day: the first vintage of Cipressi Nizza was immediately hailed as Wine of the Year by Wine Enthusiast.

And while the Cerequio and Cannubi Barolos are world class, the Barberas are world WORLD class, and you have to think this is where his heart ultimately lies. We decide immediately to christen him the Father of Barbera. Michele laughs sheepishly. A lifetime of accolades has not changed an essential humility.

But when Stefano takes us into the vineyards, he is keen to emphasise the family’s Barolo heritage. “Every Barolo producer wants to have a piece of Cannubi,” he says, scrambling over the unique terraces which characterise the vineyard. And from where he is standing he can point upwards a couple of hundred metres to where the ultimate Barolo vineyard, Cerequio, lies – the extra altitude the defining nature.

So, this then, is Michele Chiarlo. Exceptional vineyards; exceptional wines. A sixth generation wine family rooted in Piemonte’s terroir which has built up a worldwide reputation, underlined by a stunning collection of 90-plus points from Parker, Suckling and the Wine Enthusiast.

And yet.

This only tells half the story.

So far, we could be talking about any number of winemakers. There is something else, and it is difficult to put a finger on it. But then you walk around the amazing Chiarlo Art Park at the La Court vineyard. This diverse selection of world-class modern art dotted incongruously around the vineyard may help explain the attraction of Chiarlo. This modernity also finds reference in the stunning series of labels which adorn the great wines. Has there ever been a more eclectic, stylish and individual set of labels? And maybe it also finds reference in the style of the wines, which, in the Classico selection, allow the consumer to enjoy at a relatively early age – key for the restaurant trade, but in the individual Cru, also remain true to the ageing tradition.

It is this fascinating juxtaposition between tradition and modernity which lies at the heart of the Chiarlo appeal.

Looking at the art selections, I pipe up: “Michele is the Picasso of the wine world.”

“Yes,” says another distributor. “He even looks a little bit little Picasso!”

Volcanic Campania

The Campanian Volcanic Arc has at its centre the mighty Mount Vesuvius. This is dangerous territory. A devastating earthquake rocked Avellino in 1980; it  was from these ruins that Antonio Capaldi built Feudi di San Gregorio. The  winery champions Avellino’s native grapes – Greco di Tufo, Fiano and  Aglianico, as well as the Falanghina from nearby Benevento.

In less than 30 years it has become a benchmark for the region.

The flagship Serpico Irpinia is produced from centuries-old Aglianico wines and is an unforgettable mouthful of dried cherry, liquorice and leather.

The Aglianico grapes used for producing Serpico are produced in a historic  vineyard named “Dal Re”. This historic region of the Apennine countryside is known as Irpinia and it has a unique terroir and climate in which vineyards  coexist with fruit trees, olives and aromatic herbs. The winds here divert a  beneficial rainfall which creates a microclimate in Irpinia that differs from   Campania, the winters though brief are snowy and cold and the summers can be wet and prolonged.

Recently the winery has begun producing a stunning array of traditional-method sparkling wines under the Dubl label – these are not to be missed! Produced using the traditional method sparkling wine, the end product has a fine and persistent mousse. A fresh and aromatic wine with notes of crisp golden delicious apple, peach and floral hints of camomile, complemented by rounder notes of apricot.

For more information on the wines of Feudi di San Gregorio, please get in touch with your account manager.

Volcanic Soave

The Tessari family began farming on the dark and volcanic land of the Rugate hill, near the centre of Brognoligo, over 100 years ago. The volcanic origin of the land and its limestone and basalt characteristics make the soil generous, capable of giving life and taste to the typical grapes of this region, Garganega and Trebbiano di Soave.

The estate was renamed Ca’Rugate in 1986, taking its name from the volcanic  hills where the vineyards are located. Now run by the fourth generation,  Michele has brought with him a lively, passionate and entrepreneurial spirit.  Considerable expansion has taken place in recent years with investment in a new technologically advanced cellar and expansion into the Valpolicella area  with the purchase of vineyards in the hilly zone of Montecchia di Crosara.

Monte Fiorentine – which lends its name to the Tessari family’s highest cru – is a territory in the Rugate district, in the heart of the Soave Classico,   characterised by hills with an average altitude between 120m and 350m. It is a historic vineyard par excellence, evocative, homogeneous and entirely planted  with Garganega grapes.

Ca’Rugate has been awarded the prestigious ‘Tre Bicchieri’ award rating from Gambero Rosso multiple times, making it one of the most awarded producers in the competition and has been hailed by the New York Times as one of the  ‘Top Five producers of high end Soave’.

For more information on the wines of Ca’Rugate, please get in touch with your account manager.

Volcanic Santorini

At the centre of the most seismically active area in the eastern Mediterranean, Santorini is a unique region for the cultivation of vines. The volcanic, porous soil, the long hours of sunshine, the lack of rainfall throughout the year, the sea mist and the strong winds during summer, the traditional ‘kouloura’ (basket shape) training system, and some of the vineyards dating back almost 3,000 years create rare, precious wines.

This unique combination is most evident in two of Gaia’s wines. The Wild  Ferment Assyrtiko is made from grapes from upland vineyards in Pyrgos. The bigger day/night temperature range up here means longer ripening periods which, combined with some skin contact at cool temperature, helps to extract phenolics, giving you a peachy, minerally, umami-rich and powerful wine.

 

Meanwhile, Gaia’s Thalassitis benefits from sea spray which hits the low-lying vines and confers a stunning, almost indefinable salty character which adds complexity to this steely grape.

One of the pioneers of the modern Greek wine revolution Gaia Wines was established in 1994 by Greek winemakers Leon Karatsalos and Yiannis Paraskevopoulos. Operating two different wineries they make cutting edge  wines in both Nemea and Santorini. Gaia’s main aim is to present the potential of the indigenous Greek grape varieties to wine enthusiasts worldwide.

 

For more information on the wines of Gaia Wines please get in touch with your account manager.

The purest juice

So artisanal is the inaptly named Château Grand Pré that we cannot find it! Twenty minutes ago Bev and I left Fleurie’s Place de l’Église on the D68, driving past the Auberge du Cep, heading for the border with Chiroubles. But in spite of Bev jumping out and knocking on various houses, we cannot find it. Eventually she phones our host, Romain Zordan, who laughs and tells us he will pick us up. About thirty seconds later he arrives, we turn the car round and minutes later arrive at an old farmhouse that we have already driven past twice. Duh!

 

Natural wines are the subject of some debate. For some they represent winemaking at its most pure; for some critics the wines are simply undrinkable, some of them, they swear, tasting like cider and smelling of old socks. The choice of not adding sulphur (or to add it only in minute quantities) is what causes a lot of the fuss. Sulphur acts as an oxidant and without it, the critics say, the wine simply turns yellow. Certainly you get a lot of curious flavours in natural wine.

But equally, they can be some of the most exciting wines you will taste, with a purity of fruit that is unrecognisable in more commercial offerings.

There is no question which side Romain is on. He shows us vines which are 80, 90, 100 years old. He prunes by hand. No herbicides are used. He ploughs round the vines throughout the year to limit weed growth, encouraging the vines to dig deep, to reach down to the granite. Yields are low: about 25 hl to 35 hl depending on the vintage. Wild yeasts.

He explains all this with the loud and slightly manic passion of a visionary while the two of us shiver. In twenty years of visiting Burgundy I have never known it so cold, and much as I love the Beaujolais countryside, I am dead glad when he takes us into a renovated cellar where he has laid on a lunch of bread, Munster cheese and saucisson. I normally eschew food during tasting, but I am famished and this just looks so French that I tuck in. As does the Master of Wine.

The Fleurie 2017 has a huge, ripe, sweet fruit nose, with really intense flavours in the mouth. Liquid jelly. They didn’t do carbonic maceration because hail destroyed half the vineyard and they weren’t able to fill the tanks. Half full bunch and half destemmed (although Romain pronounces it “steamed” and for a second I think he’s invented some amazing winemaking technique.) Soft, flowing tannins. A magical bottle of wine.

The Morgan 2017 has a much funkier nose. Lots happening in here, the merest hint of reductiveness on the nose. But in the mouth all traces disappear and you have a rich chocolatey mouthful. Simply gorgeous.

The Cotes de Brouilly 2017 underwent full carbonic maceration and is the chunkier of the three wines, imbued with the flavours of the famous blue granite, which gives it a vibrant violet character. But, unbelievably, it has a “lifted” quality, as if the wine is floating above the ground. I cannot do the quality of this wine justice.

Better still, the vibrant acidity of the wine cuts through the salami and cheese perfectly. We are in picnic heaven.

We then brave the cold again as Romain takes out round the back of his cellar to an old warehouse where he keeps his canary-coloured tanks. And then it is back outside where he opens up an old shipping container in which he keeps a few barrels of white. The sample shows this wine to be good but not in the same class as his reds.

Incongruously, this container is parked on the edge of a house in which Franck Duboeuf and his family live. No-one has done more to promote the wines of this glorious region than Franck’s father, Georges Duboeuf. I know: I used to work for him. And while the differences between Duboeuf’s and Grand Pré’s wines couldn’t be greater, both offer excellence in their own way.

But I have never felt such excitement in Beaujolais as that which feel now, sitting munching my cheese and salami in Romain’s little cellar. These wines are brilliant. They are uncompromisingly brilliant. The purest juice I have tasted on the entire trip.

Shabby Chic

We first came across this producer when we tasted the Domaine Gouffier Aligoté a couple of years ago. It knocked us for six. It was about as far removed from your customary tart and bitter aligoté as was possible.

So how good to finally visit Frédéric (Fred) Gueugneau and Benoît Pagot at their farmhouse on Fontaine’s Grand Rue, southwest of Rully. Set behind a gravel courtyard, their 19th century farmhouse is filled with a beguiling collection of peeling French farmhouse furnishings, quirky wallpaper, crumbling pargetting, and odd-looking objets d’art, its faded glory complemented by modern low-slung couches, a widescreen TV and a monstrous sound system complete with mixer. You’d pay some fancy interior designer a fortune to come up with such shabby chic. The farmhouse acts as a base for the pickers during harvest, and you get the impression that for the joyeux vendangeurs, it must be one long acid house.

With 5.5-hectares spread across eight appellations, the domaine was in need of a fresh start following the passing of Jerome Gouffier in 2012, and, as we set up the tasting in the kitchen, Fred, who worked at La Chablisienne for eight years, explains what they are looking for. “To reinvigorate the vines, to bring organic practice, to have the wines less in barrel, more in tank.”

The Aligoté En Rateaux which excited us has now moved on to the 2017. While not having the knockout punch of its older brother, it has a vivacious flower and citrus feel to it and simply fills the mouth with flavours and piercing acidity.

The Bouzeron Les Corcelles 2017 reminded me of some our Greek wines, with its volcanic feel and saline quality. A huge mouthful.

The Rully Premier Cru Rabource 2017 has an inviting and open nose of elderflower and apricot. An amazing wine.

We finish with the red Mercurey La Charmée 2017 which lives up to its name with real purity of fruit – blackcurrants, this time – and beautifully integrated oak.

The tasting has been one stunner after another.

Fred and Benoit, now in hoodies and trainers, take us outside to the rustic winery and proudly show off a barrel room housed in a stone-domed cellar which served as a bunker for Napoleon’s army.

Once more, as with so many of our new producers, what we have here is a mixture of reverence for what they have inherited along with a determination to make their own mark on Burgundy’s history. This place is in good hands.

The Power of Quiet

You can spot it from half a mile away, rising eerily out of the mist. Château de Chamilly is the painter, photographer and filmmaker’s dream. It looks as if it belongs on top of a ginormous chocolate cake.

It is just off the D109 between Chassey-le-Camp and Aluze and the hamlet of Chamilly is 200 metres away, but, really, you could be on a different plant. The silence is deafening as you stand back and gawp. It is a wonder, but also slightly spooky.

The other-worldliness is broken by an extravagant welcome from a beaming Arnaud Desfontaine, jogging towards us in modish anorak and trainers. His family has been making wine here for twelve generations. Arnaud’s mother lives in an apartment on the ground floor, but the other two floors are still to be renovated. God, it must be lonely in winter.

We listen to the silence, before pony-tailed Arnaud kicks into action, leading us a merry dance through the winery which lies scattered higgledy-piggledy around the château in various stables and barns. “We bought this from our neighbour last year and we will put in tanks here. This we have already converted. Next we will make a reception area over here…”

With his soft and broken English, and looking forever like he should be wielding a Fender Strat in some sybaritic band, he is a compelling host, blending an antiquarian’s love of tradition with a geek’s desire to experiment. “Here, we could be certified organic if we want to, but I choose not to. I prefer not to be put in – what do you call it? – a straitjacket. The rules of this winery? There are none.”

But for sure, less is more – less stems, less lees stirring, less interventions in the winery (natural yeast, no filtration). “All we give the wines we get them here is quiet.”

In the tasting room we start with the whites, the highlight of which is a stunning Montagny les Reculerons 2017. This is a delicious mouthful of flint and fruit. “People sometimes say, “what barrel do you age this in?” But it is aged in tank. What they are tasting is terroir.” He is right: this is so minerally you can taste the rocks.

But good as the whites are, Arnaud’s heart’s quest is to capture the purity of Pinot Noir. He dismisses richly-coloured Pinot. “That was what we had in the 1970s, the 1980s. I am not looking to make a Syrah. This is not the Rhone.”

And when you come to the Mercurey Premier Cru les Puillets you know exactly what he means. This has a piercing pristine pellucid coolness like it was born on the edge of an iceberg. It is packed full of juicy raspberry and cherry fruit. We all nod approvingly. “You see,” says Arnaud. “If you have ripe grapes, you have balance.”

This is a composer at heart, and we leave him dancing through the vats and tanks to his beautiful melodies.

To Morot!

And so to Domaine Albert Morot, on Beaune’s ring road, and a tasting challenge between two of the Beaune Premier Crus heavyweights that Hallgarten ships. It’s Les Bressandes v Les Teurons from vintages 2014 – 2017, Winner Takes All.

2014 vintage…

Domaine Morot, Beaune 1er Cru Les Bressandes


The Bressandes has a lovely soft mushroom feel to it, but with a succulent freshness. This is a Farmers’ Market wine; lovely and soft and clean.  Meanwhile, the Teurons is oxtail soup gamier and bigger, more assertive, with very firm, though not harsh, tannins. This is the masculine to the Bressandes’ feminine.

 

2015 vintage…
The Bressandes nose here is quite closed, but there is a herbal feel to it, with cherry Tunes furtively hanging around in the background. The tannins are languid and seductive. Easy to fall in love with this Mistress. The Teurons has an unusual nose. Where are we here? In the Rhône? This has a touch of the liquorice and anise flavour of the south. This is a real fruit bomb.

Beaune 1er Cru Les Teurons

 

2016 vintage…
But just when you feel everything is going to plan, the 2016 kicks in. Because, while we have a heavenly soft sweet mouthful of Bressandes, with touches of oak, touches of vanilla and touches of crunchy forest fruits, the Teurons decides to go all shy on us. For sure, it is a silky little number, but its parents would be shocked at how it has conceded bragging rights to the usually feminine Bressandes. A real eye-opener, this vintage.

 

2017 vintage…
Intrigued, we move on to the 2017 – a real vintage! The Bressandes cavorts forward and teases us. It has beautiful soft forest fruits lying under the forest floor, a touch of smoke from the covering of soft branches. But – Ta Da! – the Terurons reverts to type, coating itself with a swirling Black Forest Gateaux cape. But, liked any caped magician, it has finesse, a softness. It has learned its lesson. It pays respect to Bresssandes before strutting its funky stuff. Move over, darling!

But hold on – what’s this?

 

They’ve just brought in another wine. Ah, this is the Les Marconnets, another Premier Cru situated on the far right of the commune. An interloper – how exciting. I taste the wine. I pause. I think. Remember when Cameron Diaz walked into the room and Jim Carrey’s jaw hit the floor? Well…

It has got the femininity of the Bressandes, the structure of the Teurons. But it also has something else: a wonderful minerality running through the centre, a saline feel to complement its roundness and structure. Jasper Morris describes it as “probably the best of the northern vineyards” – and recommends Morot as a producer.

Events like this are so good for a buyer. The smack between the eyes. I cannot remember why we have not listed this before. Lack of availability. But that will soon change and we leave the tasting with the thought enticing us: We must list this.

THE first Gevrey-Chambertin winemaker to not use sulphur…

“I will be the first winemaker in Gevrey-Chambertin to make wine without sulphur. I am going to make crazy wines.”

 

We have been working with Pierre Naigeon for a dozen years, but you still feel you’re with a ‘Duracell Bunny’ as he whizzes round the winery with frantic, chopping steps, his arms pumping away like pistons. During the harvest he walks fifteen kilometres every day but you get the impressions his battery never seems to wear out. Bev and I are struggling to keep up.

 

He chatters to you over his shoulder as he jumps from one barrel to the next, flourishing his pipette like an épée. “I aim to be organic by 2019, and then we will look at being biodynamic in the longer term. Meanwhile, we will look to make sixty or seventy percent of our wine sans sulfur. Here, try this, it is from Maladières,” he says, pouring us a ravishing Pinot Noir – all raspberry and red berries – from the vineyard at the base of Chambolle-Musigny.

 

“I don’t like all the concepts behind biodynamics but I do agree with the basic stuff in terms of fertiliser and the movements of the moon, you know. Here, what about this…” as he pours another Pinot, this time from En Champs in Gevrey-Chambertin. This one is a touch heavier, more serious.

 

“Being organic in Burgundy is tricky; don’t forget we are at the extremes of winemaking. Come, come. Where did I put that Fixin? Must be here somewhere.”

 

He dashes from one warehouse to another like an Olympic Racewalker. The last time I visited he was still in his tight, cramped – though romantic – cellar in Gevrey-Chambertin. Now he has moved to a utilitarian complex on the edge of town. He needed to; he had outgrown his former premises. You cannot keep a man like this in a confined space. He needs to grow, to experiment, to be wild.

“Listen to me. What we are doing with sulphur wines is amazing. The wines are so so fresh, very savoury. I am not looking to make wines that smell of shit and look brown. They are disgusting wines. No, we will make amazing wines. This means changing all of our habits. Bottling will be earlier, much less racking, less time in bottle before release, no fining, no filtration” (though his wines have been unfiltered and unfined for years.) His is the passion of a zealot.

 

We pass by one of the numerous tanks on which is written: “Don’t forget, beer is made by men, wine is made by Gods.” Glancing at it, Pierre looks triumphant!

 

He shows Bev and I his new bottling line, unwrapping it like a kid on Christmas morning. But before we can pause to admire it, he rushes us across to his three ceramic – not concrete – vats which are not trendily egg-shaped but round and squat. “Cost seven times the cost of a barrel – but they will last forever!”

 

But before we can admire those, he has dashed back in amongst his tanks, impatient to show off his wares. We start by tasting all of the 2017s in tank, then move on the 2018s in barrel. The 17s are more typical of Burgundy; the 18s are atypical and he is still not sure how they will turn out.

 

The 2017s culminate is a stunning tasting of two specific-site Gevrey-Chambertins. First up: Creux Brouillard. This has dark, tannic notes, sweet violets, forest fruits, great structure, smooth tannins. Pierre thinks this is a perfect example of Gevrey-Chambertin. We contrast this with a Les Crais, which has a riper style, with more minerality cutting through a sweet confiture. It has a lightness of touch. He thinks this is an example of a more mineral style against the more traditional style of the Braillarol. “Comes from the alluvial soil.”

My wine-splashed notes contain superlative after superlative. We go on to Les Corvees (from very high up the slope, so it needs to be kept), Les Marchais (an iconic Gevrey-Chambertin, according to Pierre), Sylvie, from just under the castle of Gevrey-Chambertin (one of the biggest, with spicy oak, liquorice and game), and Meix-Bas, from right at the top of the slope, so not a Premier Cru (and which is almost Rhone-type in its boldness.)

 

We move on to the Mazis-Chambertin (the most mineral of the great Chambertin vineyards), with an incredible herbal nose.

 

The Charmes-Chambertin is powerful and complex, with a hint of vanilla matching the dark intense fruits. The Master of Wine standing to my left does not spit this. It is long long long.

 

His 2018 barrels are mostly marked No Sulphur or Low Sulphur. Any use of sulphur is limited to a very small dose between vineyard and winery. Once in the winery they see no sulphur. Even those wines which see a small amount of sulphur will have this explained on the back label.

 

Tasting the 2018s, I am struggling to describe an amazing Gevrey-Chambertin Creux Brouillard (no sulphur). It has incredible fruit juice but also a wonderful saline flavour. “Iodine,” says Pierre, watching the look of puzzlement on my face. “Ah,” I reply. “This is the Laphroaig of this wine tasting.”

We try a Sylvie from two year old barrel, and then from ceramic. The barrel sample has masses of black fruit and a roundness. The ceramic is completely different, being more forward, with more purity of fruit, more one dimensional – but what a dimension: an arrow straight to the heart.

 

By now – with eighteen pages of tasting notes in the bag, Bev and I are groaning. Pierre senses this and takes pity on us and we trudge wearily back to his small office where he cracks open a bottle of 2017 Creux Brouillard (no sulphur). Again, it has this wonderful lifted, elevated, feel to it.

 

“In Burgundy you have six or seven consultant oenologists who dominate,” says Pierre. “What style they suggest is the one that gets recognised. But you have to find your own style. Who need a consultant? If you are in good health you don’t need a doctor.”

 

We sink back in our chairs and nurse our bodies. It is not the vines who need medical help – it is us!

Winemaker profile: Elizma Visser, Olifantsberg

Elizma joined the Olifantsberg team in 2015 following extensive winemaking experience; studying Oenology and Viticulture in Stellenbosch and working in France and Italy, before returning home to South Africa.

Her time making wine in Europe proved to be an excellent springboard to go on and start creating elegant Rhône style wines of her own.

Elizma certainly has her work cut out, looking after all areas of the management of the vineyards and winery at Olifantsberg. In the vineyards, Elizma’s focus is on taking care of the soils and maintaining the quality and sustainability of the vines. Whereas her focus in the winery, is to get the best expression of the fruit using a variety of techniques.

Here are a few facts you may not have known about Elizma:

 

  • Wine is a family affair! Elizma is married to a fellow winemaker and they have two young sons
  • A music fan, she likes; Indie Rock, Alternative and Acoustic and would love to pick up learning the guitar again
  • It’s not just rock music that’s a hit with Elizma, she also enjoys collecting rocks
  • Before embarking on her current career Elizma had ambitions to learn Greek and study Philosophy but now it is her winemaking philosophy that is centre stage
  • Favourite quote: “Most people are about as happy as they make up their mind to be”
  • Elizma could have ended up on a very different road, if she hadn’t pursued wine, she would have liked to have become a professional rally driver and knows quite a bit about cars
  • Floristry is a big passion for Elizma. She hopes to own a flower shop one day… with a small wine bar inside of course. The Olifantsberg Blanc, with its floral notes, would surely make a great flower shop wine!

 

For more information on Elizma’s wines at Olifantsberg, contact your account manager.

Fire in the booze!

From Santorini to Soave, some of the world’s most interesting and talked-about wines come from vineyards planted on volcanic soils. It comes as no surprise that there’s been an explosion of interest in these ‘volcanic’ wines from sommeliers and wine merchants alike.

So what singles out these wines among all the others? Certainly the mineral-rich nature of volcanic soils plays a massive part, as does the finite-availability of wines from such specific sites. It’s true that vines grown on plain old clay or limestone can be world-beating, but you can find these soils in every wine-growing region of the world.

The ‘wow factor’ and story of behind volcanic wines shouldn’t be overlooked either. These vines grown on ancient soils really do take terroir to the next level with their mineral characters, fresh acidity, salinity and distinct longevity. The sight of green shoots and leaves emerging from the black volcanic soil is as ethereal as its gets in the vineyard.

According to Jamie Goode in his book The Science of Wine: From Vine to Glass, wines from volcanic soils are said to be riper, weightier, richer, and with texture and minerality that make them age worthy. Quite an attractive list of assets, but where do these characters come from?

Volcanic soils are rich in potassium, calcium, iron and magnesium, as well as other elements, which can contribute greatly to a wine’s mineral profile. Potassium-rich soils tend to produce wines with an almost almond-edged and savoury finish, while black volcanic soils enhance the citrus, peach and apricot aromas. They all enjoy a wonderful freshness.

Add to this the fact that volcanic rocks constitute high levels of macro-porosity in soils which allows water to be delivered to the roots of vines very slowly. This water-retaining property can be a lifesaver during a dry growing season when vines must rely on groundwater to survive.

The aspect of the volcano itself and the altitude at which many vineyards are planted also help to produce top quality fruit, as does the unflinching determination and attitude of generations of viticulturists who have risked eruptions to plant, tend and harvest vines. Simply put, these are very special sites, and they look awesome too.

Here’s a few volcanic suggestions from our portfolio.

Feudi di San Gregorio, Greco di Tufo, Campania, 2017:
“An aromatic and mineral wine showing flavours of peach, melon and citrus over a creamy texture.”

Ca’Rugate, Monte Fiorentine Soave Classico, Veneto, 2016:
“A beautifully layered wine with a rich flavour of ripe pineapple through to a fresh, mineral and lemon finish, full of flavour.”

Gaia Thalassitis Assyrtiko Santorini 2017:
“Explosive minerality with fresh lemon zest on the nose, crisp acidity on the palate and underlying floral notes. Refreshing with a crisp, mineral finish.”

Domaine Lavigne, Saumur Champigny Vieilles Vignes, Loire, 2016:
“A red Loire showing typical Cabernet Franc rhubarb and graphite character with a refreshing dryness on the finish.”

Chateau Grand Pré, Morgon, Beaujolais, 2016/2017:
“Rich, fleshy and balanced, with an appealing sauvage nose of green plums, chunky cherries and a hint of smokiness and spice.”

Basilisco, Teodosio Aglianico del Vulture, Basilicata, 2014:
“A full bodied and concentrated wine with aromas of soft fruit, plum and Morello cherry. Well balanced through to a dry, lingering finish.”