Category Archives: A Sense of Place

The courtyard at Adobe Guadalupe (Photo Credit: Matilde Parente)

In this guest post, Matilde Parente, MD, CSW gives readers a lovely armchair tour of the wine, food and history of the Guadalupe Valley, a region that’s putting Mexican winemaking on the world’s wine maps.

Wine country adventurers now have another destination to explore: Mexico’s Guadalupe Valley, located 90 miles south of San Diego in Baja California. About half the size of the Napa Valley, this Mexican valle offers a low-key and rustic wine, food, and cultural experience that will jolt your palate and swaddle you with its warmth and beauty.

Although Mexican wine has only recently burst onto the radar of norteños, our southern neighbor has been making wine since the 1500s, after conqueror Hernán Cortés requested grapevines from Spain and before vineyards were planted in Chile and Argentina.

Milestones in Baja winemaking include efforts by the Jesuits in the early 1700s, the 1888 founding of Bodegas de Santo Tomás, Baja’s oldest continuously operating winery and the winegrapes  planted by Russian Molokan refugees in the early 1900s. More French and Italian varieties were introduced to Baja in the early 20th century, aided by Wente’s James Concannon and the Piedmont-born Italian viticulturist Esteban Ferro.

The vineyards at Adobe Guadalupe (Photo Credit: Matilde Parente)

The modern era in Baja winemaking began in 1972 with the founding of Casa Pedro Domecq and has accelerated since the 1980s, which saw the emergence of the Valle’s first boutique winery, Monte Xanic, and the rising prominence of the Bordeaux-trained enologist Hugo D’Acosta. In 2004, D’Acosta founded a winemaking school, the Estación de Oficios Porvenir, affectionately known as La Escuelita, to train and help support small-scale winegrowers.

Common red grape varieties planted today include heat-loving Cabernet Sauvignon, Merlot, Malbec, Tempranillo, Zinfandel, Carignan, Aglianico, Syrah, and Petit Sirah—along with Barbera, Nebbiolo and Spain’s original Mission grape. White varieties include Chardonnay, Colombard, Sauvignon Blanc, Semillion, and Viognier. Delicious rosés are also made from many of these varieties, notably those from Nebbiolo.

Although some single-varietal wines are made, most Valle wines are blends, some of which are unusual, such as the outstanding Rafael, a Cabernet-Nebbiolo blend by Adobe Guadalupe. Limited more by their imagination than AOP-type regulations, Mexican winemakers continue to experiment with their terroir and winemaking decisions.

Guadalupe Valley soils are a mixture of sandy loam and red clay. Lying just within the 30-degree latitude for quality winegrowing, the arid Valle receives only about 3–4 inches of rain annually with daytime temperatures averaging 86°F in summer and 42°F in winter. Yields average 2–3 tons per acre.

The view just before sunset at Ensenada’s Cuatro Cuatros resort and outdoor restaurant (Photo Credit: Matilde Parante)

Today, the more than 60 Guadalupe Valley wineries account for 90% of Mexico’s wine production with L.A. Cetto, Domecq and Monte Xanic producing the lion’s share of the region’s wines. According to 2014 figures, Mexican wineries produced just over two million cases of wine a year, which accounted for about one-third of domestic (Mexican) wine sales. Most other wineries and artisan winemakers are small-production, family-owned and -operated enterprises with limited marketing and distribution opportunities, even within Mexico.

Traditionally, beer and tequila have been the nation’s most popular adult beverages. However, Mexican wine consumption has seen a 12% increase over the past decade, especially among the upper middle class and younger consumers. Key Mexican wine markets are Mexico City and Guadalajara restaurants and their more affluent residents.

The two-lane Ruta del Vino (wine route) tracks north and east from coastal Ensenada towards Tecate. Wineries that deserve a stop and a few sips include the Adobe Guadalupe (with a free tasting and homemade breakfast included with your stay), the architecturally stunning Monte Xanic, Villa Montefiori, Viña de Frannes (where Michel Roland consults), Vinicola Torres Alegre y Familia and La Lomita Winery.

On and off the the well-marked Ruta you’ll also find a range of accommodations, from the air-conditioned cabins of Ensenada’s glamping hot spot Cuatro Cuatros to the relaxed country sophistication of the six-room Adobe Guadalupe, which is also home to its outstanding winery and Azteca horse stables.

Finally, no wine country would be complete without great food and a museum. The $5.3 million Museo de La Vid y El Vino inaugurated in 2012 is a spacious modern architectural wonder where you can learn more about the region’s fascinating history.

A view of the vineyards at Adobe Guadalupe from the Azteca horse stable (Photo Credit: Matilde Parente)

The Baja food scene evolved along with the emerging wine scene, propelling it forward gastronomically. Known as Baja Mediterranean, the local cuisine is creative, healthful and farm-fresh. Along with al fresco pleasure, freshly caught seafood and flavorful Valle-grown produce are exceptional. Many dishes are prepared with the local olive oil, a must-buy at many wineries.

Homegrown and resettled chefs such as Javier Plascencia (Finca Altozano), Drew Deckman (Deckman’s en el Mogor), Angelo Dal Bon (Tre Galline at the Villa Montefiori winery), Leda Gamboa (The Adobe Food Truck at the Adobe Guadalupe) and Diego Hernandez (Corazon De Tierra) continue to transform, elevate and energize the local food scene with their creativity and enoturismo evangelism.

For those unwilling or unsure about driving down to the Valle, a few reputable companies offer guided tours for small groups and individuals, including Fernando Gaxiola’s Baja Wine + Food. Although 4-wheel drive isn’t required, most roads leading up to the wineries are pocked dirt roads and dusty feet are guaranteed – a good enough reason to kick ‘em up and enjoy another sip of delicious Guadalupe Valley wine.

About the author: Matilde Parente, MD, CSW blogs at www.writeonwines.com and tweets @winefoodhealth.

References:

• Covarrubias J, Thach L. Wines of Baja Mexico: A qualitative study examining viticulture, enology, and marketing practices. Wine Economics and Policy. Vol 4, Issue 2, Dec 2015, pp 110–115.

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Today we have a guest post from Ted Lui, CSS. Ted tells us about his exploration of the wineries of Cornwall and invites us to ponder the question: Is wine from Cornwall actually Cornish? 

Camel Valley Vineyard in Cornwall, England

Is the wine produced in Cornwall actually Cornish (in style)?

Before answering this question, I’d like to say something about my interpretation of wine, from the point of view of 21-year-old man. I believe that there must be a big difference between the ideas of well-experienced wine experts and young “wine enthusiast” adults, particularly when it comes to defining the “meaning” of wine.

In this case, I am going to explore the world of wine with you via a journey to a “young” wine production region, and from a young person’s perspective.

I first discovered British wine in Cornwall—not the one in New York but in the UK. I knew nothing about British wine before visiting that prior to my visit to some of the vineyards- Camel Valley Vineyard, Polgoon Vineyard, and Knightor Winery.

Although Cornwall is not a traditional winemaking region compared to France and other countries that have produced wine for centuries, it does have a wine history of its own. There is evidence that the origins of British wine dates back to 955 when King Edwy permitted winemaking in Somerset (Harding and Robinson, 2015). Therefore, it would be inaccurate if one claims that British wine has nothing to do with history.

Map of the United Kingdom – Cornwall is in the far south/west of England. Click to enlarge.

Camel Valley Vineyard in Cornwall has its own history, although it only goes back about 30 years. This is not a long period of time by Old World standards, however, it is a good enough place to begin in my quest to determine if the wine is truly Cornish in style or something just resembling Champagne.

For starters, Champagne grape varieties account for 45% of the grapes used in producing British wine (Johnson and Robison, 2013). I found that most of the sparkling wines produced by Camel Valley were made using Chardonnay and Pinot Noir, while others included some Seyval Blanc and Reichenstenier. The wines were fruity and floral on the nose in addition to the palate, and the flavour intensity was rather medium (-) generally.

Interestingly, despite some French terms revealed on the labels like blanc de blancs and demi-sec, they were British-style for sure in terms of their refreshing and fruity profiles. Champagne lovers may find them too light in terms of body and intensity when the wines are compared to traditional Champagne. In fact, the “young” profiles made the wines sui generis, particularly a new red sparkling using Pinot Noir.

The red sparkling Pinot Noir was definitely a non-Champagne style of wine, and made me realize that the success of British wine, such as that at the International Wine Competition (Abbot, 2010) had to do not with the fact that it could imitate Champagne, but rather that they were producing award-winning wines was probably due to their modification of some production methods, for example, the replacement of grape varieties by local grapes. There will be no place for further development if the aim is to copy Champagne from every perspective except the PDO.

The English wine industry shares the ambition of a world top-five spot sometime in the near future (Harpers Wine & Spirit, 2015). Camel Valley Vineyard absolutely presents a step forwards towards the next success of British or Cornish sparkling.

Ted Lui with the winemaker at Carmel Vineyard

The limitations of British or Cornish wine are probably going to be attributed to the maritime climate. Gale-force winds and high summer precipitation in 2012 caused a drastic decline in the total crop by two-thirds (Harding and Robinson, 2015). The changing climate has been a crucial factor in determining the quality of wine for many years. The acidity of the wines produced in Cornwall is one of the examples that explain the difficulty of quality control in Cornwall. It is slightly high in general, resulting in a minute imbalance in which the body, the flavour intensity and the finish are good. Still, it has been a stimulating start of the modern British or Cornish winemaking industry.

Time to end up with an answer to the question. I believe the wine made in Cornwall is indeed Cornish, and unique enough to find its own niche without having to imitate Champagne. Cornish wine has proven itself by the use of unusual grapes, sparkling red versions, and unique flavour characteristics. There is always room for the improvement, and perhaps the wine will evolve to find its sweet spot in terms of the flavour intensity and the balance of acidity. With the winemaker of Camel Valley

Bibliography

• Abbott, J., 2010. UK sparkling wine producer beats Champagne to win global award. [online] Available at: <http://www.hortweek.com/uk-sparkling-wine-producer-beats-champagne-win-global-award/fresh-produce/article/1028353> [Accessed 20 April 2017].
• Harding, J, and Robinson, J., 2015. The Oxford Companion to Wine. New York: Oxford University Press.
• Harpers Wine & Spirit, 2015. Profile on Chapel Down: Shaking up the UK wine scene. [online] Available at: <www.Harpers.co.uk> [Accessed 18 April 2017].
• Johnson, H. and Robinson, J., 2013. The World Atlas of Wine. London: Mitchell Beazley.

About the author – Ted Lui, CSS: Ted Lui, CSS is a wine enthusiast and an undergraduate studying at the University of Exeter. Ted holds Certified Specialist of Spirits (CSS) certification from the Society of Wine Educators as well as the WSET Level 3 Award in Wines & Spirits. He is also an International Kikisake-shi and Certified Sake Sommelier approved by Sake Service Institute and Sake Sommelier Association respectively. You can find out more about Ted on Instagram @ted_gin, or contact him via email cheuktaklui@yahoo.com.hk

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Today we have the second and final installment of our of a two-part series from guest blogger Paul Poux. Paul tells us about his recent visit the Jura to reunite with family and drink some local wines. Click here to read part one!

“The next day looked like rain, but it was winery day and we were going to be inside tasting rooms so I didn’t care. My Dad, my husband, and I squeezed into Jean-Marie’s small Audi and drove to our first stop, Arbois. On a road overlooking the town, Jean-Marie kept trying to point out the view but the rain was slapping against the windows. I thought we were going to visit a winery first, but we passed the imposing cathedral and Jean-Marie decided a quick stop was in order. The Romanesque church of St Just was built in the 12^th century yet has a warm, comfortable feeling, with stone vaulted arcades letting in lots of light through stained glass windows, one of which depicts vignérons harvesting grapes.

Our next visit was not a winery either, but a café and famous chocolatier, Hirsinger. The rain had stopped and we sat in the center of beautiful Arbois, surrounded by Medieval buildings. There is a lot of wine history too, including Louis Pasteur who lived there and pasteurized wine. Tasting rooms and wine shops were visible on every corner. As we walked back to the car we passed a few of them. “That one, Stéphane Tissot, is good,” Jean-Marie says, but we didn’t stop. He had somewhere else in mind.

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In the car, Jean Marie said, “You know Paul, there is a saying: Arbois le nom, Pupillin le bon.” (perhaps, “Arbois has the name, but Pupillin’s got game.”) The village of Pupillin sits on a hill just two miles from Arbois, with south-facing slopes, and the exposure and limestone soils make for superior wines. We drove up the hill, to the large Domaine Désiré Petit. The parking lot was empty and the front door locked. It was Noon, and they had just closed for lunch. “Eh, oui,” Jean-Marie says, with a shrug.

Dejected, we got back in the car and drove through vineyards and pastures to the village of Chateau-Chalon. Driving through its beautiful and tidy streets, Jean-Marie said, “These towns are all rich from making wine.” Chateau-Chalon sits on the top of a bluff, protecting the vineyards stretched out far below from cold winds and storms. I was hungry but we marveled at the gorgeous view. “These are all the Savagnin grape,” said Jean-Marie. Savagnin is the most famous grape of the Jura, the only grape allowed in the oxidative Vin Jaune, and the best examples of Vin Jaune often come from Chateau-Chalone.

Veal with fresh morel mushrooms and a vin jaune cream sauce.

Members of my family arrived in another car and we walked to a restaurant for lunch where we tried Savagnin, in a blend with Chardonnay. In her book Jura Wine, author Wink Lorch says that most Savagnin is initially aged as if it is to become Vin Jaune, left in the barrel without topping up, to develop the veil of yeast on its surface similar to flor. Some does not age as long as the six years and three months required for Vin Jaune, however, and is bottled simply as Savagnin even though it has gone through some oxidation. These days, some Savagnin is also produced as a non-oxidative wine, referred to on label as Savagnin Ouillé (WEE-lay).

But that is not this wine. My nose told me right away it was oxidative, and it had a sharp taste, like that of a stinky cheese without the cheese smell, and a finish of salty almonds. The taste surprised my family and they tried to be good sports, but they didn’t really drink much more of it until our lunch arrived. Each of our dishes, from chicken to veal to a pot pie, had fresh morel mushrooms in a creamy Vin Jaune sauce and my family ate it all, wiping up the last drops of sauce with their French bread.

Later that afternoon, we knocked on the door of tasting room. Philippe Butin is a small producer and opened the door himself. Jean-Marie called out, “Do you remember me? I bought your wine and shipped it to Luxembourg?” Phillipe looked at Jean-Marie, paused, then said, “Maybe,” and stood aside for us to enter. The small room was warm and welcoming. Boxes lined one of the walls, awards another. About a dozen bottles beckoned from the bar.

Finally!

Philippe asked us whether we’d like to try his Crémant, and before I could answer, Jean-Marie said, “They didn’t come here to taste that.”

“What’s wrong with my Crémant?”

“Let’s not waste their time!”

Philippe grunted and started to pour out a very light looking red wine.

“I would like to taste the whites,” I said, and Philippe told me I would, but that in the Jura, the reds are always poured before the whites. This was news to me, and interesting. It’s because of the power of Vin Jaune that the whites are tasted last. The red he had poured, such a light red that Philippe Butin called it “rose” (not rosé), was a Poulsard – the one we had in the rosé earlier that week. Poulsard is hard to vinify without getting funky flavors, but this wine tasted clean and refreshing, all delicate red fruits and spices.

We tried a Trousseau, with a similar taste profile but slightly meatier, and ruby in color. My family, a little stung by the Savagnin at lunch, was enjoying these wines. Trousseau grapes need warmer weather that seems elusive in the Jura, where summer is short and early July and late August can bring rain and high temperatures in the 50s. But this Trousseau had good balance.

Photo of Vin Jaune by Agne 27, via Wikimedia

At last, the winemaker poured golden glasses of Vin Jaune out of its traditional clavelin bottle. The bottle, shaped a little like an old schoolteacher’s bell, holds only 620ml because that is about how much of one liter of juice remains after its long aging and oxidation. All the reading I had done on Vin Jaune included one interesting piece of advice: when you first try it, you should ignore what your senses are concluding, that the wine, with its oxidative nature and savory, nutty flavor, is bad. Instead, imagine that you are not familiar with what any wine should taste like, and sip it with an open mind.

I tell this to my family. They look dubious as they raise their glasses and sniff. I see more than one wrinkled nose. I look at the winemaker. He has seen this before: Vin Jaune is not for everyone.

We leave the tasting room. We have spent the entire day on the road and only visited one winery. As we head home, I confess that I do not yet appreciate Vin Jaune, the Jura’s most famous wine. Perhaps I just need to keep an open mind.

Our guest blogger, Paul Poux, CSW, finds joy in combining food, wine and travel. Paul provides wine education ‘experiences’  to Millennials for wine brands and regions; and does marketing and sponsor management for food and wine festivals around the country. Paul’s favorite wines are Amarone and Muscadet. Tell him yours at paul@pouxcompany.com

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Today we have the first of a two-part series from guest blogger Paul Poux. Paul tells us about his recent visit the Jura to reunite with family and drink some local wines. But will he ever make it to a winery?

“We arrived at our cousins’ home in the Jura during a sparkling afternoon in July. There was a heat wave in the rest of France but in these low mountains near the Swiss border, it was cooler. I could hear rushing water from a nearby creek; other than that, there was a lovely stillness. The large old house from 1830 sat in the center of a village of 200 people, on the old road between Geneva and Dijon. Across the street was the village church with its small cemetery, containing many headstones with the name POUX. I had returned home.

Our cousins celebrated our arrival with an aperitif—foamy Crémant du Jura, a Classic Method sparkling wine that is one of eight Crémant designations in France. It is usually 100% Chardonnay, which should not surprise in a region that sits just east of Burgundy. Its yeasty apple flavors rinsed away the long car and train journeys that had brought us here.

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At dinner that night we ate fondue made with Comté, the famous local cheese. The correct fondue recipe according to my cousins (and to French people there is always a “correct” way) also contains white wine from the Jura, and the cherry brandy Kirsch. Our cousins warned us not to drink water while eating fondue or we’d get sick—something about a ball of cheese in the stomach not settling right. We were advised to stick to wine, and sips of Kirsch. Non-drinkers were prescribed hot tea.

We would eat a lot of cheese that week, including at breakfast, when large pieces of Comté and Morbier were featured along with the traditional bread, butter, jams, and yogurts.

A highlight of my vacation was to be a day trip to Jura wineries later in the week. My cousin Jean-Marie sat down to talk to me about it. Jean-Marie just turned 70 but is still in the business of “running companies.” As you might expect, he is direct and businesslike. I told him I was open to almost anything, but there was one winemaker I definitely wanted to visit: cult producer Jean-Francois Ganevat. My cousin’s reaction was immediate.

“We can’t go there. It’s not correct.”

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Jean-Marie made up for his brusque demeanor with his hosting, and the next day he took us on a long hike into the mountains. The Jura has an extensive network of well-marked hiking trails showcasing gorgeous scenery, and this walk took us up through forest and across fields that sparkled with wildflowers. I noticed a particularly large yellow flower and Jean-Marie told me that it is called gentiane (“jahn-si-AHNN”), growing only above a certain altitude. Residents dig up the roots and distill them into a bitter spirit.

We also saw the cliffs where France ends and Switzerland begins. A trail up the cliffs was an escape route during World War II, used by Jews and many others when the Nazis occupied the Jura, including my cousin’s house.  

That evening Jean-Marie held an aperitif (the French shorten it to “Apero”) on his terrace. I was surprised to see an elaborate Absinthe dispenser. A steady drip-drip of the green spirit on sugar cubes into glasses punctuated the small talk as we learned that Absinthe was created nearby in Switzerland and is still made there and in the Jura, and that all the hysteria surrounding its ingredients and supposed effects is overblown. Jean-Marie added water to each glass, turning the drink cloudy. It tasted of anise, and herbs. 

Photo of Arbois Wine by Agne 27, via Wikimedia Commons

The next morning Jean-Marie came to see me about our trip to the wineries. He had a map of the Jura wine region and all its producers. I opened the map and looked longingly at the winery I was ‘forbidden’ from visiting. It was some distance away from the areas that Jean-Marie felt were most important. I told him I understood and that I was glad to leave all visits up to him. He smiled. This seemed to be the ‘correct’ answer. 

That night we ate dinner at a nearby restaurant. The entire group, 20 of us French and American, sat around an immense table. Jean-Marie came to me with the wine list, and it was nice of him to consult with me before ordering the wine he wanted. He recommended a rosé from the town of Arbois to pair with the various appetizers. Arbois is the spiritual capital of Jura wine country. This rosé was a blend of Pinot Noir and Poulsard – a thin-skinned red grape with very little color, perfect for rosés.  Dad and Jean-Marie made toasts, and we chatted excitedly with our cousins. The main course, local trout, arrived, and I told Jean-Marie I wanted to change the wine. He objected: “The rosé is perfect, let’s continue!” But I was in the area for only a week and had to sample as many wines as I could. My choice: a local Chardonnay called “Arrogance.” 

Our guest blogger, Paul Poux, CSW, finds joy in combining food, wine and travel. Paul provides wine education ‘experiences’  to Millennials for wine brands and regions; and does marketing and sponsor management for food and wine festivals around the country. Paul’s favorite wines are Amarone and Muscadet. Tell him yours at paul@pouxcompany.com

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Today we have a guest post and book review brought to us by Harriet Lembeck, CWE, CSE. Read on as Harriet reviews a new book about a very old wine region!

Book Review: Chianti Classico: The Search for Tuscany’s Noblest Wine, by Bill Nesto, MW and Frances Di Savino.

Here is a well-researched history book that reads like a novel, telling the story of the ancient land named Chianti and the modern wine appellation known as Chianti Classico. In 1716, Tuscany’s next-to-last Medici ruler, Cosimo III, granted the region of Chianti as one of the world’s first legal appellations of origin for wine. However, as these things often go, by the late nineteenth century, the name Chianti—rather than signifying this historic region and its celebrated wine—identified a simple Italian red table wine in a straw-covered flask.

This telling of the story of the Chianti Classico region confirms many ideas of Chianti and the Classico region, and overturns many others. Nesto and Di Savino have translated original documents and studied old master paintings of the region, even noting how older vineyards were planted by training on trees.

Stories of notable producers famous to this day, including Baron Ricasoli and the Antinori family, tell us much about history, regulations, and commerce relating to Chianti Classico. The Ricasoli original formula for the grapes used in Chianti has been unearthed, with Malvasia being the main white grape—not the currently assumed Trebbiano. Further, Canaiolo Nero was the main grape of Chianti for years, not necessarily the Sangiovese that is so well-known and loved today.

The authors also claim that new research has revealed that there are no regional differences between Sangiovese Piccolo and Sangiovese Grosso, whose different sizes are more the result of climate and vintage conditions, rather than their use in specific regional wines.

The publication of this book coincides with the three hundredth anniversary of the Medici decree delimiting the region of Chianti on September 24, 1716. The authors conclude, happily, that the Black Rooster still reigns supreme.

As for the authors of this book, Bill Nesto is a Master of Wine and a founder of the Wine Studies Program at Boston University, where he is also a Senior Lecturer. Frances Di Savino is an attorney with a background in medieval and Renaissance studies and is Bill’s partner in life and on the wine road. Bill and Frances coauthored The World of Sicilian Wine, which won the André Simon Book Award in 2013.

Bibliographical information: Chianti Classico: The Search for Tuscany’s Noblest Wine. Bill Nesto, MW and Frances Di Savino. Oakland, University of California Press, 2016.

340 pages, hard cover, $39.95. This encyclopedic book has a 26 page Index, a selected bibliography, and works cited listed. Click here to find this book on Amazon.

Harriet Lembeck is a CWE (Certified Wine Educator) and a CSE (Certified Spirits Educator – a new designation). She is President of the Wine & Spirits Program, and revised and updated the textbook Grossman’s Guide to Wines, Beers and Spirits. She was the Director of the Wine Department for The New School University for 18 years. She can be reached at h.lembeck@ wineandspiritsprogram.com.

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