Had a lovely long lunch yesterday. It was at Bread Street Kitchen, part of the Gordon Ramsay empire, located next to St Paul’s Cathedral.
The dining room is huge. Really huge. Impressively huge. It’s beautifully finished in a faux vintage, semi-industrial style, but it’s really noisy. We could hardly hear the waitstaff as they talked to us.
The food? It’s kind of a half way house between a good chain restaurant and a proper gastronomic destination. Some things worked (my seared tuna starter, and pheasant main), others were a bit contrived. You get the impression that this place is all about GPs and making money. It was full, and full of suits. Bread Street Kitchen knows its market, and serves them well.
This isn’t meant to be as negative as it might sound, because we had a really nice experience. This was largely because of the wine list, which is creative and reasonably priced, and the excellent sommelier Gergely Barsi Szabó looked after us very well.
We drank three bottles, two from South Africa and one from the northern Rhône. They were all excellent.
Boekenhoutskloof Semillon 2011 Franschhoek, South Africa
Lovely rich wine with pear, spice, white peach and vanilla notes. Lovely rich texture with some grapefruit and fennel characters. A powerful yet balanced white with real intensity and finesse. 94/100
Newton Johnson Family Vineyards Pinot Noir 2013 Upper Hemel en Aarde, South Africa
This is a fabulous Pinot. Sweet, juicy and bright with pure, fresh red cherry fruit with plums and raspberry, as well as subtle herbal characters adding interest. Fresh and elegant with a fine texture. 95/100
Vincent Paris Cornas Granit 30 2012 Northern Rhone, France
Lovely fresh raspberry and black cherry fruit. Juicy and bright with plums, berries and a bit of pepper. Fresh and tight with lovely precision, it’s so easy to drink now but may well put some weight on down the line. 93/100
For the last couple of days I have been at The Oval (one of London’s two major cricket grounds) judging in the International Wine Challenge. It’s the second year where the judging has been divided into two tranches. This is tranche 1 of 2015, and the second (and larger) tranche will be held in April over two weeks. The idea is that the competition catches both southern and northern hemisphere wines at the optimum time for judging. It also allows the competition to grow, without compromising the judging process.
So for two days 14 tables, each led by a panel chair, have been sorting through the entries. This first stage involves deciding whether or not a wine is medal worthy. Anything kicked out is then retasted by one of the co-chairs who make sure no good wines have been unfairly eliminated. On Thursday we’ll be awarding medals to the surviving wines. Once again, co-chairs will check all the results, to ensure consistency. Any gold medal wines will he held for trophy judging at the end of tranche 2.
I have had two fun days working with great panels, including an associate each day – the associates are there to learn, and it represents a really good educational opportunity. Also the panel leaves feedback on us panel chairs, and we leave feedback on our team’s performance. This helps ensure that the judging process is as good as possible. On Thursday I’ll be joining the co-chairs, helping them out, and that will be a tough – but fun – day too.
The best bit about all this? Hanging out with wine trade colleagues, and making new connections. It’s such a lovely business to be involved with, full of lovely, interesting people. Long may this continue.
The closure debate has moved on quite a bit since the days when it was practically pitched warfare between the screwcap advocates (mainly Australia and New Zealand) and those who liked the traditional solution of natural cork. Now there’s a sort of truce.
For commercial wines, few have a problem with screwcaps. They’re taint free, they are consistent, and they are remarkably convenient. I drink screwcapped wines all the time, and I don’t have a problem with them.
But there’s no doubt in my mind that wines sealed with different closures do taste subtly different, and that this difference is exaggerated with time in bottle. We know this from cork alone: even in untainted bottles, old cork-sealed wines from the same case show some variation, presumably reflecting the variation in oxygen transmission that occurs with different natural corks.
So are screwcaps ideal for sealing fine wines? And fine red wines? Aside from the issue of reduction, which is too big to tackle here, the question is, what do you prefer based on the taste? Almost all screwcapped wines from Australia and New Zealand are sealed with a tin/saran liner, and the metal layer means that they have very little oxygen transmission. So wines sealed this way taste different to wines sealed with natural cork.
So, the big question is, given the choice – and assuming your cork is a good one – which do you think tastes better?
I had the chance to try this out at Pegasus Bay winery in New Zealand’s Waipara, over dinner. I tasted two versions of the 2003 Pinot Noir, blind, at 10 years of age:
Pegasus Bay Pinot Noir 2003 Waipara, New Zealand (screwcap)
Fine, fresh and cherryish. Sweet, lively and aromatic with supple cherry fruit and also a bit of richness. Slightly cola-ish lively tangy finish. Drinkable style, now fully evolved and at its peak. 92/100
Pegasus Bay Pinot Noir 2003 Waipara, New Zealand (cork)
Sweet and with a lovely texture, showing nice aromatics. Rich, bold, fine and expressive with cherry and plum fruit and a hint of earth. Expressive and wonderfully textured, showing some evolution. 94/100
More recently, I was sent two samples (by accident) of the Penfolds Bin 28 2012, one sealed with a natural cork, one sealed with a screwcap. I spent a couple of nights comparing the wines (one argument is that screwcapped wines need time to open out). Both were nice wines, but the cork-sealed wine was nicer. It had more harmony on the palate, and less edginess. Texturally it was finer. Small details, perhaps: they were both recognizable as the same wine. But these small details are what you pay your money for with top quality wines. The difference in scores was just a point, so it wasn’t a huge deal. But I had a preference.
What about a triangle test? I was with Vincent Cruège at Chateau La Louviere in September and he had two bottles of the 2006 white, one sealed with screwcap and one sealed with cork. So he gave me a triangle test blind. Two glasses were poured from one bottle and one was from the other. Could I tell the difference? I thought that wine 1 was the outlier, because it reminded me a bit of an Australian white wine. 2 and 3 were the same, and nicer. The difference in score? 4 points. A strong preference.
Screwcap: distinctive limey fruit. Maybe a bit reduced. Spicy and vivid with some toast. Angular and a bit disjointed. 89/100
Cork: lovely focused wine with some richness. Great balance with pear and grapefruit characters, and just a hint of fennel and toast. 93/100
So this has all got me thinking. I hate cork taint, and the variation that occurs with cork. But when you get a good one, I seem to prefer the taste of the wine compared with a wine sealed with a tin/saran lined screwcap. What price do you want to pay for consistency? For commercial wines, does it matter? For fine wines, I think it might.
Now this is an impressive Australian Chardonnay, from Sandro Mosele at Port Philip Estate. It’s a single site wine, from a 1.64 hectare vineyard block, and it shows massive potential for future development (on day 2, this wine was significantly better than just after opening), which might make my current score look conservative. It’s wild ferment, with 16% new oak.
Port Philip Estate Chardonnay 2012 Red Hill, Mornington Peninsular, Australia
13.5% alcohol. Very lively nose with struck flint/matchstick notes alongside fresh lemon and some sweet pineapple notes on the nose. The palate is powerful, fresh and complex with lemon, toast, fig and mineral notes. Richer pear and white peach notes are hemmed in by the fresh citrus character. A taut. complex wine with a bright future. 94/100 (UK agent Carte Blanche)
Find this wine with wine-searcher.com
I’m getting quite excited by the progress of English sparkling wine. Here’s another good one. Gusbourne Estate is one of the most highly reputed of the English producers, and they’ve got sizeable vineyard holdings: 40 hectares in Kent and 22 in West Sussex. Gusbourne was founded by Andrew Weeber in 2004, and first vintage was 2006. This 2010 is lovely: the style is one of approachability and relative richness.
Gusbourne Brut Reserve 2010 England
12% alcohol. Fresh, clean, pure with lovely citrus and pear fruit. Very refined with some subtle toastiness and a bit of white peach. Fine acidity with a fresh lemony edge. Sophisticated stuff. 91/100 (Stockist list here. This sample was from Oddbins)
So what does a week as a wine writer consist of? It’s hard to say. Every week is different. There’s travel. Attending tastings. Writing articles to deadlines. Lunches. Dinners. It all depends.
This week? It began on Monday with a day clear to write, and then dinner with Ryan and Michael at The Remedy, which I have reported on in this week’s blog posts.
Tuesday was another clear day f0r writing (I have a few pressing deadlines, including a project writing a monograph on screwcaps, and a commission to write about new world sparkling wine). But I had to head into town late afternoon for a tasting with Tim French of Fortnum and Mason, He’s a super-talented wine buyer, and he has put together an epic list of own-label wines. Some real stunners.
On Wednesday I headed down to Hush Heath Estate, a serious producer of English sparkling wine based in Kent. It’s a lovely place and the wines are really good. Then, early evening, I met with Felipe Tosso of Vina Ventisquero to taste some of the new-wave Chilean wines they are making, including impressive bottles from Attacama, in the far north.
On Thursday, I worked at home in the morning and then headed into town in the afternoon. I had a meeting with Katie and Dean of Nomacorc, which we held in the Tate Modern espresso bar, followed by a meeting with the fabulously smart and engaging Laura Catena to discuss the science project I am doing with them, after my visit to Argentina last week. Then early evening I took part in a Google hangout with Helena Nicklin, Robert McKintosh and Brancott winemaker Patrick Materman. It was my first Google hangout, and I liked it a lot, although bandwith issues crept in a bit.
And today? I headed down to Hambledon Vineyard in Hampshire, to check out what they are doing. I was really impressed by the vision of Ian Kellett, who is making some stunning wines and has the vision to propel English sparkling wine into the mainstream. A seriously impressive operation.
That’s my week.
I met up with Ryan Mostert (above right) and Michael Roets (above left) to drink wine. Ryan was until recently assistant winemaker at Reyneke, and with his partner Sam recently moved to the Swartland. There, he’s teamed up with Michael to work on a new project, Avant Garde Wines.
They’ve been scouting top vineyard sites, and will be making around 14 different wines each vintage, although no Avant Garde wines have yet been released. Ryan has been working on them since the 2014 vintage, which was made at Reyneke. They’ll be moving to another winery for the 2015, probably in the Perdeberg.
These wines are from Avant Garde, released under the label Silvervis, and they were made at Chris and Andrea Mullineux’s winery in the Swartland. Michael bought the Nomblot concrete egg that was auctioned off at the 2010 Swartland revolution, and also the one that was auctioned in 2011, so a good portion of these wines was egg fermented. They’re lovely wines. The NV Smiley is a steal at around 65 Rand, and the Silvervis pair are also a bargain, at R250.
Smiley Chenin Blanc NV Swartland, South Africa
12.6% alcohol. 30% 2012 wine made in a concrete egg, 70% 2013 tank fermented. Sweet, rounded and full with fresh ripe apples and nice citrus bite, as well as some pear and peach richness. Lively and ripe with nice complexity. 91/100
Silvervis Chenin Blanc 2012 Swartland, South Africa
12.9% alcohol, 85% concrete egg, 15% barrel. Sweet, ripe apple and pear fruit. Generous texture and lovely mouthfeel. Rich and bold but also has finesse. Bright with lovely balance and nice pear, peach and citrus fruit. 93/100
Silvervis Cinsault 2013 Swartland, South Africa
Very fresh and bright with supple raspberry and cherry fruit. Bright and expressive with focused cherry fruit. Fine, fresh and pure with some peppery notes. Amazing freshness and purity here. 93/100
Was at The Remedy wine bar last night, with a couple of dudes. We had some lovely wines, including two stunning bottles from Tenerife. The red in particular was quite sensational. It was a lovely evening, and I was impressed by the food. We had some great cheese and meat, and also lovely smoked mackerel (they smoke it themselves), a cool terrine and very nice tuna. The bread is great, too.
Occhipinti SP68 Bianco 2013 Terre Siciliane, Italy
12% alcohol. This is a skin contact white made from Zibbibo (aka Muscat) and Albanella. Highly aromatic, floral and mineral with some pear and peach notes, as well as a bit of tropical fruit. Slightly smoky, too. The palate shows sweet fruit with a fresh lemony edge. Some terpenic notes in the background. Just lovely, with just a tiny bit of grip. 92/100
Domaine des Cavarodes Rouge 2013 Vin de Pays de Franche-Comté, France
From Etienne Thiabaud this is a blend of Ploussard and Trousseau from the Jura (he’s based in Arbois). Fresh,bright and grippy with lovely raspberry and cherry fruit. Bright acidity and just a touch of dissolved CO2. So utterly drinkable. 92/100
Envínate Táganan Blanco 2013 Vinos Atlanticos, Spain
This Tenerife white is really compelling. Fresh, salty and mineral with a matchstick edge to the nose. Textured and fine with pears, apples, citrus and minerals on the palate. Fine, detailed, profound. 94/100
Envínate Táganan Tinto 2013 Vinos Atlanticos, Spain
13% alcohol. Fresh, supple and fine red cherry and raspberry fruit nose with a lovely mineral dimension. Super-detailed, fresh palate is mineral and focused with red cherries and plums. Profound, expressive and beautiful. 96/100
Find these wines with wine-searcher.com
Mas Candi is a fairly new project (established 2006) that’s a collaboration between four viticulture and enology students who wanted to make wines from their families’ vineyards. The focus is mainly on indigenous Catalan varieties. They’re really interesting. UK agent is Indigo Wines.
Mas Candi Desig 2013 Penedès, Spain
13% alcohol. This is made from Xarel-lo planted in 1961. Vivid, fruity nose with lemon, pear and some spice. The palate is bright with grapefruit and herbs. Pure, with lovely precision. Lovely fine herbal notes alongside the grapefruit, and keen acidity. 90/100 7/14
Mas Candi Ovella Negra 2012 Penedès, Spain
13% alcohol. Old vine Garnatxa Blanca. Powerful, lively and exotic with notes of minerals, apples and pears. Real intensity of flavour with keen acidity and even a bit of tannic grip. Distinctive and quite lovely. 91/100
Mas Candi Les Forques 2010 Penedès, Spain
From Cabernet Sauvignon planted in 1983. Sweet, supple, spicy, warm black cherry and blackberry fruit with a lovely smooth texture and notes of tea, herbs and spice. Warm and ripe and mellow with lovely balance and well integrated oak. Supremely balanced. Noticeably Spanish, but elegant. 93/100
Mas Candi Vincle Mandó 2013 Penedès, Spain
12% alcohol. Fresh, lively and sipple with pure, primary cherry fruit and some plummy notes. Quite mineral with good acid. Primary and slightly reduced: a fresh, vital red with notes of sour cherries and spice. 89/100
Find these wines with wine-searcher.com
It was very interesting to try these two high-end terroir-based Chardonnays from Catena, and then the next day to have a look at the soils that produced them.
They both come from the same block in the Adrianna Vineyard, high up in the Uco Valley at 1450 m altitude. But even within the same block, there’s quite a variation in soils.
Soil pit 1, above, shows one of the soil types. This is a deep sandy/loess soil that’s quite even. The Chardonnay it produces has quite a bit of ripe tropical fruit quality, so this would usually end up in the Catena Alta Chardonnay.
Not far away, and soil pit two. This is completely different, with large stones, and lots more evidence of roots interrogating the soil. The stones are white, because although they are of alluvial origin (river pebbles), they are covered in limestone that has percolated through the soil and then, because of the low rainfall here, has accumulated on the stones. This terroir makes the White Stones Chardonnay.
Also close by, we find this soil pit, showing the White Bones terroir. It doesn’t have big stones in the soil, but it does have some limestone that has accumulated in a layer (here, it doesn’t look white because it is saturated with water). The predominantly sandy soil here is layered with limestone and other calcareous deposits that can resemble bones.
Catena Zapata White Bones Chardonnay 2010 Mendoza, Argentina
Fresh and focused with a hint of mint and lovely precise pear and citrus fruit. Very little oak evident, with just a hint of toast. Very stylish stuff with lovely freshness. There’s keen acidity here (8 g/l), but it’s not at all harsh. Such a fresh wine. 94/100
Catena Zapata White Stones Chardonnay 2010 Mendoza, Argentina
Some subtle but intriguing nutty notes alongside ripe pear and citrus. Lively with lovely focus, but a slightly riper fruit profile than the White Bones, and a touch more development. But it’s still very fresh. 92/100
Find these wines with wine-searcher.com