Like many European wine regions, Puglia has several different quality levels which overlap when shown on a map. In general, the lower quality regions (IGP in the map above) are the largest in area and the highest quality regions are the smallest (DOCG).
In a recent post on Puglian wines I reviewed two red wines which were quite rich and even a little sweetness, so perfect for barbecues. They were both IGT wines from Salento; now we have two DOC wines which are still fruity a little more serious:
Disclosure: bottles were kindly provided as samples, but opinions remain my own
Marchese di Borgosole Salice Salentino Riserva 2016
The grapes for this wine – over 85% Negroamaro – are fully destemmed before undergoing seven to eight days maceration. Alcoholic and malolactic fermentation take place in temperature controlled stainless steel tanks, with 24 months maturation mixed between tank and wooden barrels.
In the glass this wine is still dark in the body but is already a little light at the rim. The nose has wonderful bramble fruit and exotic spice. The palate is all about fresh morello cherry and raspberry, giving a pleasant tartness, and rich black fruits. The body is full but not huge, and fine tannins help to give a savoury edge.
This is a lovely example of Salice Salentino, an easy drinking wine which is well put together.
From Salice Salentino we head slightly north to Brindisi. Vinification is similar to its southern neighbour except that the 24 months maturation is entirely in wood. Negroamaro is again the principal grape, backed up by Malvasia Nera and Sangiovese.
The nose has sweet – ripe, not sugary – black fruit such as blackberry and black cherry, with some hints of wild herbs. The palate has a nervous energy to it; tart cherry and cranberry and lively raspberry plus some exotic spice and cedarwood. The acidity is marked and thus the wine remains fresh. This would be great with some charcuterie or tomato based dishes.
It was said – by Jancis Robinson if my memory serves me well – that the vignerons of the Médoc are glad to put white Graves on the table when a dish calls for white wine so that they don’t have to resort to serving Burgundy. The same dilemma faces the producers of Tuscany; with so much red wine made, what whites should be served? One answer is Vernaccia di San Gimignano, but many now turn to Vermentinoas a fresh white wine.
This variety is well established in southern France and north western Italy – including the major islands of Corsica and Sardinia – under several different names:
Rolle in Provence, especially around Nice (a former Italian county)
Favorita in Piedmont
Pigato in Liguria
Vermentino in Sardinia, Corsica, Languedoc-Roussillon and Tuscany
Vermentino can be used in a Tuscan DOC wine -Colli di Luni which crosses the border into Liguria – but often features in IGT Toscana. Here’s one I tried recently and really enjoyed:
Disclosure: bottle was kindly supplied as a sample, but opinions remain my own
Mazzei Tenuta Belguardo Vermentino di Toscana 2018
Mazzei is of course best known for its excellent Chianti Classico wines (see my reviews of the Castello Fonterutoli Gran Selezione 2012 and 2015). However, although the climate of northern Siena is perfect for Sangiovese, it is too warm for fresh white wines. Hence, Vermentino is usually grown in the Province of Grosseto, close to the cooling sea breezes of the Tyrrhenian.
This Vermentino is a complex wine. The nose has some smoky reduction followed by ripe grapefruit, peach and a hint of mango. It’s the sort of nose that unrolls as a story for your olfactory senses. Those smoke and fruit notes follow through to the palate where they are joined by fresher fruit – quince and lemon – and a mineral core. The finish is a little coy, but very long and fresh.
With average alcohol (12.5%) and both fruit and clean aspects to it, this is a delicious and versatile wine that would be great with a wide range of foods or simply as an alternative to Chablis style wines.
In these unusual times, we all need a lift from time to time. As a change to my usual wine reviews I’ve decided to start a fun and irreverent series on matching wine and music. The basic idea is that I give participants:
A piece of music –> they suggest a wine to go with it, with an explanation
A wine –> they suggest a piece of music to go with it
It’s all for fun, so please don’t slag off anybody’s taste music (or wine!) Thanks to Michelle Williams for the inspiration – she has been matching songs to wine for years on her Rockin Red Blog.
The twelfth installment of The Frankly Wines & Friends Wine & Music Series is hosted by Germanophile Englishman Tim Milford. If I said that he likes to “blow his own trumpet” and dubs himself “The King of Wine” I would be correct; however, this would be in a literal sense only, as he is an orchestral trumpet player(!) and a total gentleman with a well developed sense of humour to boot.
I am something of a philistine when it comes to classical / orchestral music – I know a few tunes that I like but that’s about it. However, when choosing a piece for Tim there was one that immediately came to mind as it featured trumpets: Aaron Copland’s Fanfare for the Common Man. When I was young living at home with my parents this was a favourite of my dad’s so I heard it many times.
The easy option for the wine pick would have been German Riesling, but I side-stepped that and chose an English sparkling wine that I know Tim and I both hold in high estimation: Nyetimber’s Classic Cuvée MV. It’s a wine that I have been following for many years, with each successive vintage getting better. Now that it is a multi-vintage it has stepped up even more.
I was delighted when Frankie asked me to contribute to his wine and music blog series, but also a little nervous as all of the other posts have been so good!
Frankie has chosen a classical theme for me, which I was really pleased about. I have been a trumpet player since I was eight years old and have been fortunate enough to play in some excellent bands and orchestras over the years. Music, just like wine, has been an amazing way for me to make friends and also to get to know more about the world that we live in.
My music taste is pretty eclectic, but I have always enjoyed classical music particularly. I think a good symphony is like test cricket (another one of my passions!) – the time that you have in this format allows you to appreciate the waxing and waning of the music, the development of intricate sub-plots within pieces. Whereas your average three minute rock or pop song is more like T20 cricket – it starts: crash, bang, wallop, it ends.
My favourite music in the classical space tends to be the bigger, grander, darker, more evocative music from the German and Russian masters: Mahler, Bruckner, Beethoven, Shostakovich and Prokofiev; but in truth there is so much variety out there that you just feel blessed that all of these incredible people have created such beauty – exactly how I feel about wine!
So, on to my pairings!
Nyetimber’s Classic Cuvée MV
Credit: Nyetimber
For the wine, Frankie selected for me Nyetimber’s Multi Vintage (MV) Classic Cuvée – a wine that I know very well and I knew straight away exactly where I was going to go for my music selection: Glenn Gould’s famous recordings of Bach’s Goldberg Variations. Why did I choose this? The Goldberg variations are a masterpiece of composition – combining moments of pure beauty, with complicated, intricate melodies and counter-melodies. But how does it make me feel when I listen to it? I often listen to this recording when I need to concentrate on something at work; it feels serene, it feels sophisticated, it feels masterly.
These are the kinds of feelings that I get when I think of Nyetimber’s Classic Cuvée; it’s a wine of breathtaking refinement, with layers of texture to it that are all perfectly balanced to give an immensely pleasurable drinking experience. It is pretty well known now that good English sparkling wine is giving Champagne a proper run for its money – and Nyetimber is absolutely one of those producers that I would point to. That’s before we start looking at their vintage BdBs, which are simply spectacular.
There’s another reason that I wanted to choose Glenn Gould’s version of the Goldberg Variations – Gould was Canadian and I wanted to give a little nod to Nyetimber’s head wine makers, Cherie Spriggs and Brad Greatrix, Canadians themselves. Cherie and Brad have done wonderful things during their tenure at Nyetimber and I thought this would be a nice tribute to them.
Aaron Copland – Fanfare for the Common Man
For my musical selection, Frankie gave me Copland’s “Fanfare for the Common Man” – a selection that I was delighted with! As a trumpet player, fanfares are always a fun experience to play, but the opening of this piece isn’t a fanfare in the sense that we might think of; it is altogether more refined. A lot of fanfares are designed to be regal and triumphal, this though seems to be a little less bombastic – which I guess is borne out in the piece’s name. This isn’t a piece celebrating the crowning of a king or a queen, but a celebration of the common man (and woman!).
I also like the structure of the piece, which builds layers as it goes through, starting with the timpani, followed by the trumpets; but then augmented by the rest of the brass section and more percussion players. When I listen to this piece there is something Olympic about it in the soaring notes for the trumpet, which sounds so powerful, so graceful, so majestic. Something that says: we have mastered this, we are in control and we know what we are doing.
Credit: Tim Milford
So, what wine could I choose that gives you the same sentiment? I decided to pair this piece with a 2016 Santa Barbara Pinot Noir from the legends at Au Bon Climat in California. The wine is an absolute classic, coming from a coastal region in California it benefits from those sea breezes, which gives it a delicious freshness. It is fairly commonly observed that this is a wine made in a Burgundian style, which I think in this instance means that it has a poise and refinement, an elegance and class. It tantalises the tastebuds and excites the nostrils, but it does it all in a controlled and self-confident way. It is not over-the-top and showy, instead it sits there quietly exuding its grace and majesty.
This is a celebration of the majesty of Pinot Noir, one of the most loved and most temperamental grapes in the wine world. But it is a celebration held in a booth in a classy restaurant with fine food and fine wine, not a party held in some gaudy Mayfair nightclub favoured by those with too much money and too little class. The wines of Au Bon Climat are rightly revered for being right at the top of their game and this is no exception. A superb wine to match with a superb piece of music!
Tim Milford
Tim Milford is a project manager by day and an enthusiastic wine enthusiast by night! He is no expert when it comes to wine, but likes learning about the wine world one bottle at a time and has a particular penchant for German wine. Tim writes about wine (not as often as he would like) at www.vinspireuk.com and sometimes writes restaurant reviews (even less often, particularly recently) on his own website www.timmilford.com. You can find Tim on Twitter (@timmilford) and Instagram (@tjmilford), should you like to do those kinds of thing.
Pinot Noir can be tricky to make well. It is very particular about the climate it’s grown in – not too hot, not too cold. Here are a pair of antipodean cool climate Pinots that are worth your hard-earned:
Innocent Bystander Yarra Valley Pinot Noir 2018
The Yarra Valley is part of the Port Philip zone which surrounds Melbourne in Australia. Its proximity to Melbourne makes it a popular wine tourism destination; indeed, my first trip there was on a day trip wine tour from Melbourne. That should not detract from its status as one of the best cool climate regions of Australia, with Chardonnay and Pinot Noir starring – both still and sparkling.
Innocent Bystander was founded in 1996 by Phil Sexton after selling his previous Margaret River venture Devil’s Lair. Innocent Bystander (IB) wines are often blends from multiple sites to achieve complexity and balance at a reasonable price point. Alongside IB, in 1998 Sexton also began creating single vineyard wines under the Giant Steps label.
The Pink Moscato explosion in Aussie wine led to a large increase in volumes being made and sold by IB, so Sexton sold it to another family owned Victorian wine producer – Brown Brothers of Milawa – in order to concentrate on Giant Steps. Once picked IB’s grapes now make a three hour journey in refrigerated trucks to be crushed at Brown Bros’ winery. Sexton’s Yarra Valley tasting room wasn’t part of the transaction so Brown Bros bought and converted a brewery – formerly run by Phil Sexton!
The wines in the Innocent Bystander portfolio include the following:
Pinot Noir
Chardonnay
Moscato
Pinot Gris
Gamay
Gamay / Pinot Noir blend
Syrah
Tempranillo
Arneis
It’s the last two which are the most unusual for Australia, and therefore piqued my interest, though sadly they haven’t yet made their way to Ireland.
In the main this Pinot Noir is fruit-driven: raspberry, blackberry and tart red cherries dominate the nose and palate, though there are also herb and spice notes in the background. It is not, however, a “fruit-bomb”; acidity and gentle tannins provide a framework against which the fruit can sing, and boy do they sing!
Marlborough’s Framingham is probably the most respected producer of Riesling in New Zealand, but has added additional varieties across its three ranges:
Sauvignon Blanc
Pinot Gris
Chardonnay
Viognier
Gewurztraminer
Montepulciano
Pinot Noir
Their wines are all very well crafted and offer a substantial step up from everyday Marlborough wines, but prices are sensible. The firm’s winemaker for 18 years was Dr Andrew Hedley, who was then succeeded by the returning Andrew Brown at the beginning of this year (what a year to join!) In between his stints at Framingham, “Brownie” had worked in several cool climate regions including Alsace, so he has great experience with Riesling.
Framingham’s own vineyards and those of partner winegrowers are all in the Wairau Valley, the central open plain of Marlborough which is on a mixture of alluvial and clay soil. Each parcel is harvested and vinified separately, with grapes from clay soils in particular receiving more time on the skins. MLF and maturation takes place in new (20%) and used French oak barrels, before final blending and bottling. No fining or filtering is carried out to preserve flavour and mouthfeel.
When speaking to Jared Murtha (Framingham’s Global Sales Manager) earlier this year I remarked that the Pinot Noir seemed more like a Martinborough Pinot than a typical Marlborough one to me. This was meant as a compliment and taken as one, as I find many Marlborough Pinot Noirs to be light, simple and less than interesting. Jared replied diplomatically that Framingham aren’t aiming to make a “smashable” wine, but rather one which is a little more serious and gastronomic.
And hell have they succeeded! It has typical Pinot red fruit notes – cherry and wild strawberry – but also layer upon layer of smoky, spicy and savoury characters. There are lovely round tannins giving the wine additional structure. Umami fans will love this wine!
These two wines are made from the same grape variety in neighbouring countries (yeah, still quite a journey) and are close in price, so a like for like comparison is perfectly fair. The most obvious difference, though, is their style. The Innocent Bystander is a great, fruit-forward all-rounder and would really appeal to the casual wine drinker. The Framingham is a different proposition, more savoury and serious, and would shine the brightest in a setting with food – though it’s not a “this needs food” wine. My preference would be to spend the extra €4 on the Framingham … but if someone offers me a glass of Innocent Bystander I would be delighted.
My love for Alsace wines – especially its Rieslings – is without parallel, yet even I am forced to concede: Other Rieslings Are Available! Given the grape’s Germanic origins and it’s position as the most widely planted grape there (23% of vineyard area as of 2015) it is only fair to look to Germany. Of all Germany’s 13 wine regions, for me the most synonymous with quality Riesling is the Mosel.
The Mosel wine region had Saar–Ruwerappended to its name until 1st August 2007, and those two names still account for two of the six Mosel Districts (Bereiche). Also, adjacent to Luxembourg, the Obermoseland MoseltorDistricts are home to modest wines – still and sparkling – made from Elbing and other “lesser” grapes. The final two Mosel Districts are the most important. The Berg Cochem District is also known as the Terraced Mosel (Terrassenmosel) as many of its slopes are incredibly steep and are terraced so that they can be worked. The final District is Bernkastelwhich includes the famous sundial vineyards.
The Haag family have run their estate in Brauneberg, Bernkastel District, since 1605. I have previously reviewed their Brauneberger Juffer Grosses Gewächs Riesling and Brauneberger Juffer Riesling Auslese Goldkapsel. Now I turn to their “entry level” dry Riesling.
Disclosure: bottle was kindly given as a sample, opinions remain my own
Fritz Haag Mosel Riesling Trocken 2018
Weingut Fritz Haag hand pick their Riesling grapes for this wine from their slate-soil vineyards around their home base of Brauneberg. Fermentation takes place in both large wooden vats (for a touch of roundness) and stainless-steel tanks (for freshness). As many who are fluent in wine know “Trocken” means dry in German, so the fermentation is not stopped early to make the wine sweet (although Fritz Haag does make some brilliant sweet wines).
This estate Riesling pours a light lemon in the glass. The nose is full of citrus with lifted mineral tones – and unmistakable Riesling character.
The measured residual sugar is 7.5 g/L which would be creeping into off-dry territory for some grapes, but set against this Riesling’s acidity it merely tames the zing a little and brings out the fruitiness of the wine.
On the palate we find fleshy lime, grapefruit and peach combined – you don’t taste them individually but there’s a new super-fruit that combines all their characteristics! Light and lithe, a wine that dances on your tongue before disappearing down your throat. Once in your stomach it sends a direct signal to your brain for another taste! The finish is dry as you’d expect from a Trocken wine, but the fruit sweetness in the mid-palate banishes any thoughts of this being too dry.
The TL;DR review: tastes of deliciousness!
ABV: 12.0%
RS: 7.5 g/L
RRP: €23
Stockists: Blackrock Cellar; Clontarf wines; F.X. Buckley Victualler & Grocer; Jus de Vine; McHugh’s Off-Licences, Kilbarrack Rd & Malahide Rd; Nectar Wines; The Vintry; The Wine Pair; Sweeney’s D3; Avoca Ballsbridge; The Corkscrew; Deveney’s Dundrum; D-SIX Off Licence; Drink Store Stoneybatter; Grapevine, Dalkey; La Touche, Greystones; Lotts & Co.; Martins Off Licence; Terroirs, Donnybrook
In these unusual times, we all need a lift from time to time. As a change to my usual wine reviews I’ve decided to start a fun and irreverent series on matching wine and music. The basic idea is that I give participants:
A piece of music –> they suggest a wine to go with it, with an explanation
A wine –> they suggest a piece of music to go with it
It’s all for fun, so please don’t slag off anybody’s taste music (or wine!) Thanks to Michelle Williams for the inspiration – she has been matching songs to wine for years on her Rockin Red Blog.
For the eleventh edition of this series we are in the capable hands of Mags McKee, a great friend and fellow DNSer (even though she lives south of the Liffey) . Mags has a long held passion for wine and has taken it to the next level with The Wine Pair, a wine bar and shop she opened with her husband Canice. When I quizzed Mags on her taste in music, among many things she mentioned both U2 and the Blues, so there was an immediately obvious choice: a fantastic track from U2’s Rattle & Hum album featuring guitar and vocals from Riley B. King, aka the King of the Blues BB King. This was in fact the track that really turned me on to the blues and it has since been one of my favourite genres.
There were so many wines I’ve tasted with Mags at consumer and DNS tastings over the years that I was spoiled for choice. Running through the wine list of The Wine Pair to narrow it down, I spotted one of my favourite Austrian reds: Pittnauer Zweigelt “Heideboden”. I was lucky enough to meet Gerhard Pittnauer and taste through his wines a few years ago.
When Love Comes to Town – U2 with BB King
I was delighted when Frankie gave me my music choice When Love Comes to Town – U2 with BB King as I am a big fan of U2, with Rattle and Hum being one of my favourite U2 albums. I am also an avid Blues fan and love the edge that the King of the Blues brings to this version. I know it may seem weird to some but listening to Blues makes me happy.
Love coming to town automatically made me think of a sparkling wine and as this is a rock song with the addition of the wonderful BB King what better than a naturally sparkling Pétillant Naturel, or Pet Nat for short. Pet Nat is made in the ‘methode ancestrale’, i.e. bottled before primary fermentation has finished (i.e. with yeast still alive and sugar remaining) which then continues to ferment in the bottle, finishing relatively dry with pleasantly frothy bubbles.
A great natural Pet Nat I have been enjoying recently and a firm favourite with The Wine Pair customers is the deliciously ripe and Dangerously drinkable, Tour de Gendres. Its frothy bubbles release delicious tart orchard fruit and citrus notes. The bright acidity balances the slight sweetness as it dances on the tongue reminding me of how we have boogied to this great song.
This interesting and fun to drink Pet Nat is made from predominantly Sauvignon Blanc and Chenin Blanc (30%) by Luc di Conti in Bergerac, Southwest France, close to Bordeaux. Luc farms biodynamically on his 54 hectare vineyard, located on the bank of the Dordogne River, and uses seaweed, and other natural resources, to nourish the soil. The de Conti family has run the farm here since the early 1900s, but only in 1986 did Luc de Conti and his brother, Jean, decide to plant the vineyard and embark on a new adventure of viticulture and winemaking. In 1994, they became the first in the region to move away from pesticides and chemicals and turn to 100 percent organic farming.
The grapes from low yielding vines are allowed to fully ripen and are manually crushed. Partial fermentation, with indigenous yeasts, is in stainless steel vats with final fermentation in the bottle. It is bottled without fining, filtering or the addition of sulphur making it vegan friendly and a little cloudy.
This is wonderfully drinkable, and would be a great alternative for Prosecco drinkers looking for something a little more interesting while still being easy and fun to drink and its only 11% ABV.
We usually have it as an aperitif but I think it would go great with Sushi or Smoked fish. My cheese pairing for this would be a goat’s cheese maybe a St Tola or Cooleeney, Gortnamona to bring even more love to town.
This bright vibrant wine certainly brings Love to Town for me and its fantastic label from is pretty cool too. If you haven’t tried it yet “catch that flame” and “jump on that train”.
Pittnauer Zweigelt Heideboden
My wine choice from Frankie, Pittnauer Zweigelt Heideboden, was again one my favourites so gave me a great excuse to drink more and think about my choice of music for this wine.
I am a big fan of the high quality wines coming from Austria and my first visit to Vienna was booked for the end of March this year. I was really looking forward to trying some great Austrian wines whilst there but it didn’t happen due to Covid-19. The disappointment of my cancelled trip is reflected in my music choice – Vienna Calling by Falco. The lively and glamorous song from 1985 was the follow on hit to his other big hit song Rock me Amadeus.
A Mozart piece may have been an obvious choice for this wine but my eclectic music choices are hugely influenced by the 80’s and I love electronic music. Falco and his music sits in the genre of West German Rock, Neue Deutsche Welle “New German Wave”) which is originally derived from post punk and new wave with electronic influences, so I’m sure the music scene in Austria in the mid 80s was greatly influenced by one of my favourite groups Kraftwerk. Anyway, there is a nod to a Viennese waltz at the start of the song.
In the mid 80s, while Falco was rocking Amadeus, the Austrian wine industry was rocking in the midst of scandal and chaos , Gerhard Pittnaur, then only 18, started the Weingut Pittnauer business in Burgenland in the eastern corner of Austria. He had to train himself to make wine and chose to farm the indigenous grapes of the region. He thinks to ‘grow’ wine rather than to ‘make’ it in the cellar. Gerhard and his wife Brigitte decided to create what they call living wines. All work is done manually from composting to pruning. There is no calendar that drives them. Nothing is rushed: they believe in quality over speed. They taste for perfect ripeness, select the cleanest grapes, and begin the wine in the cellar.
Pittnauer Zweigelt Heideboden is 100% Zweigelt. Zweigelt is the most popular red wine variety in Austria and originates from the crossing of St. Laurent with Blaufrankisch. It is characterised by its cherry fruit and a juicy, soft style. This wine is bursting with red cherries, blueberries, blackberries and plums with hints of violet and black pepper. It’s an elegant wine with a long complex finish. As Falco says ‘Oh o Ho’.
This is one of my go to wines for a cheese and meat platter as it pairs well with most cheeses and cured meats and its acidity stands up to any pickled accompaniments giving no taste clashes.
So Hello, Vienna is still calling me and I will get there but until I do I can still enjoy great Austrian wines.
Mags McKee
Mags is one half of The Wine Pair, the other being Canice (who, in an amazing coincidence, also has the surname McKee!) They opened The Wine Pair late last year with the aim of providing an informal neighbourhood wine bar where people could relax with a favourite glass (or carafe, or bottle) and choose small cheese or charcuterie plates to pairwith it. They also offered the option of take-home sales and in these Covid-19 affected times they have been busy offering collection and local delivery.
As well as their website you can find The Wine Pair on Instagram or Twitter. They also have their own Twitter accounts: Mags & Canice.
What Would Robin Hood Drink (WWRHD) if he were around today? What would make his men merry? I put it to you that he would enjoy the fine wines of SherwoodEstate and Ken Forrester!
Robin likes the “straight as an arrow” acidity of Sauvignon Blanc
These two fine producers make wines from several other varieties, but for comparative purposes I will review their equivalent Sauvignon Blancs:
Sherwood Estate Waipara Sauvignon Blanc 2018
No outlaws were harmed during the making of this wine
One mistake many people make is too assume that all New Zealand Sauvignons are from Marlborough. Yes, the north east of the South Island is the biggest Sauvignon producing region and has become the ambassador for Kiwi wine, but Nelson (north west of the South Island), Wairarapa (south of the North Island) and Waipara (north of Canterbury on the South Island) also make some great examples.
In 1987 – still the early days of the modern NZ wine industry – Jill and Dayne Sherwood dived headlong into producing wine at West Melton, just west of Christchurch. The industry was in turmoil at the time, but they were successful enough to survive and outgrow their West Melton property. They then moved around an hour north into Waipara which was an area full of unrealised promise. With their drive and perseverance they turned Sherwood Estate into one of the largest independent New Zealand wineries.
The firm now has six different vineyard sites around Waipara including Glasnevin, named after a famous district of Dublin. Their wine offerings have also branched out (pun intended) to four different ranges plus two different sparklers. The Sherwood range wines “are premium, everyday wines, made in a ‘hands-off’ style with little interruption in the winery” and consist of five varietals:
Chardonnay
Pinot Gris
Pinot Noir
Riesling
Sauvignon Blanc
The Sauvignon Blanc we have here is unoaked and made conventionally. The juice undergoes a cool fermentation for three weeks. The must is then left on the fine lees for three months which adds depth. The finished wine combines green (herbs, bell pepper, grass) and fruit (lime, lemon, grapefruit and passion fruit) notes. This zesty wine shows how good Sauvignon Blanc can be outside Marlborough.
Ken Forrester Stellenbosch Sauvignon Blanc Reserve 2018
Robin sympathizes with Ken’s status as a legend
Ken Forrester is something of a legend in Stellenbosch and South Africa as a whole. He and his wife Teresa bought a derelict farm in 1993, though the property was created as far back as 1689.
All the pruning and harvesting work in the vineyard is done by hand for two reasons. Firstly, it allows the vineyard team to pay very close attention to detail for quality reasons. Secondly, it offers more employment for people in the local community.
There are currently four separate ranges which each have several blends and varietals:
Icon: The FMC (Chenin), The Gypsy, (Rhône blend), T Noble Late Harvest (Chenin)
Cellar door exclusives – Sparklehorse MCC, Three Halves (Rhône blend), Roussanne, Dirty Little Secret TWO (Natural Chenin)
The grapes for the Reserve Sauvignon come from three are sourced from 3 vineyard sites scattered across the coastal region: Stellenbosch, Elim and Darling. Some – though not all – are old vines, increasing concentration and depth of flavour. After fermentation the wine spends eight weeks on fine lees.
For many years I have regarded South African Sauvignons as being stylistically half way between Loire and NZ styles, but I think it’s time we (I) forgot the comparisons and just regard them as their own thing. This one has lots of green notes, but is not under-ripe; mangetout is then joined by some juicy stone fruit and the finish is long, crisp and clean. Unlike some other SA SBs I’ve tried, the alcohol is fairly restrained at 13.0%.
In these unusual times, we all need a lift from time to time. As a change to my usual wine reviews I’ve decided to start a fun and irreverent series on matching wine and music. The basic idea is that I give participants:
A piece of music –> they suggest a wine to go with it, with an explanation
A wine –> they suggest a piece of music to go with it
It’s all for fun, so please don’t slag off anybody’s taste music (or wine!) Thanks to Michelle Williams for the inspiration – she has been matching songs to wine for years on her Rockin Red Blog.
My guest for this tenth post in The Frankly Wines & Friends Wine & Music Series is Cara Rutherford, a great friend whose knowledge and passion for Italian wine and loud trousers really puts me in the shade (though I might have an advantage on loud shirts). Cara and I have a lot in common when it comes to wine but even more when it comes to music – I think we are of a similar vintage, but I would never ask a lady her age!
The Cure’s music has defied easy categorisation over the years, but has encompassed goth (a term they dislike), straight up pop (Friday I’m In Love) and rock (Shake Dog Shake). I’ve been a fan of The Cure since the late ’80s. Initially it was Standing on a Beach / Staring at the Sea which I had on repeat and then Disintegration, the best album ever per Kyle Broflovski. The previous album Kiss Me Kiss Me Kiss Me had passed me by somewhat, but my favourite track from that album – Just Like Heaven – was played all three times I’ve seen them in concert (1992, 2002 & 2019). It manages to be a really hooky pop song while still preserving The Cure’s sensibility. Check out this analysis by Rick Beato.
While Cara’s main vinous focus is Italy, she also reviews plenty of wines from other countries – especially if they are made a low intervention style. I’ve already chosen one wine from Suertes del Marqués in this series, but as I’m such a fan of their wines and had the pleasure of meeting Jonatan Garcia Lima earlier this year, I thought I’d chose their fabulous ‘7 Fuentes’ red which Cara had already reviewed and was familiar with.
The Cure – Just Like Heaven
I was delighted when Frankie sent me ‘Just Like Heaven’ to pair with a wine for his Wine & Music Series. Even though I’ve only had the pleasure of hanging out with Frankie one fantastic evening, he clearly sussed out my post-punk origins and general angst vibes.
As a GenXer, the Cure is one of the bands that not only changed but assisted in formulating and developing who I am. Robert Smith’s lyrics introduced and beckoned me into the existential cosmos of Nietzsche, Sartre and Camus. A philosophy that became my backbone growing up in the wasteland of upstate NY.
The otherworld, velvet flanger layers of his guitar, his imploring, flirtatious, angst saturated voice and words, his cascade of birds’ nest hair. The avante-guard Tim Pope videos that allowed an innocent, silly facet to shine through.
And the memories, I could go on and on; the thousands of times I made my saint of a grandmother watch the nearly 2 hours of magnificence that is The Cure in Orange with me in the afternoons after school. She was from London, so I rationalized that she would of course want to watch it over and over and over again with me……stockpiling Mary Quant liquid eyeliner when in London [I had read in an interview somewhere that was the brand he used]…..the years I lived in Dublin where I had the opportunity to track down the 7” & 12” records with their cool pastel or translucent vinyl bearing the ultimate in Cure treasures; ethereal b-sides that were held in god-like esteem for those fortunate enough to have actually found them.
So back to the pairing. ‘Just Like Heaven’ was one of the Cure’s biggest singles, with many accolades and perhaps the song that officially established them in the States.
‘Just Like Heaven’ is a glistening love song filled with dizzying iconography and shimmering melody. Looking for the same character in a wine, I immediately knew it would be sparkling and French, rooted in devotion and otherworldliness. It had to be Jean-Christophe Jezequel ‘Mademoiselle’ Vin de France 2018.
Credit: Cara Rutherford
Jean-Christophe Jezequel passionately cares for his 5 hectares of old vine vineyards in Faverolles-sur-Cher in the Loire Valley. He recovered and rehabilitated old, abandoned vineyards with vines dating back to 1945, none of which have ever seen chemicals. His grapes traditionally were sold to iconic ancestral method/pet-nat winemakers Pascal Potaire and Moses Gadouche of Domaine Les Capriades. In 2019, he released his first wine, ‘Mademoiselle’ the 2017 vintage, on his own label. Just a year later, he has 5 more wines in production.
Grapes are from old vines in clay, sand, and silex over limestone soils, harvested at the beginning of September. Followed by direct pressing of the two varieties together, then fermentation in fiberglass vats with multiple rackings. After a month of fermentation, the wine is hand and gravity bottled in early October, aged a little over a year on its lees.
Coral pink in colour, with delicate aromas of strawberry, rose petal, dusty earth and a wisp of frankincense. Red currant, wild strawberry, lemon, hibiscus flower and chalky minerality are buoyed by packed, tiny bubbles and tangy acidity. Pink grapefruit and green apple linger on the fizzy, mineral driven finish. Bright, engaging and refined.
Suertes del Marqués ‘7 Fuentes’
Credit: Cara Rutherford
Frankie’s wine choice was Suertes del Marqués ‘7 Fuentes’ Valle de la Orotava DO 2017, a favourite of mine that holds a place in my ‘house wine’ rotation. Jonatan Garcia Lima has 11 hectares of vineyards on the slopes of Teide, an active volcano in the northern part of Tenerife in the Canary Islands.
He is dedicated to low intervention, organic and sustainable practices in both the vineyards and cellar. 7 Fuentes is composed of 35 plots from area winegrowers and from the estate vineyards with vines ranging from 10 to 180 years old, at elevations 250 to 800 meters above sea level, in volcanic soils. Each plot is vinified separately. Fermented in concrete and stainless steel with native yeasts, 70% aged in concrete while the remaining 30% aged in used 500-liter oak barrels for nine months, unfined and unfiltered.
Dark ruby red in colour with engaging aromas of campfire, tarry earth, ash, grilled herbs, black cherry, candied violet and a wisp of burnt marshmallow. Silky layers of black cherry, raspberry, cranberry, red currant, clove, coriander, rose petal and grilled herbs are wrapped in saline minerality and drape across a framework of tangy acidity and firm tannins. Smoke, tarry earth crushed black peppercorn, roasted rosemary and baked cranberry linger on the plush finish. Striking, complex and velvety.
I felt only a Foo Fighters song would be able to echo the sinuous fusion of boldness and silky symmetry whirling through every sip of 7 Fuentes. Enter ‘The Line’, with exhilarating guitars, heart pounding drums and Dave’s legendary angst driven screams that meld seamlessly with blissful, dreamy melody and charged lyrics. Dave Grohl has stated that the song expresses “a search for hope in this day and age where you feel as if you’re fighting for your life with every passing moment, and everything is on the line.” The centuries old, braided vines set into a prehistoric, other planet looking environment of black volcanic earth at dizzying elevations have fought many battles and come out on the other side victorious.
Cara Rutherford
Cara Rutherford has been exploring and writing about wine for nearly a decade. Over the years her expertise has become razor-focused on Italian wines and the people who craft them. Having a Master’s in applied art and background in ancient art, she honed her art criticism and writing skills whilst working at Christie’s in New York City. Certified 3iC Central Italy Specialist, she is currently pursuing additional 3iC Specialist certifications [Italian International Indigenous Wine and Food Studies Center] under Ian D’Agata. Additionally, she holds a Highest Honors Italian Wine Scholar certificate, along with WSET 2 designation, with distinction. Check out her website caravino.net or follow her on Twitter and Instagram.
Five Fantastic Sparkling Wines – Guest post by Frankie Cook Here are Five Fantastic Fizzes from Marks & Spencer to put some zip into your life! They include Cava, Champagne, Kiwi fizz, Crémant de Bourgogne and English sparkling wine (for which ESW seems to be the new TLA). La Cave des Hautes Côtes Crémant de…
The Abruzzo region is geographically in the centre of Italy* but is considered to be part of southern Italy for cultural and historical reasons. Grapes are grown throughout all four provinces of this hilly region: L’Aquila, Teramo, Pescara, and Chieti – with the last being the most productive, ranking as the fifth highest wine producing province in Italy.
Abruzzo within Italy (Credit: Gigillo83 (Wikipedia))
Trebbiano d’Abruzzo is the main white wine of the region and Montepulciano d’Abruzzo is the main red. At this point I feel duty bound to include the standard remark that the latter is not to be confused with the Sangiovese-based Vino Nobile di Montepulciano.
Under DOC regulations Montepulciano d’Abruzzo must be composed of a minimum of 85% Montepulciano with up to 15% Sangiovese for the balance. Standard DOC wines must be aged for a minimum of 5 months prior to release with Riservas requiring 24 months, of which at least 9 months must be in wood barrels.
Although we think of Abruzzo as being the home of Montepulciano, it is in fact used throughout a large swathe of Italy from Emilia-Romagna to Puglia (see left).
It’s success is due to it being relatively easy to grow and producing high yields, yet still plenty of colour from the thin skins. Acidity tends to be moderate and tannins are present but not too harsh.
Here’s a cracking Montepulciano d’Abruzzo which I tried recently:
Disclosure: bottle was kindly provided as a sample, opinions remain my own
Tor del Colle Montepulciano d’Abruzzo Riserva 2016
Tor del Colle is a label used for wines from Abruzzo, Molise and Puglia, three regions along the Adriatic Coast. The brand is owned by the Botter group who trace their origins to 1928 Venice.
Grapes were fully destemmed and macerated for 7 to 8 days before temperature-controlled alcoholic and malolactic fermentation in stainless steel tanks. Maturation is for 12 months in barrels (size & age not given) and 12 months in steel tanks.
The wine pours a bright cherry red, though not that deep. The nose is intensely aromatic with alpine strawberries and cherry, plus cinnamon and other spices in the background. The palate is rich and lithe, full of red and black fruit. It’s a soft and supple wine; tannins are present but ripe.
Due to its ubiquity and relatively low price we are used to Montepulciano d’Abruzzo as a great glugging wine – probably the first wine that springs to mind when we’re asked to suggest a wine to go with pizza. Although it’s not expensive, this wine shows that it can be so much more than that. It retains the fresh flavours, balanced acidity and soft tannins of an everyday Montepulciano d’Abruzzo but adds additional layers of complexity which don’t weigh it down.
This is a lip-smackingly good wine, the best value red wine I’ve had so far this year!
