Wine Review: Zaca Mesa Z Cuvée Santa Ynez Valley 2008

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zaca-mesa-2008-z-cuvee-santa-ynez-valley I ‘ve just returned from viewing Baz Luhrmann’s The Great Gatsby, a morality tale about hopes and dreams that go awry if they lack restraint. Good wines carry a similar moral message. In-your-face power and bluster in a wine can be impressive at first but it wears out the palate and the jammy sweetness masks the subtleties that make wine intriguing. Good winemaking is about restraint and balance.

The initial impression of this blend of Grenache (68%), Mourvèdre (18%) and Syrah (14%) is big and bold—blackberry and rhubarb aromas suggest a powerful fruit bomb. But with a vibrant burst of mid-palate acidity this wine turns shapely and supple on the palate. It feels full in the mouth but sits lightly on the tongue. Herbal top notes and hints of pencil lead provide some complexity. The finish lingers with soft tannins that are not drying.

Big enough to pair with a robust meal but sufficiently refreshing as a quaffer, this is a versatile wine and an excellent bargain.

The Santa Barbara region is best known for its Pinot Noir, but their Rhone varietals are equally impressive. Zaca Mesa is one of the pioneers of Rhone varietals having fully committed to them in the early 1990’s well before they came into fashion.

Score: 88/100

Alc: 14.5%

Price: $19

Amuse Bouche

fish snack

Fish Snack
by Joseph Paquio

News from the world of find and wine that you might have missed this week.

No. Wine Tasting is not Bullshit

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bullshit I intended to write up a take down of this snarky piece of piffle called Wine Tasting is Bullshit. Yep. Another know-nothing talking about something he knows nothing about.

But I have stacks of papers to grade and blogging must be kept to a minimum until I’m finished. So I leave you in some other capable hands who will describe the errors in this bit of nonsense.

Blake Gray explains why it is worth talking about things we disagree about—like wine for instance.

And philosopher Barry Smith catalogs the numerous mistakes in the article and explains why the studies used to cast doubt on wine tasting don’t show what the author thinks they show.

I’ll be back to regularly scheduled blogging when these pearls of joyful wisdom that adorn my desk have been ranked, rated, reformulated, and returned.

Budget Wines: Tormaresca Chardonnay, Puglia 2011 from Antinori

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tormaresca Italian white wines have a bad reputation. For most wine drinkers, the only Italian white wine they know is Pinot Grigio, which with some exceptions is fresh, fruity, and insipid.

That is a shame because there are many interesting Italian white wines.

Friuli-Venezia Giulia produces Ribolla Gialla and Friuliano, the Soave region of Veneto does good things with the Garganega grape, Trentino Alto-Adige with its German varietals, and Gavi in Piemonte have their charms.

Italian white wines have a unique character. Crisp and acidic, they are made to accompany food and are all about refreshment, not power or finesse. Even Italian wines made from international varieties such as Chardonnay, have this focus. Thus, Italy’s best white wines are grown in the cooler northern climate—a flabby Italian white is as unusual as an honest Italian politician.

If Italian whites have a bad reputation, wines from Italy’s southern regions are utterly infamous. Long a region for making cheap juice destined for bargain-basement bulk wines, only recently have Southern Italians awakened to the promise of quality wines that take advantage of their Mediterranean climate. Slowly but surely their quality is improving.

This Tormaresca Chardonnay from Puglia (owned by Antinori) is an example of bargain refreshment from southern Italy. Lemon zest permeates the nose accompanied by a thin layer of hazelnut and bursts of white flowers. The palate has more lemon and searing acidity perched on a medium body. A prickly quality introduces the tart but not angular finish. There is no trace of oak.

You want this wine on a hot day; it will cut through any encrustation of long hours, sweaty labor, or annoying rabble that led you to seek solace in a glass. This is the irreconcilable antipode of California Chardonnay.

Price: $11

Score: 85/100

 

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Amuse Bouche

tomato caprese

Roasted Tomato Caprese
by Not Without Salt

News from the world of food and wine that you might have missed this week.

When a Wine Goes Naked

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barrel

As a rule, naked people are not a pretty sight, a rule which the exceptions emphatically prove.

So it is with wine.

We take for granted that serious red wines will be clothed in oak. Oak softens skin tannins, provides texture and body, and builds complexity. What would Syrah be without smoke, Merlot without chocolate, Cabernet without vanilla, Pinot without clove and cinnamon? All flavor notes contributed by oak.

The exception—Chateauneuf du Pape. The good folks from the former vineyards of the Avignon popes have long disdained the use of new oak barriques preferring to emphasize fresh fruit in their cuvées.

Young bottlings from this region in the Southern Rhone valley can be uneven—sometimes fun and cheery, often rustic, occasionally excellent. However, at the meeting of the San Diego Wine Society last weekend, I was reminded of how well these wines age. The Clos du Mont-Olivet La Cuvee du Papet 2000 was stunning.  Very dark plum, fig, and, most importantly, wonderful dried herbal notes and black olive burst from the glass, and the velvety textured finish was long and graceful. What begins life as a bit frivolous becomes dark, brooding, and serious in part because the absence of oak allows the development of fruit and herbal notes to take center stage.

It is a blend of 60% Grenache 20% Mouvèdre 20% Syrah, aged in concrete vats and then large oak barrels that impart little oak character.

This wine stood out in some pretty lofty company. The Reuling Pinot Noir (Sonoma 2011) was lovely; the Pio Cesare Barolo 2008, young but satisfying as they usually are from this producer; the Bodegas Riojanas Vina Albina Gran Reserva 2001 was classic Rioja elegance; the Argiano Brunello 2004 earthy and full of finesse. All consumed with the fine cusine (and view) from the Sheerwater Restaurant at Hotel Del.

But the Chateauneuf du Pape was head and shoulders above these worthy competitors. Mark Twain said that “Clothes make the man. Naked people have little or no influence on society.”  Not true in the world of wine.

Disappointments: Chateau La Papeterie St. Emilion 1996 was rustic and thin; the Toscar Monastrell Reserva 2006 from Spain’s Alicante region was just weird with distracting vegetal and chemical notes.

The surprise: an Anakena single vineyard Carmenere 2010 that was rich and flavorful and a steal for about $14.

The San Diego Wine Society meets every month to blind taste wines from the classic regions of the world.

Not by Bread Alone: Morality and Wine

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Tom Wark’s blog post,”The Moralist the and Wine Blogger” struck a nerve, in part because I’ve had this debate with myself.

Wark, a wine publicist and widely-read blogger, summarizes a conversation he had with someone who insisted that time devoted to drinking, promoting, or writing about wine is wasted time.

It’s just that the consequences of selling wine and wine blogging don’t really play an important role in anyone’s lives. It doesn’t help people. People’s lives aren’t bettered and they don’t really flourish more because you write press releases and go on about wine ratings or wine laws or natural wine…Let me put it more bluntly: If you are not working to improve the well being of others then you are missing the opportunity to live a good life and wasting the most precious commodity we all possess—a life lived in close proximity to other conscious, living beings.

In response to the obvious rejoinder that wine gives some people great pleasure and many wine lovers find wine writing to be engaging, Wark’s critic accused him of selfish rationalization.

The claim that moral concerns ought to outrank any other consideration is not new. In fact the dominant moral theories in our moral tradition—Kantian and utilitarian theories—both entail that we have categorical duties to help others in need that invariably outweigh the satisfaction of personal desires or the pursuit of personal pleasure.

But such moralism (whether theoretical or practical) is just a load of bunk.

There are saints among us, people who seem capable of genuinely taking up the cause of humankind, of sacrificing everything personal for the sake of the common good. It is an odd psychology, worthy of understanding and celebrating.  But most people are not like that. For most of us , if we are to be effective, if we are to get up each day full of motivation and drive, we must do what we love. But we cannot love everything or everyone. There is no love without discrimination. To love something is to hold it in higher regard in comparison to what is unloved. If you love your spouse, other people are less deserving of your attention.

And a life without love is not worth living.

The difficulty with moralists is that their demands are infinite. There are simply too many people in need, so to take up their cause is to crowd out all personal satisfaction from one’s life in a never ending and ultimately failed attempt to alleviate human suffering. The moralist’s demand is thus a demand to blot out what one loves—in a word, nihilism. (With all due respect to The Dude and his cohorts, it is best to avoid nihilism.)

Now, of course, from the fact that I cannot serve everyone, it does not follow that I should serve no one. But it does follow that only the piecemeal serving of individuals is possible and a general prescription to serve everyone is incoherent. So how do I choose who to serve? The only coherent answer is to serve those you love first and everyone else can get in line. (Which is not to say we aren’t traumatized by the destitution of those we cannot love)

Which brings us back to wine, because for Tom Wark and his readers (of which I am one), it is wine they love. Perhaps this is the crux of the moralist’s argument. She may be on board with my prescription to serve those you love as long as we’re talking about people. But wine is just a beverage, a commodity, not worthy of serious concern.

And now the moralist’s problem is becoming clear. She simply does not drink enough wine having not had that moment of revelation that unites wine lovers, that finds extraordinary beauty in, say, a cuvée from the hills behind Beaune.

But more seriously, artists, artisans, writers, musicians, actors, intellectuals, and, yes, winemakers, are engaged in creating something all human beings desperately need—culture. Human beings do not live by bread alone, we seek meaning and we are always in danger of losing it.  Through culture we transform the organic, physical, instrumental, impersonal flotsam and jetsam of experience into symbols that express and sustain meaning. It is where the creation or destruction of what we value is enacted, where we decide what has significance and what does not.

So nothing is more important to human flourishing than to keep culture alive.

We especially need beauty in our lives, for beauty arouses the desire to draw things near, it impels love and a thirst for knowledge. The loss of beauty is like the loss of love. Without it, everything is reduced to a forgettable, discouraging sameness that is another road to nihilism.

An acquaintance with beauty will not by itself make a person better, but pervasive ugliness will surely make her worse.

Moralists have every right to censure the vicious; but they should leave the creators of culture alone (if indeed they are not vicious) because they are as necessary to human flourishing as food and water.

Wine Review: Abraxas from Robert Sinskey Los Carneros 2011

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abraxas Abraxas is the name of a god or demon depending on which Ancient sect you consult. The mystic psychologist Karl Jung appropriated the name to refer to a God higher than the Christian God and the Devil, that combines all opposites into one Being.

In his The Seven Sermons to the Dead Jung writes:

Abraxas speaketh that hallowed and accursed word which is life and death at the same time. Abraxas begetteth truth and lying, good and evil, light and darkness in the same word and in the same act. Therefore is Abraxas terrible.

Well that is quite a bit for a wine to be.

But I suppose this wine does achieve a synthesis of opposing forces. As a blend of 41% Riesling, 28% Pinot Gris, 23% Pinot Blanc, and 8% Gewurtztraminer, with grapes biodynamically and organically grown in the Scintilla Sonoma Vineyard and delivered in the lovely flute-shaped bottle characteristic of Alsace, this is a California wine designed to put you in an Alsatian state of mind.

Tangerine, subtle apricot, a hint of pineapple and white flowers vie for your attention on the nose. The aromas largely stay within the citrus-stone fruit range suggesting a relatively cool year. There is no hint of oak. Fermented very dry, it is round and supple on the palate with a medium body and plenty of racy acidity. Well-defined, lively and vibrant, this wine has poise and class with nothing angular until the medium length finish which is quite tart—like a new acquaintance who is friendly on first impression but a little sharp tongued when you get to know her.

A distinctive, unusual California wine, and very satisfying. With the clarity of the fruit and strong acidity this is a good candidate for aging.

13.1% alc.

Price: $37

Wine Score: 90/100

Amuse Bouche

strawberry pie

Balsamic Strawberry Pie
from Kenley at Green Door Hospitality

News from the world of food and wine that you might have missed this week.

The doyen of Mexican food, Diana Kennedy, gives us the run-down on Mexican cheeses and clears up some misconceptions.

An interesting look at the debate about balance in wines.

The food takes center-stage at the New Orleans Jazz Festival.

Is there a relationship between price and quality among the world’s best restaurants? Apparently not.

If just the mere sight of barbecue makes you hungry, check out this video montage.

The proper way to eat tomato soup.

For fans of Riesling, the debates over what an Alsatian Riesling should taste like continue.

How a marketing disaster boosted sales—the continuing saga of Maker’s Mark Whiskey.

49% of Americans over the age of 14 went to MacDonald’s in March. Words fail.

A partial list of foods that are banned or recently unbanned from being imported into the U.S.

How to cook dried pasta in one minute.

Why Food? Why Now?

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cook4food Interest in food has exploded in the past decade in the U.S. America has found its palate after being a food wasteland for much of the 20th Century. Why this recent interest in food?

As usual, Michael Pollan has something interesting to say on the topic.

First, we have learned to see that food is not a ghetto, it is a door. You can use food to talk about the environment. You can use food to talk about culture. You can use food to talk about politics. And people took a good hard look at how their food was being produced, and they didn’t like what they saw. They didn’t like the way chemicals were being used on apples, and they didn’t like the fact that we were feeding cows to cows. But what’s driving it now is not just fear but pleasure—people have found that food gives them a lot, it gives them things that they aren’t getting elsewhere in their lives.

I think it’s interesting that this strikingly powerful interest in all things having to do with food coincides with a progressively more mediated, digitized life. We spend our time in front of screens. We don’t exercise our other senses very much. And food is this complete sensory experience. It engages all five senses. It’s a sensual pleasure. And it is also—and I think this is a very important part of the food movement—really a communitarian movement.

I think Pollan is partly right.

In contemporary life, we are certainly becoming less engaged in the physical world and more wrapped up in the whole online experience. But our digitized lives are not lacking in sensory experience. There is certainly plenty of visual and auditory beauty to be found online. Granted the sensations of touch, smell, and taste are left out of the online experience. However, I’m sure,as you read this post, in the back corridors of Google or Apple, computers that produce lovely aromas, rub our backs and are equipped with straws from which we sample the world of flavor are being designed.

When these start appearing under the Christmas tree we will lose our interest in cooking?

I think not.

But Pollan is nevertheless correct in pointing to cooking as an antidote to an excessively digitized life. The problem with the online experience is not sensory deprivation. Instead, it is a kind of passive activity that does not invite us to engage with the world around us. When flitting between websites and social media, we are guided by our own intentions and interests; there is no world to offer resistance that demands a wide range of skills, exertion, self-transcendence, perseverance or commitment. (I’m speaking of entertainment, not work activity that must be done online, which can of course be challenging.) The whole person is not involved and the sense of being guided by something not ourselves, beyond our capacity for full control is less salient.

By contrast, cooking engages a full range of human capacities. It is an inherently meaningful activity in which we strive for excellence by being guided by our ingredients, the limitations of our equipment, the laws of nature, and most importantly the demands of those who will eat our food.

The culture of the table is a place where family and friends come together, where a variety of social dramas are enacted, where we are in dialogue with our community, culinary traditions, our own imaginations, and ideals of a good life in a context in which the hard surfaces of a world pushes back on us and imposes demands we cannot ignore with the click of a button.

It is that engagement with a physical world that we seek when cooking.

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