The Convivial Ape

America is a young country, and our gastronomic traditions are still developing.  While there are doubtless legions of my fellow citizens who would willingly debate the point, the truth of the matter is that durable and unique culinary specialties develop only with time.  While Americans have some interesting foodstuffs at our disposal, one thing that we lack is a national cuisine.

One of my favorite American products has long been the dry aged country ham.  Although Carol and I had certainly heard of country ham, we really only became initiates during a family trip to Williamsburg VA and the mid-Atlantic region.  We were astonished by the number of pancake houses there - by far the greatest number of pancake houses per capita of any region in the country in our experience.  We learned that one route to true vacation bliss begins by starting each day with buttermilk pancakes and a side of country ham.  The true appeal lies in the contrast between the buttery richness of the pancakes and the extreme saltiness of the ham.

A country ham is one that has been salted, smoked and dry aged.  While many use the terms interchangeably, a Smithfield ham is a specific type of country ham, typically aged a bit longer than one called simply a country ham or a Virginia ham – the former are usually aged 9 – 12 months, and the latter simply more than three months.  As a ham dry ages, it loses water weight, giving a more concentrated (and thus more expensive) product.   

According to Wikipedia,

“A 1926 Statute of Virginia (passed by the Virginia General Assembly) regulates the usage of the term "Smithfield Ham" by stating: "Genuine Smithfield hams [are those] cut from the carcasses of peanut-fed hogs, raised in the peanut-belt of the State of Virginia or the State of North Carolina, and which are cured, treated, smoked, and processed in the town of Smithfield, in the State of Virginia.”, although the peanut feed stipulation was removed in 1966.”

“Smithfield” is also a brand: “Smithfield Foods is the world’s largest pork processor and hog producer, with revenues exceeding $11 billion in fiscal 2005” according to their website.  

In any event, when we came back from out trip, we were hooked!  Shortly after our return, we noticed whole Smithfield hams hanging in the butcher shops in Chinatown, and we learned that Chinese immigrants used them as a substitute for the Yunnan hams that are unavailable in the U.S.  We purchased several from various Chinatown grocers, and enjoyed them both with green onions and ginger over chow fun and sliced thin on pizza with ricotta cheese and truffle oil.

Recently, I bought some raw but pre-sliced ham from Father’s Country Hams of Kentucky on the internet.  After a long week on the road, Carol made us a Gruyere soufflé and I fried up the slices of country ham, and we had a baby arugula salad on the side: a meal made in heaven.  Adhering to the policy that the best wine and food pairing is the wine you want to drink with the food you’re going to eat, we had the 1998 Barolo “Brunate” from Ceretto.  

The wine was classic Barolo, with pronounced aromas of dried cherry, earth, violets, licorice and pepper on the nose.  On the palate, the wine was firm and structured, but elegant and well balanced.  The tannins were still very firm, but not harshly astringent.  The acidity was also quite firm, but not in any way tart.  Good length.

One could easily make the case that the truest American cuisine would be a melting pot of different influences.  Still, the country ham remains un vrai produit de notre terroir with few, if any, rivals.

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There has always been a love affair between America and Italy.  Because of the number of Americans whose families are of Italian descent, the ties have always been close, and many cities in the U.S. have their “Little Italy” neighborhood, from Boston to Chicago to San Francisco.  Nowhere is this Italian influence more entrenched than the Arthur Avenue section of the Bronx, a neighborhood whose Italian roots go back to the 19^th century. 

The neighborhood is jammed with renowned restaurants and stores selling everything Italian, from groceries to clothes to furniture to music.  One of the great pleasures for me, though, is the treasure trove of Italian wine known as Mount Carmel Wines and Spirits, just across the street from Our Lady of Monte Carmelo. 

Italy as a wine producer is a country of great variety and quality that is in the midst of exciting change.  Proprietor Raymond Polanco is dialed into the source for the best of Italy at every price point.  Collectors will find the top wines at bargain prices, while those of us shopping on a less exalted budget will also find compelling wines on offer.  My wife and I took the subway up to Arthur Avenue on a recent Saturday and picked out a mixed case of delicious (and affordable) wines, including:

This wine shows bright red and black fruit on the nose with a fair amount of sweet oak and a certain minerality.  Developed secondary aromas such as cedar and lead pencil are just beginning to creep in.  The tannins on the palate are fairly soft, but the mouthfeel is agreeably plump, and the finish is good.  Great value at $16.99 (13.5%)  Imported by Winebow

Although the name doesn’t sound particularly Italian, my first acquaintance with Moris Farms was on a trip to Italy, where I saw it listed on every wine list.  I purchased a bottle of the SuperTuscan Avvoltore off the amazing wine list at Cul de Sac in Rome, and became a convert.  The 2003 Morellino remains true to the house style, with a medium deep garnet color and a ripe cherry/blackberry fruit character marked by sweet oak.  Perhaps because of the vintage, the aroma verges on jammy, although it never tips over the edge.  On the palate, the acidity is soft, along with the tannins, but the wine achieves its own voluptuous balance.  Moderate length.  Great value at $15.99 (13.5%)  Imported by Polaner

Aromas of ripe pear with delicate floral notes on the nose.  On the palate, the wine is creamy and rich, showing balanced acidity, generous alcohol, and lots of extract.  The wine has great balance and good length.  Tasted July 2006

This wine shows a plum fruit with notes of dark figs and prunes and a licorice/mint side that is very alluring.  On the palate the wine is full bodied and tannic, with plenty of acidity.  In spite of all the structure, though, it has a silky texture and very good length that shows a penetrating aroma of violets.  Very successful.  Tasted July 2006

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Consumer choice in the wine market is staggering – there are seemingly endless choices to make: each vineyard site or wine growing region is unique, and once the variables of grape variety, vintage and style are factored into the equation, the number of permutations is mind-boggling.  This is one of the most significant barriers to increasing wine consumption among the general population.

Wine producers and wine regions who succeed in making themselves easily understood are the only ones who have a chance of success.  Champagne is a classic example – it’s all about luxury and celebration.  Australia is another – a region that has developed a reputation for solid, good value fruit-driven wines.

Spain may well be the next success story in this vein.  There are a number of importers bringing in interesting, flavorful wines at very attractive prices.  These wines are produced in a modern, accessible style that consumers in export markets understand.  Moreover, they are labeled in a way that is also easy to understand.  Some of the more interesting include:

Rueda 2003, Las Brisas
This white (a blend of Sauvignon Blanc, Verdejo and Viura) shows clean, pronounced aromas of fresh grapefruit on the nose.  On the palate, the wine is crisp and direct, although fairly simple, with a modest finish.  Quality is good, and, at $8.99 value is great. Imported by Jorge Ordoñez (13%)

Rias Baixas 2003, Nora
This Albariño from the northwest of Spain has peachy, floral fruit character and decent acidity on the palate, but is somewhat lacking in concentration.  Reasonably good quality and value at $13.99.  Imported by Jorge Ordoñez (13%)

Jumilla 2003, Wrongo Dongo
This wine, made from 100% Monastrell (known in France as Mourvèdre) could be called the Zinfandel of Spain.  On the nose it shows overripe, cooked fruit character, and on the palate it is fat, soft and a bit sweet.  Still, this is a popular category.  Quality is fair, but at $5.99, the wine represents a very good value.  Imported by Jorge Ordoñez

Rioja 2002, Sierra Cantabria
This estate-bottled Tempranillo from Spain’s most well-known region shows plenty of wood that obscures to a certain extent the earthy, leathery cherry fruit character of the nose.  On the palate the wine was fairly light and soft – the quality here is not overwhelming, but it definitely represents good value for money on sale at $7.99.  (13.5%)

Calatayud “ía” Garnacha 2003, Villaroya de la Sierra
Fairly light in color, but very aromatic, this wine has brambly, spicy, raspberry fruit on the nose.  On the palate the wine showed fairly light body, generous alcohol, soft tannins, moderate acidity and length.  The virtue of this wine is the very pretty fruit character.  Good quality and at $7.99 great value for money.  Imported by Hand Picked Selections (14%)

Rioja Reserva 1999, Muga
This estate bottled wine (70% Tempranillo, 20% Garnacha or Grenache, and 10% of the indigenous grapes Manzuelo and Graciano) shows ripe and soft cherry fruit with a healthy complement of American wood.  On the palate the wine has fairly medium body, soft acidity, moderate alcohol and a modest finish.  Decent quality, reasonable value at $11.99.

Rioja 2000, Allende
This 100% Tempranillo Rioja shows fairly ripe cherry fruit character with a pronounced earthy, gamey edge.  The nose has more depth of fruit than many at this price point, and is less influenced by new wood.  On the palate the wine shows good balance, with firm tannins, crisp acidity and good length.  This is a good quality wine that is also good value at $15.99. Imported by Jorge Ordoñez (13%)

Toro 2002, Termes
This wine (from 100% estate bottled Tinta de Toro) has black, brambly fruit, but is fairly closed on the nose.  On the palate it shows very good ripeness and is not lacking in structure.  Good quality and reasonable value at $19.99. Imported by Jorge Ordoñez (14.5%)

Jumilla 2000, Las Gravas
This estate bottled, unfiltered wine, from 40% Monastrell, 50% Cabernet Sauvignon, and 10% Syrah shows reasonable red berry fruit but also some bell pepper notes on the nose.  On the palate the tannins are fairly astringent and somewhat green.  Length is moderate.  The quality is good, but the value is fair at best at $24.99.  Imported by Jorge Ordoñez (14.5%)

Ampurdan-Costa Brava 1999, Masia Carreras
This wine from 60% old vine Grenache, 20% old vine Carignan, 10% Tempranillo, and 5% each Cabernet Sauvignon and Syrah, shows very ripe, cooked fruit character on the nose.  On the palate the wine has a soft structure, an almost porty fruit character, moderate body and fairly short length.  Quality is fair and value is acceptable at $25.99.  Imported by Jorge Ordoñez (14.8%)

Priorat 2001, Solanes
This wine shows a deep color and super-ripe fruit aromas with blackberry, plum fruit with notes of Chinese spices, licorice, and cherry pie notes.  On the plate the wine was full boded and alcoholic, with fairly soft acidity, round tannins, a bit of residual sugar, and moderate length.  In its style, this wine is high quality and, at $26.99, very good value.  Imported by Europvin (14.5%)

Toro 2002, Numanthia
This wine (from 100% estate bottled Tinta de Toro) shows spicy red berry fruit on the nose, but is curiously lacking in concentration, either in the aroma or on the palate.  The wine is lacking in depth and short.  The wine shows reasonable balance, and is not flawed - quality is acceptable, but at $37.79, the value is nul.  Imported by Jorge Ordoñez (14.5%)

Rioja 2001, Calvario
This single vineyard, estate-bottled Rioja from 90% old vine Tempranillo, 8% Grenache and 2% Graciano shows very ripe blackberry and plum fruit character with hints of licorice and spicy oak overtones on the nose.  On the palate, the wine shows good tannic structure, balance and length. 

Undoubtedly a high-quality wine, it is still relatively expensive at $49.99.  Value at this price point must be measured against classified Bordeaux, premier cru Burgundy and cru Barolo for example, and at this level is a bit wanting.  Imported by Jorge Ordoñez

The most successful entries to this market from Spain would appear to be those at the premium and super premium price points.  From $6 - $16, the interesting offers are fast and thick on the ground.  While there certainly are worthy wines above this price point, those buyers spending more than $20 should consider their options carefully.

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Everyone loves to stump the expert, and perhaps because some find wine to be a complicated and intimidating subject matter, wine experts are often peppered with questions.  “Name the thirteen grape varieties used in Châteauneuf-du-Pape” is one of the questions most frequent posed by those who like to play this game, particularly after a few glasses of wine.  I’ve learned to be prepared.  In truth, it is fairly easy to rattle off the thirteen.  Perhaps even more interesting, however, is the fact that the question is not so easily answered. 

Châteauneuf-du-Pape is the most famous region in the southern Rhône, and it is renowned for having “thirteen” varieties.  Some, like Grenache, Syrah, Mouvèdre and Cinsault are well known and widely grown, while others are less familiar.  These four often comprise the bulk, if not the entirety of the blend for the region’s red wines, and for this reason I think of them as the Four Major Black Grapes.

To these must be added Four Minor Black Grapes.  Counoise is the first of these, a grape planted in significant amounts chiefly at Beaucastel.  Jancis Robinson refers to it in Vines, Grapes and Wines as a sort of sub-Carignan, identical to Aubun.  Muscardin is a variety that gives light but perfumed wines.  Vaccarèse is rather tannic and peppery, and Terret Noir is light in body with crisp acidity. 

These can be joined, even in the red wine, by Five White Grapes.  Roussanne is the one with the most character and the greatest recognition.  Clairette is widely planted throughout the south, and provides high levels of alcohol, but rather soft acidity.  Bourbelenc and Picardan are grapes with a fairly neutral character.  The final grape is Picpoul. 

Picpoul is where the number of permitted varietals really comes into question.  It is a grape allowed by the AC regulations, but the regulations do not say which type of Picpoul is permitted – Picpoul Gris or Picpoul Noir.  At this point, the number could actually be fourteen.  The confusion is further exacerbated, however, since Terret Blanc and Grenache Blanc are also planted alongside the Terret Noir and Grenache Noir.  In Châteauneuf they are not considered separate varieties, although they certainly are in other appellations. 

By now the number has risen, at least potentially, to sixteen.  As always, the truth of the matter is somewhere in the middle.  On the one hand, grapevines are genetically unstable, and variation exists within virtually all vineyards of a certain age.  Perhaps a look at some other wine regions will clarify the matter. 

The black grape varieties of Burgundy are Pinot Noir and Gamay, of course.  True fans know, however, that many types of Pinot are planted in Burgundy.  Pinot Noir itself has numerous distinctive clones, and there are also distinct varieties such as Pinot Gris, Pinot Blanc, and what has been described as albino Pinot Noir, or Pinot Noir à Jus Blanc.  Not quite as clear as we thought.

So how many grape varieties exist in Châteauneuf?  Since we may never agree on the exact number, perhaps the safest solution is to stick with the lucky thirteen.

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“Wine quality – the critic’s perspective” was the title of one of the more interesting sessions of the Institute of Masters of Wine 2006 Symposium this summer.  James Halliday, Jancis Robinson and James Laube all defined quality in their own terms and then provided wines that they felt exemplified their definition.  Perhaps the most fascinating element was what the critics didn’t say, but left the wines to say for them.

James Halliday was the first to speak, and he described a two-tier system for defining quality, placing the characteristics of focus (described as an American term), line (an Australian term referring to the ability of a wine to present an unbroken sensation from the attack through the finish), texture, length, balance, and elegance or finesse into the first tier and power, typicity, complexity, and absence of fault into the second.

Jancis Robinson said that the most important characteristic was that of refreshment – that a wine should make you want to have a second glass.  Another important element for her was the ability to age or, as she put it, “to beguile and change in the glass”.  Balance was another important attribute, as was the expression of place.  Also included on Ms. Robinson’s list was the necessity to have an interesting or distinctive personality and to have “flavor as well as texture”.  Finally, Ms. Robinson also mentioned “line”, but defined it a bit differently than James Halliday had, saying that a wine needed to have a beginning, a middle and an end.

The last participant, James Laube, also spoke about the necessity for a wine to have a beginning, a middle, and an end, and noted that he likes wines that “reveal themselves slowly”, which seemed somewhat similar to Ms. Robinson’s dictum that wines should beguile and change in the glass.  Mr. Laube went on to describe the importance of depth of flavor and of length and the quality of the finish.  He summed up by saying that “pleasure is the salient point”.

The wines chosen by the participants were interesting and illustrative.  James Halliday included the Leeuwin Estate “Art Series” Chardonnay 2003, and the Penfolds “St. Henri” South Australian Shiraz 2002; Jancis Robinson included the Morstein Grosses Gewächs Riesling from Klaus Peter Keller (based in the Rhienhessen) and a Ridge Monte Bello 1996 (Santa Cruz Mountains), while James Laube included the Alban “Reva” Syrah and the Marcassin “Bondi Home Ranch” Sonoma Mountain Pinot Noir 2002. 

The speakers each had very similar definitions of quality, but the wines they chose revealed their the opinions and prejudices quite clearly.  Each picked wines typical of the regions and the styles with which they have become associated: James Halliday stayed with the Oz classics, Jancis championed restraint and elegance over power, and James Laube opted for what could be called “gobs of fruit”.

What would I choose?  Krug Grande Cuvée and Château d’Armhailac 2001 (that was easy).

My view on quality begins with the catechism that I absorbed on the MW course: balance, length, intensity, complexity.  I see this as an essentially valid framework, and that neither “power” nor “size” appears of necessity on this list.  My love is for wines that are elegant rather than forceful.  Big, powerful, full-bodied, alcoholic wines are often bottled with a hint of sweetness.  In my opinion, these wines are more suited to being poured over ice cream than to being consumed with dinner.

A friend once noted “The first duty of a wine is to have fruit”, and there is nothing more true – wine, after all, it is a beverage made from fruit juice.  This does not mean, however, that wine has to be “fruity”, a word which is often a euphemism for “slightly sweet”, a deplorable style. 

What I mean by fruit is perfume, and to enchant me a wine needs an elegant and penetrating perfume.  It needn’t be all primary berry/tropical/apple-y fruit, but can also include mineral notes and other terroir expression, earthy/gamey/leathery notes, winemaking notes such as butter, lees or toast, or secondary (developed) characters such as truffle, forest floor (sous-bois), or lead pencil.  Ideally, it would have a wide palate of aromatic characters.

Often these aromatic wines are leaner, lighter, and more focused than their richer, stronger, more powerful brethren.  This does not, however, mean less substantial.  The French have a tasting terms (“vineux”) to describe my favorite wines.  Often applied to Pinot Noir, it technically translates as “vinous”, but that doesn’t give the same sense in English.  The Brits sometimes say “sappy”, but that sounds like “stupid” to an American.  I have taken to saying that such wines show good extract, which means having substance without necessarily being heavy (think great red burgundy or German Riesling).

All of our quibbling is of little importance in legal terms – the EU has adopted a very liberal definition of quality wine – their framework includes a demarcation of quality production regions, a definition of quality grape growing and winemaking methods, a declaration of alcoholic strength and maximum yield, and the requirement that all wines be analyzed and tasted.  Aligning themselves with the Mad Hatter, they have decreed that a quality wine is what they say it is, neither more nor less.  At present, there are more than 10,000 quality wine appellations in the EU.

Most new world regions do not embrace even these minimal standards.  While the concept of geographical indications is gaining ground in new world wine producing nations, the distinction between quality wine produced in a specific region (QWPSR) and table wine or country wine has largely not been adopted. 

This discussion begs one question, however: is quality wine necessarily good wine?  There is logically a difference between well-made wine and wine that that is aesthetically pleasing.  In other words – is what is good necessarily beautiful?  Here I would suggest that it is necessary to craft a definition that is sufficiently flexible to include both Jancis Robinson’s Riesling and James Laube’s Pinot Noir.  As a wine professional, I will certainly allow that both are quality wines, while I must also confess that I found the former delicious and the latter undrinkable. 

Perhaps the idea of “quality wine” is itself a red herring.  Do we speak of “quality painting” or “quality music”?   I would be just as eager to attend a performance of Bach’s Goldberg Variations as I would of Hindemith’s “Ludus Tonalis”, while I would have radically different expectations walking into the concert hall.

If the idea of “quality wine” must be replaced by one of “beautiful wine”, then perhaps it is also time to retire the 100 pt system.  I find it difficult to imagine that a music critic would suggest (whatever his personal preference) that Mahler’s “Songs of the Earth” was a 94, while Bach’s Christmas Oratorio was only an 89.  If our judgments of wine speak more to style than an objective quality, how can we justify such a pseudo-scientific approach? 

My personal framework is that wine is either “poor” quality, “good” quality, “very good” quality or “outstanding” quality.  I hate to waste my time with the first category – being of good Midwestern stock, I was raised me to believe that if one can’t say anything good, then its best not to say anything at all.  What remains are the delicious and deliciously different wines from around the world.

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The one bottle of 2002 white that I did bring back with me was very fine.  In spite of the vintage, the wine shows a deep lemon yellow color and a complex, somewhat oxidized, aroma that mixes white flowers with ripe coconut and hints of honey and a fine minerality.  On the palate the wine was full bodied and soft, with generous alcohol, balanced acidity and good length – rather like a white Châteauneuf-du-Pape.
 

According to their literature, the property consists of 20 ha on the hills of “Montaiguet”, located outside of Aix-en-Provence.  The vineyards are planted on a north-facing slope in an essentially limestone soil.  Some of the vines date to the original re-planting after phylloxera.  The black varietals are essentially a blend of Grenache, Mourvèdre and Cinsault, in a field blend with a number of other varieties, including Syrah, Carignan, Cabernet Sauvignon, and the local specialties Manosquin, Castet, and Muscat Noir.  The white wine is composed of Clairette, Grenache Blanc, Bourboulenc, Ugni Blanc and a small amount of Muscat Blanc.

At Clos Ste.-Magdaleine in Cassis we were charmingly received, the location was beautiful, and the wines were delicious.  The Clos itself is three hectares, a further seven hectares are planted on terraces further up the Cap Canaille hillside, and another 10 ha are worked in fermage.  White wines account for 90% of the estate’s production, and the varieties include Marsanne, Ugni Blanc, Clairette, and a bit of Sauvignon.  Some Grenache, Mourvedre and Cinsault are planted on the terraces for the rosé production.

The fruit is picked in the morning to ensure that it is as cool as possible, and it is harvested when physiologically ripe.  In most years this gives 12.5 - 13° potential alcohol, although in 1991 the potential alcohol was 15.5° at harvest.  According to the level of acidity at harvest, the decision is made whether or not to destem the grapes – in years when the acidity is soft, the stems are left.  Fermentation is conducted at 15 – 16° in large concrete tanks cooled by pipes that are lowered into the tank.

The 2004 Cassis Rosé is a very pale pink color (obtained by pressing it off at an early stage), and shows an intense fresh red berry fruit character on the nose.  On the palate, it is crisp and light-bodied; well-balanced, with decent length for a rosé.  Very pleasant.

The 2003 Cassis (the current vintage) shows a clear color and beguiling notes of ripe melon, fig and white flowers on the nose.  The blend is 50% Marsanne, 24% Clairette, 21% Ugni Blanc, and 5% Sauvignon.  On the palate, the wine is fresh, soft and complex, with light body, enough acidity to balance the fruit and moderate alcohol. 

The 2004 Cassis shows more Sauvignon varietal character on the nose, with notes of citrus, herb and fennel.  On the palate, the wine is softer than the 2003 (?) in spite of the fact that the MLF was not done.  This wine as well was very pleasant, although quite different from the 2003.

After this pleasant tour, we proceeded into the port of Cassis for a sandwich on the beach prior to leaving for Bandol.  Our first stop in Bandol was Château Pibarnon, where the 20 ha of vineyards are planted in several parcels on limestone outcroppings above the ancient town of Cadière d’Azur.  According to the danger of chlorosis, the vines are planted on either 110 R, 41-B, or Ruggieri 140.  It is the opinion of M. de Saint Victor that Mourvèdre only prospers in these alkaline soils, and that sites in California and Spain suffer sometimes due to the acidic nature of their soils.  Yields are held to 35 – 40 hl/ha (40 hl/ha is the limit of AC Bandol).

The rosé is produced from an assemblage of 50% Cinsault (pressed directly), which gives flesh to the wine) and a saignage of the tanks holding the Mouvèdre (50% of the volume), which gives structure to the wine. 

After this concentration of the Mourvèdre must, more old vine material is crushed and added to the tank.  This Mourvèdre, along with 5 – 10% Cinsault, is the featured grape in Pibarnon Bandol.  Once the fermentation and maceration (three weeks) have finished, the wine is racked into tonneaux, where it ages on average for 18 – 21 months.

Tasting with the buyer from the Bistro du Sommelier, the Bandol Rosé 2003 is a light salmon in color and shows ripe, soft summer fruits on the nose.  On the palate, the wine has light body and fairly soft acidity.

The 2004 Bandol Blanc is nearly water white, but shows pleasant notes of apricot, fig, and melon on the nose, and medium body, soft acidity and generous alcohol on the palate.  It is composed of 50% Clairette, 30% Bourboulenc, and 20% “other grapes”.

According to M. de Saint Victor, the 2003 Restanque de Pibarnon is not a second wine in the sense that it is a selection to done to improve the grand vin, but is rather a separate wine made from younger vines.  He notes that this wine is finished in new wood, whereas old wood barriques and tonneaux are used for the the grand vin.  The Restanque shows deep color, very ripe red and black berry fruit character and sweet oak spice on the nose.  On the palate the wine is full bodied and silky, but somewhat lacking in structure. 

The 2001 Bandol (14%) has a slightly lighter color due to its elevage, but shows a much more aromatic nose, with hints of ripe red raspberry fruit along with notes of mint and the garrigue and a hints of leather, spice and tobacco.  On the palate the wine is full bodied and tannic, with a massive structure and very good length.

The 2000 Bandol (13.5%) is more open on the nose than the 2001, with very ripe, plummy fruit with notes of licorice and black cherry and certain woodsy notes of game and leather.  On the palate it is tannic and full bodied, yet supple and elegant.

The 2002 Bandol, from a difficult year, was lighter in color, and shows more herbal notes to the raspberry/fraise de bois fruit character.  On the palate, it is lighter, softer, less tannic and a bit shorter.  Well made, but drinking now.

The 1990 Bandol was a beautiful wine, showing a bit of brick on the rim, and attractive developed notes of tobacco, cedar, truffle, leather and lead pencil on the nose.  On the palate the wine has softened considerably, with supple tannins, full body, a rich mouthfeel and a long, lingering finish.

The 2003 Bandol was improved through the production of a second wine.  A barrel sample of this second wine is fruit driven and easy drinking, with lots of upfront red and black berry fruit character, light to medium body and moderate length.  A barrel sample of the grand vin shows a lot of potential.  Although still a bit reduced, it demonstrates a jammy, lush curranty fruit character on the nose, and full body, soft acidity and massive tannic structure on the palate. 

After Pibarnon, we went to the little town of St.-Cyr-sur-Mer, and eventually were able to find Château Pradeaux.  The beauty of the wines richly rewarded the effort to find the place where they had been produced.  The 22 ha of vineyards consist of mainly Mourvèdre, with small amounts of Grenache (5% blended into the grand vin) and Cinsault (which composes 40% of the rosé).  The vines are planted in a soil of limestone and clay at a density of 5000 vines per hectare. 

According to our guide, this very old vineyard site (along with its neighbor Domaine Tempier) had been occupied during the Second World War by the German army, who had destroyed the vineyards, requiring the complete replanting of the entire property.  Replanting at this time had been done with unfortunately productive clones, and the vineyard has been slowly replanted with finer clones, propagated through massal selection.  Although some of the vine material is approaching 50 years of age, the majority is 25 – 30 years old. 

The vineyard is worked without recourse to synthetic fertilizers, pesticides, fungicides or herbicides.  Sulfur is used to combat oïdium, and copper sulfate is used to treat mildew.  Yields are held to 30 – 35 hl/ha, and the crop is harvested by hand, sorted, and lightly crushed but not destemmed. 

The fermentation of the grand vin takes place at 28 - 30° C over 15 days in cement vats, with the extraction being assured through two light pump overs and gentle punching down by hand.  After the maceration, the wine undergoes MLF and is racked into 80 hl foudres for its maturation, which will continue for between 36 – 48 months according to the character of the vintage.  The free run juice and the press wine are aged separately, and only assembled just prior to bottling.  The maturation philosophy generally was described at the property as anti-barrique / anti-new wood.  Even the large foudres are purchased (from a brewery) only when five years old.

The Grenache for the current vintage (2000) was harvested on the 13^th and the 14^th of September, and comprised 5% of the blend.  The old vine Mourvèdre (95% of the blend) was picked between the 6^th and the 19^th, according to the ripeness of the parcels.  The MLF was finished by the 18^th of November, and the assemblage was done in October 2003, prior to bottling in November 2003.

The 2000 Bandol (13%) is very fine indeed, showing a very ripe plummy fruit character with characteristic notes of leather, tobacco and mineral notes.  On the palate the wine was very full bodied and tannic, but the texture of the tannins was very fine, and although the wine was well-structured, it was not excessively astringent.  The alcohol was generous, the acidity balanced, and the length was very good.  We purchased enough of this wine to last our entire vacation – I think it is one of wines best values at 17 euros ex-cellars.

The not yet released 2001 (15.8%) is a truly spectacular wine, with an extremely rich black fruit nose with notes of chocolate, roasting coffee, smoke and licorice.  On the palate the wine was very full bodied and tannic.  Although the alcohol is significant, it is well balanced by the other structural elements in the wine – the acidity was not lacking, and the wine showed great extract and length.  When released, this will be a great wine to cellar for the future.

The rosé is produced through direct pressing, and the juice is settled overnight prior to fermentation between 18 – 21°.  In very warm years (2003 and 2004) the MLF is blocked in order to maintain freshness in the wine.  After fermentation, the wines are fined with isinglass. 

The Cinsault for the 2004 was harvested on the 11^th and 12^th of September and the young vine Mourvèdre was picked between the 17^th and the 20^th of September.  The fining was carried out in February, and the wine was bottled April 14^th. 

The 2004 Rosé (13%) was a very light pink color, and fairly closed on the nose.  On the palate, it showed soft summer fruits and an attractively lush mouthfeel, balanced acidity and good extract.  It is produced from a blend of 60% young vine Mourvèdre and 40% old vine Cinsault.

Friday
After two days of beaches, museums, and small cafés, we continued our wine discovery on Friday.  We left together by 9:30 to see the vineyards of Bellet.  I was unable to secure an appointment at the most well-known property of the region, Château de Bellet, since I had not planned sufficiently far in advance, but we were warmly welcomed on a day’s notice at Domaine Augier. 

The vineyards of Bellet are essentially located in the town and suburbs of Nice, where vines have been planted since Phoenician times.  According to documents from the city, prior to the phylloxera epidemic, the vineyard covered 1,000 ha, although most of this has been lost.  AOC status was granted in 1941, and 650 ha are delimited for the appellation, although there are only about 60 ha currently in production, being worked by 13 vignerons.

The vines are planted at an average altitude of 200 – 300 meters in a soil called poudingue that is composed of gravel, sand, and clay.  They are planted in sunny terraces (called locally restanques), and the two famous winds of the region (the Mistral and the Tramontane) keep the air in continual circulation.

The white wines are based on the Rolle (or Vermentino) grape, which gives aromatic wines with full body and balanced acidity.  Along with Rolle, Clairette, Roussanne and Chardonnay make their appearance.  The reds are essentially composed of Folle Noire and Braquet along with Grenache and Cinsault.

Mme. Augier and her husband are the smallest of the proprietors in Bellet, working only about a hectare of land that has been passed from father to son for four generations.  3,000 – 4,000 bottles are produced each year, and this level of production is understandably not their only means of support.  To refer to them as garagistes would be literally true, with several barriques of red located next to the family sedan.

The grapes are harvested by hand and lightly crushed without being destemmed, and the fermentation and MLF take place in a small cement tank.  The white and the rosé are pressed directly and fermented, while the extraction for the red wine is assured by gentle pumping over and punching down.  The red wine is racked into barrel where it ages for a year to a year and a half, while the white and the rosé have a short affinage in fiberglass tanks, before being bottled directly.

The 2003 Bellet Blanc (Rolle, Clairette, and a bit of Roussanne) shows a pleasant floral/peachy aroma with a hint of herbs on the nose.  On the palate it exhibits relatively full body, fairly crisp acidity, lots of extract and moderate length.  This is very interesting wine, done in a somewhat rustic style, that is perfect on a hot Côte d’Azur afternoon or makes to accompany the local cuisine.

The Bellet Rosé 2003 (14%) showed a pronounced orange tint and a lush, grapey / floral aroma.  On the palate, it has full bodied, and a soft cherry pie fruit character.  This wine was typical of the rosés of the region – fine as an aperitif, but lacking serious potential.

The Bellet Rouge 2003 (14.5%) showed a fairly dark hue that was curiously clear at the rim.  The nose was fairly closed, showing a bit of red and black berry fruit character.  On the palate, however, the wine showed a grapey, soft, silky character with some spice from the oak and present but not overwhelming tannic structure.  The wine showed just a bit of RS and a fairly modest finish.  This is a high quality and highly individual and characterful wine that is very interesting from a regional standpoint.  (Charles et Rose Augier à 680, St. Roman de Bellet, 062000 Nice (A.M.) – tél. 04 93 37 81 47)

After our visit to Mme. Augier, we continued further up into the hills and eventually reached the little village of Coaraze, where we had lunch at the Auberge de Soleil.  Escargots and steak tartare, salade au chèvre chaud and a tourte similar to pissaladière were all as delicious as the view of the mountains that our table provided.  There is also in this town a chapel with frescos by a local master in the style of Perugino that date to 1530.  After giving them the once-over, we drove to the beach at Villefrance-sur-Mer that we had visited on Wednesday morning. 

Why vacation anywhere else?

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