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(Download complete pdf here) New Arrivals Katharina Wechsler Rheinhessen, Germany We started our collaboration last year with Katharina Wechsler’s remarkable 2019 vintage of dry Rieslings from the Rheinhessen’s heartland, Westhofen. 2019 is considered one of the great vintages of recent years. Its high acidity, perfectly matured phenolics and low yields for concentration make for wines that will age very well, and that will also need time to open up once the cork is pulled or a much longer time in the cellar. Katharina began the harvest of her 2020 Rieslings on September 14th, though most of the top sites—the crus that have just arrived—were mainly collected at the end of the month. She explained that in the middle of September nighttime temperatures dropped, allowing the grapes more time on the vine to further develop their aromatic complexities. While the praise is greater for 2019, she believes that 2020 is more balanced overall because of the even crop load and slightly lower degree of acidity, though the acidity is still high. All in all, there may be a better fluidity to her 2020s than 2019—better for today’s market that probably drinks 95% of all of these wines within the first few years of their arrival. At the end of the month, Katharina will be making the rounds showcasing her top cru Rieslings. Katharina’s Big Three Benn sits to the left of the fallow field and goes from the road up the hill Benn, the family’s tiny monopole vineyard site, has perhaps the most diverse plantations of all her vineyard parcels. It’s her biggest section and has the greatest variation of bedrock and topsoil as well as grape varieties. The warmest of Katharina’s three important crus, it’s composed mostly of loess topsoil in the lower parts that sit as low as 120m, and limestone in the upper part, peaking around 160m. Quality Riesling vines are preferential to suffering, which is why it is in the lower sections where much of the non-Riesling are planted. The 50-year-old Riesling vines, particularly those used for Wechsler’s top-flight trocken bottling, are planted in limestone bedrock and limestone and loess topsoil toward the top, not too far away from the bottom of Morstein. Notably, the old vines produce an annual average of nearly 25hl/ha (1.33 tons/acre), and the young vines used for the estate trocken wine 65hl/ha (4.33 tons/acre)—almost a 1:3 ratio; you can imagine which vines are used for the top wine. The quality of Riesling generated from Benn is noteworthy, but there’s no doubt its current highs at the Grosses Gewächs level (while it isn’t classified as a GG wine, nor is Katharina in the VDP) are not yet the same level as Kirchspiel and Morstein. That said, Benn is still being discovered by Katharina. To this taster, Benn produces a substantial Riesling and it has very impressive moments, especially with more time in the glass. When the others shine so brightly in their own individual way, Benn has been upfront but somehow still a slower burn. The material for potential greatness is unquestionably in the wine’s interior, but it often needs a little more time open and perhaps more cellar aging too, to fully express itself on a level similar to Kirchspiel and Morstein. You can read a more exhaustive account of this vineyard and the others on Katharina’s profile on our website (here). Morstein vineyard Kirchspiel is a great vineyard and screams its grand cru status (Grosses Gewächs) upon opening. It’s always the readiest out of the gates—in the range of other growers as well—and for many reasons such as its amphitheater shape that faces the Rhine River (but still roughly five miles away by air to the closest point) with its southeastern exposure an average of around a thirty percent gradient, with bedrock and topsoil composed of clay marls, limestone and loess. It’s warmer than Morstein because of its lower altitude (between 140m-180m) along with the curvature of the hillside that allows it to maintain greater warmth inside this small topographical feature that shelters it from cold westerly winds. Katharina has three different parcels in this large vineyard with reasonably good separation, giving the resulting wines a broader range of complexity and greater balance. The three different parcels were planted between the years 2000 and 2015 and the average yield between them ranges from 40hl-60hl/ha (2.67-4.0 tons/acre), with some of the fruit slotted for the Estate Riesling Trocken and the Feinherb Riesling Trocken, the top quality lots (which doesn’t always have to do with yield, but rather specific parcels that naturally excel beyond others) for the Kirschspiel Trocken, and the difference for the Westhofner Riesling Trocken. The youth of these vines is on display with the resulting wines and their vigorous, energy-filled, fruit-forward personalities that balance the mouth-watering, mineral-rich palate textures and aromas. Kirchspiel is a leader in the range of all who have Riesling vines in this gifted terroir, and it’s considered one of the country’s great dry Riesling sites. Morstein, Rheinhessen’s juggernaut limestone-based, dry Riesling vineyard is—even with vines only replanted in 2012—the undisputed big boy in Katharina’s dry Riesling range. It’s one of the vineyards that first made Klaus-Peter Keller famous (I believe the other was Hubacker), and from what KP told me some years ago, it’s also the principal location for his G-Max Riesling (the precise location of which he won’t openly disclose now because some years ago some overindulgent visitors were made privy to its location and later stole a bunch of the grape clusters!). Katharina’s Morstein vines are massale selections from the Mosel and have smaller, looser clusters with naturally low yields, even from the young vines. A mere pup by the standard of vine age, Morstein is formidable. And while it’s not as flashy out of the gates, it picks up serious power and expansive complexities that seem to know no end. There are many top wines in the range of the world’s great producers that behave similarly. Take the slow burn once the corks are pulled on Armand Rousseau’s Chambertin compared to the all-out charge of their crowd-pleasing Charmes-Chambertin; Cavallotto’s Riserva Barolos, with the long-game, Vigna San Giuseppe, that trounces after hours open, versus the upfront Vignolo that has a smaller window of greatness; Veyder-Malberg’s greatest pillar of Riesling purity and deep power, Brandstadtt, next to the ready-to-go Bruck; Emrich-Schönleber’s regal Halenberg on blue slate versus the friendlier Frühlingsplätzchen spurred into immediate action from its red slate. Morstein is no rapid takeoff F-15 fighter jet with instant supersonic speeds. It’s a rocket ship with a slow initial takeoff and a steady climb that reaches 17,000 mph before entering orbit. Morstein faces south and rises to a high plateau of around 240m with a 20% gradient (a slope hard to understand from a distance but more evident when standing in the vineyard), all on limestone bedrock. The topsoil is referred to as terra fusca (black earth), a soil matrix of heavy brown clay. Its low to medium topsoil depth (by vinous standards), combined with limestone fragments from the underlying bedrock limits its ability to store water than Katharina’s other main sites. Its root penetration into the subsoil is also a more difficult challenge, giving the Riesling vines the much-needed stress to regularly pull off peak performance. These young vineyards yield between 35hl/ha and 55hl/ha (2.3tons/acre to 3.7tons/acre), relatively low numbers for young vines that demonstrate Morstein’s spare vineyard soils. Cume do Avia 2021s Ribeiro, Spain The stress of each year at Cume do Avia pays dividends on the final wines. Every year, brothers Diego and Alvaro Collarte, and their cousin, Fito Collarte Pérez, enter the ring with Mother Nature to take her punches. They’re pummeled with frost, mildew, disease, and hail—everything! 2021 was no exception, but a complete opposite from the previous year, except that they had about the same 50% losses in overall yield. They may get beat up pretty badly but they still manage to win, and each year is another hard-earned uptick in the overall quality of their wines. Vintage 2020 & 2021 2020 was a dry winter followed by a rainy and cold spring, and fifty days straight summer sunshine before a wet fall. 2021 had a wet winter, late budbreak and dry spring, wet and rainy summer, and a dry autumn. 2020’s losses were mostly due to bad flowering, while 2021 was mostly due to mildew during the fruit season. Diego pointed out that even though the losses were 50% in each year, they were at about 25% of the production capacity of their vineyard when all the young vines will begin to produce to their potential. With this, you can imagine the amount of work they do each season for such meager yields. Especially notable in 2021 was the high level of humidity from the daily fog that only encouraged an explosion of mildew pressure and a severe selection through periods prior to the final harvest. Under organic culture, this is especially difficult. For varieties that need a longer growing season, like Sousón, Caíño Longo and Caíño Redondo, it was imperative to pull them earlier than they wanted. It’s for this reason that they were not made into single-varietal bottlings but instead were all blended into the Colleita 9 Tinto, just like their 2020 estate reds. Stylistically, the 2020s are more structured and 2021s are sharper and more angular. 2021 Wines Arriving are their two bottlings from the Arraiano estate, owned by another extended family member but farmed by the Cume do Avia team. These Arraiano wines are usually a little fruitier than the Colleitas. It’s another year where they skipped the single varietal bottlings because of the devastating low yields. 2022 will again have the full range of goodies in single-varietal form. In the meantime, we get to take advantage of having all their best materials from each vineyard area blended into a single wine. The Arraiano Branco is 59% Treixadura, 15% Albariño, 13% Godello, and 13% Loureira. Colleita 9 Branco is 53% Treixadura, 29% Albariño, 10% Loureira, 5% Lado, 2% Caíño Branco and 1% Godello. Treixadura has a medium to low acid profile with a more herbal, floral, and white, non-citrus fruit notes, the supporting cast of other grapes are all of much higher acidity, with stronger citrus characteristics and more taut stone fruit qualities to give these wines some punching power and a little more fruit. Both the wines are aged in stainless steel vats. Both reds are aged in large, restored chestnut barrels (some nearly 100 years old) and very old, medium-sized oak barrels. Every vintage the Arraiano Tinto comes from the same plot (as does the white) and is almost always the same blend of 60% Caíño Longo, 13% Sousón, 10% Mencía, 9% Brancellao, and the remaining 8% a mix of Mouratón (Juan García), Merenzao (Trousseau) and Garnacha Tintorera (Alicante Bouschet; not the same grape as Grenache/Garnacha). The dominance in Arraiano Tinto with Caíño Longo makes a wine with perhaps a touch more tension and red fruit compared to Colleita 9 Tinto. In top years, Colleita 9 Tinto is a blend of grapes that don’t make the single-varietal bottlings (Caíño Longo, Brancellao and sometimes Sousón). That’s what makes the 2020 and 2021 bottlings of this wine so special—they have all the best stuff from each harvest! It’s a blend of 28% Sousón, 27% Caíño Longo, 24% Brancellao, 9% Mencía, 6% Carabuñeira, 4% Merenzao and 2% Ferrón. The Caíño Longo brings some electric thunder, Sousón brings animal, spice, darker color and even more acidity and tannin, and Brancellao softens both of those strong personality grapes with its extremely fine nuance, beautifully balanced freshness and extremely pale color. The others, Mencía brings more fruit, Carabuñeira more tannin and color, Merenzao higher aromatic tones and Ferrón more beast, pepper and inky color. Birgit Braunstein Burgenland, Austria Our biodynamic guru, Birgit Braunstein is on the far eastern side of Austria in Leithaberg, on the north end of Burgenland. Many centuries ago, this region was inundated by Cistercians, the same monks responsible for advances and the preservation of knowledge in Burgundy and Galicia, among other European wine regions. Here the rock types are limestone and schist, no surprise for the monks who had a thing for limestone (Burgundy) and metamorphic rock (a good chunk of Galicia). Birgit is without a doubt one of the most actively thoughtful producers we work with. Nearly every month a personal email arrives wishing us well and with news and inquiries of how things are going for us. Not only does she farm her vineyards under biodynamic culture (Demeter certified), she lives that same culture in her daily life. A single mother that raised her two twin boys alone since birth and who are now running the winery with her, she’s a bit of an angel and she reveres everything around her, including you. She’s our Austrian Mother Goose. While she is most known for her Blaufrankish red wines, Birgit also has a zillion different cuvées of experimental wines mostly sold in Austria. They’re pleasurable, with solid terroir trimmings. We showed a set of them at an event just before the pandemic struck and they were a hit. It’s maybe understandable that we forgot about them while the world was falling apart, but they’re now back and even better, as she has a couple more years under her belt. We were able to secure a good quantity of these wines but we expect they won’t last long. After tasting her range of skin-fermented whites some years ago, I asked if she could make one that is easier on price, and she came through with her first bottling of the new wine, 2021 Pinot Blanc “Prinzen.” This delicious and fun wine meant for early drinking (and I don’t only mean before noon) comes from a very serious terroir buzzing with biodynamic life. It’s on the top of the Leithaberg hill, one of the most historical sites in the area, and abuts a forest that helps to regulate the temperature with cold northern winds that pass through the trees and into the vines in this relatively warm and humid area close to Lake Neusiedl, a shallow, landlocked saltwater sea (that’s also mosquito hell!). Pinot Blanc is known to have been in Burgenland since the Fourteenth Century and is grown here on limestone bedrock and clay topsoil. It’s almost too good for such an inexpensive biodynamically farmed and clean natural wine. It spends three days on the skins, pressed and then aged in steel tanks for six months. 120 cases imported to the US. Birgit’s 2020 Pinot Blanc “Brigid” is named after the Celtic goddess of light. This is a step up in complexity compared to the Prinzen Pinot Blanc, vis-a-vis its cellar aging and what Birgit considers to be ideal for a deeply mineral wine due to its schist soil. This wine made from 42-year-old vines was skin fermented for three weeks (so seven times more than Prinzen) before being aged in old, 500l barrels. Birgit describes it as having a strong presence of flint in the nose and subtle notes of marzipan, menthol, graphite, lemon verbena, white flowers, and ground hazelnut; fully ripe and vibrant with a taut mineral structure and long finish. 35 cases imported to the US. Birgit Braunstein's nature-filled vineyards Birgit’s 2019 Sauvignon Blanc “Nimue” is skin fermented for two weeks prior to pressing, then aged in old, 500l barrels without sulfur additions until bottling. Birgit describes this wine grown on limestone as delicate elderflower, fruity extract, pure minerality, and a robust structure derived from a prolonged maceration period. Birgit named the cuvée after Nimue, “Lady of the Lake,” a ruler in Celtic mythology who gave Excalibur to Arthur from within her waters, and she was the foster mother of Lancelot and Merlin’s lover. 35 cases imported to the US. Domaine Chardigny Beaujolais, France Victor Chardigny We also have some 2021 wines arriving from Domaine Chardigny. It was a soul crushing year for the Chardigny family with terrible losses on Beaujolais and even worse on Chardonnay. The battle for grape preservation began in April with a frost that killed a lot of early shoot growth, followed by a snowfall that added enough weight to the remaining tender shoots for them to break. Then there was heavy rain in July and August (more or less the same weather I experienced in Portugal during the summer) and then a dry enough final to the season to pull off healthy grapes with what was left. We spoke with Chardigny about getting behind their Chardonnay wines in a bigger way, but that will have to wait until the 2022s. After a series of hot years (2017-2020), we are finally able to relax and swirl copious amounts of low alcohol Beaujolais—the only problem being that the quantities are so miniscule! Wouldn’t it be nice if we could just take the average alcohol in a ten-year period instead of such swings? As mentioned in all past promotions of this young group of sons in charge of their family’s winery, they are on a constant upward trajectory. The first vintage we imported from them was 2016, a tough year in itself, and the rest were warm or hot years that they managed quite well. Now with 2021, we get to see what they would’ve done with a vintage that resembles what was more common in the past. Domaine Chardigny first bottled Beaujolais-Leynes with the 2020 vintage. Named after their hometown, it’s a Beaujolais-Village appellation wine sourced from vineyards at the geological convergence between Beaujolais and Mâconnais. It’s made entirely with carbonic fermentation with 100% whole clusters in concrete and stainless steel with almost no intervention over its two-week fermentation. This wine is a reaction to the need for a more price-friendly Beaujolais, and it delivers the spirit of these young and generous guys. Standing in Saint-Veran and looking at Beaujolais across the way Chardigny’s 2021 Saint-Amour Clos du Chapitre continues to dazzle with its trim figure and subtler notes than its counterpart, the 2021 Saint-Amour À la Folie. À la Folie has won over so many with its unabashed, bodacious curves, middleweight texture and big but trim flavor. It was always the greater potential production between these two Saint-Amour crus and was the one on which they ran most of their experiments, with different aging vessels of concrete, stainless steel, foudre, and small oak barrels (called fûts de chêne, or simply fût, in Burgundy).The 2020s I tasted out of barrel with Victor and Pierre-Maxime were stunning. I didn’t make it back to Beaujolais to taste the 2021s out of barrel this last year, so I don’t have the comparison to it, though I already know in the bottle it’s showing beautifully and it’s certainly less full bodied. Pique-Basse Roaix, Southern Rhône Valley Every order we receive of Pique-Basse evaporates almost overnight. Frankly, we’re pleasantly surprised that in this low-alcohol focused market that many buyers continue to recognize that one can make a good wine with low alcohol, but in some regions, like the Southern Rhône Valley, picking when the phenolics are properly ripe leads to wines of greater depth. The reality is that many wine drinkers who can actually afford to eat out in restaurants of high quality want more classically styled wines, not only natural wines, especially in the Southern Rhône, like the wines of Pique-Basse. Arriving are 2021 La Brusquembille, a blend of 70% Syrah and 30% Carignan, and 2019 Le Chasse-Coeur, a blend of 80% Grenache, 10% Syrah and 10% Carignan. Syrah from the Southern Rhône Valley is often not that compelling because it can be a little weedy and lacking in the cool spice and exotic notes that come with Syrah further up into the Northern Rhône Valley. However, La Brusquembille may change your opinion, especially with the 2021, a cooler vintage with even fresher and brighter fruit than usual. Without the Carignan to add more southern charm, it might easily be mistaken for a Crozes-Hermitage from a great year above the Chassis plain up by Mercurol, where this appellation’s terraced limestone vineyards lie and are quite similar to the limestone bedrock and topsoil at the vineyards of Pique-Basse, without the loess sediments common in Mercurol. It’s not as sleek in profile because it’s still from the south, but its savory qualities and red and black fruit nuances can be a close match. Despite the alcohol degree in the 2019 hitting 14.5% (while the target is always between 13%-14%), Olivier tries to pick the grapes for Le Chasse-Coeur on the earlier side for Grenache, a grape that has a hard time reaching phenolic maturity at sugar levels comparable to grapes like Syrah or Pinot Noir, so he farms accordingly for earlier ripeness with the intention to maintain more freshness. It’s more dominated by red fruit notes than black—perhaps that’s what the bright red label is hinting at—and it’s aged in cement vats, or sometimes stainless steel if the vintage is plentiful, to preserve the tension and to avoid Grenache’s predisposition for unwanted oxidation. Both Le Chasse-Coeur and La Brusquembille offer immense value for such serious wines.  

The style of wine crafted chez Collet is directed by the deep history with their family's vineyard parcels, how they grow and how they’re different from each other. Each wine has something to say, and the Collets have taken the route of customizing their approach to exemplify the natural talents of their many different vineyards. At the young age of twenty-one, the eccentric and fun-loving Romain Collet knocked it out of the park with his first vintage, 2008, which was also the first vintage we imported from their domaine. The foundation established by centuries of viticultural knowhow passed down through generations and Romain’s relentless curiosity and desire for improvement further set the stage for decades of inspired drinking from this domaine gifted with an average vine age of about fifty years. Romain pointed out that, “I am the luckiest generation. To have old vineyards like these to work with in my lifetime is something special, and it’s thanks to my grandfather, Jean.” Organic viticulture is now part of the domaine’s practice under Romain’s direction. The two grand crus Valmur and Les Clos, the premier crus Montée de Tonnerre, Vaillons, Butteaux and Les Forêts have all been converted to organic farming, as well as a good portion of the Chablis AOC wine, where the organic viticulture conversions were first done. The rest of their vineyards are sustainable, lutte raisonée, farming with the intention of eventually having all the sites fully converted. (Read more about Domaine Jean Collet here.) The first Chablis in the range, their village wine, comes from many parcels throughout the appellation, with a large portion from the backside of the Montmains hill, facing the premier cru hill, Vaillons. Were it not for its soft northern exposure, this vineyard section surely would've been a premier cru because it shares the exact same geology: kimmeridigian limestone marls with limestone and clay topsoil. This entry-level Chablis for the range over delivers for its price and classification. (Read more about the Chablis here.) The premier cru Montmains is located on the left bank of the Serein River. This south-facing lieu-dit is likely the rockiest premier cru within Collet's entire range. There is nearly nothing that sits between the Kimmeridgian marl bedrock and the vine roots, but an extremely shallow topsoil of clay and limestone rocks. The wine is aged exclusively in stainless steel tanks for eleven months and leads the pack with the most intense mineral impressions. (Read more about Montmains here.) The vineyard for the premier cru Vaillons has an extremely high concentration of rock mixed in the topsoil with very little clay and organic matter—but still more clay than the neighboring cru, Montmains. The somewhat steep slopes reach higher elevations than Montmains as well, and its similar south-face brings the advantage in even ripening across the entire hill. The higher quantity of clay brings to it extra weight, and fills in-between its lines with a little more body. The wine is raised mostly in stainless steel with a smaller proportion in an old 85-hectoliter foudre, all to preserve its slightly angular dimensions. (Read more about Vaillons here.) The most famous premier cru of Chablis is Montée de Tonnerre. The thin Fyé Valley separates it from the grand cru slope, and if it weren’t for some weakness in the bedrock that eventually led to the creation of this erosional valley in former times, Montée de Tonnerre would likely have been included in the grand cru classification. It shares nearly the same southwest aspect as the grand crus, as well as the deep marne (calcareous clay) that is mixed with Portlandian limestone scree and Kimmeridgian limestone marls that have been unearthed through time from the bedrock. This wine is fermented and aged in second- and third-year 228-liter French oak barrels. (Read more about Montée de Tonnerre here.) Collet’s Chablis Grand Cru Valmur is a true grand cru in every sense. Their parcel is nestled high up on the slope near the top and faces slightly northwest, while the other main face of this vineyard sits opposite, facing south. It has relatively shallow topsoil (at least by grand cru standards) thanks to gravity. The vineyard’s altitude keeps it fresh, and that combined with its favorable aspect will give it an edge in the face of climate change. Because of its endowed mid- and back-palate weight and full finish, complexity, minerality and nuance, if a blind-taster got as far as pegging it as Chablis, it would be nearly impossible to not sense its breed as that of a grand cru. It’s fermented and aged in second- and third-year 228-liter French oak barrels. (Read more about Valmur here.) Click here for all available Jean Collet wines

Brézé & Bizay His Way Photo and interview by Ted Vance Spring 2021 How did an Oregon native like you end up in France? I moved to France in 2007 after I finished up my studies in Oregon. I double majored in French. I wanted to leave the US for a period of time, looking for adventure, and Europe offered so much of what I wanted. And I met a French woman whom I was married to until a few years ago. How did you find your way to Romain Guiberteau? I lived in Paris for several years and finally moved to Saumur in 2012 to work as Romain’s apprentice. Before that I was working in retail sales in Paris with Joshua Adler, who moved on to start Paris Wine Company. He and I were selling Romain’s wines in the store next to the Louvre. Romain’s wines were some of my favorites in the shop. Once I started tasting through more Saumur wines, I quickly became fixated on the region as a whole: the vibrancy, the electricity. These were the wines that really spoke to me—almost on a spiritual level; but that’s another subject… How have you seen Romain grow over the years? Maybe the most obvious thing is that he’s mellowed out—I guess that’s the most honest answer. He’s also become more in tune with his different vineyard sites. He has the same intensity as his wines and these days they’ve found a greater balance and harmony. I can’t explain why, but perhaps it’s the same for his personal life. He’s been more in tune with his surroundings, like the vineyards and the perspectives of others. He’s truly an altruistic person. He loves giving things. That may even drive his wines: he wants to give people the best he can give in his wines. How much of a part has Romain played in your company’s development? He’s helped me a lot, especially with the market for my wines and his wisdom on what to do. I feel especially lucky in that I’m able to benefit from both his mistakes and his successes. What other wine regions or vignerons have influence on your wine style? Of course, I love Burgundy. I love Pinot Noir. I think specific varieties on certain terroirs are just transcendent. I think probably Fred Mugnier’s are the first ones that pop into my mind. They are benchmark wines for me because they have this extremely fine touch, an ethereal side—maybe even a heavenly side to them. This is the kind of wine that I want to achieve. There’s something in his wines I find both rooted in its minerality and structure and also lifted, high up, where a polarity exists between the elements. This is what I want to try to achieve with my wines. As far as other favorite regions, Muscadet is one of the top for me in the Loire. Jura white and red inspire me too. I’m also totally digging wines from Languedoc. Riesling. Gruner Veltiliner. I’m not so knowledgeable about Spain or Italy, but the Albariño wines Manuel Moldes brought for us on your trip together to Saumur were a real surprise in how good they were. Farming principals? Yves Herody method. Yves wanted to help farmers get back fertility in the soils while at the same time rebuild the soil structure, which are two things that don’t come together for a lot of people. The idea is that we need to introduce fresh organic fertilizer into the vineyards every year: cow manure, cover crops like fava bean, rye, clover, mustard, etc—things that capture nitrogen and put it into the soil. The plants are later tilled into the soil during the winter along with the composted manure. What it's doing is replenishing the soil microbes and organic matter so that the different soil horizons interact better together. It’s a close relative to biodynamic methods of soil preparation. I’ve been doing this since 2018. Romain’s wines have commonly shown more reductive elements compared to wines from other growers on Brézé. What do you attribute this to? I think that residual SO2 in the vineyards is not the ultimate cause. But after pressing we keep a lot of the heavy lees, which is really rich in nitrogen that the yeast needs. Already this makes for more reductive elements. We don’t give the whites any air during fermentation to resolve some of these characteristics. If you compared Romain’s white wines with Arnaud Lambert’s, one of the biggest differences is that Romain works with more lees. How has the climate changed since you began with Romain in 2012? The climate has been whacky ever since I’ve been here. This year (2021) seems to be a later year. Things are changing. It’s noticeable. It's erratic and harder to predict. These days the forecasts are becoming less correct with patterns. It’s tricky because we can’t plan perfectly, but we collect a lot of information from many different sources to make our decisions. What adjustments have happened strictly by the influence of climate change? We used to deleaf more but have stopped that almost entirely because the summers are like 100 degrees now. In 2019, for example, we had a severe drought and everything shriveled up. We’re also considering more grass in the vineyards, to let it go until its past its growth cycle, then roll over it with a type of pincher that creates a kind of mulch that keeps the soils cooler and more humid. Picking dates are certainly earlier. Acidity and pH are changing too, but in the wrong directions. How is your style of wine different from Romain’s on Cabernet Franc? The vinifications are similar to Romain’s, but I’m shortening my time on the skins. My Saumur red is only four days on skins while Romain does six or seven. I don’t work with press juice, but only free-run juice. Romain works with selective-press juice. The wine is aged in stainless steel, but I’m moving toward cement next year to work against the reduction. My first addition of 20ppm of sulfites is made when the grapes first come in. The second is about 10ppm after malolactic. Neither Romain or I are interested in having brettanomyces around so we calculate to have the right amount of free sulfur to keep that out of the mix. I would say that I have a lighter, more ethereal style but with the same ripeness as Romain’s, and there’s definitely less tannin on my reds. My new cru red, La Ripaille, is seven to eight days on skins and in barrel for a year. There’s about 20% new oak and the rest is a spice rack of older barrels. And Chenin Blanc? My Saumur appellation wine is aged on its fine lees for six months, then it’s filtered and bottled. Les Chapaudaises is twelve months in barrel, followed by a few months in tank. The Brézé bottling was originally like Chapaudaises, but because the grapes come from old vines I think I should’ve aged it longer—maybe two years, instead of one year in wood, plus six months in tank. For the foreseeable future Brézé will be in élevage for two years before bottling. All the whites are filtered because they all have malic acid, and malolactic fermentations are rare, if they ever take place. Regarding the vinification, I use less lees than Romain and have a tighter racking after the pressing. I love reduction in wines but I feel like it’s not necessarily the style I want. I think it can take away from the purity of Chenin Blanc and its ability to transmit its terroirs. I respect and understand that, but I feel that it puts too much of the person’s influence into the wine. The Brézé bottling has 30% new oak, but with a light toast. Les Chapaudaises has 20% new oak, and the others have no new oak. What is your idea of the perfect soil composition for Chenin and Cab? Limestone. Romain’s grandfather had the basic principle of a topsoil of one meter or deeper and you plant Cab Franc, because the roots need bigger systems. It doesn’t like to suffer and it also needs a lot of nutrients. By contrast, too much topsoil with Chenin makes the vine too vigorous and it will vegetatively grow too much with a consequence of less energy spent on the grapes. Is there a perfect soil composition for the type of wines you like? I love the mix of clay, loam and limestone together. The clay gives a certain structure and the loam gives a certain sweetness (without residual sugar) and the limestone gives it the grip, like sucking on a rock. I think the best expression of Cab happens on sandy clay soils over limestone. Sand gives the light powdery texture; the clay gives the structure more depth. Limestone gives textural finesse and influences the fineness of the tannins on the finish. I find that limestone as a whole draws the finish on a wine to something longer and more complete. Can you explain each of your vineyard sites? All of my vineyards on Brézé face south/southwest. Les Chapaudaises, which is in the commune of Bizay, faces north/northeast and is only a couple of kilometers away from Brézé. Les Chapaudaises is next to Romain’s Clos de Guichaux vineyard. It’s planted on about 40-50cm of clayey loam with a lot of sand on tuffeau limestone bedrock. The wine is more “vertical” with more of a straight-razor-edge profile by comparison to the Brézé wine. The vines were planted sixteen years ago and have been organically farmed since 2010. The Brézé comes from old vines on clayey loam on limestone bedrock. It has a sort of thicker structure and gives the wine a more austere character with a more “horizontal” profile. The vines are seventy years old and began organic conversion a few years ago. The Saumur rouge comes from five-year-old vines on the Brézé hill. Its topsoil is sandy loam over limestone, a combination that gives a lighter texture and touch on the tannins. The plot is a little over half a hectare in size on the site known as “La Ripaille.” This wine is different from the others in that I intended to make a quaffable, easy-drinking and fruit-forward wine. My vision of Cabernet Franc has been evolving for several years. What I once saw as a rustic, terrestrial grape variety, I now see as having the potential of making something brighter, more fruit-forward, and much more fun to drink when it’s young. La Ripaille has seventy-year-old vines on sandy loam, or clayey loam—depending on the section—but all over limestone. What are people planting when they have the opportunity to replant? People are planting more Chenin now instead of Cab. The global market demand and need for Chenin has grown a lot, and there is already a lot of Cab grown inside of the Saumur-Champigny appellation. Brézé is outside of the appellation and still has a lot of Chenin Blanc grown on the hill. People focused on red much more in the past, but this is flipping. Can you talk a little bit about the vine material planted in the region? I’ve talked a lot with Arnaud Lambert and he’s shed a lot of light on the fact that much of the younger vines are planted to productive varieties rather than quality focused ones. What are your thoughts about this? We don’t talk enough about vine materials, but I think this is an important and necessary subject. A lot of people talk a lot about minerality but without talking much about the rootstock and vine material. Why is this important? People think that old vines simply produce more mineral wines or wines with more depth. I don’t think that’s the case because you could have the SO4 rootstock that gives big, juicy grapes, but not concentrated flavors and textures. Then you could have a limestone resistant selection massale rootstock called Riparia Gloire, which gives tiny, concentrated clusters where even the young vines are giving amazingly pure expressions with great distinction of the terroir and vintage. I don’t think people are talking enough about the importance of it from a genetic vantage point for the right rootstocks either. The rootstock is a filter between the soil and the grape. What is your perception of how the wines taste when grown on contrasting soils, like clay, sand, rock? I think that a lot of it depends on how the winemaker makes the wines. I like to think the lighter the soil, the lighter the wine is on the palate. The rockier or denser the soil is, the same can be said for the wine. I feel the world has an idea of malolactic fermentation as being very specific in its influence on Chardonnay, but my feeling is that it’s not quite the same with other white varieties. How does it influence the taste on Chenin? ML is hard for us to attain because of the low pH levels. Bacteria just don’t like that environment. At Romain’s cellar we’ve only had it twice by accident. However, in my opinion it rounds out the palate and you lose edge—it dulls the razor. There’s a roundness and sweetness with ML in Chenin. I feel that the intense acidity [without a malolactic fermentation] melds together over time. When Chenin is young, the acidity stretches it like a rubber band, but over time the tension eases. When you use the word minerality, what does that mean to you? How is it perceived? Aromas? Mouthfeel? A combination? This is a can of worms. It’s a huge debate. I think there is a misconception of minerality. Is it even something we can define? I don’t think we will find exacting definitions of this. I try to avoid using minerality as a descriptor, but it’s hard to find other words. But I think when it comes to Chenin from Brézé, I see it as a sort of flinty, reductive smokiness. I think in the mouthfeel there’s a depth that draws the wine out. It seems to give a certain verticality to the wine. It also lingers on the front part of the palate, and it opens up my appetite. I think this is why they are fun to pair with many different types of food. There’s a saltiness to the wine and I think this makes it work exceptionally well with food because many people like salty food. We all know that salt enhances taste and I think minerality does the same. Last one. What is your feeling about reduction and/or acidity as an interplay within the concept of “minerality”? For me, reduction does enhance the perception of minerality, but it also can confuse the palate and aromas. Sometimes that is intentional by the winemaker, but sometimes it’s not. I think it’s all a question of balance. I feel I’ve grown a lot and am still growing in my understanding of minerality. Sometimes when I taste Olivier Lamy’s Saint-Aubin wines, (a benchmark white wine producer for me) there’s a richness to the body, some flesh, a backbone, a hold or grip in the wine like: Wow! It can give me goosebumps. One question I struggle with as a winemaker is, “What’s the fine balance of minerality? Can it be too intense and dominate the wine?” When I made my 2015s, my first vintage, they were like lemon juice. But when I open a bottle now that acidity is finally integrated into the wine. So I ask myself the question of whether I am making a wine for now, or do I want to make something that will open up later in its life and integrate that intense acidity and find harmony? What’s the right balance between all those elements that will get it right for the wines I’m making?

Our good friend, guru and professional skipper, Dino Giordano, in the Amalfi Coast Every year it’s the same story: How did summer fly by so quickly? It really is hard to accept that it’s already September. After a long road trip visiting friends/producers, I’ve returned to an overload of work, yet I still manage to find time to sit down and work on our newsletter. The truth is, this is my favorite of all the pieces I write. Well, here we go on number seven, and I haven’t missed one since the first rolled out in March of this year. There’s always so much to share and since I rarely get to see anyone other than our producers face-to-face anymore, this is one of the ways of keeping you apprised of what’s going on. I was on the road for six weeks through Northern Spain, Southern France, Northern Italy, Austria, Germany, and back through Champagne, Chablis and Côte d’Or, and then on to my final work stop in Beaujolais—always a good place to have the last bash. It’s hard to keep going after visiting those guys because they often prefer to drink during the day more than work, with the first glass poured at lunch and the river of Beaujolais still flowing well past midnight. During the trip I started a travel journal that I’ve appended to the bottom of the last few newsletters where I recount a bit of the play-by-play. It was one of the best work trips through Europe I’ve had, and with these entries I enjoy sharing my experiences and the things I’ve learned along the route. Nevertheless, the tradition of including the journal with each newsletter will be short-lived. Instead, it’ll be published separately and probably around the middle of each month to help keep these notices shorter and more purely focused on the new goodies we have coming in from Europe. However, there is one addition to this newsletter introducing a new companion I had with me on my trip in the form of a drone. I started filming from the sky this year (and of course I’ve crashed a couple of times already, though I’m getting better) and it’s brought me a fresh perspective on our wine world. It’s totally different from anything I’ve experienced over the years and it’s prompted some new lines of thinking. I’m editing the footage to make videos and aerial photos available for you to browse on our website and an introduction to the endeavor, A Drone’s Eye View, can be found at the bottom of this issue. This month I will release the first in-flight video that covers the right bank of Chablis. Like every other importer, we’ve had to push and shove our way into the line to get our boats full of goods across the Atlantic, and the ocean journeys are only the first half of the problem. The second occurs once shipments enter the domestic freight system, which has been moving just as slowly as the shipping lines. So, what’s happening? Well, prices are now obscene on some fronts (even with our local wholesale delivery services), with cost quotes that are sometimes downright offensive. However, many of our producers have been real champions in their understanding of the global predicament. They have problems too, like simply getting the glass and corks and boxes they need to finish the job with their wines. It’s comforting to know—and more importantly, to feel—that we are all in this debacle together, and we need to make it as easy on each other as possible. We’re all on the mend, but each of us seems to have to work twice as hard as we claw our way back to something that feels like the good ol’ days (of not even two years ago, though it seems like decades), as are all of you who are reading this right now. We can never thank those who support what we do enough. But here’s one more: Thank you for staying with us. Every order we receive means we get to continue to move forward, and we appreciate all of them, no matter how small. Here’s another one of our new terroir maps. This time it’s Spain’s most historically important Galician wine region, Ribeiro, and it’s for that reason that we have more producers there than in any other appellation in the country. You can see the entirety of the map and its support materials on our website at https://thesourceimports.com/terroir-maps/  New Arrivals Chablis premier crus, Montmains (below) and Vaillons (to the far left), and the grand cru slope beyond the village France We have a good-sized shipment coming from both of our Chablis producers. We try not to overlap them but we’re playing catch up with everyone and it’s currently necessary to consolidate orders from single zones. Those who know the wines from Christophe et Fils and Jean Collet know that their styles illustrate a considerable contrast from within this same appellation. I love 2019 Chablis. Why? Because I like to drink bottles of it and this vintage overflows with the things I want out of good Chablis. The 2019s seem closer this year in some ways to the wines of Côte d’Or than in the past. It’s a fabulous freak of a vintage with full ripeness, while still maintaining classic Chablisienne characteristic fruits (citrus, stone fruit pits, a welcoming slight bitterness), yet from a Côte d’Or perspective, I find them closer to pre-sunburn era Corton-Charlemagne, minus the big body. Despite the vintage’s strength being heavier on the thunder than on the lightning, the acidity is still electric and balances the wines out surprisingly well. Some 2019s may even need a few years to really find their groove, a good sign considering some of the previous years (excluding 2017) where the ripeness of the fruit springs out of the glass but the lack of acidity clips its wings. Domaine Christophe et Fils, the more angular and vertical house style between our two Chablis producers, works in a very minimal way with the full range. His 2019 Petit Chablis and 2019 Chablis are arriving while the premier crus will follow later in the season. Christophe’s entry-level wines highlight the striking differences between the left and right bank of Chablis. All his Petit Chablis grapes are sourced from the right bank (east side) of the north-flowing Serein, just above and around the grand cru slope and the hill of Montée de Tonnerre. The vineyards are super rocky, but their wines are generally stouter than those from the left bank. In general, the right bank—and this is to include most of the best premier cru sites and the grand crus, too—are generally less angular while being softer in mineral impressions than the left bank wines because there’s most often a greater topsoil depth and less root contact with the Kimmeridgian marls below, leading to a bigger, flatter punch. This is obviously true when tasting Christophe’s Petit Chablis because it could easily be mistaken for a notch (or two) above its classification on palate weight alone. The Chablis appellation wine from Christophe is always one of the more compelling inside the appellation, and like the Petit Chablis, it comes exclusively from the right bank. In contrast to Christophe’s Petit Chablis grown on the harder Portlandian limestone bedrock, those Kimmeridgian marls from the underlying bedrock in the Chablis classified vineyards come through with more lines and angles, a more intense aroma of that Chablisienne gassy flintiness, and greater texture and core power. I’ve been to Christophe’s vineyards every year since we started working together and my favorite parcels are those found around Fyé, inside the valley that separates Montée de Tonnerre from the grand crus. These Chablis village vineyards are steep and composed of Kimmeridgian marls with nearly microscopic oyster shells that, other than a modicum of organic matter, make up the entirety of the topsoil. It’s interesting that in Chablis many vineyards classified as village appellation sites have just as compelling soil and bedrock structure as many of the premier cru sites, but they are downgraded from premier cru status because of their historically unfavorable exposure. Surely that will change when the previously advantaged vineyards may not be able to produce balanced grapes in coming years. It seems that in the last decade, half the vintages have been on the riper side without the acidic snap present to maintain the freshness expected from this region. Also, those vineyards on the historically unfavorable positions often benefit from their later budbreak than the more exposed sites, as this helps them to miss some of the season’s frost. Domaine Jean Collet continues to knock it out of the park and the list we have coming in looks so good! Here’s the star-studded lineup: Chablis Vieilles Vignes, a single 90-year-old parcel with deep soils—perfect for warmer vintages; 1er Cru Montmains, the most minerally beast of the range due to an almost complete absence of topsoil; 1er Cru Vaillons, usually in my top three of the range of premier crus because of its impeccable balance year in and year out; 1er Cru Les Forêts, the most exotic and alluring of the bunch; 1er Cru Butteaux, the biggest of the premier crus in weight and power from the right bank; 1er Cru Montée de Tonnerre, commonly considered the king of the premier crus, with which Romain Collet always has an unexpectedly light touch; Valmur Grand Cru, a privileged northwest-facing section of the cru that renders wines with a massive body and great freshness and minerality to match; and, finally, Les Clos Grand Cru, sourced from the bottom of the slope on a steep angle, producing perhaps the most well-rounded wine in the range—it truly lives up to the expectation of this celebrated grand cru, though Valmur is its equal, at least at Domaine Jean Collet. The only problem with this much Collet arriving at once (if it could be called a “problem”) is that there are almost too many choices! And every year Collet continues to ratchet up the overall quality of the range. Most of them are certified organic, and for the price, they are a total steal. It’s crazy that Chablis remains so modest in overall pricing compared to Côte d’Or because the quality can be so outstanding on the average with the right year, and 2019 is no exception. Moving further west to the Atlantic seaboard, we have another young vigneron (at least younger than me!) doing wonderful things: Alexandre Déramé’s Domaine de la Morandière, located in Muscadet Sèvre-et-Maine. This month I revamped his profile on our website to bring more context to these quietly mighty wines that have silly-good prices. Unfortunately, Muscadet seems to go in and out of fashion more than other famous French appellations and I can’t understand why. They offer so much for so little, especially when you find the right producers. None of them break the bank, even the most revered from the appellation. And for all the mineral-heavy appellations in the world, Muscadet ranks in the top tier. We have two coming from Morandière, but we should have bought a lot more than what is arriving. (We’re already working on that one…) First, there is the 2019 La Morandière, which is no ordinary Muscadet, although it maintains an ordinary price. The vines are old, mostly around fifty years, and grow on loamy topsoil atop gabbro, a super hard, pale green and black intrusive igneous rock. This nearly unbreakable rock seems to build almost unbreakable wines, and to support this idea one only needs to recall the ageability of those from Michel Bregeon before he retired, which were also grown on gabbro. Next is Morandière’s 2014 Les Roches Gaudinières, Vieille Vignes. This is the crowning jewel and one of the most formidable wines from the entire appellation. It’s a total powerhouse, grown on gabbro bedrock and clay with a lot of gabbro rock in the topsoil. The vines are a mix of massale selections and old biotypes with three-quarters from 80-year-old vines and the rest about fifty years old. This magnesium and iron-rich rock, the clay-rich and rocky topsoil, the old vines and their extremely low natural yields of 25-30hl/ha at most in any given year, imparts dense power that needs extensive aging before being enjoyable to drink. L.R.G is a vinous marvel that needs to be experienced to be understood. Next, we jump to France’s Southern Rhône Valley for a few goodies from the very user-friendly Côtes-du-Rhône appellations. Some from Domaine Pique-Basse are finally coming back in and this is one of our producers whose wines evaporated with their initial arrival prior to the onset of the pandemic. It’s taken a while for us to get some back in stock, but don’t wait if you’ve got a slot to fill in the cellar with CdR, because there is very little available on this container. If Pique-Basse’s owner/vigneron, Olivier Tropet, had vineyards in appellations like Côte Rôtie, Cornas or Châteauneuf-du-Pape, he’d be more likely to garner wide acclaim, but he lives in Roaix, the Southern Rhône Valley’s tiniest Côtes-du-Rhône Village appellation. It’s hard to believe what he achieves within this relatively unknown village with his range of wines that have been organically certified since 2009 and are as soulful as they are exquisitely crafted. The reds are savory, deeply flavored, trim, and laced with a surprising degree of subtlety for the power they possess. Pique-Basse’s La Brusquembille is a blend of 70% Syrah and 30% Carignan and shares the same position around the family domaine as the entry-level Grenache, along with the other that just arrived, Le Chasse-Coeur. Syrah from the Southern Rhône Valley is often not that compelling because it can be a little weedy and lacking in the cool spice and exotic notes that come with Syrah further up into the Northern Rhône Valley. However, La Brusquembille may throw you for a loop if you share this opinion. Without the Carignan to add more southern charm, it might easily be mistaken for a Crozes-Hermitage from a great year above the Chassis plain up by Mercurol, where this appellation’s terraced limestone vineyards lie and are quite similar to the limestone bedrock and topsoil at the vineyards of Pique-Basse. It’s not as sleek in profile because it’s still from the south, but the savory red and black nuances can be a close match. I love Grenache, and I think it’s a real pity that this extremely noble and versatile grape has lost favor in the current market trend. Olivier picks the grapes for Le Chasse-Coeur on the earlier side and farms accordingly for earlier ripeness with the intention to maintain lower alcohol and more freshness. It’s a blend of 80% Grenache, 10% Syrah and 10% Carignan, and is more dominated by red fruit notes than black—perhaps that’s what the bright red label is hinting at. It’s aged in cement vats (and sometimes stainless steel if the vintage is plentiful) to preserve the tension and to avoid Grenache’s predisposition for easy oxidation. Both Le Chasse-Coeur and La Brusquembille offer immense value for such serious wines. A wine from one of our favorite characters in the southern Rhône area, Jean David, is back. All of Jean’s vineyards have been farmed organically since 1979, making him one of the region’s natural wine OGs. These days everything is made by his son-in-law, Jean-Luc, but they remain true to form with Jean still looking over his shoulder. We only brought in the Côtes-du-Rhône Rouge this time, but we also have the Seguret coming in later this year, or early next. The inside scoop is Jean David’s Côtes-du-Rhône is made completely of Seguret fruit but comes from the younger vines (those with more than fifty years are the only ones he allows in his Seguret appellation bottlings) and for me, is just as thrilling as their range of Segurets. It’s fresh and bright and offers much more on the complexity meter than expected. It’s elegant and lighter than most from this part of France due to the combination of the vines on limestone and sedimentary rock terraces inside the Ouvèze river valley, the cold winds from the mountains to the east, the vigorous and energetic nature of younger vines, and the extremely sandy soils. Typically, it’s a blend of 55% Grenache, 20% Carignan, 10% Syrah, 10% Counoise, and 5% Mourvedre Austria As expected, Peter Veyder-Malberg (pictured above) continues his upward trajectory in quality, but with less quantity than in recent vintages we’re ready with a flurry of apologies that will likely accompany our allocations this year. 2018 was an exceptionally short crop for Veyder-Malberg due to hail, so we decided to bring in his 2018 and 2019 wines at the same time. What many in the industry may expect as a hotter version of Veyder-Malberg’s typical style will be pleasantly surprised by the elegance and freshness of the 2018s. Difficult vintages challenge winegrowers and often turn out to be some of the most compelling wines they make in their lifetime. Peter is proud of his effort here and it shows in the wines. The virtues of the 2019 vintage are clear across all of Austria: it’s unquestionably a banner year for most of the country. It started out warm and dry in the winter, moving into cooler weather with rain in the spring which slowed the vegetative cycle, and in the late summer it cooled again after warm weather conditions in June and July. By September things stabilized and Grüner Veltliner ripened quickly, but the Rieslings benefited from additional hang time with consistent enough weather for the growers to pick when each parcel found its optimal balance. I’ve had the opportunity to taste Peter’s 2019s a few times and drink a bottle of each of the Rieslings and I’ve concluded that 2019 is not to be missed. Dürnstein Castle I have more great news! After many years of contemplating the move while already farming in a higher quality, eco-friendlier vineyard culture than most of his buddies in the Wachau, Martin Mittelbach, the owner of Tegernseerhof, began full conversion to organic farming a couple of years ago! Everything that’s arriving now is from the fabulous 2019 vintage and Tegernseerhof’s lineup already represents perhaps the best value from one of the Wachau’s top growers working exclusively with fruit grown themselves. In the Grüner Veltliner (GV) range, there are three: Dürnstein Federspiel, named after the ancient and extremely charming medieval village, Dürnstein (with its famous castle perched on a rocky crag where King Richard the Lionheart was once imprisoned—yes, the one in the Robin Hood tale), formerly labeled Frauenweingarten (a wise marketing decision to move away from that tongue twister), and grown mostly on the loess terraces between the Danube and the steep hillsides; Superin Federspiel, a single vineyard wine grown just next to the ancient city walls of Dürnstein and the river, on a gentle slope composed mostly of the famous gneiss bedrock thanks to Danube flooding that kept the site mostly clear of loess depositions, making for a more minerally GV; and Bergdistel Smaragd produced from a series of small vineyard parcels scattered throughout the Loiben and Joching areas of the Wachau. The first two are well-known to our historic customer base, and the latter has been a total knockout as an affordable GV Smaragd that’s been gobbled up in by-the-glass programs listing wines at higher price points. Bergdistel demonstrates that blends of great vineyards can be equally, if not more interesting and dynamic than the single-vineyard bottlings (and they’re always priced better). We also have a few Rieslings arriving from Tegernseerhof in 2019: Dürnstein Federspiel, a blend of earlier-picked grapes from all of their top sites (Kellerberg, Loibenberg and Steinertal) making it an absolute bargain bottle of zingy, minerally Riesling for the quality and price; and Bergdistel Smaragd, like GV Bergdistel, it’s Smaragd level grapes taken from vineyard parcels in Loiben and Joching, and offers the fuller array of deliciously complex fruit characteristics that can be achieved by perfectly ripened Wachau Riesling. Malat Vineyard Kremstal wines from the right bank (south side) of the Danube offer some of the best terroir-rich values in the world, and the entry-level range from Weingut Malat stands next to the best. Like the Malat family, the wines are friendly, but also extremely serious when expected to be. This is the first vintage we’ve imported directly from the Malats after working through another importer over the last six or seven years. On this boat, we have the entry-level Grüner Veltliner, Riesling and Pinot Noir (which may present a pleasant surprise for many Pinot Noir fans), all labeled as “Furth” (formerly labeled Furth-Palt). The whites come from the 2020 vintage and express Michael Malat’s style led by freshness and tension. His 2020s are reminiscent of his 2013s, one of Michael’s earliest vintages and may have been his big entrance onto the Austrian scene. It may be hard to find better Austrian Riesling and Grüner Veltliner for the price (of course there are many truly great producers with entry-level wines in this range) from a grower working exclusively with their own estate fruit and who is not a behemoth producer by comparison. The devil is in the details and it’s easier to lose track of that fact, the bigger a company gets. The Malats exhibit focused presence in the vineyard and cellar, and their production is modest when considering much of it is for the two entry-level whites. There’s also a small batch of 2019 Grüner Veltliner Höhlgraben, a wonderful wine from an excellent vintage grown on shallow loess topsoil on granulite bedrock, a high-grade metamorphic rock similar to the gneiss found in other nearby regions. We’re happy to have the Malats back on board after missing most of the last two years. They are such a pleasure to work with and are in constant pursuit of bettering their previous bests. On our website there is an interview I did in Austria with Michael Malat during my summer trip. In typical fashion, as was done with the Thierry Richoux video, I try to stay out of it as much as possible (an impossible task for most of the painfully arduous Zoom videos created during the pandemic) to condense the material and make it as time efficient as possible. Italy Falkenstein vineyards in Italy’s Südtirol Staying on the Austrian Riesling theme is Falkenstein, an Italian cantina with Austrian heritage, both in familial history and the greater influences on their wine style. Borrowing from last month’s newsletter travel journal section on Falkenstein (in case you missed it), it’s a winery located in Italy’s Südtirol/Alto Adige that produces many fantastic different wines (Weissburgunder, Sauvignon, Pinot Noir—all grapes that have been cultivated here for centuries) and many consider the Pratzner family the most compelling Riesling producer in Italy. The vineyard and winery are in one of the many glacial valleys in the north of Italy’s alpine country, with a typical relief of a flat valley floor surrounded by gorgeous, steep mountains, which creates starkly contrasting shades and colors throughout. All the vineyards in these parts must have the correct exposure on northern positions that provide some angle of a south face, otherwise there is no chance of achieving palatable ripeness. The vineyards here are some of the world’s most stunning, and it’s surprising how many are tucked into the valleys of Trentino (the bordering region to the south) and the Südtirol. Arriving from Falkenstein are small quantities Riesling, Weissburgunder, Sauvignon, and Pinot Noir, the latter a surprisingly fantastic alpine version of this celebrated and talented grape that has called Südtirol home for centuries. I recently had a sampling of their range, including a bottle of the 2017 Pinot Noir arriving this month, with a few growers here in Portugal (from Quinta do Ameal, Constantino Ramos, and the guys from Arribas Wine Company) and they were stunned by the spectrum of complexity in all the wines, especially the Pinot Noir. The Pinot Noir is not Burgundian in style (how could it be if grown on metamorphic rock on a mountainside glacial valley?) but it unearths the best quality of the grape: freshness, layered complexity, finesse, and beautiful bright fruit aromas. Sometimes, depending on the day, it shows a little bit of oak upon opening (I suppose that may be the most predictable Burgundian thing about it), but after a little while it’s gorgeous and pure, tucking the wood so far back inside that it’s unnoticeable. Unfortunately, we only have seven cases on the container. Last but certainly not least, and likely the first to fly out the door upon arrival, is the 2019 Riecine Chianti Classico. While it may not be a classico Chianti Classico for the staunch traditionalists, it’s for wine lovers who love delicious things. I’ve visited the cantina a couple of times, and it’s taken all the time in between my first tour and the very moment of writing this for me to realize why their wines are so joyful: it’s the people who work at the cantina! Riecine is a collective of youngsters (again, at least mostly younger than me!) who I’ve literally heard whistling while they work. The setting of this place in one of the higher altitude zones of Tuscan wine country has workers (mostly Italians but I think some foreigners too) who constantly show a welcoming smile and have pep in their step as they work in their sun-filled bubble tucked back into their forest in the Chianti hills. Optimism is in their eyes and ingrained in the company spirit. The possibilities afforded to each staff member to make a personal contribution is apparent in their energy and comradery led by the open-minded and very progressive leader, Alessandro Campatelli. They’re a crew on a mission, working as one to free Chianti Classico from the constraints of its traditional introversion(!), to show that Sangiovese can be exuberant, sexy and sophisticated as it heads for a party instead of a stuffy dinner. Just look at the landing page (pictured below) for the winery’s website and you’ll see the origin of the illumination in these wines: it comes from inside its company’s culture; they’re happy and they’re having fun! Do you care about reviews? I don’t. But some people do, and that’s a bad thing if you like Riecine and you’re not up to speed with what the critics are saying; Riecine gets very good reviews, sometimes great ones, and they keep coming every year. But the 2019 Chianti Classico grabbed the attention of a lot of new buyers who have come out of the woodwork asking us for quantities we simply can’t supply because of the latest press from Decanter (95 points and a gold medal in the 2021 Decanter World Wine Awards, if you must know…). Don’t sit on your hands, especially if you’ve followed this producer already. If you want some, please tell us soon. Riecine Team

Finally coming home! (My original home, anyway…) It’s been two years since I’ve been to the US and a lot has happened (including babies!). It will be nice to see all the faces I’ve missed and all the new people I’ve yet to meet in person. I’m especially happy that I’ll be seeing my father, who turned eighty this year and has gone through a rough patch with his health. It’s hard for us expats to have such a separation from our families for so long and I’m glad that the dry spell is coming to an end. New Videos and Maps on our Website There’s a new terroir map this month: Galicia’s Rías Baixas, which also includes Portugal’s Vinho Verde sub-appellation, Monção e Melgaço, because of their common thread and focus on Albariño (Alvarinho, in Portuguese). It may be the most colorful map to date, action-packed, with information on rock types, grape codification, altitudes, temperatures, etc., all squeezed into one page. In case you haven’t perused our website recently, there’s a new menu category of Videos that includes some interviews with winegrowers and some fun new drone videos of their land and regions. There are two posted so far and there will be many more to come. The first drone video I did (which was more of a practice effort) is a regional teaser for our new producers in Spain’s Rioja and Txakoli areas, a short piece of eye-candy that covers some interesting ground from earlier this year. It’s fascinating how different the landscape in Rioja is compared to Txakoli, which is barely a half hour drive away from the northern parts of the region. The shots were filmed within a day or two of each other, but the drastically different environments make them seem like they are hundreds of miles apart. The second video (which took me three days to edit because my efficacy with video is dismal) offers a tour of Chablis’ right bank. It’s a hair over ten minutes long, has classical music to accompany the flight, and a lot of information I’ve put in the form of text pop ups in the video to consider with the backdrop of the premier crus, Mont de Milieu, Montée de Tonnerre, and Fourchaume, and, of course, all the grand crus. The material may be slightly dense and sometimes a little fast to take it in one pass, but you can pause and rewind to read, check out the grooves in the landscape, refer to the accompanying vineyard map and contemplate the simplicity and complexity of this wine region. When I am able to finally unplug myself from the unusually high quantity of new producer profiles I need to write for our website, I will get to the left bank of Chablis, along with dozens of other videos I plan to create from the drone footage I shot on my two-month trek through Europe, which only really missed the Loire Valley and Central and Southern Italy. Chablis grand crus Blanchots on the right and Le Clos on the main slope Delayed Containers The logistics of this year have been by far the most difficult to navigate since we started our company a little over ten years ago, and things don’t seem to be getting better. Wines usually take about sixty days to get from the cellar door in Europe to California, but right now they can take up to five months… It’s for this reason that all the “new arrivals” coming in October were written about in our September newsletter because their original projections for arrival (even with a massive time buffer considered) were in that month and the end of August. Most of those wines did arrive on our shores, but the shore is where they stayed for two additional months. Getting them out of port in Europe was difficult enough, but they’ve been just floating out on the ocean close to the port waiting for the go-ahead to enter and unload. So, if you want to read about what new wines will actually be available this month, you can read (or review) our September newsletter. Port of Los Angeles September 2021, Photo by Mario Tama Letting the clowder of cats out of the bag (Yes, as with a murder of crows, clowder is the name of a group of cats.) For many, the pandemic was a waiting game. But for many others in business sectors such as delivery services, agriculture, and construction, they had an actual increase in business (at least over here, in Portugal). As the principal owner of our company, it was a call to action, as it was for most business owners. Sink or swim, right? My wife, Andrea, and I did more than just tread water, we were in an all-out freestyle race in search of new producers, redevelopment of some of our website ideas, online retail work (which saved our butts for many months at the beginning of the pandemic, paying our bills when the wholesale division had dropped to near zero), ramped up our foreign language classes, and tried to make sure that our employees were not sinking too far financially and going completely crazy with so much time to contemplate life and the stresses the pandemic caused for everyone. During this unique moment in history, we greatly expanded into Iberia and picked up a few other producers in Italy, France and Germany along the way. Many of our new producers are not even close to arriving and I wanted to play them close to my chest until they got to the States because I’ve had bad experiences where people changed their minds and pulled out after we had already started to promote them. But given that this month all our new arrivals were already covered over the last two monthly newsletters, it’s a good opportunity to talk about some great new things in the market, and what’s more exciting than that? What follows are short overviews of the upcoming new producers (with less personal narrative than usual) that can be found on our website. For some of these producers, it will be their first time being imported to the US. What follows are short overviews of the upcoming new producers (with less personal narrative than usual) that can be found on our website. For some of these producers, it will be their first time being imported to the US. Incoming new producers mentioned in previous newsletters to arrive in October include Davide Carlone (Boca, Italy), Falkenstein (Südtirol, Italy), Togni-Rebaioli (Lombardy, Italy), La Battagliola (Lambrusco, Italy), and Elise Dechannes (Champagne, France). Elise Dechannes showing her homemade biodynamic tea preparations The Newbies Katharina Wechsler - Rheinhessen, Germany (National, except MN) The German organic (certified) and biodynamic winegrower, Katharina Wechsler, is the owner of enviable holdings in the most famous dry Riesling area of the Rheinhessen (thanks to the local luminaries, Klaus-Peter Keller, and Philipp Wittman), the highlights in her stable include a big slab of the grand cru vineyard, Kirchspiel, and a small chunk of perhaps the most coveted of all recognized grand crus, Morstein. Between these two juggernaut vineyards of dry Riesling, her family owns entirely a large vineyard, called Benn. Only the upper section of Benn on the strongly calcareous sections is planted to Riesling, while much of the lower slopes are a patchwork of many different grape varieties that she loves to play with in her cellar, concocting things that range between pure pleasure and fun, savory orange wines, to more serious classically styled dry wines, like her knockout Scheurebe. The entry-level trocken Riesling will give any dry Riesling in all of Germany a run for the money but showcases the lifted and elegant exotic characteristics of Riesling only found in this part of the world. Artuke - Rioja, Spain (CA only) Artuke’s Arturo Miguel is a quiet but influential leader of a new movement of young Spanish vignerons in Rioja, the country’s most historically famous region. The agenda is to bring attention back to specific terroirs and return the power to the growers themselves. He is the second generation of his family to grow and bottle their own wines since the end of the dictatorship, and when he took control of the family’s vineyards, he converted them all to organic farming. His cellar techniques are straightforward, with older barrels of different shapes and sizes that highlight the differences between the four specific vineyard wines, except for the ARTUKE bottling made with carbonic maceration, a long-standing tradition with local wines, and Pies Negros, Spanish for black feet, a reference to the foot-stomping of the grapes, which is a blend of many different parcels. All wines come from calcareous sandstone (similar in structure and mineral makeup to sandstones from Barolo and Barbaresco) with varying degrees of sand and clay. José Gil - Rioja, Spain (CA only) The young and open-minded José Gil and his Uruguayan life partner, Vicky, are major influencers in the new generation of Rioja grower-producers focused on single-site, organically farmed wines. Located near Rioja Alta’s famous San Vicente de la Sonsierra, most of the vineyards sit at higher altitudes that stretch the limitations of the region’s naturally long ripening season. Employing straightforward cellar practices with fermentation and aging in small to medium-sized barrels, José’s wines are direct, aromatic, fully flavored and driven by each wine’s terroir. José gives weight to the influence of the surrounding area, mostly from the mountains just to the north, and handles the wines gently to retain the area’s identity beyond the vineyards. The production is minuscule but on the rise. Arizcuren - Rioja, Spain (National) Well-known and highly respected architect turned winegrower, Javier Arizcuren is one of Rioja Oriental’s most exciting new talents. With the help of his father, Javier spends his “spare time” focused on rescuing high-altitude, ancient Grenache and Mazuelo (the local name for Carignana) vineyards that managed to survive both phylloxera and the trend of replacing historic vines with Tempranillo, an early-ripening grape that is only a small part of this region’s history despite its dominance today. His experience with architecture leads him down rabbit holes of possibility and experimentation (a rarity in this often predictable and extremely conservative wine region), so that he may better understand the aesthetic of each site and build on its strengths using various fermentation and aging techniques. Aseginolaza y Leunda – Navarra, Spain (National) Environmental biologists and former winemaking hobbyists, Jon Aseginolaza and Pedro Leunda, have directed their full attention to a project focused on a better understanding of Spain’s Navarra, a historical region with a severe identity crisis stemming from its living in the shadow of its illustrious neighbor, Rioja, Spain’s historical crown jewel. Always the bride’s maid and never the bride, the region began to focus on international varieties to stand out and increase its market share. Moving in the opposite direction of this trend, Jon and Pedro are focused on finding and recovering old vineyards planted with indigenous ancient genetic material (mostly Grenache, the historic grape of the region) inside vastly biodiverse areas—all assets that give the region a possible edge on the widely monocultural approach of much of Rioja. The life and authenticity in their first wines (started in 2017) are clear and their future is promising. Alfredo Egia - Txakoli, Spain (National) The wines made in Txakoli by Alfredo Egia are radical for the region but not for the world, since he is fully committed to biodynamic farming and natural wine methods. And with the influence of Imanol Garay, the highly intense and fully committed naturalist from France whom he refers to as his mentor, he’s determined to harness the intense energy of Izkiriota Txikia (Petit Manseng) and Hondarrabi Zerratia (Petit Courbu) to give them an altogether different expression, shape and energy, with a constant evolution upon opening that can last for days. These white wines walk the line with no added sulfur and should be consumed earlier in their life to ensure captivity of their best moment. Whether they can age well or not remains to be seen, but since they have very low pH levels that usually sit below 3.20, and ta levels that can be well above 7.00, they should be insulated for a while. Rebel Rebel is the solo project of Alfredo, and Hegan Egin a joint venture between Alfredo, Imanol and Gile Iturri. Rebel Rebel is a blend of 80% Hondarrabi Zerratia and 20%Izkiriota Txikia. Hegan Egin is a blend of 50% Hondarrabi Zerratia and 50%Izkiriota Txikia Sette - Asti, Italy (National) Asti is Piemonte’s new wine laboratory, and experimentation is extensive at Sette where they’re looking to expose new dimensions of their local indigenous varieties. The comedic and talented duo of the experienced wine trade pro, Gino Della Porta, and well-known enologist, Gianluca Colombo, founded Sette in 2017 with the purchase of a 5.8-hectare hill in Bricco di Nizza, in Monferrato. Immediately, a full conversion to organic farming began, followed by biodynamic starting in 2020—the latter, a vineyard culture still considered somewhat radical in these parts. The wines are crafted and full of vibrant energy with only a soft polish, with the focus, the slightly turbid and lightly colored, juicy fruity, minerally Grignolino and their two serious but friendly Barberas. Sette’s game-changing progressive approach and delicious wines (with total eye candy labels) should ripple through this historic backcountry and bring greater courage to the younger generations to break out of the constraints of the past and move full throttle into the future. La Casaccia – Asti, Italy (CA only) Even in Italy it may be impossible to find a vignaiolo who emits as much bubbling enthusiasm and pure joy for their work than La Casaccia’s Giovanni Rava. La vita è bella for Giovanni and Elena Rava, and their children, Margherita and Marcello. Working together in a life driven by respect for their land and heritage, they also offer accommodations in their restored bed and breakfast for travelers looking for a quieter Italian experience. Their vines are organically farmed and scattered throughout the countryside on many different slopes with strong biodiversity of different forms of agriculture and untamed forests teeming with wild fruit trees (with the best of all, the cherries!). Their traditionally crafted range of wines grown on soft, purely calcareous sandstones and chalk are lifted, complex and filled with the humble yet exuberant character of the Rava family. Fliederhof - Südtirol, Italy (National) The city of Bolzano and the Santa Magdelena vineyards, home to Fliederhof Martin Ramoser is a true budding young superstar in the wine world, and with the help of his parents, Stefan and Astrid, he’s writing a new chapter in the family’s wine history. Located in Italy’s Südtirol, only a half hour drive from the Austrian border, on the gorgeous and historical hill of Santa Magdalena that overlooks the city center of Bolzano, they cultivate their Schiava and Lagrein vineyards under organic and biodynamic principles. Their mere three hectares of vineyards are all planted on hillsides of porphyry, an igneous volcanic rock with a mix of large and small grain sizes, which makes for sandy, gravelly soils as it decomposes, and results in wines with higher aromas and chewy textures. Martin’s style is one of pleasure led by upfront aromatic red fruits and red/orange flowers with sharper lines, deep but gentle mineral textures and a soft touch on extraction. Imanol Garay - Southwest France & Northern Spain (National) Spanish/French former engineer, Imanol Garay, un vigneron libre, follows no wine rules (other than some labeling requirements for his French/Spanish wine blends) and believes in terroir not only as the concept of specific site or even region but as a contiguous philosophical thread practiced in different places that may be forged into one wine. A resident of southwest France, his cellar is in Orthez, only a short drive from Spain’s Basque country. Before starting his project, he worked with French natural wine gurus Richard Leroy and Vincent Carême, among others. Some vineyards are his own, some he rents and farms, and some fruit comes from friends with the same deep respect for nature. He has another project in Spain’s Txakoli region with friends, Alfredo Egia (also in our portfolio) and Gile Iturri, labeled Hegan Egin; some years he makes Rioja, others Navarra, and always a lot of French wine. Cautiously walking the natural wine line, his pursuit is of the clean yet uninhibited, void of unwanted animally smells (the mouse, the horse), but with wonderful character-filled and potently nuanced, high-energy wines filled with joy and authenticity, just like the man himself. Tapada do Chaves - Alentejo, Portugal (National) There are few Portuguese wineries as mythical as Tapada do Chaves. Its line of extraordinary successes produced from vines planted in 1901 and 1903 by Senhor Chaves fell off the map when they were sold in the 1990s to a sparkling wine company. The property’s fortune changed with its purchase in 2017 by Fundação Eugénio de Almeida under the direction of Pedro Baptista, one of Portugal’s most celebrated oenologists most famously known for producing Pera Manca, some of the country’s most prized (and expensive) wines. Immediately these historic vineyards planted on a unique granite massif that towers over the flatter lands more typical of Alentejo below were converted to biodynamic farming, priming Tapada do Chaves to reassert itself as one of Portugal’s most preeminent terroirs. The white wines are blends of Arinto, Assario, Fernão Pires, Tamarez, and Roupeiro, with the reds Trincadeira, Grand Noir, Aragonez, and Alicante Bouschet. Quinta da Carolina - Douro, Portugal (National) The Douro property that was once in the hands of California trailblazing winemaker, Jerry Luper, (whose illustrious wine career included tenures at Chateau Montelena, Bouchaine, and Rutherford Hill), has been for years now under the ownership of Luis Candido da Silva, a well-known wine retailer in Porto. Today, the winery has been slowly taken over by his son, also named Luis, and things are going through some noticeable changes the more Luis Jr. commits himself to the project. His day job is working as the head enologist and wine director for the still Douro wine program at Dirk Niepoort’s ever-expanding, global wine empire. Niepoort has a history of recognizing talent and churning out many superstars in Portugal, most notably Luis Seabra, the boys over at Arribas Wine Company (also in our portfolio), and starting in 2018, Luis Jr. The respect he has garnered at a very young age in Portugal speaks volumes for the confidence the local wine world has in him. Exciting things are in store for this very small estate with wines that cover both the traditional style like his father’s, and the extreme progressivism of his generation, with a gorgeous touch, exquisite crafting, and a razor-sharp attention to detail. Expect big things, albeit in very small quantities (unfortunately) from this special Quinta.■ Photo shot from the Quinta da Carolina vineyard

Arribas Wine Company granite vineyard planted at 650m in Portugal's Trás-os-Montes An article in the February 28th issue of The New Yorker magazine titled, “It’s O.K. to Be Confused About This Economy,” hit close to home. January left us nervous and the tension was compounded by all the projections of recession by the experts, but then business boomed in February. Confusing indeed. It seems the unusually heavy rains kept people home instead of in restaurants in early January. We’re grateful for our February, and March is already off to a roar. If it’s going well for us again, hopefully that’s an indicator for you as well. After an absence of almost a year and a half from the States, I flew from Barcelona to Los Angeles on January 12th and landed in sunny weather to find unusually green hillsides after the big rains. My trip was exhausting and the five weeks I was there felt like they went way too quickly. Our company put on a three-day staff meeting followed by some very well-attended tasting events in SF, LA, SD, and Monterey, which allowed me some face-time (albeit brief) with many of our customers and friends. By the time I arrived back in Barcelona—direct flights are now available from LA and SF through Level, by the way—followed by a couple of days’ drive back home to Portugal with an unusually snowy stop in Rioja, I was toast. When people find out I’m involved in wine importation they mostly think the job is all just the pleasure and fun of sipping and feasting. This is indeed a part of it, but that’s not how it always goes. When traveling alone I don’t eat breakfast and sometimes skip lunch, too, and often freeze to the bone in cellar and vineyard visits during cold seasons while the vines are dormant (the best times to visit, unfortunately, are when the weather’s not particularly nice). One Brit in the same line of work summed it up to me perfectly in 2010 at one of Beaune’s infamous restaurants, Ma Cuisine, “It’s good work, but it’s hard work.” In 2010 I was two years into my first wine company (Vance Erickson), and at thirty-three years old I was energized straight off the plane, a fearless consumer of daily foie gras and sometimes two or three pain au chocolat a day while in France for four to six weeks, fuel that fired me up to hit the road. At forty-six, it’s a stumble off the transatlantic flight in full zombie mode, pinched neck, sagging shoulders and desperate, bloodshot eyes, challenges of my life choices and addiction to all things wine, feeling old—prematurely old. Then, after one good and long day of sleep exactly ten days after being home, I’m ready to destroy myself again. My wife doesn’t understand it, and neither do I. A new vine in Douro Superior at Mateus Nicolau de Almeida Spring Travels & Early 2023 Forecasts There is no wine area quite like northwest Iberia. Last week I saw almost all our Galician and Portuguese crew during a four-day bender, and along for the ride was Gino Della Porto, winegrower and co-owner of Sette, in Nizza Monferrato. Here, everyone we work with started their own project from the ground floor, most of whom are like cultural search-and-rescue teams for generations of lost knowledge. They’re often from poor families that support their wine dreams the best they can, working against unfavorable winegrowing conditions every year, lots of hail, and mildew pressure like no other large European wine zone I know. Our guys at Cume do Avia have never had a normal crop load. The best I’ve ever heard was just last season, which was down only 10% from their potential output, when it’s usually reduced by 60-70%; they’re organic farmers in a fungal paradise—conditions inhospitable to grapes. While their neighbors who are not organic have canopies exploding with fruit, they live the ideological dream (nightmares being dreams, too) of the Galician winegrower committed to organic farming as their neighbors chuckle all the way to the bank. Prior to 2022, Diego said that with mildew’s three-peat victory from 2019-2021, they considered putting a stop to organic farming, which they’ve practiced since the very beginning of their project. 2022 has renewed their vow and confidence, and I’m proud of them for weathering the often grueling first decade and half since they started. Spending time with these guys from this part of the world I now call home gives me a reality check on what true exhaustion and stress looks like. Their relentlessness inspires me to reinforce my resolve to do better, not for me, but for them…wait, yes, seeing them succeed is for me, too—I need it, I crave it… I live for this interaction and for the opportunity to make a difference for them and their livelihood. Here, in Northwestern Iberia, all the clichés of humility—shirt off their back, salt of the earth, heart of gold—fit better than any other large winegrowing region I’ve experienced. The Galicians and Portuguese recharge my battery, narrow my focus, remind me of all the gifts that fill my life, while bringing more depth to our work than the squabbling over prices and payment terms, and the utterances of “what have you done for me lately?” all too commonly experienced at well-known wineries run by fortunate offspring in historically important areas—regions that have now become more of an industrial commodity than something inspiring. Here, a sense of entitlement rarely exists, only gratitude for any contribution to their business. I’m refueled now, maybe not physically but at least emotionally, and ready for 2023! I’m off to Piemonte at the end of this month to visit with a few of our new growers. It’s a research trip to collect stories, technical details, photographs, and drone images for three of our newest additions, and to say hello and taste new and upcoming releases out of tank and bottle from our old friends. The three new additions will redefine the direction of our Italian portfolio, giving us a clearer stamp in the land of Nebbiolo. Two of them will one day be very important Barolo estates (it’s hard to believe, but we’ve added two not only new but exciting Barolo producers in the same moment!), and one is a small cantina with lofty goals from an ambitious young grower in the far eastern section of Caluso. All are under thirty, which makes them particularly special for us, and you’ll see just how special they are when their wines are in your glass. Names and details will be revealed next month! Special Feature: Itata on Fire (literally) Leo Erazo Viñateros Bravos Itata, Chile Leo in the vineyards after the fire; Image credit Leo Erazo While California was green and refreshing in January, Chile burned. I’ve spent a lot of summer months there because my wife is Chilean, so I’m familiar with the summer fires and the smoke. It’s exactly like California with its arid climate and devastating earthquakes and seasonal flames. Though it’s a quarter of the way around the world, this particular fire hit close to home for a lot of us who work with growers down in Itata. I spoke to both Leo Erazo, from Viñateros Bravos and his eponymous label, and a friend we once worked with, Pedro Parra, after Leigh Readey, our Santa Barbara neo-hippie, beach and farm girl, Source representative and social media dabbler, gave us a report on the situation. Pedro said that the wind was favorable for him and blew the fire in the opposite direction of his vineyards. Leo’s vineyards, however, were right in its path and were devastated, all but about 10% of the vines. Two weeks ago, I spoke with Leo and he sounded positive but shaken. Over the years he and his wife, Zjos (a Belgian native), invested all their earnings from the Viñateros Bravos negociant program to build/buy their own vineyards and winery. The winery is safe and holds the 2022 vintages still in tank with some lots from previous years too, but the vineyards they bought (for the Leo Erazo range) were scorched in less than six hours. These losses not only include this year’s crop but every crop until three or four years after they replant. With no fire insurance (likely not even available in Chile due to the regularity of burns) puts them back at square one (or even further back) with mostly only negociant fruit to work with, which will also certainly be less available because many of his growing partners lost their vineyards too. These losses mean a reduction to about 50% of normal production each year (estate vineyards and negociant vineyard losses combined), not only for one year, but until he’s able to find more sources of fruit inside this now charred land. Vineyards before the fire Lost were some of the most treasured vines in the world. The only beneficial losses were the eucalyptus trees, an invasive, alien, pesky, thirsty, greedy Australian tree that choked out most of Itata’s historic vines in the twentieth century. As many of you know, Itata is home to a treasure trove of the oldest vines in the world, with most País vines being over 150 years old, and over 80 for Cariñana. Some of the País are even believed to be over 300 years old. Most of the vines are own-rooted as well because Chile was never exposed to phylloxera, which makes Itata even more special—world heritage level; UNESCO level! To think about what wines we get from Leo and Zjos at the prices we get seems ridiculous: cold climate, own-rooted, 150-300-year-old vines on decomposed granite and volcanic soil. Simply absurd values for some of the New World’s most authentic terroir wines. We know we cannot save the whole world by ourselves. But when opportunities arise to help those in front of us who’ve helped build our business and possibly been a part of yours (for those in the trade), it’s gratifying to contribute in some way to ease their stress, suffering, along with those around them—workers, friends, neighbors, people who lost their homes, too. What’s unique in the case of Leo Erazo compared to makers in other wine regions who’ve gone through devastation is that the margins on his wines are razor thin and he lost his vineyards, not just a season’s crop. They need to rebuild, but all of their money was tied into those vineyards and their future crops. Also, this part of Chile is poor—dirt poor, so a little money goes a long way. In other agriculture areas banks often leverage loans against land, but this is Chile, not the EU, or the US. Resources are few and the government’s power to help is limited because it has so little in reserve. Leo said the government will help those who lost their homes, but not their vineyards—an understandable priority. I know firsthand that Leo and Zjos are frugal and live very modestly. They’re free-spirits, happy to live in spare quarters with little, with only good friends and humble means. It’s for this that we know that the financial help they receive will go straight to rebuild necessities for their business. Our resolution is simply to take a modest increase on their already underpriced wines and donate that increased revenue after the business costs, plus a dollar per bottle directly from The Source to Leo and Zjos. We bought a full container, so if we can do it, it will really be something they can work with. Though maybe this year the prices are a few bucks higher per bottle, the wines are worth that and more. It’s about the same percentage increase that most Côte d’Or growers take every year regardless of a bad season or good. The difference in a store will be about $19 to $22/$23 for the Viñateros Bravos line. Simply by purchasing these wines you will be directly supporting the rebuilding of their lives so they can continue their work preserving what they have left and making beautiful, inexpensive terroir-stacked Chilean wines. That’s the story, below are the wines. All are organically farmed, and the following explanation of their details is loosely taken from their writing. The oldest wine ever produced in Chile back in 1551 was called Pipeño. Old vines and natural winemaking make these wines a great introduction to the old vines of Itata. Pipeño Blanco is made with 100% old-bush vine Moscatel planted in the 1960s, and the Pipeño Tinto is made with 100% old-bush vine Cinsault, planted almost a hundred years ago. Both Pipeños are unfiltered and intentionally hazy, which has been the tradition of Pipeño since the oldest memory of these wines. Pipeño is the greater regional “terroir series,” while Viñateros Bravos is the “soil series,” where the old vines have a greater interaction with each specific mother rock, highlighting their mineral characteristics and wineprint. The “cru series” is the result of ten years of soil mapping across the Itata hills, and these are the vineyards that got destroyed. In these wines the layers of complexity and depth, and the longer aging potential are more apparent. All the wines are vinified in concrete (eggs, spheres, and more), amphoras, large wood vats and food-grade polymer containers, and they’re pressed in a vertical, wooden press. We thank you for your contribution to help, which is simply to buy and enjoy the Viñateros Bravos and Leo Erazo wines. Arriving are: 2022 Pipeño Tinto (1L) 2022 Pipeño Blanco (1L) 2022 Viñateros Bravos, Itata, País Volcánico 2022 Viñateros Bravos, Granítico País 2022 Viñateros Bravos, Cinsault Granítico 2021 Leo Erazo, Parcela Unica Cinsault, El Tunel 2019 Leo Erazo, Parcela Unica Cinsault, Superior, Las Curvas 2019 Leo Erazo, Carigñan Parcela Unica Superior, Hombre en llamas New Producer Etna Barrus Etna, Italy Located at an altitude of six-hundred meters, on panoramic terraces of Mount Etna’s southeast side within view of the Ionian Sea, exists the boyhood dreams of four men. Salvo, Toti, Mario, and Giuseppe were inspired by the passion and work of their grandparents when they formed Etna Barrus, a partnership that would begin their collective return to familial roots, where they would “devote themselves to viticulture without pollution; to do it the way they used to.” Named after the elephant, the city symbol of Catania, combined with Italy’s most famous active volcano, the vineyards of Etna Barrus were planted in 2005 below one of Etna’s extinct cones, Monte Gorna. Their 2.7 hectares of vines are committed to a red grape responsible for some of the world’s most beguiling wines, Nerello Mascalese, and its burly and more colorful sibling, Nerello Cappuccio; Carricante was also planted in 2021. Their vineyard is composed of massale selections of each variety and they describe their agriculture as regenerative—they’re moving into organic certification in 2023. However, “to do it the way they used to,” implies that even before their bid for organic certification there’ve been no non-organic inputs in their vineyards. And because of the arid conditions in Sicily, with the exposure to the morning sun on the volcano’s southeast face, few treatments are needed in this natural climate that has been favorable to viticulture for millenia. Their miniscule production churns out two raw though finely nuanced Etna Rosso wines and an Etna Rosato, all a blend of 90% Nerello Mascalese and 10% Nerello Cappuccio, and all on volcanic sand naturally rich in organic substances and life-giving minerals—hallmarks of these nature-friendly soils. The vine density is 5000 vines per hectare trained on Cordone Speronato and Alberello (goblet). The full capacity each season should produce only around 7,500 bottles. The red grapes are usually harvested around the first ten days of October. Once in the cellar, they are destemmed and macerated no more than a week to preserve the fresher fruit nuances and allow the fine tannins from the grape skins rather than the seeds that further break down as the alcohol rises, extracting harsher tannins. The wine is then racked into steel along with the press wine and then finishes fermentation over another two weeks. The wine for the purple label remains in steel for a year, and the orange label, the “selezione,” also finishes its fermentation in steel but is then racked into old French oak barrels (225l-500l) for a period of 12 to 18 months, dictated by the season’s conditions. The differences in taste between the Purple Barrus and Orange Barrus Etna Rosso wines are fitting colors that match the wine personalities. Purple Barrus is grown in a more reductive environment (steel) and tends toward a darker color with more exotic purple fruits than red, and has a stronger purple floral element with wild berry fruit. It’s also very mineral in the palate in a refreshingly cool sensation while at the same time being explosive, vigorous and exciting. The orange label Etna Rosso is stronger in red and orange fruits, due to the slow, oxidative maturation in old wood barrels. The floral elements are relatable to the sun-dried rose, similar to Nebbiolo, and expresses the southern Italian sweet orange peel/Aperol aroma. This wine is also more discreet and finely tuned than the upfront purple Barrus. New Producer Mateus Nicolau de Almeida Douro, Portugal “When I was eighteen, the only thing that I wanted was to see the world. I had no special thoughts about winemaking, but wine runs in the blood.” -Mateus Nicolau de Almeida Renaissance (Cave) Man and the Saint The Douro wines of Mateus Nicolau de Almeida in Vila Nova de Foz Côa are crafted underground in a schist cave, an environment in near complete opposition to the work experiences and family histories of its makers, Mateus and Teresa, as both come from extremely scientific and technical backgrounds. Their stated objective is, “To be transparent, and to transmit the elementary concepts of Douro, even if you are drinking them on Venice Beach!” Organically farmed and certified, their wines are defined through a combination of vineyards in the different sub-regiões (subregions) of Douro and a multitude of indigenous grape varieties. The Trans Douro Express are three “climate” reds from roughly ten different vineyards that demonstrate the three sub-regiões of Douro: in the west, the coldest and wettest, Baixo Corgo; in the middle Cima Corgo, and in the east to the border of Spain, the driest and warmest, Douro Superior. Each of these wines illustrate their differences in climate, which of course, determines grapes suitable for each area, which are not the same. Eremitas are three white wines from the Douro Superior and express three different schist-based terroirs. Made in particular years, the Curral Teles, their “human wines,” are their most experimental, tinkered with in the cellar (including one wine aged inside a granite block!) to discover new gateways to different expressions and nuances—very Portuguese, at least from a two-thousand-year view into the past with this country of historic exploration and discovery. There are also two stellar (but in very low supply), traditionally crafted Port wines, Lágrima (white Port) and Ruby Seco. There are more specific details of each wine toward the bottom of the profile. The Saint (Teresa) and the Caveman, a guy with a crown of thick, windblown, Van Gogh-esque brushed locks, are fabulous cooks and irrepressibly hospitable. They raise their own crops and animals, and a small building on their property is dedicated to the making of their character-filled and full-flavored vinegars. They also produce distillates with juniper and make olive oil; their projects are a constant, including those with artist Pedro Jervell (the producer of their granite rock tank), as well as with wine transporters who use old sailboats. They do music events, wine events (Mateus helped to conceptualize Simplesmente Vinho in Porto, the most important event for small and environmentally conscious winegrowers), parties (legendary by reputation), and began to work with archeologists from the Côa Valley after Teresa found important paleolithic rock engravings. Mateus even has his own tiny wine importing company focused on European producers with their same agricultural ideals in organic, biodynamic, and natural wine concepts. What else? They’re also fluent in Spanish, French, Portuguese, and English! With all this time spent doing so many things, when they’re asked who does what in the winery, they respond, “We’re still trying to figure that out…” Bloodlines Mateus Nicolau de Almeida made and bottled his first wine in 1988, at only ten years old. He’s the son of one of Portugal’s most celebrated winegrowers, João Nicolau de Almeida, and the grandson of Fernando Nicolau de Almeida, the founder of Portugal’s most mythical and immortal (and most expensive) wine in 1952, Casa Ferreirinha Barca Velha. By blood, they’re all connected to the legendary Ramos Pinto port house started in 1880 by the then twenty-one-year-old artist, Adriano Ramos Pinto, known today for its historic port wines, but even more for their iconic, art deco label illustrated in 1925 by French artist, René Vincent. Coming to understand Mateus’ family heritage of wine, art, and creative and progressive minds, makes it easier to imagine what his first wine crafted at such a young age would have been like. Mateus’s curiosity for the world and wine led him to experiences in California, Argentina, Chile, and Spain, but most of them abroad were in France, including seasons at Caves de Saint Mont, Château Grillet, and numerous châteaux (Reynon, Doysy Daëne, Clos Floridène) co-managed by University of Bordeaux enology professor, the late Denis Dubourdieu, whose influence on Mateus was enormous. But his most important interaction in Bordeaux was in 1996 at a Third Growth Margaux estate, Château Cantenac Brown, where he met Teresa Ameztoy, who would become his partner in life, the mother to his children, and the holder of the string that keeps the kite that is Mateus from flying away. Mateus’ wine experiences also include involvement in their familial project, Quinta do Monte Xisto, and in 2003, he created the winery, Muxagat, then left it to his partners in 2014 to develop his own project. A San Sebastián native raised in Rioja, Teresa’s father worked for the famous bodega, La Rioja Alta S.A. and Murua. In 2019, she left her position as the head winemaker for Ramos Pinto (2005-2019) to fully focus her energies with Mateus on their wine project, labeled Mateus Nicolau de Almeida, starting in 2015. Prior to Ramos Pinto, Teresa’s vinous exploits include eight years as a winemaker in Xerez, seasonal stints in Italy, Uruguay, Chile, Argentina, South Africa, Domaine de Trevallon, and the famous biodynamic Alsace estate, Josmeyer. She also earned a BTS Vitio-oeno at Montpelier and Diplome National d’oenologie at Bordeaux University. Teresa cites her early great influences as the late Eloi Dürbach (Trevallon), Telmo Rodriguez, João Nicolau de Almeida, and her father, but, she says, “Now Mateus is my biggest influencer.” Golden? If one took all the extremes of Germany’s Mosel Valley, France’s Northern Rhône, Austria’s Wachau, and Spain’s Ribeira Sacra and stirred them together you would have Portugal’s Douro River Valley. The extremity of the series of river valleys that stream into the Douro and the bridges towering above them is truly breathtaking, unlike anything else in the wine world. With vineyard altitudes that go from about 80 meters to around 800m very quickly, with land that seems strapped down by vine rows so they don’t fall over into the rivers far below, it’s a glorious view for the non-squeamish car passenger. It’s also an intense, stressful, and envy-filled drive for the one behind the wheel who must keep their eyes on the winding roads at all times. Douro’s vinous history dates to the Romans, who of course, came for metals, mostly gold. Douro means golden in Portuguese, but Teresa pointed out that linguistics theorists believe the name for the Douro River comes from the pre-Roman sound, DWR, which means running water—similar to other river names, like Dordogne, Adour. Centuries later, the Moors instituted a near-complete Muslim prohibition on alcohol from sometime during the 8th Century until around the late 11th Century. The Reconquista resulted in Christians regaining territory in what was then called Galicia-Leon. The new rulers coincided with the arrival of Cistercian monks who planted new vineyards in 1142 in the Douro at today’s Casa dos Varais, across the Douro from Peso da Régua, less than five kilometers by air (15 minutes by car) from Lamego to the south. These monks were also responsible for Galician wine development just to the north, as well as in Burgundy and many other European wine regions. Port wine production appeared toward the second half of the 17th Century to stabilize wines through fortification for export, principally with British and Flemish patrons, who at that time were at war with France. Most of the Port wines were produced from vineyards in today’s Baixo Corgo and Cima Corgo, and Douro Superior was exploited for production in the early 1900s. With the arrival of Port wine, the most historic wine of Douro, still wine, became almost non-existent. However, as already mentioned, Casa Ferreirinha’s Barca Velha was developed by Mateus’ grandfather in 1952, and João, Mateus’ father, developed the “Duas Quintas” still wines in the early 1990s for Ramos Pinto. In the late 1990s, the Port house, Niepoort, under the direction of Dirk Niepoort, took a strong position with a series of new and inspiring still wines. In 1986 Portugal joined the EU (then referred to as European Communities), and subsidies began to finance new ventures along with the crazy bridges and a world-class highway system that made it easier to cross into Portugal’s nether regions, which coincided with an explosion of Douro’s still wine production. Douro Sub-Regiões Douro’s sub-regiões are better understood through climate, with, generally speaking, Douro Superior (east) with Mediterranean (or Continental) dominance, Cima Corgo (middle) with Mediterranean and some Atlantic influence, and Baixo Corgo (west) with Atlantic and less Mediterranean influence. Teresa and Mateus explain, “the three sub-regiões are well delimited, but their differences are still very unknown to general consumers. Apart from that, it would be very important to acknowledge that inside these three sub-regiões of Douro there are other sub-sub-regiões with different climates and different soils.” This would be an enormous task to formalize, and if the history of politics in wine appellations is any indicator of what would likely transpire, it would be a very long time before any consensus was made among growers. Douro Superior Temperature is very influential inside the sub-regiões. Butted up to the border of Portugal’s Vinho Verde appellation, Baixo Corgo (BC) has the mildest temperatures and the most rainfall—nearing 1000mm per year. Cima Corgo (CC) is much warmer and with an average between the two on precipitation of around 600mm per year, and Douro Superior (DS), separated on its far eastern flank from Spain by the Douro (Duero in Spanish) and Agueda Rivers (a tributary to Douro originating further south that acts as the Portuguese and Spanish border for over 100km), is the hottest and has around a mere 350mm. Mildew pressure and disease are highest in Baixo Corgo and decrease the further east through Cima Corgo and then Douro Superior, which correlates directly with the amount of vineyard treatments each season. BC has more trees, but the highest degree of biodiversity is in DS. Climate change is influential in Douro but Mateus and Teresa believe it’s less so than other wine regions. Douro has always been extreme, and they think that it is not so much different than in the 1950s, and they have familial historical references to back this up. The difference is that the extremes of summer highs are higher, but they think the overall temperatures are similar. The most affected region is likely Baixo Corgo (the cooler area), which has warmed the most. However, the burgeoning still-wine business has different needs than those of Port wine production. In general, along the river gorges, Port wine grapes originate on the hot, south-facing slopes, while much of the still wine production is facing north and/or at higher altitudes. Though it’s dependent on each season, normally the bud break starts in Baixo Corgo, then Cima Corgo, and finally Douro Superior. DS is last because the temperatures until February and March are colder, and the spring and fall are the shortest seasons by way of temperature; DS has a lot of winter and summer. Harvest usually begins in DS, then CC, and finally BC. This, in theoretical support of length of season connected to wine complexity, should mean that on some level, Baixo Corgo may have a greater potential of phenolic complexity than the other sub-regiões, in general. However, much of the general population would go for DS and CC because of their richer profiles by comparison. Mateus believes that still wines from BC should be the longest lived, followed by DS, and then CC. Topographically, Baixo Corgo and Douro Superior are more gentle slopes when compared to the more extremes of Cima Corgo. They all have the commonality of various versions of schist, with the youngest rock formations starting in BC leading to the oldest in DS. Interestingly, the many granite terroirs of Douro are not allowed into Port production. New vineyard on Monte Xisto Vineyard Practices and Grapes The philosophical approach in the vineyards to respect nature and encourage biodiversity in and around the vineyards. They believe biodiversity is key, not only to wine expression but overall health of their lands. One visit to their properties demonstrates their commitment to these ideals. Regarding tillage, some are done by tractor, some by horse, and others not at all. The timing of picking is done with a combination of taste and chemistry balance, and all of the wines are grape co-fermentations. They have many vineyard sites within each of the sub-regiões, and each has more favorability toward specific varieties. Though the five most planted in the area are the red, Touriga Nacional, Touriga Francesa, Tinta Barroca, Tinta Cão, and Tinta Roriz, there are over 100 different indigenous varieties in the region. Other notable reds are Tinta Amarela, Malvasia Preta and Tinta Carvalha, which are more present in BC and CC. Whites are fewer, with BC planted more to Malvasia Fina and DS more Rabigato and Codega (Siria). In CC there are fewer white grapes planted than the other sub-regiões. Most of the grapes used for their project are from vineyards they own (4ha in total, all certified organic), and some are from rented vineyards while others are from purchased grapes. Please refer to our Douro Terroir Map on our website for more extensive grape details and terroir overview. Wines The fish on the label—a unique wine logo—is representative of the Allis Shad (known as Alosa Alosa, in Latin, and Sável in Portuguese), part of the herring family. This fish was once able to work its way back into the Douro and beyond until the closure of the river by the fifteen dams that now stop the free flow. As mentioned, the Trans-Douro-Express are “climate” wines, and are labeled based on the sub-regiões, Baixo Corgo, Cima Corgo, and Douro Superior. They all come from vineyards of schist bedrock and variations of topsoil composition, mostly loam (clay and sand mixture) topsoil and are very poor with low water retention. The wines are a blend of more than ten varieties and crafted with the same basic processes in the cellar: all destemmed and spontaneously co-fermented in 4000L concrete vats. Extractions are gently done one time per day (maximum) with pumpovers, or pigeage by feet and hands for four to five days prior to pressing. They’re aged in the same concrete vats for eight months, racked a few times during aging, lightly filtered, and sometimes fined. Total sulfite levels range between 40-50 ppm(mg/L) with the first addition usually made prior to fermentation. Between the three wines the climate and precipitation are evident. Of course, vintages will vary, but early experiences with young wines are that Baixo Corgo leads with a tight frame, iodine-heavy mineral nuances (particularly in the 2021), and rock and wild berry purple fruit quality. Cima Corgo similarly has iodine impressions present in the nose but also some level of reduction/mineral and rockiness in impression. The fruit components are also berry heavy, but those with the sense of cultivated and wild-picked. Douro Superior expresses more burnt earth mineral nuances, like hot iron. It’s not as tight as the others upon opening and expresses more savory fruits and food, with the 2021 showing chestnut, persimmon, red apple skin. Its earthiness seems more dirt than rock. Curral Teles Tinto “Alpha” is done with whole-cluster foot-stomping inside an open-top, shallow granite calcatorium (lagar) for three hours and then slowly pressed in a vertical press. The juice is fermented and aged in 4000L concrete vats for eight months. Eremitas Branco “Amon de Kelia” comes from gray schist with quartz at 500m altitude and is made exclusively of Rabigato, an intense white with very good levels of acidity. Whole clusters are foot-stomped inside an open-top, shallow granite calcatorium (lagar) for three hours and then slowly pressed in a vertical press. The juice is fermented for seven or eight days followed by aging in 4000L concrete vats for eight months. The wine does not go through malolactic fermentation, therefore the wine is filtered prior to bottling and sometimes fined.