Rory Post

The Court of Master Sommeliers are in Chicago again to test for Certified Sommeliers (12 of 23 passed at the Conrad today, one of them being Rachael Johnson one of the Sommeliers on staff here at The James – Congratulations Rachael!). Tomorrow they will administer the Introductory Course to future Sommelier hopefuls.

Court of Master Sommeliers, have you heard of them? I hadn’t until 2002 when I was hired as a waiter at Blue Fin in New York City’s Times Square. The restaurant wine program was lead by corporate beverage director Greg Harrington, MS. Those last two letter referring to the title ‘Master Sommelier‘. Back then, as I was told, Greg was a pretty big deal. Not only was he one of 50 or 60 Masters in the country, but he also had the record for being the youngest to ever pass the test. Like I said, Greg was a pretty big deal. These days there are almost 100 Master Sommeliers in the US, with 9 newly anointed MS titles going out in 2007 alone. So what does it mean and why is it a big deal?

The Court of Master Sommeliers originated in London (where they take wine very seriously) and an American chapter was initiated in 1977. The goals of the organization include setting a benchmark and awareness of service standards and knowledge in the sales and service sector of the wine industry. Not a bad goal. So what does one need to do to become a Master Sommelier? Let’s just say that its really really hard. Those that even get invited (yes, you have to get invited) to take the MS exam have already passed a series of rigorous tests that include blind tasting 6 wines in 24 minutes, answering detailed questions about obscure wine regions, and exuding graceful and composed service while being harassed by sitting Masters. That process will get you a title of Advanced Sommelier and allow you into the world of eligible Masters candidates.

To become an Advanced Sommelier you must receive sponsorship from an MS, and have also passed the Certified Exam. I passed my Certified last March here in Chicago and will hope to sit for the Advanced in early 2009. Now that Rachael has passed the Certified I have a great study buddy and blind tasting partner.

More on the Court of Master Sommeliers to come…

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The photos in this post are courtesy of Lyle Fass, Chambers St. Wines

Even though I am known as Champagne Rory this time of year I jumped at the unique opportunity to attend a tasting and discussion hosted by Rudi Wiest Selections (Rudi seen left) and Maverick Wine Company at the Custom House in the South Loop. Over 52 dry German wines including Riesling, Sylvaner, Pinot Blanc, Pinot Gris, Scheurebe, and Pinot Noir from 19 producers were presented in a lightening quick and remarkably efficient method. Champagne Rory can sometimes morph into Riesling Rory, and when asked by his friend Laura Maniec to choose a desert island wine (a common question among wine geeks) on her winetalk.typepad.com blog , Riesling Rory showed his German Riesling affinity and replied as such. However, the German Riesling that I love tends to be balanced sweet stuff, the 8 to 9 percent alcohol green flutes from the Mosel, or my absolute favorite producer, Helmut Dönnhoff from the Nahe. Rudi Wiest’s German Dry Wine Tour, in its second year, is meant to introduce a message to restaurant and retail buyers (and market influencers) in 7 american cities; the true expression of German terroir is in the unadulterated dry wines from top vineyard sites and that Pinot Noir from Germany can compete on the world stage.

Germany is one of the truly misunderstood treasures of the wine world. Considered to be the northern most outpost of fine wine making, Germany has a wine tradition as long and rich as any nation in Europe. There are visible reminders of that history today, for example, an ancient Roman press house in pristine condition can be visited in the town of Piesport on the Mosel, and more Roman wine artifacts have been discovered on the Pfeffingen estate in the Pfalz. The next important arbiter of viticulture and vinification after the Romans were the Benedictine and Carthusian monks that proliferated throughout Europe around 1100 AD. The Pinot family of varietals and its various mutations like the Noir, Blanc, and Gris were transported by the Carthusians around this time, and there are records of Pinot Noir in Germany some 300 hundred years before any mention of Riesling. Yet, many of us think that wine from Germany is always sweet Riesling, and sweet wines carry a stigma these days that preclude many Americans from experiencing them.

Rudi Wiest is touring to spread the message that the sweet wine phenomenon is a very recent one. According to Gault Millau The Guide to German Wines,
“Looking back at the last century, one can say that there was a reasonably uniform style that was applied in the fist half of the century: At that time, apart from a small number of naturally sweet exceptions, German wine was usually fermented dry.”
Scientific techniques and modern equipment in the cellar allowed producers to change styles and produce sweet wines on a consistent basis. Chaptilization, or adding sugar to increase alcohol levels and retain fruity sweetness is still permitted in Qba, or Quality wines throughout Germany. The German Dry Wine Tour message speaks to the focused purity of soil expression that occurs in dry wines, and in fact, the majority of discussion as we raced through the 50 plus wines was regarding the loess, loam, red slate, blue slate, limestone, volcanic, iron, sandstone and red clay soils. Manipulation in the cellar through techniques like chaptilization, Rudi preaches, adulterates the quality varietal expression from top sites. Several efforts to organize, classify, and re-classify the wines of Germany may have contributed to quality control, but unfortunately the wine law changes of 1971, 2001, and the designations by the VDP (Verband Deutscher Pradikatsweinguter) to recognize sites as Erstes Gewachs (First Growths) and Grosses Gewachs, (Great Growths) in certain regions do little to clarify expectations for the consumer. So, the tour marches on and people like me are invited to carry the torch of the German dry wine message. A compelling message perhaps, but I took something else from the event; German Pinot Noir may now be carving out an intriguing identity and style (even though Germans have cultivated Pinot Noir for over a thousand years).

At the tasting were 16 very youthful German Pinot Noirs, or Spatburgunders from 2004 to 2006 (including some yet unbottled barrel samples). All were produced in a very precise style with light ruby to orange color, subtle strawberry and raspberry notes, and a green, stemmy structure that may be indicative of youth. Because of that ‘stemminess’ that I picked up from the first Pinot Noirs shown, I wondered about the ability of German Pinot Noir to display fruit expression and potential for harmonious balance. But as I tasted on there were some very interesting and potentially great wines that I would like to revisit in five or ten years. I began to see a continuity to the wines shown and found a sharp contrast to what most American and some Burgundian Pinot Noir has come to be in the very clean and ethereal Pinot Noir of southern Germany, particularly:
Meyer-Nakel Pinot Noir Dry Estate “Blue Slate” Ahr 2006
Rebholz Pinot Noir Dry “Tradition” Pfalz 2004
Rebholz Pinot Noir Dry “vom Muschelkalk” Pfalz 2004
Becker Pinot Noir Dry Estate Pfalz 2006 (barrel sample)
Becker Pinot Noir Dry “B” Estate Pfalz 2005 (barrel sample)
Becker Pinot Noir Dry Grosses Gewachs “St. Paul” Pfalz 2005
Furst Pinot Noir Dry “Tradition” Franken 2005
Furst Pinot Noir Dry Klingenberger Franken 2005
Furst Pinot Noir Dry “R” Gresses Gewachs, Burgstadter Centgrafenberg Franken 2005

Fritz Becker Jr, whose three Pinot Noirs all showed great potential, told us that some of his family’s best vineyards are actually on French soil and that because it was in Germany when the Beckers acquired it, it can continue to be used for making German labled wine. Becker jr. also explained that the choice of wood from the German oak forests, which he says are often passed on as French Barrels from cooperage houses in France, is the most suitable vessel for slowly developing the intricate nature of Pinot Noir.

After conclusion of the tasting I asked Scott Larsen, General Manager and Owner of Maverick Wine Company and local Rudi Wiest wholesaler, as to what he thinks the identity of German Dry wines, including Pinot Noir, can be in the ever more competitive wine market. Through a brief discussion that linked the Riesling and Pinot Noir as delicate varietals that, with care and respect for terroir by quality producers, can transcend all others (at least I think so, and don’t forget that Champagne is in large part Pinot Noir says Champagne Rory) I learned that Scott and Maverick are planning a tasting that features the two varieties for some time in 2008.

German wine is misunderstood indeed and there is much more to offer than libfermilch and sweet Qba wine. Germany offers distinctive wines and traditions that deserve to be mentioned in the conversation of the top wine making regions of the world. I will continue to treasure sweet Riesling from Germany, especially from that Stradivarius maker in the Nahe named Donnhoff, but will also look out for quality dry whites and will seriously follow the development of Pinot Noir from Pfalz and Franken.

www.rudiwiest.com
www.gaultmillau.de

Rudi Wiest also recommended a book by German wine authority Stuart Piggot that has yet to be translated to english. I tried to find out more about Piggot and found a few YouTube clips (see next post below).

Panelists from the tasting included
Rudi Wiest – Importer of International Recognition
Felix Buerklein – Franz Künstler Estate
Christoph Graf – von Buhl Estate
Max von Kunow – Hans Wirsching Estate
Hansjörg Rebholz – Rebholz Estate
Fritz Becker Jr. – Becker Estate
Sebastien Fürst – Fürst Estate

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Each of us has his or her foibles. One of my downfalls is the Wine Book. Amazon.com sends me frequent reminders of my wish list and recommended items. And so, on my shelves sit over a dozen books yet to be cracked. Just a week ago I received two new books, ‘To Cork Or Not To Cork’ by George Taber, and ‘Question Of Taste, The Philosophy Of Wine’, a collection of essays edited by Barry C. Smith. I actually spend more money on books than wine. Yet, with books queued and precious little time to read them, I revisit a book each year around this time, a book called ‘Champagne, How The World’s Most Glamorous Wine Triumphed Over War And Hard Times’, by Don and Petie Kladstrup.

There are other great wine books, and others about Champagne, but I am especially drawn to the Kladstrups narrative style; much of the book reads as history, and does so with a reverence and honor to the place and people it covers. Le champagne the beverage holds a unique place among the world of wines and la Champagne the province possesses a history as rich and relevant to Western Society as almost any other.

‘Champagne’ begins with Attila the Hun, whose army of seven hundred thousand warriors were turned back by a consortium of Gauls, Visigoths, Franks, and Romans in 451 AD, setting up a bloody record of la Champagne the battlefield host to the Hundred Years’ War, the Thirty Years’ War, religious wars, civil wars, the Napoleonic wars, the Wars of Spanish succession, and more recent horrors of trench warfare in World War I and the siege and bombardment of World War II. Kladstrup and Kladstrup juxtapose the war stories to the concept of le champagne, the world’s most glamorous beverage, and allude to what one writer calls the Champenois “taste for contradiction.”

The more pleasant and romantic story of la Champagne begins with the Christian conversion of Frankish warlord Clovis and some three thousand soldiers on Christmas day 496 at Reims. Legend has it that the church was so crowded that bishop St. Remi could not reach the holy oil to anoint Clovis and a white dove appeared to carry the vial to the bishop. The group celebrated with the local wine, and though it was not the straw golden sparkling beverage we know today, le champagne began an association with celebration that exists to this day. The story of Clovis inspired nearly every King of France to be crowned in Reims and celebrate with champagne.

These are just some of the stories in the easy and quick read that is ‘Champagne’, and I highly recommend picking up a copy as a companion to the celebrating of the holiday season that is upon us. What makes wine so special, and I assure you that champagne is in every way a wine, is the the ability to tell a story. Ninety percent of the beauty, I say, occurs outside of the glass in the stories of a time and place and the people who have farmed, fermented, packaged, sold, and resold that thing that culminates when you pop the cork and take a sip.

Lately I have had reason to celebrate and have been drinking champagne almost exclusively. But drinking champagne does not need a reason or occasion. Rather, drinking champagne is the occasion. November and December see the emergence of a particularly festive alter ego of mine named Champagne Rory. As I preach to staff and guests at the James Hotel and David Burke’s Primehouse where I work, drink champagne and you will have a good time. Champagne Rory certainly does.

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Meeting all of the interesting people in the wine business is one of the best parts of working in this industry. As an Italian friend of mine said it the other night, throughout history wine has been a tool and metaphor for creating social unions. This holds true in my life quite often and in a variety of ways, though in this instance I refer to an event with Master Sommelier Richard Betts a few weeks ago.

Richard Betts lives in Aspen, Colorado where he not only presides over the wine program at the prestigious Little Nell, he also works the floor nightly at Montagna, the Nell’s fine restaurant. Richard Betts also makes wine under the ‘Betts and Scholl’ label in Australia, California, and the Nothern Rhone Valley in France. On October 10th I was lucky enough to attend a lunch event hosted by Richard and his local distributor Vintage Wines at Le Lan, a French Vietnamese fusion spot in the Chicago’s River West district.

Betts and Scholl is built on the concept that Richard Betts and his partner, Miami based art dealer Dennis Scholl, are not bound to any location, grapes, or style of wine because of legacy or proximity that limit the choices of what wines they can make. It is an ambitous project, involving travel to three continents to produce seven wines, though it seems to be for good measure; the wines are all excellent.

The first wine presented, and only non-Rhone varietal, was the 2006 Riesling from Eden Valley in Australia. Eden Valley, settled by German farmers in the nineteenth century, is a relatively cool area of Southern Australia that has a reputation for producing some of the finest Riesling in Australia. The vines are on average 50 years old and contribute to an expressive, yet balanced new world reisling. Though it is far from mainstream in this country, reisling is a sommelier favorite and I am not surprised that Richard Betts’ only Rhone departure is with that unique varietal.

From Eden Valley in Australia we travelled to Lyon, France and then south to the esteemed hill of Hermitage. Richard painted a vivid picture of late afternoon, driving south along the hill as the sun sets, vines beginning to fall under shade. The vines of Hermitage continue to recieve rays of sunshine until finally, hours later, the sun retreats. Perhaps that is why Hermitage is the undisputed prize of the Northern Rhone. In my experience, Hermitage is difficult to find and even harder to afford, and I am not embarrassed to say that I have little expereince with Hermitage Blanc or Rouge. Somehow Richard Betts was able to make both with help form Rhone legend J. L. Chave.

The Betts and Scholl Hermitage Blanc consists of Marsanne and Roussane grapes from four climats, or distinct vineyard areas, on the hill of Hermitage. In producing this particular wine Richard and the Chave family asked, “what else can the hill be?” Because of the low natural acidity of Marsanne and Roussane the key, according to Richard, is in controlling the glycerine, or has he put it, “grace over girth…It’s not what you wear, but how you wear it”. Achieving a wine with weight and ripeness is easy, but finding the elegance is not. No new wood, only foudre, a large neutral oak barrel, is used to develop the wine before bottling. What is in the glass is a pure expression of fruit from Hermitage, with butterscotch, pears and apples, hints of vanilla, luxurious texture and a pepper spice. Elegance achieved.

After the whites, Richard Betts tapped into a Master Sommelier bag of tricks by conducting a blind tasting of 5 wines, all Grenache, and in no particular order. The very experienced group of tasters in attendence quickly picked up that two of the wines stood out as new world expressions of the varietal, and, it just so happens, Betts and Scholl produces two different wines in Australia with Grenache. The ‘O.G.’and the ‘Chronique’, are both made from Barossa Grenache grown on sand. The difference between the two is that the latter comes form an 83 year old vineyard of very deep sand and exhibits increased intensity, ripeness of fruit, and caramel notes. Sand grown Grenache was the central theme of the blind excercise as the other wines, Pignan Rouge 2003, Brunel ‘les Cailloux’ 2004, and Henri Bonneau 1997 were classic expressions of sandy soil Grenache. Sand is not only famous for resisting the the spread of the infamous phyloxera louse, but also limits color extraction and focuses the “signature of the varietal”. I believe that Richard chose these wines as an homage, to display the benchmarks for sand grown Grenache and make a statement about the varietal character of Grenache, which he calls “warm weather Pinot Noir”.

Hermitage Rouge 2001 and 2004 from Betts and Scholl helped shift the gears from the white pepper, cherry, and orange zest of Grenache, to the blackberry, lavender, and black pepper of Syrah. Richard calls Hermitage “Syrah, appealling to the Pinot Noir sensibility”. I would like to see these wines again in 5-10 years as they seem a little unwilling at this stage, though it is unfair to consider such a classic expression and then move on to something called ‘Black Betty’, Betts and Scholl’s Australian Syrah aged in Bordeaux barrels. Black Betty lives up to the name (Bam Belam) as a wine of very deep extraction and intesity, displaying ripe black plum, blackberry, with and purple flower undertones. Because of Betty’s massive expression it was hard for me to believe that there was another wine that could follow. Though somehow the California Syrah did just that.

For the Betts and Scholl California Syrah, Richard Betts called on cult wine makers Deb and Randy Lewis for assistance. The resulting wine, half aged in used Chardonnay barrels, was laden with coffee, caramel, brown sugar, and black fruit. It felt like a decadent dessert though its richness and complexity were appropriately hedged by balanced acidity.

Richard and his wines were the draw that day and both delivered a good show. But the best part of the lunch was the collection of interesting people in attendence from MS Richard Betts, to nameless sommeliers from the Park Hyatt, the Peninsula, and Charlie Trotters. One notable that I will name is the inimitable scholar and professional, Bob Bansberg, the Dean of the University of Chicago Sommeliers. Through casual conversation at our table that day I found out that later that night Bob was to give a speech about Ernest Hemingway at the Hemingway Museum in Oak Park.
(see next post for bio of the amazing Bob Bansberg)

I ventured to Le Lan on the afternoon of October 10th to meet Richard Betts and taste the wines of Betts and Scholl. But the energy of the room that day, maybe an extension of Richard’s ‘hakuna matata’-like aura, took me to another place that highlighted all of the great things about being a wine professional in Chicago; Good food, great wine, interesting conversation, and a sense of community. While it is a real burden to make time for outside wine tastings, lunches, and dinners, certain events justify the sacrifice of time. A visit from Master Sommelier Richard Betts and the audience that he inspires make the sacrifice and effort pay off. Like my Italian friend said, wine is a tool for creating social unions. As a sommelier in a restaurant I see that phenomenon each night. As a member of a vibrant wine community here in Chicago I see that happen in more profound ways.

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If you are lucky enough to be invited to a dinner at NoMi showcasing the wines of Clarendon Hills, the iconic winery of South Australia’s McClaren Vale region, be prepared to drink world class wine. And if Clarendon Hills Owner/Winemaker Roman Bratasiuk is hosting the dinner, be prepared to witness world class chutzpah (Yiddish for arrogance). Roman might have you believe that he is the only winemaker to conquer brettanomyces, that there is no other Australian wine worth drinking, and that his palate is the best in the world. And yet, somehow, Roman Bratasiuk remains likable. Roman clearly likes to hear the sound of his own voice, which is generally tooting his proverbial horn, and diplomacy or polite consideration doesn’t figure into his character. Producing great wine however, does.

Roman Bratasiuk produced his first vintage in 1990 from the old vines (planted circa 1845) around the town of Clarendon Hills, about 25 miles south of Adelaide. A passion for high quality old world wines and the recognition of specific vineyard sites allowed Roman to craft the style for which he is now known. Twelve vineyards contribute to the sixteen single varietal wines made from Syrah, Grenache, Cabernet Sauvignon, and Merlot. The vines are dry farmed, hand pruned and picked, and produce very small quantities of intense fruit. The wines spend an average of 18 months on the lees in tight grained French Oak barrels that are selected by Roman himself. There is no filtering or fining. The resulting wines combine the purity and finesse of classic Old World wines, particularly those of the Northern Rhone, with the focus and intensity of the New World.

The dinner was a showcase of the 2004 vintage and the pairing menu was superb. Spice Braised Pork Belly accompanied Kangarilla Grenache and the Blewitt Springs Grenache. I am a self declared ‘Grenache Freak’ and Roman’s expressions of the Southern Rhone varietal is a benchmark for his region. Both wines displayed a youthful reluctance to show themselves, though there was an apparent difference; Kangarilla exhibited softer floral aromatics while Blewitt had a smoked meat, and overall more aggressive character. The food and wine pairing can be explained by one comment from another guest, “bacon fat with bacon fat”.

The next course included Brookman Merlot, Roman’s only wine of that variety, and the Sandown Cabernet accompanied by Pan Roasted Duck Breast with Marcona Almonds, Pickled “Alisa Craig” Onions, and Dried Apricots. The Brookman Merlot was remarkable in that it was the most developed wine of the night, balancing red fruit flavors with exotic spice and harmony between the ripeness and acidity. I like to think of developing wines like teenagers struggling to feel comfortable in their own skin. Brookman Merlot was way more comfortable than its counterparts that night.

Duo of Jamison Farms Lamb; Roasted lamb Loin and Pave of Lamb Shoulder, Ratatouille Nicoise, Thyme and Red Pepper Infused Jus, was the course that for a moment made forget that I was there for the wine. Liandra Syrah and Hickinbotham Syrah paired with that spectacular dish, elegant decadence paired with elegant decadence, and it was an experience that I am not soon to forget. Roman declared one of the bottles of Liandra as flawed, but once corrected the wines were similarly tight in their expression, though still suitable for drinking right now.

The ultimate of Roman Bratsiuk’s arsenal of great wines comes form Syrah from the Astralis vineyard, and on that night was served with a trio of cheeses. Astralis has a special character, no doubt about that. What differentiated Astralis from the pack to me was that, while its expression of fruit and intensity matched or surpasses the other wines present, its freshness and acidity was more pronounced. I made a comment regarding acidity in the Astralis to Roman, but like he had done to everyone all night, he shot me down.

The wines that night were fantastic, though I would like to have a repeat of that lineup in five years and see where the 2004 Clarendon Hills wines are after a little more time in bottle. I have recently tasted 1998 Astralis, and some of the other Clarendon wines that were closer to ten years from the vintage, and the wines were more complete, integrated, harmonious, expressive.

There are many characters in our beloved world of wine and Roman Bratasiuk is certainly one of them. The wines he makes are impeccable, some of the best I have ever tasted. Roman the man is interesting, funny, boorish, pompous, loud, honest, passionate, blunt, unforgiving, and stubborn. Recently I met another great Australian winemaker, David Powell of Torbreck, who was similarly direct. Is it an Aussie thing, I wonder? Though he can be difficult, Roman is a great wine personality, and I appreciate that. I liked the wines before meeting him and I still do. Roman Bratasiuk makes wines that I cherish, and highly recommend for cellaring for 5 to 10 years, maybe more.

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When was the last time that you ordered a Sherry? Have you ever? Do you know what it is and where it comes from?

One of the many aspects of Wine that stimulates my passion for it is the variety. Sure, as creatures of habit we turn to trusty old favorites like Chardonnay, Pinot Noir, and Cabernet Sauvignon again and again. But, on occassion, the ability to have a new experience, hear a new story, taste something exotic or distinct, and buck the routine is, as the saying goes, the spice of life. I like to drink beer, Champagne, German and Alsatian Riesling, White and Red Burguny, Bordeaux, to name a few. This week I had the unique opportunity to attend a Sherry-Style wine dinner and that is exactly the type of variety and unique experience that chases the ho-hum away.

I had my first exposure to sherry about five years ago, and it blew my mind. Last night I attended a dinner that paired the wines of Alvear, a Sherry Style producer from the region of Motilla-Moriles, at Aigre Doux, a fine new restaurant behind Chicago’s Merchandise Mart. The dinner was hosted by Fernando Gimenez Alvear, Consejero-Delegado of the Bodega, Rafael Rodriguez Panadero, the export manager, and the local distributor, Robert Houde of Garchacha Ltd.

The Dinner:
Unrelated but needs mentioning; Before the room was ready I had an Austrian Lager called Stiegl, something that I will seek out for future consumption, refreshingly tangy with subtle complexity and structure and an excellent apertif in its own right.

Then, after entering the private dining room downstairs, I was poured a glass of the Alvear ‘Fino en Rama’ 2003, a vintage Fino, the first one in modern history according to the literature. The Fino was richer and more complex than others that I have tried and led us from reception into the first course, Caulifower soup with Dungeness Crab and Black trumpet mushroom garnish. WIth that course we were poured the second wine, the Alvear ‘Carlos VII’ Amontillado. Amontillado, or ‘in the style of Montilla’, is basically an aged Fino. While Fino is produced by keeping the Flor, a layer of dead yeast, and protecting the wine from oxygen, Amontillado is produced when Fino casks see a degredation of Flor. This particular wine was a light golden brown with similar character to the Fino, but with added nuttiness. The earthy/sweet flavors of the soup and garnish worked well with the nutty, dried fruit notes of the crisp, dry wines.

Don Rafael Rodriguez gave an informative presentation of the history of the Bodega and it’s wines through the first course and up to the Entree course, Chicken with Pomme de Terre, Broccolini, and lemon confit. Alvear Oloroso Asuncion NV was poured with this course, displaying the ability to form a beautiful pairing between Sherry-Style wines and savory foods. The Oloroso was a balanced, and slightly sweet, expression of the walnut, almond, dried fruit, molasses, and baking spice character that these class of wines are know for. This is a wine that, when you open it, fills the room with these distinct aromas and makes itself apparent to all in proximity.

Dessert, a Hazelnut and Chocolate Pot de Creme, was matched with two wines. The first, Alvear Solera Cream, is an Oloroso with addition of concentrated Pedro Ximenez (grapes that have been dried in the sun on mats for about 10 days) and has a dark brown color, with an unctuiousness and creamy texture that befits the style name. The second, and my Wine of the Night, was the Alvear PX Solera 1927. The Solera 1927 comes from a specific Solera System that was begun in 1927, is made exclusively from the dried and concentrated PX grapes, and contains more than triple the sugar/liter of the Solera Cream. This is a wine that, despite its sugar content, is remarkably balanced and, at least interms of value, has no match in the entire world of wine. Its German, Austrian, French, and Hungarian sweet wine counterparts fetch prices 2 to 10 times the cost. Brown sugar, molasses, creme brulee, hazelnut butter, and a syrupy, balanced palate experience.

If you are happy wearing the same clothes, eating the same food, and drinking the same wines everyday, then you may not be interested in trying Sherry, or Alvear wines from Montilla-Moriles. But, if you are interested in a different experience, traditional, though perhaps unfamiliar wines like those made by Alvear are one excellent alernative. With Fall and holiday dishes like white meats surrounded by earthy root vegetables and sweet, dried fruits, finding themselves on menus of restaurants and dinner parties, think about Sherry/Montilla-Moriles. Variety is the spice of life, after all.

A brief explaination of Sherry, and the distinction between it and Montilla-Moriles:

Sherry, as it is known in the U.K. and U.S, hails from a region of southern coastal Spain called Jerez, or Xeres, from which the name Sherry is derived (somehow). The area is extremely hot, though the ocean moderates the temperature to some degee. This part of Spain is known for a very unique white, chalky soil called Albariza (Albero in Montilla-Moriles). The Albariza soil is important because it retains water in an area that is hot and dry. The absorbent chalky alberiza soil will be a source of water to the vines when the 120 degree summer heat bakes the surface of the earth into an impenetrable crust. In Sherry they use primarily the Palomino Fino grape and produce two general styles, Fino and Oloroso. The basic difference between Fino and Oloroso has to do with exposure to air. Fino, protected from oxygen exposure in the barrel by a layer of yeast called Flor, kept ‘alive’ by a network of barrels known as the Solera System, will be pale, bone dry, and high in acid with a toasty, golden raisin quality. Oloroso, exposed to oxygen and fortified, will have a brownish hue and exude nutty, caramel, and honey aromas and flavors, and can be sweet. Sherry of almost any style is an ideal apertif because of the high acidity and complex flavors that stimulate appetite.

Motilla-Moriles is not on the coast but farther inland and sees even more extreme temeratures than Jerez does. The varietal grown and used in Montilla-Moriles is Pedro Ximenez, a rich, early ripening grape that reaches high sugar levels and can result in wines that reach alcohol levels upward of 15% without fortification. Sherry-Jerez-Xeres and Montilla-Moriles became distinct regions with classification of Denominaciones de Origen (DO) in the 1930′s, but the wines are very similar and are generally known as ‘Sherry’.

For more information:
www.sherry.org

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