I hold a WSET Diploma from the International Wine Center in New York City, having previously earned a WSET Advanced Certificate with merit. I'm the designer and developer of a Website, RiverRunBy.net and the author of two blogs, Polymath and Wine, Seriously.
I also have an MA in Art History and taught Art History, History, and Spanish in NY private schools for 12 years. In addition, I also worked as a Senior Programmer/Developer for the auction house, Sotheby's, for 16 years, all the while maintaining a translation/interpreting service, Translation International, which I established in 1969. I serve as a consultant in various fields, including database design and development, and wine, of course.
Following is a highly selective list of books that I’ve read or consulted that I consider particularly worthwhile. If I haven’t read or consulted a book, I do not recommend it. Alas, there are more that I’ve not read than have—I’ve only 140 books on wine in my library, and some are still waiting to be read, though nearly all have served as references.
Grapes, Wine, Wineries, and Vineyards
There are seven general wine books that one should own in order to be truly well- and completely informed:
1. Jancis Robinson’s Oxford Companion to Wine, 4th ed. (2015) is just indispensable, with a comprehensive coverage of just about every topic bearing on wine that one can think of, a true Abbocatto to Zymase encyclopedia. All articles are signed, all cited references noted. Robinson was both the editor and a contributor. The 4th edition adds 300 additional, new terms, though many will only be of interest to wine professionals. For a full review on this blog, see the post: The Three Indispensable Wine Books.
2. Equally indispensable is Hugh Johnson & Jancis Robinson’s The World Atlas of Wine, 8th ed. (2019). How else could one find the way around the vinicultural regions of the world, including NY State? The maps are in full color, ranging in scale from street-level for the Champagne towns and the lodges in Oporto, to 1:45,000 and larger for wine regions. The text for the many regions is the very model of pithy, clear writing. For a full review on this blog, see the post: The Three Indispensable Wine Books.
3. In 2013, two new, serious reference books on wine—sure to become indispensable and classic are: Jancis Robinson and Linda Murphy’s American Wine: The Ultimate Companion to the Wines and Wineries of the United States (a very useful feature is its summary of each AVA, including the best grapes grown, and listing the top wineries by category); the other must-have is Jancis’s encyclopedic Wine Grapes: A Complete Guide to 1,368 Vine Varieties, Including their Origins and Flavours, written in collaboration with Julia Harding and José Vouillamoz. See my post, The Three Indispensable Wine Books, for a complete review of Wine Grapes.
4. Emile Peynaud’s vital and perennial The Taste of Wine: The Art and Science of Wine Appreciation (trans. Michael Schuster, 1987). Originally written in French as La Goût du Vin in 1983), it is considered definitive by many in the field.
But then, there is always Jancis Robinson’s How to Taste (2000), which is both a how-to for tasting and a guide to the aromatic and gustatory sensations of the different varieties and how they can differ from place to place (i.e., from terroir to terroir). Robinson’s is certainly the more approachable for most readers.
5. WSET students and graduates, anyone interested in wine certification, and indeed, even winemakers can benefit from David Bird’s Understanding Wine Technology: The Science of Wine Explained, 3rd ed., which has been required reading for all WSET students, is a very clear and lucid explanation—in laymen’s terms—of what goes on right down to the molecular level of yeasts, viruses, and chemistry generally. It’s also a very good read.
6. I very much enjoyed and admired Jamie Goode and Sam Harrop’s Authentic Wine: toward natural and sustainable winemaking (2011), which has many really interesting insights into what really goes on in a vineyard, a winery, and what it takes to be a sustainable winegrower and producer. Much food for thought, though some may cavil about a few of the authors’ conclusions.
7. If one wanted to carry as much information about wine in a portable package, there’s one that I cannot live without: Hugh Johnson’s Pocket Wine Book 2020. It is pithy, witty, thicker than ever, and claims to be the Number One Bestselling Wine Guide, which it deserves to be. I’ve bought every edition since the very first one, published in 1977 (it was rather slim then). Also available as a Kindle Book from Amazon.
8. A book not to be overlooked is Kevin Zraly’s Windows on the World Complete Wine Course,Revised, Updated & Expanded Edition (2018). Zraly is a truly gifted instructor and virtually anyone can benefit from his guidance. His approach is original and his book is the most popular wine book of its kind, with over three million copies sold worldwide.
New York and East Coast Wine
Long Island Wine Country: Award-Winning Vineyards of the North Fork and the Hamptons, is an useful guide to visiting Long Island vineyards and wineries. Written by Jane Taylor Starwood, editor-in-chief of Long Island Wine Press, she gives us an insider’s track on the owners, the winemakers, and the wineries themselves. In a conversational tone (and amply illustrated), the book leads the reader from East to West on the North Fork, and then down to the Hamptons, as though it would be followed geographically. It’s a bit frustrating an approach if one wants to do research and would prefer an alphabetical organization, but it’s a quibble given the overall quality and usefulness of the book, although it’s now rather out-of-date, given that it was published in 2009.
Louisa Thomas Hargrave wrote a gracious memoir, The Vineyard: The Pleasures and Perils of Creating an American Family Winery. One cannot begin to understand what was involved in creating the Long Island wine industry without reading this charming and touching account of the establishment of Long Island’s first winery, Hargrave Vineyard, in 1973, when there were only small farms and potato fields. It is charming in its modesty, touching in its honesty, and a remarkable tale of what it takes to start a vineyard from scratch when you don’t even know what you’re doing! And look at what it started–a whole industry that is one of the dominant features of the East End of Long Island, begun with passion, commitment, and hard work, but ultimately at the cost of heartbreak and renewal. Now out of print, it may be available, used, on Amazon or AbeBooks.
In Marguerite Thomas’s Touring East Coast Wine Country: A Guide to the Finest Wineries (1996) we have the first important guide to the wines and wineries of the East Coast, from Maine to Virginia, replete with useful insights and a good background on the history of the viniculture of each state. It also provides biography capsules of some of the most important or interesting winemakers. Given that the book was first published in 1996, a good deal of its information is now more of historical interest, and it needs, and deserves, a new edition.
More recent is Carlo DeVito’s East Coast Wineries: A Complete Guide from Maine to Virginia, published in 2004. Still, even this needs to be brought up-to-date, but its value lies in its own take on East Coast wineries, with listings of the wines offered by each estate with brief descriptions, recommendations and excerpted tasting reviews of the wines. Let’s hope that, like Thomas’s guide, DeVito’s will also receive a new, updated edition soon. For the serious wine tourist, one guide complements the other, so why not buy both?
An interesting and somewhat chatty book is The Story of North Fork Wine: Historical Profiles and Wine Country Recipes (2009), John Ross’s up-close-and-personal look at the people who work in and run the wineries. A chef who owned Ross’s North Fork Restaurant, he became close to many in the wine trade, especially given that he was interested in devising recipes and menus that would best accompany the wines of the region.
Vital–thanks to its clear, lucid writing and very useful history of LI viticulture and winemaking–is the excellent Wines of Long Island, 3rd edition (2019) by José Moreno-Lacalle, based on the 2nd edition by Edward Beltrami & Philip E. Palmedo. It includes profiles of the most important personalities in the LI wine world as well as all the producers, with descriptions and reviews of wineries and their wines–both past and present–and a generally judicious insight into the trends and achievements of the region. Definitely worthwhile owning, if you love LI wines. (Is this called self-promotion?)
Organic and Biodynamic Viniculture
Rudolf Steiner’s Agriculture Course: The Birth of the Biodynamic Method, is the foundation text of the biodynamic movement. A compilation of eight lectures delivered in Germany in 1924 provides, in Steiner’s own words, the basis for what he called a new science based on the natural rhythms of the world and the cosmos, as recovered from the traditional practices of the peasant farmers of yore. It is meant as a healthy antidote to the rise of farming methods based on industrial chemicals and fertilizers. Many leading vineyards are farmed by this method, from the Domaine de la Romanée Conti in Burgundy to Shinn Estate in Long Island. You owe it to yourself to read the lectures if you wish to really understand what Biodynamics is about.
Nicolas Joly is a leading proponent of Biodynamic viticulture, and he practices his preaching at one of the greatest vineyards of the Loire, the Coulée de Serrant. Joly’s Wine from Sky to Earth: Growing and Appreciating Biodynamic Wine, is a true believer’s panegyric to Biodynamics. His ideas and those of the founder of Biodynamics®, Rudolf Steiner, are put into practice at two vineyards that I know of: Macari Vineyards and Shinn Estate.
Lon Rombough’s The Grape Grower: A Guide to Organic Viticulture, is an excellent introduction to how to grow grapes organically. It’s also very practical, as the guide is really intended for the novice who wants to start a backyard vineyard or even a commercial one. It takes the reader step-by-step on establishing an organic vineyard, imparting along the way a good deal of knowledge and savvy advice.
Other Wine Books of More than Passing Interest (or Not)
Tyler Colman, Wine Politics: How Governments, Environmentalists, Mobsters, and Critics Influence the Wines We Drink (UCal Press, 2008). I highly recommend this book for its clarity and scholarship. The subject of politics in the wine world proves to be fascinating, and the author chose to approach it by comparing, for example, the AOC laws of France (and by extension, much of the EU) with the AVA regulations promulgated by the TTB (Alcohol and Tobacco Tax and Trade Bureau). There are surprising insights into how and why wine is grown and made in different countries, why labels look the way they do on each side of the Atlantic, and the effects of custom, religion, crime, regionalism, nationalism, and so forth on the wine trade. Eminently worthwhile for the serious wine-lover.
John Hailman, Thomas Jefferson on Wine (UMiss Press, 2006). Another book that is based on sound scholarship and research, also well-written, but one may wish to skip all the tables and lists, which are difficult to grasp at times simply because the wines of Jefferson’s period (1743-1826) varied so much in name, currency, weights and volumes, that clear comparisons with our own period are so difficult to make. Still, if one has the patience, there is reward in seeing how all-encompassing were the interests and tastes of the first great oenophile of the United States of America.
Thomas Pellechia, Wine: The 8,000 Year-Old Story of the Wine Trade (Thunder’s Mouth Press, NY, 2006) A work with great potential written by someone who has long been in the wine trade but whose sense of history is lacking in scholarship and critical acuity. Some of what he writes is couched in such vague or confused historical terms as to be virtually useless, especially when dealing with antiquity and the Middle Ages. The writing style is breezy and casual, but it lacks polish and lucidity. Such a shame.
A far better foray into wine history would be the classic Gods, Men, and Wine, (1966) by William Younger, or the more recent Story of Wine (1989)—or the New Illustrated Edition (2004)—by Hugh Johnson, both of which are better-written and historically more reliable. Neither of the latter books is available in Kindle versions, but they do enjoy the virtue of been on real, durable paper bound in hardcover.
A History of the World in 6 Glasses, by Tom Standage (2005), is more than just about wine. It tells its story by means of six beverages: beer (Mesopotamia & Egypt), wine (Ancient Greece & Rome), spirits (Colonial America), Coffee (Europe in the Age of Enlightenment), Tea (the British Empire), and Coca-Cola (Modern America and the Age of Globalization). It’s both amusing and informative, but I’d put the emphasis on the amusement. Unless you’ve utterly uninformed about wine or the other beverages, this is really History 001, rather lightweight.
Questions of Taste: The Philosophy of Wine, edited by Barry C. Smith (2007), with essays by experts such as Paul Draper, Jamie Goode, Andrew Jefford, and others, with an enthusiastic Foreword by Jancis Robinson. The contributors also include a couple of philosophers and a linguist. The language of wine as presented in this book is clearly academic. A worthwhile but challenging book, well worth the time to read.
Wine Wars, by Mike Veseth (2011), which, with chapter headings like “The Curse of the Blue Nun,” “The Miracle of Two-Buck Chuck,” and “The Revenge of the Terroirists,” is an interesting and amusing way of treating the effects of globalization on the modern world of wine. It is also rather informative, and occasionally provides some surprising nuggets of information (such as the fact that Trader Joe’s is actually a German company).
In the words of Carol Sullivan, Gramercy “is a very pretty, pretty farm.” Gramercy Vineyards was originally a chicken farm, still with many of its original buildings, including a hen house that once kept about 50,000 chickens and a hatchery (shown above) in a separate structure. Both sweet corn and corn for feed were planted out back, as well as a hay field. The woman who later bought the chicken farm then built greenhouses and hoped to turn it into a nursery, but it never happened.
The main house is essentially original, 167 years old (about 1857); the property is just shy of fifteen acres, with other structures as well as other houses. A tenant burnt one house to the ground so she had to rebuild. To her dismay, Insurance only paid for part of the loss. As she pointed out, “One quickly learns the difference between insured value and replacement value.”
Carol said that at the time the hay field was replanted with it was replanted with three-and-a-half acres of Merlot vines in 2003, she “had no idea what I was getting into. None whatsoever.” Just two clones of Merlot were selected by Erik Fry, winemaker at Lenz Winery. Merlot was chosen because Carol and Erich Moenius—her then-partner—loved the Right-Bank wines of Bordeaux, which are made predominantly of Merlot and Cabernet Franc, resulting in complex and focused wines, such as those of Pomerol and St-Emilion. Besides, Merlot had already established itself as a premium variety of the East End.
According to Carol (on the Gramercy Website), “A year of living in Florence, Italy during college, being around vineyards and learning to love wine, had a profound effect on me. Planting and tending a vineyard has had a greater impact on my life than I ever imagined. Becoming a steward of the land is an immensely satisfying experience.”
“My partner, Erich, was incessantly saying ‘I want a vineyard, I want a vineyard, I want a vineyard.’ as we asked for a clearing and we found that this farm was for sale. “ , She went on to explain that “We got married, two years later we got divorced, but we’d been together for twelve years.” Erich is now back in Germany.
When the vineyard was first planted, they hired a manager who just wasn’t doing a good job of it. “In 2007 we hired Peter Gristina and bought the farm equipment and started doing it more hands-on. Erich lasted barely a year doing that. It was more work than he was willing to do.” Once on she was on her own, Peter taught her good habits about spraying vines; Carol is meticulous about it and now handles the spray chemicals herself.
Laurel Lake Preserve is adjacent to the Gramercy property—870 acres of woods so it gets a lot of animal pressure from all the woods—while the nets are for birds, they are primarily to help protect the vines from raccoons, but these are undeterred by ties, clip, and they’ll even untie string. They also rip the nets. In the 2012 season raccoons may have devoured as much as a third of the crop, just feeding from the lower bunches of grapes. On the other hand, deer aren’t much of a problem because the vineyard is fully fenced.
To help bring the animal pressure under control, Carol bought a dog from a Mississippi breeder. Cutie, is half-Jack terrier and half-Jack Russell, and is about three years old. Cutie got her name before she Carol acquired her, and at three years of age you just don’t change a dog’s name (but I dubbed her “Jumping Jack,” for she couldn’t keep still).
Cutie keeps the raccoons under control. She’s up all night, and cruises the vineyard during the day looking for woodchucks–there aren’t any anymore. At night she’s looking for raccoons and she gets one or two a night. But her face shows the scars of her fights with the ‘coons; she was blemish-free when she arrived on Labor Day. One night Carol had just come home from dinner and heard screams. She knew something was wrong, so she got her flashlight and went to a section of the vineyard back near the woods where the shrieks were coming from. Cutie had cornered a raccoon (about 20 pounds—twice her size) on a pole.
Roman Roth, the winemaker, refers to the vineyard as a “little oven” because of the way both cold air and water just drain away from the sight, which means that the grapes have more warmth to help them ripen. Carol does irrigate when necessary—had to in 2012, and that involves a lot of work and a lot of expense. That’s why she has worked more than full-time over the years—among other things, Carol has managed several construction projects as a residential and interior designer as well as a realtor.
It’s a very, very pretty farm producing quality fruit that made very good wine by Roman Roth, one of the master winemakers of Long Island. Indeed, in his skilled hands, Gramercy produced some really lovely wines, of which I have several. The winemaker’s notes follow, and my own afterwards:
“Merlot Reserve: After a spectacular growing season [2007 was an outstanding vintage in Long Island] we selected this special section of the vineyard. The grapes were carefully hand-picked and sorted then cold soaked for 5 days before the fermentation started. The maximum temperature reached was 86F and the wine was pumped over up to 3 times a day during the peak of fermentation.
“The wine was dry after 2.5 weeks and was gently pressed and racked into barrels.
Malolactic fermentation was finished 100% and the wine received a total of 6 rackings.
It was bottled on the 28th of April 2009.
There are three wines: a rosé made from Merlot, an Estate Merlot, and a Reserve Merlot.
In January 2013 we shared this wine for lunch with friends. These were our impressions: Ruby in color with a narrow, clear meniscus. Pronounced aromas of ripe, black fruit, with notes of leather, cigar box, and toast. In the mouth it is balanced and rich, the fruit quite forward with nicely-knit tannins and a fairly long finish. At seven years it is clear that this wine has some years ahead of it, but it is ready now.
We learned in 2015 that Gramercy was no longer making wine, but Carol explained that she had turned over the use of the vineyard to Sal Diliberto, who also has his own vineyard and winery. Indeed, Diliberto had already field-grafted 600 vines to Cabernet Franc from Merlot, but his health kept him from carrying on with further plans. However, as of April 2019 Carol has granted a 10-year lease of the vineyard to new neighbors, Michael and Monika Harkin. Monika’s family is from Hungary and own a vineyard there. When they married they went to live in Hungary for four years, and Michael got the bug for farming from his experience there. He has hired Robert Hansen, a vineyardist of many years experience on the island to help him. At the moment, they haven’t yet selected a new winemaker, but it’s still months until the harvest, after all.
Regarding the wines that are in her cellar, Carol said that “. . . the reds are aging well and still available. The 2010 Claret, a mix of Merlot and Reilly Cellars Cab Franc, is exceptional as is the Merlot of that year. She has Merlots from the 2007 through 2011 and all “are maturing superbly too.” Indeed, a 2008 that we had in April 2019 was very much alive and well, a mature wine that was beautifully balanced, with well-knit tannins and deep red-fruit flavors. Those wines can be tasted and purchased at the winery by appointment only, seven days a week.
Bedell Cellars was established by Kip Bedell in 1980, making it one of the oldest vineyards on the East End and only one of ten that have vines that are 30 years old or more. Bedell was eventually sold in 2000 to Michael Lynne, executive producer of the Lord of the Rings trilogy and a former head of New Line Cinema. Lynne, who already had just purchased Corey Creek Vineyards, brought both great enthusiasm and deep pockets to Bedell, has turned the winery and its tasting room into an elegant and modern space to make and display some of the most distinctive wines on the North Fork, as well as a collection of fine Contemporary Art. Unfortunately, Lynne died in March 2019 after a struggle with cancer.
Bedell’s winemaker, Richard Olsen-Harbich, is himself a long-time veteran of the wine trade in Long Island, both as a vineyard manager and winemaker, first working at Mudd Vineyards, and then worked at Bridgehampton Winery in both capacities. It was while he was at Bridgehampton that he drew up the applications for the Hamptons AVA and then one for the North Fork, and finally one for Long Island. It was at there that Rich saw the effects of bad vineyard siting, when the vines collapsed during a hard winter, due to cold spots and poor drainage. Nevertheless, he managed to produce a number of award-winning wines at Bridgehampton, in the end working with purchased fruit. He then went on to work at Hargrave Vineyard—the pioneer vineyard that had started viticulture on the island—and later helped establish Raphael with Steve Mudd, a well-known grower and vineyard consultant. He remained at Raphael until 2010, when he moved to Bedell. With a degree in agronomy from Cornell and his years of experience in the business, Rich has among the strongest credentials of anyone in the East End wine business. As pointed out by Jay McInerney, wine writer for the Wall Stret Journal, in his wine column of Sept. 6, 2013, “The Other Bordeaux Lies Closer to Home,” “The arrival of Richard Olsen-Harbich in 2010 seems to have marked a turning point. . . . [and he] has taken Bedell Cellars to new heights since he arrived at the winery.”
David Thompson, Bedell’s former vineyard manager, was responsible for, among other things, helping to write the Long Island sustainability guidelines for Cornell University’s Vine Balance Initiative, a ‘best practices’ handbook for sustainable grape growing in New York State. Rich, who has a complete grasp of what goes on in the Bedell vineyards, worked closely with vineyard Thompson, who had been there with Kip since its inception, until he retired in June 2016 and Donna Rudolph filled his shoes. Donna came to Bedell in 1996, having worked at Ressler Vineyards for 13 years before that. At Bedell, she oversees sustainably-grown grapes on three vineyard sites spanning 75 acres on the North Fork.
With respect to the vineyards and the cultivation of the vines, he says that:
“When we plant a new field we start a liming program early on; our aim is to bring the pH up to 6.2 to 6.4. Thereafter we only need to replenish the soil with lime once or twice in every ten years. We use a water tank to irrigate new vines when there’s a dry spell.
“Our preferred vine spacing varies, according to the plot of vines: it can range from 9’ by 7’ or 8’, 8’ by 3’ for Syrah vines, and even 8’ by 4’. I’d say that the average spacing works out to about 9’ by 5’. We typically harvest about two tons an acre and we prefer to pick the grapes manually.”
“Practicing sustainable agriculture means that you have to have a system that pays attention to both ecology and economy. You need low-impact strategies because, after all, our vineyards are near towns and we have an obligation to be good neighbors. So, we hire local people, do not foul our own nests, and we have social obligations as well. For example, in order to preserve the vineyards as farmland forever, we have sold our development rights to the Peconic Land Trust. “We make our own compost, using the natural by-products of grape pressing and fermentation and returning these to the vineyard soil. In my opinion, using fish fertilizer is not sustainable, as it means devastating wild fish populations, so I consider that to be ‘dirty’; it’s better and cleaner to use commercial nitrogen fertilizer made from peanut byproducts.” The Website adds that “We avoid or minimize the use of synthetic fertilizers, instead encouraging responsible natural stewardship of soil health, fertility, and stability.”
Bedell participated in the Cornell University VineBalance program for years, and the winery is also a founding member of the North Fork Sustainable Winegrowing certification program, itself an outgrowth of VineBalance.
With respect to organic farming, Rich says that he believes that the science of organics is flawed and that much more work needs to be done before we can say that we really understand what organics add to sustainability. In this respect he points out that both copper and sulfur of the kind that is used in farming are industrial products, so neither can be considered ‘natural’ or ‘organic,’ and copper, while highly toxic and with long persistence in the soil, is permitted in organic agriculture. Both sulfur and copper are insuperable fungicides and are difficult to replace when humid conditions may prevail, as is often the case in Long Island.
Bedell’s excellent Website adds the following information:
There are several other ways we have worked for the public interest through a sustainability-minded vineyard program:
We participate in the U.S. Department of Agriculture Natural Resources Conservation Service Environmental Quality Incentive Program and Conservation Security Program, which rewards good land stewardship through nutrient, pest and cropland management, natural windbreaks, and non-planted wildlife buffer areas.
We established a dense cover crop of grasses, fescues, and clovers between the rows of grapevines to maintain high biological species diversity in the vineyard. These row-middle cover crops also reduce soil erosion and promote symbiotic relationships between plants and beneficial insects.
We minimize off-farm inputs such as agricultural chemicals to protect the farmer, the environment, and society at large.
If we have to spray a fungicide to control a specific grapevine pathogen such as powdery mildew, we use one with the lowest possible environmental impact.
We avoid or minimize agricultural chemicals that do not biodegrade and might build-up in the soil over time.
We scout the vineyard for insects using Integrated Pest Management principles and economic threshold evaluation to eliminate or minimize insecticide use.
We encourage a natural flow of ecosystem elements through the presence of Bluebird houses, honey bee hives, and deer migration corridors. At Bedell, we employ sustainable, ecological viticulture to ensure the highest quality fruit without unnecessary, high-risk practices. We grow grapes for our own unique environmental conditions – the first step toward a pure expression of local terroir in our wines.
Bedell’s conviction about terroir is found, vividly expressed, in the cave of the winery, where a plexiglass box hanging on the wall displays a cross-section of vineyard soil (though compressed vertically many times over) showing how loam, sand, clay, and gravel are layered. (The image also holds the reflection of wine barrels, appropriately perhaps.) It helps explain how stratification can account for such factors as drainage and/or retention of water in the soil—which is important in understanding how vines respond to the terroir in which they grow, along with the effects of slope, aspect to the sun, etc. (See “Olson-Harbich’s Obsession with Soil . . . ” on the New York Cork Report blog, June 2, 2011.)
Furthermore, it goes on to say, “We maintain viticultural practices that produce the highest quality fruit possible, while also being sensitive to the environment and financially viable over time. . . . Each of our three unique vineyard sites is a holistic ecological system,” and together total approximately 80 planted acres: Bedell Home Vineyard on the Main Road in Cutchogue, behind the winery and tasting room; Corey Creek Vineyards on Main Road in Southold, adjacent to the Corey Creek tasting room; and Wells Road Vineyard on Main Road in Peconic. According to Rich, there are five sections planted to Merlot, its most important variety, for a total of 32 acres in 50 separate plots, as can be seen on the maps below. The other varieties planted at the sites include Chardonnay, Gewürztraminer, Riesling, Viognier, Cabernet Franc, Cabernet Sauvignon, Malbec, Petit Verdot, and Syrah.
Bedell’s viticultural philosophy is presented very clearly on its Website (about the vineyards); indeed, I find it is the fullest, yet pithiest exposition of its viticultural practices of any of the Island vineyards, and the only one to offer plot maps. Rich’s blog posts on the Website are especially worth reading-for example, his assessment of the 2013 vintage: Lucky 13.
As a vintner dedicated to making ‘natural’ or ‘minimalist’ wines, he points out, first of all, that “we try to stay away from late season fungicide applications in order to preserve the wild yeasts that are used for fermentation.” Indeed, one of Bedell’s hallmark’s is its commitment to the use of indigenous yeasts, thanks to Rich, who, in fact has inaugurated what has become a new ritual at Bedell–the care and feeding of the yeast in preparation for the fermentation of the new harvest. It’s a bit of a witch’s brew, minus the eye of newt and leg of toad–perhaps it should be called a ‘fairies’ brew,’ given the addition of wildflowers, freshly-picked local fruit, including apple, pear, and a white peach. (A post on Facebook about this provoked an article in October 2013 by Louisa Hargrave, The Yeasty Beasties, which is well-worth reading.) In fact, Eric Fry has an amusing anecdote about Rich’s commitment to wild yeast:
That’s his thing and he does it… he’s been doing it for years and he seems to have it figured out, and cool, that’s good fine, yeah, good for him, good for him. It’s really funny because when Rich moved from Raphael to Bedell, he showed up at Bedell and he’s looking around, he’s rummaging around, and seeing what’s there and everything like that, and he came over [to see me at Lenz] and said “I’ve got like six or eight boxes of yeast here, do you want them?”
I said “OK, I’ll take them.” Because [Rich] says “I don’t want them.”
As with all of the top vineyards that I’ve visited on the East End, Bedell’s wines begin in the vineyard and the results are telling. For example, it’s Bordeaux-style blend (with some Syrah), Musée, was awarded 91 points by Wine Spectator for the 2007 vintage—one of the highest scores by that publication for a red wine from the East End. The sample I tasted was already rich in flavor, with good acidity and tannins to give it backbone, but it was still a bit closed. Clearly, it needs to be laid down for a few years. Bedell claims that it can keep for up to 15-20 years. Any wine that can develop for that long has to be exceptional, so to drink it now would be to commit infanticide. I also bought a few bottles of Corey Creek’s Gewürztraminer, which I found to be among the best of that variety of any North American ones that I’ve tasted. Irresistible.
In April 2016 the 2014 Sauvignon Blanc earned 90 points from WA while the 2014 Chardonnay also got a score of 90 with the remark: “ beautifully balanced . . . all about the finesse.” The 2010 ‘Taste Red’ earned 90 points from WA. In April 2017 WE awarded the Bedell 2014 Cabernet Franc 90 points and others are rated in the high 80s. In January 2019’s Cork Report, Lenn Thompson rated the Taste Rosé as 90 points, given its “nice fruit flavors.” These are very good to excellent scores indeed. There is also a zippy, straightforward quaffing wine, known as ‘Main Road Red’ that is always reliable.
The 2014 Taste Red (a blend of Merlot, Syrah, Petit Verdot, and Cabernet Franc) is a real favorite of ours and is meant for serious oenophiles. Rich and full-bodied, it offers a bouquet of cherry, plum, and toast, and is complex in the mouth, offering cherry, plum, chocolate, and herbs. It can be laid down for several years.
This is a vineyard and winery that commands high respect and praise. I recommend visiting winery and its elegant tasting room, festooned with a collection of contemporary art including works by Barbara Kruger, Chuck Close, and others. If you cannot get there soon, at least visit the Bedell Website.
Due to Lynne’s death, the winery is now for sale. The asking price is $17.8 million.
Based on an interview with Richard Olsen-Harbich on 12 May 2011, with additions from the Bedell Website updated 4 April 2019
In 2014 Robibero Family Vineyards won a competition double gold for their 2012 Cabernet Franc. That was quite an achievement for a Hudson Valley winery, but it was made with Finger Lake fruit. There’s nothing wrong with that; many wineries purchase fruit from other regions, depending on the varieties that they need which may not grow in their own region. And a double gold is a double gold, period. It certainly spoke to the skills of the winemaker, Cristop Brown.
Also in 2014, an important article by Steve Kolpan was published in The Valley Table vol. 65, March-May issue: “A Signature Grape for the Hudson Valley?” In it he pointed out that the Finger Lakes had established the Riesling grape as its signature variety, and Long Island has its Merlot. Both of these are true vinifera varieties, European in origin and widely known and accepted throughout the wine world as fine-wine fruit. The issue for the Hudson Valley, with its harsh and variable climate, was that many of its most successful varieties have been hybrids, which is to say, crosses of a vinifera vine with an American one. The idea was to produce a hardy, cold-resistant variety that also offered a palatable wine. Indeed, Baco Noir is a very successful hybrid that produces very red nice wines, and Seyval Blanc makes some truly nice whites. But neither offers the cachet of a Riesling or Merlot. They’re just not on the radar of serious wine drinkers. It’s a shame, but that’s the reality.
Mr. Kolpan suggested that there was indeed a successful European variety that actually could and did thrive in the Valley, if properly tended to in the vineyard. He suggested that it should be Cabernet Franc.
Historically, Cabernet Franc (aka Cab Franc) has often been seen as a lesser variety than Cabernet Sauvignon, so is often not given the respect it deserves. In fact, DNA analysis has shown that Cabernet Sauvignon is in fact a descendant of Cabernet Franc—in a cross with Sauvignon Blanc—so Cabernet Franc has lost all sense of inferiority. Cabernet Sauvignon enjoys its renown because it is more assertive and bold (it has more acidity and tannin) but Cabernet Franc has some exceptional qualities of its own. It is softer, spicier, and more delicately perfumed. When young it is much more approachable. When blended with Cabernet Sauvignon, the result is often a wine than is more complex than either variety alone.
Like Merlot, it is used to soften the hard edges of Cabernet Sauvignon, and contributes its own complexity and floral bouquet. There is sometimes a spicy or briary flavor to Cabernet Franc wines; Robert Parker detects a “weedy, olive-like aroma,” while Jancis Robinson is reminded of the aroma of pencil shavings. This is sounding less and less like something one would be inclined to drink, but to the world of fine wine, these apparently negative qualities can give the wine an intriguing complexity.
It is an important part of many of the great blended wines of Bordeaux, and is a signature red variety of the Loire Valley. One of the reasons that Cab Franc can do so well in the Hudson region is that it is a much earlier ripener than Cab Sauvignon or even Merlot.
Established in 2016, the Coalition set out to define the criteria that had to be met in order to be a member. Choosing a hawk as its symbol (they are ubiquitous in the Valley), the hawk sticker on a bottle guarantees the wine in it is at least 75% Cabernet Franc and that 85% of the fruit was grown in the Hudson Valley. Furthermore, all these wines are to be aged for 12 months in oak barrels before being released for sale.
This is not to say that other Valley wineries don’t also produce Cab Francs: among them are Bashakill, Brimstone Hill, Cereghino-Smith, Hudson-Chatham, Palaia, Stoutridge, and Warwick Valley. They have not yet joined the Coalition for any variety of reasons.
In 2018 Whitecliff was awarded a coveted Double Gold Medal from the prestigious San Francisco International Wine Competition (SFIWC) for its 2016 Cabernet Franc. This makes 2018 a great year for Whitecliff: it marks the beginning of its twentieth year in business, and it began with yet another international Double Gold—for Whitecliff’s Gamay Noir at the Finger Lakes International Wine Competition. With two international awards for Hudson Valley reds this year, Whitecliff is chipping away at the outdated assumption that New York doesn’t produce great red wines. Furthermore, it confirms the idea that Cabernet Franc is indeed the red variety of the Hudson Valley.
To really enjoy the wine, it should be decanted or at least poured into glasses for about an hour before drinking it, so that the exposure to air will soften the high acidity—typical for so young a wine. Already it offers aromas of dark red fruit, delicate herbal notes, and a hint of oak. It has good body and the flavors confirm what the nose tells you. I late January I had a bottle which I decanted, following my own advice, and consumed about half the bottle with dinner. I didn’t drink the balance until two days later. That longer period of oxygenation had transformed the wine. It had become more balanced as the acidity had become better integrated and the fruit flavors were enhanced. It was, quite simply, an excellent Cab Franc, as good as any that I’ve had from an East Coast producer.
Enjoyable now, I think that it would benefit from being laid down for a few years. Buy a case and open a bottle every few months. You’ll find that it will evolve over time. It really is good, and will get even better. But then, a Double-Gold Cabernet Franc should do exactly that!
This high level of achievement for Whitecliff’s Cabernet Franc, which was made from estate-grown grapes at their home vineyard in Gardiner, will no doubt contribute to recognition of the Valley as a significant producer of this variety. This time Whitecliff’s winemaker, Brad Martz has bragging rights!
Oh, yes, and Robibero has now planted an acre of its own Cabernet Franc. That’s why they were able to join the Coalition. We await their next wine.
You can read more about Whitecliff here and about Robibero here, as they both have posts on this blog.
The Hudson River Region has three wine trails, of which two are on the East side of the river and one on the West. The western one is the Shawangunk, of which Whitecliff Vineyards is one of the wineries on the trail, which has the oldest continually-operating winery in the United States, now known as Brotherhood Winery. Located in Gardiner, NY, Whitecliff is easy to get to from the New York Thruway at exit 18, at New Paltz, where the earliest vinifera vines in the valley were planted in 1673—unsuccessfully—as they knew nothing then about pests like the devastating root louse, Phylloxera. Today winegrowers know plenty about vine pests and diseases, and the Valley now has dozens of successful wine-grape vineyards planted to both hybrid and vinifera varieties.
Whitecliff is a family-owned, award-winning winery and vineyard with 20 varieties currently planted. Many are experimental, but the production wines include both vinifera varieties such as Cabernet Franc, Pinot Noir and Riesling, and hybrids like Seyval, Marquette, and Vignoles. Red, white, pink, and sparkling wines are made from these and other grapes. The owners are Michael Migliore and Yancey Stanforth-Migliore.
As of 2018 Whitecliff has one of the largest vineyards in the Hudson River region. Its 32 acres are primarily in Gardiner, with six additional acres now established on the eastern bank of the river in Hudson. Focused on Gamay Noir, Cabernet Franc, Pinot Noir, Chardonnay and Seyval Blanc, their vineyards serve as the foundation for a 6,500-case annual wine production. Of the varieties on the 32 acres of vineyard in Gardiner there is a roughly a fifty-fifty balance of vinifera and hybrids. The experimental varieties may have just a row or two of vines. All the varieties are Vertical Shoot Positioning (VSP) trained, which is a standard system for vinifera vines. Other vineyards in the Valley may use high wire for their hybrids, but at the time of harvest it’s really difficult, as one has to “fight through this jungle of leaves and tendrils and shoots” in order to get at the grapes. Using VSP with the hybrid varieties doesn’t really have much of a downside, given that the ones grown here are all pretty tame, like Traminette, Noiret, and so on. They have pretty restrictive soil, so there isn’t too much vigor and VSP helps manages it well. The soil is composed of clay of three different types: Churchville soil, which is a heavy clay, Castile, and Cayuga. The latter two have more sand and are sandy loams, more like the soils in Long Island. Cayuga soil has larger stones, small gravel, and affords good drainage and runs down from the top of the hill, where the Castile and Cayuga soils appear on either side of the winery at the base. This was once a flood plain for the Wisconsin Era glacial melting. There’s visible evidence of washout and conglomerate rock from the glacial action. The acidity is naturally at about 5.6 pH so every other year lime has to be added to the soil so that the acidity is kept at about 6.5-6.6, which is pretty basic. Also typical of the soils of the Hudson Valley is a deficiency of phosphorus. That’s another reason that one has to get into the soil and really work it, because added phosphorus is not mobile. It can’t just be spread it on the ground in the expectation that it will get down to the roots on its own.
Michael is an organic chemist by both degree and experience; he spent years at IBM working on projects involving optical lithography among other things. He planted the vineyard one year after he started working at IBM in 1978, so it took a long time to grow it to what it is today. They originally purchased eighteen acres of land and later on added another fifty acres. The vineyard was started by planting a one-and-a-half acre plot and another three-acre plot. They now have twenty-six acres under vines. It is now one of the largest vineyards in the Valley. He and his wife Yancey opened the winery when he was still working for IBM in 1999, offering wines from the 1998 harvest. For years before that they had sold their fruit to other wineries until they finally had their own facility.
Michael’s prowess in both the cellar and in the vineyard is such that he not only has won awards but is also the role model for other wineries in the region. Indeed, he is also the current president of the Hudson Valley Wine and Grape Association.
The Vineyard plots sit in clear proximity of the Shawangunk Cliffs–the most important rock-climbing site on the East Coast–hence the name of the vineyards. The vines are planted about 4’ 6” to 5’ apart, and about 6’ for the Seyval–even that could be brought down to 5 feet. As Michael says, “If there’s anything that I’ve learned in thirty-six years of growing grapes, it’s that closer planting is better.” The rows are 9 feet apart but with replanting that may change over time.
Among red varieties Whitecliff has about an acre and a quarter of Pinot Noir, some of which is used for the sparkling wine, which has a cuvée that is 40% Pinot and 60% Chardonnay. Some goes into the sparkling rosé, which is 100% Pinot Noir. The rest goes into the still wine. It does well on the site, planted on a south-facing hillside with good drainage that seems ideally suited for the variety. They also grow Cabernet Franc and Merlot as well as some hybrids such as Noiret and Marquette.
There are roughly an acre-and-a-half each of the Pinot Noir and Cab Franc at 4’ 6” spacing, which is good for the soil in which they are planted. The other big red-wine grape here is Gamay Noir—in fact, Whitecliff is one of only two vineyards in the state that grow that grape. In fact, Michael thinks that this is more of a Burgundian than a Bordeaux-like climate in that Pinot Noir, Gamay, Cab Franc, and Chardonnay all do well here. There is also a small plot of Merlot but no Cabernet Sauvignon, which just doesn’t do well here due to the short growing season.
On the other hand, Riesling thrives at the vineyard. With respect to Rieslings from the Finger Lakes or Long Island, Michael finds that when they bring them in they lack acidity, so they have to add Whitecliff Riesling to give it some backbone, then it’s really good. There is one acre of Riesling as well as three acres of Traminette, Another three acres are planted with Chardonnay.
The Gewürztraminer x Joannes Seyvel 23.416 hybrid, Traminette, was released by Cornell, but it had been developed in Illinois by the hybridizer Herb Barrett in 1965. For Michael, Traminette is a great success story. Though he has both the Traminette and Gewürz planted in his vineyard, he finds the former easier to grow. It’s yields are higher, it’s less prone to disease, it’s more cold hardy. It has the core of the Gewürztraminer characteristics: lychee and rose aromas and flavors. Gewürz is more of a challenge to the winegrower in order to get the full range of flavors that it can offer. It needs to hang longer for fuller ripeness, but the more time it spends on the vine, the more prone it is to rot, for example. Now the Migliores have embarked on a new 75% Traminette-25% Gewürz blend called White Rose. The reason that Whitecliff doesn’t produce a Gewürz varietal is that the quantity grown presently doesn’t yield enough to reach a hundred cases, which is the minimum that they want for any of their wines. In truth, White Rose is a field blend—something that they’ve never done before. The Gewürz is added to the Traminette to bring up the blend’s flavor profile.
While they do use machinery for spraying, all the other field work is done by hand. They don’t need to use a curtain or recycling sprayer here because drip is not a problem with the neighbors so far away. The tower sprayer is more than adequate for the work that has to be done in the vineyard. At Whitecliff they try to follow an Integrated Pest Management Program (IPM), but they are not organic or Biodynamic. They deeply care about the environment and use as much of the organic inputs as possible, including copper and lime and phosphoric acid (about which there is a debate about whether or not it can be considered part of a certified organic program. They try to use minimal spray inputs and are constantly monitoring what they use. If a sprayer is fully loaded and taken into the field it can be worked all day, but the cost comes to about $500 to $600 each time, so obviously there’s no incentive to spray too much. The idea is to spray before any fungi or insects can take hold of a field, a kind of prophylactic treatment. Once anything takes hold, it is far more difficult and expensive to get it under control. Besides that, the winery needs to keep a lookout for new pesticides that might be more effective than what it currently is using. (One reason for this is that organisms that survive a toxic application will beget resistant offspring. This is now a big problem in New York due to so much overuse.) Basically, the spray schedule for the season is from ten to fourteen days of spraying. They’ve done well so far, as they’ve not had any major breakouts in the vineyard.
Another problem with spraying is that many vineyard managers think that sprays contain systemic chemicals, which is to say that they remain in the plants and do not wash away in the rain, and they’re wrong. There are only a couple of them that are systemic, the rest need to be resprayed after a rain. Furthermore, as Michael says, “once or twice in every ten years you are going to have to use non-organic sprays because this isn’t the Napa Valley, it isn’t a desert; this is where it’s cold and damp.” All of which adds to the disease pressure. Last summer there was a great deal of rain. When a New York vineyard is hit by a lot of rain, it must be put on a seven-day spray schedule to save the crop and one doesn’t have much choice in terms of what must be sprayed. Copper, which is approved for organic farming, is an important input that gives excellent results, but over time it accumulates in the soil and is toxic, so one may have an organic farm but under these circumstances, but ironically, not be sustainable.
About disease pressure, Michael says that “Among the diseases that most press on the vineyard is Downy Mildew, which rears its ugly head every July. The next is Powdery Mildew, and then there’s Botrytis, which comes in at the end of the season. Black rot is another disease to reckon with, so it needs to be sprayed assiduously, and that includes the mummies that may be clinging to the canopy, where they can sporelate.”
The thing that Michael stresses about spraying is that the vineyard needs constant vigilance to always be ready to spray when needed.
It is because of Michael’s background as a chemist and years of experience with the high tech of IBM that he eventually invested in a state-of-the-art winery: a large, open structure built in 2011—the building could, in his words, also be called “an above-ground cellar.” It uses geothermal heating and cooling, costing about one-third of what it would be if doing it any other way. There are also supplemental heat exchangers that can also cool it off or heat it up. The heating comes up through the floor. This takes care of a space that is forty by eighty, or thirty-two hundred square feet. In addition, they have a fifteen by eighty-foot covered pad in the back, which though it has a roof, remains exposed to the outside.
Another way in which the winery is efficient is in using the glycol for the air conditioning for the cooling jackets for the fermentation tanks. When using the air conditioning for cooling the building, they use the extracted heat for their hot water. The winery is already oriented to the south so that if they install solar panels the energy use will be a net-neutral system. (Perhaps at that point Whitecliff will even have a surplus that can be sold back to the grid.)
According to Michael, the system that’s in place cost about 30% more than one using a standard energy system, but because so much energy is saved the RTO is about seven years.
With respect to Michael’s philosophy about winegrowing, he sums it up in one word: “Quality.” In his case this means that the first thing he looks for is quality in the grapes that they’re going to harvest. For Whitecliff, when they bring good fruit into the winery the winemaker’s first obligation is to “not screw it up. Work with what is given and the rest is very simple.” They look for a balanced wine, so if necessary they will chaptalize if the Brix isn’t high enough. If a wine is too thin or too acidic, they will take the necessary measures to bring the wine into balance. Given that this is not Napa Valley, and it’s a cold climate, and no two vintages are the same, adjustments of this kind will have to be made from time to time. Because of this, it is very challenging for the winemaker, and as far as Michael is concerned, if a winemaker can make good wine in the East, he or she will certainly succeed in Australia or California and have a much easier time of it.
When it comes time to harvest the crop, they typically bring in about ten people to help out. They also handle the fruit in other vineyards, so the crew can be kept busy for a number of days. In some cases they will work in a vineyard from which Whitecliff buys fruit—the owner may have a small crew and they supply the rest of the pickers. It’s all done by agreement.
In the winters of 2013 and 2014 deep freezes seriously damaged the Gamay Noir vines so Whitecliff has now purchased a six-acre plot on the East side of the Hudson near the foot of the Rip Van Winkle Bridge and just below the hills of Olana, Frederick Church’s legendary home. Records indicate that this particular plot does not freeze, in good part because it enjoys the “river effect” where large bodies of water ameliorate the climate. The vines are being planted and should be productive in a couple of years or so.
When they harvest, they drop the grapes into lugs that they then bring to the crush pad and deposit them in macro-bins capable of holding about 1,200 pounds, and then do as much gravity-fed processing as possible. The crusher sits directly over the press so that there’s no need for pumping the white grapes. One thing that they do at Whitecliff that is different from what is done by most other East Coast wineries, is not to use gravity settling for its whites, but instead use flotation clearing. This began with their 2009 Riesling, which subsequently won a Double-Gold medal in the San Francisco International Wine Competition. (More about this below.)
In Germany this floation process, called Floatclear, is widely used. After crushing winemakers add enzymes to the juice, then run it through a centrifugal pump and bleed in nitrogen at a 6-bar pressure at a rate of four liters a minute. This results in nitrogen bubbles in the juice adhering to the particulate matter in it, which floats up to the top of the tank instead of letting the particles settle to the bottom. It greatly speeds up the process of clearing the wine prior to fermentation, because they can clarify about 3,000 liters an hour: in an hour-and-a-half they can finish a whole tank of juice to be ready for the yeast to be added, instead of having to wait about 24 hours or so for the settling to take place on its own. Also, the normal loss [of juice] is about five to ten percent when using gravity for clearing the juice as opposed to about three percent with this process.
As Michael said, “The result is so much cleaner, much better–we’re so glad that we’ve gone down this path that they can’t believe that not everybody is using it. Not only that, but just think of the energy that’s involved in cooling the tank for twenty-four hours, then bringing it back up to a temperature where you can get the fermentation started. It’s a brilliant tool. We’re one of the first in the state to adopt it. I know that some up in the Finger Lakes are doing it but I don’t know of anyone out in Long Island that’s doing it right now.”
Whitecliff has recently undergone several changes to its processing. For one, they’ve gone to synthetic corks for the whites. Screw caps, the other alternative to natural corks, require a capital investment of about $15,000 in machinery. Synthetic corks demand no changes in the equipment used for natural corks. Furthermore, synthetics cost less than natural, on the order of 16 cents versus 26 cents. Screw caps cost about 6 to 7 cents, but the investment up front is very high so that it takes a long time to get back your return on investment. They’re really more suited to larger operations than Whitecliff.
Natural corks allow an ingress of oxygen of about 30 parts per million, whereas synthetic ones allow only five parts. Screw caps had a problem with the barriers that were used for a long time; even today they aren’t recommended for keeping white wine for longer than about two years. Instead, Whitecliff uses a top-of-the-line Nomacorc product that is especially designed to control and limit the transfer of oxygen.
Production this year is about the same as last year—about 7,000 cases. And they want to rebalance their production. That is, “We over-produced on some and under-produced on others.”
Whitecliff’s number-one selling wine is Awosting White, a Vignoles-Seyval Blanc blend. They had hugely boosted production of it, so they overproduced it, so they’ve got to cut back on it. Michael says that, “It’s probably our signature wine. It’s held up well. The production of Traminette is growing, but it’s a problem where it is in that field, which is shielded so doesn’t get any wind. So it tends to get Botrytis and sour rot, too. This is something we’re still trying to figure out.” But this year they decided to harvest it early as a result of an experimental program over the last couple of years, and they’re going to move it into the sparkling wine program.
The winemaker is Brad Martz. He came to Michael after tasting some wines and he asked if they needed any volunteer help. So he helped out in the cellar, and worked with them in the sparkling wine processing. After a couple of years he came on as assistant winemaker. He learned much of what he knows about winemaking on the job at Whitecliff. He also did self-study as well as earning a degree from UC Davis. “We worked together and he learned as we worked,” Michael said of Brad, “The thing about him is that he’s committed, he’s mature, and he has a good intellect and excellent palate.”. Brad joined the firm as winemaker in 2014; he is critical to the final decision of what goes into the bottle of every wine. He believes that it’s better to learn on the job at the winery than to go spend that time earning a degree in winemaking, after which the graduate knows the concepts but not the practice.
So to the extent possible, they try to make natural wines, but they won’t touch ambient yeasts for the most part, so they use yeasts that are commercially available. In Michael’s view, companies have done very well with their yeasts, and he can decide, for example, to cold-ferment Riesling for eight weeks and there will be a yeast to do that. With natural yeasts that cannot be done; one may get the desired result sometimes but at other times one can end up with a stuck fermentation. In fact, once a winery has used a particular yeast for many fermentations, and the pomace is thrown into the fields, then that strain will become the dominant yeast out there, even if it’s not native.
They use gravity feed instead of pumps because if the must goes through a pump connected to a hose at high pressure there is the possibility that there could be sheared seeds that release green tannins. When running the red grapes through the destemmer they remove the rollers because they don’t want to macerate the fruit, so the grapes go into the fermenter as whole berries. The grapes will then initiate an internal carbonic fermentation on their own, and that will release more subtle fruits, which is part of what Whitecliff is after.
On the other hand, it makes punchdown in the tank much more difficult, which is why the winery uses pumpovers. To make sure that seeds are not in the pumpover must the tanks have mesh filters that catch the seeds as they sink to the bottom, so the filter can be removed and the seeds discarded. Thus, if harvest had to take place before there was phenolic maturation, then the green seeds can be removed before they can add a green, harsh character to the wine.
Generally they look for balance and do not seek to make sweet wines, but they make many bench tests, primarily to balance out the acidity, which tends to be high with the sugar on the low side, as the grapes are usually brought in at 20 to 21 Brix. That often means that they have to chaptalize the must. The resulting Riesling then comes in at 1.3% RS.
As an example of Michael’s scrupulous care and attention, before Whitecliff even made a sparkling wine to sell, bench tests were made for six years. The result is North River (a historical name for the Hudson, not just long ago, but even today, when boatmen may refer to the North River along certain spots of the waterway), Whitecliff’s second label for its sparkling wine, which is made in the traditional method, where the second fermentation takes place in the bottle in which the wine will be released. They make a cuvée, a rosé, and a Blanc de Blanc. The cuvée is made up of 60% Chardonnay and 40% Pinot Noir. Both varieties are estate grown, but from two vineyards, The Pinot is grown here, while the Chardonnay comes from a vineyard on the Hudson in Middle Hope, that Michael owns with a partner, John Hudelson, who’s a professor of oenology and viticulture at Central Washington State University on the West Coast. The New Hope vineyard sits on limestone at the warmest spot on the entire river, so that it never freezes. They do everything at the winery including the second fermentation, the autolysis, riddling, adding the final dosage, and bottling. Whitecliff also getting ready to create another line—“it’s really expanding, and we’re committed.”
One thing that they lack and need is a sorting table. Michael observed that if he had to spend money on new equipment, the $15,000 that a screw-cap bottler would cost could instead go to buy a $10,000 sorting table. That will raise the quality of the wine, whereas a screw-cap will not affect it at all.
Michael went on to point out that “We’re a whole team here, not just Brad and myself. There’s also Santiago—the vineyard manager-cum-factotum—and Paco, who are key parts of the winery. You need people for processing the grapes, help in the vineyard, the cellar . . . cleaning out barrels, all sorts of things. The great thing about Santiago is that I can just tell him, ‘Go do this.’ And he goes and does it, I don’t have to watch to make sure that he does it right.” And it is a family business that involves two other members, Michael’s wife, Yancey, and their son Tristan. Yancey handles marketing and wholesale, keep the books, answers the phones, and so on. They also have a Tasting Room manager, Matt Student. The tasting room is a popular destination for tourists, but, he says, they have little curiosity or interest about what’s going on when they arrive at the winery. Work can be going on at the crush pad and they’ll just walk by without so much as a glance. Michael has had people ask, “When do you harvest the grapes?” Yancey recalls one visitor who saw a bin full of fermenting grapes and asked if they were cranberries.
In other words, visitors don’t see or care about the business side of a winery–the hard work in both vineyard and winery, the technology, etc.–but they clearly love the wine. After all, as one can see, they win prizes. I’d certainly give them a prize for their 2013 Pinot Noir–a light-bodied, red-berries and cherries on the nose and in the mouth, a touch of minerality, light tannins and ready to drink right now. A perfect summer wine and terrific with fowl or fish, as well as roast lamb–a versatile wine indeed! So too the Gamay Noir–it reminds one of Beaujolais (same grape variety) but with earthier flavors. The Traminette is excellent, and though made from a hybrid variety, it has much of the aroma and flavor of Gewürztraminer (one of the parents), albeit toned down a bit. The Riesling is just off-dry but extremely well made. All of their wines, in fact, are honest ones that reflect their terroir and varietal character. In fact, the 2012 Reserve Gamay Noir earned 90 points from the March 2017 issue of Wine Enthusiast Magazine for its tasty, elegant, sprightly character.
Another thing that is remarkable about their wines was pointed out by a rival winery not far away. That is the fact that their standard wines, Awosting White and and Red Trail are remarkably consistent blends from year to year, a very difficult thing to achieve in a small winery, particularly given the fact that the Hudson Valley is so challenging for winegrowing.
In March 2015 the New York State Wine and Grape Foundation’s Grower of the Year award was given to Michael, which is especially notable given that the preponderance of the state’s wine grapes are grown in the Finger Lakes and Long Island. Last December his Gamay won 90 points from Wine Spectator. Out of over a 4,000 entries in the 2010 San Francisco International Wine Competition (the largest, most influential international wine competition in America, judged blind by a prestigious panel of nationally recognized wine experts). Whitecliff’s 2009 Riesling won a Double Gold and Best White in Show and other awards have been given for the Reserve Chardonnay and Awosting White. Its 2013 Traminette won a double gold in the 2015 SF International Wine Competition.
In 2018 Whitecliff was awarded a coveted Double Gold Medal from the prestigious San Francisco International Wine Competition (SFIWC) for its 2016 Cabernet Franc. This makes 2018 a great year for Whitecliff: it marks the beginning of its twentieth year in business, and it began with yet another international Double Gold–for Whitecliff’s Gamay Noir at the Finger Lakes International Wine Competition. With two international awards for Hudson Valley reds this year, Whitecliff is chipping away at the outdated assumption that New York doesn’t produce great red wines.
This high level of achievement for Whitecliff’s Cabernet Franc, which was made from estate-grown grapes in their home vineyard in Gardiner, will no doubt contribute to recognition of the Valley as a significant producer of this variety. In fact, there is now a Hudson Valley Cabernet Franc Coalition, which has proclaimed the variety to be the signature red-wine grape of the Valley. Whitecliff, of course, has joined the Coalition.
If there are any doubts about whether Hudson Valley wines can age, we can report that Whitecliff’s 2010 Cab Franc, which was opened in 2019, had developed beautifully, with acidity and tannins subdued and well-integrated and aromas and flavors of red and dark fruit dominating. Their Gamay Noir, made from the grape of Beaujolais, was five years old when it was opened and it, too, had developed beautifully. Naturally low in acidity and tannin, it nevertheless offered strawberry and dark cherry aromas and flavors. We paired it with salmon, and it was a happy marriage.
Their Vidal Blanc earned a Double Gold at the Hudson Valley Wine Competition recently. Furthermore, In my own opinion, its barrel-aged Seyval Blanc defies all expectations of what a hybrid varietal should taste like. It tastes like a vinifera, close to Sauvignon Blanc in character. Then Whitecliff wins a Gold for its 2015 Merlot-Malbec blend at the International Eastern Wine Competition. What a track record. It seems that when it come to wine, Whitecliff can do no wrong. Perhaps they should invest in gold stocks, at this rate!
For several years there was a winery called Rivendell that called 714 Albany Post Road in New Paltz home. Then, in 2003, Harry Robibero and his wife Carole purchased the 42-acre property with the hope that someday the winery operation would become theirs. As a matter of fact, the owners of Rivendell, Bob Ransom and Susan Wine, gave notice in 2007 and left the property for a new location.
Harry mentioned this over family dinner one night. “Did you hear? Rivendell is leaving. Do you guys want to start your own winery? Should I look for another tenant?” Tiffany replied, “Let’s do it. Let’s start a winery.” Ryan, then her husband, agreed. So they took a chance and quit their jobs.
Very shortly after, Harry and his family were busy refurbishing and renovating the existing building. In May of 2010, Robibero Family Vineyards opened for business.
When I first visited Robibero shortly after they’d opened and tasted some of their wines I was frankly disappointed. The wines that I tasted, made from purchased fruit, were thin, sharp, and unbalanced. I told them so and did not return for a couple of years. But eventually I did go back and each time thereafter it was evident that the wines were improving, so much so that in 2014 Robibero won a Double Gold for their 2012 Cabernet Franc from fruit sourced from Sheldrake Point in the Finger Lakes, which came in at 24 Brix. It was aged for nine months in French oak, 50% of which was new. Once the wine was bottled they entered the wine in the competition before they even had an approved label. A Double Gold.
The change in quality came about in large part due to the winemaker who was hired soon after they started, Cristop Brown. Cristop came to Robibero after a stint in Washington State working for Long Shadows. He’d first worked at Millbrook Winery as the tasting room manager. After a few years, he went to Benmarl, in Marlborough, which has the oldest working vineyard in the country, and it was there that he learned to make wine from Eric Miller, son of Mark Miller, the owner. In fact, Eric made it clear to Cristop that a condition of his being hired was that he had to take courses in biochemistry so that he could better understand the processes that go on in the ripening of the fruit and in fermentation; making the wine was learned on the job. Soon he was assistant winemaker. In a few years, Eric sold the winery to Matt Spaccarelli and moved to Pennsylvania, and Cristop then became the Benmarl winemaker. Now it was his turn to teach Matt the art of winemaking and they worked together for nearly four years before he took off for Washington State to see how wine and grape growing are done outside of New York State.
By the time of his return from Washington, Cristop had become a very accomplished oenologist and had become committed to making clean wine marked by varietal typicity and good balance. In fact, it was Matt Spaccarelli who then directed Cristop to Robibero, which had placed a “help wanted” ad in a wine journal.
When we stepped out in the vineyard our conversation there went on for a while. We were standing on the east-facing slope of the acre of Vidal and Cab Franc, and discussed viniculture.
Members of the family do all the handwork in the vineyard. They try to use organic sprays to the extent possible. Cornell came and gave them advice on how to plant a vineyard, including the orientation of the vine rows, the density, the recommended varieties for the location, and so on. Spacing is about 8 by 8, with original fescue between the rows. Soil pH was just right so that no input was needed to neutralize the soil. According to Ryan, the Cornell team told them that rootstock 101-14 would work best in their soil and then provided a list of the vines and clones that they thought would do well on that stock. [101-14 is a rootstock that was developed in France and released in 1882 by hybridizers Millardet and de Grasset. It is the result of an interspecific cross between V. riparia and V. rupestris. It produces moderate vigor in scions—the vine cuttings that are grafted to the stock—and has very good resistance to the devastating root louse Phylloxera, scourge of European-variety vineyards.]
Cornell wasn’t the only source of good advice for Robibero. Another was John Whiteman, from Crop Protection Services in Marlborough. When they were thinking of digging up the soil and mixing shale and other matter, then grading to aerate the soil, Whiteman made an important observation: “You know what? It took nature ten million years to create that soil. Don’t mess with it. Just put in some drainage . . . .” He went on to explain that the colloids in the soil [the chemically most active part of soil] took millions of years to develop. Bringing in topsoil would not improve the vineyard because vines grow well in soil that may be too poor for other plants.
In 2015 it was decided to plant a new block of vines across the road–actually, the driveway–from the original plot. Following Whiteman’s advice, and given that Harry is a construction contractor with a great deal of experience managing building sites and the hydrological issues that need to be dealt with–particularly water drainage and runoff–they first excavated the soil along the length of each row to be planted. The 4-inch thin topsoil lies atop a clay stratum about 4 feet deep, beneath which is a layer of shale. By excavating down to the shale they were then able to install a drainage system so that any water would run out of the vineyard, and the clay, now broken up, then was returned to the excavation trench. Now, when the 1,000 Cab Franc vines were planted the roots would be able to penetrate all the way down to the shale and not be harmed by an excess of water held in by clay. The rows, set 9 feet apart with the vines spaced 5 feet from each other, ran almost exactly north to south, slighted angled askew from a true north-south axis so that surface water would run out of the vineyard onto the road. All had been very carefully thought through, thanks to Ryan’s careful research and Harry’s excavation skills.
So, Robibero is dealing with the land that it has by providing the drainage needed because there is lots of clay there and vines don’t like wet feet.
The winery’s cellar is very small but adequate for the level of production that they have at present. Cristop and Ryan worked together both in the vineyard and the winery, but since Ryan’s departure, Jonathan H. Lander, the current general manager, lends a hand. Concerning the wines, at present virtually all is made from purchased fruit from the Finger Lakes, Long Island, and the Hudson Region itself. Most are made from vinifera varieties like Chardonnay, Riesling, Merlot, Cabernet Franc, and so on. However, one of their most popular wines, Rabbit’s Foot (non-vintage) has a base of 75% Baco Noir plus Merlot and Cabernet Sauvignon, of which 453 cases were made last year. They also have a Bordeaux-style blend that they call 87 South, made with Cab Sauv, Cab Franc, Merlot, and Petit Verdot, of which 210 cases were produced for the 2013 vintage. The 2013 New Yorkie Rosé is also a Bordeaux blend, and it quickly sold out.
Robibero has won a Best in Category White Wine in the 2014 Hudson Valley Wine and Spirits Competition for their 2013 87 North as well as Gold Medals for their 2013 Traminette and New Yorkie Rosé, the last of which I find to be a perfect summer quencher—austere, dry, and delicately flavored. It goes well with anything you wish to serve, as long as it’s not too spicy.
Its newest red wine is called The Stray and was introduced in 2015. It is dominated by Cab Franc and Petit Verdot, with a dollop of Malbec. It’s a dry wine with a solid acidic backbone, mild tannins, and tasty red fruit. The 2015 has sold out, but the 2016 is now on offer. It’s worth laying down.
The tasting room is ample, well-organized, and offers a very good space for parties. A large veranda invites people to sit out-of-doors and enjoy the fresh air and the pleasant view. Because too many visitors seem not to understand that a small operation like Robibero’s depends on the sale of all manner of beverages including wine, a local craft beer, and bottled water, signs are prominently displayed telling visitors not to bring in their own drinks of whatever kind. But this is a problem all small wineries face.
Robibero Family Winery & Vineyards and its wines have arrived and the results are impressive. It is certainly worth a visit and a taste or two or three, or buy a case.
Interview with Ryan Selby & Cristop Brown 1 May 2015
updated 27 January 2019
Robibero Winery, 714 Albany Post Road, New Paltz, NY 12561
Owners: Harry , Carole and Tiffany Robibero
Winemaker: Kristop Brown
Manager: Jonathan Lander
Acreage: 42 in land, 3 planted
Varieties planted: Cabernet Franc, Vidal Blanc
Grape Sources: Estate, North Fork Long Island, Seneca Lake
Production: 3,800 Cases
Based on interviews with Miguel Martin & Josh Karp in October 2010; updated May & August 2018
Palmer Vineyards was opened to business in 1986 when Bob Palmer, a New York City advertising and marketing executive, purchased farmland on the North Fork of Long Island in 1983. He built what was then the most modern winery on the island and planted a vineyard. Before long, using his marketing savvy and traveling worldwide to promote his new venture and its product, Palmer became one of the best-known LI wineries. Since then many other vineyards and wineries have been established on the East End, some of them even larger and more modern. Yet Palmer still has one of the largest vineyards, at 100 acres planted to vines (in two parcels, each of 50 acres), with an annual production of 10,000 to 12,000 cases, including red and white wines, a rosé, and a traditional-method sparkling wine.
Until 2018, Palmer’s winemaker was Miguel Martín, who was hired by Mr. Palmer in 2006 to succeed Tom Drozd as winemaker. Miguel an experienced and highly knowledgeable vintner had previously worked at, among others, Robert Mondavi in California, Caliterra in Chile, and Gonzalez Byass in Spain. While living in Barcelona (he worked in the Penedés wine region of Cataluña) he and his wife, Ellen, who is from the Hamptons area, saw an ad in a trade publication for a winemaker in Long Island. When Palmer took Miguel on he was told that he had free rein to do whatever he deemed fit to run the winery and make wine. It was an offer Miguel could not turn down, so he moved back to the Island with his family and took over winemaking at Palmer. He has done exactly as Palmer told him to do, making very good, often excellent wines, and constantly extending Palmer’s offerings: Cabernet Franc, Cabernet Sauvignon, Chardonnay, Gewürztraminer, Merlot, Muscat, Pinot Blanc, Sauvignon Blanc, Riesling, and Viognier. He was also the first to plant Albariño–a Spanish variety from Galicia– in the region in 2010. Its wine is aromatic, with a touch of spice, yet dry, and it became an immediate hit.
Over the years, Miguel continued to introduce a new range of wines. The latest, released in 2018, is Reposo, a dessert wine made from raisined, botritised Gewürztraminer grapes left on the vine for weeks after harvest. The grapes were then fermented in used brandy casks and allowed to age for eight years before being bottled and released. A fine account of the production of this wine can be found at Edible Long Island: Palmer Reposo wine.
I’d visited Palmer Vineyards a few times before, but in mid-October, 2010, I arrived at the time of the harvest. I observed first-hand the work of a mechanical harvester—a $300,000 behemoth that is share-owned with another vineyard in order to make it more affordable. The harvester is used for collecting the grapes so efficiently that it can complete a 200-yard row in about 10 minutes or less, with little damage to the fruit, but of course without the selectivity that comes with hand-picking. Obviously, this is not the method the winery uses for producing top-quality wines with prices to match, but rather is one means of producing decent wines at affordable prices. In this case the vineyard lot in question was planted with Merlot, and a crew of experienced vineyard workers efficiently went through the rows to be harvested, lifting and fixing the bird netting to expose the grape clusters. The harvester straddles a row and using a set of mechanical beaters shakes the vines so that the ripe grapes fall to a conveyor belt of plastic cups that carry the grapes up to a collection grid that dumps the grapes into either of two mechanical arms—one on either side of the harvester—with bins large enough to hold about a ton-and-a-half of fruit each. When the bins are full—after four or five rows have been harvested—the harvester delivers its largess to a stainless-steel gondola with a capacity of five to six tons. Once the gondola is filled with grapes, it proceeds to the winery, where it is immediately hooked up, by means of a 4-inch diameter hose, to a pump that then feeds the grapes into a destemmer-crusher.
The destemmer-crusher is a compact machine that accomplishes two things at once: it removes any stems or leaves from the grapes by means of a steel rotating spindle with long steel pins, hurtling them out at one end of the machine while the grapes pass through, by gravity, to the crusher. The crusher does just that to the fruit, which is to say that it crushes the grapes enough to break their skins and allow the juice to flow out. (Pressing is a much more forceful way of getting the maximum juice out of the grapes, leaving behind only the pomace—but more on that at a later time.)
On a subsequent visit in late October, I observed a handpicked harvest, where Merlot and Cabernet Sauvignon were being selectively clipped, stems and grapes together, and delivered to the winery. This time, a crew received the bins of grapes and dumped them on a sorting table. Any bad bunches were removed and the rest pushed into the destemmer-crusher, which this time was piling the removed stems so quickly that they needed to be regularly removed by pitchfork and placed in a wagon. These grapes were destined for the high-end wines made at Palmer.
So, back at the winery, after a day’s harvest, I had a chance to sit down with Miguel and talk about another matter that is of special significance to this series of posts on viticulture in LI: the question of terroir, which is something that has long been discussed, argued over, embraced as a concept of agriculture in France, while seriously questioned in the United States.
Here is a classic statement about it by one of its adherents:
‘The very French notion of terroir looks at all ‘the natural conditions which influence the biology of the vinestock and thus the composition of the grape itself. The terroir is the coming together of the climate, the soil and the landscape. It is the combination of an infinite number of factors: temperatures by night and by day, rainfall distribution, hours of sunlight, slope and drainage, to name but a few. All these factors react with each other to form, in each part of the vineyard, what French wine growers call a terroir.’ –Bruno Prats, the proprietor of Château Cos d’Estournel in Bordeaux, as quoted in The Vintner’s Art: How Great Wines are Made, by Hugh Johnson and James Halliday (1992)
(One of the factors not named explicitly above is the human one: culture, politics, agricultural practices, even belief systems play a part in terroir. In other words, human intervention, such as the choice of varieties to be grown, the vine density, pruning and training methods, how the vine rows are laid out—e.g., to take advantage of sun or to deal with prevailing winds—etc.)
According to Miguel, the most important issue in LI is the climate (which includes the weather), as it is the one element that cannot be controlled, being highly variable and therefore the greatest challenge to both the viticulturist and the vintner. In 2009, for example, the vineyard lost 10-15% of harvest due to heavy rains, but had to spend more in order to retain the fruit that was still hanging. Indeed, climate is definitely a controlling factor in terms of site choice, viticultural practices as mentioned in the paragraph above, and dealing with such issues as vine diseases and pests, which is particularly problematic given the high humidity that prevails in LI. Thus, virtually all vineyards on the North Fork , including Palmer, use double-cordon training with Vertical Shoot Positioning (which is explained in my introductory post to this series, Viticulture in Long Island, introduction to Parts 2-xx).
With respect to the soil as a part of the concept of terroir, Miguel is firm in saying that the effects of soil alone are exaggerated, and he cites for evidence an article published in The New York Times in May of 2007, by Harold McGee and Daniel Patterson, “Talk Dirt to Me.” The point is made in the article that what we like to call goût de terroir (taste of the earth), is in fact not at all the result of rocks and soil alone, but more the result of the fermenting yeasts and human intervention. “Plants don’t really interact with rocks,” explains Mark Matthews, a plant physiologist at the University of California, Davis who studies vines. “They interact with the soil, which is a mixture of broken-down rock and organic matter. And plant roots are selective. They don’t absorb whatever’s there in the soil and send it to the fruit. If they did, fruits would taste like dirt.” He continues, “Any minerals from the solid rock that vine roots do absorb — sodium, potassium, calcium, magnesium, iron, a handful of others — have to be dissolved first in the soil moisture. Most of them are essential nutrients, and they mainly affect how well the plant as a whole grows.” This insight is a clarification of the soil factor in terroir, but would seem to put to rest the notion of a goût de terroir as something discernible in wine.
In the Palmer vineyard, historically a combination of both natural and synthetic composts has been used based on soil needs, such as additional nitrogen or phosphate. The lack of either of these would be visible in the vine leaves by means of certain patterns of discoloration. Indeed, in what should be seen as a move towards a more organic viticulture, Josh wrote in an e-mail: “With some (much needed) advice from Barbara Shinn I have started a [natural] compost pile. At Palmer we always put the pomace back into the fields along with the prunings from the winters’ pruning but a [natural] compost I feel will affect the soil faster and with more nutrients.”
Palmer, like most East End vineyards, uses clones designed for late blooming and early ripening in its newer plantings, such as of Albariño, Viognier, and Muscat, in order to avoid the damages inflicted by spring frosts and autumn weather. Clover (which is self-seeding) is planted for ground cover between the rows, because it is low-growing and nitrogen-fixing. Copper-sulfate sprays are used up to one month before the harvest. One should only spray the foliates, not the fruit (there is a type of curtain spray system used for this—it has a trough that recovers and recycles dripped spray so that it doesn’t enter the soil, an important factor, as high levels of copper in the soil can be toxic to the topsoil biota). As harvest-time approaches, the copper sprays are put aside and alternative, more environmentally-friendly sprays such as Serenade or Stylet oil are used. (Stylet oil is a highly-purified white mineral oil which is extremely versatile and it functions as an effective insecticide, fungicide, and miticide.) Thus, if there is a late appearance of, say, powdery mildew, it can then be dealt with in a way that poses no risk to the plant, the fruit, the land, or the worker. Furthermore, said Josh: “Any product used is always being checked to see if it can be used less (fewer times used along with a lower rate) with the same effectiveness or can be replaced for a product that can be organic or that is considered less harsh.”
What this all means is that supervision of the vineyard is a constant, requiring that both the winemaker and vineyard manager are checking daily for signs of disease, pests, vine malnourishment, and so on. For example, overlapping canes lead to problems of rot, so must be corrected regularly by the vineyard workers in the field. Bird netting (seen in the picture wrapped and marked for the row on which each will be set) has to be carried, after veraison, into the rows of vines and set properly, otherwise birds would decimate the crop. (The nets do not trap the birds, but merely keep them from reaching the grape bunches.) That still leaves raccoons, deer, foxes, and other vermin to feed on low-lying fruit. Groundhogs need to be monitored too, for their tunnels and underground burrows can heave vines and kill them. One must love nature in a tough way in the vineyard. This year Palmer has installed both bat and owl boxes to help keep insects and animal pests under better control. Unfortunately, owls and bats seem to be rather particular about where they nest and the offer of domiciles has so far gone ignored. It doesn’t mean that they aren’t around, though. Both are among the vineyards natural friends, but there are also insect predators who feed on aphids, mites, caterpillars, moths, and so on. Ladybugs, for instance, are a natural control for aphids, which suck the vine leaves and can cause them to wither. In other words, to the extent possible, natural pest controls are used.
What all this has meant is that Palmer Vineyards was very ready to join the Long Island Sustainable Winegrowing group some years ago, and in May 2018 was again recertified as complying with the standards of LISW, the Vinebalance Workbook, and international standards of sustainability.
Bob Palmer died in January of 2009, and though the winery continues as he had envisioned it, his family had put the property up for sale. In July 2018 it was purchased by Paumanok Vineyards, owned by the Massoud family. Paumanok had been seeking to expand and Palmer fit it plans very well. Unfortunately, while they held on to most of the Palmer staff, they could not justify having two winemakers and had to let Miguel go. Kareem Massoud, the very gifted winemaker at Paumanok, will handle winemaking at both wineries. The story was published in the Wine Spectator:Paumanok Vineyards buys Palmer
Miguel is held in such high esteem that when it was reported that he was now unemployed, Wölffer Estate immediately contacted him and offered him the position of Assistant Winemaker to Roman Roth. But then, they’d known Miguel for years, and he also makes the white wines for Roanoke Vineyards, owned by Richie Pisacano, who is the vineyard manager at Wolffer. That story is told in an article in Edible East End: Miguel Martin moves to Wölffer Estate
Jason’s Vineyard is in Jamesport on the North Fork of Long Island, encompassing 20 acres that he planted in 1996. But this was not Jason Damianos’s first vineyard. He had already worked at Pindar for much of his adolescence, so he really knew what it was like to work in one.
Jason, an intense and determined man, spent many of his weekends and summers during high school on Long Island working among the vines, cutting, pruning, suckering, and weeding, under the tutelage of the then winemaker Bob Henn. This is where he got his first exposure to the hard work in the fields that is the essential precursor to successful winemaking.
After studying business at the University of Hartford and obtaining two degrees, Jason found himself wearing a suit and being miserable. On visits to Pindar he would chat with Bob Henn, who advised him, “Jason, why don’t you become a winemaker? You don’t have to wear a suit. Do something you really care about.” The proverbial light bulb brightened and Jason went west and obtained a degree in oenology at California State University in Fresno, where he graduated with honors, followed by several years of training at the University of Bordeaux—a Mecca for wine students; he worked in renowned regions like the Médoc, Premiere Côte de Bordeaux, Loupiac and Cadillac.
Influenced by his experience in Bordeaux, Jason planted his vineyard with very little space between the rows, largely to reduce the number of buds to about 30 instead of 60 on each vine, which should help promote superior fruit. Today the vineyard flourishes with carefully-selected French clones of Chardonnay, Merlot, and both Cabernets. The spacing he chose directly contradicted what the Cornell viticulturists who had come to dispense advice had told the new vineyardists of Long Island, going back to the time of the Hargraves. The Cornell team advocated nine by twelve-foot spacing between the vines. Jason remonstrated with them, saying that the soil here was different—not clay as in Northern New York, but topsoil and sand (not to speak of the difference in climate)—and he refused to take their advice. His experiences in France had convinced him that Long Island needed to look to the maritime province of Bordeaux for inspiration, rather than California, since he is convinced that climatically and topographically there are more similarities between Bordeaux and the Twin Forks than perhaps anywhere else, particularly Northern New York, so Jason planted accordingly; his vines are spaced one meter by two meters apart.
In the spirit of the Golden Fleece, Jason brought a flock of sheep and alpacas to look after the vineyard in the most sustainable way he knew. They keep the weeds down and mow, with no need for mechanical intervention and, as a bonus, they fertilize the vines. The alpaca helps ward off pests.
Jason produces tightly-structured, full-bodied, and age-worthy wines that can, after reposing in a cellar over a span of time, eventually ripen into deeply-rewarding and long-lasting wines. This poses a dilemma for him since he feels the marketplace wants wines that are more immediately accessible. This dilemma is faced by a number of Long Island wineries. A compromise is not always easily obtained except by offering a wide selection of wines, some of which provide immediate and pleasurable consumption while others are for the more patient drinker who is willing to let the wine evolve in bottle for several years before pulling a cork.
The tasting room as the good ship Argo, which took Jason & his Argonauts to their fate.
The tasting room is unique, given its abstracted representation of the ship Argo, which was sailed by Jason and his Argonauts in search of the Golden Fleece. It adds a certain rather wacky charm to what would otherwise be just another tasting room. Greek mythology, history, and literature all enjoy a large place in the Damianos panoply of Long Island wineries: Pindar, after all, is named after the great ancient Greek poet, and two of Jason’s wines are named Golden Fleece and Hercules.
Jason & one of his sheep
Tragically, Jason, 49, died after a traffic accident on December 30, 2016. His family, which is very close-knit, is determined to keep his vineyard and winery in business for the foreseeable future. After all, they also run Pindar, Duckwalk, and Duckwalk North, so they know what they are doing. Still, his loss is a significant one for the wine community. He was also director of wine making at Pindar.
In January 2018 it was announced that Jim Waters, of Waters Crest Winery, has closed his tasting room and winemaking facility to become winemaker at Jason’s. Jim has long had a relationship with the Damianos family, and they have agreed that Jim can continue to make his own wine at the facilities as well for his Waters Crest wine-club members. His wine will be made in small batches for a club that he wishes to limit to no more than 500 members; there are already 400.
Wine offerings may vary from this list. 5 whites: ‘Golden Fleece’ (an assemblage of five white grapes: dominated by stainless-steel-fermented Chardonnay plus Seyval Blanc, Cayuga, Vidal Blanc, Riesling), Chardonnay, Pinot Blanc, Riesling, Sauvignon Blanc, 2 pinks: ‘Andy’s Candy,’ Rosé; 5 reds: ‘Hercules’ (a sweet red blend of Cabernet & Merlot), Cabernet Sauvignon, Malbec, Meritage, Merlot; 1 fortified: a port-style dessert wine.
Barney Loughlin, who died in early 2017 at 91 years of age, was a true American original.
He grew up on Meadow Croft Estate, right in the middle of Sans Souci Lake Nature Preserve in Sayville. His property of 20 acres, including his 7-acre vineyard, was acquired from the Roosevelts after the war.
After he left the army Barney first worked as a linotype operator for a small Sayville paper and then opened a print shop in town. However, he hated the work and was seeking an alternative.
Having served in Europe he had learned about wine and liked it. So Barney became interested in what was going on in the North Fork with the vineyards and wineries proliferating there. When he was told that wine grapes couldn’t be successfully grown near the South Shore of Long Island, he assumed the challenge (“it drove me nuts.”) and bought 1,800 vines which he, his wife Christine, and their three daughters planted by hand in 1984.
To get to the tasting room one takes a long drive down a dirt lane that runs past the magnificent home of John E. Roosevelt–a nephew of Theodore–Meadow Croft Estate. Shortly after that there are a couple of very decrepit structures, which include a storage shed and the winery.
Much further on (about a quarter of a mile, stands a shed that contains the tasting room. It’s a rough clapboard structure that announces itself with a neon OPEN sign.
On the particular day that we visited (in March 2016) there was a nip in the air and the wood stove inside was roaring. Barney was seated with his back to the heat and in front a portable radio blared Country & Western. When we asked him questions we had to shout to be heard, for he didn’t turn the volume down. His eyes were weak, his hearing worse, and the day before he’d fallen off his tractor and walking was painful for him.
The interview, such as it was, drew from Barney some profane reminiscences of his time as an U.S. Army infantryman in Italy, France, and Germany during World War II. He saw combat at Monte Cassino, which he described as “hell.” It turned out that Barney had myriad press clippings and photographs in an album that he’d had printed as a book. It covers the period from World War II to the present. His granddaughter, Brittany, pulled it out for our perusal, as can be seen in the photo above.
One of the biggest problems facing Barney’s vineyards is the fact that it is surrounded by forest. Deer, bugs, and birds have ravenous appetites sated by eating his grapes. The crop loss can be significant. Hence, his output each year can vary considerably, not only because of the weather.
Originally his wines were made at Peconic Bay Winery by Ray Blum. After the Lowerres purchased Peconic Bay they hired Greg Gove as winemaker, who then took over winemaking for Loughlin. As it turned out, Greg raised the quality level of Loughlin wines so much that Barney would accept whatever advice Greg gave him. In fact, Greg urged Barney to start a winery operation of his own, so with Greg’s guidance and advice he purchased grape-handling equipment, a bottling line, tanks and barrels, and by 2008 Greg was making the wines at his property (mis en boteilles au château).
Since Barney’s death his daughters, Mary Ellen Loughlin, Beth Cutrone, and Patricia Jones, have decided to keep the business going. Patricia works in the vineyards, Greg now is a consultant, while Beth is the winemaker. Mary Ellen keeps the books. Brittany, who lives in the city, comes out every weekend to run the tasting room. But Barney’s irrepressible personality shall be deeply missed.
Recommended wines: Chardonnay (dry, rather bright, lemony aroma and flavor, well balanced)
Also, Cabernet Sauvignon, Merlot; South Bay Breeze Blush (a blend of the Merlot and Cabernet grapes with no skin contact and has residual sugar.)
They are also coming out with a rosé, called Pinky Rosé, as a homage to their old donkey (depicted on the label).
Year Established: 1984, winery 2008 Vineyard: 7 acres
Annual production (varies by vintage): about 1,000 cases
From the east or west of Long Island, go south on Lakeland Ave off Sunrise Highway, towards Sayville. Lakeland Ave will eventually turn into Railroad Ave.
Take that further south toward Main Street and the center of town. Turn left at the light and stay to your immediate right and proceed east down South Main Street. Pass one light and continue on east. You will pass St. Ann’s Church on your left, and before you go over a small bridge there will be a white sign on your left and winetasting sign on your right.
Turn left and proceed down the dirt road bearing to the right of Meadow Croft Estate.
Brooklyn Oenology Winery (pron. ‘EN-ology’, or simply ‘BOE’), started as a locally-focused winery based in Williamsburg, Brooklyn, founded in 2006 by winemaker Alie Shaper. BOE’s intention is to bridge the creative culinary, agricultural, and art worlds by crafting regional wines from New York State grapes, primarily from the Finger Lakes and Long Island, and by displaying the work of New York City artists on the bottle labels.
Alie’s own trajectory into the wine world was rather inadvertent. An engineering student at Cornell University, in her Senior year she enrolled in a course on beverages at the famous Hotel Management School. She thought that this would be an easy, relaxing course, but it led to her becoming hooked on wine. A second course at the School about the wines of New York State was another revelation for her. Nevertheless, she earned an engineering degree and went to work in Silicon Valley. It wasn’t long before she decided this wasn’t the life she wanted to lead so she quit and took some time figuring out what she wanted to do. She answered a help-wanted ad for the tasting room at Rivendell Winery, in New Paltz, NY. While there she developed a database for tracking their wines. When the owners, Robert Ransom and Susan Wine, opened a New York State-only wine store in Manhattan called Vintage NY, she went to work there. It would be the model for BOE.
In 2000 Alie went to live in Long Island and walked into a newly-opened wine bar-cum-restaurant run by Tom Schaudel and offered her services as a wine steward. Well, they hadn’t thought about that and hired her immediately. She became responsible for the wine lists of all three Long Island restaurants. Next she joined Southern Wines and Spirits, the largest wholesaler/distributor in the country. In 2005 she moved to Brooklyn, where “lightning struck” and she realized what she really wanted to do.
However, there was a “small problem.” She had wide experience and a solid education but had never done production work in a winery. In 2006 she sent résumés to wineries out West, but only applied for a position at a single producer in the East: Premium Wine Group. She had long admired Russell Hearn’s winemaking and, fortunately for her, with degrees in science and engineering, she was hired as a technical lab assistant, working with Robin Epperson McCarthy, then the lab head. She took samples of every batch of wine, bring them to the lab, and smell, taste, and analyze all of them. This and work in the cellar gave her the experience she needed.
After two seasons at PWG, she purchased two batches of wine for sale, blended them, and bottled them with the BOE label. Now she had 500 cases of two wines, a Chardonnay and a Merlot, and she decided, given her shoestring budget, to start wholesale, given that she still couldn’t afford a space. This was what she calls “phase one.”
Setting up her new business proved to be more challenging than she expected, particularly because the State Liquor Authority (SLA) suffered from a serious case of the “slows.” She was issued three temporary licenses in a row before she finally got a full permit. As she couldn’t sell wine without an active license, it hampered her work significantly and affected her cash flow.
She got on her feet and moved on to “phase two.” She found a space in a commercial building, opening for business in 2010 as the BOE Tasting Room and Gallery. It featured regular shows of label artists’ works, wine-pairing events, classes, private parties, and more.
Unfortunately, the Brooklyn tasting room was closed at the end of November 2016 due to rising rents. BOE will continue to make wine at PWG from purchased fruit and the line of wines will remain intact, but a new tasting room has now been opened in Peconic. The wines continue to be offered to wine club members as well as on line at the BOE Website. They are also sold in over 150 stores and restaurants around NYC, Washington DC, Virginia, and beyond.
“Phase three,” the last of her long-term plan, was to build her own winemaking facility on whatever new premises she finds. That would require a large capital investment that, for now, is a long way off. Meanwhile, she also serves as consulting winemaker for Croteaux Vineyard and phase three has been put off for the time being. Instead, Alie has entered into a partnership with a long-time friend and former PWG colleague, Robin Epperson-McCarthy, of Saltbird Cellars, to open a shared tasting room, Peconic Bay Cellar Door. All of which is to say that BOE is no longer in Brooklyn, but it had a mighty good run there.
The February 2016 issue of Wine Enthusiast listed BOE as one of the top urban wineries in the country. In the March 2016 issue of WA, BOE’s 2014 As If ‘Serendipity’—a Chardonnay, Viognier, Sauvignon Blanc blend—was awarded 90 points, with the comment that it was “beautifully focused.” She worked on this blend until she got it “just right.” The Viognier, a variety she loves, is only 30% of the blend, but it stands out. Wine Enthusiast loved the 2013 Broken Land White (Finger Lakes) made with extended skin contact and awarded 90 points.
There are 13 wines under the BOE label, four wines under the Shindig brand (a collaborative effort with Andrew Stover, who’s in the DC area), as well her new ‘As If’ label, which was launched in June 2016. This is her small-batch, high-end, signature series, a celebration of the success that BOE has enjoyed so far.
From the Website: “We are committed (in the lunatic sense) to making very calculated wines in the rebel way. This label represents the culmination of years of trans-equatorial wine wanderings. We apply learned methods from this and other cool climate regions to make unique wines that honor the distinctive maritime terroir in which they are grown– here in this place, at this time”
It all started in 2003 when Robin Epperson-McCarthy was studying for a future in medicine and the rent was due. So, through word of mouth among the Peconic Bay Sailing circuit she heard of a job that could utilize her science training, was interesting, and paid lots of overtime. That turned into working 6 days a week and 10-hour days in the PWG wine lab in the course of a harvest. That one vintage turned into 12 years of global wine trotting; she never completed her medical studies
In 2007, which was one of Long Island’s standout vintages, there was an abundance of quality fruit and Robin decided to try making just one ton of Chardonnay into wine using skills recently acquired in New Zealand and Tasmania. This stainless-steel Chardonnay was the start of something. Most was sold to a close friend for a superior Chardonnay blend, but before the blend was made a few bottles made their way to the tables of family and friends.
2014 proved to be another outstanding vintage and again Robin decided this would be the year to make just one label sourcing Sauvignon Blanc from some of the best vineyard masters. In the hunt for fruit she found not one but two blocks of vines that encompassed all that North Fork of Long Island Sauvignon Blanc could be. Then she found Chardonnay planted in a unique clay deposit that could not be left without a destiny. Then came a block of inky black Merlot and a block of sensual Cabernet Sauvignon. One original variety has now been accompanied by four others, so it now offers a barrel-fermented Sauv Blanc (Migratus), a rosé (Cabernet Frank/Syrah) and a red blend of Merlot and Cabernet Sauvignon called Harbinger.
As the Website says, “Saltbird Cellars collection of wines are bred purely from passion and the freedom to follow your (in)sane ideas.”
As of August 2017 Saltbird and Brooklyn Oenology have teamed up to share a tasting room:
Peconic Cellar Door
Opened in August 2017, this is a joint venture by Alie Shaper of BOE and What If wines, and Robin Epperson-McCarthy of Saltbird Cellars. Both are small producers who purchase their fruit from local vineyards and make their wines at PWG, but each has her own distinctive style, or better put, styles of wine. They joined forces to open a shared tasting room, with both a bar and a table for six.
Cellar Door is the Australian term for tasting room (Alie’s boyfriend is from Australia), and the 600 sq. ft. space is an old storefront with a minimalist décor but inviting ambience.