Now that my book, The Wines of Long Island, 3rd edition has been published as of August 2019 (see the Press Release) , it seems appropriate to review all of the other books on the subject that have come out since 2000. These are presented in order of publication:
Vital–thanks to its clear, lucid writing and very useful history and background of the region’s viniculture and winemaking–was the excellent if outdated Wines of Long Island, 2nd edition (2000) by Edward Beltrami & Philip E. Palmedo. It included profiles of many of the most important personalities in the LI wine world (as of 2000), descriptions and reviews of 25 wineries and their wines (12 of which have since gone out of business) and a generally judicious insight into the trends and achievements of the region as of the end of the 20th Century. It has been superseded, of course, by the 3rd edition, mentioned above.
Louisa Thomas Hargrave wrote a gracious memoir, The Vineyard: The Pleasures and Perils of Creating an American Family Winery (2002). 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 is still available on Amazon or AbeBooks. Some used copies are available for a penny plus shipping from various book dealers.
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. The first half of the book is comprised by his personal profiles, which include everyone from owners to winemakers to vineyard managers to tasting room personnel. The second half is devoted to recipes from his restaurant and suggested wine pairings. In the intervening years since the book was published many of the persons featured in the book have moved on, but many of their stories remain relevant even now. Also out of print, but it can be found on Amazon.com.
Long Island Wine Country: Award-Winning Vineyards of the North Fork and the Hamptons, is well-illustrated 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 the route would be followed by visitors travelling by car. 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, which is still reasonably up-to-date as of 2015, given that it was published in 2009. One should bear in mind though, that already important personnel changes have taken place: Richard Olsen Harbich left Raphael in 2010 and went to Bedell Cellars, Anthony Nappa is now Raphael’s vintner, Kelly Urbanik Koch is winemaker at Macari, and Zander Hargrave, who was assistant winemaker at Peconic Bay Vineyards, is now at Pellegrini; Peconic Bay has closed its doors.
Eileen Duffy’s book, Behind the Bottle: The Story of the Rise of Long Island Wine, came out in 2015). This is a book that focuses on the winemakers and their wines. In fact, the conversations that Duffy had with the winemakers as they discussed their wines in considerable depth, give the reader the clearest sense possible of what the winemakers look for and try to achieve with their wines. It makes for fascinating reading. Unlike John Ross, who tried to include anyone whom he knew that was in the business, Duffy’s book includes interviews with just 16 of the region’s winemakers, including Louisa Hargrave. My favorite conversations, due to the great detail with which the winemakers discussed their craft, include one with Roman Roth, who talks about his 2008 Merlot as though he were painting a portrait of a lover.
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).
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
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 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 that 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 make 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.
Ryan is the winery and vineyard factotum or jack-of-all-trades. Depending on the season and the need he may be outside pruning or inside filtering wine with Cristop or in the tasting room pouring. He also drives the truck making deliveries to the various wine shops that carry their label, or whatever else must be done that no one else would be available to do.
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 advise 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 root stock 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 root stock 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 advise, 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 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. With respect to 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 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
“At Paumanok we practice viticulture that allows us to achieve our goal of growing the ripest, healthiest grapes our vineyards can produce while managing the vineyards in a responsible, sustainable way. In general, we follow the program and principles of New York State’s Sustainable Viticulture Program set forth here: VineBalance, by Cornell Cooperative Extension with whom Paumanok has had a productive relationship since my parents planted our first vines in 1983. We believe that the most important factor in making great wine is starting with the healthiest, ripest fruit possible. Growing grapes in order to achieve this goal and growing them sustainably are not mutually exclusive; in fact, they are one and the same.”
–Statement from an essay by Kareem Massoud, “Sustainable Viticulture at Paumanok”
Established in 1983, the 103-acre estate (with 72 acres currently planted to vine) is entirely owned and managed by Ursula and Charles Massoud, and their three sons, Salim, Kareem, and Nabeel . The main red varieties are Merlot & Cabernet Sauvignon; the main white ones are Chardonnay and Chenin Blanc. As for clones, a field already planted with Cabernet Sauvignon was replanted with clone 412, which produces very tiny grapes, which provide more flavor and tannins (it was developed by ENTAV/INRA of France, to which a royalty of $.20-.25 per plant is paid). However, there are no experimental plots as such here, for, as pointed out by Kareem, everything planted in the vineyard could be said to be experimental.
The dense planting of the vineyards (at 1,100 vines per acre) they say produces more concentrated fruit and therefore higher quality wines. Their wines are only made from estate-grown grapes and production is limited to just under 9,000 cases.
The first vineyard was planted across the street from the winery in 1982 (42 acres) but was not acquired until the late 1980s; the first Paumanok vines were planted in 1983, and the winery opened in 1991 with the release of the first estate-bottled wines; 12-15 acres were planted in a new field in 2005. They had to apply one to two tons of lime (calcium carbonate) per acre for the first twenty years on their original plots to bring soil acidity into balance so that it is now stabilized to the higher pH that is more amenable for vinifera varieties.
A more recent addition to Paumanok vineyards is a plot of 25 acres that was purchased from the Riverhead School Board in June of 2014, which will be planted to Chenin Blanc, the signature grape of the property. The property had originally been purchased by the school district for a school that was never built. The proceeds from the sale add to the coffers of the school district and represent an important resource for Paumanok, which will plant the first five acres to Chenin Blanc in 2015.
Certainly the newest and biggest addition occurred in August 2018, when Paumanok acquired Palmer Vineyards on Sound Avenue. This has added another 40 acres of vineyards to Paumanok’s holdings. It is a good fit with regards to the varieties planted at Palmer. Perhaps most appealing is the Albariño, which has been a great success at Palmer, so much so that other wineries are also planting the variety. Indeed, Paumanok has ordered an acre’s worth of this variety that is to be planted next year. The plan is that the new Paumanok planting will eventually be incorporated with the Albariño at Palmer to make even more wine of that variety. Meanwhile, the relatively small planting of Riesling at Palmer will be used to augment the larger Riesling planting at Paumanok.
The juice from the Palmer vineyards will be fermented at that winery but will be finished at Paumanok’s facility. Kareem will be responsible for all the winemaking for both properties.
Kareem, the eldest son, has been the winemaker in partnership with his father, Charles, for the last sixteen years. He also works very closely with his brother Nabeel, who manages the vineyard. Salim, the second son, is the factotum of the family business. For the Massouds, “sustainable” means “healthy,” for “the riper and healthier the berries the better the wine made with the least intervention.”
In the essay he provided me for this article, Kareem writes that “My perennial barometer of whether what we are doing is sustainable is the biodiversity in our vineyard: lady bugs, praying mantis, dragon flies, earth worms, etc., are present in our vineyard in abundance. As you probably know, some farms and vineyards actually introduce populations of some of these beneficial insects as biological controls. So the fact that we have them without having to introduce them says to me that we must be doing something right. We maintain a permanent cover of grasses and wild clovers and other vegetation [between the rows] and under the vine which create a habitat for all the biodiversity cited above.” In other words, at Paumanok they have naturally achieved the symbiotic diversity that is essential to sustainable viticulture.
Though Paumanok practices sustainable viticulture, Kareem thinks that organic farming, at least as understood by the general public, is a myth, insofar as organic farming allows the use of both copper and sulfur; nevertheless, some organic producers will claim that they are not “spraying chemicals” (but what are copper or sulfur if not chemicals?). Such farmers are therefore using the term “organic more as a marketing tool” than acknowledging the actuality of what organic farming entails. It is, in other words, a matter of the use , or misuse, of language. To him, it is more important to be “selecting more benign synthetic pesticides relative to more toxic organic (not an oxymoron) controls. The best example of a toxic organic control is copper. Copper does a great job at controlling downy mildew, but it is a heavy metal which is something we would rather not spray as it will destroy our soils as it accumulates in the soil over time. The sulfur used in [both conventional and organic] farming is made as a byproduct of petroleum production. There are numerous synthetic pesticides which are far more benign that we may opt to use instead.” Indeed, for Paumanok, organic is incidental to the outcome at the vineyard; however, he remains open-minded about aspects of biodynamics, as he thinks the compost tea preparations may be of value, but he remains skeptical of the ‘hocus-pocus’ associated with it, such as following astrological signs or stirring the compost teas in two different directions (the ‘biodynamic’ part of biodynamics). On the other hand, if the mystical aspects of biodynamics could be scientifically proven to be efficacious, he’d use it if it meant growing better fruit.
As Kareem points out, “at Paumanok, we manage our vineyard as sustainably as possible. . . . we do not use any more inputs (crop protectants, micro nutrients and fertilizers) than necessary to grow the ripest fruit possible.” For example, Integrated Pest Management (IPM) is driven by self-seeded ground cover, mostly rye grass and sorghum. The cover is allowed to grow into the vine rows and is kept under control by a special vineyard mower that is towed by a tractor. This machine, the Fischer GL4K, is described on the manufacturer’s Web site as “the world’s first hinged mid row and undervine slasher, offering total chemical free weed control solutions for growers with delved, ‘V’ shaped or uneven grounds.” It does, however, have some drawbacks, one of which is that it is capable of damaging or even cutting off the vine from its roots, as can be seen in the photograph to the right. Kareem explains that the vineyard crew is still learning how to use the machine without causing damage to the vines. The point is that it should allow control of weed growth in the vineyard without the need to use herbicides at all. (There is a video of the machine in action on Paumanok’s Facebook page.)
Further IPM control is managed by:
. . . employing] various IPM (Integrated Pest Management) tactics to reduce our reliance on pesticides. For example, we perform the following activities on the entire vineyard: manual-shoot positioning with catch wires and clips to hold the shoots up straight, suckering, shoot-thinning, fruit-thinning or “green-harvesting”, hedging and leaf removal in the fruit zone. All of these practices increase the vines’ natural ability to resist disease (such as powdery mildew or downy mildew) by allowing UV rays from sunlight to burn off the inoculum [material that introduces disease to a previously healthy plant] and generally make conditions less favorable for mildew and other pathogens by creating a microclimate within the vine that minimizes moisture and allows it to dry quickly after a rain event by allowing better ventilation. In any vineyard, but particularly on Long Island [emphasis mine], these activities are essential to give the vine its best chance of naturally fending off pests such as powdery mildew which would take hold much more easily and rapidly – and require more spraying – had we not done these activities. We carry out these practices as diligently, meticulously and thoroughly as possible. What does that mean? For example, when we drop fruit, i.e., green-harvest, we don’t do it just once but repeatedly until harvest. Some vines may have been visited four, five, six or more times (for green-harvesting alone) to ensure that only the cleanest, most desirable fruit remains hanging on the vine upon harvest.
In addition, “Several of the pesticides we use would qualify for an organic program, however, there are some grape pests for which we feel there is no satisfactory organic control [my emphasis] that we know of at this time, such as black rot, phomopsis and botrytis. Given that grapevines must be sprayed (if you know of a grower that never sprays their vines, please let me know), our belief from day one has been to use the most effective, least toxic material available regardless of whether that product is labeled for organic or biodynamic use or not.” Paumanok has therefore invested in state-of-the-art spraying technology. Kareem says that “we use a recycling tunnel sprayer to spray our vineyard. This sprayer greatly reduces drift, and, as the name implies, recycles much of what would have otherwise been lost as drift. This results in a reduced environmental impact and improved profitability, two key pillars of sustainability.”
With respect to the Cornell University Agricultural Extension VineBalance program, Paumanok is very involved; it has the book and follows it. Indeed, Ursula Massoud is on the Cornell Cooperative Extension Advisory Committee for viticulture. VineBalance is working towards a certification program for New York grape growers, but there are politics involved that inhibit its advancement, which has to do with growers and producers of juice grapes by corporations like Welch’s. They do not want third-party certification versus the wine-grape growers who do want it. So the certification program is still in development. Another way in which Paumanok shows its commitment to sustainability is by the installation of the first solar panels at any vineyard. As Kareem points out, the family lives on the property and drinks water from their own well, so they have one more reason to be responsible custodians of the lands they farm. Theirs is a “terroirist” stewardship that respects the land and its produce.
In the vineyard they make sure that at harvest the vines are all clean before the machines go through. (Their machinery uses synthetic food-grade hydraulic fluid (costing $20-25/gallon) in order to minimize the amount of industrial fluid that can find its way into the environment. Nevertheless, they prefer hand-picking, but to ensure that boxes of picked grapes never touch the ground, an empty one is used underneath the box with grapes to keep the fruit clean. The goal always is to pick clean as well as healthy grapes.
Kareem has one last thought:
As Paumanok continues to experiment in the vineyard and improve on our [30+] years of viticultural experience on Long Island, we will pursue whatever methodology allows us to achieve our goal of growing the healthiest, ripest grapes possible regardless of whether that method is known as organic, practicing-organic, biodynamic, IPM, sustainable, etc. There is only one dogma to which we will adhere:
GREAT WINE IS MADE WITH THE HEALTHIEST, RIPEST GRAPES OBTAINABLE.
Consequently, given all the above, Paumanok joined the Long Island Sustainable Winegrowers group, becoming the twentieth member as of November 2015.
And the results show in the wine that Kareem, as winemaker, produces at Paumanok. For me the proof is in one of the finest Sauvignon Blanc wines made in this country that I’ve tasted, and an excellent Chenin Blanc that is unique in Long Island. Paumanok also sells: steel-fermented Chardonnay, barrel-fermented Chardonnay, two Chenin Blancs, Cabernet Franc, three different Merlots, two Cabernet Sauvignons, a late-harvest Riesling, a late-harvest Sauvignon Blanc, two Rosés, and several blends, all made by what Kareem calls “minimalist” wine making (he dislikes the term “natural wine making,” which implies something that it really is not).
Paumanok Vineyards in Aquebogue also earned some impressive numbers, with four scores of 93 and three scores of 92.
“In the world of wine, Robert Parker has been recognized as possibly the world’s most influential wine critic,” said Paumanok winemaker Kareem Massoud. “We think of [wine ratings] as a necessary evil. Like it or not, people are going to evaluate your wine and give your wine a score. In spite of all of the limitations of relying on a number, it still feels good to end up with a highly rated wine.”
Massoud said Mark Squires of WA visited the winery in March of 2015 and later requested a second set of samples of the wines he tasted, a common practice for wine critics.
“Even the best critics will get palate fatigue,” Massoud explained.
One of the Paumanok standouts for Squires was its 93-point 2007 Merlot Tuthill’s Lane.
“Here, [Paumanok] makes a wonderful Merlot,” Squires wrote. “Full-bodied and caressing on the palate, this shows very fine depth, but it retains its elegance all the while.”
All in all, 23 of Kareem’s wines earned a score of 90 or more. That is more than any other winery on the Island and a remarkable achievement.
Most recently, Paumanok was named NY Winery of the Year 2015 by the NY Wine and Food Classic held in August at Watkins Glen in the Finger Lakes. This is the second time that the winery has been so honored. Its 2014 Medium-Sweet Riesling was declared best white wine in the competition. See Edible East End’s article.
Based on an interview with Kareem and Nabeel Massoud on 3 May 2011 with additions from “Sustainable Viticulture at Paumanok Vineyards,” an essay by Kareem; last updated September 15, 2018
Paumanok GPS Coordinates
North Fork of Long Island
1074 Main Road (Route 25)
P.O. Box 741
Aquebogue, NY 11931
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
In 1978 Robert Entenmann—of the Entenmann’s Bakery family—purchased a potato farm in Riverhead and transformed it into a Thoroughbred horse farm, once breeding up to two hundred mares. Apparently he was eager to do something new and different after a time, so he converted the farm into what is now Martha Clara Vineyards—named after his mother—in 1995. The vineyard, comprising 113 contiguous acres out of a total of 205 that compose the Big E farm, is now planted with fourteen varieties of grapes, including Chardonnay, Gewürztraminer, Riesling, Semillon, Viognier, Cabernet Sauvignon, Merlot, Syrah, and Malbec. Because so much was invested in creating a first-class vineyard with its equipment and facilities, a planned winery was never built. Meanwhile, Clydesdale draft horses for the weekend carriage rides available to visitors still graze in a paddock, and there is a small zoo with Baby-Doll sheep, Scottish Highland cattle, goats, a donkey, a llama, and other farm animals for the entertainment of children. Martha Clara has a family-oriented visitor’s center, and there is a very spacious tasting room where there are twenty-five wines to choose from, including several quaffable versions, some of them rather sweet.
However, in April 2018 the property was sold by the Entenmann family for $15 million to the Rivero-González family. This would appear to be a major step in the family’s ambition for international recognition. The property had been on the market since 2014.
The Rivero-González family said in a release that it owns an eponymous winery and vineyard in Parras, Coahuila, Mexico. It has “15 years [of] experience in the Mexican wine industry and is excited about this acquisition, which will help the members of this family expand their interests beyond Mexico.” María Rivero will run the family’s wine operations at Martha Clara. The Vineyard Website says that “the Riveros are willing to work with the local community in order to encourage and enhance the legacy of the former owners of Martha Clara Winery in a successful way.” Further plans have not been announced as yet.
This makes it the second wine-producer on the East End to be owned by Latin-Americans; the other is Laurel Lake, which is in Chilean hands.
At present all the wines are made at Premium Wine Group under the watchful direction of the new winemaker, María Rivero. The word is that a winery will eventually be built on the Martha Clara property.
Jim Thompson came to Martha Clara from Michigan as Vineyard Manager in 2009. Steve Mudd told Jim, at the time of his first interview with Martha Clara, that in the North Fork the vineyard will be soaked with moisture every morning, but of course the grapes and vines need to be dry in order to develop healthily. This is because Long Island vineyards are on very flat land, so that there is no natural circulation of air unless a breeze comes up.
Originally, the vines were planted in rows that were treated with herbicides to such an extent that they were as smooth and clean as a billiard ball, but, since coming on board, Jim prevailed on Mr. Entenmann to reduce the use of herbicides and pesticides (he liked a trim, clean look in his fields) and allow cover crops to grow, such that now even toads have returned to the vineyard—a particularly good sign, given that toads are especially vulnerable to toxins, which they can absorb through the skin. The cover crops are white clover and low mow grass which is a combination of shorter growing fescues and a combination of the two.
Given the very flat, horizontal terrain of the property, Jim said that 7-foot spacing between rows is too narrow for tall vines that may reach 7 feet in height or more, because it means that when the sun is at its zenith of about 45° in the summertime, a shadow is still cast across the edge of a row immediately adjacent of another row, thus reducing solar exposure under the vines themselves, making it difficult to dry the soil adequately. It means that there is good sun from, say, 10:00am to 2:00pm, whereas a spacing of 8 feet could mean that the soil could enjoy the effects of the sun from 9:00am to 4:00pm. Presently, the spacing is 5′ x 7′ except for twenty acres that are 4′ x 7.’
He also remarked that, “It is a very different thing to sustain 15 acres versus 100. It is one thing to scout 15 acres and another to do so with 14 varieties on 100 acres. At Martha Clara, each variety is planted in at least two separate, non-contiguous blocks, so with 14 varieties we would have at least 24 blocks to scout, but it is more likely as many as 40. Clearly, with this many varieties in that many blocks it is difficult to manage. Scouting is time-consuming and needs to be done on a pretty regular basis to catch infestations before they can spread and do serious damage.”
“Fortunately, he went on, “Martha Clara is well laid-out for a right-brain mentality, with very straight rows which are perfect for mechanical harvesting, which is essential for a vineyard of this size. After all, it would take 20 to 30 people in the vineyard to pick enough grapes to fill one stainless-steel fermentation tank, whereas the harvester can do so in a matter of an hour or so.”
Martha Clara is “a vineyard in a box” according to Jim, for its 101 acres of planted vines are hemmed in on all sides by neighboring structures. It is also one of the four properties that forms the core group of the Long Island Sustainable Winegrowers certification program. In preparation for that, Jim says that , “I have narrowed my herbicide strip to 1/3 the total row width or less, I am doing some bud thinning which I anticipate/expect will reduce pesticide requirements. We have hired an intern whom I expect to be scouting for diseases and insects on a regular basis. I am reading related materials and articles.”
It is often difficult to find good vineyard workers to hire, according to Jim. Not long ago he had an applicant come to him who stood at the door to his office, leaning his right side against the door frame. Jim asked the man about his qualifications and then inquired about his work experience with the hoe. “It is not a problem,” averred the applicant. A day later, when Jim went to see the new crew at work, he found that the new “hoe worker” had no right arm. It was not a problem because he had gotten others to do the work.
Given all that, there are varieties that are easier to grow and maintain than others. Some vinifera varieties are especially difficult to deal with in the LI area, including Pinot Noir, Semillon, Syrah, and Viognier. For Martha Clara, the Pinot Noir is problematic because it can begin well and seem promising, but in the end produces unexciting wine. Semillon, Syrah, and Viognier have promise, but Juan pointed out that “Syrah may come up short on sugar, but flavors are beautiful in our Syrah in warmer years; in cooler years they tend to show more intense notes of black pepper. As for Viognier, it makes beautiful, well-rounded wines, but Jim [did comment on the] difficulty in handling it in the vineyard.”
The vinifera varieties that do best in this climate are Cabernet Sauvignon, Cabernet Franc, Chardonnay, Sauvignon Blanc, Merlot, and Riesling. In fact, Jim would like to expand the Riesling planting, but first would need to research the available clones for their appropriateness in the North Fork soil. (Clone selection, as a matter of fact, is as vital to the success of a varietal as the choice of terroir for the vineyard, or, to put in another way, it’s vital to select a clone that will thrive in a given terroir.) He has also added two acres of Malbec (a French variety that often associated with Argentina), using three different clones, and will see how those do here. The one vinifera variety that Jim would also like to plant, once he knows more about it, is Torrontés (the aromatic grape from Argentina). Were he to do so, it would be the first planting of that variety in the Eastern US.
However, because vinifera vines are so susceptible to fungal disease in the LI climate—given its high humidity and volatility—Jim and Juan have planted three experimental plots of hybrid varieties: Marquette (a U. of Minn. red hybrid with Pinot Noir in its sap along with excellent cold hardiness and good disease resistance), La Crescent (another Minn. hybrid), and NY 95.301.01 (also known as “No-spray 301,” a Cornell hybrid that needs minimal inputs against mildews and fungi) to determine if these could handle the climate and terroir better than some of the vinifera vines. Juan explained that, “this has been done more out of curiosity as we have one row of each vine type. There is not enough for commercial production.” It is enough, however, to explore vines with the very traits that are lacking in virtually all vinifera varieties: resistance to cold and mildew—the bête noir of humid-climate vineyards.
A visit to the tasting room proved especially interesting, not only because of the range of wines offered, but because Martha Clara is promoting the use of kegs for dispensing wine by the glass. To them, kegs offer several advantages: 1. they help preserve wine better than do opened bottles; 2. they eliminate bottles altogether, thus reducing the amount of materials and energy required to make bottles; 3. they reduce the cost of shipping and storage, which can be expensive in the case of bottles; 4. they can be reused for up to fifteen to twenty years. There seems to even be a difference in the character of the wine from the keg compared to that from a bottle. The Pinot Grigio served from a keg had a tad more fruit than that which was poured from a bottle. Consequently, the winery would also like to sell wine in kegs to restaurants and tasting bars.
In tasting six of the wines on offer, it was apparent that the fine wines can be very fine indeed, with a pronounced house style. The Syrah from the 2009 vintage was nearly mature and manifested the typical traits of a Syrah that had been barrel-aged for thirteen months—black fruit and cigar-box notes with an unusually forward expression of cracked peppercorns. It had been fermented with 3% Viognier blended in—as is the case in Côte Rotie. The strong spiciness appears to be the result of a cool vintage, though I suspect terroir and style also played a role here. In fact, the 2009 Viognier varietal (with its characteristic aromatics of spice and ripe white peaches with floral notes also had a strong spiciness on the palate—pronounced lemongrass, or was it white pepper? Both wines had a firm acid backbone to give them structure. I liked them both for their unusual spiciness, which makes them suitable for Indian, Thai, and Mexican cuisine or any well-seasoned food. The 2009 Cabernet Franc, made from hand-picked fruit, unfined and unfiltered, was also very nice, with herbal & chocolate notes on the nose & palate, integrated tannins and firm acidity, now ready to drink but still to benefit from some cellar aging. Terrific for accompanying barbecued steak, for example.
Because Martha Clara had spent so much money on developing its vineyard it was decided not to build a winery, given its enormous cost, and to contract its wine assemblage to Premium Wine Group. A visit to PWG, where Juan now works, allowed an opportunity for some barrel tasting. Several wines were sampled, including the 2011 Viognier—developed on its lees in steel, and the 2010 Syrah—which will be blended with 3% Viognier in the Côte Rotie style—which, tasted from the barrel, showed a more demur peppery flavor given the cooler vintage than that of 2007.
based on interviews with Jim Thompson & Juan Micieli-Martínez
3 February & 29 March 2012; updated 30 April 2018
as well as online & printed sources
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.
Interview with Mario Malafosse & Sergio Carrido of Bodega y Viñedo Baron d’Alba
The province of Castellón (Castelló in Valencian), is part of the Autonomous Community of Valencia. Castellón was granted VdlT (Vinos de la Tierra) status in 2001 and as an IGP (Indicación Geografica Protegida) in 2004. At present it is awaiting its designation as a DO, which indicates a higher standard than IGP. It consists of three comarcas or districts: Palancia–Alto Mijares, Sant Mateu, and Les Useres–Vilafamés, the last of which is comprised by the villages of Benlloch, Cabanes, Les Useres, Serra d’Engarceran, Vall d’ Alba, Vilafamés y Vilanova d’ Alcolea. Barón d’Alba and its vineyard, Clos d’Esgarracordes, is located in the Les Useres district.
It is surrounded by mountains to the West, while to the East it borders the Mediterranean Sea. The plateau is marked by altitudes of 200 meters or more. Consequently, summer temperaturas can range up to 35 to 40° Celsius, while in the winter temperatures can drop to as low as -10° C. Typical seasonal rainfall—mostly in the autumn—is about 450 mm. The summer tends to be dry to arid. In other words, it’s a region of extremes, even for Spain.
Today, winemakers of the region have been endeavouring to bring back the halcyon days before 1982, when local producers were forced by law to uproot their hybrid vines, ‘Señorito’ and ‘Macameu.’ This seriously damaged the agrarian sector of villages such as Cabanes, Vilafamés, Vall d´ Alba, Benlloch, and Les Useres.
According to a 2014 article in the English-language online newspaper, Valencia International, “There are various local legends as to why the authorities took this decision; local producers claim that they were told that their grapes were toxic and could cause cancer, although many believe that their prosperous economy was sacrificed in order to favour the emerging La Rioja region.
The article points out that apparently, “the decision in fact was part of a series of sacrifices made by Spanish farmers in order to clear away the impediments to joining the Common Market, or EU as it is now affectionately known, which probably means that it was pressure from the French government that was the main cause, before they learned the complex technology of burning Spanish lorries.”
Red varieties allowed in Castellón include Bobal, Tempranillo, Garnacha Tinta, Garnacha Tintorera, Cabernet Sauvignon, Merlot, Syrah, Pinot Noir, Petit Verdot and Cabernet Franc. White varieties include the native Tardana (Planta Nova) and Macabeo varieties, as well as Merseguera, Chardonnay, Sauvignon Blanc, Parellada, Verdejo, and Moscatel (Muscat Blanc à pètits grains).
In the 2000 edition of José Peñín’s Atlas de los Vinos de España Castellón wasn’t even mentioned, but the atlas was focused almost entirely on the DOs of Spain. John Radford’s The New Spain, 2nd edition (2004), devotes little more to the region but does touch on the movement towards making quality wines. The Peñín Guide to Spanish Wine 2010 devotes only a few lines to wines of the region, again due to the focus on DO wines. Even online there is comparatively little information.
In October, 2016, we visited two wineries in the región at the invitation of Mario Malafosse, consulting winemaker to Barón d’Alba and Bodega de Moya, and interviewed him at both places, along with the owners.
Bodegas y Viñedos Barón d’Alba is located in L’Alcalaten which is the lowest part of the Les Useres district and lies at an altitude of about 200 meters, where it enjoys a suitable mesoclimate for the production of high quality-wines. The vineyard is planted in rows on trellis with a double Royat cordon. They use a planting density of 2600 vines per hectare and with a per plant production limited to a maximum of 1.5 to 1.75 kg per vine, depending on variety, making a closely monitoring of the growth cycle of the vine in order to obtain a high quality fruit.
The enterprise began with the planting of the varieties Cabernet Sauvignon, Gewürztraminer, Garnacha, Macabeo, Merlot, Monastrell, Syrah, Tempranillo, and Monastrell, with the intention that they would focus on obtaining fruit of high quality as opposed to harvesting great quantity. Bearing in mind the exceptional quality that can be obtained from grapes grown in the region of Les Useres, the owners decided to build the winery right in the vineyard, Clos d’Esgarracordes, which offers a beautiful panoramic view of the region. The wines fall under the regulations of the Castellón IGP, even though they could use those of the Utiel-Requena, but choose not to. The IGP status gives them more latitude to make wine as they see fit.
The name of the winery, Baron d’Alba is actually derived from the names of two nearby, neighboring towns in Utiel Requena: La Barona and Vall d’Alba. There is no baron. The property has been in the Carrido family for generations, growing a variety of crops including wine grapes. However, in the 1970s, when Spain joined the EU, the vineyard was pulled out and an olive grove was planted in its place. No wine was produced until 2001, when Sergio, then 20, and his father chose this particular plot of 15 hectares to plant a new vineyard. It has since grown to 20 hectares (50 acres) and produces about 70,000 bottles or nearly 6,000 cases, more or less, in any given year.
Sergio is driven by his passion for growing and making wine. It is a way of life that he chose and cannot imagine any other. He lives there with his family, who all get involved in some way or other from time to time. Sergio never thinks of going to work exactly because for him it is almost a diversion, almost like play, because he enjoys it so much. But he’s very serious about it as well.
There is, after all, another part to the equation of producing quality wines which goes beyond the choice of a vineyard site and the selection of varieties to plant, which is the growing level of professionalism of the vineyardists, winemakers, management, and so on. These people now often have university degrees in their chosen professions. For example, Mario Malafosse, his consulting winemaker.
Mario had studied oenology in Bordeaux was especially influenced by the great French oenologist, Denis Duboudieu. Mario has been working in Util-Requena since 2006 as a consulting winemaker for several wineries in the region. He also spends the Winter and Spring in the Southern Hemisphere (where it’s Summer and Autumn) working with Michel Rolland in Argentina and New Zealand. Furthermore, he also teaches viticulture and enology for the Master Vintage International credential at the Polytechnic University in Valencia.
Their approach to the terroir is interesting, especially given that they focus not just on the traditional notion of the soil as layers of dirt, or the structure of the layers, or the depth, but also on the microorganisms in the soil. These they see as also significant. In fact, they work to stimulate this soil life because, as this is such an arid zone, it’s necessary to take advantage of any factor that can enhance the growth and survival of the vines.
Furthermore, they do something unusual to protect the topsoil from getting fried by the intense sun of the region: they take the ends of live tree branches with their leaves and chop them up, then distribute the pieces on the ground around the vines, producing a kind of topsoil shade. This, of course, also slows down the evaporation rate of soil moisture. As organic matter, this also supports the surface biota, such as fungi that grow on the wood bits, providing nutrition for yet others, such as the insects that feed on fungi. Decomposition proceeds naturally and the compost becomes part of the soil. This has been done for the last two years and they are cooperating with the university in Valencia to study the process and its results. In fact, the idea for this came from Canada, where it is used in large-scale agriculture—not viticulture. Only the ends of branches are used in the fall season, when nutrients get concentrated in the branch tips and leaves. When used for ground cover, the nutrients then pass into the soil, yet another benefit of using the wood and leaves.
The thing is that when the wood is being decomposed by the fungi, a good deal of nitrogen is used up, with the risk that there may be insufficient nitrogen for the vines. To compensate, they also plant beans to restore the nitrogen balance in the rows.
Other advantages of the use of the tree matter is that it helps control weed growth and also reduces the need to work the vineyard mechanically, such as plowing. Although this treatment is certainly biological, they do not claim to be organic growers. Indeed, there are times, in this extreme climate, when they must resort to chemical means to protect the vines and fruit. Thus, organic certification is out of the question.
They have been experimenting with ground cover crops in a small plot, but the problem with that is that, given the aridity of the zone, cover crops may be in competition with the vines for what little rainfall there is. On the other hand, as can be seen in the photo above, they have to run irrigation lines for those times that the rainfall is too low for the vines’ needs. That was the case in the summer of 2016. The vines need a minimum of 400 litres of water per hectare, and the rain only delivered 100 litres. Irrigation made up for the shortfall. The other issue regarding rain is that very dry ground is not very absorbent so that there is significant run-off on the surface. The wood cover helps reduce the run-off; cover crops could also help with this.
The soil is reddish in color, suggesting the presence of high levels of iron which, fortunately, is balanced by the presence of limestone, which offsets the potentially toxic effects of too much iron by reducing the uptake of the mineral by the vines, but not so much that it would lead to chlorosis, a disease created by lack of iron, which is needed for chlorophyll production. There is a good deal of sand mixed in as well, thanks to the deposits that occurs when the rivers nearby overflow.
It’s in the deeper layers of soil that water actually can reside for a long time, allowing the deeply-rooted vines to have access to the moisture that they need in order to thrive. The deeper soil has a great amount of conglomerated rocks, much of which is composed of bits of limestone in a highly porous matrix that holds water like a sponge.
Viticulture in Utiel Requena used to focus on maximizing yields so that the wine could then be exported in bulk to countries like France. The wine, mostly Bobal, would then be blended with local varietals to make an inexpensive table wine. However, this came to an end in the 1980s, as standards of quality improved through Western Europe and monovarietals became all the rage thanks to the influence of American tastes. By the 1990s the wine industry nearly dried up as a result and it was obvious that a new approach had to be developed to recover in the market.
New varieties were then introduced and planted, including foreigners such as Cabernet Sauvignon. The trend of producing monovarietals and quality blends moved quickly, and Bodegas d’Alba became a part of it, focusing on varieties, some of them French, such as Cabernet Sauvignon, Merlot, and Syrah, in addition to the Spanish varieties Garnacha, Macabeo, Monastrell, and Tempranillo.
At harvest all the grapes are picked by hand, but the fruit of each parcel is kept apart from the others until it’s decided to blend them. But first they are taken to an air-conditioned cold storage area in the winery. The winery building is actually an attractive, modern stone structure.
The exterior is a fine stone building that has personality. Its interior walls are decorated by murals depicting the vintage season, the winemaking, and so on. The artist, Pancho Mirán, is Colombian, and his work reminds of that by his great compatriot artist, Fernando Botero.
The attractive interior also has stucco walls throughout. It is equipped with fermentation vats with up to 10,000 litres capacity each, or about 8,200 kilograms of grapes. All the tanks are equipped with modern cooling jackets to control the fermentation temperatures, allowing for the heating or cooling of the warehouse in a much shorter time and to exercise optimum control over the fermentation.
The warehouse holds one 15,000-liter tank and 3 stainless-steel, temperature-controlled storage tanks of 10,000 litres capacity each capable of holding the production of a single parcel. There are as well three 5,000-liter fermenters, four of 3,000 litres capacity, and one oak cask of 6,000 litres. In addition, there are devatting and peak tanks with a capacity of 72,000 litres.
Fermentation takes place at a controlled temperature with long macerations using cutting-edge winemaking technology. Malolactic fermentation takes place in oak tubs, prior to the wines being transferred and aged in French and American oak barrels. Only 20% of the barrels are American, and they tend to be used for Tempranillo, which has a real affinity for them. Most of the French barrels, by the way, are oak but the ends, both top and bottom, are made of acacia, which adds complexity to the range of flavors and aromas of the wines made in them.
The barrel room had been excavated below ground and it is equipped with an air-conditioning system that not only ventilates the warehouse, but also allows controlling the temperature and moisture at desired levels. The arches that support the barrel room together with careful lighting create a unique atmosphere for the French and American oak barrels used aging the wine for not less than 14 months.
The bottle-aging room is equipped with the same air-conditioning as the barrel room, and has a capacity of 70 crates of bottles. Here the wine completes its aging for a minimum of eight months before being released.
Nearly everything is done by hand. There is a manual sorting table at the entrance to the winery and, apart from the use of forklifts and the use of an autmated bottling line, all else is done without the benefit of mechanical intervention, including lees stirring, racking, and so on. The entire focus is on producing wine of the highest quality possible. That can best be accomplished by careful manual attention. A major factor here is the recognition that for the wines of Castellón to gain the level of reputation that other DOs enjoy, such as Rioja, Rueda, and Ribera del Duero, they must be of outstanding quality. That is the mission of Barón d’Alba.
One way to achieve that is to make wines of great typicity, such that a consumer would know that a Monastrell tastes like itself and not something else. It should also reveal the terroir of the fruit. Indeed, not enough emphasis can be put on the importance of terroir in that regard. They have been identifying the specific microclimates of vines and parcels in order to make the wine in a manner appropriate to the innate terroir expression of the fruit. For example, there is a small parcel that allows Botritis to develop under the right conditions for making a dessert wine. Thus Clos d’Esgarracordes Dolç de Glòria, made from Macabeo grapes and aged in wood for 20 months. This was all made possible because Mario, who studied with Professor Debourdieu, who was also the manager at Château d’Yquem. One could say that Botrytis runs in Mario’s veins when conditions are right.
Both Mario and Sergio are committed to the notion that “wine begins in the vineyard.” They endeavor, together, to grow fruit that is characteristic of each parcel, and each parcel has recognizable features. Sergio is the vineyard manager, but given Mario’s own long experience in both the winery and the field, he depends on him for advise. They even work together in the vineyard at times.
Not every variety is successful in this region of extremes. The Tempranillo of Rioja is challenged here and survives thanks to the high altitude of the vineyards, but Merlot seems to have adapted better to the terroir. In fact, Merlot makes better wine here than does the native Monastrell.
Many of the wines are left on the lees after fermentation for about two months, with frequent lees stirring (battonage). This tends to give the wine more body and enhances the flavors and aromas.
The Clos d’Esgarracordes Blanco 2015 is dominated by a varietal not known for high quality: Macabeo. Nevertheless, Mario was determined to extract as much varietal character as possible from this grape, and blended with a touch of Moscatel and Viognier, yields a very agreeable wine with good mouthfeel and ample body. This was a result of time on the lees with battonage. Aromas of apricot, peach, and mango can be detected, thanks to the Viognier and Moscatel in the blend. It earned 85 points and four stars in the Guía Peñín 2012. 10,000 bottles were produced.
The Clos d’Esgarracordes Tinto Barrica 2013 is a blend of Tempranillo, Garnacha, Monastrell, and some Merlot, and is aged for 12 months in mostly used French oak barrels. The result is a wine that is dominated by aromas and flavors of fruit, rather than oak, with its typical characteristics of coffee, chocolate, caramel, or cedar. In consequence, it has a certain purity and freshness, which is remarkable for a blend. It won a gold medal from Gilbert & Gaillard, a leading French wine magazine. It costs but €7.50 which is very cheap given the quality, but that’s because the region still hasn’t developed the necessary reputation.
The Clos d’Esgarracordes Tinto Crianza 2011 is a blend of Merlot, Cabernet Sauvignon, Monastrell, Tempranillo, and Syrah, having spent 17 months in both French and American oak, with a higher proportion of new oak barrels than the Tinto Barrica. It’s a big, powerful wine that needs time to open up once poured. Given its blend, it is also very complex, offering aromas of coffee, chocolate, and tobacco, and is mouthfilling, with a strong mid-palate and flavors of black stone fruit ending with a quite long finish. Very impressive. At five years it still suggests youthfulness and certainly has a potentially long life. It won a silver medal at the Concours Mondial Bruxelle 2011, and in 2012 earned 90 points and five stars in the Guía Peñín 2012.
Another wine that they are very proud of is the monovarietal Clos d’Esgarracordes Colección Pelegrí Cabernet Sauvignon, which is also their most expensive wine. It won a bronze medal at the prestigious Decanter World Wine Awards competition.
In all they make nine wines, with a line of inexpensive ones, a red and a white selling for €5. Most are red and white blends plus a rosé that is itself a blend of three varieties, but the Dolç de Glòria, the Cabernet, and the Gewürz are the only monovarietals.
Many of the labels are decorated with details taken from Pancho Mirán’s murals in the winery.
Obviously, in order to achieve such a reputation, they must produce wines of a very high quality for years, and consistently, so as to attract notice. Publicity is also needed if that is to happen.
To attract visitors to their rather remote site they offer full lunches or dinners at table, give tours, and can even celebrate weddings in their on-site chapel.
The Website is attractively designed and offers a great deal of technical information about their approach to winegrowing and winemakings, as well as detailed descriptions of their wines in Spanish. We can only hope that Barón d’Alba wines will eventually find their way into the American marketplace.
Address: Partida Vilar la Call, 10, 12118, Castellón, Spain