Tag Archives: Mudd Vineyard

Viniculture in LI, Part III: Raphael Winery

Raphael Winery entrance, by Petrocelli Construction

Raphael Winery, in Peconic, on the North Fork of Long Island, was founded by John Petrocelli Sr. and his wife, Joan, and is family-owned.  Petrocelli is also the owner of J. Petrocelli Construction, which specializes in quality design and building, and the handsome, 28,000 sq. ft.  winery was designed by him, inspired by the architecture of the Neapolitan monasteries of his native Italy.  He named it after his father, Raphael, who was an avid home winemaker like his own father before him, so John Sr. came by his oenophilia perhaps genetically.  The venture was five years in planning and cost $6,000,000 to complete, with the intention of making the premium winery of Long Island, Italian-inspired but Bordeaux-oriented.

When the commitment to build the winery was made, it was clear that a vital component, the vineyard, needed to be tended to by expert viticulturalists.  The family then hired David and Steve Mudd—Mudd VMC is the premier vineyard management consulting firm on the Island—to help guide them in the development of a Bordeaux-type of winery.  Also hired as advisers were Paul Pontallier, managing director of Ch. Margaux—one of the five Premier Cru châteaux in Bordeaux— along with Richard Smart, a respected Australian viticulture consultant who had earned his Ph.D. at Cornell.   With their advice the cellar and equipment was developed along those lines, and built twelve feet below the ground in order to allow for the first gravity-fed fermentation tanks to be used in the region, using as models Opus One and Mondavi, of Napa Valley.   (Gravity feed is considered to be less stressful and damaging to the fruit and organic matter that constitutes the must than is mechanical pumping.)

One of Raphael’s vineyard plots

In 1996 the Mudds planted the first vineyard for Raphael with Merlot, and have been managing the vineyard, which has grown to 60 acres over the years, ever since, using sustainable practices, including what Steve Mudd calls “fussy viticulture”—green harvesting by hand—from the very beginning.  (In fact, the first wine made under the Raphael label came from Merlot vines grown at the Mudds’ own vineyard and were vinified at Pellegrini Vineyard.  The first wine produced at the new facility was the 1999 vintage.)  Other varieties have been planted since the Merlot, including Sauvignon Blanc, Semillon, Riesling, Cabernet Franc, and Cabernet Sauvignon.

According to Steve Mudd, a nine-foot space between rows is supposed to provide room for equipment to move along the rows, but it’s a myth that that much space is necessary.  Pontallier, when asked his opinion about the row spacing and vine density, said, “it is not for me to say” what it should be, but back in 1994, when the vineyard was still in the planning stage, he had argued against close spacing, suggesting 3 meters (10 feet).  The density of the first planting at Raphael is just 820 vines per acre (9’x6’ spacing) as opposed to about 2,550 in Bordeaux.  Later plantings increased the density somewhat, and the rest of the vineyard is now spaced at 9’x5’, or 968 vines/acre.

The quality wines produced by Raphael simply would not be possible if it weren’t for the work done in the vineyard by Steve Mudd and his crew.  High-quality fruit is always there for the winemaker, even in a bad-harvest year like 2011.

For further insight into the viticultural practices at Raphael, the reader is referred to another post, on Mudd VMC, the contracted vineyard manager for the winery.

Richard Olsen-Harbich, who had been Raphael’s winemaker since its founding and helped define its style of wines—made reductively, using native yeasts, with minimal intervention, in order to allow the hand-picked grapes to more clearly express the terroir.  After he left in 2010 to work at Bedell Cellars  Leslie Howard became winemaker, but in 2012 Les moved on and Anthony Nappa, former winemaker at Shinn Estate, maker of Anthony Nappa Wines, and founder of the Winemaker’s Studio, took over as winemaker at Raphael.

I met Anthony several years ago, when he was winemaker at Shinn (2007 to 2011). When he first went to there it was with the understanding that he could use their facilities to make wine for his own label, which bears his name. His first wine under his label was 200 cases of LI Pinot Noir. After he left Shinn he focused more on his own wines and made them at Premium Wine Group, the custom crush facility in Mattituck.

Anthony-Nappa at RaphaelHe now has same arrangement with Raphael. As he explains, “We keep everything very separate. [Raphael’s] business is very separate from ours. We pay to make the wine here; it’s just like at Premium. We pay to store it; we pay everything just like we would if we were just a customer. A lot of times I’m working on my stuff, I’m working on their stuff or whatever, but I just try to keep everything very separate. They don’t sell our wine, we don’t sell their wine.”  (To read more about Anthony Nappa and his own wines, see Oenology in LI: Anthony Nappa Wines.)

For Anthony, who has certainly had plenty of experience on both coasts, Long Island is the place to make wine in the East. He told me that “I really think Long Island is the best wine region on the East Coast by far. It’s so diverse; we’ve so much potential. The wines that I’d tasted even ten years ago were better than anywhere else along the East Coast, and they’re even better now.”

To the question, “What have you done since you’ve been here to in any way define the wines of Raphael to a new standard, an Anthony Nappa standard?”

He replied that by “having standards, the first goal is to just figure out where we are and what’s going on with sales and production, and try to get the business side of things in line as far as what we’re making, cutting packaging costs, and streamlining the whole production side. Raphael wants to make money, so obviously the financial side of it is important. And then on the winemaking side, it was just looking at every product. The first thing is to only make as much as we sell. A lot of wineries just bring in the fruit, make it, bottle it, warehouse it. Our goal is to figure out what we’re selling, and any excess we sell off in bulk—any fruit or wine or whatever—and then figuring out each product and having a standard for it.

“We have a whole line of what we call ‘First Label.’  It’s all the Reserve wines, and those are all from our vineyard. We buy a lot of fruit too, but those are all from our vineyard. It’s just like with my own wines, we have very high standards for fruit and we have very high standards for the quality of each wine. I’ll just not make a wine. If the quality is not there, if the fruit doesn’t deliver, it gets downgraded to a lower level wine, and if the vineyard doesn’t deliver, we just don’t buy the fruit. That’s easy for me, because I’m the one buying the fruit.

“It’s easy to fuck things up. You’re taking grapes and from the moment you pick them, it’s all downhill. You’re just trying to protect it through the process, but it’s on a long, slow trail to becoming vinegar from the moment you pick it . . .”

I replied, “It seems to me every single winery should have a sign that says ‘First thing, don’t fuck it up.’”

He went on: “But we try to make everything.  I’m a non-interventionist. I want the grapes to express themselves. I want the Cab Franc to taste like Cab Franc and I don’t want to just make everything taste the same. So usually I just bring things in and let everything ferment wild and let things go. And then I intervene when I have to. When the fruit comes in we look at it and we make decisions sometimes on the fly based on what we’re going to do. Then I always err on the side of caution. If I’m not sure about something I do nothing, and I intervene when I have to.”

Anthony concluded with this remark: “I think a lot of wineries just go through the motions and just make the same wines every year and there’s a huge separation between upstairs and downstairs and outside and inside and there needs to be more synergy, there to have some more consistency. No one has done anything different ever in this business that hasn’t been done for the last thousands of years. It’s just about taking thousands of decisions and putting them in a different order and you get a different result. But there are no secrets, you know.”

Trying Raphael’s wines in the spacious and handsome tasting room proved to be very interesting, as there was a wide range of wine types and styles on offer, and he had plenty to say about them.  (Please note:  the wines identified as “First Label” are considered to be Reserve Wines; i.e., the best produced by the winery.)

The 2010 First Label Chardonnay ($39), which came out of Mudd Vineyards (there is no Chardonnay planted at Raphael) was pressed to yield 120 gallons per ton of grapes (clone CY3779), so out of 5 tons of this particular parcel 600 gallons, or about 3,000 bottles, were made.  It underwent a 100% malolactic fermentation, was kept on its lees, and spent eight months in oak barrels.  It was bottled unfiltered, with low sulfites.  The result was that in the glass the wine was clear, offering citrus, butterscotch flavors, and toasty notes.  It has the typicity of an oaked Chardonnay, somewhere between a Burgundy or California version.  2010 was perhaps the greatest wine vintage in Long Island—given its early budding, excellent weather, and early harvest—and the quality of the Chardonnay was also a reflection of this.  Made by Leslie Howard.

The 2013 First Label Sauvignon Blanc ($28)  The last months of the growing season had no precipitation and no notable disease pressure, so Raphael was able to harvest each grape variety at leisure and at each one’s peak. According to them all the wines from 2013 show exceptional natural balance and full ripeness, which is also promising for the future longevity of the wines of this vintage.  The Sauvignon Blanc was made from hand-selected grapes from their oldest vines to help produce balanced, structured wines. Made with partial skin contact and cold-fermented in stainless steel, this dry wine exhibits a bright nose of citrus and pineapple, along with flavors of pineapple, grapefruit and lemongrass, a full body and a long dry acidic finish.It’s a clear, pale-lemon colored wine with aromas of pineapple, white peach, and, citrus; clean, medium-bodied, with high acidity and a mineral finish.  An exceptionally enjoyable Sauvignon Blanc that matches well with seafood and spicy Indian and other Asian cuisines.  Made by Anthony Nappa.  13.1% ABV.

Raphael Riesling 2013The 2013 First Label Riesling  ($28) from the same excellent vintage as that of the Sauvignon Blanc described above.  The grapes were hand-harvested and pressed very gently after two days of skin contact in the tank. The juice was fermented using naturally-occurring indigenous yeasts from the  skins. Fermentation was carried out cold at 55F and lasted 5 weeks. The wine saw no wood, as befits a Riesling.  It was blended from several batches and then bentonite-fined for heat stability, cold-stabilized and sterile-filtered before bottling.  This is a limited-production, dry Riesling that offers a firm but balanced acidity matched by fruit concentration that produces a beguilingly aromatic and rather full-bodied—for a Riesling—with a dry, minerally finish.  This wine shows flavors of fresh apricot and ripe pear.  Excellent as an aperitif or to accompany seafood, chicken dishes, and spicy cuisines.  Anthony Nappa.  12.4% ABV.

The 2013 Cabernet Franc ($25) also benefited from the excellent conditions of the vintage.  The fruit was hand-harvested, de-stemmed, and crushed. The grapes from different lots were then fermented apart.  The fermentation was carried out at 75F to retain fruit flavors and took a month with pumpovers twice a day. The wine was aged with 50% in stainless steel and the rest in French oak barrels, where it underwent natural malolactic fermentation. The aging took ten months before the wine was blended and then bottled unfiltered and unfined.  The resulting wine has a firm acidity, full body, and offers a pronounced fruity aroma of ripe red berries with herbal notes and a hint of tobacco.  It is actually ready to drink now bout would certainly bear aging a few more years, given that it was so recently bottled.  A fine accompaniment to any variety of pork, beef, or lanb dishes.  It would be good with cheese or chocolate as well.  Anthony Nappa.  12.9% ABV.

In June 2015 the Wine Advocate blog posted a review of 200 Long Island Wines, of which 7 were from Raphael, earning scores of 86 to 92 points.  The top Raphael wine was the 2010 Merlot First Label, by Leslie Howard, with 92 points, followed by the 2014 Suvignon Blanc First Label, at 91 points, by Anthony Nappa, and the 2010 Cabernet Sauvignon by Howard at 90 points.  Quite a track record from Robert Parker’s Website.

Based on interviews with Anthony Nappa and Steve Mudd

13 June 2012; updated 22 June 2014

39390 Main Road/Route 25, Peconic, NY 11958; (631) 765.1100

Raphael Wine

tastingroom@raphaelwine.com

For further reading, Anthony Nappa and his own brand of wines were written about by Eileen Duffy in her book, Behind the Bottle (Cider Mill Press, 2015).

Viniculture in LI, Part II: background.

In exploring vinicultural practices in Long Island, I intend to particularly examine the practice of sustainable farming, which includes organic and Biodynamic® agriculture.  My original, first posting on 15 June 2010, Can 100% Organic Grapes be Grown in Long Island?, provoked some interesting and even useful responses.  I have since renamed it The Challenge of Growing Certified Organic Grapes in Long Island,  given the developments at Shinn Estate and The Farrm that have taken place since that 2010 posting.  The series now continues with this posting (now updated to April 2015 to include new developments and information, particularly with the Long Island Sustainable Winegrowing [LISW] program established in 2012). 

This Part II post serves as an introduction to the Part III articles devoted to the individual vineyards and wineries of Long Island.

NY Wine Regions Map 1To put things in perspective, one should bear in mind that New York State is the 3rd-largest producer of grapes by volume in the United States, after California and Washington.  Admittedly, most NY vineyards grow table grapes, but as of 2014 there were, according to the NY Wine & Grape Foundation (NYWGF), 373 wineries in the State, of which of which one in six are in Long Island.  Of all the wine regions of the State, Long Island is the one that is most committed to growing Vitis vinifera varieties, with very little planting of French-American hybrid vines and no Native American grapes at all.

I want to point out some factors that I believe appertain to most of the vineyards that I’ll be writing about—which is to say, all of the ones in Long Island, of which there are sixty-six bonded wineries, all but a handful of which are on the North Fork, as well as seven vineyards that sell their fruit to others.  They comprise, by my own calculation, about 2,565 acres of planted vines (the NYGWF calculates 2,041 acres.)

Geology & Soils

Geologically, Long Island is extensively formed by two glacial moraine spines, with a large, sandy outwash plain extending south to the Atlantic Ocean.  These moraines consist largely of gravel and loose rock that would become part of the island’s soils during the two most recent extensions of Wisconsin glaciation during the Ice Age some 21,000 years ago (19,000 BCE).  The northern, or Harbor Hill, moraine, directly runs along the North Shore of Long Island at points.  The more southerly moraine, called the Ronkonkoma moraine, forms the “backbone” of Long Island; it runs primarily through the very center of Long Island.  The land to the south of the Ronkonkoma, running to the South Shore, is the outwash plain of the last glacier. When the glaciers melted and receded northward around 11,000 BCE, their moraines and outwash produced the differences between the North Shore and the South Shore soils and beaches.

A General Soil Map (below), devised by the USDA Soil Conservation Service and the Cornell University Agricultural Experiment Station in 1972, shows the different kinds of soils that dominate the East End of Suffolk County, the part of Long Island that is home to most of the vineyards there.

East End, General Soil Map

The soil associations (or types) for Suffolk County as listed in the General Soil Map (and relevant to viniculture) are as follows:

  1. “Carver-Plymouth-Riverhead association [N. shore of the North Fork, extending across the Fork at Mattituck and then running East along the S. shore of Great Peconic Bay to Southold]:  Deep, rolling, excessively drained and well-drained, coarse-textured and moderately coarse-textured soils on moraines
  2. “Haven-Riverhead association [running from Brookhaven along the southern edge of 1 (above).  With an interruption at Mattituck, then extending as far as Orient Point; this is the dominant soil of the North Fork]:  Deep, nearly level to gently sloping, well-drained, medium-textured and moderately coarse-textured soils on outwash plains
  3. “Plymouth-Carver association [runs across the middle of the West-East axis of the county, encompassing Riverhead just south of 2.  It then extends into the Hamptons or South Fork as far as East Hampton but at no point touches the south shore.]  rolling and hilly:  Deep, excessively-drained, coarse-textured soils on moraines [the Ronkonkoma Moraine].
  4. “Bridgehampton-Haven association [actually runs immediately adjacent to, and south of, 3.]: Deep, nearly level to gently sloping, well-drained to moderately well-drained, medium-textured soils on outwash plains”

“Textures refer to surface layer in major soils of each association.”  [A caveat regarding the use of the map says,] “The map is . . . meant for general planning rather than a basis for decisions on the use of specific tracts.”

(There are ten soil types shown on the map, but we list only the four that form part of the terroir of the vineyards of the East End.)

With respect to the soil types in the North Fork and Hamptons AVAs, Louisa Thomas Hargrave wrote an article, “The Dirt Below Our Feet,” in the Spring 2011 issue of Edible East End, in which she made some important observations:

Every discussion of a wine region’s quality begins with the soil.  Going back to ancient Roman times, around ad 50, Lucius Columella advised, in his treatise on viticulture, De Re Rustica (“On Agriculture”), “Before you plant a piece of ground with vines, you should examine what sort of flavor it has; for it will give the wine a similar taste. The flavor can be ascertained…if you soak the earth in water and taste the water when the earth has [g]one to the bottom.  Sandy soil under which there is sweet moisture is the most suitable for vines…any soil which is split during the summer is useless for vines and trees.”

The “useless” soil that splits is clay, a colloidal suspension of particles similar to Jell-O. Clay retains too much moisture when it rains, making the tender roots of wine grapevines rot; it withholds nutrients from the vine when the weather is dry.

There is little clay on the East End of Long Island, except in specific and easily identified veins. We have remarkably uniform sandy soils here that vary in available topsoil (loamy organic matter), but all contain the same fundamental yet complex mixture of minerals.  These soils are ranked by the U.S. Soils Conservation Service as “1-1,” the most auspicious rating for agriculture. Any single handful of Long Island soil will show the reflective glint of mica; the dull gray of granite; the mellow pink, salmon and white of quartz; the red and ochre of sandstone; and black bits of volcanic matter. To describe them simply as “sandy loam” fails to acknowledge the profound effect that having this mixture of minerals must have on the vibrancy and dynamic quality of Long Island’s wines.

Richard Olsen-Harbich, the author of the two AVA applications for the Hamptons and the North Fork, published a two-part series on the soils of Long Island for Bedell Cellars, where he is winemaker:  the first, The Soil of Long Island. Part 1 – Ice Age: The Meltdown, published on April 12, 2011, and the second, more recent piece, The Soil of Long Island. Part 2 – There’s No Place Like Loam, published Sept. 6, 2013, which are useful and lucid explanations of how the glaciers of the Ice Age left Long Island with the soils that grow the vines today.

It should also be pointed out that Long Island soil, regardless of its composition, tends to have a rather low pH, which is to say too acidic for Vitis vinifera vines to grow well as it weakens the vines’ ability to assimilate nutrients from the soil.  The vines need the addition of lime to balance the pH and is something that nearly every vineyard must do to get itself established for vinifera.  It can take years—Paumanok Vineyards was adding lime to its vineyards every year for twenty years before it was able to relax the practice.  It nevertheless has to be done again every few years when the pH gets too low again, as it appears that the added lime may get leached out of the soil over time.

Climate

Overall, Long Island displays a cool maritime climate.  The brutal summer heat seen in the Iberian Peninsula, which is at the same latitude, is tempered in the Hamptons AVA by the Labrador Current which moves up the eastern Atlantic Ocean.  Summer temperatures are also moderated by Little Peconic Bay to its north.  The North Fork enjoys the moderating influences of Long Island Sound.  These same bodies of water help to temper the effects of the Canadian air masses that move in during the winter.  The influence of these waters helps prevent late spring frosts which can kill young grape buds.  The cumulative effect is a lengthening of the growing season to approximately 210-220 days.  Wine-grape varieties can thrive here, as they can grow better and ripen further than just about anywhere in the U.S. outside of California.  The North Fork is such a narrow band of farmland, situated between the bay and the sound that virtually all of the vineyards or near or on the water.  According to the Appellation American Website:

Despite being next door to each other, there are notable differences between the South Fork and the warmer North Fork. The South Fork is more exposed to onshore Atlantic breezes, delaying bud-break by as much as three weeks. Even after bud-break, the area is frequently foggy, keeping early season temperatures and sunshine hours lower than on the North Fork. By the end of the growing season, the seemingly subtle weather differences between the Forks add up to quite different overall climates. The Hamptons are generally very cold to moderately cool, while the North Fork is moderately cool to relatively warm. The damper silt and loam soils of The Hamptons, along with climactic differences, create a unique style, with wines from The Hamptons generally being more restrained and less fruit-forward than wines from the North Fork.

Wineries & Vineyards

By my own count, as of March 2015, there are a total of 76 wine production entities in Long Island, of which:

  • 21 are wineries with vineyards, though they may also buy fruit from others
  • 3 are wineries without vineyards that buy their fruit from growers
  • 11 are wine producers that have neither a winery nor a vineyard, but outsource their production, having their wine made to their specifications from purchased grapes
  • 33 are vineyards without a winery, but use an outside facility to make wine to their specifications  from their grapes
  • 1 is a crush facility that makes wine from fruit, provided by others, to the providers’ specifications
  • 7 are vineyards that sell their fruit to wine producers
  • In all, there are 58 tasting rooms in Long Island

Vinicultural Practices

Regardless of the different terroirs of either Fork, the first point that I’d like to make is that, based on my visits, so far–to Wölffer Estate and Channing Daughters in the Hamptons AVA, and to Bedell Cellars, Castello Borghese, Diliberty, Gramercy, Jamesport, Lieb, Lenz, Macari, Martha Clara, McCalls, Mudd Vineyard, The Old Field Vineyards, Osprey’s Dominion, Palmer, Paumanok, Peconic Bay, Raphael, Kontakosta Winery, Sherwood House, and Shinn Estate in the North Fork AVA–the standards of vineyard management are of a very high order.  The neatness of the rows of vines, their careful pruning and training (most, if not all, are using Double Cordon trained on two wires with Vertical Shoot Positioning, or VSP, and cane pruning), the use of cover crops between rows, and much else besides, attest to the high standards and sustainable practices to which the vineyard managers aspire. 

A handful of vineyards are endeavoring to farm organically and/or Biodynamically, though only a single vineyard, Shinn Estate, is actually working to obtain actual certification for both.  Then there is The Farrm, in Calverton, run by fruit and vegetable grower Rex Farr, who obtained full organic certification in 1990 and planted vinifera vines in 2005–thus harvesting the first certified-organic grapes on LI in 2012.  It is expected that the first wine to be made from its fruit will be produced in 2013 by a newly-established winery on the North Fork.  None of this is to say that a vineyard that does not seek to grow organic or Biodynamic grapes is the lesser for it, though all should seek to farm sustainably.  Excellent, even great wines have been and shall continue to be produced whether farmed organically or not.  Indeed, as I pointed out at the beginning of my first post, there is no proven correlation of quality of a wine because it is made with organic or Biodynamic grapes.  (A case in point is the famous and incredibly expensive wine of the Domaine de la Romanée Conti, in Burgundy.  It has been long acknowledged as the source of some of the greatest red and white wines of all of France, and this was the case before it was converted to Biodynamic farming, and continues to be the case today.)  Part of what makes it so difficult to quantify the quality of a wine made by either method is that fact that there is vintage variation every year, due primarily to factors of weather and climate.  Thus, there is no objective way of being sure that viticultural practice was the dominant reason for the quality of a particular vintage, rather than the weather of a particular season.  Nevertheless, those who practice organic/Biodynamic viniculture do aver that it is reflected in the wine and there are consumers who do think that they can detect the difference.

By now virtually all of the vineyards on the two forks are attempting some form of sustainable farming, though the kind of sustainable work can vary considerably across the gamut of over sixty vineyards.   Along these lines, an important development took place when a new accreditation authority was created in May 2012:  Long Island Sustainable Winegrowing, Inc., with the intent of setting out the guidelines for sustainable viticultural practices for all wineries in the region.  Membership is voluntary, but already, as of April 2015, there are sixteen vineyards that have joined, with thirteen already certified and three in transition.  Others are giving membership serious consideration.  A post devoted to the LI Sustainable Winegrowing authority was published on this blog in April 2012 (since updated as of 21 June 2013).

Another important factor to keep in mind is the role of clone selection for the vineyards.  A very useful article about the significance of clones was posted by Richard Olsen-Harbich of Bedell Cellars on March 19, 2013:  Revenge of the Clones.  The piece is well worth reading in its entirety, but there are two salient paragraphs that are worth quoting:

Over the past 10 years, grapevine clones have shown themselves to be of increasing importance in our vineyards. Simply put, clones are a genetic variant of a particular variety. The Chardonnay grown on Long Island decades ago is not the same vine we have today. Plantings since that time – especially in the past 10-15 years, have benefited from a wider selection of available plant material. Back in 1990, if you wanted to plant Chardonnay, you had one choice. Today there are more than 70 registered clones of this noble white grape being grown throughout the world and they all have their particular nuances and characteristics. Many of these clones are already in existence in Long Island vineyards – from the tropical and aromatic Musqué to the classic and alluring Dijon clones from Burgundy. Although these are all Chardonnays, each exhibits their own distinctive character.

This fact is also true of grapes like Merlot and Cabernet Franc, where profound differences in wine quality can be seen between clones grown in the same vineyard, on the same soils. Over 50 clones of Merlot have been identified in Bordeaux. Pomerol alone has over 35 clones of Cabernet Franc. Newer French clones, long kept overseas as tightly held trade secrets, are finding their way into the United States. In most cases these new clones are better suited to our maritime climate. Often these clones will ripen earlier than the older selections we used to have. Some are more resistant to disease. The ultimate result is higher quality wines. I’ve seen clones so different from each other that you would think the wines were made from another variety entirely.

In other words, when the first vinifera vines were planted in the 70s and 80s most of the clones came from California.  Many of these clones had been developed at the University of California at Davis (UCD) but of course were created with California vineyards in mind.  This meant that the clones were less suitable for the very different, maritime climate of Long Island.  For example, the Sauvignon Blanc clone 1 (the ‘Wente clone’) was very vigorous and produced large clusters but it was also very susceptible to rot in LI.  Only in the 90s were new clones planted to replace clone 1, and all of these came not from California but France (primarily from Bordeaux, in the case of the Sauvignon Blanc.)  This process was true for several other varieties.  In other words, the new clones are part of what makes Long Island the most ‘European’ of the wine-growing regions of the United States.

As a matter of fact, the Long Island Wine Region, which includes both the North Fork and the Hamptons AVAs, in 2010 became signatory to the Declaration to Protect Wine Place and Origin that was first enacted in 2005 in Napa (it is also known as the Napa Declaration on Place).  The original signers included not only the Napa AVA but also Washington and Oregon State AVAs, and Champagne, Jerez/Sherry, and Oporto/Port in the EU, among others. (The point of this, of course, is to control the use of place names and prevent the misuse of the name ‘Champagne’ for example, on any sparkling wine that is not from there.  Chablis, Port, and Burgundy were also place names that were widely abused around the world.)

There is no intention whatsoever in my series to judge a vineyard because it does or does not grow or intend to grow organically or Biodynamically.  (Indeed, wineries that are technically organic can still choose not to be certified.  Among the many reasons for this, for example, are that a winery may not want the added costs and the bureaucracy entailed in registering, or a winery may disagree with the government standards.  Whatever the case, such wineries are not allowed to use the term organic on their labels.)

In any event, the point of this series is to understand the reasons for choosing a particular approach to grape production over another.  We want to understand why Long Island vineyards do what they do before we go on to explore their methods of vinification, for between what is done in the vineyard and what happens in the winery is what determines the quality of the wine that is produced.  The wines from Long Island have long been improving since those first, tentative years going back to 1973 (when the Hargraves planted the first vinifera vines in LI) and in recent years are receiving their due recognition in the form of positive reviews, awards, and high scores for individual bottlings.

Important Terms Defined

  • AVA or American Viticultural Area: An area defined by a unique geology and climate that is distinctive from other vine-growing areas and hence that produces wines of a distinctive overall character.  There are none of the restrictions as to varieties planted, vine density, allowable harvest per acre, or any of the other limitations that exist in European appellations, such as the French Appellation d’Origine Contrôlée (AOC).  Long Island has three AVAs, all applied for to the TTB (Alcohol and Tobacco Tax and Trade Bureau) which administers the program, in the mid-1980s: The Hamptons (South Fork), the North Fork AVA, and the Long Island AVA.
  • Biodynamic®, or Demeter USA, certification; also, Demeter USA, FAQ, Biodynamic wine (PDF file).  Also, see an excellent discussion in a 5-part series beginning with New York Cork Report, Biodynamics, Part I, by Tom Mansell, along with the ensuing debate in the comments that follow each of the postings.  There is also a controversial series against Biodynamics by Stuart Smith, a winemaker in California, called Biodynamics is a Hoax, a polemic that is worth reading, along with the comments in response.
  • Bordeaux Mix:  A widely-used type of fungicide that mixes copper sulfate and lime, first used in Bordeaux in the 1880s; see Univ. of Calif., Davis, Pesticide notes
  • Compost Tea:  A type of natural compost mixed with water for distribution in liquid form (it may be seen as agricultural homeopathy); see National Sustainable Agriculture Information Service, Compost Tea Notes
  • Copper Sulfate:  A widely-used industrial pesticide, allowed in both organic and Biodynamic farming within specified limits: see  Cornell Extension Toxicology Network (ExToxNet), Pesticide Information Profile, copper sulfate
  • Cover crops: Vegetation that is either deliberately planted between vineyard rows (e.g., clover, to replenish nitrogen in the soil) or weeds that are naturally allowed to grow between and into rows (the Biodynamic approach); see UC Davis, Cover Crop Selection and Management for Vineyards
  • Integrated Pest Management (IPM):  A major component of sustainable agriculture, it is labor-intensive but effectively reduces the need for certain kinds of pesticides; pheronome ties are a typical method of disrupting the reproduction cycle of some insect; see EPA, Factsheet on IPM
  • Macroclimate:  The climate of a large area or region, such as that of all of Long Island, or perhaps just the East End of LI.
  • Mesoclimate:  The distinct climate of a smaller area, such as that of a single vineyard or a parcel thereof.
  • Microclimate:  The climate of a very small area; it could be as small as a single vine or a distinctive climate of a tiny part of a vineyard, such as a depression in a row of vines.  (NOTE:  These terms are often used interchangeably, but most often microclimate may be used to refer to the mesoclimate of a vineyard.)
  • Organic Certification:  USDA, National Organic Program, Organic Certification
  • Regalia:  A biologically-based pesticide; see Marrone Bio-Innovations, Products, Regalia
  • Serenade: A biologically-based pesticide; see PAN Pesticide Database, Products–Serenade
  • Stylet oil:  defined in the industry as a Technical Grade White Mineral Oil, it is used as a biodegradable fungicide and insecticide in integrated pest management programs.  It also serves as as a substitute for sulfur, reducing or eliminating the need for that application, according to Steve Mudd, a LI vineyard owner and consultant.
  • Sustainable agriculture:  according to Mary V. Gold, on the USDA Website, “Some terms defy definition. ‘Sustainable agriculture’ has become one of them. In such a quickly changing world, can anything be sustainable? What do we want to sustain? How can we implement such a nebulous goal? . . . If nothing else, the term ‘sustainable agriculture’ has provided talking points, a sense of direction, and an urgency, that has sparked much excitement and innovative thinking in the agricultural world.”  Follow this interesting, full explanation of the term at USDA, Sustainable Agriculture definition.  Another excellent source for information about sustainable agriculture is to be found on the NY State VineBalance Program website, which is dedicated to sustainable practices in NY State vineyards, and as mentioned above, the Long Island Sustainable Winegrowing certification program, with sixteen vineyards already committed to its regulations and guidelines.
  • Variety vs. Varietal:  not to be pedantic (though I can be), Variety is the term applied to a particular kind of vine and its grape; e.g., Cabernet Franc or Riesling; Varietal is the wine made from a variety or a blend of different varieties.  The terms are often used interchangeably but shouldn’t be.
  • Vertical Shoot Positioning:  is a training system used with single or double Guyot, cane-pruned training, or with a Cordon, spur-pruned system.  VSP is very common in cool and/or humid climate regions with low to moderate vigorous growth, as it encourages better air flow through the vine.  This is accomplished by making all the shoots grow vertically, with no vegetative vine growth allowed below the cordon/cane.  The increase in air flow helps prevent problems associated with disease and also allows the fruit to dry out more quickly after it rains.

      Both cluster thinning and harvesting are generally made easier using VSP, given that there is better access to the fruit.  The objective is to train the shoots so as to create a narrow layer that provides good sunlight exposure and air flow in the fruiting zone of the canopy.  Each shoot is thus trained to grow vertically by attaching it to movable catch wires.  The shoot’s length can easily be controlled by pruning any growth above the top catch wire.  The fruiting zone is generally kept at waist height, which makes it more convenient for the vineyard workers, given that the vineyard rows are worked throughout the season.)

For a full explanation of VSP, see Cornell Univ. Agriculture Extension, Training, and Trellising Vinifera Vines.

Viticulture vs. Viniculture:  again my pedantic side will out–Viticulture is the general term for the growing of any kind of grape vine, whether intended for the table or for wine; Viniculture refers to the raising of wine grapes in particular.

_________________________

The vineyards that I intend to write about are listed below in alphabetical order (those wineries that have no vineyard but purchase their grapes from others will not be part of the vinicultural survey– these are shown in gray; the ones that have already had articles posted on this blog are shown in purple; those that have been ‘indirectly interviewed’ are shown in light purple.  If the vineyard has been certified by the Long Island Sustainable Winegrowing Group (LISW), that is indicated:

  • Ackerly Ponds, North Fork AVA (85 acres) is now part of Sannino’s Bella Vita Vineyards (which see)
  • Anthony Nappa (no vineyard) posted 6/14
  • Baiting Hollow Farm Vineyard, North Fork AVA (11 acres)
  • Bedell Cellars, North Fork AVA (78 acres, LISW sustainable-certified); Rich Olsen-Harbich interviewed on May 12, 2011; posted June 2, 2011
  • Bouké Wines (no vineyard)
  • Castello di Borghese Vineyard & Winery [formerly Hargrave Vineyard], North Fork AVA (85 acres); Giovanni & Allegra Borghese interviewed on Nov. 18, 2014 and Mar. 27, 2015, to be posted
  • Channing Daughters Winery, Hamptons AVA (25 acres, LISW sustainable-certified); Larry Perrine interviewed on April 30 & May 21, 2012; posted January 22, 2013
  • Clovis Point, North Fork AVA (20 acres); see Bill Ackerman interview
  • Coffee Pot Cellars (no vineyard)
  • Corey Creek Vineyards, North Fork AVA (30 acres, LISW sustainable-certified), owned by Bedell Cellars; posted June 2, 2011
  • Corwith Vineyards, Hamptons AVA (3 acres; LISW sustainable-certified); Dave Corwith interviewed May 20, 2014 and Nov. 16, 2015; posted Oct. 15, 2014, updated Nov. 19, 2015.
  • Croteaux Vineyards, North Fork AVA (10.5 acres); see Steve Mudd interview
  • Deseo de Michael, North Fork AVA (.3 acres)
  • Diliberto Winery, North Fork AVA (4 acres); Sal Diliberto interviewed Mar. 28, 2015, to be posted
  • Duck Walk Vineyards, Hamptons AVA, and Duck Walk Vineyards North, North Fork AVA (130 acres; LISW candidate); Ed Lovaas, winemaker, on Nov. 16, 2015.  to be posted.
  • Gramercy Vineyards, North Fork AVA (3.5 acres); Carol Sullivan, owner, interviewed October 2, 2012; posted; as of June 2015 the vineyard is leased out; no longer making wine
  • The Grapes of Roth (no vineyard)
  • Harbes Family Farm & Vineyard, North Fork AVA (5 acres, LISW sustainable-certified)
  • Harmony Vineyards, LI AVA (7 acres); see Steve Mudd interview
  • Influence Wines (no vineyard); Erik Bilka interviewed 6/15; to be posted
  • Jamesport Vineyards, North Fork AVA (60 acres); Ron Goerler, Jr. interviewed on April 14, 2014; posted Sept. 9, 2014.
  • Jason’s Vineyard, North Fork AVA (20 acres)
  • Kings Mile, North Fork AVA (leased vineyard); Rob Hansult interviewed on Sept. 26, 2013; posted same day
  • Kontokosta Winery (23 acres, LISW sustainable-in transition); Michael K. interviewed Nov. 18, 2014, Gilles Martin interviewed Mar. 28, 2015; to be posted
  • Laurel Lake Vineyards, North Fork AVA (21 acres); Juan Sepúlveda interviewed Sep. 26, 2015
  • Lenz Winery, North Fork AVA (65 acres); Sam McCullough interviewed April 20 & 27, 2011; posted May 16, 2011; Eric Fry interviewed Mar. 27, 2015, to be added to original Lenz post
  • Leo Family Wines; John Leo interviewed for PWG on October 3, 2012; posted February 11, 2013
  • Lieb Family Cellars, North Fork AVA (50 acres, LISW sustainable-in transition); Logan Kingston, Sarah Kane, & Jildo Vázquez interviewed June 6, 2013; posted October 4, 2013
  • Loughlin Vineyards, Long Island AVA (6 acres)
  • Macari Vineyards & Winery, North Fork AVA (200 acres); Joe Macari, Jr. interviewed July 9, 2009 & June 17 2010; posted June 30, 2010
  • Martha Clara Vineyards, North Fork AVA  (101 acres, LISW sustainable-certified); Jim Thompson & Juan Micieli-Diaz interviewed Feb. 3 & March 27, 2012; posted May 3, 2012
  • Mattebella Vineyards, North Fork AVA (22 acres, LISW sustainable-in transition)
  • McCall Vineyards, North Fork AVA (22 acres); see Steve Mudd interview
  • Mudd Vineyards, North Fork AVA (50 acres, LISW sustainable-certified); Steve Mudd interviewed; posted September 18, 2012
  • The Old Field Vineyards, North Fork AVA (12 acres); Ros & Christian Baiz & Perry Weiss interviewed on May 12, 2011; posted on June 7, 2011
  • Onabay Vineyard, North Fork AVA (180 acres total, not all with vines): see Bill Ackerman interview
  • One Woman Vineyards, North Fork AVA (12 acres, LISW sustainable-certified)
  • Osprey’s Dominion Vineyards, North Fork AVA (90 acres); Adam Suprenant interviewed April 23 & May 8, 2012; posted February 3, 2013
  • Palmer Vineyards, North Fork AVA (100 acres, LISW sustainable-certified); Miguel Martín interviewed October 12 & 22, 2010; posted November 13, 2010
  • Paumanok Vineyards, North Fork AVA (72 acres planted, LISW sustanble-certified); Kareem Massoud interviewed May 3, 2011; posted May 23, 2011
  • Peconic Bay Winery, North Fork AVA (58 acres); Jim Silver & Charles Hargrave interviewed; posted May 9, 2011;  winery is now closed but see interviews with Steve Mudd & Bill Ackerman, since Peconic Bay’s vineyards have been turned over to Lieb Cellars as of January 2013
  • Pellegrini Vineyards, North Fork AVA (72 acres); see Steve Mudd interview
  • Pindar Vineyards, North Fork AVA (500 acres; LISW candidate); Pindar Damianos interviewed Sept. 26, Ed Lovaas on Nov. 16, 2015.  to be posted.
  • Pugliese Vineyards, North Fork AVA (45 acres); Pat Pugliese interviewed Jan. 19, 2015
  • Raphael, North Fork AVA (55 acres, LISW sustainable-certified); Leslie Howard & Steve Mudd interviewed May 21 & June 13; posted September 17, 2012; Anthony Nappa interviewed
  • Roanoke Vineyards, North Fork AVA (10 acres, LISW sustainable-certified); interviewed Richard Pisacano, owner; posted July 10, 2013
  • Sannino’s Bella Vita Vineyard (5.25 acres, LISW sustainable-certified); interviewed Jan. 30, 2015; to be posted
  • Sherwood House Vineyards, North Fork AVA (36 acres); interviewed Bill Ackerman on September 26, 2012; posted
  • Shinn Estate Vineyard, North Fork AVA (20 acres, LISW sustainable-certified); Barbara Shinn & David Paige interviewed June 18, 2010; posted July 12, 2010
  • Southold Farm+Cellar, North Fork AVA (9 acres; as of Sept. 2014 just entering production); Regan Meador interviewed Jan. 30 & Nov. 16, 2015; to be posted
  • Sparkling Pointe (29 acres, LISW sustainable-certified)
  • Suhru Wines (no vineyard); Russell Hearn, owner, interviewed for PWG on October 3, 2012
  • Surrey Lane Vineyards, North Fork AVA (25 acres, LISW sustainable-in transition); see Steve Mudd interview
  • T’Jara Vineyard, North Fork AVA (14 acres); Russell Hearn , owner, interviewed for PWG
  • Vineyard 48, North Fork AVA (28 acres planted)
  • Waters Crest Winery (no vineyard); interviewed Nov. 17, 2014, to be posted
  • Whisper Vineyards, Long Island AVA (17 acres); interviewed Steve Gallagher on Mar. 27, 2015, to be posted.
  • Wölffer Estate, Hamptons AVA (174 acres, LISW sustainable-certified); interviewed Roman Roth & Rich Pisacano on April 30, 2012 & June 20, 2013, updated and posted on July 10, 2013

Three very useful links that serve as portals to most of these vineyards are 1) Long Island Wine Country which lists only those wineries and vineyards that are members of the LI Wine Council; 2) Uncork New York! (aka the New York Wine and Grape Foundation) which provides links to all wineries and wine vineyards in New York State.  Also indispensable for New York State wines is the New York Cork Report by Lenn Thompson, with its many interviews, coverage of wine tastings, reviews, and more.

A framable 24 by 36-inch map of the wineries and vineyards of the East End of Long Island, by Steve De Long, can be purchased on Amazon:

LI Wine Map

 

Viniculture in LI, Part III: Channing Daughters Winery

Channing Daughters, entranceChanning Daughters Winery, in Bridgehampton, founded in 1996 by Larry Perrine—soil scientist and oenologist—and Walter Channing—venture capital executive and gifted wood carver—is one of three Hamptons AVA wineries; the others are Wölffer Estate, in Sagaponack and Duckwalk Vineyards in Watermill.   In 2012 Channing Daughters was one of the four founding vineyards of Long Island Sustainable Winegrowing, Inc. (LISW), offering the first independently-assessed certificate for sustainable viniculture in the East.  As of 2016 it has grown to 17 members.

There are a total of 73 producers and wine brands in Long Island, most of them located on the North Fork, a separate Long Island AVA.  Of all of them, Channing stands apart from all the rest by its choice to produce wine from varieties that almost no one else on Long Island, let alone the United States, have planted or made into wine.  These include Muscat Ottonel, Malvasia, and Tocai Friulano among the white varieties, and Blaufränkisch, Dornfelder, Refosco, Teroldego, and Lagrein among the reds.  There are, of course the more usual grapes—Chardonnay, Sauvignon Blanc, Gewürztraminer, Viognier, Cabernet Franc, Cabernet Sauvignon, and Pinot Noir, often sourced from other properties, particularly Mudd Vineyards.  Its wines may bear The Hamptons, Long Island, North Fork of Long Island or Long Island AVA.  French, American, Hungarian, and Slovenian oak barrels are used to age many of their wines, while many see only stainless steel.   In other words, there is nothing standard about what they do at this winery.  From all of this one can divine that Channing Daughters is fond of experimentation.  Thus, in the very capable—let’s say gifted—hands of winemaker Christopher Tracy, Channing Daughters makes unique blends and varietal bottlings, a total of thirty in all.

Larry Perrine (rhymes with terrine), was a consultant when he and Walter Channing founded the winery. He became its founding winemaker and partner with Walter Channing, and is now CEO of the enterprise.  He heads the team that actively runs the winery.  These include not only winemaker/partner Christopher Tracy, but also partner/general manager Allison Dubin, vineyard manager Abel Lopez, Jacqui Perrine, Anthony Persico and Debbie Huneken.

Larry, born in 1951, grew up in Southern California, but by the time he graduated from high school he was ready to peregrinate.  While still in California he earned a BA in English and thought to teach, but it turned out that the California school system at the time was retiring teachers faster than it was hiring them.  In the meantime he took jobs in wine shops and took to gardening, which he liked so much that he decided that it would be very nice to make money doing it.  Hence his decision to go back to college and major in soil science at California State Polytechnic University.  Studying soil science wasn’t exactly the same thing as earning an agronomy degree, which is really about how to farm.  Soil science involves hard-core chemistry courses and two years of Calculus, among other things.  He did so well that his professors urged him to go on to graduate school.  Three schools offered him positions, including the University of California at Davis, Cornell University, and the University of Minnesota in the Twin Cities.  As Minnesota was the only agricultural school located in an urban setting and Larry had always wanted the experience of living in a city, he chose Minnesota.  It was a good choice for him, as it turned out.  He studied advanced soil science and microbiology.  As part of his studies he worked on soybeans and their nitrogen-fixing capacity (a trait shared with other legumes and even the locust tree).

While living in Minnesota in the late 1970s, Larry came upon a small Minnesota winery that was pioneering cold-climate viticulture and worked a few harvests with them.  Another grower, Elmer Swenson, was busy breeding his own cold-hardy grape varieties, setting the stage for what would become a formal University of Minnesota grape-breeding program.   Eventually it developed into today’s well-respected grape-breeding, viticulture and winemaking program for new hybrids able to withstand the very cold Midwestern winters.

Early in Larry’s life, while still in California, his partner at the time (she later became his wife) turned him on to wine in a serious way, as a result of trips to Europe.  Nevertheless, his work in soybeans and agricultural development led him to involvement with local food cooperatives which in turn resulted in his becoming engaged in politics—food politics, with all that that entailed, including working on political campaigns, raising money, and helping to elect progressive politicians.  He did this for three years, after which he wanted to return to work in agriculture.

It was a New York Times article published around 1980 about the rise of quality wines in the Finger Lakes that persuaded Larry that he should move to upstate New York to return to agriculture.  So began Larry’s stint at a Finger Lakes winery and vineyard on Keuka Lake with a grand stone house in Greek Revival style that was, sadly, in very run-down condition.  It turned out that the wine operation was in the same shape.  There was no wine lab, despite the fact that all the equipment for one had been purchased years before and was left lying around.  It was, in Larry’s words, “a macabre operation.”  He was hired to install the lab with the available equipment—a job for which he was well-suited, given his work as a research scientist.  Dana Keeler, a protégé of Hermann Wiemer, had been recently hired as a winemaking consultant and he and Larry went through the cellar to determine which wines were salvageable and which were not.  It was a good way to learn about wine faults.

In 1983 Larry was admitted to the Food Science and Technology graduate program at Cornell’s New York State Agriculture Experiment Station at Geneva in the Finger Lakes.  He did his Masters program from 1983-85, working on viticulture issues on Long Island.  After Cornell, Larry moved to Long Island and worked for the Mudd family, viticulture pioneers on Long Island, during 1985-86.  This led to his getting a job at the Long Island Horticulture Research and Extension Center in Riverhead as a Research Associate in viticulture, working with the viticulture team at the NYSAES/Geneva, which included Robert Pool, Tom Burr, Roger Pearson, Bruce Reisch and Alan Lakso.  Larry worked as a viticulture researcher for three years focusing on bird control and Botrytis bunch rot management.  His tenure as a Cornell viticulture researcher overlapped with the arrival of Alice Wise, the new Fruit Extension agent (which, of course, included grapes).  When Larry left Cornell in 1988, Alice Wise took over a newly-consolidated viticulture position working for Cornell Cooperative Extension of Suffolk County as the grape research and extension specialist, a position she still holds today.

He then went on to work at Gristina Vineyards in the fall of 1988, so that he participated in its first vintage.  He stayed with Gristina as winemaker and general manager for six years, but left in early 1994 to pursue his expanding viticulture consulting career.  Larry became a consultant to more than twenty wineries and vineyards in New York State (including Long Island), Connecticut, Massachusetts, Rhode Island, and Michigan, for five years.

In 1995 he met Walter Channing, who was looking for a consultant to advise him on improving his vineyard property he’d started planting in 1982.  Tom Drozd, then winemaker at Palmer Vineyards, told Larry about Channing’s search and put them in touch.  So, in 1995, Larry—who had an attorney friend staying with him at the time—went with his friend to meet Walter at his farm.  Walter and Larry immediately connected with one another.  The lawyer then suggested that they formalize a contractual relationship between them.  Within the span of a year Larry went from being a consultant to helping Walter found Channing Daughters Winery in 1996 (a reference to his four daughters), becoming its winemaker and a business partner.

Walter started with a one-acre vineyard planting on his farm in 1982, planted 3 acres of Merlot in 1987, and an additional eight acres of Chardonnay vines in 1991.  There is now a total of 28 acres planted to wine grapes.  About 60 acres of farmland (including the vineyards) are permanently protected through a conservation easement held by the Peconic Land Trust.  Channing Daughters Winery has grown into a 12,000 case winery from 1996 to the present.

About Vineyards

Channing Daughters vines & trellisThe cover crops between rows include a mix of fescue, clover, and rye, and during the growing season these are always kept mowed.

The first wine grapes of the modern era were planted on the east end of Long Island in 1973, and the industry is celebrating its 40th anniversary this year.  Basic planting decisions include vine spacing.  Vine spacing on Long Island is various, but most of the earliest plantings from the 1970s-1980s were planted 9’ X 8’ (9 feet between rows and 8 feet between vines within a row).  That was the initial recommendation coming from Cornell and was the typical Concord vine spacing.  Over the last 20 years, most new planting are spaced more closely—commonly 8’ between rows and 4-5’ between vines within a row.

As an academic in the 1980s, Larry used to wake up at night pondering the prevailing theories of “vine competition” and the notion that close vine spacing stresses vines, leading to better fruit quality.  Did vines really compete with each other, thereby reducing vine vigor and promoting fruit ripening?  In Bordeaux, for example, vines have traditionally been planted as close as 1 meter by 1 meter, producing modest-sized vines, good yields and ripe fruit (depending on the vintage).  The traditional popular notion, even in Bordeaux, at the time was that the close spacing produced smaller vines and riper fruit.

It even reached the New World.  Opus One, the famous collaboration between Robert Mondavi and Baron Philippe de Rothschild, planted its vines according to the spacing that was used at Mouton-Rothschild in Paulliac, a commune of Bordeaux—1 meter by 2 meters.  The result in the fertile and fairly deep Bale Loam soils (up to 48” rooting depth) was a jungle in the Napa vineyard.  Too much vigor, thus too much growth.  The close spacing that is de rigueur in Bordeaux is not as practical in the flatter and richer soils of parts of Napa Valley.

Busting a Myth: The Theory of Vine Spacing and Competition

When visiting Bordeaux Larry once asked Gerard Seguin, a soil scientist who worked at the INRA (Institut National de Recherche Agricole) about the question of planting density in the region and he replied that the vines were planted closely in order to fill the trellis due to the rather low vigor soils in much of Bordeaux.  Not to devigorate the vines.  In other words, high vine density has less to do with stressing the vines to improve the resulting fruit.  It has more to do with filling the trellis and keeping yields up on less vigorous soils.  So the theory of vine competition appears to be a myth, though a very-well entrenched one.  Another point to bear in mind is that in Bordeaux as well as in other traditional vine regions in France as well as much of the rest of Europe, close planting also reflects the fact that when vineyards were first planted centuries ago there were no machines, which require wider rows; a person, a horse, an ox, could easily pass along closely-spaced rows.

Larry also explained something about vine canes.  A cane is a series of buds on a hardened off shoot that grew last year.   These buds produce new shoots upon budbreak.  In wide vine spacing (8’ between vines) if there is a four-foot cane (fairly long), for example, you’d find that the vine will, physiologically, provide more nourishment to the proximal and distal buds on the canes, leaving the middle ones less nourished and less likely to produce fruitful shoots.  In this case it would be better, then, to have a second two-foot cane and let them  overlap the center of a 4 ft cane from the same vine, so that one has a double cane for a short distance and the entire length of the trellis is filled.  With two-foot canes one has, in effect, eliminated the middle buds.  As Larry points out, overlapping canes is a growers’ technique that is not found in textbooks.  However, with closer spacing between vines, this issue is mitigated.

Early Variety/Clone and Rootstock Work on Long Island

In 1977 a non-replicated varietal grape planting was installed at the LIHREC in Riverhead.  That planting was subsequently replaced in 1982 by a replicated wine grape varietal/rootstock experiment known as the Dyson Trial .   The focus was on Riesling and Chardonnay, two vinifera varieties that had been grafted to six separate American rootstocks.  Additional varieties were also included.  The Dyson Trial was also undertaken in three other viticultural areas of the State—the Hudson Valley, the Finger Lakes and Lake Erie.  Over a lifetime of at least a decade, these trials singled out specific rootstocks as preferred because they produced smaller vines and promoted earlier fruit ripening.

According to Larry, “In the early 1990s, there emerged an interest in evaluating the performance of different ‘clones’ or sub-types of commercially important wine grape varieties on Long Island.  This led to the planting of a new experimental vineyard at the Riverhead station by Alice Wise and Libby Tarleton. The focus was primarily on Chardonnay and Merlot, but also included numerous other varieties.  This clonal and varietal evaluation trial is still yielding results as it gradually evolves to eliminate some varieties.

“This ongoing trial on Long Island is an outgrowth of work done in Burgundy in the 1950s and ‘60s by Raymond Bernard, a research viticulturist in Dijon, Burgundy.   His group discovered then that there were many types and subtypes of Chardonnay and Pinot Noir in Burgundy.  These different ‘clones’ produced different aromatics, cluster sizes, levels of acidity, and amount of fruit sugar.

“New grape vines are produced by selecting dormant cuttings or ‘budwood’ from a known planting of a specific grape variety.  New vines are ‘cloned’ from ‘mother vines’ to keep the genes identical and the varieties ‘true’.  Seeds are not saved as they, if planted, would not produce the same grape variety.

“Traditionally, vineyard managers used mass selection (an arbitrary harvest of budwood from of a varietal planting) of cuttings to produce new, baby vines.  These cutting were then grafted to resistant rootstock.

“However, Raymond Bernard, who was asked by his industry to determine why the region’s vineyards were in long-term decline (it turned out to be caused by grape viruses), saw differences in the Chardonnay and Pinot Noir vines that had been newly planted.   He not only helped ‘clean-up’ Burgundy’s new vine supply system, he also began identifying and selecting what he saw as clear subtypes or ‘clones’ with the most desirable wine characteristics for different conditions and terroirs.  (Some clones, for example, were unsuitable for Burgundy but would fare well in Champagne—a much cooler region with a shorter growing season, thus needing the right amount of acidity at harvest.)

“Finally, in the 1980s, New World viticulturists became interested in these sparingly available Old World clones.   Initial imports of the clonal cuttings ended up spending years in quarantine upon arrival in the United States until they could be certified virus-free and safe to plant in American soil by the UC Davis Plant Material Services program.  Over time agreements were made that facilitated the import of the clones and by the mid-‘80s, numerically identified clones of were being offered for sale by American vine nurseries.

“For example, Channing Daughters has a block of 8 ½ acres planted to ten different Chardonnay clones, including Burgundy clones 95, 96, and 76.   One of the advantages of using many clones is genetic diversity and potential wine complexity.  The clones that are in the field have been selected for their wine quality, and include not only the three Burgundy clones, but clones identified in California (e.g., at UC Davis), and there is also a Muscat clone of Chardonnay with distinctive flavors and quite aromatic.  Chardonnay Daughters makes a field blend out of the mixed clonal plantings and calls it Clones.”

[End of Perrine interviews]

Christopher Tracy, the winemaker, is proudly non-ideological in his approach, and will make some wines with wild yeasts, others with inoculated ones. Some wines are filtered, others not. Everything depends on what he perceives to be the best way to work with a particular batch of juice. Varieties can differ widely in what kinds of treatment they will best respond to. In consequence of making so many different wines—often only differentiated on the label by a vineyard name—it’s very evident that the philosophy of this winery is strongly terroir-oriented. It also means that all the wines are made in relatively small batches. Since production of each wine is small, there is a likelihood that they will sell out sooner than later.

On the other hand, Christopher is very firm about his preference for corks over screwcaps. It has to do with a strong romantic streak in him—a love of the process of extracting the cork and hearing that satisfying ‘pop’ as the cork comes out. He’s convinced that cork taint has been largely—though not entirely—vanquished, thanks to new technology and treatment of raw cork, which one must remember is the product of the bark of a living tree.

The winery website describes Clones as:

“a barrel-fermented chardonnay with a skin-fermented twist! Clones is an exotic white blend that is based primarily on ten distinct clones of Chardonnay and also includes three other grape varieties.  The 2010 version is composed of 89% Chardonnay, 8% Gewürztraminer, 2% Tocai Friulano and 1% Pinot Grigio.  The wine was fermented and raised in Slovenian and French oak (7 hogsheads and 3 barrels) of which 11% were new and 89% were neutral (17 months in barrel). All of the wine was fermented with ambient/wild yeast and went through a ‘natural’ secondary or malo-lactic fermentation.”

  Some Other Channing Daughters Wines

A selection of some other interesting wines in the Channing portfolio includes the following (with the descriptions taken from their Website):

Channing Daughters Due Uve bottle2010 Due Uve  “Due Uve from 2010 which is just a fabulous red wine vintage to boot. Here is a new vintage, a new blend (more Syrah), and a new experience. Our 2010 Due Uve (two grapes) is a blend of 84% Syrah and 16% Merlot. The Syrah comes from the Mudd West vineyard in Hallocksville and the Merlot comes from Sam’s Vineyard in Aquebogue. All the fruit was hand-harvested, de-stemmed into one ton bins, stomped on by foot, punched down by hand and fermented with naturally occurring wild yeast. After primary fermentation the wine was racked to all old neutral barrels, where it spent sixteen months before being gravity bottled without fining or filtration.”

 

Channing Daughters Mudd 2007 bottle2007 MUDD  “The 2007 Vintage, along with 2005 and now 2010, is considered one of the best growing seasons for ripening red grapes on the East End of Long Island, ever. We believe our 2007 MUDD is a scrumptious reflection of that great 2007 vintage. Not only is it delicious now, but because it is just a baby, it will improve in the bottle for at least six to eight years and drink well for a solid dozen! Our 2007 MUDD is composed of 60% Merlot, 21% Syrah, 9% Dornfelder, 5% Cabernet Franc and 5% Blaufränkisch. All the fruit was hand-harvested on the North Fork and de-stemmed into small one ton bins where it was stomped on by foot and punched down by hand. After primary fermentation, the wine was racked to a variety of barrels, hogsheads and puncheons (42% new oak, 23% 1yr old, 16% 2yr old, 16% 3yr old and 3% 4yr old) where it spent twenty-three months before being bottled by gravity without fining or filtration on September 22nd 2009.”

2010 Mosaico “Mosaico is an exotic field blend that comes from a complanted block in our Sylvanus vineyard on our estate in Bridgehampton. Our 2010 Mosaico was fermented with naturally occurring ambient yeast and is composed of 32% Pinot Grigio, 29% Chardonnay, 14% Sauvignon Blanc, 10% Muscat Ottonel, 7% Tocai Friulano and 8% Gewürztraminer. This is a dry white wine where all the varieties were grown, harvested, pressed and fermented together in a stainless steel tank (86%) and a new French oak puncheon (14%). All the fruit was hand-picked and whole cluster-pressed, except for the Muscat and Gewürztraminer which were fermented on their skins and blended back in. . . . All the fruit was hand-picked and whole cluster-pressed, except for the Muscat and Gewürztraminer which were fermented on their skins and blended back in. . . .  The 2010 Mosaico spent a year on its lees and was bottled by gravity on September 13, 2011. . . .”

As one can see from the description above, each wine, including the single-varietals, has some judicious blending to add complexity and balance, making the wines even more interesting.  (The notes are very technical, testifying to the seriousness of the winery.)  Channing also makes eight different rosés, each distinguished by choice of varieties and vineyards—for Channing believes in terroir and seek to express it in each of their wines.  There are no wines made like this anywhere else—but then, it could be argued that each and every winemaker and every winery take pride in making wines distinct from all others.  That, of course, is what making wine is about.  And that leaves us, the consumer, with thousands of choices, thirty of which come from Channing Daughters.

There is one other thing that distinguishes Channing Daughters winery from all others, and that is the charming and witty sculpture by Walter that is seeded in the vineyard and public spaces.  To wit (pun intended):

Channing Daughters, sculptures, 2 This carving, made from a tree stump, adorns the area around the winery.

 

 

 

 

 

Channing Daughters, sculptures, 4And this one greets a visitor to the tasting room.  How can one not like a winery like this?

 

 

 

 

 

Sadly, Walter Channing shall carve no more, for he died on March 12, 2015, after a long illness.

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