Channing 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.
The 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):
2010 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.”
2007 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):
This carving, made from a tree stump, adorns the area around the winery.
And 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.