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This is one of those wine tchotchke things that you?ll want to give to your mom or dad or crazy uncle who?s way into wine more than you are. Not knocking the product. It?s beautifully designed with a soft leather exterior and plush velvet interior. I?m just not convinced that I?d feel comfortable walking around with a wine carrier shaped as a violin case. Just don?t see this as a fashion accessory for many 20-somethings. I could be wrong.
That said, I think it?s the perfect gift for the wine ?aficionado? in your family and/or an elder relative. Best is probably to put a nice bottle of wine in it before you present it.
Price: $65
Please Note: 15 percent of the proceeds from online sales will be paid to Trusts / Charities to bring joy and transformation to the lives of vulnerable women and children, and saving the lives of animals in need. Now THAT?S worth buying two!
Our dinner at The Restaurant at Meadowood was lovely. The restaurant has a pleasant, relaxed décor which is still elegant. This casual elegance is reflected in the food from Chef Christopher Kostow. The meal was very enjoyable and we would happily return.
Well it has been a few weeks since my last entry and although I could tell you all about the Rhône and Burgundy en primeur campaigns, the New Wave Spanish wines I've been trying, or the South African Reds to match the last entry of South African Whites that my father has been religiously clicking on to, only to discover nothing of what his daughter has been up to in the Big Smoke, I won't.
I am very tempted to tell you about having to pay an Australian, let's say friend, in wine for a lost - no, thoroughly thrashed - bet over the Ashes (this was his first return to England since that sorry episode). A fairly painful experience for both wallet and liver BUT let's move on to the future.
Wine Relief is upon us www.rednoseday.com/partners/wine-relief/ and there are several different bottles widely available to buy from which retailers are donating some of the profit to Comic Relief. How easy is it to open a bottle of wine and make a difference?
For my part I have been enthusiastically working my way through the offerings and on March 3rd, this Saturday in fact, I will be a guest panellist on the Virtual Wine online tasting of the 6 best on offer. The team at Virtual Wine have also studiously tasted and deliberated to come up with the finalists which will be tasted by a select (!) panel live from 7.30 pm.
The idea is that you at home can order the taster packs of 6 wines from Virtual Wine (10% still going to Comic Relief) or buy them from the various retailers, and taste the wines at the same time. You can then send belligerent, loving or simply drunken messages to us via email and your concerns will be addressed immediately. What a laugh...
So get some friends round, you must have some, put on some nibbles and sharpen your tongues. Take a look here www.virtualwine.co.uk to download instructions and tasting notes.
These people like wine and have a laugh with it, their contribution to the cork vs screwcap debate was to race bottles down river to see which was fastest, the loser then wrestled the winner to the ground in an unscripted, but thrilling, finale.
Of course, it would be no surprise to assert that Argentina has come a considerably long way over the last decade in terms of the depth that its wine producers are capable of achieving.The manner in which this process has and continues to take place, however, has less to do with the factors that used to be paramount (foreign buyouts) and more with the industry exporting a different image of itself altogether.This phenomenon alongside other compelling developments in recent times have precipitated what I believe to be a pivotal changing of the guard when it comes to the style of Argentine wines that American consumers are welcoming more and more.
Artisan-made Argentine wine producers are no longer lost in the wilderness, playing second fiddle in terms of international exports, to say, the larger, industrial-style producers or Mendoza wine operations funded with foreign money.Argentina?s bout with hyperinflation in the early 1980?s, the kind that made my family sell their business and book it towards the United States, as well as the government?s mismanagement of the World Bank and IMF-instigated crises of the 1990?s were devastating for the export aspirations of Argentine families with a winemaking tradition.Like many American fruit farmers getting undercut and essentially obliterated by Dole, Sunkist and the like, the nature of wine production during times of turbulence in Argentina has made it difficult for these producers to stay afloat; and so, like vultures, the 1980?s and 1990?s saw foreign capital descend upon Mendoza in the form of large multinational drinks corporations and others who scooped up the winemaking patrimony of many financially pressed families.
For quite some time now, these types of wine operations have made drinking the wine of my native country while abroad in the US a sadly confusing affair to say the least.Here I was, drinking these wines which had labels reading ?Mendoza? or ?Cuyo,? so they were certifiably real, but made in styles which weren?t even in the ballpark as far as what I knew I liked to drink.Did Argentine wines change, and thus, Argentine tastes, or was something being kept from those of us who live in North America?Some very successful investors and qualified winemakers from highly prestigious European wineries became involved with their pet projects in Mendoza, but to me, something just did not sit right.I felt a bit heartbroken that as a wine lover, the wines of my native country available for export reflected something I didn?t like?far from it in fact, something I couldn?t even relate to in any meaningful way.
Those darker days, however, seem to be coming to an end as the tide of taste gradually begins to favor Argentine winemakers that provide innovation, quality, exceptional value, and at last, the types of wines that bring a little piece of home back to my dinner table.I feel that a newly found sense of openness and curiosity in the American wine consumer is taking hold.From the wider availability of all sorts of Argentine wines I?ve noticed to the stimulating conversations I?ve had with people here about Argentina?s winemaking heritage and how it is increasingly reflected?things are moving in a direction I am liking more and more.Someone, however, from the point of view of imports to the US, has to be at the forefront of this revolution.For my next post, I?ll be presenting my interview with a major player in building long-term relationships with artisan Mendoza producers and in turn, striving to make authentically Argentine wines more of a staple than an oddity in the US market.
Anyone who?s read Blanc de Noir for long knows we?re both huge fans of Italian wines. There?s just something about the diversity, quality, and sheer fun factor of Italian wines ? whether it?s a casual summer patio sipper or a robust vintage to accompany a big, festive dinner or one of the meditative Amarones that are still way up there on our list of favourites.
So when BC Wine Appreciation Society decided to add a couple of Italian wines to an educational tasting scheduled just prior to the 2008 Playhouse International Wine Festival ? the theme country for this year?s festival was, after all, Italy ? Frank and our illustrious BCWAS leader, Tim Ellison, decided to add a twist to the event. How about putting up a couple of Italian wines with the usual BC vintages? Frank, however, took the concept one step farther.
Here?s the deal. From BC: three sparklers, four Pinot Grigios, two Pinot Noirs, a Cabernet Sauvignon, and a Merlot. From Italy: three Chiantis ? just three and all from Frescobaldi, one of Italy?s most respected winemakers (multi-generations shown above).
Here?s the catch. The Chiantis were bottled in 2004, 1982, and 1975. No, it?s not a typo. The last two came from the collection of Italian wines Frank recently acquired ? one of those fantastic opportunities that come about from being in the right place and the right time and having way more patience than most when it comes to negotiating.
Alas, on the night of the event, Frank was sick with flu, but you can bet eyes went wide as people realized what he?d sent.
The 2004 was, pretty much as expected, dark purple with lots of fruit and tannins that were more ?in your face? than makes for a good sipping wine unless you?re eating. But truth is, few people spent much time with that particular wine since they were all eager to try the two older offerings.
Immediately apparent was the change in colour ? now tawny with a much larger rim than the 2004. Controversy was plentiful and several people found neither one was ?quite my thing? as one member put it in an attempt to be diplomatic. The level of oxidization, especially in the 1975, caused raised eyebrows among half the folks there. It was virtually unanimous that the ?82 needs to be drunk now and the ?75 is clearly a bit past its prime ? although not a soul suggested it should be tossed.
However wide ranging the evening?s opinions were, one thing we all did agree on. These are wines made with love and benefit from patience.
Frank?s Tasting Notes: Castello di Nipozzano Riserva 1982 This wine has aged well, probably because it is a Riserva. After more than a quarter of a century there?s still lots of fruit left ? black cherry and dark fruits with a note of white truffles in the background. The tannins have smoothed right out so they are now a little silky, and the finish is fairly long. This wine shows just how well age can improve a Chianti. Alcohol 12.5%. All the bottles for both these wines are numbered ? I have 10 left, all around 84,960 series out of 293,600 bottles produced in 1982.
Castello di Nipozzano Chianti Rufina 1975 Sadly just a little past its prime but still drinkable as the acidity has helped this one hold up. Wide orange rim, brick red colour. Truffles leave sherry undertones. This vintage has shown a lot of bottle variation ? the fruit showed up a little more in this one than the first one we tried. Alcohol 12.7%. The last bottle I have left is number 74324 of 80,000 bottles produced.
Tue Feb 22nd, 2005, New York City Super Tuscan & Other Great Wines of Italy Tuesday, February 22, 2005 New York City The top producers of Super Tuscan will personally present their best Super Tuscan wines and a large selection of other great Tuscan Wines at the fifth edition of this special wine tasting .
In my old age I’ve really been turning the dial on skeptical cynicism. To that end, nothing rankles me more than more government. Well, at least more government where it shouldn’t be. Saving people from themselves, yes. Helping those that need help, yes. Ensuring children can maximize their potential, yes. State-run liquor stores, no.
The upshot is that the Governor of the state, Ed Rendell, told the head of the PCLB, PJ Stapleton, to, “Run this place like a business, not a government bureaucracy.”
Gee, I can’t imagine anything as government-like as a $3.6M dollar contract with a branding firm. Now that I think about it, it’s awfully corporate, as well.
I want to say: guys, I’ll take a consulting fee of 10% on that $3.6M and save you the balance. With the savings, the PCLB can do one of two things--either drive to New York City with a bunch of MBA students who need a capstone project and go to every retailer in the city. Subsequently steal ideas from all that is good. Alternatively, head to Costco, the largest wine retailer in the country, and study how to sell high-volume low qty. sku’s to an adoring public.
There, I just saved them a bunch of money. I’ll wait for my check to arrive.
Orogeny Russian River Valley Chardonnay 2004 $22 Rabbi Tuchman says: We were invited to a friends house for lobster on Father’s day. Yeah, it’s a tough gig. Since we tend to drink more red wine, it was my mission to pick up some Chardonnay while I was out shopping for the meal. I tend to struggle [...]
The Pinot Gris harvest in Oregon's Willamette Valley was set back even further by rain, and even some hail last weekend. On Sunday alone, it rained over an inch in parts of the Willamette Valley. It also hailed in various locations. While any widespread damage to the grapes is unknown at this point, the continued cool, soggy weather can't be good for the grape development at this late stage.
Grapes need to attain a certain sugar level (measured in Brix) to achieve proper ripening and balance.
I had the opportunity to taste the 1994 Smith Woodhouse Colheita Tawny Port this week. What a nice way to usher in spring in the Midwest. The single harvest port is a lovely, translucent red amber color and a leisurely sniff yields hints of plums and cherries. A taste confirms those notes with a little bit of oak and walnuts. It's a rich, well-balance wine, perhaps a little on the sweet side.
A neighbor of mine just started working in a cheese store and we paired the port with a creamy, truffle brie. The richness in the cheese was perfect and cut the sweetness in the port. Tawny port is also a classic accompaniment to creme brulee.
The wine purveyor suggested serving it slightly chilled in the summer (a Portuguese tradition), but I haven't tried that yet.
The 1994 Smith Woodhouse Colheita Tawny Port is available throughout the United States and Canada. Suggested retail is $46. Aged port wine will keep for four-six weeks once opened.
For more information on Smith Woodhouse port wines, visit their Web site.
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Beginning in 1979, Randy Dunn (then winemaker at Caymus) produced his first vintage of Cabernet from Howell Mountain fruit, arguably putting Howell Mtn on the map, and creating a demand from then on for “mountain-grown” fruit from Napa Valley.
Join us as we talk with Kristina Dunn about her role as marketing director of the family business, the legendary long-lived Cabs made by her father, and what it was like growing up on Howell Mtn.
Yes, monks can make great cheese. Abbaye de Tamie is such an example. It's a washed rind raw cow's milk cheese. It's not so easy to find, but worth the hunt.
Light gold in color, with chamomile and lemon character on the nose. Full-bodied, with medium acidity and flavors of dried apple and pear. Drink now. 50,000 cases made.
The danger of a post such as this will be the fact that some of you, and perhaps the people concerned, will believe that I am simply whining. But let me assure you, though I am slightly disappointed, I am far more astonished at what seems to me to be a level of rudeness and arrogance that is thankfully rare in the wine world.
Monday afternoon, April 28th, the Oakville Winegrowers Association put on a tasting of wines grown and made in Napa's Oakville AVA (American Viticultural Area) for the trade and the media. Such tastings are quite rare for many reasons, but perhaps among them is the fact that many of the wineries in Oakville are quite simply the top wineries in Napa. These folks don't have any problem selling their wines out every year for hundreds of dollars per bottle. Needless to say, they don't have a lot of extra wine laying around for tasting. Many do not have public tasting rooms at all for this very reason.
However, most of these wineries, like the vast majority of their peers in Napa understand that their relationship with the trade (retailers, restaurateurs, distributors, the press) is important both for their own livelihood as well as the livelihood of the wine region as a whole. Which means that every once in a while they get together and throw a big tasting to allow members of the trade and media access to their hard-to-find wines in a comparative and easily accessible setting.
The Oakville tasting this week represented a fabulous opportunity to taste some legendary wines from some of Napa's best producers. Among them was Screaming Eagle, the cult wine of cult wines. This small producer is widely known for making some of the highest rated, most expensive, and hardest to get wine in America.
Frankly when I saw that Screaming Eagle would be pouring at the tasting, my first reaction was surprise, since I had never heard of them pouring their wines at such a large trade event. My second reaction was a warm feeling of approval. I was proud that they were going to support their appellation and their fellow winegrowers, and I was personally looking forward to tasting the wine for the first time.
But I never got to. And neither did hundreds of other members of the trade and media.
After about 20 minutes of pouring at the tasting, having only brought a few bottles, Screaming Eagle was out of wine. So when I arrived to the tasting about 30 minutes late, I found this:
An empty table, surrounded by stunned members of the wine community -- winemakers, wine buyers, sommeliers, marketing consultants, and other winery owners, all of whom were nonplussed at the blank table. Actually, not all of them were nonplussed. Some of them were pissed.
Now you might be thinking, well, they ARE the ultimate cult winery. They don't make a lot of wine, and their wine is so expensive, they can't really afford to just stand around and pour their wine all day long at this tasting.
To which I say: tell that to the following wineries, all of whom poured their wines for nearly three hours to everyone who wanted it at the tasting:
Harlan Estate. Production: 2100 cases. Release price: ~$700 Bond. Production: not sure, but low. Release price: ~$400 Futo Wines. Production: 200 cases. Release price: $250+ Dalla Valle. Production 2000 cases. Release price: $250+
The first people I ran into when I got to the tasting were a couple of winemakers I know who make wine elsewhere in the valley. They were leaving the tasting and told me that they had gotten to the tasting right when it started, and they still hadn't gotten a chance to taste the Screaming Eagle. They were shaking their heads in amazement.
So what is the point of all this?
The point is that there are wineries who understand that they're part of a community, and behave as such. And then there are those who don't.
I can't tell you how many tastings for both the trade and the public I have been to where Bill Harlan and Bob Levy are pouring the Harlan and Bond wines for all comers. There is no economic reason for such wineries to appear at these events. Most of the people who taste their wines in these settings will never be able to get their hands on a bottle anyway. Yet they are there, because they are supporting their industry, their appellation, and the trade itself.
For Screaming Eagle to agree to participate in this tasting and then to show up with only enough wine to last 20 minutes is just downright rude to the point of being offensive. It says very clearly that they pretty much don't give a damn about anyone.
That's fine, of course. It's their prerogative. But I find it quite ironic that for two hours after they abandoned their table, the two folks who came to pour Screaming Eagle were still wandering around, tasting everyone else's wines, almost none of which ran out until nearly three hours into the event.
Shame. I'm sure I'll taste Screaming Eagle someday, but I wonder if it will ever be able to overcome this bad taste I have in my mouth?
You are going to see a lot less Brunello di Montalcino in the United States very soon if Italian authorities and wine producers don't get their act together. The Italian Embassy in Washington DC recently received notification from the US Alcohol and Tobacco Tax and Trade Bureau (TTB) warning that, beginning on June 9, imports of Brunello di Montalcino to the United States will be blocked unless producers can guarantee that their wines are pure Sangiovese, as required by Italian wine law.
Sun Feb 20th, 2005, Sandy Hook Join us for eagle watching at the Shepaug Dam along the Housatonic River, wine tasting and hot chocolate at the Winery, and a 3 course lunch with wine at the Inn at Newtown.
If you were to sit down to your last dinner and were offered one last bottle of wine from anywhere in the world - what would that wine be and why?
Additionally - if two sommeliers, namely Robert Parker and Hugh Johnson, approached your table to offer you advice - who's suggestions would you take most to heart?
I'd go with Johnson and signal Parker away from my table :)
Going against the better advice of my high school English and sex education teachers, this story starts with the climax. For anyone involved in wine, the three months from the end of August until the end of November are both the most exciting and the most frightening of the year. These three months dictate the final say in whether you happily learn that your wines will be served at the White House or whether you become the largest vinegar producer in your neighborhood. These are months of 60- to 80-hour work weeks (and many times more) that on one hand require complete control of the environment around you and on the other hand require you to give in completely to the whims of nature. These are months where all thoughts of family and friends dim in an ever growing purple haze as your sleep deprived mind attempts to reconcile the hundreds or thousands of details that'll make or break the next year of your life. This is Crush.
More specifically this is my accounting of Crush for David Coffaro Vineyards and Winery. This vineyard/winery is owned and operated by (take a big guess here) David Coffaro and I'm his assistant winemaker (i.e. only employee). This is the inside scoop of what we have to do in order to put a prime bottle of vino on your table. David Coffaro Vineyard and Winery consists of 20 acres of grapes that Dave planted in 1979 and a winery building that he's been operating since 1994. We make wines that are big and red; zinfandel, petite sirah, carignane, an "Estate Cuvee" (a blend of the previous grapes plus cabernet sauvignon) and a "Neighbors Cuvee" (our only non-estate wine whose blend changes from year to year). Like a sandblaster to Tammy Faye Baker's face, I hope to strip away the layers of overglamorized marketing rhetoric and highlight the best advice I ever got about becoming a winemaker -- "Don't do it!"
The excitement of crush takes place on two separate but intertwined stages that seem to spin and twist in independent motion. The first of these stages is the vineyard. The 20 acres of vines we grow is minuscule by industry standards (There are certainly vineyards that are smaller but we are definitely of the side of pretty-darn-tiny). The first job we have in the vineyard is to wait for the grapes to turn from a rather pretty translucent pink color into an intense dark purple/black color. This process is called veraison. Once the color changes we're in the picking ballpark and ready to play the game. The second step is doing a large amount of grape sampling from each block of vines. It's amazing how grapes will vary from one small block to another, even if they're only 10-100 feet away. For about a month before the actual harvest, my job is to pick a representative sampling of all the grapes we grow and monitor them for sugar content. In general we're looking for a level of 24 to 25 percent sugar, which we measure as 24 to 25 degrees Brix.
The Brix reading is only the second stage however. Knowing the sugar level lets you know the technical ripeness of the grapes but not their actual flavors. Somewhere in the early to mid-twenties (sugar level), grapes go through an incredible change of flavors that ultimately add to the complexity of flavors in the finished wine. This change can only be determined by tasting the grapes themselves. So during the final week before harvest Dave and I walk through every block and randomly snack on grapes to make sure they have the flavors we want. If the sugars are perfect but the flavors aren't there then we simply wait until they develop before picking. Once they do, Whamo!, it's time to wake up really damn early and pick some grapes!
Harvesting grapes is a demanding and sticky job. The grapes are about 25 percent sugar and as the workers dump their picking tubs into the half-tons bins, grape juice splashes everywhere. It's well worth the effort, however, because I get to drive a really cool tractor. Once the half-ton bins are full they are driven to the winery and weighed. From there they're taken, by forklift, into the winery and the grapes are put through a machine called a crusher/destemmer. Now, agricultural machine manufacturers are not very creative when it comes to naming their equipment. When I say we dump the grapes into a crusher/destemmer you can be well assured that the machine will probably crush (lightly) the grapes and destem then, doing very little if anything else. We then pump the destemmed/crushed grapes (a.k.a. "must") into a one-ton bin (again, no big guess on how much it holds). The must is then inoculated with yeast and the transformation into wine begins. [As a side note I should mention that this is specifically the process for making red wine. White wine is processed in a similar but distinctly different manner. I'll get into the whites later.]
The addition of yeast is technically a winemaking choice and not a requirement. Native yeasts, which accumulated on the grape skins in the vineyard, will naturally transform the grapes into wine. But most winemakers don't trust these native yeast strains for the same reason you don't let your crazy cousin Leroy baby-sit your kids -- you just don't know what might happen and, even though the results might be fine, it's just not worth taking the chance. Yeast contribute four things to the winemaking process: heat, alcohol carbon dioxide (CO2) and sulfites. The heat and alcohol produced make it possible to adequately extract the flavors and characteristics from the grape skins (almost all of the character and all of the color of red wine comes from the skins being broken down). Alcohol acts as a solvent that extracts organic compounds in the grape skins and the heat aids in and speeds up the chemical reaction involved in fermentation.
The CO2 has a separate and interesting effect on the fermenting grape skins. As the CO2 is released by the yeast cells it catches in the grape skins and causes them to float to the surface of the fermentation bins. This forms a solid layer of covering the top of the bins like ice on a lake. This layer is called the "cap" and can get so thick in larger tanks that a full-grown person can walk across it without falling through. The cap, however, presents a small problem. Since most of red wine's character comes from the skins, having them separate from the juice during fermentation can be bad. This small problem is solved by either "punching down" or "pumping over" your bins or tanks. Punching down involves taking a stick-like device (a 2x4, garden hoe, etc.) and breaking up the cap while at the same time mixing it with the juice. Pumping over involves hooking up a pump to the bottom of the tank and pumping the juice over the top of the cap. These actions insure that the grape skins have enough opportunity to breakdown into the wine.
We monitor the fermenting bins at Coffaro constantly and record the residual sugar levels and temperatures at least once a day. When our measurements show that there's one percent sugar or less left in the wine we prepare the press. We use what's called a bladder Press (For $200, what item is inside this press?). The bladder press is a long cylinder made up of a perforated screen. We pump the fermented juice and skins into the press and rotate it while inflating the internal bladder. This is such an efficient form of pressing that when we remove the grape skins -- the squeeze-dried skins is now called pomace -- they are dry, warm and flaky. They serve no real further purpose and are dumped back into the vineyard as fertilizer.
The pressed wine is pumped from the press into a selection of barrels that we've pre-chosen dependent on the wine varietal and individual character it exhibits. At Coffaro we use six to 10 different cooperages, with barrels ranging from American, French and Hungarian oak. However, this doesn't mean we make "oaky" wine. Barrels serve two general purposes; the first is storage and aging; the second is imparting flavor. Barrels only contribute oak flavors to wine for the first two-to-three years of their life, then, after that, are considered "neutral." As storage containers they can be used for decades with the proper care. So, although all of our wines are barrel aged, we only use 20-25 percent new oak to contribute delicate oak flavors. (This percentage varies from winery to winery. Some use as much as 100 percent new oak, some don't use any depending on the varietals grown and the style of wine preferred by the winemaker.
Once the wine is in the barrel we inoculate it with a malo-lactic starter. All red wines and most whites go through a process called malo-lactic fermentation (ML). ML is a bacterial process that changes the malic acid that's naturally found in wine (it's the same acid that makes green apples taste tart) and changes it into lactic acid (the same acid found in milk). This process makes reds more chemically stable, and for white wines it adds flavor (i.e. that "buttery" flavor in most chardonnays). Now that this is done both the wine and the winemakers get a chance to take a short break and recuperate before it's time to start the whole process over again.
Next time we'll learn why they call cellar workers "rats."
Check out Brendan's "Harvest Diary -- A week in the life of Crush at David Coffaro Winery" at http://www.coffaro.com.
The specific origins of the name are unclear, but it is known that Pinot Noir appeared in the Cote d?Or prior to the 14th century, possibly as early as the 5th century B.C.
We have previously reviewed the entry level “Hard Yards” Shiraz from Sylvan Springs here on Winetastic and found it to be most agreeable. As you can imagine when a bottle of their premium Sylvan Springs Cyril’s Reserve Shiraz 2006 arrived unannounced, I was somewhat excited. It is fair to say that Sylvan Springs are currently doing a lot right at both the budget and super-premium level.
Showing a vibrant crimson hue, the aromas are currently subdued with a little vanilla oak, blackberry and cherry showing. Full flavoured but refined and impeccably balanced, the juicy Shiraz fruit glides across the palate and is well supported by spices and a hint of oak. The finish is very long, mouthwatering and leaves you wanting more. This is a Shiraz to put to sleep in the cellar for several years.
Straight after opening the aromas were a bit muted, however this is not to be unexpected from a recently bottled premium red. My reaction to the first sip was something along the lines of “wow, this is the best young red wine I have tasted this year”. After a couple of hours, the flavours became even more intense with loads of ripe blackberry fruit coming to the fore.
Score: 93/100 Price: $40 Closure: Stelvin Lux (Fancy Screwcap) Alcohol: 15% Other Opinions:Winorama Would I buy this wine? Yes, At $40 per bottle, I feel it does represent decent value for money. Squashedgrape have it for $35 if buying a case.
Scott Wilson, a practical-joking, golf-loving college buddy of mine, was an unlikely cooking teacher. Scott had no apparent interest in the culinary arts. He was, however, putting himself through business school by preparing Caesar salads tableside at a swish restaurant. One Saturday, in my quest to live beyond my means and impress a dinner date, I woke him up at two in the afternoon and begged for a tutorial. The heady aroma, pungent dressing and built-in theatrics had hooked me instantly. Twenty years, hundreds of salads and several truckloads of romaine lettuce later, I've fine-tuned the ingredients and learned to articulate the nuances that'll make or break a Caesar.
I'm so obsessed with the ritual that I carry my well-worn salad bowl with me in a snare drum case when I take my show on the road. Pool sharks travel with their own cues; the concept is the same (and it doesn't hurt that flight attendants mistake me for a drummer).
Most Caesar aficionados know where to find the best salad and are usually willing to trek miles across town to satisfy their craving. But few ever attempt to make one from scratch. Contrary to what anyone in a chef's hat might want you to believe, there are no secret ingredients or difficult techniques.
However, a quintessential Caesar requires the harmonic convergence of several high-quality ingredients and some focus. In order to demystify the process, and make you the mac daddy of garlicky greens, I've isolated the most essential components.
Since the recipe was published in my first book, The Surreal Gourmet: real food for pretend chefs, I've received dozens of letters from readers who've mastered the dressing and been deified by their friends. The ultimate compliment came from a waitress in Toronto who took me aside and whispered, "Every time I make your Caesar salad for a date, I get laid." I should be so lucky.
1) the bowl Most restaurants, and many home cooks, commit their first faux pas by selecting the wrong tool for the job. By using a blender or food processor to mix the dressing, they whip the yolk, giving the dressing an undesirable mayonnaise-like texture. The definitive salad begins with a large unfinished wooden bowl (i.e., not coated with a shiny lacquer). The rough interior wall of the bowl provides the perfect surface for blending ingredients. The best bowls are usually bored out of one solid slab of Vermont maple. (Martha would probably chop down the tree and chisel it out herself. But we have better ways to spend our time.)
2) the grind Once the aforementioned bowl's in hand, facilitating the successful marriage of the ingredients becomes an intensely physical activity worthy of Olympic designation. Use the back of a soup spoon and a healthy amount of pressure to grind the ingredients one at a time in a repetitive circular motion against the entire interior wall of the bowl. It should take approximately 20 seconds for each new ingredient to blend with the existing ingredients and form a smooth paste.
3) the garlic Accept no substitute. Use only fresh garlic. When buying garlic, look for a firm bulb. As it gets older and moves past its prime, the bulb loses firmness and green sprouts appear in each clove. At all costs, avoid dried, powdered garlic, the runt of the garlic family. And be wary of elephant garlic, a much blander version of the regular-size bulb.
4) the lettuce Pret-a-manger designer salad greens may be gracing fashionable plates everywhere, but Romaine remains the accessory of choice for Caesars because it wears the heavy dressing so well. If you must substitute, use another hearty lettuce. After washing the lettuce, use a lettuce spinner or towel to remove all water. For maximum crispness, return the lettuce to the refrigerator until just before serving. If you're preparing the lettuce several hours in advance, you can avoid browning edges by cutting the leaves with a sharp knife instead of tearing them.
5) the cheese This is probably the single most important element of a great Caesar. Imported Italian Parmigiano-Reggiano is produced exclusively in a small region of northern Italy. Its distinctive taste and grainy texture are unmistakable. C
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Here's a sure sign that Spring has actually arrived, and that Summer is on the way: The local farmers markets are beginning to stir. 
We have previously reviewed the entry level 