This wine is characterized by a yellow-green colour, a fresh citrusy aroma with hints of honey and a complex flowery aftertaste. It’s a semi-dry riesling, dryer than the Slovenian rieslings (such as Laški Riesling for example), but sweeter than those found in Serbia. It is a nice wine to accompany a lighter meal.

This is one of the wines available in Belgrade restaurants in 0.2l bottles, so if you’re a driver among non-wine drinkers (meaning you can’t order a whole bottle of some fine wine) it’s a good chance you’ll be in a position to try it. Do so.

Rating: 6/10
Price: 250 RSD (3.5 euro)

Technorati Tags: Macedonia Wine, Wine, Tikves

Oregon’s Beaux Frères is not only making some of America’s finest pinot noirs, but is also that most rare of things: a winery with courage. Vintage after vintage winemaker Michael Etzel shows the courage of his convictions and produces dramatically distinctive wines with a personality all their own. Some dismiss the success of Beaux Frères as mostly due to the fame of Etzel’s brother-in-law and partner, famed wine critic and publisher of The Wine Advocate, Robert Parker, but considering the stunning quality of these wines I can’t help but believe they would still be sought out by collectors everywhere with or without Parker’s impact.

While a bevy of authors have pilloried Robert Parker for dragging the wine industry down the road of standardized, jammy wines, his own winery is the polar opposite. The Beaux Frères Pinot Noirs are tight, structured wines with a decided spritz from natural CO2 when young. That’s right they’re a little fizzy. These are truly natural wines and the little spritz is a result of the natural, cool slow malolatic fermentation practiced by Etzel.  None of their wines are manipulated to make them ready to drink young and even the precocious 2006 vintage produced wines that need a minimum of several years of bottle age to unfurl their now tightly wound personality. These are wines that do not try to mimic Burgundy, but that set their own unique style, both as Oregonian and an expression of Etzel’s winemaking art.

The current release of 2006 Beaux Frères Pinot Noir, The Beaux Frères Vineyard, Ribbon Ridge is nothing short of exciting. In his notes Etzel describes this wine as, “a beauty and can be drunk young.” However, he must mean in relation to his wines from previous vintages as compared to other 2006 Oregon pinots this wine far from being ready to drink. The nose is already exotic with layers of black truffle, porcini and dense, black wild forest fruits, but it is not yet resolved and you can just sense the greatness that is to come as the components intertwine and integrate. The wine hits your tongue with a thousand tiny little bites from the firm acidity and the slight spritz of the CO2, but then quickly expands dramatically into the voluptuous textures you would expect from this forward vintage. What strikes you as you taste and smell this wine is the endless swirling of exotic characteristics that make the wine change from second-to-second as you savor each sip. If you must drink this wine now, please give it at least an hour in a decanter before serving. However, at $80 a bottle you may want to give it the respect it deserves and wait at least five years before releasing the treasure inside.

Beaux Frères produces wines of great integrity and character because they are made by a winemaker with the same attributes. Mike Etzel makes what he believes. These are wines that must be on anyone’s list of the best American pinot noirs.

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Virtues and Necessities
by Martin Field

Wine is all about the senses. About sensory evaluation, sensuality and consensual enjoyment. And wouldn't it be awful to lose your sense of taste, of smell, of touch, of sight?

It happens. Years ago, a wine-loving colleague went through a devastating course of chemotherapy to treat cancer and was cured. Afterwards he told me he had permanently lost his taste for wine. He sold his not inconsiderable cellar soon afterwards. Another friend had an operation on his nose that left him without a sense of smell. He'll drink a glass of wine with dinner but admits to being indifferent to its finer points.

I was reminded of this aspect of wine and the senses recently while listening to a wine expert banging on about the unimportance of colour in wine. If I heard him correctly, his thesis was that if the wine smelt and tasted good you shouldn't worry too much about its colour.

I couldn't disagree more. I love the colour of wine in the morning, or the evening. The crystal clear, green-hued glisten of a young riesling; the black cherry colour of a young shiraz; the vibrant inky purple of a Coonawarra cabern? [enough already! - Ed.] The visual appeal of wine in the glass is to me an unmissable part of wine drinking.

The banging on wine person finally admitted to being colour blind! They used to call this attitude making a virtue of a necessity.

And talking of sensory evaluation
Long due for reassessment is the ancient scoring system used at most Australian wine shows. The one where wines are scored out of 20 - with a possible three points (15%) awarded for appearance, seven (35%) for bouquet and ten (50%) for palate. Anyone who's ever had a cold will tell you that smell is probably the most important sensory sensation where wine is concerned. When people have colds they typically complain, ?I can't taste a thing.' What they really mean is, ?I can't smell a thing.' It's their noses that are blocked up - not their mouths.

I realise that many judges just award an intuitive score out of 20 rather than individually scoring each component and then adding up the total. Nevertheless, I'd re-jig the weighting thus: three points (15%) for appearance, nine (45%) for bouquet, five (25%) for palate and three (15%) for overall finesse and balance. Whether the scoring system is out of 20 or 100, or whatever, the percentage weighting would remain the same.

Septima Malbec, Argentina - 15 May 2006

Brazil vs Argentina In London September 3rd, On American TV - 29 August 2006

Cheers To South American Wines - 05 August 2007

Wines for Easter Dinner - 28 February 2008

I would like to thank Earl, who posted comments and the following question on my recent Tempranillo in the Americas post: ?Why was there such a long interval between introduction of the vine into Argentina and exportation of varietal labeled wine??

Here are some important factors to consider:

It?s important to recognize the fact that culturally, there is a stark contrast between the way in which wine has been regarded in Argentina versus our very international, varietal-minded, label-aware atmosphere where getting to know the world?s wines is something many people have expressed interest in doing. Fine wine production for the gentry, in terms of seeing wine as a prestige cultural/material good simply wasn?t priority for Argentines until fairly recently. While it is true that many progressive vintners have been dabbling in exciting varieties in the past few decades (after the familiar 19^th century French varieties arrived), the very first vines in the 16th century were planted by monks and priests near their newly built monasteries and church compounds in order to provide wine for masses and other celebrations. In some of the official correspondence that Spanish monks had to regularly exchange with royal authorities in the 1550?s to justify expenditures and building projects, the planting of vines was mentioned briefly and only in passing?the degree of pomp we would show in describing how we installed a light bulb today. Certainly, my modern concerns would be: Which varieties were planted? Surely this mattered to the priests, right? Not really, since in the letters they mention the generic Latin term for all wine-producing grape varieties, ?vitis vinifera.?

Records of colonial correspondence available at the Archivo General de Indias (Seville) indicate that a certain priest named Juan Cedrón (late 1550?s) first wrote of planting various types of Spanish vitis vitifera needed to carry on with life in the Argentine Northwest. The correspondence indicates that Cedrón was in charge of settling to the south of Santiago del Estero, Spanish settlers? first outpost after leaving their stronghold at Cuzco. As settlers made their way in a southwesterly direction, they encountered the dry, elevated Andean foothills of today?s provinces, the first of which is interestingly named La Rioja, then San Juan, and then Mendoza.

In terms of answering the above question about which varieties were planted, there are some interesting parallels we can draw between Northern and Southern hemisphere Spanish colonization patterns and viticultural practices. Since Valdepeñas from La Mancha was considered to be one of the finest expressions of Tempranillo by 16^th century Spaniards, this is precisely the name used in correspondence to introduce the variety into Nuevo León (México) and the area that encompasses California and parts of the American southwest. In the 16^th century, Spaniards didn?t refer to prestige wines by variety but as Italians did at the time, according to their region or commune of origin. On a whole and as is evidenced in classics such as Don Quixote (1605), Spaniards enjoyed drinking ?Valdepeñas? and not ?a really nice Tempranillo,? as we would say in the U.S. today.

If we take these considerations into account, it is a very well-sustained assumption that Tempranillo made its way across the Americas alongside Spanish settlers given that it was the red variety of choice. Other varieties planted for other styles of wines (acidic and sweet whites, etc.) in colonial times were Criolla Chica (also known as Criolla Sanjuanina) , Pedro Ximénez, Cereza, Muscat, Ugni Blanc (Trebbiano) and ?mónica? as it was known in Sardinia, Sicily and Spain (the famous ?Mission? grape introduced by Spanish Jesuits in 16^th century California).

Tempranillo (then referred to as ?Valdepeñas?), alongside the abovementioned varieties was cultivated at the Andean foothills for home consumption since the 16^th century. Much trial and error ensued, and areas with relatively higher elevation and dry weather (La Rioja, San Juan, Mendoza) and select areas in Mexico (including present-day California) became prime for producing these wines for settlers? purposes.

Here are a couple of additional ideas to support the hypothesis that Tempranillo was one of the original vines planted in the Americas. Ethnographically speaking, a great deal of Spanish settlers in the early conquest of the Americas included an overwhelmingly large number of natives of the following Spanish regions where Tempranillo was the most important red variety?the provinces encompassing Castille and La Mancha such as Avila, Ciudad Real, Albacete, Badajoz, Guadalajara, Cuenca, Toledo, Salamanca and Madrid. It?s also important to keep in mind that in terms of actual planting area, Tempranillo vines are of relatively low incidence on a worldwide scale, with Argentina being second only after Spain, of course.

Earl, I?m afraid that your question still hasn?t been fully answered: Why is it that Tempranillo has been around in Argentina since the 16^th century yet the world hasn?t seen any exports of ?fine wine? versions until the early 1990?s?

Wine globalization and the consumer trends that underlie it have shown the potential to create some sink-or-swim imperatives for wine producers to expand production of different varieties and innovate in the vineyard. In fact, given many recent trends, it is likely that this projected consumer has developed tastes and accumulated enough disposable income to not want to consume the kinds of table wines that Argentines don?t mind. How does the Argentine producer see this consumer, who needs an ?international? style of their table wines? Well, the customer is someone who most likely lives abroad, and because he does not likely come from a culture were wine is a major part of his cultural identity, he is perhaps well educated and would like to learn more about wines and adopt other interests that can be considered, pardon the term, a bit bourgeois. While I don?t entirely see it the way Argentines see it because I grew up between both cultures and thus, can see each point of view, this is more or less the situation.

To answer your question, let?s think of timing and marketing. Who do many Argentine and Chilean producers wish to please? Why do the ?Wines of Argentina Awards? even exist? Spanish wines in the U.S. market at least, have really become fashionable in the past four or five years. Americans have been very receptive to various styles of Tempranillo-based Spanish reds and South American producers have realized that for the first time, the North American market is genuinely thirsty for different expressions of Tempranillo (this relic left by Spanish settlers, as far as Argentines are concerned).

What do I make of this all? The ambiguity created by the correspondence of priests such as Juan Cedrón in the 1550?s regarding vitis vinifera has unfortunately opened the gates to opportunists. One such example of opportunism can easily be seen by an article I came across in a major Spanish daily?s wine section (El Mundo Vino). In the article titled ?Argentine Wine is Not Only Malbec,? by Harold Heckle, Juan Carlos Rodriguez Villa of the venerable Finca