Sequoia Grove Winery: Michael Truijlllo, A Forte With Fermentation

"Fermentation is a more important discovery than even fire."

With a jolly smile, Michael Trujillo, the President & Director of Winemaking at Sequoia Grove Winery wanted to emphasize his passion for winemaking, using a bit of hyberole to make his point. That passion was evident in much Michael said at dinner earlier this week at Grill 23 and Bar.

I was invited, along with two other writers (James Campanini, editor at the The Lowell Sun, and Anne Banas, executive editor at Smarter Travel) to meet Michael Trujillo for dinner and get the opportunity to taste three of his wines. Joining us was also Mark Carnucci, a manager for the distributor Kobrand Fine Wine & Spirits. Michael was personable, charismatic, open and passionate.

It was a very pleasant evening of excellent conversation, food and wine. To Michael, the importance of wine and food cannot be underestimated, as he feels it permeates many aspects of our lives. He is also pleased to think that 90% of the wines that come off his bottling line will lead to happy occasions. Wine is most often a source of pleasure, not despair, so it plays an important function in our lives. We all can use a bit more joy in our lives so why not let wine bring us some?

Let us start with a little history lesson. In 1979, the Sequoia Grove Winery was founded by Jim Allen in the Rutherford AVA in Napa Valley. The vineyard consisted of 22 acres and Jim consulted with some legendary winemakers such as Andre Tchelistcheff and Tony Soter. In 1982, Michael Trujillo started working with Jim and by 1991, Michael would also start his own small brand, Karl Lawrence, which he continues to produce. In 1998, Michael became the Assistant Winemaker at Sequoia, though the 1990s were a challenging time for the winery. In 2001, Jim retired and the Kopf family, who had been partners since 1985, took control of the winery and they placed Michael in charge of winemaking operations.

Michael grew up on a Colorado ranch and stated that he spent much of his early years behind the wheel of a tractor. He credits his father with instilling in him a strong work ethic. He is also very proud of his Spanish heritage, being able to trace his ancestors back to the mid-1500s when they settled in the area of Santa Fe, New Mexico. In response to one of my questions, Michael said that no one has ever inquired about his heritage, and he believes he is one of the few winemakers with a direct Spanish ancestry. Michael also mentioned that he currently is on a kick, seeking out value Spanish Tempranillo wines.

Since Michael took charge of winemaking operations at Sequoia, great change has come to the winery. For one, in 2003, Molly Hill, a UC Davis graduate, was taken on as an assistant winemaker and would eventually, in 2008, become the winemaker. Another important step, in 2006, was the acquisition of the 48-acre Tonella Estate Vineyard, which they replanted with select Cabernet Sauvignon clones. Tonella's first harvest was in 2010, and it is allowing Sequoia to transform from a winery which once purchased about 80% of their grapes to a winery which will soon be using about 80% estate fruit. The original 22 acre Sequoia vineyard is planted primarily with Cabernet Sauvignon, about 85%, and the rest has Cabernet Franc, Merlot, Petit Verdot and Malbec.

To Michael, purchasing such a large percentage of grapes put them at the mercy of inflation, as well as the vineyards who might or might not choose to sell them grapes in any particular year. For more independence, and as a potentially cost-cutting measure, he knew that growing more of their own grapes was necessary. However, he doesn't want to use 100% estate fruit, as he wants the flexibility of being able to purchase grapes to help in his blends. His vineyards are not the best source for all types of grapes, so he would prefer to buy other grapes from where they grow best.

Their vineyards are fairly organic, though not certified, as Michael has issues with certification laws. He understands that such laws are often too broad, that federal definitions allow much leeway, allowing for some practices that others might not consider to be organic. Michael also feels that the Rutherford region has the best microclimate for Cabernet Sauvignon, and that Rutherford Cabernets reflect its terroir. Famed winemaker André Tchelistcheff once said that "It takes Rutherford dust to grow great Cabernet." You will find some famous vineyards in this AVA, including Beaulieu Vineyards, Caymus, and Grgich Hills Estate. To Michael, the typical Rutherford Cabernet is silky, fruit forward and with a dusty/earthy element to it.

Michael's personal philosophy is that "everything in our life comes back to wisdom and experience." This is applicable to all aspects of life, including winemaking. He values his mentors in the winemaking industry and now possesses 30 years of his own experience. He continues to perfect his winemaking style each year, and states that much of what he does is by feel and taste, based on his lengthy experience in the field. He may used technology at times, but is not wholly reliant on it and believes he could still make great wine without it.

One of his greatest lessons was provided by Andre Tchelistcheff, who use a tea brewing analogy to make him understand the process of fermentation. Andre took Michael to the top of a fermentation tank, explaining how the process is similar in respects to steeping tea. As you steep your tea, you constantly taste it to determine when it is at its optimal flavor. The same goes with fermentation, that taking it continually will allow you to know when it is ready. You don't need a slew of scientific instruments to tell you when your wine is ready.

Michael believes there are not many bad wines on the market any longer, but he also feel that far too often there is "too much frosting on the cake." He means that there is too much manipulation of wine, which obscures its sense of place. Part of that problem he attributes to the 100 point scoring system, which tends to lead to bigger, overmanipulated wines. To Michael, a "great wine is about balance" and it is those balanced wines which will age the best. His goal is to produce wine with a sense of place, that shows the varietal and which possess a sense of balance.

Michael's winemaking style is more Old World except that he brings in some California sunshine. He finds some Old World wines to be too rustic and wants to take advantage of the fine California weather. It would be a disservice not to take advantage of what California weather brings to the vineyards. Michael believes that his forte is fermentation, and that with white wines, everything happens within those roughly ten days of fermentation.

His goal is to "build a house brick by brick," to allow the winery growth to be slow and steady. He wants his customers to be able to expect consistency from year to year. He does not want to become the next Screaming Eagle, but rather would like to be the next Silver Oak or Cakebread, two brands which he feels followed that slow and steady pattern.

The biggest challenge he faces is getting people to taste his wines, to get to know his brand. Michael feels that his wines over deliver for their price and are as good as any other high-end California Cabernets. He feels his wines are competitive on the market, and continue to improve each year. Because of this, he ensures that the winery tasting room remains unpretentious, that it is a welcoming place for all.

Michael is not a fan of the "one man critic," preferring when wines are assessed by panels or groups. His best advice for consumers is to "build a relationship with a local retailer." Consumers need to be open minded, willing to take recommendations from their retailer so that they can learn about the wine types and styles they prefer.

Sequoia wines are currently exported across the world, and Japan is one of their best foreign markets. They have chosen not to aggressively court the Chinese market, but see lots of potential in the international market. Within the U.S., they obviously are strong in California, but they also do very well on the East Coast. Currently, only three of their wines are available for sale in Massachusetts through Horizon Beverage Company and I got to sample all three. Michael, like most California winemakers, noted that the 2012 vintage was great, and will lead to many great wines. However, though many winemakers say 2011 was a challenging vintage, Michael feels that his 2011 vintage red wines are close to perfection.

We began with the 2011 Sequoia Grove Napa Valley Chardonnay ($28), which is produced from 100% Chardonnay which spent 10 months sur lie in 35% new French oak barrels. The wine underwent minimal manipulation and no malolactic fermentation. Michael stated that the French use malolactic to tame the acidity in their Chardonnays but that California wineries don't need to do so, or only to a minimal level. However, French chardonnay ages much better than California and Michael feels that keeping a California Chardonnay for five years might be pushing it. He also feels that California really doesn't need to age their Chardonnay, that they shouldn't try to be something they are not.

The wine is produced in more of a French style and possesses a crisp and fresh taste with appealing flavors of apple, lemon and melon, with elements of toast and minerality, especially on the finish. It has a bit of richness to it, and Michael suggested it would pair best with oilier fish, or seared scallops as the caramelization would work well with the wine. I had some oysters with the Chardonnay, and it wasn't the best pairings due to the brininess of the oysters. It was still a tasty wine, with sufficient complexity to make it interesting as well.

For my entree, knowing we had two Cabernet based wines ahead of us, I went for the beef, a 100 Day Aged Ribeye. An excellent hunk of steak, it possessed a strong and savory taste, full of flavor and a perfect companion to the red wines.

The 2009 Sequoia Grove Napa Valley Cabernet Sauvignon ($38) is a blend of 78% Cabernet Sauvignon, 9% Merlot, 7% Cabernet Franc and 6% other Bordeaux varieties. The wine spent about 20 months in 45% new American oak barrel and has an alcohol content of 14.2%. It is their "workhouse," wine, the one of which they produce the most each year. This dark purple colored wine possesses an alluring aroma of subtle black fruit and spice, and on the palate it presents as silky and elegant, with delicious flavors of black cherry, ripe plum, subtle spice, vanilla and hints of leather. A well balanced wine, the smooth tannins lead to a lengthy and satisfying finish. Paired with the steak, it was a worthy companion. Impressive and highly recommended.

One of their higher end products is the 2008 Sequoia Grove Napa Valley Cambium ($140), whose name refers to the layer, the growing layer, of a tree between the bark and the wood. The blend, which varies year to year, is 86% Cabernet Sauvignon, 9% Merlot, 3% Cabernet Franc and 2% Petit Verdot. Though the blend often would qualify to be labeled as Cabernet Sauvignon, Michael wants the flexibility to go against that blend if he feels it is warranted. 2008 was a challenging vintage. This wine spent 22 months in 100% new French oak, was aged two years in the bottle and possesses an alcohol content of 14.4%. This wine is intended to compete with wines such as the Caymus Special Selection.

This inky dark wine has a more intense aroma than their basic Cabernet, with rich black fruit, dark spice and hints of mocha. Again, it is a silky, elegant and well balanced wine with complex and deep flavors of ripe plum, black cherry, blackberry, vanilla, toast and subtle, and almost elusive, hints of other flavors that tantalize your palate, including an underlying earthiness. The tannins are smooth and well integrated, the finish is incredibly long and pleasing, and the wine impresses with its intriguing complexity and depth of flavors. It also was a superb accompaniment to my steak and I am sure this wine would impress most wine lovers. It is pricey but is worthy of a splurge for a special occasion.

I ended the evening with some Famous Coconut Cake, accompanied by pineapple sherbet and coconut dulce de leche. This sizable slice is large enough to share with another person or two, and was moist and flavorful, with plenty of coconut, satisfying my love of coconut.

It has been maybe ten years or so since I last tasted a wine from Sequoia Grove, so it was enlightening to taste them again after all of this time. The wines clearly have improved greatly and Michael's vision and philosophy seem to be pivotal to those changes. Sequoia Grove, led by Michael, is now producing impressive California wines which are competitive to other established brands. I recommend that my readers check out the wines of Sequoia Grove, and acquaint yourself with some delicious and complex wines which don't conform to the big and bold Cabernets that far too often dominate the market.

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Rant: Hybrids Get No Respect

I feel sorry for grapes like Baco Noir, Marechal Foch and Seyval Blanc. Though they are used to make wine, they often get very little respect because of their parentage. These grapes are hybrids, not pure vitis vinifera like Cabernet Sauvignon or Chardonnay. Because they are not "pure," a fair number of people look down upon them, sometimes even shunning them. Is this grape racism? Shouldn't these hybrid grapes be judged by the quality of their wine rather than the identity of their parents?

Vitis vinifera is the "common grape vine" and the one most used for making wine. All of the major grapes of which you are familiar are likely these types of grapes, from Pinot Noir to Syrah, from Sauvignon Blanc to Pinot Blanc. Hybrids are a cross of two or more Vitis species, such as vitis vinifera and vitis labrusca. They are often created by people seeking to create a hardier grape, especially for harsher northern climates. Because they are not pure vitis vinifera, some people turn up their noses at these hybrids, refusing to believe they can produce quality wine. Drop that pretentiousness and judge these wines by their taste.

Sure there are poor quality wines made from hybrids, but there are plenty of poor quality wines made from vitis vinifera too. Yet there are some excellent wines made from these hybrids as well, and a wine lover would be hard pressed to guess they were hybrids simply from tasting the wine. You should approach a wine  without prejudices or biases, willing to taste the wine and let it stand on its own. If you do so, you will probably find plenty of delicious wines that you might never have experienced otherwise.

When I was in Nova Scotia last week, I dined at Chives, a restaurant located in Halifax which specializes in using local ingredients. Their wine list also includes a number of local, Nova Scotian wines, including the 2011 Blomidon Estate Winery Rosé. As I love Rosé wines, I was curious about this selection and our server gave it a hearty recommendation. So I ordered a glass and enjoyed it so much that I ended up ordering a couple more glasses during the course of dinner.

Blomidon Estate Winery is located in the Annapolis Valley of Nova Scotia and they are committed to producing wines using only Nova Scotia grown grapes. That is an admirable mission. When I tasted the 2011 Rosé ($15.99 per bottle at the winery), I did not know what grapes were in the blend. I found it to be a crisp, dry, clean and refreshing wine, with subtle strawberry and watermelon flavors and hints of floral notes. It was far more Provence style than California, and paired very well with a variety of foods. It was easy drinking and would make an excellent summer wine, though I could easily drink it year round too. I would give it a strong recommendation.

I later learned that this Rosé is a blend of three hybrids: New York Muscat, L’Acadie Blanc and Baco Noir. The Muscat is not actually from New York, it is just the name of the hybrid. From its taste, there was nothing that would have indicated to me that this wine was made from hybrids. It was very European in style, and you easily might have thought it was made from Rhone grapes. It was simply an excellent wine that any wine lover would have enjoyed, including any hybrid haters.

So stop being a snob about hybrids and judge the wine on its taste, not its parentage.

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Fontodi Winery: Refreshing A Chianti Tradition

Giovanni Manetti, the owner of the Fontodi winery, is a man of conviction, desirous of reconnecting with an old Chianti tradition, and he is surrounded in the Panzano region by many people with similar beliefs. The Panzano region is a model in some respects for other wine regions, a story of cooperation, a story of principles, a story of connecting with nature.

Though Giovanni was dressed as a businessman, it seemed clear he was very much home in the vineyards, even walking through the Chianina cow enclosure with us to give us a closer look at those fine creatures. His passion and good humor were evident and it was a pleasure to spend time with him. Giovanni was also quite excited as Fontodi had just won an Oscar del Vino for Best Winery of the Year 2012, awarded by the Italian Association of Sommeliers.

Giovanni's family was once in the terracotte tile business and Giovanni's father was passionate about wine. In 1968, his father purchased the Fontodi estate, having known the previous owner. The estate is located in what is known as the Conca d'Oro ("Golden Bowl"), because the area's shape resembles an amphitheater. The Manetti family residence is situated in the middle of the estate, and Giovanni loves to walk through the vineyards.

The estate extends over 130 hectares of which 80 are planted with vineyards, and over 95% of those vineyards are planted with Sangiovese. That works well as most of their soil is galestro, considered the best soil for Sangiovese. Besides a little Cabernet Sauvignon, the vineyards also have a little Pinot Noir and Syrah, both planted in 1985, and the winery produces about four to five thousand cases of those wines. In fact, Fontodi may be one of the last vineyards in this region with any Pinot Noir. As for the Syrah, it was planted at the same time as Paolo di Marchi of Isole e Olena planted Syrah in his own vineyard. They did so though separately, without discussing it.

The estate also includes about 25 hectares of olive trees, from which they produce an extra virgin olive oil, a blend of Correggilo and Moraiolo olives. The overall estate has an average altitude of 450 meters, while most of the vineyards have a southern exposure, providing lots of sun during the day and cool nights, perfect growing weather.

As a winery owner, Giovanni believes it is a "moral duty to do our best, to maximize the potential." As such, Giovanni wanted to reinstate a Chianti tradition, to create a closed system Tuscan farm. The estate has possessed vineyards for many years and practiced what many would consider "biodynamic" practices before Steiner's agricultural lectures of 1924 detailed the practices. Fontodi is now a certified organic estate, inspired by a concern for nature and sustainability, seeking a better expression of terroir.

They also perform many biodynamic practices, though they do not use any of the preparations so they will never be certified as biodynamic. The phases of the moon are very important to Giovanni and certain vineyard and cellar practices are guided by those moon phases. For example, they feel that the moon's elliptical orbit changes gravity and thus affects liquids so the descending moon is considered best for removing sediment and bottling. On the other hand, the ascending moon is considered best for replanting vineyards.

Cover crops are grown in the vineyard, with barley situated in every other row of grape vines (as pictured above). The barley, harvested in July, is used to feed their cows and the barley also helps by absorbing excess nitrogen, which leads to smaller grape berries with thicker skin. I have previously discussed the Chianina cows that Giovanni raises on his estate, another element of that closed farm system as well as continuing a practice which had been done by his father.

Giovanni also stated that the winery had not seen an overall increase in expenses because they went organic, as though they needed more labor, they saved money from not needing to purchase products such as pesticides. He admits that organic will not work everywhere, but that those areas where it can be done are quality regions. Giovanni also feels that it is easy to make good wine anywhere if you use chemicals. In the Chianti Classico region, you will find very few biodynamic producers and only a small portion, maybe 20%, of organic producers. But that may be changing.

There are about twenty wineries in the Panzano region and about 80% are now either organic or biodynamic, and even the few holdouts are moving in that direction. Only ten years ago, that was not the case as only 4-5 of those wineries were organic/biodynamic. The Panzano wineries don't really view themselves as competitors, as they generally share a similar philosophy and strategy. That has enabled them to create a region that is almost completely organic, and within five years could be 100% organic. They share convictions and principles, which have enabled them to work together for this greater objective. Other wine regions should look to Panzano as a shining example of cooperation.

To Giovanni, a "bottle of wine is something to enjoy." That is certain a truism, reducing wine to its most essential aspect. For a wine is nothing if it cannot be enjoyed. I would also add that a bottle of wine is something to be shared as well, and not just enjoyed on one's own. About 50% of Fontodi's production is Chianti Classico, which is 100% Sangiovese, and their best export market is currently North America.

We had lunch with Giovanni at the Osteria Le Panzanelle, a more traditional Tuscan restaurant which also uses many seasonal ingredients. During lunch, we tasted through a few Fontodi wines as some of their olive oil, which was fresh, clean, and fruity. The food at this restaurant was quite tasty and we shared a number of appetizers before each having our own entree.

A steak tartare, with tender, red beef, that is simply prepared with a little spice, olive oil and lemon. Why do so many U.S. restaurants add so many other ingredients to their tartare?

For my entree, I chose the Tagliatelle con ragu di agnello (a lamb sauce), and it was superb. Fresh pasta, cooked to a firm al dente, with lots of flavorful and well spiced lamb. It was a plentiful dish and a Chianti Classico was an excellent pairing. A hearty Tuscan meal that is sure to satisfy any hunger.

The 2009 Fontodi Chianti Classico, which is 100% Sangiovese, is fermented in stainless steel with indigenous yeasts and spends about 12 months in French oak barrels. It was a bit more modern in style, with sweet red fruits, good acidity, and a bright freshness. An easy-drinking wine for pizza, pasta and burgers.

In comparison, the 2007 Fontodi Chianti Classico Riserva, Vigna del Sorbo, was more traditional in style despite the fact it is a blend of 90% Sangiovese and 10% Cabernet Sauvignon. It is fermented in stainless steel with indigenous yeasts  and spends about 24 months in French oak barrels, about 50% new. The grapes were vinified separately and the wine sees no fining. Giovanni stated that his goal was "power and elegance" and he succeeded in that regard. There was a rustic element to the wine, with flavors of cherries, plum, violets, and a mild spice component. I preferred it to the basic Chianti Classico though both were good companions with our lunch.

Fontodi's top wine is their Flaccianello, a Super Tuscan which they started producing back in 1981. The concept behind this wine was to make the best wine they could from 100% Sangiovese. They use only their best grapes, all hand harvested and double sorted. There is a minimum of 20-30 days of maceration and they use only indigenous yeast with very little sulfur dioxide. The wine also spends a minimum of 18 months in new French oak barrels, and usually two years in the bottle. About 50-60,000 bottles are annually produced. Though it would quality now as Chianti Classico, Fontodi still keeps it as an IGT wine. The prominent cross on the label is a design from the church on the estate which has existed there for centuries.

The 2007 Flaccianello is very dark red in color, almost purple, with a muted aroma of spice and black fruit. On the palate, it is dark and brooding, with plenty of ripe fruit flavors, strong spice, a hint of eucalyptus, fine grain tannins, good acidity and a lengthy finish. It may possess a bit more power than elegance but that will likely balance out with a bit of aging. It is an excellent wine though I would prefer it with more maturity.

What a difference with ten more years of aging! The 1997 Flaccianello, which is from one of the vintages of the century, showed the vast potential of this wine. The color has faded some, and there is a bit of brown, and the aroma is more pronounced, with plenty of subtleties. Though it still possesses some power, the finesse  and elegance is dominant. There were alluring and complex flavors of black fruits, minerality, dark spice and earthiness. Silky tannins and a long and lingering finish, this is a wine to slowly savor over dinner, to relish every fine sip.

The 1982 Flaccianello, which was only its second vintage, was an even lighter red color with much more brown, and a bit of a musty aroma. But with a little time in the glass, the mustiness vanished. It was an interesting wine, that was pure elegance with intriguing flavors of earth, black truffle, licorice, and dried fruit. There was almost a smokiness to it as well. I loved how the Flaccianello evolved over time, and it is evidence of the great potential of Sangiovese.

Chianti Classico is usually made more for commercial purposes, but the production of Vin Santo is often more personal. Giovanni stated that, "Vin Santo is at the heart of Chianti Classico" and that it is first made for the family and then the remainder can be sold off commercially. The 2003 Fontodi Vin Santo is a blend of 50% Sangiovese and 50% Malvasia de Chianti, the grapes which have dried out for 5-6 months. It had a minimum of 7 years of aging and has 300 grams of residual sugar and 12.5% alcohol. This wine had a dark amber color and was rich with a nice melange of apricots, dates, orange peel, dried fruit, and mild spicer. It is sweet but with a good acidity that balances much of it. A great choice for a dessert wine.

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Paolo di Marchi: The Philosopher-Peasant of Chianti Classico (Part 2)

Though 1976 proved to be a tragic vintage, Paolo still found some vines which did well and he tied ribbons on each of them. In subsequent years, he would continue to add ribbons to each vine that did well, and the best vines eventually possessed numerous ribbons. Thus, in 1997, Paolo planted his first vineyard of high density Sangiovese, collecting all the best vines into this one vineyard. He understands that "there are no short cuts," that the production of quality wine takes time. You must understand your vineyard, study its terroir, test and retest. As Paolo said, "we are in a very slow business."

Paolo started making his first 100% Sangiovese wines in 1977 and then produced his first Cepparello, a Super Tuscan, in 1980. By 1985, his Cepparello began to see success but that was also around the time that a terrible frost destroyed many of his olive trees. So, Paolo decided to keep the best olive trees but tear up the rest and replant that land with vineyards. It was also in 1985 that Paolo stopped making a Chianti Classico Riserva.

Quality has always been foremost in Paolo's mind, and over the years he has worked on careful clonal selections, replanting vineyards as well as increasing vine density, and might be one of the first to do so. His vineyards once had about 3000 vines per hectare but he has increased numerous vineyards to 5000 vines per hectare. He understands that "no single element makes quality" so he doesn't restrict his efforts to any single item. It is all important to him, the entirety of every aspect of the vineyard and cellar.

"Soil is the basement of the origin of wine" and Paolo prefers galestro soil for production of his Cepparello as he feels it is best for Sangiovese, a sentiment echoed by many in the Chianti Classico region. He has not yet created any single vineyard wines as he still feels, even after 36 vintages, that it is too early to decide what is worthy of such. He believes you can only create a single vineyard wine when you understand the perfect combination of soil, grape and climate. Terroir is important to him and he feels that "every vineyard has its fingerprints" though one must still fully understand the parameters of those vineyards.

In addition, Paolo believes that the soils turn his neighbors more into colleagues rather than competitors, as they should work together to protect the soil from erosion, to protect its integrity. They have a mutual interest in the protection of the soil so should unite their efforts. But, everyone is still free to compete later once the wines are in the bottle.

Paolo also believes that wineries require a strategy which includes both a long term view and short term targets. That is certainly good advice for any business and not just wineries. To him, "surfers" concentrate only on short term targets, especially what is hot and trendy, and that is a doomed strategy. Such a strategy oversimplifies a very complex matter, and Paolo stated that "people love to simplify what cannot be simplified." Consider your winery or other business and if you cannot identify your long term view and short term targets, then maybe you need to reconsider your strategy.

As wine makers must work with nature, Paolo stated that there is always the risk of a poor vintage. One of the ways to handle that risk is to properly handle your stock, which is the potential of your sales. That requires a long term view. He also noted that climate change has been significantly affecting his vineyards, and that milder winters are more destructive to vineyards than a hotter summer.

One of the most intriguing questions that Paolo raised was: "What is tradition in an area that has changed everything?" Though Chianti Classico is an old region in many ways, it is also new in many respects. So determining what is tradition is not always easy, as so much has changed. Paolo's answer to his question though is compelling: "Tradition is the gift we receive, which we keep and pass onto new generations." We need to know the past and then transport and deliver it to the next generation, yet that transport can entail change. Tradition is something dynamic, not static, and new traditions can arise all the time.

I recently discussed some of the changes coming to the Chianti Classico DOCG, such as the creation of a new qualitative pyramid. As I noted, there were a minority of members of the Consorzio del Vino Chianti Classico who opposed the new changes and Paolo was in that minority. Probably his main difference of opinion is that he believes the DOCG should direct its efforts more toward wines of origin rather than merely certification. He sees wines of origin, wines of terroir, as the future of Chianti Classico rather than simply elevating some wines above Chianti Classico in a qualitative pyramid.

We ended our visit with a tasting of the wines of Isole e Olena, including multiple vintages of the Chianti Classico and Cepparello. Paolo stated "I love Chianti wines" and "sometimes feel the forest in these wines." He believes that young Chianti Classico is a great table wine to accompany food and that it is vital that pairing is not lost. Paolo's Chianti Classico tends to be on the lighter side, in a more traditional style, and I find plenty of complexity within its depths. I have previously reviewed his Chianti Classico and won't repeat much of it here, though I will state they are excellent wines and should be on your radar.

I tasted three Chianti Classicos ($22), including the recently bottled 2010 vintage, the 2009 and the 1982 Riserva. The 1982 Riserva had held up well, though it was more brownish in color and possessed a little musty smell initially. Most of the fruit was gone but there were some nice tertiary flavors, leather, spice and earthiness. As the quality of his wines have risen each year, it is clear that his wines are going to age well.

We next tasted two of his Collezione Privata IGT wines, the 2007 Syrah ($45)and 2006 Cabernet Sauvignon ($50-$60). Paolo may not continue making these wines for much longer, desirous of concentrating on Sangiovese. He began making Syrah on its own when he started using more Sangiovese in his wines, and feels that this Syrah reflects the Tuscan hills, the Tuscany of the 1980s. Though it is a muscular wine, it still has elegance with lots of spice and delicious red fruit flavors. A top notch Syrah. The 2006 Cabernet, which was successful in the 1990s, also possesses elegance, with silky tannins, ripe plum and blackberry flavors and a very lengthy finish.

I feel that the epitome of Paolo's wine making skills is expressed in his iconic Cepparello, a Super Tuscan which could now qualify as Chiantio Classico, as the rules now permit a 100% Sangiovese. The Cepparello is produced for aging and is a superb vine, showcasing the great potential of Sangiovese in skilled hands. We tasted through vintages 2006, 2007 and 2008, and I have previously tasted and reviewed older vintages on this blog. I cannot recommend the Cepparello enough. During the last ten years, the 2004 and 2006 vintages are considered the best but don't neglect the other vintages as each has something unique to offer. This is a wine which will impress.

We finished up the tasting with the 2004 Vin Santo, an amazing blend of Malvasia Chianti and Trebbiano. This wine has a beautiful golden amber color, with an alluring aroma and an intriguing flavor of honey, dried fruit, herbs and mild spice. Though it has 200 grams of residual sugar, its high acidity balances that sweetness quite well, and its length lingers for a very long time. Another superb wine from Paolo.

Kudos to the Philosopher-Peasant of Chianti Classico, Paolo di Marchi of Isole e Olena.

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Paolo di Marchi: The Philosopher-Peasant of Chianti Classico (Part 1)

As a child, Paolo di Marchi, the owner and wine maker of Isole e Olena in the Chianti Classico region, loved to grow things, to work in the family fields. He preferred to have toy tractors rather than race cars. Because of his interests, his father affectionately referred to him as the "peasant" of the family.

I first met Paolo four years ago at a local tasting and was impressed with his wines and personality. He was down to earth, charming and intelligent. His Chianti Classico is one of my favorite wines of that type and his iconic Cepparello is superb. I have several vintages of Cepparello in my wine cellar. So, when I knew I was traveling to the Chianti Classico region, I fervently hoped that I would get the opportunity to visit his Isole e Olena winery. Luckily for me, we visited Paolo's winery and it lived up to my expectations.

During the visit, I took more notes than at any other winery as Paolo was quite informative and philosophical. It is clear he has devoted much thought and analysis to viticulture and viniculture, to trying to understand Chianti Classico, Sangiovese, wine making, and so much more. And he freely shared with us his thoughts on these matters. Isole and Olena are separate estates and we visited Isole, located on the western slopes of the region, and it was beautiful with a stunning view of the area. It is situated only about forty kilometers from the Mediterranean Sea, so it acquires some influence from the sea.

The estate contains approximately 300 hectares, with about 200 being forest, mostly pure Cypress, which is less common in this part of Chianti Classico. Wild boars and deer live in these forests and are a significant nuisance to the vineyards, eating as much as 30% of the crop. So, when boars are caught and end up on a family menu, it is considered a "sense of revenge." About 50 hectares of the estate are devoted to vineyards, 34 being planted with Sangiovese. There are also 15 hectares of olive oil trees. The estate is located at an average of 412 meters above sea level, and the vineyards are spaced out over 330-480 meters above sea level. During harvest, there is a one week difference according to a 100 meter difference in altitude.

Paolo began his discussion by stating that a person needs to learn some history to properly understand the Chianti Classico region. He stated, "If we understand the past, we get a healthy path to the future." Everyone should learn about and discuss mistakes from the past, to avoid making those mistakes again in the future. As we had not received previously a detailed lesson on that history, Paolo provided us an overview of the topic, giving us a solid foundation to comprehend the basis of this region. Though it almost sounds contradictory, Chianti Classico is a "very old region but also very new." So what does that mean?

Paolo's family was originally from the small town of Lessona in Piemonte and they owned some vineyards. The fifth of six siblings, Paolo received a classical education, though his true love was agriculture, the peasant of the family. After World War II, the family moved to Torino, still within Piemonte, abandoning their vineyards, and then in 1956, Paolo's father purchased the Isole & Olena estate in Tuscany. At this time, the estate, known as a fattorie, was still part of the mezzadria, an ancient quasi-feudal system of sharecropping.

Within the system of mezzadria, the land owner allowed sharecroppers to occupy, but not own, small portions (called "poderi") of the estate and keep half ("mezza" means "half") of the crops they raised. The system varied a bit from region to region and slowly started to end after World War II though remnants would not vanish until the 1980s. The land owner usually hired an overseer to watch over the sharecroppers, and might rarely journey to his own estate. It was difficult work for the sharecroppers and they had to find the best ways to utilize the small amount of land they occupied. Everything was done by hand, and they often grew the crops which provided the highest yields.

When Paolo's father purchased the estate, it was not intended as a business but rather just a piece of land. He hired an overseer to run the fattorie as it was a one-day journey from Torino to the estate. About 120 people lived on the estate, each family allotted about 5-7 hectares. The estate was a local and closed economy, where people essentially had no money and traded for any extras they needed. The most valuable item that was not produced on the estate was salt, which is probably a significant reason why Tuscan bread developed a tradition of not using salt.

This sharecropping system was patriarchal and children simply followed in their parents' footsteps. In addition, the water in this area wasn't too good, so few drank it undiluted, preferring a mixture of wine and water, commonly 1/3 wine and 2/3 water. Those who grew grapes and made wine usually produced light wines, made to be consumed immediately. Plus, so many other crops were more valuable so vineyards had a low priority for most sharecroppers. Thus, though wine making in Tuscany extends back at least to the ancient Etruscans, the quality of wine during the mezzadria period was rather low.

After World War II, as industrialization began to spread through the major cities, young people started to move out of the countryside to acquire jobs in the cities. The early 1960s saw plenty of migration to the cities so the mezzadria system began losing its sharecroppers. At the Marche estate, by the end of the 1960s, the population of sharecroppers had drastically decreased, from 120 to 14, and all in the span of only seven years. The Chianti Classico region needed the elimination of the mezzadria system before it could transform into a higher quality region.

In 1967, Italy commenced an ambitious five-year project to replant vineyards, ending up replanting 8,000 vineyards. The problem was that large vineyards were created, with little concern for soil or terroir. It was also in 1967, that the formula for Chianti was enacted into law, allowing up to 30% Malvasia and Trebbiano. So, when vineyards were replanted in the Chianti regions, many were planted with white grapes. As Paolo stated though, you "can't rush planting vineyards," especially if concerned with quality. Though the mezzadria system was being eliminated, the overall quality of Chianti Classico still had a ways to go.

As the 1970s began, there were a few wine makers in Chianti Classico who were passionate about producing high quality wines, but felt confined by the appellation system. So they began making wines which could not be classified as Chianti Classico. This was the start of the Super Tuscan movement, led by pioneers like Antinori (Tiganello) and Tenuta San Guido (Sassacaia). It was an auspicious time for a new wine maker, and it was during this period that Paolo stepped forward to produce his first wine.

Paolo's first vintage was 1976, which was considered a disastrous vintage in Chianti Classico, though great in other parts of Italy. He considered these first wines to be "lemonade," very tart and acidic, and they didn't reflect how he felt seem Sangiovese should taste. It must have been incredibly frustrating to have such a tragic first vintage. Some wine makers might have quit at that point, moving on to another endeavor, discouraged by this setback. Yet nothing would quell Paolo's passion and he simply used it as a learning experience, forging ahead, seeking to produce high quality wines.

To Be Continued...

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Rant: Where Is Wine Made?

Is wine made in the vineyard or the cellar?

On our first winery visit in the Chianti Classico region, we met Alessandro Gallo, the Direttore of Castello D'Albola, He spoke about the significant increase in the quality of Chianti Classico wines in the last fifteen years or so. That change is due to numerous factors but Alessandro had his own idea about what was the most significant change that led to the increased quality, a change of a particular mindset. He claimed that many wine makers once believed that wine was made in the cellars, but they have now come to believe that wine is made in the vineyards.

This belief is held by other wine makers across the world, yet some still cling to the former belief, that wine is mainly made in the cellar. It is obvious that both contribute to the creation of a wine, yet some will give higher priority to one over the other. It seems to be my experience that those who believe it is made in the vineyard do produce better wines. There are certainly exceptions but it seems to hold true as a general rule, in wine regions across the globe.

Why is this the case? Well, if you start with excellent ingredients, then your final product stands a better chance of being superior. So, if you have excellent grapes, it becomes much easier to make an excellent wine. If you feel that wine is made in the cellar, you may not pay as much attention to the ingredients, the grapes, and thus not worry as much about your vineyard. So, if you have a lesser quality ingredient, your product may not turn out as well. And if you try to make it so, you might have to manipulate it a great deal in the cellar.

Thus, the Chianti Classico producers shifted their attention back to the vineyards, back to the essential ingredients, and found it easier to make a quality wine from quality grapes. That should be a lesson to other wine producers, a reason for them to adopt a new paradigm and concern themselves much more with their vineyards rather than the cellar. Both are essential, but the new paradigm offers advantages which often lead to superior wines.

Do you agree or not?

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