The Irresistible rise of Luis Cañas

The irresistible rise of Rioja Alavesa’s Luis Cañas

Luis Cañas was in the right place at the right time. A chance encounter, a good drop of vino and the rest, as they say, is history. Geoffrey Dean has an audience with Luis’ son Juan Luis Cañas who now runs this top producer in Rioja Alavesa, gets an insight into its winemaking philosophy, hears about its rare grape plantings and gets to taste six of the new vintages including three Bodegas Amaren wines, which are only released in the very best vintages.

By Geoffrey DeanMay 19, 2021

“At Luis Cañas, being green is not a marketing trend – it is our philosophy and the key to success,” says Juan Luis Cañas.

Half a century on from a chance meeting that led the family to bottle their own wine rather than send it to the local co-operative, the story of Luis Cañas, the leading Rioja Alavesa producer, has been nothing but a heart-warming one. The bodega’s remarkable development has been such that it is now one of the most progressive in the region, with the latest release of its top labels at the end of April underlining how good its wines are.

First, though, more on that chance meeting in 1970, as told by Juan Luis Cañas. “My father, Luis, was drinking our wine with friends in the village square one day when a man stopped and asked to taste,” he said. “It turned out the man was the president of a famous gastronomic society. He and his members returned and asked for more, and that led to Luis Cañas being the first grower to bottle his wines in the region.” 

Three generations: Luis Cañas, his son Juan Luis Cañas and grandson Jon Cañas

Sales soon took off, and in 1994, Luis Cañas opened a new winery with state-of-the-art equipment, and five years later, a new barrel cellar was built. Then, in 2006, a purpose-built, fully equipped accommodation block was constructed for the entire vineyard team.  For nowhere is the feeling of family more apparent than at this bodega, where Juan Luis has carried on his father’s legacy since his passing in late 2019. His own son, Jon, works alongside him. 

The estate’s 270 hectares on predominantly limestone-clay soils, which are home to some very old vines, are farmed organically. The focus is on small single plots, which number as many as 870 and produce terroir-driven wines with a real sense of place. And what is especially interesting about the bodega’s viticultural approach is the extraordinary number of different clones of each varietal it has experimented with in its quest to find the ideal one for particular sites. They are worth recording: Tempranillo 167, Graciano 53, Granacha 34, Viura and Malvasia Riojana both 24, Bobal 14 and Calagraño 5. 

“This is the focus now and in the future,” Juan Luis says. “I was born in Rioja Alavesa, and I believe in its future and its past. We realise nature is the source of success, and strive to maintain the privileged characteristics it has bestowed on our vineyards. At Luis Cañas, being green is not a marketing trend – it is our philosophy and the key to success.” 

Juan Luis Cañas: a preference is for higher altitude sites and longer-growing cycles

Respect for forgotten varieties, and the reality of climate change, has led Juan Luis to replant or preserve small amounts of Marufo, Aramon, Calagraño and Santa Magdalena. “My preference is for higher altitude sites and longer-growing cycles, along with fermentation in concrete eggs or small tanks, and careful use of wood,” he added. “Minimal intervention and trying to get a sense of the soil; a return to specific plots and to what used to be done.”

Juan Luis is the force behind the family’s Bodegas Amaren wines, also from Rioja Alavesa, which were first made in 1995 as a tribute to his mother, Angeles, and are only produced in the best years. A telling indication of the quality of Amaren (from the Basque for “of my mother”) is that they feature on the wine list of five of the seven Michelin 3-star restaurants in Spain.

A really interesting white is the Amaren Malvasia 2016, which is a 100% single varietal (Malvasia Riojana) made from vines planted in 1921 on very poor soils at 550m. Fermented in concrete eggs, the wine spends 14 months on the fine lees giving richness. Minerality from chalk soils is a feature, while Juan Luis says a compulsory two-year-in-bottle period before release helps to accentuate aromas of flowers and camomile.

Two red Amaren labels from the 2017 vintage showed outstandingly well. The Carraquintana Viñedo Singular (single vineyard), which comes from three parcels planted in 1930, 1940 and 1962, is a field blend of Tempranillo, Garnacha and Malvasia which are co-fermented. No new oak was used for maturation, which involved 14 months in five-year old 500-litre French puncheons. The El Cristo de Samaniego de Amaren 2017, another field blend of the three varietals above but also featuring some Viura, comes from a very high single vineyard, 625m above sea level on the slopes of Sierra de Cantabria. 

A purpose-built accommodation block for the entire vineyard team was added to the estate in 2006

Three Bodegas Luis Cañas labels were no less impressive. The beguiling El Palacio 2017, the closest vineyard to the cellar in Villabuena de Alava, is another field blend of vines planted in 1969 on 2.6h of bush vines on three different terraces, which face north, west and north-west. In the process of being classified a single vineyard, it again showed a real sense of site with its thyme, rosemary and garriguey notes. The superb Camino Leza 2017 likewise came from a field blend of vines planted in 1965, with the Tempranillo from a very low-yielding clone. It is made up of 1% of the rare Calagraño grape, along with some Viura and Malvasia Riojana. Finally, the excellent Luis Cañas Reserva 2015 was made from slightly younger Tempranillo and Graciano vines with an average age of 40 years.

So how were the wines tasting?

Amaren Malvasia 2016, Rioja DOC, 13.5% abv, RRP £35. Delicate floral aromas of orange blossom, nutmeg and brioche. Pineapple and pear notes with some balsamic traces. Fermented in concrete eggs with 14 months on lees giving fullness and richness. Freshness from a low pH of 3.25 ensures the  wine is well-balanced.

Carraquintana de Amaren 2017, Viñedo Singular, Rioja DOC, 14% abv, RRP £60. Serious power and structure from Tempranillo, with white pepper from Graciano and delicate floral notes from Malvasia. Fine tannins beautifully integrated, with ripe red and black fruit. Layers of complexity with minerality, freshness and a concentrated finish.

El Cristo de Samaniego de Amaren 2017, Viñedo Singular, Rioja DOC, 15% abv, RRP £40. Ripe black and red fruit with a big structured palate and powerful but well-meshed tannins. Dark chocolate notes add weight and concentration, but easy to drink due to sweet black fruit. Vibrant acidity gives freshness and balance. Complex and long.

Camino Leza Luis Cañas 2017, Rioja DOC, 14.5% abv, RRP £65. Incredibly intense expression of Tempranillo, with quite overt yet silky tannins. Low pH of 3.78 gives very bright acidity and helps balance the wine’s powerful structure. Red fruit and blackberry notes with tobacco and spice on the nose. Touch of Viura lifts the tannins. Memorable concentration and length, and already a delight to drink notwithstanding its long cellaring potential. 

El Palacio Luis Cañas 2017, Rioja DOC, 14.5% abv, RRP £52. Distinctively different from the Samaniego and Leza sites. Elegant and wonderfully harmonious, it has concentration and personality from the Tempranillo (75%), colour, vibrancy and freshness from the Graciano (20%) and some richness and creaminess from the Viura (5%). Deliciously meaty with masses of concentrated cassis-like fruit but with a bright raspberry edge too. Notably complex and long.

Luis Cañas Rioja DOC Reserva 2015,  14.5% abv, RRP £22.  Juicy red fruits and soft, silky high quality tannins made this very drinkable indeed. Lots of fresh acidity, plenty of structure and a lengthy finish add up to a value-for-money Reserva that spent 18 months in second fill oak (60% French and 40% American).

Cape Fine & Rare Auction 2021

How South Africa’s history will unfold at the Cape Fine & Rare Auction

The second Cape Fine & Rare Auction takes place on May 22 with a 200-year old bottle of sweet Muscat de Frontignan hogging all the headlines. But it is not just Groot Constantia’s bottle of Grand Constance 1821 that makes this year’s event worth registering for. A new tasting panel, a new set of criteria and overall set-up has ensured that the range of wines on offer and the quality level has never been higher. Geoffrey Dean talked to leading South African wine critic Michael Fridjhon, Cathy van Zyl MW and François Rautenbach about why wine buyers should tune in this year, what’s on offer and how the auction delivers a captivating slice of South Arica’s continually evolving wine history.

By Geoffrey Dean May 5, 2021

A 200-year old bottle of sweet Muscat de Frontignan will come under the hammer at the Cape Fine & Rare Auction on May 22 when some of South Africa’s rarest and finest wines will be available to international buyers. The bottle of Grand Constance 1821, which was made by Groot Constantia on the Cape Peninsula, was recorked in 2019 under the meticulous supervision of leading sommelier Jean-Vincent Ridon, the CEO of Amorim Cork, Joaquim Sá and celebrated South African wine critic, Michael Fridjhon.

The Cape Fine & Rare Auction, which was first launched in October 2019, was the successor in title to the well-established Nederburg Auction, which had run since 1975. The latter had for years been the highlight of the country’s wine calendar but Fridjhon, who had tasted at or written on every one of them, felt it was time for change.

“The decision was taken by the sponsorship manager at Distell to open the auction more broadly to the industry as a whole,” he said. “It was always open to the industry, but there was some discomfort from certain producers that they were sharing their brand with the Nederburg brand. More wines can now enter – it’s absolutely open to every producer in the industry. As long as you are prepared to meet the terms and conditions, which are pretty easy, then you can come and play. It doesn’t matter what other routes to market you cultivate.”

Michael Fridjhon

Fridjhon, along with Cathy van Zyl MW, head sommelier and winemaker Joseph Dhafana and general manager of Singita Premier Wine Direct, François Rautenbach, formed a team of expert South African tasters who sampled most entries blind and decided which should go forward into the auction. Apart from quality, a key essential was that the wines could not be commercially available.

“The conditions relate to rarity, the finesse or fineness of the wines and the fact they should not be commercially available,” Fridjon explained. “They need to have some age and rarity. Some entries are undisputed – if you come from a serious property, and the wine meets the criteria of known quality, known age and known rarity, you can tick a box and say that’s a logical player. At the preliminary stage, a bunch of wines are included automatically, and a bunch excluded automatically. Then you have the chunk in the middle – which are not about brand but what’s in the bottle.”

Cathy van Zyl MW

Van Zyl believes that the wines on offer this year are even better than at the last auction in 2019. “The quality bar was set higher this time,” she told The Buyer. “I hope a lot of overseas buyers appreciate that we’ve gone through this rigorous quality control. It’s a vital process as some wines are quite old and we need to check on their provenance. That tells producers how serious we are about putting good quality lots on auction. There’s a need for wines that excite people with wines they really want to buy. Good prices and good lots say the auction is well curated, which builds confidence and feeds into the auction.”

“We do still have old classics like Meerlust, Simonsig and Kanonkop, but this auction gives us the chance to showcase new classics. There are no 1970s but a Zonnebloem Cabernet from 1986 which has some great fruit on the mid-palate. We were a little hesitant about that but it’s a really well-judged wine, and reached a beautiful plateau. Even in the whites, there are some very interesting wines such as David & Nadia, Sadie and Vondeling, which is an estate that people should look at. The old vine selection cases quite often have some gems, as do the Cap Classiques. It’s been an honour to taste through as you see an unfolding history of the South African wine industry. Some 1990s Pinotage have matured fantastically, and are alive and well.”

Van Zyl urges wine lovers out there not to ignore South Africa as a source of enjoyable but very high quality wines. “But obviously as with any wine country, you do have to know what you’re buying,” van Zyl professed. “Buying on this auction is a short-cut for someone who doesn’t really know SA that well but is wanting to learn. It’s also a wonderful opportunity for people who know SA from 20 or 30 years ago to rediscover what the SA industry is showcasing and producing, because I do believe our wine quality is a lot better across the board that it was 20 years ago.

“There used to be over-extraction, overworking and not enough understanding of the role of small oak. There was an under-ripe framework where virused vineyards couldn’t get the fruit properly ripe. Now there’s a better understanding of how to get the best out of a vineyard. It’s less recipe-driven winemaking. Now producers have aspirations and are prepared to experiment and chase the holy grail of quality. There’s been a slow trickle-up process with bigger producers making smaller batches and picking earlier. They realise they need to create excitement with their brands.”

The recorking of the Grand Constance 1821

Rautenbach feels that, as people have become much more familiar with Zoom over the course of the pandemic, long-distance auctions can benefit. The Cape Fine & Rare will be held as both a virtual and a live event in the Rupert Museum in Stellenbosch, with bidders in-person and online. “International guests are looking for really good South African examples of Cabernet, and also styles they’re unfamiliar with, making it a voyage of discovery,” he said. “We want to encourage people to put away older vintages. For example, the 2009 Rustenberg Peter Barlow is still a stellar wine, and I know it doesn’t matter what we pay for it now as it will be worth a lot more in 10 years time.”

In focus: South Africa's wine tourism hotspots

by Geoffrey Dean

Our gallivanting gadabout, Geoffrey Dean, finds the South African wine industry is upping its game to give tourists the best possible experience post-pandemic.

The wine tourist who makes it to South Africa in the next year or so will have never had it so good. The range, excellence and value-for-money of the western Cape winelands’ accommodation, cuisine and cellar doors continues to reach new heights. And you’ll be hard-pressed to receive a warmer welcome, such is the gratitude felt towards visitors since the pandemic.

The vineyards of Klein Constantia

Being one of the fortunate few from overseas to have spent time in the western Cape in January and February this year, I can vouch that very strict adherence to anti-Covid procedures is being observed in wineries, hotels and restaurants.

Entry into them is only permitted after a temperature test; hand sanitisers are everywhere you go and masks, which are compulsory in all public places, are worn much more fastidiously than in the UK.

This is especially the case in Constantia, on the Cape Peninsula – the obvious place to start an exploration of the winelands. The Vineyard Hotel is something of a misnomer, being situated in the southern suburb of Newlands rather than in the midst of any vines, but it is an ideal location from which to explore Constantia’s wineries.

It is also a wonderful place to stay, being four-star but nearer five in quality. Its rooms look out over eight acres of gardens, with Table Mountain behind them. The former managing editor of the Daily Telegraph, Jeremy Deedes, likes The Vineyard so much that he and his wife spend every January and February there.

Those wanting to stay outside Cape Town on the Cape Peninsula should look no further than Steenberg Hotel & Spa, which is situated in the middle of Steenberg Vineyards. The hotel, very much a five-star, has 24 spacious rooms that are exquisitely furnished as well as three suites and two villas suitable for a family.

Steenberg Hotel & Vineyards (with golf course on right)

The historic old manor house, a 17th century national monument, can also be booked and sleeps ten. The hotel has a pair of outstanding restaurants – Tryn and BistroSixteen82, the latter named after the year the farm was first settled.

Throw in a popular tasting room, where Steenberg’s full range of notable wines can be tasted, as well as a challenging golf course that is available to guests, and you have all the recipes for a self-contained wine tourism holiday.

There are, though, a number of wineries on the Cape Peninsula that shouldn’t be missed. The two southernmost are Cape Point Vineyards and Trizanne Signature Wines. The former’s cellar door boasts not just world-class Sauvignon Blancs, notably the Isliedh label, but also marvellous views of the white sands of Noordhoek beach below it.

Trizanne Barnard’s boutique setup is tucked away on the edge of Kommetjie, but her wines are well worth making the necessary appointment to taste. Her reserve Syrah is among South Africa’s best.

A quartet of leading Constantia wineries boast both excellent cellar doors and restaurants. The Jonkerhuis eatery at Groot Constantia, the oldest wine farm in South Africa, serves a savoury ‘estate tasting plate’ and scrumptious pavlova. Opposite it lies the magnificent manor house, built in 1685, now a museum and well worth a visit.

Klein Constantia, reached down the prettiest of winding drives, is a place you can happily spend half a day, with its welcoming tasting room and delightful new bistro, through whose deck a pair of jacaranda trees protrude.

Matt Day, Klein Constantia winemaker

The long list of wines, made by talented young winemaker Matt Day, needs time to taste through, and includes several top Sauvignon Blanc labels (such as Block 382, Clara and Perdeblokke), an aristocratic Bordeaux blend and South Africa’s finest sweet wine, Vin de Constance ­– a favourite of Napoleon.

Made from Muscat de Frontignan, the regally unctuous 2017 comes in at 165 g/l of residual sugar: that and older vintages can be tried with an afternoon cheese platter at the bistro. Chef Graham Davies produces ambrosial lunches to pair with Klein Constantia’s superb wines.

Neighbouring winery Buitenverwachting is another scenic old estate with impressive tasting and eating facilities. Beau Constantia, whose vineyards are the highest in Constantia at 362 metres, makes full use of its brilliant location.

Its restaurant, Chefs Warehouse, enjoys jaw-dropping views over False Bay while serving some of the best cuisine in the region. Chef Ivor Jones conjures up food of great flavour with a strong Asian influence, while Megan van der Merwe makes enticing wines to partner his dishes.

Culinary delights also abound in Stellenbosch, a number of whose wineries offer outstanding accommodation options. Not to be missed is Jordan Wine Estate, a few kilometres west of town, which has half a dozen luxury suites overlooking the vineyards.

The view from Jordan Restaurant

Very nicely furnished, these are a short walk from the winery’s bakery and the celebrated Jordan Restaurant, where Scottish-born chef George Jardine fashions cuisine that is as stunning as the views from it of the Simonsberg, Helderberg and Stellenbosch Mountains. Try the aged Chalmar sirloin and the honey and poppy seed soufflé.

Another leading chef, Nick van Wyk, prepares outstanding fare at the Kleine Zalze restaurant, next to the winery. A tasting of Kleine Zalze Wines’ full range, which is produced by top cellarmaster Alastair Rimmer, is a must.

As many as seven of their labels were awarded five stars in the latest edition of Platter, the national wine guide which selected it as its top performing South African winery for 2020.

What is one of the western Cape’s most impressive winery brands (featuring 75 SKUs) is complemented by the comfortable De Zalze lodge and golf course. The latter is recognised by golfers as one of the best in the western Cape.

A Delaire Graff Estate lodge

The Delaire Graff Estate superior lodges, meanwhile, rank among the most luxurious accommodation options in the winelands. Perched on the crest of the Helshoogte Pass, each lodge’s stylish and spacious interior spills out onto a private terrace and plunge pool with memorable views of Stellenbosch Valley below and Table Mountain in the distance.

Delaire Graff’s fine range of wines, made by the able Morne Vrey, is available for tasting, while chef Virgil Kahn cooks delicious Afro-Asian food at the hotel’s Indochine restaurant. Two wives of Stellenbosch winery owners oversee lunches in the most atmospheric of venues.

Elena Dalla Cia produces pasta that melts in the mouth at the Pane e Vino Food & Wine Bar at Bosman’s Crossing in the centre of town. Her husband, George, and father-in-law, Giorgio, the former Meerlust winemaker, craft a superb range of wines and spirits under the Dalla Cia label. Their grappa is among the best found outside Italy.

A few kilometres north of Stellenbosch at Muratie, one of the most characterful wine estates in the district, Kim Melck directs a kitchen whose quality and value-for-money lures visitors from far afield.

While the traditional old tasting room is a splendid nod to history, her husband Rijk has installed modern shower and changing facilities in a converted stable for cyclists and hikers who tackle the 26km of trails on the Simonsberg Mountain behind Muratie. A delightful cottage by the Muratie vineyards is available for short or medium term lets.

Orchard Cottage, Boschendal

The beautiful 5,000-acre Boschendal estate in the picturesque Drakenstein Valley near Franschhoek also has a varied collection of desirable cottages for rent. These include the flagship Cottage 1685, and the secluded Trout Cottage, both of which are found in the private part of the farm, and the lovingly-restored Orchard and Werf farm cottages.

Traverse the estate on foot, mountain bike or horseback, and you come across caves to explore, dams to swim in and even the former set of Homeland, the American espionage TV series, some of which was filmed on Boschendal. The Werf restaurant offers sumptuous cuisine in a glorious setting, while cellar master Jacques Viljoen’s extensive range of Boschendal Wines is well worth tasting through at the homely cellar door.

Not far from Boschendal in the Franschhoek Valley is another big and very old Cape Dutch wine farm with five-star accommodation: Babylonstoren. The hotel section’s thick whitewashed walls, elegant gables and hearty fireplaces provide for an authentic farmstay experience, albeit in considerable luxury.

Fynbos Cottages, Babylonstoren

Another option is the estate’s lovely Fynbos Cottages, set well away from the celebrated eight acres of gardens and main buildings. These include one of the biggest underground cellars in South Africa, which is a special place to taste Babylonstoren’s range of wines. The hotel’s Babel restaurant has deservedly won a very good reputation, drawing almost exclusively on farm produce.

A twenty-minute drive from Babylonstoren takes you to the picture-postcard town and vineyards of Franschhoek. Accommodation options are numerous but the three places I stayed in made for a pleasing contrast.

The Rickety Bridge manor house, a refined old Cape Dutch building situated by the winery of the same name, has the sort of relaxing, ultra-comfy feel to it that makes you want to come back again. Paulina’s Restaurant at the winery is first-class, as are Rickety Bridge’s wines, notably The Pilgrimage Semillon from 1905 vines.

For sheer splendour and luxury, not to mention artwork, nothing beats La Residence. Tucked away in 30 acres of vines, olive groves and plum trees, this is one of the most opulent hotels not just in Franschhoek but the whole of South Africa.

The pool at La Residence

The eleven huge bedrooms in the main building, as well as five vineyard suites, were all designed individually by owner Liz Biden, who has furnished them with consummate taste. An avid art collector, she has hung paintings and works from 29 artists throughout the hotel.

With its dramatic mountain views, world-class cuisine and incomparable levels of comfort, this is a rock-star hotel. Indeed, Elton John regularly stays there, with a signed photo of him left in his favourite room.

Those looking for a charming hideaway in Franschhoek would do well to try Akademie Street Boutique Hotel, named after the quiet road it is located in, a short walk from the town centre. A heritage building and former guesthouse, it was bought by an Irishman, Paul Kinney, in 2014 and refurbished to a very high standard.

Its eight suites are popular with British visitors, while a romantic cottage attracts honeymooners. The sizeable and tastefully-furnished suites have wood-burning hot-tubs on wide balconies. The breakfast around the main pool was the best I had in the western Cape, and included irresistible smoothies and a 12-fruit plate.

For lovers of sushi, GlenWood serves some top-class fare at its winery restaurant, several kilometres west of the town. Its wines, made by DP Burger, are also excellent, and can be sampled either at the handsome cellar door or at the ‘Nature’s Window’ tasting-room high up the mountain, a 20-minute walk from the winery. The vistas from there are spectacular.

Surf near Grootbos

When it comes to the sea views across Walker Bay towards Cape Peninsula that Grootbos boasts, you run out of superlatives. This fabulous five-star lodge, set in a private nature reserve of 6,000 acres that is home to 800 plant species and three milkweed forests over 1,000 years old, is conveniently close to the wards of Hemel-en-Aarde Valley, Elim, Napier and Stanford Foothills.

It is ideally situated to take in many wineries, but wine connoisseurs may not want to stray too far beyond its boundaries, for it has one of the finest cellars in South Africa. Owner Michael Lutzeyer has, over many years, stocked it with over 30,000 bottles from 50 top Cape producers, buying multiple cases of hard-to-obtain Cape Winemakers Guild wines. The cuisine at Grootbos matches the high quality of the wines, with the springbok shank being a personal favourite.

Grootbos lies half an hour east of Hermanus, where anyone wanting to explore the local wineries from a heavenly seaside base should stay at Birkenhead House. Perched on a promontory next door to Voelklip Beach, over which it has fine views, it contains eleven stylish rooms and is luxuriously open-plan. Its cuisine and wine list are both first-rate.

Birkenhead House

Tasty lunches also await visitors to the Sumaridge winery, which boasts gorgeous views from its restaurant down the Upper Hemel-en-Aarde Valley to the sea. British owners, Holly and Simon Bellingham-Turner, have worked hard to give visitors a special experience, while their winemaker, Walter Pretorius, fashions a wide and impressive range. Sumaridge’s well-appointed estate lodge, which sleeps eight, is available for hire as a whole.

The view from Sumaridge

Just as Birkenhead House stands out as the most desirable place to stay in Hermanus, so does another boutique establishment in Robertson, in the beautiful Breede River Valley region. If it has an unusual name – the Robertson Small Hotel – that is only because it has ten rooms.

Tucked away down a quiet residential street, it is a converted manor house that is now a national monument. Everything about it oozes class, from the deluxe rooms to the bar, restaurant and gardens.

Although the scenic Robertson wine district is slightly off the beaten track, it enchants many who get there, containing not just well-known wineries such as Graham Beck, De Wetshof and Springfield but also some hidden gems.

While those big three offer enjoyable experiences for the wine tourist, and should not be missed, much smaller setups like Arendsig Handcrafted Wines, Kranskop and Kleinhoekkloof are a joy to visit.

The Arendsig winery’s location by the Breede River could hardly be more idyllic. Owner-winemaker Lourens van der Westhuizen, who offers choice cottage accommodation near the river, produces single vineyard labels of note. Newald Marais, the former Nederburg cellar master, also fashions appealing wines at his Kranskop farm, with his Tannat standing out.

Tasters can enjoy his range over a cheese platter on a deck with a great view of the Langeberg Mountains. Kleinhoekkloof, being the highest winery in the district at 420m, possesses even more panoramic vistas. Owner Theunis de Jongh is an engaging host, providing a tasty charcuterie platter from his farm pigs that goes well with his appetising wines.

This spirit of enterprise is widespread through the western Cape. Leading Stellenbosch producer De Toren have just completed a revamped drive-up facility at the winery, with booking recommended for their new one-hour tour that includes a walk through the vineyard, cellar, barrel and maturation rooms followed by a tasting of their exemplary wines.

Kevin Arnold, cellar master at another top Stellenbosch winery, Waterford, has started three-hour vineyard safaris through the estate’s 450 acres of vines in the majestic Blaauwklippen Valley. Two stops with tastings in prime spots are included.

The drives, which are limited to ten people, take place twice daily in a game-viewing 4×4 vehicle procured from a national park. Waterford’s example epitomises the imagination that the South African wine industry is employing to give wine tourists the best possible experience post-pandemic. Those who do get to the western Cape will be amply rewarded.

How Babylonstoren shows a way out of SA's gloom

Hotfooting it back from South Africa before quarantine came into effect, Geoffrey Dean reflects on his experiences there. One winery he visited, Babylonstoren, in the Simonsberg-Paarl ward, represented some hope amongst the troubles in the country. Throughout the pandemic the estate has managed to keep all of its 300 staff, and sales are up 20-30%, despite the lack of international visitors to its acclaimed gardens. Dean talks to cellar master Charl Coetzee about how they have achieved this.

By Geoffrey Dean February 22, 2021

While being painfully aware of Bruce Jack’s worrying concerns for the South African wine industry, poignantly articulated here for The Buyer in late January, I still found grounds for optimism in the country’s winelands after spending the first six weeks of the year there.

For a start, there is no water shortage, with all the dams being full, and fruit quality is very promising. While the harvest has been delayed for most producers – Klein Constantia reporting that this is the latest that they have started picking their Sauvignon Blanc – volume looks set to be in line with last year’s national crush of 1.37m tons.

Charl Coetzee: “We are all trying to push brand South Africa.”

Although no wine sales were legally permitted in South Africa between December 28 and February 1, exports were allowed, providing many producers with a lifeline that kept them afloat. Campaigns to buy South African wine in both the UK and USA were “hugely appreciated” according to Charl Coetzee, cellar master for Babylonstoren. 

Babylonstoren, which is situated in the Simonsberg-Paarl ward, is a winery with what might be termed a good news story amid all the doom and gloom of the pandemic. While fortunate to be able to export 55-60% of its total production and to be part of a wider estate that includes a five-star farm hotel, farm shop and celebrated gardens, it has not shed one member of its 300-strong staff. As a major employer in the Paarl district, it is a vital cog in the local socio-economic wheel.

Coetzee revealed how Babylonstoren had managed not to lay anyone off. “What we did was to redistribute our staff, even if they ended up doing something they were unfamiliar with,” he said. “For example, the ladies in the spa had to harvest our olive trees, which we normally get done by outside contractors who we haven’t used at all in the last year.”

Others were redirected to work in the eight acres of the much-visited gardens, which has over 300 varieties of plants, fruits and vegetables.  The entrance fee for it goes to the Babylonstoren Trust, which finances community projects for winery and farm workers’ children. This includes a learning centre for them, as well as meals and help with homework. The trust also provides support with school fees for older children as well as sporting equipment and transport.

Coetzee with some of Baylonstoren’s amphorae

Two alcohol sales bans in 2020 as well as the one in the first month of this year,  together with a fall in wine exports of nearly a third in both 2020 and 2019 on previous years, have left many South African wineries with excess stock. Coetzee revealed one leading Stellenbosch producer is not even harvesting this year as a result. For Babylonstoren, which fermented 710 tons of grapes last year, selling their wines has not been an issue.

“We’ve seen 20-30% growth year on year,” Coetzee declared. “This year, we will touch 800 tons. We’ve never sat with excess stock before – every year we’ve reached our growth target.  Take our most popular wine, our Mourvèdre Rosé: in 2011 when we started making it, we produced just 5,000 bottles. This year, we’ll do 120,000.”

Babylonstoren’s 2021 vintage was picked as the official Rosé of the Chelsea Flower Show. “We plan to launch it every May at the show, although it’ll be September this year as it’s being delayed due to Covid,” Coetzee said. “With its strawberry, rhubarb and watermelon flavours, it will still be suitable for late summer or autumn drinking.” 

While China is Babylonstoren’s number one overseas market, the UK and USA compete neck and neck for second spot. DTC business through The Newt in Somerset’s website is thriving, while on-trade marketing and sales is conducted by Stephen Field in Stevenage.

Wine tasting in Babylonstoren’s underground cavern

Coetzee is hoping that sales not just of the Rosé, but also the other nine labels, will increase to the UK. The capacity for expansion is certainly no issue after the recently-completed construction of one of the biggest subterranean cellars in South Africa, a stunningly-designed 100 x 30 metre cavern. “It is quite unique, and we want to be unique,” he said. “We use it not just for vinification and maturation but also for the guest experience. We have a food and wine pairing tasting there with all ten labels matched up. Soon, we’ll have an eleventh label with our super-premium Pinot Noir when we release our first vintage of it, the 2018.” 

Planted at 650m on the upper slopes of the Simonsberg Mountain, this has the potential to be one of South Africa’s best Pinots. With only 1600 bottles produced, it will be Babylonstoren’s most expensive wine, with a likely retail price of 1000 Rand (around £50). “We tried to make one in 2016 but the mountain burnt down and we got smoke taint,” Coetzee added. “The fruit in 2017 was not good enough, and ’18 was the first time we felt it was.”

Babylonstoren is one of eight wineries connected by the Franschhoek Wine Tram

A year or so on from Covid’s emergence, Coetzee reflected on its consequences. “We have lost the international visitors this summer, but at weekends we are packed with locals, and our farm shop is doing well. Income from that was all we had in the first lockdown. For most wineries in the western Cape, it is going to be very hard. A lot of places are rethinking their business model, launching alcohol-free free wines for example. People are looking at every avenue. We are all trying to push brand South Africa, and think our wines are as good as the French ones or any other country’s.”

Ciatti, the California-based global wine and grape brokers, returned a favourable verdict on South African wines in their February 2021 market report: “The lack of on-trade demand globally, and the paused domestic market in South Africa, has meant some high-quality Cape wines that normally go for bottling have been diverted into bulk instead, further boosting the quality of an already excellent 2020 vintage. Consequently, the Cape’s price-quality ratio is very impressive and should be of interest to European buyers seeking quality varietal wines for off-trade.”

Helped by the weakness of the Rand, Babylonstoren’s impressive range offers outstanding value for money to UK buyers. For full details and pricing, visit: www.thenewtinsomerset.com 

Ten top wines from 2020

South Africa & Australia dominate Geoffrey Dean’s Top 10 wines of 2020

As a former professional cricketer, wine expert Geoffrey Dean has been used to ‘rain stopping play’ on many an occasion. But, like the rest of us, he has never had to contend with Covid-19 sending everyone back into the pavilion. Before the pandemic prevented international travel, however, Dean visited South Africa and Australia where he made a number of key vinuous discoveries which he shares with us in his Top 10 wines of 2020.

By Geoffrey Dean December 31, 2020

“The Rolet family’s hard work and passion in reviving this estate near the old Roman town of Vaison-la-Romaine has been rewarded with what is now a formidable stable of wines,” writes Dean about Chêne Bleu.

Having been restricted by the pandemic to visiting just two countries outside the UK in 2020 – South Africa and Australia – I make no apologies for picking eight labels from there. Two wonderful French wines are also included, having been drunk at home. In alphabetical order, here they are.

Abingdon, Chardonnay 2018, 13.5% abv (Lions River, KZN, South Africa)

A South African winery with a difference – not from the western Cape but Kwazulu Natal and the hilly Midlands region. Situated at 1140m in the Lions River district north-west of Pietermaritzburg, the wines are jointly made by British expat, Ian Smorthwaite, and his daughter Laurie Cooper. Wife Jane is in charge of cuisine at the cellar door, which won South Africa’s ‘Best Kept Secret’ American Express award in 2019. Appealing citrus and white peach fruit stand out in this barrel-fermented Chardonnay that underwent 100% malolactic fermentation, giving buttered toast notes. The wine saw no new oak, and zings with refreshing acidity. From low-yielding vines (three and a half tons per hectare), it has a long finish and underlines how good KZN wine can be.

Château de Pommard, Simone 2018, 14% abv (Burgundy)

Already a great wine. From a tiny 0.53 hectare plot in the walled Clos Marey-Monge single vineyard, this truly remarkable Pommard sings like a canary and will give untold pleasure to those fortunate enough to drink it over the next couple of decades. Winemaker Emmanuel Sala is the first to admit he is lucky to have a terroir with the highest internal surface density of clay in the Côte d’Or (736m2/g) but he has crafted a masterpiece, employing whole cluster (75%) for the first time and 38% new oak with very, very light toasting. The result is a beautifully balanced Pinot Noir with freshness, grace, complexity, concentration and length but velvet-like tannins.

Chêne Bleu, Abelard 2012,  14% abv (Vaucluse, France).

A very classy wine made up of 85% Grenache and 15% Syrah, this gorgeous blend from the southern Rhône has alluring clove, licorice and pepper notes on the nose with very appetising red plum and black cherry fruit on the palate. Blessed with very silky tannins, it has tremendous intensity of flavour with hints of spice and a long finish. All the wine’s elements are impeccably balanced. The Rolet family’s hard work and passion in reviving this estate near the old Roman town of Vaison-la-Romaine has been rewarded with what is now a formidable stable of wines.

Hoosegg, Jade Moon 2016, 13% abv (Orange, NSW, Australia)

This wackily-named winery is a newish venture from one of Australia’s best-known oenologists, Philip Shaw, who won IWSC Winemaker of the Year twice – in 1986 and 2000. The master vigneron has delegated his sons to produce Philip Shaw Wines, and is concentrating on his personal Hoosegg range. It comes from his Koomooloo Vineyard near Orange which, at 900m, is amongst Australia’s highest, leading to cool nights and good acid retention. Only four barrels of this exquisite ‘Jade Moon’ blend were made, with Cabernet Franc making up 88%, Merlot 7% and Cabernet Sauvignon 5%. Fresh, complex and long with seductive red fruit and soft tannins, this is a special wine that has effortlessly absorbed 100% new oak.

Lismore, Estate Reserve Syrah 2017, 13.5% abv (Greyton, South Africa)

Brilliant example of just how good South African Syrah can be. Made in the Greyton ward in the Overberg district by Samantha O’Keefe, whose vineyards, winery and house were so tragically devastated by bushfire in December 2019.  The courageous American producer is winning global plaudits for her wines, and this medium-bodied, supremely elegant Syrah is exceptional: glorious red fruit with marked intensity of flavour and freshness (pH 3.35). Fine tannins are seamlessly integrated and the finish is thrillingly long. Wild yeasts add complexity while a mix of 500 & 700-litre oak barrels (30% new) allow the fruit to show itself in its full glory.

Rickety Bridge, The Pilgrimage 2017, 12.5% abv (Franschhoek, South Africa)

The very essence of  Semillon from ancient low-yielding vines (three tons per hectare) that date back to 1905 on this historic Franschhoek property, owned by British entrepreneur, Duncan Spence. Whole bunch and wild yeasts help nurture a complex textured palate with beeswax, lanolin and melon notes; older barrels/foudres add some body and richness, while a low pH (3.2) ensures freshness is retained. Bone dry with a long savoury finish and a long life ahead of it, but hard to resist now.

Robert Stein Vineyards, Riesling 2019, 12% abv (Mudgee, NSW, Australia)

Mudgee is New South Wales’s oldest wine-producing region, and the Stein family’s forebears were early winemaking pioneers. Jacob Stein, whose ancestor of the same name emigrated to Mudgee from Germany in 1838, fashions a superb range, notably a top Riesling from 45-year old vines on gravel and schist soils at 500m. The site’s wide diurnal range encourages a low pH of 3, giving the wine formidable freshness. With lemon pith notes, an abv of 12% and a long finish, it is a delight to drink.

Stanton & Killeen, Grand Topaque, 18% abv (Rutherglen, Victoria, Australia)

Compellingly complex and uber-sweet Muscadelle (230g/l of residual sugar), fortified to 18% with high strength neutral grape spirit. Muscadelle was formerly known as Tokay by Rutherglen producers before they invented ‘Topaque’ due to objections by the Hungarians.  Aged oxidatively for 15-20 years, this concentrated and extremely long ‘sticky’, with its mouth-filling viscosity and depth of flavour, has a rich array of notes: toffee, caramelised butter, mixed spice, cloves, roast nuts and raisins, all topped off with marmalade overtones. A sumptuous festive tipple if ever there was one.

Vondeling, Philosophie 2015, 14.5% abv (Voor Paardeberg, South Africa)

This Bordeaux blend from the Voor Paardeberg ward near Paarl soars out of the glass with explosive structure. Predominantly Cabernet Sauvignon (85%) with 7% Cabernet Franc, 6% Merlot and a dash of Malbec, this is full, awesome and complete. Careful 300-litre barrel selection (75% new oak) gives it structure but super-fine tannins are beautifully integrated. Black cherry and cassis fruit merges seamlessly with cedar and tobacco notes. Matthew Copeland, one of the best young winemakers in South Africa, and Julian Johnsen, the British-born viticulturist, have combined to produce an outstanding, rich wine with notable concentration and length.

Waterford, The Jem 2011 (Stellenbosch, South Africa)

As many as eight grapes go into this beguiling blend of Blaauwklippen Valley fruit, south of Stellenbosch. Cabernet Sauvignon (45%) is the majority varietal, while the other seven are Shiraz (15%), Cabernet Franc (14), Merlot (11), Mourvedre (6), Petit Verdot (4), Barbera (3) and Sangiovese (2). Named after Waterford’s owner, Jeremy Ord, who is known as Jem, the wine has a lovely combination of blackcurrant and red cherry fruit, with exotic spices, earthy tones and truffle notes. A hint of umami adds to the complexity of a wine that has impressive concentration and a very long finish. A pH of 3.63 helps retain freshness while judicious use of new oak (33%) adds structure. A majestic wine of real grandeur and class.

Ch de Pommard Simone 2018: like a sporting great

Times cricket correspondent and wine expert Geoffrey Dean knows a thing or two about sporting legends – he has met many during his playing and writing careers. Which is why, when he covered the launch of the new Château de Pommard Simone 2018 for The Buyer, he knew instinctively that he was in the presence of real greatness. Not the ‘fly-by-night’ kind – but one that is young now, will improve with age, and then keep getting better and better. Dean raves about the wine in the presence of Emmanuel Sala, the head winemaker at Château de Pommard.

by Geoffrey Dean

Sometimes, when wearing my sports writer’s hat, you instinctively know when you have been in the midst of greatness. Some of those performers I’ve written about that spring straight to mind are tennis’ Roger Federer, golf’s Tiger Woods and cricket’s Vivian Richards. And, putting on my wine writer’s hat, there is no doubt in my mind that Château de Pommard Simone 2018 is nothing less than a great wine.

Like the illustrious sporting trio above, all of whom got better and better for many years before they reached a plateau and gradually descended from it, Simone 2018 will continue to improve. It is, of course, still a youngster but with massive potential. One is almost loath to use the P word because it is so good already, but it has a long life ahead of it – another 10-15 years before it reaches its plateau – and will doubtless develop new qualities as it ages. 

Head winemaker Emmanuel Sala (left) and Ch de Pommard owner, Michael Baum, online tasting 2020

Right now, though, one can only extol its manifold current virtues. Quite dark in colour, it is already a delight to drink for, notwithstanding its power, it has fine, sensuous and beautifully integrated tannins that melt in the mouth behind a wall of seductive red and black fruit. Exotic spices, so apparent on the nose, dance on the mid-palate while vivacious freshness helps achieve wonderful harmony to the wine. Structure comes from highly judicious use of new oak (38%), which underwent ‘very very light toasting’ according to Emmanuel Sala, the head winemaker, who has achieved perfect balance in the wine, sitting at 13.6% abv as it does. 

To conclude, Simone 2018 is refined, complex, rich and ripe, yet exceptionally silky in texture; very long, concentrated and intensely flavoured but at the same time graceful and fresh. Above all, it has a feeling of being absolutely natural, a reflection perhaps of Chateau de Pommard’s biodynamically-farmed vineyards. Multi-layered, its finish lingers on and on. And as soon as you have drunk the first glass, you want a second. And then another. 

“This is our pride and joy of the estate – it comes from an amazing terroir that embodies the soul of Pommard’s domain,” Michael Baum, the American owner of Château de Pommard, said of Simone 2018, a 0.53 hectare plot within the 20-hectare walled Clos Marey-Monge (the largest monopole or single vineyard in the Côte d’Or). In 2018, Sala made only 1800 bottles of it – a low yield of 30 hl/ha, although it is normally even less productive (22 hl/ha in 2017 and a mere 16 hl/ha this year). The vines were planted in 1986.

Ch de Pommard

How Château de Pommard Simone 2018 is made in the vineyard

More on Sala’s vinification methods later, but all great wines are made in the vineyard, and the terroir is the secret to Simone. The key is the quality and internal surface density of the clay in the plot. Sala provided a detailed and fascinating insight on the subject.

 “If we look under the microscope at a soil containing true clays, that is to say from the decalcification of rock, we observe that these clays form a stack of small sheets, a little like a book, that are made of alumina silicates,” he said. “Cations (positively charged ions), retained between these sheets, are all very important elements in the diet of the vine, whether for its growth, flowering or maturity, and are essential to the manufacture of the components of the grape and in particular polyphenols.”

“Depending on their classification, not all clays retain these elements, nor water, in the same way. Some clays are very simple and others very complex. In the same amount of clay, say one gram, the number of sheets can be very different. The inner surface density of clay is therefore the surface, or ‘SI’, of all the sheets contained in one gram, expressed in m2/g.”

Carving at the 300 year old Château de Pommard that confirms Joseph Marey built the winemaking cellar in 1804.

Sala is a disciple of Claude Bourguignon, the well-known and much respected viticulturalist, who maintains that if soils have a larger internal surface density of clay, their capability to produce great red wines is significantly enhanced. The actual clay proportion in a soil is not a sufficient indication of whether it has great potential. In Burgundy, the majority of soils contain about 30% clay but they do not have the same internal surface density, which helps to explain big differences between the wines.

Sala recalled Bourguignon’s astonished reaction when checking Simone’s SI clay level for the first time. “I remember in 2009 I made a big study with Claude on all the Clos Marey-Monge plots, and when he was testing Simone, I was in the cellar doing the filtration. Claude came in and said ‘Manu, Manu come with me.’ I told him ‘I can’t I’m doing the filtration.’ But he insisted, so I went with him and he said, ‘Look at this – I’ve never seen a plot like this.’ 

Sala explained why: “The average internal surface density of clay in the Côte de Nuits is close to 500 m2/g, while on the Côte de Beaune, where the greatest white wines do not require high SI clay, it is 300 m2/g. The plots that had clays with the largest internal surfaces before our study were the Musigny and the Richebourg (660m2/g). Most of our plots in Clos Marey-Monge are around 400 m2/g but one of our plots, Chantrerie, is as high as 640-650 m2/g, and Simone, highest of all at 736 m2/g, constitutes a record for Bourguignon.

“Of course, the quality of the clays is not the only qualitative factor to produce great red wines – the limestone content, the exposure, the subsoil, everything matters. However, wines from soils containing clays with high SI show more depth, as well as quality of tannin, with silkiness that is remarkable. Also such multi-layered character, which can be found in the mouth only on very few wines.”

Sala (left) and Eric Pignal, assistant winemaker

Whole bunch, biodynamic farming and salivation

As far as vinification was concerned, Sala made one important change in 2018 that he thinks proved beneficial. Having destemmed all his fruit previously, he adopted 75% whole cluster. “It was the first time I used whole cluster,” he revealed. “Stems bring more structure, and although they lower acidity, they can add more freshness and complexity. I also opted for four and a half weeks of maceration to achieve the right balance of structure and elegance. But my biggest challenge in 2018 was to keep the freshness of the wine as we had a lack of acidity that year with a TA that was less than 4g/l and a higher than normal pH of 3.8. I never add acid as you destroy the natural balance of the wine.”

How then does Simone 2018 exhibit such freshness? “It’s a mystery of tasting … a less acidic wine that seems fresher!” Sala mused. “I think Simone’s freshness is mainly related to her slightly saline finish, which helps salivation. Despite a very high pH, a wine produced on a great terroir should not lack freshness. It is a relative freshness, which is not related to acidity, but rather resulting from an almost perfect natural balance. I am convinced that if you try to correct a wine to modify its natural balance, the freshness tends to disappear because you will lose some of the vibrations and energy that make you salivate. Salivation is the basis for tasting great wines, and if you taste technological wines, even very aromatic ones, you will find that they do not make you salivate. We at Château de Pommard are getting really good freshness in warm years, which is maybe a reflection of the biodynamic treatments of our vines.” 

While Sala oversees both viticulture and vinification, he is quick to praise his assistant winemaker, Eric Pignal, as well as Baum, who has invested heavily since buying the estate in 2014. To his credit, it was Baum, a hugely successful Silicon Valley entrepreneur, who hatched the idea of multiple labels from Clos Marey-Monge.  “Finally, this crazy Californian convinced this traditional authentic Burgundian we could bottle all these cuvees separately,” Baum recalled.  “In 2017, we did this, and today, we make eight different labels – the blend and the seven plots, Simone being the most special thing we do.”

Château de Pommard’s Simone 2018 has won multiple gongs at the 2020 Sommelier Wine Awards, the 2020 Global Pinot Noir Masters, the 2020 TEXSOM International Wine Awards and the International Wine Challenge 2020. Due for release in January 2021, it has an RRP of £360.

A memorable Loire Valley tasting

Despite all the problems that Covid-19 has created for the usual smooth running of the wine supply chain, there are huge efforts being made by generic and trade bodies to give producers and buyers as much of a chance as possible to still show, taste and select wines. This was typified last week with Business France’s Val de Loire Unlocked session that gave buyers and the press the chance to taste in person a selection of 70 AOC wines from producers looking for distribution in the UK. Geoffrey Dean was there for The Buyer to pick out his highlights.  

By Geoffrey Dean November 13, 2020

The Val de Loire’s bold and praiseworthy decision to go ahead with a walkabout tasting in central London in early November just before lockdown was rewarded by a strong turnout that included a number of prominent buyers. All the 24 producers whose wines were on show are looking for representation in the UK, and such was their overall quality and general value-for-money that many may succeed in their quest. They deserve to. 

Business France UK, supported by Food Loire and Dev’Up, did an outstanding job setting up and administering the tasting in Brettenham House, just off the Strand near Waterloo Bridge. Tasters were allotted a specified window over the course of the day, with no more than six in attendance in any one hour. No one failed to show up, according to the event masterminds, Pandora Mistry and Claire Prothon, senior marketing advisors for Business France UK.

Tasters were able to sample the full range of styles from the Loire – sparkling, dry, off-dry and sweet – with a lengthy list of red and white varietals featured along with some rosés. The tasting was carefully managed by Business France to both show a wide range of seeking distribution wines from the Loire but to do so in as Covid-safe environment as possible

For many of us, it was – the seated UGC de Bordeaux event in October apart – the first tasting of its kind since the initial springtime lockdown. It was, therefore, memorable, and many of the wines will live in the memory. Maybe it was the excitement of being back at a tasting again, but a clear theme of it was the sheer freshness of the wines. While Melon de Bourgogne, Sauvignon Blanc and Chenin Blanc, as well potentially as Chardonnay, lean towards reliably high acidity levels, the winemakers still have to ensure they make balanced wines. Overridingly, they did here.

Single varietals 

As might be expected, there were also some appealing single varietal Sauvignon Blancs. Antoine de la Farge and Domaine Chavet were good ambassadors for Menetou-Salon, while Adèle Rouze and Domaine Ponroy flew the flag impressively for rustic Quincy and nearby Reuilly respectively. Domaine des Pierrettes, Domaine Octavie and and Earl Paris-Simoneau did the same for AOP Touraine.

As for Chenin Blanc, there were some terrific wines. Vignoble Vade, with its wacky, rather un-French label, produced a fine ‘Domaine St Vincent’ Saumur Blanc 2019 with honeyed notes and floral aroma; Domaine du Puy Davyeau’s L’Envol 2018 (AOP Anjou) oozed class, as did labels from Domaine de la Chataigneraie and Domaine Oudart.

Vade’s wacky label

Domaine de la Commanderie’s Médiévale Cabernet Franc 2018 (AOP Chinon), exported through Flodivins in the town of Sevremoine, was a classic example of the grape. Two Cab Franc specialists that also impressed were Joel Taluau & Thierry Foltzenlogel and Domaine Nau Frères, who each exhibited three different labels from AOC Saint Nicolas Bourgueuil and AOP Bourgueil. Domaine de la Belle Etoile’s AOP Anjou Brissac Village 2018 Cabernet Franc was another to show well, while the same producer made a very quaffable Rosé from Pineau d’Aunis and Gamay. The three other rosés exhibited were made from Pinot Gris, Pinot Noir and Cab Franc/Grolleau. 

Sparkling choice 

A raft of impressive sparkling wines were spearheaded by Maison Louis de Grenelle, a bubbly specialist based in Saumur. Their three non-vintage labels, all aged in tuffeau stone cellars, were a Crémant de Loire named ‘Louis Bio’ (a blend of organically-farmed Chenin Blanc, Chardonnay, Grolleau and Pinot Noir), and a pair of AOP Saumur sparklings: the Grande Cuvée white (Chenin Blanc and Chardonnay) and a 100% Cabernet Franc Rosé called ‘Corail.’ 

 Other sparkling producers to catch the eye were Domaine des Pierrettes (AOP Touraine) and Château d’Avrillé in Anjou (AOP Crémant de Loire). Three AOP Vouvray estates, Domaine de La Racauderie, Domaine du Clos de l’Epinay and Domaine de la Chataigneraie also stood out, the latter imaginatively labelling their Chenin Blanc fizz ‘Sparkling Bubbles Kiss.’

There were many good examples of lively, scented Muscadet from the Sèvre-et-Maine region, notably Domaine de la Potardiere, Domaine Delaunay and Jean Aubron.  Also making a good impression was Château de la Grange Barbastre in the newish Côtes de Grand Lieu (first recognised in 1994), which has the most maritime influence of all Muscadet regions. The Goulaine family has been making wine there since 1777, with Victor Goulaine having just taken over from his father Baudouin, who was vigneron for nearly 40 years. His IGP Val de Loire Chardonnay also showed well.

Perhaps, the most beguiling Muscadet was Vignoble Marchais’ Champtoceaux Côteaux de la Loire 2017 from schist and quartz soils in Thouaré that helped give it minerality. It was certainly a little leaner than riper Sèvre-et-Maine examples.

For unexpected variety, two producers showed approachable damson-fruited Malbecs from 2017 and 2018: Domaine Oudart, based in Mareuil, and Domaine des Pierrettes, situated in Rilly. Two other AOP Touraine domaines, Ponroy and Chavet, sent elegant 2019 Pinot Noirs over, while a third, Octavie, threw a light-bodied Gamay in from the same vintage.  

Half a dozen sweet or off-dry wines were available for tasting. Château de la Grange Barbastre’s Pinot Gris-Sauvignon IGP Val de Loire 2019 was an interesting blend for the latter style, while Domaine de La Racauderie and Domaine du Clos de l’Epinay went for 100% Chenin Blanc. Domaine de la Chataigneraie’s AOP Vouvray Saint-Georges Moelleux 2018, from botrytised Chenin, was a reminder of how sumptuous stickies from the Loire can be. It represented a fitting finale to a tasting for which the region must take huge credit.

A fascinating blend: Suntory's "Ao" whisky

How Suntory made its new Ao spirit from 5 distilleries around the world

Not one to shirk a challenge, Suntory decided to launch its new world travel retail brand Ao during a global pandemic, when international travel is at an all-time low. The spirit itself was also quite a feat, being a blend of whiskies from the five countries where Suntory owns distilleries – Scotland, Ireland, United States, Canada and Japan – with the concept behind it being a whisky that is all things to all whisky lovers the world over. How could it possibly succeed? Suntory’s Mike Miyamoto, whose brainchild Ao is, explained to Geoffrey Dean the thinking behind the brand which involved an ingenious tasting of different components to illustrate each country’s whisky brings to the party.

By Geoffrey Dean November 5, 2020

Despite the uncertain economic times, Beam Suntory, the oldest Japanese whisky producer, has boldly embarked on a worldwide launch of an innovative brand, Ao that is now available in global travel retail. A blend of whiskies from the five countries where Suntory owns distilleries – Scotland, Ireland, United States, Canada and Japan – Ao is the brainchild of their global brand ambassador, Mike Miyamoto, who has been involved in whisky production since 1978.

Suntory’s refreshing determination not to bow to Covid-inspired doom-and-gloom mongering fits in with their company motto, “Spirit of Bold Ambition” (‘Yatte Minahare” in Japanese). That motto dates back to 1923 when the company’s founder, Shinjiro Torii, built its first distillery at Yamazaki. His blending ability was passed down to his son and his grandson, Shinji Fukuyo, who is the current chief blender at Suntory. 

Suntory’s chief blender Shinji Fukuyo

The concept behind Ao, which was initially sold only in Japan from early 2019, was explained in a Zoom call by Miyamoto, a much respected figure in the whisky industry. “We wanted a whisky that brings the world together ‘as one’ through Japanese craftsmanship,” he said. “We called it Ao as that means ‘deep blue’ in Japanese, reflecting the oceans that link it. The bottle has five faces to represent the five countries.” The celebrated Japanese calligrapher, Ogino Tansetsu, designed the bottle’s fetching label.

Mike Miyamoto

The whole blending exercise was, Miyamoto admitted, a difficult and complicated exercise, taking as many as 100 trial blends before Fukuyo felt they had got it right. “We had four main challenges,” Miyamoto continued. “First, what should the flavour of the final product be? Secondly, how will each region perform within the blend? Thirdly, which component whiskies should be used to represent best each region’s characteristics as we had a choice of distilleries; and lastly, what is the availability of each component whisky, and how should that supply be managed? This was all very tricky for Shinji as he had to achieve harmony but some individuality, which was contradictory.”

To allow journalists best to understand the composition of Ao, Beam Suntory sent out five different samples of whisky to show what each region offered. What was imaginative was the fact each sample was the final Ao blend without one region’s component whisky. So sample 1 was the blend without Scotch, sample 2 was the blend without the Irish whisky, sample 3 was without the Bourbon, sample 4 was without the Canadian whisky and sample 5 without the Japanese. A sixth sample was the finished Ao blend.

The samples showed precisely what each region brought to the blend. Miyamoto’s commentary during the tasting was pertinent: “The one without the Scotch lacks a bit of smokiness and spiciness as well as some complexity,” he declared. “The Ardmore gives smokiness and the Glengarry spiciness, while both provide richness and depth of flavour, which is the role of Scotch. Sample 2 is a bit flat without that much kick, so the Irish whisky from our Cooley distillery also gives that depth of flavour and some complexity; the Bourbon from Jim Beam adds some bright aroma and some vanilla sweetness from the new American oak; the Canadian from the Alberta distillery adds some smoothness and sweetness; the Japanese components from our Yamazaki and Hakushu distilleries help round off any roughness, for the smokey malt from the latter is much softer than the Ardmore smokiness. So the role of the Japanese whisky is bringing together the parts into a whole. So it is a co-ordinator of perfect balance.”

What though of Ao itself? (RRP US$65 or €65). Miyamoto revealed that the five components were aged for between five and 18 years in Bourbon casks and sherry butts. The nose was bright with a top note of vanilla and pineapple-like fruitiness. A sweet, woody aroma with honey and cinnamon-like spiciness preceded a smooth and sweet mouthfeel with smoky, spicy and woody notes. Then came a very long, lingering finish with many layers of complexity. In short, a terrific whisky in complete harmony.

Ed Stening, Beam Suntory’s marketing manager, revealed more of the rationale behind Ao’s release. “We could have held this innovation back until well after the rebound,” he said, “but we feel it’s a great opportunity to throw some energy back into the travel retail channel and give some of the things we’ve all been going through over the last nine months a bit of a break. So we’re pretty excited to get this out. It’s in the UK and has just arrived at Dublin airport and JFK in New York. It’s also available in Canada, Australia, China, India, Dubai, Singapore and Hong Kong as well as European countries such as France, Germany, Netherlands and Turkey.” 

The 2018 vintage in Bordeaux

UGC tasting shows off the might of Bordeaux 2018 vintage

No elbows were needed at this year’s annual Union des Grands Crus de Bordeaux (UGC) tasting in London, and the Leoville Barton didn’t run out – the new tasting environment for the assessment of the Bordeaux 2018 vintage was seated, took five hours with 130 wines tasted. Our man at the tasting, Geoffrey Dean, selects the best wines, appellation by appellation as well as gets the views from 13 of the top châteaux owners on where lies the strengths and weaknesses of Bordeaux 2018.

By Geoffrey Dean

The annual October Union des Grands Crus de Bordeaux (UGC) tasting in London was like no other: not a single Bordeaux producer in attendance, and all tasters seated at individual tables so as to observe social distancing. It was, therefore, not the usual scrum, and with five hours allotted to taste the 130 wines on show, it was a great opportunity to get truly to grips with the 2018 vintage. Around half of the classed growths in the Medoc made their wines available although the percentage was a little higher for their Graves and Saint-Emilion counterparts.

Hailed as a great year by certain Bordelais, the wider consensus is that it has produced some outstanding and indeed exceptional wines, but not across the board. Climactic conditions ensured this, notably with white wines, both dry and sweet, which did not reach the heights of some of the reds. Parts of the Left Bank dazzled – notably Margaux and Saint-Julien – but it appears to have been more of a Right Bank year.

The magnificent setting of Church House, Westminster was the location for PR supremo Sue Glasgow’s last UGC tasting

What is undeniable is that weather conditions in 2018 were far from straightforward, with all sorts of extremes that both threatened and assisted quality grape production. Hailstorms in May and July caused damage, with a big one falling on the same day France won the football World Cup. A very wet winter was followed by a particularly damp spring, with rain lasting through till the latter half of June. This meant that one of the five conditions for a perfect red wine vintage, as laid down by the Oenological Research Unit from the Institute of Vine and Wine Science at Bordeaux University, could not be met: namely no significant rainfall after fruit set.

Downy mildew was a major problem throughout much of Bordeaux, with yields reduced accordingly. Christian Seely, general manager of Pauillac second growth Château Pichon Baron, admitted that “mildew pressure was so virulent that it was extraordinarily scary.” Organically or biodynamically farmed vineyards were especially badly hit, with Margaux third growth Château Palmer’s yield cut to a mere 11 hl/ha. By contrast, neighbouring estate Château Rauzan-Segla, which is conventionally farmed and could spray against downy mildew, produced 28 hl/ha (down from a normal yield of 40 hl/ha). Timings of sprayings were still crucial, with Seely declaring that being out by as little as two hours could prove too late.

Crucially, though, flowering, which began in late May under satisfactory conditions, was thankfully quick, ending within ten days with very little ‘coulure’ (where small berries fall off due to shrivelled stems). The timing was fortunate as rain then fell from 9-18 June before sunny weather arrived for most of the rest of the month.

Geoffrey Dean (in sleeveless jersey): “Parts of the Left Bank dazzled – notably Margaux and Saint-Julien – but it appears to have been more of a Right Bank year.”

What now made the vintage was wonderful sunny and dry weather from early July till late October, with above average sunshine hours and temperatures for that period. All the black grapes reached optimum ripeness and could be harvested at winemakers’ time of choosing with no risk of dilution or rot. Total acidity levels were not an issue thanks to the water reserves from the wet winter and spring. Patrick Maroteaux, whose family co-owns St-Julien fourth growth, Branaire-Ducru, declared that “the alcohol is one of the highest but the pH is one of the lowest.”

Etienne Charrier, technical director at Margaux fourth growth Château Prieuré-Lichine, said his pH was 3.69, with no need to correct it. Veronique Bonnie Laplane, owner of Graves estate Château Malartic-Lagraviere, revealed the pH for her reds was 3.50, while her whites came in at 3.22. The pH for Paulin Calvet’s whites at his Pessac-Leognan estate, Château Picque Caillou, were even lower at 3.10. Sufficiently low pH levels – so crucial to freshness – did not appear an issue therefore.

Those who considered this “un grand millésime” included Ludovic David, managing director of Margaux fourth growth, Château Marquis de Terme. “This is a great vintage of Bordeaux: one more – thank you global warming!” he told The Buyer. “The wine is rich and powerful because the berries had a very beautiful maturity. It is a more classic vintage than 2015, with more acidity; more powerful than 2016 and with perhaps more elegance. Difficult to say which is best because each vintage has its personality, but what connects all these wines is their quality and their balance. They are all of a very high level like the 2019 … and the 2020 that is coming.”

Likewise, Olivier Bernard, owner of leading Graves estate, Domaine de Chevalier, considers that his 2018s are the best he has made. Certainly, his white possessed vibrant acidity, layers of complexity with glorious concentration and length; and his stunning grand vin was similarly complex with gorgeous red and black fruit, sensuous tannins and a very long finish.

A general difference between the red 2018s and the much lauded 2016s is their higher sugar, and often higher alcohol levels, rendering them exuberant and almost untamed. By contrast, the 2016s are in a more classical mould. Bruno Borie, owner of Saint-Julien second growth Château Ducru-Beaucaillou, called 2018 “a revolutionary vintage that sets new standards.” His comparison of 2018 to the legendary years of 1945, 1961 and 1982 may reflect the notable Bordelais capacity to talk up the vintage.

Prominent Right Bank estates showed especially well, helped by the fact Merlot and Cabernet Franc reached optimum ripeness. Nicolas Audebert, managing director of one of the stars of the vintage, Château Canon in Saint-Emilion, declared pertinently: “We wanted to keep the freshness and limestone expression. We have to find that balance – we don’t want to lose that classic style but still follow the climate.”

Neighbouring Château Canon-La-Gaffelière, a certified organic estate, was another standout, leading Count Stephan von Neipperg, its general manager, to tell The Buyer: “We have a pretty perfect balance and freshness that becomes for me more and more important…..there’s energy in this wine. 2018 is a little between 2016 and 2015. It is less ‘easy’ than the 2015, but the tannins are more integrated than in the 2016.” Ronan Laborde, whose family own Château Clinet in Pomerol, said that 2018 “is a vintage that does not show off but has a lot of class.”

As far as the sweet wines of Sauternes and Barsac were concerned, the lack of botrytis until late in autumn militated against a memorable vintage. Seely revealed that only three tries were made at Château Suduiraut, yielding a tiny crop of 5 hl/ha. Its wine still shone out, along with those of Château Coutet, Château Sigalas Rabaud and Château Lafaurie-Peyraguey.

TOP 12 MEDOC

Brane-Cantenac

Branaire-Ducru

Lafon-Rochet

Langoa Barton

Léoville Barton

Léoville Poyferré

Lynch-Bages

Marquis de Terme

Pichon Baron

Pichon Longueville

Rauzan-Ségla

Talbot

TOP 10 GRAVES (red)

Carmes Haut-Brion

Domaine de Chevalier

Fieuzal

La Louvière

Latour-Martillac

Malartic-Lagravière

Olivier

Pape Clement

Picque Caillou

Smith Haut Lafitte

TOP 6 GRAVES (white)

Domaine de Chevalier

Fieuzal

Larrivet Haut-Brion

Pape Clement

Picque Caillou

Smith Haut Lafitte

TOP 12 SAINT-EMILION

Beau-Séjour Bécot

Canon

Canon-La-Gaffelière

Clos Fourtet

La Gaffelière

Larcis Ducasse

La Tour Figeac

Pavie Macquin

Troplong Mondot

Trottevielle

Valandraud

Villemaurine

TOP 6 POMEROL

Beauregard

Clinet

Gazin

La Croix de Gay

L’Evangile

Rouget

Care for Wild wines & saving the Rhino

Care for Wild range hopes to help rhinos & boost South African wine

You could probably make a team out of the number of former English cricketers who now have their own wine brands, but Darren Gough’s wine project is a little different. For a start his name does not appear on the label, and he does not claim to be involved in any part of the winemaking. But he 100% believes in what it stands for. As the the new Care for Wild wine range, launched last week by Freixenet Copestick, shares the name of the South African rhino sanctuary that Gough has been involved with since his playing days. Here Geoffrey Dean shares the story of how Care for Wild wine came about and how it hopes to boost sales of South African wine and help save and protect its endangered rhinos at the same time.

By Geoffrey Dean September 30, 2020

If you are looking for a South African wine brand with a point of difference then Frexienet Copestick’s new Care for Wild range – initially available through Slurp – hits the mark for so many reasons…

For much of his nine years in the England cricket team, Darren Gough was the heartbeat of the side, a man for whom the cliché – ‘he wore his heart on his sleeve’ – might have been written. As a passionate animal lover, particularly of rhinos, there could be no better brand ambassador for the appealing new South African range, Care for Wild, which was launched by Freixenet Copestick last week. Twenty per cent of profits from sales will go to the highly deserving rhino sanctuary of that name.

The passion Darren Gough has for the rhino sanctuary that will benefit from the new Care for Wild range shone through on last week’s Zoom launch

Gough was in the early stages of his international career in 1997 when he went to Kenya with England for an ICC tournament there. On a day off, he visited the Daphne Sheldrick animal orphanage in Nairobi, where he encountered orphaned elephants and rhinos. “I was there rolling in the mud with these babies, and there was this one young rhino who really took me by storm,” he said. “He was called Magnum. I took a real shine to him, so we adopted him and paid his way for a few years till he got released into the wild.”Not surprisingly, one of Gough’s nicknames became ‘Rhino’.

Chance meeting

Gough and his wife Anna’s love for rhinos led them to do volunteer work for Care for Wild, which was set up in 2001 two years before the cricketer’s international retirement by South African conservationist, Petronel Niewoudt.

By chance last December at a charity dinner Gough sat next to Robin Copestick, managing director of Freixinet Copestick. “Darren spoke of his involvement with Care for Wild, got me thinking,” said Copestick. “While I recognise that South African wine is amazing for quality and value, there isn’t really any brand that’s doing a brilliant job in the multiple retail sector. I saw an opportunity that could not only add value to the South African category, but also to raise money for such an amazing charity. We have big ambitions for the on-trade and the retail sector for the range.”

Copestick added that much will depend on whether he can get the multiples involved. Volume should not be an issue, for 5,000 cases of the two mid-market wines from Walker Bay (Syrah-Viognier and Sauvignon Blanc-Semillon blends) are available, while the three entry-level wines (Rosé, Pinotage/Shiraz and Sauvignon Blanc) are also in plentiful supply. Only the two single varietal premium wines (Shiraz from Elgin, and Chenin Blanc from Swartland) are limited to a few hundred cases.

The Care for Wild range features rhinos who have been cared for by the sanctuary

Fast launch

It is certainly a notable achievement by Copestick and his team to have delivered the whole project only nine months after it was dreamt up. “In wine terms it is really quick, and I’m proud of everyone for doing that,” Copestick said. “Thanks go to Jodie Newman for designing the rhino labels which were beautifully done by the artist Paul Stowe. And huge thanks to Overhex – and winemaker Ben Snyman – who’ve put all of these wines together for us in very difficult circumstances. They did an incredible job to get them over.”

Stowe has drawn a young male white rhino, Arthur, on the labels for the mid-market wines, and a young black male, Odin, on the premium labels, ‘The Protected Collection.’ While only 20,000 whites are alive, mostly in South Africa, around 1,000 per annum have been poached in recent years in that country. Black rhinos are even more critically endangered, numbering only 5,000.

All the orphaned rhinos rescued to the Care for Wild sanctuary are dehorned under sedation to deter poachers but the sanctuary’s location is still a closely guarded secret.

Darren and his wife Anna were able to share their own experiences of visiting and getting involved in the Care for Wild rhino sanctuary during the Zoom launch

Darren and his wife Anna went out to South Africa five times last year to visit the sanctuary, and will go again shortly now that the ban on travel into the country is being lifted on October 1. “We’re so excited about going out there for the first time this year,” Anna said. “I’m so passionate about the charity. My passion has always been animals. The care and love that goes 24/7 into these orphans that are so traumatised is amazing. People think they don’t feel anything but they really do. Arthur put up a real fight when his mother was poached and he suffered machete wounds. They call him Arthur the Great as he’s a very special character.”

Darren and Anna visiting the sanctuary in October 2019

She added: “Petronel and her team rehabilitate orphans over four different phases before introducing them back into their natural habitat. Odin is one such. Even then, they’re monitored to check they are safe and stay healthy. Looking after the surrounding villages is so important as poachers will try every means to get at the rhinos in the orphanage, so the charity gives the villagers jobs and bursaries for their agriculture and farming.”

The sanctuary has been made possible by the personal commitment and drive of founder Petronel Niewoudt 

Gough admits he gets very emotional when he visits Care for Wild. “It is so rewarding when you leave there, knowing that you’ve helped,” he said. “You see the work that Petronel puts in every day. Five new orphans have come in recently and she lives with that rhino 24/7…it’s blindfolded initially to make it feel secure. There have been no volunteers since Covid, so they’ve had to lock in the staff, who’ve had to move their families into the sanctuary, to make sure those animals survive and get the best treatment.”

The Care for Wild team in action helping to rescue a baby rhino

Petronel’s devotion to helping save a species marks her out as a remarkable woman. “May I always be so humble as to recognise how little we started with and how far we have come,” she declared. “We now understand exactly what it takes to save an orphaned rhino calf. We appreciate the time, money, and effort to save a species from extinction. This is by no means a single person’s journey. It takes a team. We spend our energy wisely and share our experience and knowledge. Why? Why not? Is it not all of our responsibility to ensure a future for generations to come?”

• If you would like to donate to Care for Wild you can do so here. 

• You can also adopt a rhino and help its recovery by clicking here. 

• To find out how else you can get involved and all the work the sanctuary does then click here. 

Tasting Notes (introductory prices until October 4 through Slurp.co.uk) 

Care for Wild “Arthur” Pale Rosé, 12% abv, £9.95

Made from Pinotage from last two vintages, with a touch of Chenin Blanc to add extra acidity; dry, clean and fresh with some raspberry notes; 2 hours on skins – very light pink hue.

Care for Wild Sauvignon Blanc, 12.5% abv, £6.95

Plenty of tropical fruit and fresh acidity; a good non-vintage quaffer.

Care for Wild “Arthur” Sauvignon Blanc/Semillon 2020, 12.5% abv, £9.95

Tropical and citrus fruit from Walker Bay with mineral notes; lively acidity.

Care for Wild ‘Protected’ Bushvine Chenin Blanc, 2019, 13% abv, £15.95

Fruit from Swartland bushvines; apricot and peach notes; barrel-fermented giving some creaminess and richness; quite complex with very good length.

Care for Wild Red Blend, 13.5% abv, £6.95

Excellent value fruit-forward quaffer; fruit from two vintages – Pinotage with some Shiraz added; oak chips give some structure.

Care for Wild “Arthur” Syrah/Viognier 2019, 14% abv, £9.95

Grapes from Walker Bay with splash of Viognier (3%) to give some florally. Forest red fruits with soft tannins and hint of spice.

Care for Wild ‘Protected’ Shiraz, 2018, 14% abv, £15.95

Cool climate fruit from Elgin; peppery and spicey with velvety tannins; good combination of Rhone-style restraint and New World forwardness; very long finish. Will cellar well.