Quench Magazine Spring/Summer 2023 issue no 372

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Please enjoy responsibly.

ENTRÉES

10

In Conversation with Padma Lakshmi

Adrian Miller

Our conversation with the Top Chef and Taste the Nation host whose award-winning platform is changing the way Indigenous and immigrant food stories are told.

14

In Conversation with Massimo Bottura Åsa Johannson

Can food save the world? The 3 Michelin Star chef believes it can.

22

There is Something About Etna

Michaela Morris

Wine grapes have been cultivated on Europe’s tallest active volcano for millennia. Despite a long history of grape growing, the wine region of Etna is still forging its identity.

26

Canada Distilled Tod Stewart

The early settlers of what is now Canada were distilling quite some time before it officially became a country. This proves they had their priorities straight. Hooch making first; nation building second.

29

Old Vines in a Young Wine Country

Janet Dorozynski

Canada is a young country when it comes to vines and wine, but we do have pockets of plantings more than 30, 40, and 50 years old that chronicle our recent history.

AMUSE-BOUCHES

8 | THE BOOZY BACKSTORY Christine Sismondo

When Avallen Calvados founder Tim Etherington-Judge began planning his start-up, his goal was to create a truly sustainable spirit.

21 | IS NATURAL WINE DEAD? Alice Feiring

32 | HEY YOUNG WORLD…THE CHANGING OF THE GUARD IN FRANCE Jermaine Stone

35 | SHIFTING PERSPECTIVES: IS AGING WINE A THING OF THE PAST Jacky Blisson MW

70 | THE BUYING GUIDE

The best wine, beer and spirits from around the world recommended by our experienced panel of tasters.

79 | BREWED AWAKENINGS Robin LeBlanc

There’s a Bad Moon on the Rise.

80 | THE QUENCH CROSSWORD PUZZLE

Test your wine knowledge.

DIGESTIF

82 | AFTER TASTE Tony Aspler

Winemaking in Israel - New world wines with ancient roots.

44

Burgundy: A Look Back at the Last 50 Years and Forward to the Next

Michael Apstein

The last 50 years has brought about Burgundy’s golden age. The wines have never been better. Nor more expensive.

48

The Châtillonnais: Burgundy’s Last Frontier

Robin Kick MW

Tucked away under the south end of Champagne’s Aube border lies the Châtillonnais–the last viticultural area within the Côte d’Or.

56

South African Wine: An Era of Change for the Better

Jessica Dupuy

Thirty years after the fall of apartheid, the wine industry in South Africa is looking very different. Though there is still much to be done, there is evidence of inclusivity in all areas of the industry.

61

Bubbles from the Hills since 1876

Alessandra Piubello

Conegliano Valdobbiadene has built the success of Prosecco over time throughout its unique history, creating a modern, informal, and cheerful Italian style of drinking that has been embraced the world over.

64 Albums that Defined 1973

Annie Zaleski

1973 is a year when many future legends began their careers, or icons released albums that would define the rest of their days. The 50 albums listed all deserve a place on your turntable or playlist.

SHAREABLES

37 | EDIBLE ARCHIVES: EATING HISTORY Meher Varma

An intimate conversation with Anumitra Ghosh Dastidar and Shalini Krishan.

40 | CHEF PROFILE: MANOELLA ‘MANU’ BUFFARA

Aman Dosanj

Meet the award-winning Brazilian chef/owner whose sustainability efforts focus on the well-being of her team.

52 | ANCESTRAL FOODWAYS Aman Dosanj

How two Mayan families in Mexico are using agritourism to keep ancient food traditions and wisdom alive.

55 | CHEF PROFILE: PEDRO MEDINA CASANOVA

Aman Dosanj

Centuries of family tradition—honoured, remixed, and made new.

67 | KADHI TO CURRY Amrita Amesur

The hope is that curry will no longer be a means of tokenising eastern cultures in the ethnic food aisle, but rather a more authentic assimilation of multi-cultural backgrounds, adding context with their evolved food cultures.

Letter from the Editor

THE WAY WE EAT AND DRINK HAS CHANGED DRAMATICALLY OVER THE PAST 50 YEARS.

The industrialization of agriculture, proliferation of fast food restaurants, morphing of neighbourhood grocery stores into big-box supermarkets, omnipresence of chain restaurants, emergence of wine into mainstream society, rise of celebrity chefs & somms, democratization of travel allowing for greater exposure to international cultures and cuisines, food tv, cultural appropriation, availability of ingredients, fad-diets, the microwave, veganism, gluten-free, GMO, the return to butter from margarine, tasting menus, criminalization of carbs, meal kits, dine-out culture, re-emergence of farmers’ markets, organic / biodynamic / sustainable / regenerative farming, natural wines, cultural appreciation, transparency in labelling, a lack of transparency in labelling, nose-to-tail, ancient grains, and let’s not forget spending more time photographing and posting your food than eating it.

We can’t expect things to stay the same, nor should we. Innovation through technology, education, experience, aspiring for something more, choosing to be different, discovery, being dissatisfied with the status quo, or simply evolution due to time will always result in change. Sometime for the better….and sometimes not.

Philosophically though, it seems that many are reconnecting with a simpler ideal of food and wine. More people do want to know where their food comes from and the people responsible for growing, selling and cooking it. After a decade of wine extremism where people were either drinking industrialized, sugar-laden swill or faulty, intensely volatile natural wines, there seems to be a calming and return to appreciating well made, minimal intervention, sustainably farmed and produced wines that reflect their respective sites, styles and grape varieties.

The way we drink wine has definitely changed. Wine is more accessible than it has ever been. Quality has improved dramatically and there are great wines being grown around the globe. Who is drinking wine has also changed as wine consumers and members of the wine industry more accurately reflect the multicultural and multidimensional world in which we live (although we still have a long way to go).

In this 50th anniversary issue of Quench, we ask “can food save the world?” I believe it can. There may not be a better way to connect with and learn about different people and cultures. Food and wine are simply extensions of a country’s, a region’s, an individual’s lifestyle and history - a microcosm of society – good, bad, nasty, beautiful – with all of its merits and faults. I’ve always believed that wine and food get their context from people, place, culture and history. What better gateway to experience all that this culturally diverse and fascinating world has to offer than through food and wine.

The social and economic significance of a vibrant culinary culture to a community cannot be overstated. Please take the opportunity to meet and speak with the chefs, farmers, cheese mongers, butchers, bakers, winemakers, and wine merchants in your community, hear their stories, learn what inspires them and discover why I firmly believe that you can taste their passion in their creations and wares.

In cultures around the world, to feed someone is an expression of love. Some of my fondest memories are in the kitchen with my mom. This issue of Quench is dedicated to the memory of my mom and to all those who make sure that we never go hungry, who comfort us with our favourite dishes and who pass down the family history, the essence of who we are, through food.

Gurvinder Bhatia editor-in-chief

Cover photo of Padma Lakshmi credit: Jennifer Livingston / Trunk Archive

Adrian Miller

Adrian is a food writer and recovering attorney who lives in Denver, Colorado. He served as a special assistant to President Bill Clinton with his Initiative for One America – the first free-standing office in the White House to address issues of racial, religious and ethnic reconciliation. Adrian’s first book, Soul Food: The Surprising Story of an American Cuisine, One Plate at a Time won the James Beard Foundation Award for Scholarship and Reference in 2014. His most recent book, Black Smoke: African Americans and the United States of Barbecue, was published in 2021 and won the 2022 James Beard Award for the same category. Adrian is featured in the Netflix series High on the Hog: How African American Cuisine Transformed America.

Alice Feiring

A journalist and essayist, Alice is a recipient of a coveted James Beard Award for wine journalism, among many other awards. A veteran writer for newspapers and magazines, she has also appeared frequently on public radio and lectures worldwide mostly about natural wine. Author of 6 books, her most recent which landed on almost every best wine book list of 2022 is To Fall in Love, Drink This. Alice lives in New York and publishes the authoritative natural wine newsletter, The Feiring Line

Amrita Amesur

Amrita is a corporate lawyer who is deeply passionate about food. She has spent the last year dedicatedly studying and documenting all of her family’s food experiences, while learning to develop her own voice as a cook and a writer. Her favourite comfort food is ghee idli podi and her go-to restaurant that never disappoints is Café Madras in Bombay.

Annie Zaleski

Annie is an award-winning author, journalist and editor with profiles, interviews, and criticism in a variety of publications including Rolling Stone, NPR Music, The Guardian, Salon, Time, and Billboard. She contributed liner notes to the 2016 reissue of R.E.M.’s Out of Time and Game Theory’s 2020 collection Across The Barrier Of Sound: PostScript and wrote Duran Duran’s essay for their 2022 Rock & Roll Hall of Fame induction. Annie has been a radio commentator on various music and pop culture topics and also a talking head in the 2005 movie Punk’s Not Dead and in a 2014 Ovation TV special on the band Blondie.

Robin Kick MW

Originally from the Chicago area, Robin currently lives in Lugano, Switzerland where she works as a freelance buying/export consultant, wine judge, educator and journalist. Robin has held a number of positions including Wine Auction Specialist for Christie’s in Beverly Hills, California and Fine Wine Buyer for Goedhuis & Co., a London-based wine merchant. While in London, she studied at the Institute of Masters of Wine, graduating in 2014. When she is not in Switzerland, she spends much of her time in the Côte d’Or or travelling and tasting through many of Italy’s wine regions.

No. 372

The Past, Present & Future of Wine; Can Food Save the World?

Editor-in-chief

Gurvinder Bhatia editor@quench.me

Contributing Editors

Michaela Morris

Tod Stewart

Kathy Valentine–Music

Copy Editor

Lisa Hoekstra

Columnists

Tony Aspler

Robin LeBlanc

Christine Sismondo

Contributors

Adrian Miller

Alessandra Piubello

Alice Feiring

Aman Dosanj

Amrita Amesur

Annie Zaleski

Åsa Johansson

Jacky Blisson MW

Janet Dorozynski

Jermaine Stone

Jessica Dupuy

Meher Varma

Michael Apstein

Robin Kick MW

Editor & Publisher

Gurvinder Bhatia

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Tasters

Tony Aspler

Gurvinder Bhatia

Michaela Morris

Michelle Bouffard

Tim Pawsey

Christopher Sealy

Brie Dema

Donatella Dicca

Tod Stewart

Christine Sismondo

Robin LeBlanc

Creative Director

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Most people who launch a spirit brand are inspired by a specific category. Often as not, that spirit is either whisky or tequila.

When Avallen Calvados founder Tim Etherington-Judge began planning his start-up, though, he didn’t know which spirit he was going to make. His goal was to create a truly sustainable spirit—one that promoted biodiversity, was bee-positive, transparent about its carbon footprint and produced under the B-Corp model, which prioritizes social and environmental responsibility over economic growth.

After extensive research, he settled on Calvados, in part because the orchards in Normandy are largely reliant on the wild bee population—as opposed to apiaries.

“I think, in general, it’s less industrial than a lot of other spirits, because of the rules and regulations surrounding the production of Calvados, all of which are to maintain the orchards,” says Etherington-Judge. “One of the reasons we chose Calvados as our spirit is that there are many traditional practices still being enforced.”

In addition to requirements about spacing in the orchards and mandatory grass ground

cover between the trees, the region has actively resisted monoculture by allowing over 200 different varieties of apples to be used in the production of Calvados.

Strangely, though, most of the tough regulations are limited to the orchards and stop at the distillery door. After the liquid comes off the stills, things loosen up considerably—and not just with Calvados, but with many French spirits.

“What is less frequently spoken about is what’s added to the liquid after,” Etherington-Judge explains. “More often than not, French spirits contain added sugar, caramel, and boisé, an oak extract that we were very particular about avoiding for a number of reasons.”

Boisé is an “aging alternative” product that’s made by boiling and then simmering wood in water for hours until it turns into something like an “oak tea.” After that, it’s reduced and added to spirits to add weight and make a spirit look and taste older than it actually is.

Etherington-Judge isn’t alone in avoiding boisé. Many in both the Cognac and Calvados industry have misgivings about this controversial product. Fewer worry about the other, less odious additives, especially the dosage, which involves adding a small amount of sugar—a practice that’s also used to make Champagne and Cognac.

“My partner was speaking to the distiller one day and told her: ‘We’ll just add sugar and not tell Tim, okay?’” recalls Etherington-Judge. “So, it’s pretty universal here.”

His partner said no, obviously. This choice, as well as all the other additives that are omitted, makes Avallen distinct from any Calvados I’ve ever tried. It’s light in colour and, instead of tasting like boozy apple crumble, it’s floral and fresh. That might be a problem for a digestif but, since this spirit is really meant more for mixing, it’s an asset.

In case you’re wondering what to mix it with, keep it simple and use it in a highball, like this Normandy Tonic.

NORMANDY TONIC

Ingredients

2 oz Avallen Calvados

4 oz Fever-Tree Ginger Beer

½ oz fresh lemon juice

1 apple fan (for garnish)

Method

Build in an ice-filled highball glass. Garnish with the apple fan.

also

as Canada’s

and art. Her cocktail of choice is a Pisco Sour.

Christine Sismondo, PhD, is an historian and the author of America Walks into a Bar: A Spirited History of Taverns and Saloons, Speakeasies and Grog Shops; Mondo Cocktail: A Shaken and Stirred History; and, most recently, Canadian Spirits: The Essential Cross-Country Guide to Distilleries, Their Spirits and Where to Imbibe Them (with Stephen Beaumont). Sismondo

acts

Academy Chair for The World’s Best 50 Bars and as a judge for the World Gin Awards. Christine lives in Toronto and is working on a new book about cocktails

Photo courtesy of Avallen

Photo courtesy of Avallen

Avallen partners Tim Etherington-Judge and Stephanie Jordan

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In Conversation with Padma Lakshmi:

Can Celebrities Influence Systemic Change through Food?

By Adrian Miller

In 1999, Padma Lakshmi began her public culinary journey by writing Easy Exotic: A Model’s Low-Fat Recipes from Around the World. Her main goal was to show people a healthy way to lose weight while still exploring global flavors. Nearly a quarter of a century later, Lakshmi is the host of Taste the Nation and has grown a prolific, multifaceted (cookbooks and television shows), award-winning platform that is changing the way Indigenous and immigrant food stories are told. We spoke with Ms. Lakshmi to find out more about why her work remains undone.

The following conversation has been condensed and edited for clarity.

What got you first interested in food?

I think I was always interested in food because my palate is very sensitive. So, from a very young age, like even as a late toddler at three or four, I was climbing the pantry shelves … in my grandma’s house … trying to taste all the different things she had, including some very spicy pickles and chutneys. Then as I grew, I would always hang around in the kitchen and I was just absorbing everything that was cooked by my grandmother or my aunts or my mom. We didn’t go out to eat to fancy restaurants, or even any restaurants regularly, other than maybe Chinese or Thai food, or pizza twice a month. So, I didn’t really know [culinary arts] was a profession, and I didn’t really start reading good food writing until I got to college … M.F.K.

Fisher, Calvin Trillin, Nigel Slater, that kind of thing. I just enjoyed it. Calvin Trillin’s The Tummy Trilogy changed my life, and so did How to Cook a Wolf by M.F.K. [Fisher]. So, that is how my entry to food began.

How did your journey unfold after that?

[For] my first movie, I had to gain 20 pounds. After that, I needed to lose the weight in a healthy way. I’d never really been on a diet, so I just kind of made some alterations in my repertoire of recipes, and a book came out of that. That is how my [food writing] career got launched when I was around 28 years old. It was not my first career. If you had told me, when I was a teenager or even in college when I was studying for my theater degree, that I

would be in food, I would have said: “Oh, no, I doubt that. That’s just for French white people, especially white men.” But, of course, now if you ask me today, after 20 years in the food industry, I would say that the most exciting food is what’s happening on the ground, at a grassroots level, in many mom-and-pop restaurants of various ethnicities.

Toronto, Canada is an exciting place specifically for that kind of food. I went to stay with my cousin, Arthi, in Markham, for example, which is a [Toronto] suburb, and there’s the Sri Lankan neighborhood, there’s the Thai neighborhood, there’s the Chinese neighborhood. It’s so fascinating. You can drive from one [neighborhood] to another within 10 minutes.

Photo courtesy of Padma Lakshmi

That first book was called Easy Exotic, right? Yeah, and honestly … if you ask me now, I cringe at that title. But, in my defense, what I was trying to communicate with that title and that book is really the same thing that I’m doing now in my career. I’m trying to demystify dishes that we traditionally, in the established Western European canon, think of as the “other.” I’m trying to make them familiar. I’m enthusiastic about that kind of food because it’s the kind of food that I love to eat most on my own time. It’s not some moral thing that I need to take up as an immigrant. It is genuinely what I would be interested in even if I wasn’t paid to do it.

Do you feel like you have the same audience across the various platforms that you use?

I think my audience is as young as 12 or 14 years old, and as old as someone in their 80s. I think they are different [audiences]. Things about my body of work touch different sectors of the population; I hope other immigrants or children of immigrants, or even [the] grandchildren of immigrants, who may not be Indian or even Asian,

really can relate to the type of cooking [that] I’m doing. I don’t only do Indian food.

If you look at both my cookbooks, I have [traditional recipes], and I’m updating them, modernizing them, making them more approachable, because that’s what I do in my own kitchen. Gone are the days when we have four hours to prepare a meal. Everybody is working and trying to get home, wants to go to the gym, wants to help their kids with homework, wants to deal with the 15 emails they get after 7:00 PM, you know? So, a lot of [cooking] shortcuts in our modern world are helpful because they make those recipes more accessible.

Is that the most traditional way to do things? No. Is that probably the version of the recipe that’s most likely to get made? Yes, in my opinion. And I’m always cooking for that working parent who, you know, is middle class or even working class. Maybe they took a vacation somewhere, studied abroad in college, or they love to go to that local Thai restaurant, but they never make those things at home because [those recipes are] intimidating. That’s my audience. My audience is not the audience that regularly goes to three Michelin-starred restaurants, right?

I’m very comfortable in the [fine dining] food world, but I gotta be honest. When I’m not being filmed, I probably go to those tasting menu type meals maybe twice a year. If I wanted to go more, I could. And I value that kind of food. I respect it. I understand the expertise, and almost culinary brilliance and patience it takes to achieve that high art of food, but it’s just not where my curiosity lies.

Is it fair to say that you’re really advocating a kind of systemic change through food?

I have spent the bulk of my career in food on Top Chef, outside of my writing and other engagements. I have seen food trends evolve, but what I have also seen is that there’s a specific canon of Western European food rules that are propagated by mostly French culinary technique … [t]hat was the prevailing barometer by which people measured everything. But that is not how most of the world eats.

Over the years, I got a little tired of the same thing, and then the 2016 election cycle happened. I heard so much venom being spewed from Washington and [President] Trump and all that against minorities. There was this almost patronizing arrogance about who owns America and how did they come to own it. I started doing whatever I could to counteract a lot of that venom in the media that was coming out of people like Steve Bannon or Stephen Miller. I started working with the ACLU [American Civil Liberties Union] [and have been] for seven years now. It was through them that I learned about other marginalized and minority communities in America. From a grassroots perspective, [I] started talking to immigrants of all kinds. As I learned about their food, I wanted to do something artistic. That is how Taste the Nation was born, and it has been the professional highlight of my career.

What kind of feedback have you been receiving about the show?

I can tell you I was very pleased to get 100 on Rotten Tomatoes. [Laughs] I always thought hopefully it would happen as an actor, but I’ll take it. I’m very proud of the show. There was a beautiful article in UPROXX written by an Indigenous person [Zach Johnston] when the first season came out. That really was quite

Photo courtesy of Padma Lakshmi

moving to me because, if you want to really talk about American food, then you can’t have that discussion without featuring and investigating Indigenous native food[s] from the Americas, right? There was the New York Times piece by Tejal Rao [about the show] and she’s somebody I really respect and admire. I was very moved by that. There was also an article in The Atlantic. Those three big articles were very gratifying, because it’s one thing to feel very passionate and [have it live] in your head. It’s another thing, and nothing short of a miracle, that you actually get to make a show that you had in mind [and share it with others].

Was your vision a hard sell for the platform that ultimately aired Taste the Nation?

It wasn’t a hard sell for my partner, David Smith, of Part 2 Pictures, or for my own production company Delicious Entertainment. We got turned down by six or seven networks before we got to Hulu. And by the time Hulu said they wanted to speak to me, I was feeling quite demoralized. I thought maybe this is something that only I want to watch because everyone kept telling me that there were enough of these kind of travel shows. That I was trying to be [Anthony] Bourdain, and I was not trying to be Bourdain. Nobody could be Bourdain!

I just had such a specific view of the show that was born out of my personal experience and [the experiences of] many of the people in the communities that I grew up [around], whether they were Mexican or Filipino or whatever. I just thought, OK, maybe it [the show] is not a good idea. I concede that my tastes are not commercial or mainstream.

[After several failed pitches], every time Hulu came around, it was like, I’ll take the meeting, but I’m not leaving my desk. I literally pitched them the show in my pajamas [over Zoom]. And I have to say, they have been a fabulous partner to work with, and as an author, I could not ask for more.

What was the elevator pitch for Taste the Nation?

Taste the Nation, which takes its title as a riff from a political show on television here in America called Face the Nation, is a show that explores immigrant and Indigenous commu-

nities in America, that have often not been given the mainstream platform or spotlight that Western European foods and cultures are often given.

What would be your advice or how would you inspire somebody to get involved in making systemic change through food?

If you’re in the food industry, like if you’re a chef who’s hiring, I would say please go out of your way to recruit from communities that are not yours. That is to say, if you’re a French male, or if you’re a white male chef with a lot of power to hire, please go and hire in urban areas and where kids don’t even know that’s a career that’s available to them. Your food and your restaurant will be better because they’ll bring a whole different body of personal experience to your kitchen, and that diversity is good for your bottom line.

If you are a dean at any cooking school in North America, I would strongly urge you to look at your curriculum and make sure that you are teaching African American food or African diaspora food. Because Black people in this country are the ones who built southern cooking and it’s often swept under with one very big brush, but there are nuances that are easily traceable back to Senegal and Nigeria and Sierra Leone.

If you are not in the food business at all, I would say be mindful of where you shop and then just [approach it] from a fun kind of perspective with your children. Pick a country and look up the foods of that country, then go and get the groceries you need with your child in tow so that you can teach them about different communities through food, just like I do on the show. And it’s never too early to get your kids involved in the kitchen. I would say one of the biggest pieces of advice I can give to any parent is that if you want your kid to eat well, give them the gift of good food. The best thing you

can do is to cook at home as often as possible, and as early as possible, as your kids grow [up]. A child who takes part in the preparation of their own food is more likely to eat healthy and eat more varied foods. And that can be as simple as a three year old shelling peas or breaking the ends off beans, or a five year old cooking vegetables.

What’s next for you in terms of something you want to highlight in the culinary world?

I have a few months now of downtime and, you know, Taste the Nation actually started as a book project and then it morphed into a television project. I still want to do the book because a book and a TV show are two different mediums and [I can] communicate different nuances with each. So my next project is … a cookbook, but I also want it to be a travelogue of everything I’ve learned that I didn’t have time for in the show to share with people. And I hope that that inspires other people, even if they can’t go on the journeys or travel to the places and embed themselves in the communities that I feature. Perhaps they can travel there with their families and the fork.

Adrian Miller is a food writer and recovering attorney who lives in Denver, Colorado. He served as a special assistant to President Bill Clinton with his Initiative for One America –the first free-standing office in the White House to address issues of racial, religious and ethnic reconciliation. Adrian’s first book, Soul Food: The Surprising Story of an American Cuisine, One Plate at a Time won the James Beard Foundation Award for Scholarship and Reference in 2014. His most recent book, Black Smoke: African Americans and the United States of Barbecue, was published in 2021 and won the 2022 James Beard Award for the same category. Adrian is featured in the Netflix series High on the Hog: How African American Cuisine Transformed America

In conversation with Massimo Bottura: Can Food Save the World? The 3 Michelin Star Chef Believes it Can.

By Åsa Johansson

Photo

Italian chef Massimo Bottura and his wife Lara Gilmore, from the three-star Osteria la Francescana in Modena, have started several global social projects connected to food. According to Bottura, food can change the world—but how? During this extended interview with Bottura, we discussed his and Gilmore’s Food for Soul project, food security, hope, and how we all can do more.

“Well-known chefs around the world should do more to make society better. Just cooking beautiful and delicious food is no longer enough. Think what a change we could make,” Bottura once told me. We decided to revisit the topic in an effort to understand more because since our last interview, Bottura and Gilmore started Food for Soul: a project that takes food leftovers, prepares and serves them in a beautiful environment to those in need. Currently, Food for Soul operates in the USA, Italy, France, Canada, Brazil, and Peru.

What was the reason for starting these different social projects connected to food worldwide, like Food for Soul?

We came to a place in our journey, having achieved awards, recognition, and success, where our role as leaders in the industry, in our restaurants, and in communities became clearer. Understanding and feeling that the value of our work was not only in these achievements but in the lives we touched, and the people we served. Giving forward is a way of life, an opportunity to use one’s voice and success to share what you learn while helping others with greater needs grow and be well.

How did you start?

We did not have a plan. We acted with hope and leaned into our community of friends to support the causes we believed in. Food for Soul began as an idea, a vision for a better future. Step by step, its founding ideas around environmental sustainability, social inclusivity, and no food waste have become a global movement. Sometimes it begins with an intention, no real plan, but a call to action. We have learned to trust this instinct and jump in. That’s how change happens.

Is using fame and food to drive systemic change possible, or is it just a band-aid because the issue is too big to fix?

Fame, celebrity, and success are tools that open opportunities to create social change. The food we make in our restaurants conveys our thoughts and emotions. By the time one leaves, we have delivered an experience, a message, sometimes subtle and sometimes boldly. With each experience, we have reached new people and a unique opportunity to share perspectives and invite people into our world. Fame offers the same opportunity. If used for goodwill, it has an audience to share [with] and invite into the future we see as possible. It can feel that the change is too massive to try, but this, too, is only a perspective. More of us working to share within our network will grow into something huge that can tackle massive challenges. It’s like the ingredients of a recipe, and the sum of them creates something much different and even more profound.

What role, if any, should our leaders—political, social, cultural—play concerning being food advocates?

We all have a relationship with food; from an early age, we understand we need to eat to survive. But [for] each of us, … where we live, the traditions we grow up with, and how much money we have influences our relationship with food and our understanding of its value and relationship to the planet, economy, and health. While it has taken years of research and activism, these relationships and our food system are better understood. Social and environmental science has given us a roadmap and ways in which we can all engage. More and more companies, governments, and associations are joining the conversation to help make food a priority. Food education is found in more schools around the world. Cooking with the family, and growing one’s food, has had a resurgence, and at the same time, we all can feel the effects of a broken food system. Because of leaders at every level, in all professions, we are in a better place today than 10 years ago. More collaboration, accountability, and more of us tackling climate, inequity, and inclusivity—all connected to food.

So, yes—leaders are responsible for using their voice for good, showing us the best way forward. But as I said, everyone is in a constant flow of learning their relationship to food. We have to make room for mistakes and failures and show our support at every level of society by sharing knowledge, doing our part, and being advocates in our communities. Those who have strong relationships with food can help

Photo credit: Daniel Coelho

Photo credit: Filippo L’Astorina –The Upcoming

Refettorio Geneva inauguration - seasonal Pasta al Pesto, No Waste

Guests at Refettorio Gastromotiva, Rio De Janeiro

drive change and use our skills and networks to bring people together. Food is a connector and is one of the most natural ways to bridge the existing gap.

How do we get our political leaders to make issues surrounding food an essential part of their platform and understand that they affect so many other aspects of our economy, social constructs, poverty, racism, and so on?

We have to work at a grass-roots level. Political leaders are motivated for all different reasons. If we want our food system to be centerstage and part of political agendas, we must understand what that means and begin prioritizing it in our daily lives, at home, and in the workplace. When you ask how we can move government leaders to prioritize food issues, we must first understand the shift and the outcome that will occur.

Are we asking for policy changes that affect how we grow and distribute food? Are we changing agricultural subsidies? Are we challenging how companies produce? Is our aim to reduce emissions?

Each of these has outcomes that will affect our choice and lifestyle. We have to be willing to accept and adopt the change that will come. I was born into a culture deeply connected to food. I am from a region where we wait days, months, or years for something magical to happen, such as balsamic vinegar. Emilia-Romagna is the land of slow food and fast cars. Innovation comes by giving value to tradition and not losing sight of what history has taught us. We

break cycles to reinvent them, to improve them.   We can think of our policies in the same way. Our food system today is a product of yesterday. If we want a different future, we must have the will to do it. Political will is the will of the people, and I believe the people’s will is more aligned today than ever before. More of us want a future in which all people can live well. We must act as global citizens, use our voice, and vote for the future—then policies, and political leaders, will change.

Poor neighbourhoods are less likely to eat healthily and have access to healthy food—insufficient availability and affordability. How do we break the cycle of poverty and hunger, and what role can our leaders play?

Understanding a community’s social vulnerability helps us understand the type and depth of needs and solutions that can break the poverty cycle. When we look at these vulnerabilities, we see that more people are in need than many think. We tend to judge poverty, that those on the street, in food pantry lines, are the only food insecure.

There is a hidden poverty that exists everywhere. Those individuals and families that sit just above the poverty line, someone who loses a job suddenly, gets sick, becomes isolated, flees from conflict or natural disasters—all of these contribute to poverty. Unfortunately, it’s also generational, passed down and further exacerbated by hate and racism. Leaders can help by recognizing the different circumstances that lead to poverty, and creating diverse coali-

tions driven by action and willingness to share goals and outcomes. For example, a city’s environmental goals should not be separate from its public health goals. We must work together. Governments, mayors, and civic leaders who open their doors to all people and all ideas, and who believe in education can help model the type of collaboration necessary to solve the complexity of poverty.

Food security may be an obvious answer as the main priority, but what does that mean?

At Food for Soul, we ask ourselves what the definition of food security is all the time—both to help us adapt to the existing conditions of need and to ensure we are creating an impact that sustains the Refettorio communities we serve [ed. Refettorio was originally a place where monks gathered together to share their daily meal. In the context of Food for Soul, they are “physical spaces designed as community hubs to inspire and empower human potential”]. This is different from hunger relief. Providing one meal to someone helps their immediate hunger, but it doesn’t mean that person is food secure. Food security includes accessibility, affordability, choice, cultural appropriateness, consistency, and quality. When you look at what it means to be food safe, you see how food is connected to livelihood and well-being. Does this individual have shelter, health care, education, or a job?

Food can be a pathway to understanding a person’s overall needs and the future they dream of. Refettorio projects allow for that con-

Photo credit: Simon Owen Red Photographic

Hospitality service at Refettorio Felix, London

versation to unfold—around the table, people feel connected and have the room to express themselves in ways that otherwise may not. It’s a place to be vulnerable.

For us, food security means that someone knows where their next meal is coming from. They can control it, afford it, cook it, and share it. To start, we have to ask: does food assistance only satisfy immediate hunger? If so, how can we change our actions to create a lasting impact and a food-secure community? We think the collaborative formula of a Refettorio, where food is central but surrounded by culture, connection, and community, is a good starting point to change the trajectory.

How do we get the systems to change?

I am still asking that question and discovering the answer. What our teams know for sure is that asking the question repetitiously is essential. As humans, we are constantly evolving. Our solutions today may not be relevant tomorrow, but by asking the question repeatedly, we allow room for growth, adaptation, and change. Maybe this is why progress can be so slow. Change is often perceived as failure—you know the saying, “stay the course”—when real change is what will move us forward.

Is it more important to change the way people think to address the root causes rather than address the symptoms of the issue?

We learn how to tackle the root cause by addressing the symptoms. It’s not possible to be successful in approaching only one. At Food for

Soul, we have learned we need the doers, the dreamers, the sceptics, the critics—everyone at the table to create change. We need those who are on the emergency line and those who stay behind to rebuild. It’s all the same, and we cannot abandon one another.

How can we do more? What can we change? Change can feel overwhelming. Significant challenges like climate change or fixing the food system can seem out of reach. So why try? The truth is the opposite. Changing our behaviours has a more significant impact than we think. Small individual acts hold significant meaning. Look at what you are buying, cooking, and eating. Can you point to one thing helping to improve the planet’s health, something good for nature? Maybe it’s buying from a local farmer, eating in season, using less water, or using a reusable bag at the store— whichever the small act may be—it is the first step to taking bigger action.

How vital is gastrodiplomacy? How can we better understand the concept and the various cultures and communities worldwide using food as the vehicle?

There can be no better vehicle for togetherness and diplomacy than food. It provides a window to see, learn, and understand the culture. The art of eating and sharing food, traditions, recipes, craft, and techniques all tell a story about who we are. How we treat our food system and the people who cultivate it tells a story about how we value one another and nature—wheth-

er the act is gastrodiplomacy or something else, food, cooking, and joining others around the table—seeds the conversation into understanding, acceptance, inclusion, and love.

Talking to Bottura fills you with energy and hope and makes you want to stand up and shout, “Yes, we can!” and maybe that is what a true leader is all about. Making you feel the importance of your personal choices, making you want to become a better person, small steps at a time to create something bigger, together with others.

Åsa Johansson came to Italy from Sweden in 2001 because she loved Italian films from the ‘50s and ‘60s and wanted to learn Italian. It was love at first sight. Following a degree in political science and journalism at the University of Florence, she now writes about wine, food, and travel for Swedish, Norwegian, Italian and Canadian publications. Åsa travels back to Sweden on a regular basis to hold courses and seminars on Italian wines. Since 2019 she produces her own extra virgin olive oil, La Collina Blu, from the olive trees on the Tuscan hills where she lives with her husband Stefano and two children. Her latest project is Sweden’s first podcast about Italian wine.

Photo credit: Saillet

Photo credit: Angelo Dal Bó

Photo credit: Fundacion Palace, Refettorio Merida

Culinary team preparing take away meals at Refettorio Geneva

Guest at Refettorio Gastromotiva, Rio de Janeiro

Guest at Refettorio Mérida, Yucatan

Is Natural Wine Dead?

By Alice Feiring

Shortly after the New Year, I got a midnight text from a friend. “Dude, all these young ‘natchlings’ are telling me that it’s over in NYC. Natural wine is at a saturation point.” His evidence was that the best and most trendy bottles were no longer available in limited supply. “I can get anything that I want,” he wrote, but he wasn’t bragging.

For those who are still willfully ignorant about natural wine, let me clear that up. These wines are made from organically grown grapes with nothing added or taken away—not a passing fad. They are a return to authenticity. I’ve been devoted to advocating for these wines since around 2000 when they were barely registering in the wine world. While there may be some rough times right now, this movement is no passing fancy.

The present natural wine revolution (there have been several) was born in 1978 in Beaujolais. The snapshot goes like this. Marcel Lapierre was making wine in the modern way he had been taught in oenology school and he hated the results. Fortuitously, a meeting with his neighbor, a scientist/vigneron named Julies Chauvet, changed everything. Chauvet was conducting an array of wine experiments including zero sulfur winemaking and making wine in the traditional way. Lapierre followed his lead, and before too long, a group in the area followed suit. These new wines rocked Paris in the early ‘80s when the first natural wine bars popped up. It took about 30 more years before natural wines began to create overnight sensations in the rest of the world.

For those of us who have insisted on wine made solely from organic grapes, the fact that the “natural craze” achieved so much acclaim is worth celebrating. Others should take note that it wasn’t actually a craze but a shift that made considerable contributions to the greater vinous world. Like them or not, the natural contingent was the driving force around reclamation of abandoned vineyards and regions like Chile and Georgia [the country, not the state]. Many growers left chemical farming behind in favor of organic, regenerative, or biodynamic farming; acceptance of hybrid grapes; and naturally low alcohols. New oak is mostly on the decline as producers explore alternative fermentation vessels that have less impact on taste—concrete, clay, old wood, and glass. Even in conservative regions like Bordeaux or Burgundy, producers are reevaluating additives including reducing the sulfur addition.

Legacy producers like Domaine de Montille and Albert Bichot have added some ‘natural’, organic, and no SO2 wines to their lineup. Then there’s the pet’nat and skin contact wines. Now, and I write this with relief, it’s far easier for me to grab a glass of natural wine almost anywhere I go.

A seemingly insatiable thirst for natural wine hit the high-water mark around 2018. There was simply not enough of the good stuff around. As a result, there was gap filled by new producers who ignored the need for organic viticulture and reduced this category to a “style” of

a wine that is fizzy, cloudy, and boring, with no structure—soulless with the wildness filtered out, but easy to drink. They were just as formulaic as the “Parkerized” wines of the past.

On the other hand, there were sincere natural winemakers that bottled early, often too early, and put out wines that were falling apart with bad reduction, intense volatility and mouse, because there were people who actually liked those wines. The taste was new and appealing, and after all, if it was natural, it had to be good. These were acceptable as long as the wines were under $13 a glass. Now, where prices for wine are rising fast, and by-the-glass hovers around $20, natural or not, it’s a hard sell. Cheap and cheerful is one thing, expensive but soulless is another.

The rising cost of wine is an industry problem, not just for natural producers. A winemaker friend in California told me that when he goes out, he drinks beer. I often choose a martini after looking over the wine selection and prices. Wine is simply too expensive, whether it’s natural or not. This crisis will give rise to something else—a more discerning customer.

For years, the natural stuff was heralded as the genus that would generate enthusiasm for wine from millennials and other new market segments; the genre seemed unstoppable. But rising prices mean more careful choices are necessary: it’s one thing to choose a $15 bottle of wine and find it disappointing, but a whole different thing at $45.

So, is it true that natural wine is over? Not in the least. But perhaps the dogmatic “all wine is great as long as it is natural” is. Maybe the fad-like acceptance of unstable and distasteful wines is over. Hallelujah! People who love wines without additives are not going back to drink tricked up ones. But now, natural wine really is just wine; it has the same problems as the rest of the wine industry. It’s just too damned expensive.

Journalist and essayist Alice Feiring is a recipient of a coveted James Beard Award for wine journalism, among many other awards. A veteran writer for newspapers and magazines, she has also appeared frequently on public radio and lectures worldwide mostly about natural wine. Author of 6 books, her most recent which landed on almost every best wine book of 2022 is To Fall in Love, Drink This. Alice lives in New York and publishes the authoritative natural wine newsletter, The Feiring Line

There’s Something

About Etna

By Michaela Morris

I clearly remember first tasting Marco de Grazia’s Mount Etna wines in 2005. He rhapsodized about the dark volcanic soil, the gnarly old bush vines amid petrified lava flows, wildflowers and broom, the stone terraces, and the energy of the mountain. It was the seed of my obsession. After finally setting foot, I have been making regular pilgrimages ever since.

Europe’s highest active volcano, Etna reaches approximately 3,300 metres. The peak is often shrouded by cloud, or smoke, revealing its majesty on a whim. 2,900 metres is as close to the summit as one can get without a guide. At these lofty heights, there is no vegetation; just relentless wind—as bracing as Carricante’s acidity—and the austere black stones that crunch underfoot—like the fine, gritty texture of Nerello Mascalese’s tannins.

Vineyards are located at more hospitable altitudes climbing from 400 to upwards of 1,000 metres. The balmy Mediterranean climate of Italy’s south along with the nearby sea collide with the sub-alpine environment of this active volcano’s slopes bringing wind, considerable rain, and significant diurnal temperature differences. The soil—from pebbly or gravelly pumice to sand and ash—is rich in nutrients, fertile, and very well-draining.

Wine grapes have been cultivated on Etna for millennia, dating back at least to the Greeks who colonized Sicily in the eighth century BC. As long ago as 1596, the ash of Etna was credited for the quality of wines coming from the Catania province. Following a planting boom in 19th century, phylloxera and two world wars led to economic decline and a rural exodus. Many vineyards were overtaken by forest and brambles. You can see the vestiges of this today as plots of vines pop up amidst the woodlands.

Even more evocative of the past are the palmentos. These rock cut basins, which were used to vinify grapes, are unique to Sicily, particularly in the island’s northeast. In north Etna alone, 50 2,500- to 3,000-year-old palmentos have been unearthed. Though no longer used for winemaking, they are incorporated into contemporary estates in various inventive ways.

Despite a decline in the 20th century, winemaking was not completely abandoned. Historic estates like Barone di Villagrande and Murgo have been making wine on Etna since the 18th and 19th century respectively. Furthermore, Etna was Sicily’s first DOC, established in 1968. But the region’s renaissance, which includes recovering vineyards—often featuring precious, old pre-phylloxera vines—is very recent.

“Under the ashes, we are still discovering new things. Some are worth it, others not,” states de Grazia. A US importer since 1980, he launched his Terre Nere label in 2002, kickstarting awareness of the region and helping accelerate its growth.

Since my first trip in 2011, the number of producers has almost doubled (to 390 today), and the amount of wine actually bottled has tripled. Nevertheless, the wines of Etna don’t even amount to 5% of Sicily’s production. Furthermore, the region remains in the hands of small, artisanal estates—almost half of which own less than 1 ha and 93% own less than 10 ha. However, everyone wants to have a piece of it, and large estates from other parts of Sicily—like Cusumano, Donnafugata, Planeta, and Tasca d’Almerita—already do.

As unique as the territory itself are its indigenous grapes. Nerello Mascalese takes the leading role in reds (which account for over half of Etna’s production). This late ripening, thickskinned variety is well-endowed with tannins— sometimes astringent in nature, yet it yields relatively pale-coloured wines. Think texture, without weight. Sometimes playing a minor role, Nerello Cappuccio lends colour while softening Nerello Mascalese’s acidity and tannins.

In terms of whites (approximately one-third of wines produced), Carricante is the star. Racy and penetrating with mineral rather than fruity charms, it expresses citrus, mountain herbs, and blossoms. Blending partners, especially Catarratto, give a broader, lusher mouthfeel.

As for the remaining wines, rosato and traditional method sparkling—both predominantly Nerello Mascalese—represent eight percent and four percent respectively.

Both Nerello Mascalese and Carricante possess a great ability to interpret Etna’s myriad of sites, which range in altitude, exposure, and soil structure due to different lava flows. To capture this diversity, the Etna DOC adopted the naming of contrade on labels. Legally recog-

nized in 2011, these geographical districts are larger than a single vineyard but smaller than administrative townships and are based on old cadastral maps. In September 2022, the consorzio released its first official contrade map after updating boundaries to reflect the resulting shifts of recent eruption activity, increasing the number of contrade to 142 from the original 133.

Terraced vineyards and bush vines on Etna

Most producers embrace the map as a point of departure. “But it still expresses too little in terms of the terroir,” says up-and-comer Giulia Monteleone. She explains that the next phase is to identify the diverse soil, exposition, and microclimate of each.

For the uninitiated, and even the wellversed, 142 contrade are a lot to digest. A first step to understanding Etna’s diversity is exploring her four slopes. The wine region forms a backward C around the volcano starting in the north and moving clockwise to the southwest.

The largest number of producers—and contrade—are found in the north. Though cool, this part of Etna is protected from rain and hail by the Peloritani and Nebrodi mountains. DOC wines are permitted up to 800 metres and the slopes are gentler than those to the east. The soil is predominantly associated with more recent lava flows—from the Mongibello era. This is definitely Nerello Mascalese territory and a treasure trove of Etna’s most profound Rosso. That said, Carricante is increasing.

Continuing east, vineyards overlook the Ionian Sea. They become steeper with increased altitude; terraced slopes reach 900 metres. Here, warm mists from the sea meet cold mountain air. “It is one of the rainiest parts of Italy,” says Carla Maugeri. Carricante dominates, particularly around Milo, which is the only township permitted to produce Bianco Superiore. These are among Etna’s most thrillingly vertical, age-worthy whites. Those who do grow Nerello Mascalese in Milo vinify it as a rosé, “if they are wise,” remarks de Grazia.

On Etna’s southeastern flank, vineyards also enjoy a view of the sea and are bathed in its breezes. However, it is much less rainy, and full ripeness is easier to achieve.

Farthest from the sea, the southwestern zone is characterized by hot winds, less rainfall, and intense luminosity. It also boasts the greatest diurnal temperature differences. DOC vineyards rise from 600 to 1,000 metres. In the westernmost township of Biancavilla, the lava flow comes from the older ellittico period, ac-

cording to Masseria Setteporte’s Piero Portale. “This is similar to the soil in a small area of Randazzo in the north, but the difference is full sun.” Both give mineral-driven, tense wines, but those from Biancavilla show more obvious fruit ripeness.

For all its potential, Etna is not without challenges. Most obvious is that it is an active volcano. Frequent eruptions have curbed expansion. One of the most recent, dramatic blasts was in 1981. On the northern flank, the unexpected eruption saw lava flow just miss the town of Randazzo. While homes were largely spared, vineyards weren’t as lucky. Less devastating, but also destructive, is what falls from the sky. As an example of Etna’s fury, in February 2022, she spouted a lava fountain 1 km high and 1,000°C in temperature. “When there is a massive explosion, it cools quickly to pumice. Bigger pieces can do damage like hail,” explains Margherita Platania from Feudo Cavaliere.

Working on Mount Etna requires mental flexibility, according to Monteleone, “the

Photo credit: Lincoln Clarkes

Photo credit: Lincoln Clarkes

Photo credit: Lincoln Clarkes

Piero Portale of Masseria Setteporte

Giulia Monteleone

Margherita Platania and son Antonio of Feudo Cavaliere

awareness that things can change, how the very contours of the volcano change. The unexpected that can and does occur—a rainfall of ash, small earthquakes—are part of the game.”

The instability of Etna is reliable—and ruled by Mother Nature. However, the future of her wine region will be guided by the producers. On my most recent visit, talk surrounded a possible elevation to DOCG status, which the consorzio is actively pursuing. “Etna and her wines merit it,” asserts Monteleone, while noting that it should be a means, not an end, to help communicate the territory better.

Alberto Graci adds: “What is more important is that the region is united in its desire to make great wine.”

Despite a long history of grape growing, the wine region of Etna is still forging its identity. It has been two decades since de Grazia declared it the “Burgundy of the Mediterranean.” While this superficial comparison endures, it does not adequately capture Etna’s wines, nor does it convey what is so unique and fascinating about the region. There’s just something so incomparable about Etna.

North Slope

Irene Badalà Etna Rosato DOC, 2021

100% Nerello Mascalese from the Santo Spirito contrada in Castiglione di Sicilia, vinified as a pink. It smells of delicate blossoms from mountain shrubs. Pomegranate and cranberry crunch on the palate with sneaky heft and concentration.

Cantine Russo Mon Pit Brut Rosé, 2017

One of Etna’s more convincing sparklers. Forty-eight months on the lees lends a subtle toastiness. Very savoury and appetizing rather than fruity with a slow-melting mousse.

M Cori Due Etna Rosso DOC, 2020

The inaugural release from a young agronomist/ oenologist duo is a field blend of 1935 plantings in the Mugunazzi contrada. Stainless steel highlights the spicy fruit and evocative florals. Fine sandy tannins cling to the palate.

Theresa Eccher Passione Etna Rosso DOC, 2020

Like the M Cori, this hails from the Mugunazzi contrada and is vinified without oak. Vines are less than 20-years-old, and 15% Nerello Cappuccio is blended for a splash of colour. So vibrant, pure, and light, Passione is difficult not to guzzle. All raspberry with tactile, fine-grained tannins.

Tenuta Boccarossa Etna Rosso DOC, 2019

Crafted from ancient vines of unspecified age in Randazzo’s Arena contrada, Boccarossa is fermented with lots of whole berries and aged in

used barriques. It is wild fruited, but clean and gracious, expressing the untamed landscape and energy of Etna. Accents of iron and smoke to finish.

East Slope

Maugeri Etna Bianco Superiore DOC

‘Contrada Volpare’, 2021

Despite the hotter-than-average vintage, this is linear and steely. It juxtaposes peach and apricot with stony flint. The power and firm structure are impressive, equally so the balance and finesse.

Monteleone Anthemis Etna Bianco DOC, 2020

From a foggy 900-metre vineyard in the Sant’Alfio township neighbouring Milo. Fermented and finished in tonneau, it is somewhat reminiscent of white Bordeaux with nuances of honey and grilled herbs, but then that lean, sinewy body with green fruit and saline throughline take you to the eastern flank of Etna.

Southeast Slope

Terra Costantino de Aetna Etna Rosso DOC, 2020

Pretty, youthful, and fresh, this great value (mid-$20s), stainless steel fermented, aged Etna Rosso is lightweight with zesty acidity. It shows strawberry and rhubarb on a backdrop of sunbaked earth. Made from organically grown grapes in the Blandano contrada.

Southwest Slope

Feudo Cavaliere Millemetri Etna Bianco DOC, 2016

From a lofty elevation of almost 1,000 metres. Scents of chamomile, broom, and wild fennel waft from the glass. There is weight and muscle on the orange citrus palate with a tense and vertical backbone. No oak but long ageing on the lees amplifies the tactile texture.

Masseria Setteporte Etna Rosso DOC 2020

From the township of Biancavilla, where older soils are derived from eruptions dating between 15,000 to 60,000 years ago. It is scented with sweet herbs, spiced berries, and smoky tobacco. A midweight red with fleshy chewiness, this is offset by the stony mineral drive.

Michaela Morris is an international wine writer, educator and speaker based in Vancouver, Canada. She has worked in various capacities of the industry for over 25 years. Besides holding the Wine & Spirit Education Trust Diploma, Michaela is an Italian Wine Expert certified through Vinitaly International Academy (VIA) and leads seminars on Italian wine around the globe. Not surprisingly, her go-to cocktail is a negroni.

Wines from well-established, superstar producers like Benanti, Cottanera, Girolamo Russo, Graci, Pietradolce, and Terre Nere are worth seeking out, but here are 10 wines from up-and-coming estates.

Photo credit: Lincoln Clarkes

Photo credit: Lincoln Clarkes

Etna’s eastern slopes looking out to the Ionian Sea

Vineyards on Etna’s north slope

Canada Distilled

By Tod Stewart

According to most people who study these things, the early settlers of what is now Canada were engaged in distilling quite some time before Canada officially became a country. If anything, this proves they at least had their priorities straight. Hooch making first; nation building second.

not because they were texting), the Dominion of Canada was founded in 1867. July 1st, if you want to get specific.

left over when they distilled milling waste to make animal feed.”

While it’s tempting (and logical) to assume that the country’s nascent distillers were of Scottish or Irish descent, the majority were actually either English or from mainland Europe. The biggest names in the emergence of Canada’s distilling dynasty included Corby, Gooderham, Molson, Seagram, and Worts—all Englishmen. But even before these titans started shaping the Canadian distilling landscape, spirit making was a well-established practise.

Records of the first distillery operating in what was to be Canada as we now know it can be traced back to 1769 (and there were surely other operational stills prior to records being kept). For those who were preoccupied during Canadian history classes (though probably

Today, Canada boasts more than 250 licensed distilleries, a number that will no doubt have been exceeded by the time you read this, spread from coast to coast. The story of Canadian distilling is one of intrigue and adventure as much as it is a story about businesses, big and small, and the creation of a range of spirited potables. “This is a story of Canada,” writes Davin de Kergommeaux in his introduction to Canadian Whisky: The New Portable Expert. “It is a story of craftsmanship, ingenuity, family feuds, fortunes made, and legacies lost.”

Of course, the whole notion of Canada as a “whisky nation” based on grain distillation fails to take into account that distillers from the city of Montreal eastward primarily employed molasses imported from the Caribbean to produce rum (as was the case for that 1769 distillery mentioned earlier). Sure, whisky became, and is, the backbone of the country’s spirits industry, largely due the expansion of the population westward and further from the ports to where molasses was shipped—but it’s hardly the only spirit being crafted.

De Kergommeaux, also the co-author of The Definitive Guide to Canadian Distilleries, explains that, originally, whisky (the premier Canadian distillate) wasn’t primarily made as a drink to be savoured but as a practical solution to ensure excess grain and mill waste was converted into something consumable rather than being allowed to spoil. He noted that, for millers, “most often, whisky was itself a by-product

These days, Canadian still masters are pumping out everything from whisky, vodka, and gin to such esoteric items as grappa, moonshine, absinthe, rum, a plethora of fruit spirits, acerum (Quebec-made maple sap spirits), and of all things, baijiu . Not to mention coolers, hard seltzers, liqueurs, pre-mixed cocktails, bitters, industrial alcohol, and of course, hand sanitizer. (Should one door close, a pandemic opens another, right?)

Even the indigenous whiskies, gins, and vodkas are stepping into ingredient and flavour territories that at times seem to push be-

yond technical definitions. How about a “vodka” distilled from fermented milk-processing by-product?

ducers of wood-aged spirits around the world even today. Most of the “big boys” had already caught onto the benefits of barrel-ageing, but smaller distillers simply couldn’t comply.

So, in the early days, people set up family stills. The concept of producing spirits as a commercial venture didn’t really take hold until the 1800s and, overall, the practise didn’t really succeed until the fellows mentioned earlier set up shop and began producing large quantities of spirits for both the domestic and export markets.

At this time, there really were no stipulations as to how spirits could be produced—or even what they could be called. New make spirit (the clear spirit that comes off the still) could be flavoured with any number of ingredients and called whatever the distiller chose to call it—rum, gin, brandy, whisky…take your pick. However, in 1890, a regulation was introduced that required any Canadian spirit called “whisky” to be aged a minimum of three years in wood. This regulation had a major impact not only on the quality of Canadian whisky, but on the industry as a whole. Incidentally, the requirement that whisky be aged in wood originated in Canada. Scotland, Ireland, and the United States soon followed suit.

Though the practise of barrel aging significantly improved the quality of Canadian whisky, quality improvement was not the primary aim of those who put the law in place; tax collection was. Yep. Tax and booze had the same relationship with government then as it does now.

In any case, the by-product of this regulation was the elimination of all but the biggest commercial distillers. You had to have significant stock on hand to be able to sell and age at the same time, a challenge that faces new pro-

Even today, almost all Canadian spirits are produced by the “big eight” distilleries. These include: Alberta Distillers Ltd. (ADL), Black Velvet, and Highwood in Alberta; Gimli, in Manitoba; Canadian Mist, Forty Creek, and Hiram Walker in Ontario; and Valleyfield in Quebec. All are currently in production, though some that were around at the time got perilously close to bankruptcy (though a few actually profited) thanks to a certain piece of legislation introduced in the United States in 1920.

typically Canadian political fashion—was to leave the decision to sell beverage alcohol largely in the hands of the provincial, rather than federal, government, and each province responded somewhat differently. By the outset of WWI, all provinces had banned the sale of alcohol (though the practise didn’t last long in Quebec). Nobody seemed to really like the idea, and pretty well every province repealed such legislation by 1920. Prince Edward Island held out till 1948(!), which likely explains the proliferation of moonshine production in that jurisdiction. Today, PEI’s The Myriad View distillery offers a couple of (legal) “shines” that pay homage to the island’s past.

Human beings are a creative lot—especially when it comes to procuring things they have been denied. By 1920, American imbibers had developed a rather substantial thirst for Canadian whisky. Such a thirst, as a matter of fact, that US distillers felt the pinch, and pressured the government to restrict the flow of whisky from the north. Nice try. Let’s just say, things kind of backfired, and Canadian whisky grew further in popularity south of the border.

The US distillers may have felt threatened by the popularity of Canadian whisky, but a far bigger threat came in 1919 with the ratification of the 18th Amendment to the United States Constitution, and the subsequent introduction of the Volstead Act. On January 17, 1920, prohibition in the United States became a reality and its domestic distilleries were forced to mothball.

Now to backtrack a bit, Canada had dabbled with prohibition and temperance movements as far back as 1878 with the Canada Temperance Act (aka the Scott Act). What this did—in

Anyway, by the time we were wrapping up the whole “noble experiment,” our southern neighbours were into it in a big way. Prohibition became a nationwide constitutional law, ratified by a huge majority of states. This meant beverage alcohol couldn’t be produced, imported, transported, or sold anywhere in the United States. For certain Canadian distilleries trying to get their businesses in the black again, the timing couldn’t have been better. Those on the east coast ran ‘shine down the eastern seaboard. Windsor, Ontario—home to the Hiram Walker Distillery (and the Canadian Club brand of whisky)—had a ready market not far from home.

“When the United States enacted the [prohibition] law in 1920, it was a different story for Canadian Club whisky,” Tish Harcus, Canadian Club brand ambassador, reveals, adding that the Hiram Walker and Sons Ltd. distillery had been shut down for several months as a result of prohibition in Ontario. “As the distillery sits approximately a mile and a half from the US border, thousands of cases of CC went across the water for 13 long years.”

I’m sure most readers are at least marginally aware of the chaos that prohibition in the United States created. The law may have technically made alcohol more of a pain to get, but it certainly didn’t curb people’s thirst for it. Gangs, bootlegging, and crime prospered to quench that thirst. Some even claim that the exact things prohibition set out to reduce (drinking, crime, health issues, class inequality, etc.) actually increased until prohibition was repealed in 1933 with the introduction of the 21st Amendment—the only time to date that a piece of legislation had been introduced specifically to repeal a previous one (yes, I got that from Wikipedia, but I thought you’d find it interesting).

tion to separate mash tanks would have been a costly and space-hogging affair. So, in cooperation with the German company Carl GmbH, the world’s first 8,000 litre hybrid mash tank/ pot still was developed to save space, money, and eliminate the need for separate components. The 5,000 litre regulation was eventually scrapped.

of a bottle of spirits is tax. As this continues to increase, consumers pay more, distillers make less, exports suffer, and so does the economy as a whole due to what Dyck calls “value add” (essentially the industries also profiting from distilling—farmers, bottlers, packagers, etc.).

Harcus notes that Canadian distilling remained mostly in the hands of a few large players until creative bartenders created a demand for more interesting, locally produced spirits. Of course, setting up a new distillery in Canada has never been the easiest thing to do. There have always been regulations that made it difficult for the smaller guys to break in, and these (of course) vary depending on the province or territory.

“You needed to have a larger than 5,000 litre pot still to be allowed to open an on-site distillery with a retail store in Ontario,” recalls Geoff Dillon of Dillon’s Distillery. “If we didn’t have that, we would have had only one channel to sell into.” “One channel” refers to the LCBO—the provincial liquor monopoly that has historically favoured the big producers over the small for a variety of practical and political reasons.

Dillon’s team came up with a pretty clever workaround. Having a 5,000 litre still in addi-

Other regulations have been introduced that certainly allow smaller distillers to flex their creative muscles. Case in point: those relating to vodka production. In 2019, the definition of “vodka” was modified for the first time since its inception in 1959. What this meant, in part, was that the raw material requirements for vodka production eased to allow basically any fermentable material to be the distillate base for vodka. This is why you can now find Canadian vodkas distilled from grapes … or from fermentable milk processing by-product.

However, this country’s distillers still face hurdles, and government “skimming” probably tops the list. While each province applies its own levies, taxes, and markups, it’s the federal excise that drives people like Tyler Dyck, of BC’s Okanagan Spirits crazy.

“It’s ridiculous,” groans Dyck with obvious frustration in his voice. As president of the Canadian Craft Distillers Alliance (CCDA), Dyck has trouble understanding why the feds continue to saddle Canadian distillers with an ever-increasing tax burden. “In 2017, when the United States first introduced measures to cut spirit taxes [a pilot project that became a permanent reality once its success was proven], our government introduced an elevator tax on alcohol.” The upshot of that decision means that every April 1st, federal excise tax automatically increases based on inflation. As it stands, about three quarters (if not more) of the cost

“What took place in the US, as well as in other G7 countries, essentially proved that supporting the distilling industry is good for the economy,” Dyck contends. “Sure, you might lose a dollar, but you end up making four more.”

Dyck recently reported that CCDA membership continues to grow across the country to rally all distillers to lobby for excise parity. “We are starting to re-engage with the feds again on the excise front, with a focus on economic development, and have received some word back that they are currently looking into our proposals; early days but at least it is definitely on the desks of multiple ministries. Fingers crossed that the federal government will allow Canadian distilleries to power Canada’s value added local economy in this post pandemic reality.”

That would certainly give a lift to Canadian spirits, and likely lift the spirits of Canadians as well.

Tod Stewart has been a beverage alcohol industry professional for close to 40 years. He is an awardwinning journalist and published author who has worked as a consultant, trainer, and educator to the hospitality industry, the Ontario wine industry, and the beverage alcohol trade. He has traveled and written extensively about international food, drink, culture, and history. His book, Where The Spirits Moved Me is currently available on Amazon and Apple. His cocktail of choice is a classic martini and the best concert he ever attended was Jethro Tull in 1978.

Old Vines in a Young Wine Country

By Janet Dorozynski

Canada is a young country when it comes to vines and wine.

Sure , explorer Leif Erikson spotted vines growing wild as far back as the year 1000 CE in the region he named Vinland, and we know as Newfoundland. Jacques Cartier encountered native North American vines vitis riparia growing wild on the l’île d’Orléans near Quebec City. Samuel de Champlain unsuccessfully tried his hand at growing vitis vinifera in 1535, while the Jesuits dabbled in grape growing and winemaking when their stocks of sacramental wine ran out. In Nova Scotia, there are records of French settler Louis Hébert planting a vineyard in Bear River in 1611.

However, it is a stretch to say that Canada has wine regions dating back to the 1500s or 1600s. Nor do we have any vines or vineyards still around from this period.

While the early wine industry dates back to the early to mid 1800s, the establishment of commercial vineyards in the main growing regions of Ontario, British Columbia, Quebec, and Nova Scotia did not take place in earnest until the 1970s.

OLD VINES OUT, NEW VINES IN

Prior to the Canada-U.S. Free Trade Agreement (CUSFTA) in 1988, most vines in Canada were vitis labrusca and French hybrids with vitis vinifera accounting for just 10 percent of plantings in Ontario and 25 percent in British Columbia. During this time, Canada offered [protections of some sort] to encourage the purchase of domestic wine. Under the terms of the CUSFTA and in response to a General Agreement on Tariffs and Trade (GATT) ruling against provincial listing, distribution, and markups that violated fair trade principles (imported wines had a 66 percent markup while Ontario wines were subject to 1 percent), Canada agreed to abandon the protection offered to the domestic industry.While many in the industry believed the CUSFTA and GATT ruling would decimate the nascent Canadian wine industry, flooding the marketplace with inexpensive Californian wine, the industry support mechanisms accompanying the trade

agreement had the opposite, transformative effect. Thanks to the federal, British Columbia, and Ontario government funded replanting programs in the late 1980s to early 1990s, the large-scale transition from vitis labrusca to vitis vinifera made the industry more competitive and equipped to make better wines.

Ontario grape growers and wineries received $50 million in compensation and a series of forgivable loans to grub up their labrusca and update facilities and equipment. While vineyard area initially declined, the proportion of vinifera increased from 10 to 25 percent by the early 1990s. In British Columbia, the government supported pull-out of 2,500 acres of labrusca and French hybrids left only 400 acres, the majority of which were experimental plantings of vitis vinifera from the 1960s onwards. Because of the replanting programs, the amount of vinifera increased in British Columbia and Ontario with acreage almost doubling from 11,300 to 22,000 acres between 1993 and 2005.

photo credit Courtesy

of Road

What labrusca that remains goes into juice and jams, and the tradition of using French hybrids continues. Vidal continues to be used to make a significant amount of Ontario Icewine, while old vine plantings from the early ‘70s of Maréchal Foch at Malivoire and Quails’ Gate are made into bottlings of Old Vines Foch, which have garnered a cult following.

HOW OLD IS OLD?

While there is no set parameter for old vines in Europe, producers in New World countries like South Africa, Chile, and Australia have started to define what “old vines” mean. South Africa’s Old Vines Project, launched in 2016, authenticates vines 35 years or older, with wines made from them bearing the Certified Heritage Vineyards seal. Producers in Chile’s Maule Valley have banded together to create Vigno (short for Vignadores de Carignan) for Carignan wines made from vines 30 years or older. Producers also recently created the Almaule association to save and spotlight old vine País; they also hope to bring back wine culture (complete with Almaule wine vending machines next to soft drink machines) with approachable wines that are at least 90 percent País from over 30-year-old bush vines. In Australia, the Barossa Valley’s Old Vine Charter sets a minimum for old vines at 35 years, with additional and increasing age categories up to 125 years for ancestor vines.

While provincial appellation regulations in Canada have not defined old vines, with interpretation left to the winery or grower, we do have pockets of plantings more than 30, 40, and 50 years old that chronicle our recent history and experimentation with vitis vines and other varieties.

OLD VINES IN CANADA Ontario

In Niagara, Ontario, German soldier Johann Schiller planted a mix of native North American vitis labrusca and hybrid varieties imported

from Pennsylvania in 1811. A little over 50 years later, Vin Villa on Pelee Island received the country’s first commercial winery licence in 1866, and by 1890, Ontario had 35 wineries. The industry expanded and contracted over the next 60 years and in the 1950s, we started to see experimental plantings with vinifera John and Bill Lenko planted some of the first Chardonnay in Ontario—in Canada, in fact—in 1959; it lives on in the Two Sisters Vineyards’ Chardonnays. Meanwhile, the Inniskillin Montague Vineyard Chardonnay draws from the original 2.5-acre block planted in 1979, with newer plantings interspersed among the old vines. Other old vines in Ontario, though not always labelled as such, are Cave Spring Cellars and Vineland Estates Rieslings, planted in 1976, and Old Vines Baco Noir from Henry of Pelham, dating back to the mid-‘80s.

Château des Charmes founder Paul Bosc Sr. planted 50 acres of vinifera in 1978, along with an experimental vineyard with vines from Professor Helmut Becker of Germany’s Geisenheim Grape Breeding Institute.Donna and David Lailey founded Lailey Winery in 1970 and planted their vines in 1973. Current owner Faik Turkmen explained that 70% of the vineyards are old vine Cabernet Sauvignon, Cabernet Franc, Pinot Noir, Chardonnay, Sauvignon Blanc, and Vidal (though some blocks were replanted in the 1990s and 2000s due to winter damage). Turkmen muses that, in terms of viticulture, “you can train young vines anyway you want, as long as nature allows the methods and yields, but old vines—like it or not—they train you, so best to analyze them over a period and adopt their survival method.”This may explain why Westcott Vineyards “bet the farm” to purchase the Butler’s Grant vineyard with Riesling, Pinot Noir, Chardonnay, and Cabernet Franc planted between 1980 and 1989. Hurst also believes that, in addition to soil, clone, and depth of root system, vine age has to matter. “After 40 years of metabolizing from the air, earth, and water of our vineyard,” the vines have adapted to show a sense of place, which Hurst argues is worth preserving.

Thomas Bachelder labels his old vine wines (between 25 to 40 years old) with “vieilles vignes.” He views the term “as a signal there is something going on to take note and a way of paying tribute to the vineyard,” rather than being a marketing ploy or something wineries should feel compelled to use. Bachelder believes old vines in Ontario can weather the extreme temperatures because their deep roots “allow a buffering out to produce wines with more linearity and depth of flavour.” While old vines may be less exuberantly fruity, Bachelder thinks vintage variation is harder to notice, because “the fruit tastes cooler in warm years and warmer in cool years.”Ann Sperling has made wine in British Columbia and Ontario for many years. She thinks vines settle into a steady state of yields and quality at about 20 to 25 years of age, and wine made from these vines is “more consistent, showing less vintage variation, and [more] expressive of the individual site.” In her experience, it takes longer in the Okanagan Valley for new plantings to become uniquely expressive—at least 15 years for single vineyard expression to show—while Niagara shows its specificity after about eight to 10 years. Sperling sees old vines, and the single vineyard wines made from them, as part of regional identity.

British Columbia

British Columbia’s first vineyard appeared at the Oblate Mission of Father Charles Pandosy near Kelowna in the Okanagan Valley in 1859. The earliest attempt at commercial grape growing was near Salmon Arm in 1907 (in the present-day Shuswap GI) and in 1927, horticulturalist J.W. Hughes planted vitis labrusca in Kelowna to sell to the province’s first two wineries. A few more wineries popped up in the 1960s and ‘70s, with significant developments taking place in 1980s.

Some of British Columbia’s earliest plantings of vinifera date back to the 1960s. Quails’ Gate planted Chasselas in 1961 after receiving them by mistake in their order for French hybrids.

CSV Home Farm Vineyard

Photo credit: Courtesy of Cave Spring Vineyards

During the 1970s, there were planting trials of Riesling, Ehrenfelser, and Scheurebe by the Osoyoos Indian Band at their Inkameep Vineyards in the south Okanagan. The BC government hired professor and viticulturist Helmut Becker of Geisenheim to advise on vinifera plantings in the Okanagan from 1977 to 1985; the “Becker Project” vineyards replanted from aromatic whites to Bordeaux reds in 1993 and are still used in Phantom Creek Becker Cuvée.

Nichol Vineyards on the Naramata Bench planted Canada’s first Syrah in 1990, and continue to use those vines for their Old Vines Syrah.

BC wine pioneer Joe Busnardo planted vinifera vines at Hester Creek winery in 1968, with many now in their mid-50s, including Canada’s first and only planting of Trebbiano.

Kimberly Pylatuk of Hester Creek explains that, given the winery has “one of the first-established vineyards in the province, we made the conscious decision to brand our wines made from our 50-year-old vineyard as ‘old vine.’” The wines also command a higher price point to compensate for lower yields and higher cost-per-acre to farm.At Tantalus Vineyards, old vines are integral to the history of the site and greater agricultural area that has been under vines (with table grapes) since the 1920s. The Tantalus Old Vines Riesling, Weis 21 B clone, was planted in 1978 on the same day as at neighbouring Sperling and St. Hubertus. They also have Pinot Noir, Chardonnay, and Pinot Meunier from 1985. Stephanie Mosley of Tantalus acknowledges that by “some global standards, their old vines might not be classified as such, but under the lens of our Canadian industry, not to mention our harsher Canadian winters, these plantings from the ‘70s and ‘80s are worth classifying as ‘old’ in our books.” Tantalus winemaker Dave Paterson believes there is an energy, length, and complexity in wines that increase with vine age, and that deeper root systems of old blocks require far less water than younger blocks.

Shane Munn, winemaker at Martin’s Lane, makes Riesling from two small blocks planted in 1978 on their Naramata Ranch and newly

purchased Sperling Vineyard properties. The wines are named according to the vineyard with no mention of old vines, “out of humility, and in comparison to other parts of the world.” Munn acknowledges that vine age contributes to complexity and concentration, and older vines have a better natural balance than younger vines, but that they also yield less. Take, for example, the 2022 harvest; yield comparisons between their Fritzi’s vineyard Riesling, planted in 1997, and the Naramata and Sperling vineyards show Fritzi’s producing 6.1 tonnes per hectare, while the old vine blocks yielded 4.8 and 4.6 tonnes per hectare respectively.

Quebec and Nova Scotia

Small-scale vineyards and wineries began sprouting up in Quebec in the 1970s. Christian Barthomeuf, originally from France and inventor of Quebec ice cider, founded Domaine des Côtes d’Ardoise in 1979 with plantings of Foch, Seyval Blanc, and Pinot Noir.

Nova Scotia’s vineyard history started with experimental plantings at the Kentville Research Station in 1913. Commercial vineyards appeared in the 1970s in the Malagash Peninsula and in 1980 at what would become Domaine de Grand Pré. Father-son team, Jim and John Warner, have been planting vineyards in Nova Scotia for several decades, with some of the oldest blocks at Blomidon Winery planted by Jim Warner.

The estate vineyard at Blomidon consists of 25% old vines with L’Acadie Blanc and Seyval Blanc from vines planted in 1986, and a Chardonnay “Old Block” planted in 1996. According to Blomidon winemaker Simon Rafuse, “in our climate, we consider old vines to be around 30 years old.” The only wine Blomidon makes exclusively with old vines is the Cuvée L’Acadie Sparkling, which is no doubt the world’s first and only traditional method from 37-year-old L’Acadie. Rafuse finds old vines to have more regular yields and consistent harvest dates year to year. The resulting wines have more complexity and depth. He also observes that in

a new region, like Nova Scotia, vine age is not something consumers think about. They are surprised when they learn Blomidon’s vines were planted in the ‘80s. Rafuse also never thought about putting old vines on the label or charging more before our discussion, but he just might start doing so.

IS AGE JUST A NUMBER?

While old vines do not necessarily equate to quality and, ultimately, the wine in the glass is what matters, there is recognition in Canada, and globally, that old vines are worth protecting and celebrating. Winemakers describe wines made from old vines as more complex, concentrated, and expressive. Yes, they are lower in yields and they should not be kept just for the sake of being old (especially if they’re not producing quality grapes). But when they do produce quality wine, we should preserve them, study them, and learn from them, as we do by reading classic literature or studying art history.

Researchers, growers, and winemakers are discovering that old vines appear better able to cope with the extremes of a changing climate, require less water, and are more adaptable simply because they have been around longer. Whether old vines exist through accidental survival or through proactive regenerative agriculture to preserve part of a viticultural heritage, they are a narrative worth preserving.

Janet Dorozynski left life as an academic and has been tasting, judging, teaching & communicating about wine, beer and spirits from across Canada and the world for more than twenty years. She holds the WSET Diploma, a PhD from Concordia University and is a WSET Certified Educator.

Naramata Ranch Vineyard

Old Chardonnay Vines

Photo credit: Courtesy of Martin’s Lane

Photo credit: Courtesy of Two Sisters Vineyards

Hey Young World… The Changing of the

Guard in France

by Jermaine Stone

The culture in Bordeaux versus Burgundy is drastically different; it’s city life vs country life, large Châteaux versus tiny plots. Yet when speaking with the new generation of winemakers that are taking over their families’ concerns, I quickly discovered that both places are equally committed to protecting and developing the legacy of their wines and representing where they’re from.

I jumped into wine at the deep end. When wine auction is your entry point, the first wines that you encounter are only actually accessible

to about 10% (likely less) of the wine drinking community. I started out in the shipping department packing boxes, and every shipment was accompanied by an invoice that stated the description and value of what I was shipping. My introduction to Bordeaux was four bottles of Château Lafite Rothschild with a $16,000 invoice staring me in the face. It was a sneak peek into a completely different world. Little did I know, almost two decades later I would be welcomed as an honored guest at that very Château.

Fast forward to 2019, and imagine my surprise when I get a message from Jean-Sébastien Philippe, the international director of Lafite and a fan of my show The Original Wine and Hip Hop podcast, saying that they were interested in working together. At the time, I still thought that approachability was just a Burgundy thing. However, as those conversations with Lafite developed, I realized it was an early indicator of the changing of the guard happening not only in France but all over the wine world.

I’d thought approachability was a Burgundy thing because the year prior, I’d gotten to know Jeremy Seyess, winemaker at Domaine Dujac. We connected because I loved how he embraced the props his wine received from DJ Khaled, Jay Z, and the entire Roc Nation crew. I invited him on the show and, before you know it, a top Burgundy producer is my homeboy.

With these two relationships building, I saw the opportunity to bring us closer and prove to everyone that the connections between hip hop and wine culture are global. So, after two years of discussions and planning, my team and I arrived in France to capture these stories in a way that I knew only we could.

When you think Bordeaux, you think First Growths, money, pretension. But at every turn, we met people who just wanted to show off their city and swap stories because they could see we were passionate about showing the region in a different light. People were so cool that at one point, someone invited my whole team up to their apartment to discuss the finer points of pairing wine with cheeseburgers.

The conversation with Saskia de Rothschild in the barrel room of the Château the next day could’ve easily taken place in that student crib from the day before, with rap facts and wine knowledge flowing freely. We strolled out into the grounds and de Rothschild shared her

Photo credit: Courtesy of Head Make Book

Jermaine Stone in Beaune, Burgundy

humble approach to the future of Lafite: “My objective is to leave the least impact possible on the story of Lafite, to be there as a passerby and as someone who can really protect the legacy.”

This was a common theme amongst the new generations of winemakers I would meet on the trip. You’d think that their history would weigh heavily on their shoulders; that being a part of a culture that produces those $4,000 bottles would leave entrenched ideas about when and by whom their wines should be enjoyed and using big marketing plans to reach billionaire collectors. Instead, the approach is simple. As de Rothschild put it, “in terms of who we want drinking our wines, it’s [about] convincing the next generation of Lafite drinkers that this is the most fun and incredible thing to open in good moments.” It’s no more complicated than that.

Feeling blessed after a few days at one of the most iconic wineries in the world, I left Bordeaux for Burgundy and wondered if this region’s young winemakers would share de Rothschild’s down to earth view of things.

Many of the Burgundian winemakers are good friends. It’s such a tight knit community; it felt like a wine nerd’s Disneyland. Between the breathtaking landscapes, twists and turns through vineyards you only read about, and random run ins with iconic winemakers just hanging out, I was able to spend time with Dominique Lafon. He let me know that he’d recently retired, and his nephew Pierre and daughter Lea were running the Domaine Comtes Lafon. He insisted we swing past to see them.

It was my conversation with them that truly helped me understand the challenge of the next generation. Even as heirs to the throne, their mindset is humble. Lea and Pierre Lafon agreed that the changes must be incremental for the good of the brand, the wines, their cus-

tomers, and most importantly, their vineyards. They “might change small things. It’s small details added one after the other that make a difference, but we have huge respect for what’s come before, you don’t just put that down.” As we continued talking, the true challenge emerged: it’s not what changes to make with regards to the wine, but actually how to cope with the changes being thrown at them by the future.

In both Bordeaux and Burgundy, it was clear that the thing that sat heavily on the shoulders of these young and enthusiastic winemakers is not the past. Not only do they face the challenge of finding new audiences for their wines, they must also ensure that these new consumers have wines they recognize for generations to come.

According to de Rothschild, her key work is to “create an ecosystem that allows Lafite to come into the next generation of how the climate is behaving.” For the Burgundy producers, the change has initially been advantageous, aiding ripening and allowing for richer, bolder wines. But for how long will this be sustainable and at what point do these changes begin to produce wines no longer typical of Burgundy as we know it? This is echoed in how closely Lea and Pierre are watching the vineyards as the climate changes. “We do small things, but we’re not going to change the world with what we do. We just try to adapt.”

One thing became very clear to me as I sat in the cellars, sharing wine, and discussing the top five rappers and vintages: the new guard knows the world is looking on and that they increasingly have a voice and a platform. When I spoke to Seyess, he was strong in his conviction that “it’s important to do some activism [….] We owe it to ourselves and to our customers to be transparent about [things] and express our

opinions, and if it can help drive some change, I’m all for it.”

Perhaps this drive for change is needed from both sides. Just as winemakers are changing their perception of who drinks their wines, we as consumers need to change our perception of the regions themselves to realize they’ve been approachable all along. As Lea made clear to me: “we’re [just] farmers!”

On the day we left Lafite, I was walking past one of the doors in my Yankees fitted Army fatigue pants and unlaced timberlands, and out of the corner of my eye I noticed Baron Eric and a friend conversing in French. Understandably confused by how out of place I appeared in that setting, the Baron‘s friend seemed to ask him who I was. He smiled and said something in French, then “hip hop”. His friend nodded, seemingly impressed. Maybe the changing of the guard had started long before we realized.

From rapping, to packing boxes in the shipping department at Zachy’s, to the first ever Black commercial wine auctioneer, Bronx native Jermaine Stone’s rise in the wine industry has been driven by one key mission; to challenge the narrative about and for Black men in America. In founding Cru Luv Selections, an innovative creative agency based in NYC, Stone has found a space that can use marketing, brand partnerships, and content creation (such as the Wine & Hip Hop podcast, the YouTube shows Wine & Hip Hop TV and Tasting Notes from the Streets) to connect wine and hip hop cultures to bring wine to an audience traditionally ignored. In 2022, Cru Luv held the first ever Wine & Hip Hop Festival in NYC, comprised of events showcasing how wine and hip hop cultures intersect.

Photo credit: Courtesy of Head Make Book

Photo credit: Courtesy of Head Make Book

Jermaine and Domaine Dujac’s Jeremy Seyess

Jermaine Stone and the vineyard team at Chateau Lafite Rothschild

Shifting Perspectives: Is Ageing Wine a Thing of the Past?

By Jacky Blisson MW

Wine has long suffered from an image problem. Ask a casual imbiber what wine evokes for them and you may see a bead of sweat trickle down their brow.

The wine world conjures up stereotypes of black-suited sommeliers, stately châteaux, manicured vineyards, and a requirement to speak confidently about such things as vintages, grape varieties, terroir, when to carafe, what glassware to use, and how long to cellar wines.

Give someone a pricier bottle of wine and they will invariably ask you the last question.

The superiority of aged wine has cropped up in historical references from the Bible to Thomas Jefferson.

However, widespread use of wine cellars to improve wine, rather than simply store excess volume, is a relatively recent phenomenon. “Before the 1800s, wines were generally unstable and it was risky to keep them too long,” explains wine writer and historian, Rod Phillips. “ Nineteenth century wine books don’t talk about cellaring.”

Regardless of when the practice started, cellaring wine became the norm first for wine merchants then aficionados by the early to mid-20th century. Fast forward to the mid1970s, and access to insider information on

vintages and suggested cellaring duration hit the mainstream, with the arrival of publications like Tidings (now known as Quench), Decanter, The Wine Advocate, and Wine Spectator

The idea that wines from regions like Bordeaux, Barolo, and Burgundy required cellaring to soften tannins and tame acidity was thus an accepted truth for wine lovers. Connoisseurs would seek out older vintages in restaurants and tuck away recent acquisitions for decades-long hibernation, all in the pursuit of drinking fine wines at some distant, lofty peak.

It must then have come as a shock to some, when, in 2013, the Wine Spectator’s Matt Kramer shared his view that “most of today’s fine wines—not all, mind you—will reach a point of diminishing returns on aging after as few as five years of additional cellaring.”

Kramer wasn’t suggesting that the top wines of the day were less age worthy than their predecessors, but rather that advancements in viticulture and winemaking technique had changed these wines structurally.

“Certain stylistic winemaking changes have resulted in wines which are approachable earlier than a generation ago,” explains Guy Seddon, fine wine director at Corney & Barrow.

“The use of whole bunch fermentation, gentler

pressing, and less new oak have contributed to wines which are more accessible in youth.”

The wines have certainly changed, but so have the consumers. Tonya Pitts is the sommelier and wine director at One Market Place in San Francisco. In recent years, she has seen a definitive move “to imbibe with fresher, more vibrant flavor profiles.” This, she explains, is achieved through more youthful, lighter wines.

Taking this logic one step further, Michael Madrigale, fine and rare wine consignment director at Heritage Auctions, and former Bar Boulud wine director, points to the rise of natural wines. “These wines are not meant to be aged at all,” he explains. “In fact, they are almost made to be consumed within the first year.”

In Madrigale’s opinion, younger generations that have grown up with natural wines are increasingly unfamiliar with aged wine profiles. “A large, emerging demographic has been spoon-fed the philosophies of natural wine and has in turn based a lot of their purchasing in natural wines.”

Whether the transition to drinking younger wines was led by evolving patterns in viticulture, winemaking practices, consumer preference, or new wine styles, the fact remains that older wines are harder to come by in today’s

restaurants and from wine merchants. “Restaurants like the Tour d’Argent—that can hold wine for 20 years before they put it on the list— don’t really exist anymore,” says Madrigale.

In some ways, the idea of tossing out the vintage charts and the cellaring rule book seems like a positive step for an industry long deemed overly complex and elitist. Though Corney & Barrow still provide drinking ranges to guide clients, Seddon feels that “where the peak of deliciousness lies is fairly subjective.”

While Seddon has a highly wine literate clientele with the means to purchase and cellar fine wines, Pitts sees a wide diversity of consumers in her work. “Not everyone has access to cellars, or to smaller production natural wines, to old world or to new world wines,” she explains. “We all start our wine journey somewhere.”

This drive to help newcomers embrace wine is shared by Jermaine Stone, aka The Wolf of Wine. Budding hip hop artist turned fine wine auction house director, Stone now owns Cru Luv Selections, a wine importing and consultancy firm in New York.

“I think the thing that wine has to do is stop telling people how to enjoy it,” Stone laughs. With his popular Wine and Hip Hop podcast and Tasting Notes from the Streets events, Stone is breaking away with staid conventions around wine drinking and reaching out to a previously untapped demographic.

“The beautiful thing about our events is that they attract two different types of crowds,” he explains. “I have guys who are clearly not familiar with wine that leave with a newfound appreciation for it because they were approached

differently; it was integrated with something that they were already subscribed to.”

For both Pitts and Stone, the ultimate goal is to see wine drinkers progress in their appreciation and understanding. “The more you know, explore, and taste, the more you want to learn and discover,” says Pitts. In Stone’s view, teaching people how fine wines evolve over time is a powerful draw.

Far from alienating newcomers, Stone sees wine’s luxury image as a strength. He dismisses the idea that younger generations simply can’t afford the high price tags for top crus, pointing to the designer sneakers, watches, and handbags they prize.

“People have the money,” he says. “They just don’t have the reverence for the product. If they don’t think that it’s special, they won’t want to collect it.” His aim is to make this luxury approachable, so that people want to invest.

Stone is returning to his auction house roots for just this reason. Fine wine auctions are one of the few remaining sources of cellared wines, from great value $18 Hautes Côtes de Beaune to top crus. Stone wants to bridge the gap from the exclusive auction house setting, bringing their wines to a wider audience.

“You can buy second to fifth growth Bordeaux from the 1970s in pristine condition, at under $100 per bottle on auction,” says Madrigale, backing up Stone’s appreciation for auction values. “This is often less than the current release price from the château.”

Of course, the kind of wines sold at auction are a fraction of what is being produced today. Not everyone can or wants to buy wines by the

case through specialist channels, just as not everyone has the means or desire to purchase designer goods.

The world of wines has undergone an incredible diversification since the turn of the century. New wine styles have exploded onto the scene, and new waves of wine professionals and consumers have overturned the formalities once so closely tied with wine connoisseurship.

There is no denying however, that fine wines still have an important role to play in this brave new world. Their cult status casts a glow that illuminates wine on every level. Compelling tales of unique terroir and legendary winemakers are a large part of their appeal. But what sets fine wines apart from other luxuries is their power to evolve, to transform over time.

Jacky Blisson MW is an independent wine educator, writer, and consultant with over two decades experience in all facets of the global wine trade. She is the first Master of Wine in Québec and one of only ten across Canada. After studying wine science and commerce in Beaune France, Jacky managed exports for Burgundian and Rhône Valley firms. She also worked harvest seasons in Beaune and Walker Bay, South Africa. Jacky produces a self-titled wine website and YouTube channel. Her go-to restaurant that never disappoints is L’Express in Montréal and the best concert she ever attended was The Tragically Hip on New Year’s Eve 2000.

Eating History:

Edible Archives

By Meher Varma

I first heard about Edible Archives while vacationing in Goa. Actually, correction: I was at a party and someone mentioned that the ‘edible girls’ were due to arrive at any minute. To say that my intrigue was high would be a serious understatement.

Due to Goa’s unique temporality – which is even more fluid when it comes to party standard times – I didn’t meet the wonderful women behind Edible Archives (EA), Anumitra Ghosh Dastidar and Shalini Krishan, until much later. Our first encounter was when I landed, hungry for lunch, in their restaurant -an oasis in Goa’s plush Assagao neighborhood. In the light of this late spring day, I knew what EA was doing was remarkably different, but respectfully so. The ingredients on my plates were not only super fresh, but also unusual; the laid back vibe of the place was Goan but also deliberate; and the cocktails – potent but also somehow, healing.

I began to sense something that I wanted to learn more about from Dastidar and Krishan: that the ‘edible archive’ was a living thing. That their project blurred the boundaries between art and commerce. And that the ‘archive’ they were building is about both preservation and exploration.

The following conversation with Dastidar and Krishan has been condensed and edited for clarity.

How did it all begin?

Edible Archives began as an art project, and this was the name of the project. From 2018-19, we were part of the Kochi-Muziris Biennale, in Fort Kochi, Kerala, as an infra project. In 2019, we travelled to Hong Kong for a lecture-demo on Indian food. Then in Sept 2019 we were in

Suzhou, PRC, for an artist’s residency with the Han Arts Foundation.

In Suzhou, we set up a de facto restaurant that was completely outdoors. It served 108 bowls for 108 days. Incorporating lesser known indigenous varieties of rice into these meals was a key part of the project. We paired the indigenous rice varieties with curries and seasonal vegetables.

In December 2019, Edible Archives took root in its restaurant form. We were traveling, we were in Goa, and this seemed like the right place to set it up. Even now, there is still a tension between art and food in our restaurant, but of course, a commercial restaurant has to pay the bills too.

The menu here is different from anything I’ve ever seen in Goa. What is the thinking behind it?

For one, we are cuisine agnostic. Sometimes people ask ‘what food is this?’ and they want a response like Indian, Goan, or Japanese. But look at any item on our menu: let’s take the Palak Patte Ki chaat for instance. The main focus is spinach coated in a tempura batter. An Indian ingredient transformed via a Japanese

technique. Other popular items include our pretty popular congee.

We are also committed to giving vegetarians in Goa lots of options - not just potatoes and paneer! Actual vegetables that are healthy and nourishing. Goa is a pretty meat eating state, where most people say they ‘eat everything.’ But they are not usually thinking about vegetables when they say this.

Finally, we also change our menu according to seasons and our sense of seasons. Summer does not begin on a particular calendar date for instance, it begins when we start feeling it. This also helps us incorporate biodiversity. This year, summer came early – in March!

How do people react to your menu, given that they are used to seeing pretty standardized menus across Goan restaurants? There is no butter garlic prawn dish here, for instance, which is something I know many tourists consider a staple.

Our menu does require a lot of explaining, and sometimes that can be hard work, but for the curious customer it is usually worth it. However, there is somewhat of a natural filter to who comes into our restaurant anyway, and that’s

Photo credit: Manoj

Parameswaran

Photo credit: Meher Varma

Anumitra Ghosh Dastidar and Shalini Krishan

probably because of the name. Some people don’t understand it, or want to understand it, so they don’t visit. Others are curious or are interested in what we mean by an ‘edible archive,’ and they are the ones that come in.

I also notice that your menu does not have things like New Zealand lamb chops or smoked salmon which now seems to be in fashion and on menus across Goa’s hip spots. What’s your relationship to these ‘cool’ foods?

What’s in fashion right now is homogeneity. Many people who come to Goa want what they would eat in the city, but in Goa. As a result, even menus in Goa are becoming more reflective of urban, city tastes that are homogenizing. Also, these two specific items - New Zealand lamb Chops and Smoked Salmon – don’t mesh with our ethics. We try to use locally sourced ingredients that are sustainable and don’t have a gigantic carbon footprint, as much as possible.

Another thing that is noticeable is that flavor profiles of foods are really sweetening. No one seems to want anything khatta (sour) anymore. We actually got into a bit of an argument between ourselves when we were making aam panna. Shalini made it very khatta, and I needed it a little sweeter. But she insisted, aam panna is supposed to be khatta, that’s what makes it aam panna.

Artificial flavours are also something that people are really used to in cocktails. But everything in our cocktails is plant based. We use no commercial syrups or mass produced fla-

vourings. People immediately like this about our drinks.

But back to the idea of perceptions and consumers, it is important for us to try and satisfy people who come in. We want them to leave nourished and happy. Taste is a very subjective thing, and it is also malleable. For example, we’ve seen people grow with our congee. They may not have initially loved it, but over time, they develop a taste for it, because they develop associations around it.

Even a quick glance of your menu reveals that different varieties of rice can be found here. Tell us more about your relationship to rice.

Rice, for me (Anumitra) has been a kind of obsession. Since I was a child, I’ve wanted rice. Even at train stations, traveling through India as a child, I recall having this relentless demand for rice. We also travel with a lot of rice, and in the lockdown, not having access to some of the indigenous varieties we source was disconcerting. There is so much more to rice than the long grain basmati that sits at the top of the hierarchy, and I want people who eat our food to know and discover this. Diners at Edible Archives often come away saying they didn’t know that indigenous rice varieties could taste so good, and this satisfies us very much.

Photo credit: Meher Varma

Photo credit: Meher Varma

Shalini Krishan

Each one of the dishes I have seen come out of your kitchen seem to be plated with a lot of care, yet the presentation style is far from fussy. Most restaurateurs, when they plate a dish, look for the relationship between the colors in the food. I (Anumitra) never start with the color though. I think of contrasting flavors, instead. I studied music, and sometimes I often even think of recipes as musical scores: there is a base note, and the contrast between two flavors must be in the base note of a dish. I also don’t like to turn up the volume on something – like mustards, in mustard prawns for example – unless there is a reason to. Decisions should be intentional, I believe.

I’ve also noticed that you employ a lot of women, which is not the norm in the Indian food industry. Please tell me a little bit more about your staff and your hiring decisions.

Yes, we have a 90% women team, and this was a very conscious hiring decision. Women are very underrepresented in Indian restaurants, and this has to do with a lot of cultural ideas around women and work. In Goa, like many other Indian states, many women do not get

permission to work, or are not allowed to work in the name of “their safety.” This is an ongoing challenge, but we are determined to keep this a largely, women’s kitchen.

One of the ways in which we are able to retain our women staff members is by understanding their lives on deeper levels and by forging personal connections with them. Lunch time is a daily event where we exchange stories: we all eat together and take turns cooking.

This is part of our larger idea of seeing Edible Archives as a feminist project. We were once even serving a feminist cake on our menu, based on a recipe shared by Mary John, a well known feminist scholar.

What has surprised you the most about working as restaurateurs in Goa?

We had to get used to a lot of things, beginning from just learning about what grows and does not grow in the area. But the bigger finding was that all our relationships with our vendors here would be intensely personal and emotional. It can sometimes be a lot! (laughs) when you need something quite urgently, but the conversation around that need spillovers to other things. Though, all in all, it is very rewarding.

Meher Varma is a New Delhi based anthropologist, writer and brand strategist. She regularly writes for Indian and international food and lifestyle publications and hosts a podcast called BadTableManners for WhetstoneRadio. Since completing her PhD from UCLA in 2015, Meher has been working as a creative storyteller with an ethnographic approach. Her go-to restaurant that never disappoints is Carnatic Café in New Delhi for a casual meal and Tres for something fancy.

Scan the QR code to view recipes for Aam Panna and Beetroot Cutlets from the Edible Archives Kitchen

Photo credit: Meher Varma

Photo credit: Meher Varma

Photo credit: Meher Varma

Photo credit: Meher Varma

Chef Manoella

‘Manu’ Buffara

Meet the award-winning Brazilian chef/owner whose sustainability efforts focus on the well-being of her team.

By Aman Dosanj

The following conversation has been condensed and edited for clarity.

Within a hospitality industry still teeming with toxic work culture, gruelling work hours, abusive norms, and rubbish pay, a tiny five-table, 16-covers-a-night, vegetable and seafood-forward restaurant in Curitiba, southern Brazil, is causing quite a stir—for all the right reasons.

“I opened Manu 12 years ago,” says chef/ owner Manoella Buffara, who is better known as ‘Manu’ (hence the name of her restaurant). Located in the agricultural state of Paraná, bordered to the north by São Paulo, the lush Atlantic rainforest regulates moderate temperatures yearlong (ranging from 26 degrees Celsius to an average low of 10). As a result, 80 percent of Buffara’s suppliers live within a 300 km radius of the ultra-local restaurant. And while the industry is notorious for viewing its employees as merely a line item on the income statement, what sets Manu apart is the many ways Buffara strives to treat her staff like people.

“We need to create a better industry,” she explains. “I believe sustainability is not only about nature and the planet, but human beings, too.”

But Buffara has been having these exact conversations for years. Working alongside the opening of Manu, avid beekeeper Buffara has spent countless hours improving food systems and tackling food waste by transforming abandoned parts of her city and turning them into urban gardens. The project has since grown to 146 urban farms across the city serving 5,000 families. In 2019, the restaurant chose to close an extra day and reduce its already limited seating capacity from seven tables to five.

“The industry is so stressful, but when you work with food, your mind needs to be super relaxed,” says Buffara. “We used to work Tuesday through Saturday, but we thought it was important for our team to feel good mentally. We don’t work 18 or 20 hours [a day] because even working 12 hours is not sustainable for the restaurant business.” By December 2020,

Photo credit: Helena Peixoto

she set up the Instituto Manu Buffara, an umbrella for various social inclusion projects, each aimed at feeding under-served members of her community.

Ironically, as one culinary heavyweight announced he is closing his three-Michelin-starred restaurant in 2024 because its approach is “unsustainable” (yes, I am talking about René Redzepi and Noma in Copenhagen), Manu continues to flourish. In the past year alone, the change-maker was honoured as Latin America’s “Best Female Chef” in 2022 by The World’s 50 Best (Manu took the number 46 spot in the Latin America’s 50 Best list), quickly followed by the Prix de la Responsabilité Éthique et Environnementale (Ethical and Sustainability award) from La Liste in 2023. Now Buffara is looking forward to opening her second restaurant—this time in New York City.

We spoke to Buffara about the importance of respecting work-life balance, how she continues to push for industry change, and what to expect from her upcoming New York City restaurant, Ella.

IN WHAT WAYS HAS YOUR CHILDHOOD SHAPED YOU AS A CHEF?

Our background is Lebanese. My grandfather had a super difficult life in Beirut. When they arrived in Brazil, they taught us how to eat better, to avoid waste, and about the importance of sharing the table. My father used to work in the country [as a farmer], so I grew up in the countryside of Paraná. But I also have a huge connection to the sea because my [maternal] grandparents and mom are from Paranaguá, the coastal part of the state.

WHAT APPROACH DO YOU TAKE AT MANU?

I try to tell a story about where I come from by sharing producers and ingredients from my community. Manu only serves a tasting menu—we use whatever Mother Nature sends us. On our current menu, the carrot course [with levain and fermented cassava flour] comes after the lamb dish. People wonder why we serve a vegetable main. For me, it’s sending a message that we don’t always need to eat meat or fish. I

always say this: ‘don’t kill the ingredient twice because it already died once for you,’ so we need to understand vegetables and figure out the best way to cook them.

HOW DO YOU WORK TOWARDS CREATING A HAPPY WORKING ENVIRONMENT AT MANU?

We host English and Spanish classes at the restaurant. It’s free—participants only need to buy the teaching materials. For our end-of-year staff party, we always choose a sport. Last year, we went rafting. This year was horse[back] riding around the town, then an open-fire barbecue, so we always try to do something as a team. We do yoga in the restaurant once a week, too. Manu Talks is something we do four times a year—our employees choose four people to speak with us. [This last time,] they asked me to invite someone from the investment field so they can [learn about] investing their money. We work as a family.

AND YOU’RE ALSO RUNNING A SUCCESSFUL RESTAURANT WHILE RAISING A YOUNG FAMILY.

I believe that work is not just for me. I have a great husband who shares [the responsibility of raising our daughters, now eight and six]. He truly believes that my work is as important as his. I always tell my kids that I’m trying to change the world through food, and of course, I travel a lot, but I also choose them. So, we work as a team.

THE INDUSTRY IS SO MALE-DOMINATED, SO A GENDERED ‘BEST CHEF’ CATEGORY ALWAYS SPARKS MUCH DEBATE. HOW DOES IT FEEL TO HAVE WON THE ‘BEST FEMALE CHEF’ TITLE AT LATIN AMERICA’S 50 BEST RECENTLY?

When you win awards, you get a stage; you are given a microphone. Manu is 12 years old, so this [recognition] wasn’t fast, but it wasn’t luck. It was a lot of hard work. I want to show other women that it is possible to live two lives—to be a mother and a wife, and run a restaurant. At Manu, I don’t have investors or partners; it’s just me. I want to create change—to make a new world for our kids and the new generation of women.

AFTER A FEW SETBACKS, ELLA IS FINALLY OPENING ITS DOORS IN NYC’S MEATPACKING DISTRICT THIS FALL. WHAT CAN DINERS EXPECT?

It’s going to be a Brazilian restaurant with 60 seats and more casual sharing plates. When people think about Brazilian food, they think of meat or  feijão (the cooked beans); I want to change that perception. We have a lot of seafood and vegetarian dishes, so that is how I'm trying to make a mark in the US.

NEW YORK CITY IS AN APPROXIMATELY 4,800-MILE (7,800 KM) COMMUTE FROM CURITIBA. WHAT’S THE PLAN TO KEEP YOURSELF BALANCED?

Just because we are opening Ella, doesn’t mean I’m going to live in New York City. We have a team [of four chefs] from Brazil moving there—they have worked with me since the beginning. I’ll be back and forth, maybe once a month or every two months. Before and during the opening, I’ll be there for four months like I did with the Fresh in the Garden Maldives [one year] pop-up last November [at the Soneva Resort]. This is a new opportunity for Brazilian chefs to live abroad. They can work for our company, gain new experiences, and learn about different cultures.

Scan the QR code for Manu’s recipes for Cauliflower | Passion Fruit | Peanuts and Seaweed | Mushroom | Dill

Photo credits: Courtesy of Manu Buffara

Photo credits: Rubens Kato

Photo credits: Jimena Agois

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Burgundy: A Look Back at the Last 50 years and Forward to the Next

By Michael Apstein

Burgundy has seen dramatic changes over its centuries of winemaking history. Over 1,000 years ago, Burgundy-based monks started to meticulously catalogue vineyards. In the 14th century, Philip the Bold, a Duke of Burgundy, banned the Gamay grape in the Côte d’Or. The French Revolution and Napoleon forever changed land ownership. Then, of course, the changes in the 19th and 20th centuries wrought by phylloxera, economic depressions, and two world wars had enormous impact on the region. The introduction of the appellation systems and classification of vineyards in the 1930s and 1940s transformed the region once again.

So, given that perspective, perhaps the changes that occurred in Burgundy over the last 50 years are not so monumental after all. Still, they are profound and have revolutionized the way the wines are marketed and explain their meteoric rise in price. Most importantly, these changes have enhanced the quality of the wines across appellations. The

last 50 years has brought about Burgundy’s golden age. The wines have never been better. Nor more expensive.

SOIL

Bernard Retornaz, longtime President of Louis Latour Inc., the US export arm of Maison Louis Latour, a Beaune-based négociant that dates from 1797, has a good perspective on how the region has changed over the last several decades. The impact of the younger generation of winemakers returning to take over family domaines and who “have more respect for the soil” has been enormous.

Véronique Drouhin, who has owned with her family the venerable Beaune-based eponymous négociant since 1880, emphasizes that more and more estates, such as theirs, are using horses to plow, and have adopted organic and biodynamic practices. They both believe this focus on the land has contributed vastly to the overall quality of the wine.

Jeanne-Marie de Champs, one of the region’s top brokers who has been involved with the trade since 1980, agrees. She also remarks about the increased use of horses in the vineyards since she started in the trade. Horses compact the soil less than tractors, allowing the growth of insects and microbes in the soil, which is beneficial to the vines. She notes that there aren’t any treatments that are more “automatic” to prevent disease.

Additionally, both de Champs and Drouhin point out that more women are working in the vineyards, cellars, and running domaines than ever before. (Maison Drouhin was one of the first to hire a female head winemaker, Laurence Jobard).

My observations over the decades of visiting Burgundy support their views about the land. When I started traveling there 40 years ago, the soil between the vines was invariably brown because of the widespread practice of using herbicides to kill weeds and grass. Now, the soil between the vines is green with cover crops of grass and flowers, which growers tell me are good for both the soil and the vines. Indeed, Volnay growers recently asked the authorities to ban herbicides from its Premier Cru vineyards. More decrees like this one are sure to follow from other appellations.

YIELD

An offshoot of the focus on the soil has been the realization that limiting yield is an essential component of making fine wine. Retornaz recounts how the late Louis-Fabrice Latour, the 11th generation head of the eponymous firm, recalled that the practice in the 1970s was to let the vines produce as much as possible. Now, young

vignerons realize that lower yields lead to better wines, which can command higher prices.

The current practice among many négociants today is to pay growers to limit yields. Retornaz remarks how difficult it was to convince growers, farmers really, whose DNA tells them to produce as much as possible, to grow less of something. Slowly, over the decades, growers have accepted the new paradigm of limiting yield. Retornaz believes that limiting yield is one explanation for why the wines produced in difficult years, such as 2021 when frost and disease naturally limited yield, can be so good. Although limiting yield starts in the vineyard, it continues all the way to the winery in the form of a sorting table. It, along with temperature control of fermentation, has been one of most important advances in winemaking over the past half century. On the sorting table, workers discard diseased bunches or parts of bunches, further decreasing yield, but increasing the quality and purity of the wine.

Of course, a young generation of winemakers returning to assume control, or at least assist in running the family estate, has, collectively, made an enormous difference. Drouhin emphasizes that her generation has traveled extensively, done internships abroad, and seen how things are done in California, Oregon, and Australia. Often collaborating among themselves, these men and women are open to new ideas that they’ve brought back to the seemingly provincial Burgundy.

MARKETING

The expansion of the Burgundy export market from its traditional homes of UK, US, and to a lesser extent, Canada and Asia over the last

five decades has transformed the marketing of Burgundy. According to Retornaz, it also helps explain the meteoric price rise of the wines. It’s simple economics.

The supply of Burgundy is based entirely on a strictly delimited area of land as defined by French government authority, the Institut national de l’origine et de la qualité (INAO). Unlike the New World, where winegrowers can plant anywhere they want, regulations in Burgundy control what can be planted and where it can be planted. There is simply no way to expand the vineyards in any meaningful way. Combine this with the exponential growth of Asian consumers who have seen the joys of Burgundy, and bingo. Up go the prices!

Equally important has been the transformation of the traditional sale and distribution pattern of Burgundy within France. Fifty years ago, indeed for the last 150 years, the vast majority of Burgundy was sold by négociants, large firms that purchased newly pressed must (juice) from growers, raised it in their cellars, bottled it, and sold it. A prominent winemaker at a major Beaune-based négociant, who prefers to remain anonymous, once told me that even famous growers, such as the Domaine de la Romanée-Conti, would sell to négociants to help their cash flow. Still today, négociants can buy high-quality grapes from well-known growers for the same reason.

Over the decades, most of these négociants, who usually also owned prized vineyards because they arrived on the scene in the 18th and 19th centuries—so, were really growers as well—purchased more vineyards. Perhaps the most stunning example was the purchase by Maison Louis Jadot, one of Burgundy’s best

Photo credit: Gurvinder Bhatia

Photo credit: Gurvinder Bhatia

négociants, of a major portion of the high-quality, vineyard-rich Domaine Clair-Daü in 1985. Other top-notch négociants are reconfiguring their operations. Maison Bouchard Père et Fils is jettisoning its négociant business to focus solely on making wine from its own vineyards. Maison Faiveley is doing the same. So, little by little, négociants have morphed into growers.

On the flip slide, rock-star growers, such as Domaine Méo-Camuzet in Vosne-Romanée and Domaine Pierre Morey in Meursault, have become small négociants to supplement the demand for their domaine-bottled wines. They use their connections, reputation, and ability to pay to buy grapes from growers who farm to their high standards. The consumer needs to be aware of which of these growers’ wines are domaine and which are négociant because there will be a considerable difference in price and character. Nonetheless, the négociant bottlings by these extremely meticulous growers is a good way for consumers to get an insight into their style without taking out a second mortgage. The growers themselves are very clear as to which is which, but, in my experience, retailers sometimes fail to disclose the distinction in their advertisements and it’s not apparent to the consumer until the bottle is in hand.

So, the word “négociant,” which in the past had—unfairly in my mind—a bad connotation, now does not. Small highly-rated producers, such as Lucien Le Moine and Benjamin Leroux, whose wines seem to disappear from the market hours after release, are really just small négociants since they own either no vineyards, in the case of Lucien Lemoine, or very few, in the case of Leroux.

THE FUTURE

My crystal ball has suddenly clouded up, so I cannot clearly see 50 years into the future. But even with a cloudy crystal ball it is clear that climate change, which is already influencing Burgundy, will continue to affect the wines. Indeed, Drouhin dates climate change to at least 1987 and believes it has become a major problem. Pinot Noir is especially sensitive to heat. It loses its aromatics, finesse, and most of all, charm, when the grapes from which it’s made get too ripe. Growers already are finding ways to combat rising temperatures by looking at higher elevations and more northerly exposures for vineyards. In the past, growers would remove leaves from the vines giving the grapes more sun exposure to help ripening. Now leaves stay in place to provide shade.

Reversing the trend toward lower yields, growers now believe that increasing yield might actually increase the elegance of the wines by slowing the grapes ripening. The theory goes that spreading the sun’s energy out over a greater number of grapes makes it harder for the vines to ripen them all as quickly.

Equally important, but perhaps even harder to fight, are the scourges of frost and hail. Abnormally warm winters lead to early springs and premature bud break. The fragile buds are suspectable to April frosts with devastating results. Two-thirds of the Chardonnay crop was lost for precisely this reason in 2021. Hail, which shreds leaves and grapes while damaging the vines as well, is more frequent during the summer because the atmosphere has been supercharged by the sun, leading to more vio-

lent thunderstorms. Drouhin notes that these weather changes lead to regularly smaller crops, which pushes prices up further.

Higher demand for Burgundy around the world has also catapulted vineyard prices. For example, prices for a hectare of Grand Cru vineyard have doubled from 2007 to 2017, from roughly seven to 14 million euros, according to Decanter, swelling the taxable value of families’ estates. Unable to pay annual taxes, families are forced to sell. Many, if not most, buyers are either well-financed producers, wealthy foreigners, or the super wealthy French.

Just five years ago, François Pinault purchased Clos de Tart, the famed Grand Cru in Morey-Saint-Denis. Then this year, Pinault, through his holding company Artémis, “merged with” (aka took over) Bouchard Père et Fils. Fellow billionaire Frenchman, Bernard Arnault, co-founder of LVMH, purchased another Grand Cru, Clos des Lambrays. I see no change in this pattern, so expect more consolidation and fewer family-owned domaines. Whether this will result in better wines overall or just more expensive “trophy” wines remains to be seen.

As a final note, we will see a renaming of the region’s wines from Burgundy to Bourgogne, the traditional name of the region. (Embarrassingly, burgundy in French means Bordeaux). Jean Marc Brocard, a top Chablis producer, already has “Grand Vin de Bourgogne” on the labels of his 2020s instead of Grand Vin de Burgundy. So, look for more labels to proclaim Vin de Bourgogne.

Photo credit: Gurvinder Bhatia

Although prices of Burgundy continue to rise, great values can still be found even for those lacking the disposable income of the one-percenters.

Jean-Marc Brocard Chablis ‘Sainte Claire,’ 2020 ($37)

Village Chablis from top producers is a fantastic bargain and that’s what this wine is. Jean-Marc Brocard excels at all levels of Chablis, from Petit Chablis through to the Grand Crus—and don’t miss his Bourgogne Blanc dubbed Kimmerigdian, either. Founder in 1973, this family run firm farms organically and biodynamically. The chiseled 2020 Sainte Catherine conveys purity and freshness that amplifies its stony minerality. Don’t miss it.

Domaine Bart Marsannay, 2020 ($37)

It is possible to still locate Côte d’Or wines at reasonable prices by following my general advice: identify talented producers before they become household names. Domaine Bart is one of those. A top producer of Marsannay, Bart made a stunning array of 2020s. So, start with a village wine made from a blend of different vineyards throughout Marsannay. When I first tasted this Marsannay several months ago, it was quite fruity, but now it has settled down, displaying a near magical combination of dark fruitiness and savory earthiness. Suave tannins allow immediately enjoyment, but its balance and my experience with Bart’s wines suggest it will develop nicely over the next five years, so there’s no rush if you buy a case.

Maison Joseph Drouhin Bourgogne Rouge, 2020 ($30)

Climate change has been beneficial to the appellations with lower pedigrees because the grapes from these locales now ripen sufficiently. The wise consumer will look for Bourgogne Rouge and Blanc from top growers and négociants, such as this one from Drouhin, one of Burgundy’s top producers. This graceful and delicate Bourgogne Rouge highlights the charms of Burgundy. It’s a wonderful introduction to the seduction Burgundy offers.

Domaine Guilhem et Jean Hugues Goisot Bourgogne Côtes d’Auxerre Corps de Garde, 2019 ($30)

Goisot is a prime example of why my mantra is producer, producer, producer. They make a sensational array of distinctive wines. You could buy any of them blindly and be thrilled. Located in the far north of Burgundy, just to the west of Chablis, Bourgogne Côtes d’Auxerre, a regional appellation, takes its name from the nearby town of Auxerre. Regulations mandate Chardonnay for the whites. Goisot considers Corps de Garde their best wine. Though it might benefit from a few years in the cellar, the flinty 2019 is delicious now, with good concentration and an enhancing lively and persistent finish. It has a welcome cutting edginess.

Bret Brothers Mâcon-Chardonnay ‘Les Crays,’ 2021 ($30)

Sticking with my producer, producer, producer theme, you can safely buy whatever the Bret Brothers bottle. Located in the village of Vinzelles, as in Pouilly-Vinzelles, in the Mâconnais, the Bret Brothers is the négociant arm of Domaine Soufrandière, their family estate. Their estate wines have increased in price—and are worth it—but the Bret Brothers label remains affordable and excellent value. There is actually a village named Chardonnay in the Mâconnais, from which this wine comes. The grapes are from a single plot, ‘Les Crays’ within the village. This balanced and fresh Mâcon-Chardonnay displays subtle fruity elements. Not overdone, you’d never mistake it for a California Chardonnay. Bracing acidity in the finish amplifies its considerable charms.

Michael Apstein MD has written about wine for over three decades. He received a James Beard Foundation Journalism Award in 2000 and was nominated again in 2004 and 2006. In 2008, he won the Les Grands Jours de Bourgogne Press Trophy and in 2010, he was nominated for the prestigious Cordon Bleu World Food Media Awards. Dr. Apstein is an Assistant Professor of Medicine at Harvard Medical School and a member of the Division of Gastroenterology at the Beth Israel Deaconess Medical Center. He lectures and writes frequently about wine and health and judges frequently at international and national wine competitions.

Photo credit: Gurvinder Bhatia

Photo credit: Gurvinder Bhatia

The Châtillonnais: Burgundy’s Last Frontier

by Robin Kick MW

Tucked away under the south end of Champagne’s Aube border lies the Châtillonnais–the last viticultural area within the département of the Côte d’Or. Most Burgundy wine aficionados know well the figurative wine region of the Côte d’Or – the area comprising many of the region’s most exalted vineyards–the Côte de Nuits and the Côte de Beaune. But on an administrative level, the Côte d’Or extends much farther.

Located approximately 130 km north of Beaune and 65 km east of Chablis with much farmland in between, the Châtillonnais feels like a bit of an island within Burgundy. However, its unofficial wine “capital,” the village of Molesme, is a mere 9 km from Les Riceys, one of the Côte des Bar’s most known Champagne villages. “Our history is so unique in all of Burgundy,” explains Paul Bouhélier, a dynamic young winemaker who has worked with Champagne De Sousa in Avize and Olivier Lamy in Saint-Aubin. “Our wines are stylistically connected to Champagne far more than much of Burgundy. But our spirits are Burgundian through-and-through.”

For a small viticultural area that comprises less than 350 hectares, the Châtillonnais has

quite the history. It was cultivated with vines as early as 632 AD, and built up to a crescendo during the time of Robert de Molesme (c. 10291111). A highly influential monk, he established the Abbaye de Molesme before breaking away from the Benedictines to help form the Cistercian order, the Abbaye de Cîteaux and the Clos de Vougeot. Indeed, the Cistercian order was the backbone of the Côte d’Or’s viticulture for centuries. However, at the time, its wine borders did not have the same meaning as they do today.

Matthieu Dangin, a newcomer who arrived from the Côte des Bar in 2011 explains: “In the Middle Ages, Molesme was part of Champagne and Les Riceys was part of Burgundy, the opposite of today. So, for many years, the grapes grown, and wines made in the Châtillonnais

were considered to be from Champagne.” Even when borders shifted following the revolution and vineyards grew to around 2,500 hectares, selling grapes to Champagne houses was a tradition that continued...until the Champagne Riots of 1910-11.

The early 20th century was not an easy one for the area. Following the catastrophic effects of phylloxera and consecutive disastrous growing seasons, Champagne houses began buying less expensive grapes from outside the region and even outside of France. With increasing poverty, local growers began voicing their discontent and riots broke out across the region. However, the “civil war” that was carried out extended beyond the growers and the wealthy Champagne houses–further debate erupted over the sub-regions and what qualified as “Champagne.”

To appease the growers’ fury, the French government began establishing pre-AOC ( appellation d’origine controlée) measures by delimiting the viticultural zones allowed for the production of Champagne. The Aube as well as the Châtillonnais, despite their long histories providing grapes to the Champagne houses, were excluded. Protests continued, and eventually a compromise was reached. The Aube was re-instated, but the Châtillonnais remained an “outsider.”

By the 1930s, much of the AOC system was firmly in place. The Châtillonnais found itself without a home, outside of even a regional AOC zone. With no real market to which it could sell its grapes or wines, and the devastation of two World Wars, the region began uprooting its vineyards. By the 1950s, almost all of its vines were replaced with farms.

However, the 1970s and ‘80s saw a few passionate locals who believed in the region and its history, and they started to slowly revive its vineyards. The INAO (Institut National de l’Origine et de la Qualité), the organization that grants and oversees France’s AOC system, began researching its soils and the quality of its wines. By 1986, the Châtillonnais was allowed

to make regional AOC wines from land within 23 villages, but with a unique caveat–its vineyards must be planted on slopes, a requirement that applies to no other regional wine area.

Since then, interest in the region has been mounting. “Only 10 years ago, there were 250 hectares with many growers selling to cooperatives. Today, not only are more people planting vinous roots here, but they are also making their own wine. This is a perfect place where young wine producers can start,” explains Dangin. “In Champagne, the cost of a planted hectare is around €1,000,000, but in the Châtillonnais, it is €80,000. That is 12 and a half times less.”

Within the last decade, other young Champagne producers have bought established vineyards or vineyard land, including the revered Cédric Bouchard of Roses de Jeanne; biodynamic trailblazer, Vincent Couche; and Jeanne Piollot, daughter of Robert Piollot and Marie Courtin. “In Champagne, my parents’ domaines are already well-established plus the Champagne AOC rules are so restrictive. But in the Châtillonnais, I can express myself and my vision, which is focused on wine with low or no added sulphur,” says Piollot.

Interest has also come from farther afield. Louis Bouillot, based in Nuits-St-Georges, about 150 km south, is Burgundy’s third largest producer of Crémant de Bourgogne. They recognized the Châtillonnais’ potential about 15 years ago. Bouillot’s viticultural manager, David Guichard, explains: “We first bought 13 hectares in 2008 and after this spring, we will own 43. We will technically be the largest

vineyard owners in the Châtillonnais. We also buy a lot of grapes, but when you own your own vineyards, you have better control over your supply and the quality. We do that through our own viticulture choices. My raison d’être here is to rejuvenate and protect the soils, creating a much more ecological approach, which is becoming incredibly important, particularly with climate change.”

Advantageous cost and creative freedom are not the only attractions to the region. Its inherent quality also appeals. As Francis Rousseau from Domaine Rousseau explains: “My family came from the Côte des Bar to Molesme in the early 1980s. The soil here is the same Jurassic limestone as it is in the Côte des Bar, it is literally the same vein of Kimmeridgian. The soil is thinner though in Molesme and after about 20 cm, the roots hit roche mère or ‘mother rock.’ This creates a lot of tautness in my wines. There is a lot of quality and potential here.”

Though Jurassic limestone does seem to be the dominant geological trait in Molesme, Piollot asserts that her vineyard is red marl, though it too shares the shallow soils. She describes her wines as “rounder and fleshier” than what they produce in the Côte des Bar, which are more mineral. Bouhélier confirms that the soils can change depending on the location of one’s vines amongst the 23 villages.

Given its position, it is natural that 85% of its wines are sparkling, mostly Crémant de Bourgogne AOC, a wine that retains excellent value amongst Burgundy’s ever exploding price tags. They are vinified following the same method used in Champagne with most of the

Photo credit: Courtesy of Domaine Bouhélier

traditional varieties of Burgundy—Pinot Noir followed by Chardonnay and a smattering of Aligoté and Pinot Blanc. “Pinot Noir does well on the Jurassic limestone of Molesme. Our Chardonnay tends to prefer the deeper soils of Pothières, a neighboring village,” explains Guichard.

Bouhélier, whose family’s domaine history goes back to the 1980s, further illuminates. “When people first started replanting here, they planted Chardonnay. These are our oldest vines. But the area suffers from spring frosts – even more than the Côte des Bar – so people started replanting to Pinot Noir, a later budding variety. Plus, the Châtillonnais winemakers wanted to do what is done in the Aube.”

Like in Champagne, still wines are on the rise. “Climate change has helped this area like other septentrional regions,” explain Rousseau. “I train my vines for still wines like they do in the Côte de Nuits or Beaune, and my yields are much lower than those for Crémant to concentrate the fruit. I am really proud of how expressive our Pinots can be.”

Promoting the region has not been easy. Producers lament that up until a few years ago, the Châtillonnais was not on any Burgundian wine maps. “I realized that if I wanted to promote our region, wines, and domaine, I would have to make my own map,” states Bouhélier. “We are a bit of a detour from areas like Beaune, but more and more people are making their way up. Most of our production is sold in France and to people who visit us. My father created a wine museum in 1995, which helps explain the Châtillonnais’ unique story, and

that has also helped draw interest. But people also seek us out by word-of-mouth or because they enjoyed our wines somewhere and are now coming directly to the source. We have many repeat customers as well.”

Newer producers like Dangin and Piollot have found more success in export markets.

“When we arrived, most locals already had their favorite producers and were faithful to them, so we looked elsewhere,” states Dangin.

“Of our total production, 85% is exported—we even have an importer in Ontario—though Denmark, the US, and Italy remain our strongest markets. We did not actually have much difficulty finding customers. Though it is changing, the French tend to be interested in only Champagne for sparkling wine. However, foreign markets are much more open-minded and willing to buy good wine, regardless of where it is from.”

What is next for Châtillonnais? “I would really like to be able to write ‘Crémant de Bourgogne du Châtillonnais’ on our labels,” says Rousseau. “Our Crémants are very distinctive and go to the core of our history. Plus, our soils are designed for them. You cannot compare a Crémant from the Châtillonnais with a regionally blended one or one from the Beaujolais, which is 250 km to the south. Our varieties are different and so is the climate.”

This is a sentiment echoed by many of its growers. “Having our region on our labels would add value to our wines, especially in export markets,” asserts Dangin. “It has been discussed, but I am not sure there is an application for it yet. We might need more history to proceed.”

But their future looks bright. Crémant de Bourgogne is the largest developing AOC in the region, catapulting an incredible 7,600% in sales over the last 40 years, and it’s still growing. However, at the moment, only around 3-4% actually comes uniquely from the Châtillonnais. “We still have around 1,000 hectares of approved vineyard land that has yet to be planted, so there is enormous potential,” Bouhélier states optimistically. I, for one, believe their patience, passion and pioneering spirit will pay off.

Originally from the Chicago area, Robin Kick MW currently lives in Lugano, Switzerland where she works as a freelance buying/export consultant, wine judge, educator and journalist. She changed career paths in 1998 when she left her teaching position at the Université de Nice to study wine. Robin has held a number of different positions including Wine Auction Specialist for Christie’s in Beverly Hills, California and Fine Wine Buyer for Goedhuis & Co., a London-based wine merchant with an award-winning Burgundy list. While in London, she studied at the Institute of Masters of Wine, graduating in 2014 following the successful completion of her dissertation, An Investigation of Whole Cluster Fermentation in Pinot Noir in the Côte d’Or. When she is not in Switzerland, she spends much of her time in the Côte d’Or or travelling and tasting through many of Italy’s wine regions.

Photo credit: Courtesy of Domaine Bouhélier

Photo credit: Courtesy of Domaine Bruno Dangin

Soils of Molesme

Matthieu Dangin

Châtillonnais Sparkling Wines

Louis Bouillot Grands Terroirs Les Lavots Extra Brut Crémant de Bourgogne AOC, 2017

Louis Bouillot produces multiple single-vineyard Crémants, though Les Lavots is the only one from the Châtillonnais. From a 3.5 ha parcel comprised of 57% Pinot Noir and 43% Chardonnay, its oldest vines date back to 1984. It is named after the ‘laves’ or broken up limestone slabs that lie on the soil’s surface. Opening up with a delicate nose of sweet orchard fruits, on the palate this 2017 continues with nuances of lemon zest and candied pineapple. A rounder style of Crémant, it should appeal to those who prefer a slightly softer style.

Domaine Pierre Rousseau Cuvée R by Rousseau Brut Crémant de Bourgogne AOC, 2018

Francis produces four different Crémants and his Cuvée R is his top-ofthe-line. Produced from 60% Chardonnay and 40% Pinot Noir from vines that are grown on one parcel in Molesme, it reveals aromas of fresh grape, honeydew melon and marzipan before turning towards white pepper, gentle toast and leesy notes. Fresh and lifted yet vinous and deep. Quite a young Crémant still, this will no doubt be even more exciting in a few years’ time.

Domaine Bruno Dangin Prestige de Narcès Extra Brut Crémant de Bourgogne AOC, 2020

Matthieu’s Prestige cuvée is served by the glass at Eleven Madison Park in Manhattan alongside estates like Jacquesson. Based on one taste it is easy to see why. Produced from Pinot Noir vines planted in the 1970s, this 2020 offers a fine and chiseled palate with notes of sweet, succulent white fleshed fruit and gentle biscuit nuances. Only first-press juice was used for added elegance while vinification was done in seasoned oak barrels to create a creamier mouthfeel and more complexity. The result is seamless. A truly delicious and stylish wine with much lift and freshness.

Domaine Bouhélier Celtissime Extra Brut Crémant de Bourgogne AOC, NV

Named after an important Celtic period in the Châtillonnais’ history, Celtissme reflects a slightly more oxidative style of Crémant. Reminiscent of Egly-Ouriet, one of Paul’s inspirations, it is mostly comprised of 2015 with a portion of 2016 which is vinified and aged in a Châtillonnais oak barrel made by the Cavin family (also based in the region). Aromatic with notes of brioche, fresh bread yeast, pear tarte and cut hay, it is ample and lingering on the palate. An intriguing and unusual Crémant. 50% Chardonnay and 50% Pinot Noir.

Domaine Bruno Dangin Cuvée Rosé Brut Crémant de Bourgogne

AOC, 2020

Produced from 30-year-old Pinot Noir vines and fermented in older barrels, Matthieu makes this wine by pressing the fruit directly but will also add 7-8% red wine to give it a bit more color and depth of flavor. The result is an appealing combination of sweet raspberries, strawberries and cherries with additional notes of brioche and subtle nuances of vanilla. A finely tuned palate that offers a wonderful balance of fruit and a more savory feel. Finishes pure and fresh. A bright and juicy rosé that also lends a bit of seriousness.

Châtillonnais Still Wines

Domaine Bouhélier Chardonnay En Chemin Km 21.6 Bourgogne AOC, NV

A truly unique wine, Paul produces a still wine in the spirit of a Champenois ‘solera’ or a mixture of different vintages which are barrel aged. He calls it ‘En Chemin’ (‘on the path’) which represents his path as a winemaker. Produced with 50% Chardonnay from 2021 and the remainder from 6 older vintages, it reveals a complex nose of fresh lemon curd buttressed by notes of biscuit, fresh walnuts and caramel undertones. Young and fresh yet aged and mature. This could pair easily with scallops with beurre noisette. A delightful, distinctive wine.

Domaine Pierre Rousseau Pinot Noir Cuvée Symphonie Bourgogne

AOC, 2018

Francis produces five different still wines and his Cuvée Symphonie is his top Pinot Noir. Hailing from the 2018 vintage, a year that was dry and warm, it offers an ample nose of black currants and small, sweet bramble fruits. Its firm acidity hints at its more northern origins, but it is nicely folded into a fleshy fruit palate that is nuanced with lingering subtle spice. Finishes sappy. It spends 10-12 months in oak barrels to give added complexity.

Ancestral Foodways

By Aman Dosanj

of SEFOTUR

How two Mayan families in Mexico are using agritourism to keep ancient food traditions and wisdom alive.

Photos courtesy

Ancestral Foodways

The Yucatán Peninsula, in the southeast of Mexico, is brimming with pristine coastline, jaw-dropping limestone sinkholes, lush jungle, stunning ruins, and pinker-than-pink flamingos. In a state where crumbling, abandoned houses stand alongside renovated extravagance, and cathedrals sit atop sacred ruins, the scars of colonialism blush at every turn. Beyond the shores of Cancún and Tulum, avid adventure-seeking travellers are escaping the crowds, hungry for local activities that celebrate the resilience and modern-day existence of Latin America’s first peoples.

Here are two family-operated businesses that get you closer to Mayan culture and histories—past, present, and future.

APITURISMO SINANCHÉ

97420 Sinanché, Yucatán, Mexico

The Yucatán is home to  Melipona beecheii, a dainty stingless bee native to the region (as well as neighbouring Guatemala and Hon -

duras). Unlike the more common European honeybee, Apis mellifera, which is responsible for a hefty chunk of commercial honey production globally, Mayan communities revere Melipona honey for its medicinal purposes, as well as its antioxidant and anti-inflammatory properties. According to Benigno Ramírez, a fourth-generation beekeeper at Apiturismo Sinanché, this honey was—and still is—extensively used to soothe skin irritations, treat infections (ear, eye, and throat), and was extensively used by indigenous healers to aid postpartum recovery.

Located in Sinanché, an hour north of Mérida between Motul and San Crisanto, Apiturismo Sinanché offers daily tours for a glimpse at the ins-and-outs of Meliponicultura—an ancient practice that dates back well over 3,000 years for the Maya. Walking the property and identifying the biodiversity in native flora, you’ll find small Melipona colonies living in hollow nooks and crannies of a tree—or raised inside wooden boxes surrounded by a moat to warn off predators (in the absence of a stinger).

But that’s not to say they won’t bite if threatened, which is why there’s protocol: first is a greeting followed by asking the bees for permission, before any extraction of this sacred elixir of the gods can begin.

Once the lid comes off, you can’t help but marvel at the Guggenheim of bee structures. Far from the standard hexagonal formation, you’ll find a cluster of minion-shaped, golden-brown domes that flow with crystal clear, runny, delicately floral liquid. With smaller colonies, a Melipona hive is likely to yield a single litre per year, compared to 40 litres often produced by their European counterparts. Respectfully moving from honeypot to honeypot, taking just five millimetres at a time, the process can take an experienced beekeeper like Ramírez anywhere between 30 minutes to an hour per harvest. With deforestation as a massive concern in the region, apiaries like Apiturismo Sinanché play a vital role in conserving this practice for future generations.

ALDEA X-BATÚN

97780 Valladolid, Yucatán, Mexico

On an idyllic sun-dappled estate two hours west of Cancún, there is an unforgettable day of feasting worthy of the airfare alone. As you arrive at Aldea X-Batún, a shamrock-coloured sip of ground  Chaya (native, spinach),  limon, and honey is the thirst-quenching welcome. Lured by the whiff of smouldering coals, a shallow circular píib (or fire pit) is patiently tended to by maestro Juan Cen Canche. Then, it’s over to Irma Canche Poot—the adorable matriarch and her skillful team of cooks—to guide you through the ritual involved in preparing  pollo pibili,  a traditional slow-roasted chicken dish drenched in the juice of sour oranges and smothered with a vibrant burnt-red paste of garlic, cinnamon, oregano, black pepper, and achiote. Artfully clad with circle slices of red onion, layers of fresh banana leaves line the length of the roasting pan filled with intoxicating, flavour-packed meat. Almost ceremoniously, the metal pan is returned to the earth

using a combination of native woods, leafy branches, and cocoa-like dirt.

In a world where commercialized food systems run rampant, centuries-old wisdom makes the backbone of Mayan food traditions here. “My dad is the master of the píib—he knows the temperature and the time [it takes to cook a dish],” said José Cen Canche of his father’s internal timer. Two hours later, a sharp tanginess tickles your nose; you suddenly realize how instrumental each deliberately cast supporting member is to the flavour equation. From the mineral-enriched soil and the now crunchy, fall-like leaves to the floral, almost clove-y  jábin wood, this  pollo pibil is indescribably delicious, crazy complex, and nearly impossible to replicate at home but honestly the definition of ‘taste of place.’

The three-hour culinary experience gets you hands-on, learning the steps behind  sikil p’ak (a nutty fire-blistered tomato dip with ground pumpkin seeds served with crisp corn tortillas),  tzotobichay  (a  Chaya -speckled tamale), and  huevo encamisado (where an egg is

theatrically plopped inside of a puffed tortilla then finished over the fire). For dessert, there’s a bitter onyx-coloured disc of cacao, which, when sipped with xtabentún (a sweet liquor made with honey and anise), mellows your palate—an unexpected pairing lesson from the O.G. masters.

Can a day of cooking be any more perfect?

Aman Dosanj is a food and marketing geek, former England and Arsenal footballer, feminist, middle child, not your conventional brown person, adventurer, From the Wild alum, imperfect environmentalist, storyteller, and just weird enough to be interesting. She is known for her ability to educate, connect and tell stories through food, working with local farmers and producers to create edible adventures in unexpected places with The Paisley Notebook. The best concert she ever attended was Florence and the Machine in Hyde Park, London.

PROFILE: Pedro Medina Casanova

Centuries of family tradition— honoured, remixed, and made new.

By Aman Dosanj

His father’s advice was simple: “Don’t cook because you want to sell a dish. Cook because you want to eat it.” Whether you’re feasting on his drip-down-your-arm  taco de lechón al horno (a soft corn tortilla topped with roasted pork with ultra-crispy pork skin), black beanfried  panuchos de huevo  (with hard-boiled eggs),  polcan de cochinita pibil (his signature with heaps of juicy, fork-tender pork), or a refreshing glass of  agua de piña con chaya (pineapple water made with bitter spinach), it seems to be working. I mean, even our driver asked if he could join us for lunch at the muchloved hot spot!

MOST MEMORABLE CHILDHOOD FOOD MEMORY

My father had a medical complication due to his diabetes and [was] hospitalized. My mother stayed by his side, concerned about who would [produce] the food for the day. His surprise was when I told them I had already cooked and finished the production, so we wouldn’t have to close due to [the] lack of food to sell. That day, I put into practice what I [had] learned with my father and mother.

YOUR GO-TO RESTAURANT THAT NEVER DISAPPOINTS Kuuk [in Mérida].

It’s November in the chic, watercolour-splashed city of Mérida, the capital of Mexico’s Yucatan state. Clad with cobbled streets, extensive Spanish colonial architecture, and buzzy local markets brimming with fresh, new-to-me produce, it’s easy to see why the relaxed under-the-radar city has attracted travellers from near and far, including Samin Nosrat. The loveable James Beard-winning author and host popped into the country’s citrus-soaked belt while filming the “Acid” episode for the Netflix series Salt Fat Acid Heat. That documentary cameo was how I first discovered Chef Pedro Medina Casanova of Taqueria La Lupita—and I’m now inside the Mercado de Santiago, feasting on La Lupita’s deliciously porky creations IRL.

Growing up in their respective family businesses, Medina Casanova and his wife, Guadalupe Solis, have the kind of fairy-tale love story that belongs in a movie. As we pull up a Coca-Cola-branded seat at one of La Lupita’s electric-blue covered tables, he tells me about his early childhood, which mixed playtime with Solis and helping at La Violetera—his parent’s own eatery just across from La Lupita. Acknowledging that their parents were growing older, the couple bought La Lupita to hold onto their culinary traditions. But what sets the new iteration of La Lupita apart is Medina Casanova’s ability to push boundaries with new riffs and combinations to create a legacy of their own.

With appearances in everything from  Taco Chronicles  (season two) on Netflix to  Pati’s Mexican Table on Amazon Prime, this humble, family-run eatery—which is celebrating a whopping 54 years in operation—is helping to shift perceptions about an often underrated and misunderstood cuisine. And if that wasn’t impressive enough, Medina Casanova and La Lupita even broke a Guinness World Record for “longest line of tacos” last year, serving his beloved cochinita pibil

We spoke to Medina Casanova about how his parents have shaped him as a self-taught chef, his love for  cochinita pibil , and what comes next.

WHERE DID YOU GROW UP AND WHERE DO YOU LIVE NOW

I grew up in the city of Mérida in the Santiago market. Since I was a child, I [have] helped in the family business. I live in downtown Mérida (Yucatán, Mexico) with my family.

WHY AND WHEN DID YOU START COOKING? For pleasure, because I love to eat well. I [have been] preparing my own food since I was 12 years old—my mother got angry because she cooked for everyone in the house.

YOUR FAVOURITE COMFORT FOOD

It is hard to choose one among the wide variety of Yucatecan dishes. I love cochinita pibil, the beans with pork, and the stuffed cheese—these three are perhaps the [dishes] I love the most.

YOUR FAVOURITE INGREDIENT TO COOK WITH Achiote (annatto seed) seasoning.

YOUR MOST SIGNIFICANT CULINARY INFLUENCE

My parents, Don Pedro Medina and Doña Aracelly Casanova, and my aunt, Angelina.

YOUR FAVOURITE DISH ON THE LA LUPITA MENU

Cochinita pibil because all the elements I love come together: the achiote, the pork, and the sour orange juice, with that smoky touch that the firewood gives. The meat is so juicy, perfect to be savoured in a delicious taco with pickled onion and its xnipec [spicy salsa].

WHAT DO YOU DRINK AT HOME?

A variety of fresh, [fruit-based] waters from La Lupita [like agua de piña con chaya], and natural water.

MUSIC YOU LISTEN TO WHILE YOU COOK

A little bit of everything, but Latin rhythmic music such as disco, tropical, and ballads are not lacking.

WHAT ARE YOUR HOPES FOR THE FUTURE?

To continue to promote Yucatecan gastronomy and La Lupita Taqueria [by] participating in events where the region’s gastronomy is included. (If they invite me!) I would like to open a branch of La Lupita outside of Mérida.

Pibil recipe.

Photo credit: Courtesy of the State of Yucatan Ministry of Tourism

South African Wine:

An Era of Change for the Better

By Jessica Dupuy

Thirty years after the fall of apartheid, the wine industry in South Africa is looking very different. Though there is still much to be done, there is evidence today of diversity and inclusivity in all areas of the industry.

In 2019, Berene Sauls drained her entire bank account and purchased a 16.6-hectare plot in Tesselaarsdal, a small village in South Africa’s Western Cape. It was a leap of faith in more ways than one. Sauls was a single mother of two boys. She grew up in this part of the country known as the Overberg, about 23 kilometers northeast of the Hemel-en-Aarde wine region. She planned to plant a vineyard.

Purchasing a plot of land was something she couldn’t have done 30 years ago. She would not have been allowed. That’s because Sauls is a person of colour, and in the early 1990s, people of colour were just gaining their freedom in South Africa. A third-generation daughter

of farmers, Sauls possesses deep ties to the soils of her upbringing, but she now lives in a time with substantially more opportunities available to her.

Though the COVID-19 pandemic halted her plans to establish her vineyard, Sauls was able to maintain her day job in logistics at Hamilton Russell Vineyards. For Sauls, who has worked at the company for more than 20 years, her job was much more than a nineto-five gig. It represented an entire career of growth and opportunity that afforded her the chance to save for her land purchase. It also meant a lifetime of mentorship and empowerment that she worked hard to repay in

Photo credit: Courtesy of Hamilton Russell Vineyards

gratitude and commitment. Her story is a powerful snapshot of what the South African wine industry is working to become.

Wine has been produced in South Africa for more than five centuries, beginning with Dutch settlement in the Western Cape in 1652. But its modern industry could only begin following the foundational shift from apartheid in the early 1990s. The momentous power shift opened the door for meaningful progress in diversity and inclusion throughout the country. But overcoming a long and complicated history of oppression is no easy task. As such, South African wine as we know it today, is really only a few decades old.

The country’s wine industry has witnessed a crescendo of innovation, transformation, and ambition in the past decade alone. Some of this is thanks to government and industry-wide regulatory changes. Still, much is owed to forward-thinking pioneers in the industry who have endured failures and celebrated successes to influence positive change.

According to a recent book, The Wines of South Africa by Jim Clarke, the South African wine industry employs more than 467,000 people between farming, production, logistics, and tourism. But the current industry snapshot shows farm and winery owners as almost entirely white. At the same time, more than half of the job opportunities include low-wage, unskilled positions, which are primarily held

by Black and Coloured workers.*

To bridge the gap for the disadvantaged in the wine industry, numerous initiatives have been launched in the areas of land ownership, equity, education, and skills development, among others.

LAND OWNERSHIP

In 1910, the parliament passed the Natives Land Act, which dispossessed all Black South Africans of more than 90% of the country’s land. The event took land from original Black ownership and offered it to white owners. Undoing such drastic legislation has been challenging. Though the government has introduced post-apartheid land restitution programs, they have not restored a significant amount of physical land into the hands of original owners. Instead, the majority of the almost 80,000 cases filed have been settled via cash compensation. As a result, very few original owners now own land at all.

Independent of this restitution initiative, the Land Redistribution for Agricultural Development (LRAD) program was implemented. It focuses on farming rather than housing. Recipients of LRAD can use government grants to purchase property from the state. However, there have been hurdles. As of 2017, the target, according to Clarke, for Black-owned vineyards in South Africa was to reach 30 percent by 2030. But at that time, ownership was only at 1.5%.

Simply owning land may seem like a worthy feat. But it also comes with its own set of problems. It is capital-intensive to not only plant a vineyard after purchasing the land but also to maintain it.

“Owning land is the least profitable part of the wine industry,” says Clarke. “Prior to COVID, most of the 2,600 growers in the country were breaking even, if not losing money. So, handing over vineyard land to people without training or capital to invest in equipment for harvesting isn’t really doing anyone any favours.”

As a result, many Black and Coloured wine producers who entered the industry forgo land ownership. Instead, they purchase grapes and make wines through connections with existing facilities.

Of course, there are jobs not directly related to winemaking within the industry that are available as well. In 2010, Meerlust Estate started Compagniesdrift, a bottling, storage, and logistics entity for a few sizable producers, including Meerlust, Vriesenhof, and Ken Forrester. The company employed workers from each of the farms. Over the years, it has expanded as a service provider to more than 42 clients.

“When you want to talk about a profitable part of the wine industry, logistics is a big part of that,” says Clarke. “They’re making all the money without having to invest in large assets because all they’re doing is storing other people’s products.”

* [Note: In South Africa, the terms “Black” and “Coloured” are commonly used throughout the country. Locally, Black people are Black Africans of native descent from tribes such as the Zulu, Xhosa, Bapedi, Batswana, South Ndebele, Basotho, Venda, Tsonga, and Swazi. The term “Coloured” refers to the mixed-race group primarily in the Western Cape who descended from the local Black Khoisan people from the time of European colonization and slaves from Madagascar, Angola, and Java, where the Dutch had colonies. Throughout the Western Cape, and by extension within the wine industry, the backbone of the labour on wine properties is made up of the Coloured community. In contrast, the Black community has been largely divorced from agriculture—though this is beginning to change.]

Photo credit: Courtesy of Hamilton Russell Vineyards

Aerial view of Hemel-en-Aarde Valley

EQUITY

For those seeking land investment, the wine and fruit industries developed programs that allow workers to use government grants to partner with new wine companies that own land and other assets, or with established, white [race] wine farmers. These Equity Share Schemes (ESS) enable people to purchase more quickly and equitably a portion of the farm where they work without having to start from scratch. According to Clarke, as of 2021, approximately 90 farms throughout the Cape have embraced the ESS model, accounting for one fifth of the LRAD projects in place.

“This is where I think the industry has been much more creative in adapting the land ownership issue,” says Clarke. “They’re offering to let people buy a piece of the property and allowing them to use the winery and necessary equipment, [and] receive coaching. This lets workers be part of an endeavor that is more viable.”

In 1996, producer Paul Cluver’s De Rust farm brokered a deal with the state-owned forestry company to acquire 180 hectares of forest land adjacent to his property. The project, known as Thandi farms, became a joint venture between the two companies and was explicitly donated to the workers and members of the local community. This would be the first Black Economic Empowerment (BEE) company in the agriculture industry and is heralded as a great success. By 2009, the local farming communities owned two-thirds of the company, which had become fully independent (the remaining third is owned by their exporter, The Company of Wine People). Today, Thandi is the biggest Black-owned wine exporting company in South Africa.

In Wellington, Bosman Family Vineyards had been farming in nearby Hermanus for eight generations and began focusing as a grape grower and nursery in 1957. But in 2007, the family started making wine and subsequently took the opportunity to negotiate a joint venture with the Adama Workers Trust

for its employees. The concept was to make employees co-owners of the Bosman Family Vineyard brand, not just the land but all company assets. Through this trust, Bosman pays dividends on that investment. To date, it has dispensed more than one billion rands, amounting to a yield of about 3.5%. The trust also pays dividends from its Fairtrade certification to community and social services, such as buses for the community to use for work, school, and medical services. It has also built a crèche for childcare, adult classes for computer skills, and a medical clinic on the farm to serve workers and members of the local community.

EDUCATION AND TRADE SKILLS

With respect to education and skills for the wine trade, programs to improve worker skills pre-date the end of apartheid. The Wine Training South Africa program was formed by the Elsenburg Viticultural College in 1987, offering accredited training for cellar workers. The program has trained more than 6,000 enrollees since 2006.

Since 2015, over 250 training programs benefitting more than 4,500 workers have been instituted by Vinpro, a non-profit company developed out of the former KWV cooperative to aid in the profitability and sustainability of the wine industry.

But many other programs have also contributed to helping individuals within the Black and Coloured communities gain winemaking and viticulture roles. Global organizations such as Fairtrade International and the South African Wine and Agricultural Ethical Trading Association (WIETA) have brought substantial returns in education, community development, social services, transportation, medical access, childcare, computer skills classes, and reasonable working hours.

In 2006, the Cape Winemakers Guild introduced a Protégé Programme, providing internship opportunities for wine students as they complete their studies. More than 30 protégées

have completed internships and gone on to work within the industry. (See Sidebar.)

Rüdger van Wyk was one of those protégés. At age 32, van Wyk is the youngest of three brothers, all raised in the small town of George on the east coast of South Africa. His parents were teachers who raised their boys in a sport-loving home with a particular affinity for rugby. His middle brother was the first to take an interest in wine and left to study winemaking at the Stellenbosch University. Van Wyk remembers staying with him when he had rugby tournaments near the university campus.

“He worked at a co-op winery in Paarl and lived in a house close to the cellar. I was only 15, and he would take me to the cellar and show me how to taste wine. It was the first time I’d heard of Cabernet Sauvignon and Chenin Blanc or seen stainless steel tanks and barrels. I was so intrigued by all of it.”

His parents hoped he would follow in their footsteps as teachers, but, in 2009, van Wyk started at Stellenbosch University to become a winemaker. Before graduating, he applied to, and was accepted in, the Protégé Program. The opportunity afforded him a winemaking internship at Kanonkop, followed by a brief time with Nitida Wine Farm in Durbanville to work with white wines such as Sauvignon Blanc, and a harvest trip to Burgundy with other participants in the program.

For van Wyk, it was the trip of a lifetime.

In 2014, van Wyk was offered a full-time position as the winemaker for Stellenbosch-based Stark-Condé. He has been making Cabernet Sauvignon, Syrah, Petite Sirah, Sauvignon Blanc, and Chenin Blanc with the company ever since.

But his experience in Burgundy remained fresh in his mind, and he wanted to work with Pinot Noir and Chardonnay. In 2017, StarkCondé allowed him to do it. He named his

Photo Credit: MAN Family Wines

Rüdger van Wyk

Chardonnay harvest

brand Kara-Tara, a nod to Knysna, the small town where van Wyk grew up. The name is from the native Khoisan language meaning “deep, dark shadows,” and refers to the Karatara River that runs through the town. Today, Kara-Tara Pinot Noir and Chardonnay are distributed in the UK, Japan, Mexico, 30 US states, and Canada.

Van Wyk hopes to help create a future for his family, “My parents worked so hard to educate us and put knowledge into our brains, and I want to do the same to help bring my family to that next level…when I breathe my last breath, I hope my children and the rest of my family will have something I didn’t.”

Van Wyk recognizes a significant shift in his story compared to his brother’s, given the seven years that separate them in age. “We both took different directions. I don’t think he had the same opportunities in the co-op cellar where he worked in the years before I got into the industry. It wasn’t the right time or place,” says van Wyk.

His brother eventually started a business for contract work in vineyards throughout the region and has successfully grown his company over the years.

MORE WORK TO BE DONE

While work-related skills would directly allow a worker to command a higher income, there is a dire need for developing life skills. This includes economic literacy; addressing alcohol abuse, HIV and AIDS; education; and general household, budgeting, and management. In addition, housing and permanent versus seasonal labour are issues that are being addressed. Each area has seen successes and failures.

Organizational efforts such as the Pinotage Youth Development Academy have implemented a focus on training people to work in wine, tourism, and hospitality, but has also invested more than 40% of the program in personal development and life skills.

Producers such as Hamilton Russell Vineyards have created schools for early childhood development within the Hemel-en-Aarde Valley community to help prepare them for grade school.

“Early childhood development has been largely overlooked where children have two

THE CAPE WINEMAKER’S GUILD’S PROTEGÉ PROGRAM

Helping Educate and Equip People of Colour in South African Wine

The Cape Winemakers Guild (CWG) was founded in 1982 to create a forum for winemakers to share wine knowledge among its members. For years, members met with a focus on evaluating wines from around the world through a tasting group format to help shape their winemaking knowledge and palates. The membership includes 40 to 45 winemakers throughout the Cape, each admitted by invitation, who have produced quality wine for a minimum of five years and is an integral part of daily cellar operations.

But just as the identity of South Africa has shifted since the Guild’s inception, so have the goals of the membership. In 2006, the Guild launched the Protégé Program, a project that allows aspiring winemakers to work sideby-side with members of the Guild. All participants receive an opportunity to work with different members of the Guild over three years. The internship is a targeted three-year program that offers skills, practical experience, knowledge sharing, and mentorship. In 2014, a Viticulture Protégé Program was launched in conjunction with Vinpro. The hope is that the membership of experienced winemakers can impart wisdom and knowledge to a new generation of winemakers and grape growers.

Rüdger van Wyk, the winemaker for Stark-Condé wines in Stellenbosch, was a protogé in 2014. He remembers the interview process being a rigorous, nerve-wracking experience. Upon being accepted to the program, he joined up with winemaker Abrie Beeslar at Kanonkop Wine Estate.

“It was a huge stepping stone for me to have that experience,” says van Wyk. “I still talk to Beeslar about things, especially red wines. He changed my whole way of thinking about winemaking when I was there, and it has shaped how I make wines at Stark-Condé.”

Following his internship with Kanonkop, he spent some time with Nitida, a small producer in Durbanville. In 2014, he and other participants in the program were invited on a trip to Burgundy. The six-week experience included the opportunity to work harvest alongside Burgundian producers and travel to other regions of France, including Bordeaux, Champagne, and the Rhône Valley.

“To experience the contrast from Bordeaux to Burgundy and knowing how things were done at Kanonkop was such an eye-opening experience for me,” says van Wyk. “That trip alone was like an entire college education. It was interesting to hear the different perspectives for each wine style and the grapes for each region.”

There are many winemakers in the Guild whom van Wyk has never officially met but have positively impacted him.

“It’s little things like how they walk and talk during a wine tasting, their comments, and how they handle people. All of those things were very intriguing to me in the beginning and very inspiring. Many of them have been mentors to me without even knowing it.”

To date, 34 participants have completed the three-year internship, and seven are participating in this ongoing program. Of the graduates, 18 now either hold leading winemaking roles or have their own winemaking projects.

As part of the project, the Guild hosts an annual auction of wine lots produced explicitly from each of its member wineries for the CWG. These unique wines are made in small quantities—usually no more than two barrels—and are auctioned each year to raise money for the Protogé Program. In October 2022, the annual auction offered 513 lots and raised more than R13,985,500 (approx. $768,000 USD), resulting in an average bottle price of R1,227, an overall 30% increase on funds raised in 2021.

Photo credit: Hamilton Russell Vineyards

Anthony Hamilton Russell showing Bokkeveld Shale

working parents who must leave their kids with family or friends during the day,” says Anthony Hamilton Russell. “This is a preschool where they can build self-esteem and confidence in doing well in a school environment.”

It’s also important to note that South Africa—white, Black, Coloured, and Asian—is generally more of a beer-drinking culture. While many factors play into this, the combination of a lack of wine awareness and appreciation within the general population plays into lower wine consumption (at all quality tiers) and less desire for entry into the wine industry. It’s a problem, but the primary solution for this is time. As the country moves into second, third, and fourth generations born into a post-apartheid environment, this—along with many things—can only improve.

INDIVIDUAL EFFORTS

In addition to institutional efforts, it’s worth noting the impact of individual initiatives. In 1995, Jabulani Ntshangase, following an education and early career in New York, approached South African Airways about establishing the Wine Education Trust, which would sponsor grants for Black and Coloured applicants to study winemaking at Stellenbosch University. For many recipients of this grant, it was the first time they would ever taste wine. The initiative ignited the careers of the likes of Ntsiki Biyela, owner and winemaker of Aslina Wines; Dumisani Mathonsi, winemaker of white wines at Zonnebloem; and Unathi Mantshongo, the former CEO of the Vinpro Foundation. Which brings us back to the Berene Sauls story. Hers is one of hard work and vision. But none of it would likely have been possible without the help of Anthony Hamilton Russell, whose belief in shepherding individuals along their journey is the best way to move the industry forward.

When Sauls first came to Hamilton Russell Vineyards at the age of 19, it was to interview for an au pair position for Anthony Hamilton Russell’s four daughters. It soon became apparent that she had much more to offer.

“I remember asking Anthony, ‘Why do people pay so much for wine? I come from a beer-drinking community,’ and that’s when he suggested that I see the process from grape to bottle,” says Sauls.

That was at the end of the 2002 harvest and as soon as Sauls set foot in the cellar, she was sold on wine. Sauls was given the opportunity to work for the company in several different capacities over a tenure that spans more than 20 years. She learned winemaking, administration, certification, how to operate a forklift, and more before eventually settling into a management role in logistics.

“I have always felt that if we can give someone a chance to get a foot on the ladder and develop that, it’s our duty,” says Hamilton Russell, who

has fostered the careers of numerous staff members whose tenures at the estate span decades.

By 2015, Sauls had mastered everything that had been put in her path. Hamilton Russell suggested she launch her own wine brand and offered her the capital to get started.

Sauls gratefully accepted the opportunity, leveraging the skills she had learned and guidance from Hamilton Russell to help steer the path. She contracted the brand’s winemaker, Emul Ross, to help with the winemaking and reached out to grape growers with whom she had already established relationships to purchase grapes.

“One of the main things that I found as being the stumbling block for so many start-up wine businesses is the wrong strategy and trying to do too many things at once,” says Hamilton Russell, who advised Sauls to start with Pinot Noir and eventually add Chardonnay to the mix.

Her first vintage was a 2015 Pinot Noir released under the name of Tesselaarsdal Wines. In the coming years, Hamilton Russell would begin to step back from his advisory role, keeping himself available if Sauls needed him. Her next big step was to own land. When a piece of property became available near her hometown, she invited Hamilton Russell and Ross to take a look. The property was beautiful with a north-west facing slope and clay soils. When drilling for water and looking at soil samples of the land, Sauls discovered a common thread: everything was salty. The water. The soil. It all had high salinity.

The parcel has a unique history. In the 1800s, just outside the small village of Tesselaarsdal (after which Sauls’s wine brand was named), Johannes Tesselaar, a Dutch general, was given the land along with eight Khoisan slaves. Upon his death in 1810, he left the property to his then-freed slaves. Sauls is a descendant of those slaves.

In late 2022, with the help of family and friends, she planted the initial 50 experimental vines.

“I want to honour my history and continue my family legacy here,” says Sauls. “This is something I’m very passionate about. It’s not just a wine brand. It’s something my sons can help bring into a new generation.”

While it’s true that apartheid put South Africa on the back foot when participating in the modern global wine industry, you can’t deny the efforts to make things right. “One thing I really admire about South Africa is its openness to address its past through initiatives like the Truth and Reconciliation Commission,” says Clarke. “This approach remains a central principle in the country’s efforts to change and improve itself.”

Most South Africans you speak to are open and honest about past and current challenges regarding their political and racial history. And equally as open about focusing on a bright future.

Jessica Dupuy is a wine and spirits columnist, certified sommelier and WSET Diploma candidate. She is the author of several books including Uchi: The Cookbook; The Salt Lick Cookbook: A Story of Land, Family and Love; The United Tastes of Texas; Tex-Mex: Traditions, Innovations, and Comfort Foods from Both Sides of the Border. Her latest book, The Wines of Southwest U.S.A. covers the emerging wine regions in Texas, New Mexico, Arizona, and Colorado. Dupuy lives in the Texas Hill Country, just west of Austin, with her family. Among the things she enjoys most are cooking with her kids, sharing great wine with friends, and fly fishing with her husband.

Berene Sauls in her Tesselaarsdal Vineyard

the Hills since 1876 Bubbles from

By Alessandra Piubello

The Prosecco universe is wide and differentiated, depending on whether we are talking about the Prosecco DOC “phenomenon,” with its more than 627 million bottles (including rosé), or Conegliano Valdobbiadene Prosecco Superiore DOCG, with a production of around 100 million bottles (respecting its wine-making traditions, the denomination has excluded rosé from its specifications).

recognised as a UNESCO World Heritage Site. Working on the steep hills of the DOCG means dedicating 750 hours of manual labour per hectare per year, compared to 150 hours in the lowland vineyards of the DOC, which spans two regions: Veneto and Friuli Venezia Giulia.

sparkling wine and the ambassador of a unique region.

Conegliano Valdobbiadene Prosecco Superiore DOCG

- The area of origin

The two denominations are fundamentally different, not only from a production quantity aspect, but also due to a series of other factors. The DOCG stands out for its hillside locations, lower yields, history, and care for the territory, and it is positioned at the top of the Prosecco world’s quality pyramid. In 2019, the Prosecco hills of Conegliano and Valdobbiadene were

Conegliano Valdobbiadene has built the success of Prosecco over time throughout its unique history, creating a modern, informal, and cheerful Italian style of drinking that has been embraced the world over. Conegliano Valdobbiadene Prosecco Superiore DOCG is multifaceted and transversal. Unlike Champagne, a celebratory sparkling wine par excellence but with a high price, Conegliano Valdobbiadene Prosecco Superiore DOCG lends itself to a variety of occasions, not just celebrations, by virtue of its immediacy and affordability - which is also why it is even popular among young people.

A success that is the child of the territory, a beautiful landscape and popular destination for wine lovers, Prosecco is an international

The Prosecco hills are lands of noble and sacred waters, moulded by the ancient Piave glacier and the epic river and waterways that converge from the morainic hills, creating an admirably designed amphitheatrical formation. A unique scene with hills cloaked in rows of lush vines. An incomparable multicoloured landscape that lives in paintings by Cima da Conegliano. Hills that vine dressers have shaped through toil and tenacity, where vine growing is heroic and almost exclusively done by hand due to the steep slopes that prevent mechanisation. Given the difficulty of establishing new plantations in a terrain that is too steep, one often comes across centuries-old vineyards, the guardians of a rich biodiversity.

Photo credit: Arcangelo

Piai

Photo credit: Arcangelo

Piai

There are 15 municipalities in Treviso, northern Veneto, that the DOCG covers. Since the denomination’s establishment in 1969, the territory has never extended its boundaries despite the progressive increase in sales. The soils are highly diverse in nature with a wide geological variety. The carbonate rocks of the Cretaceous seabed form alternating geological layers of sandstone and marlstone, followed by moraine deposits and sedimentary layers of alluvial origin. The climate is mild and temperate, so much so that, in past centuries, the entire area was popular with Venetian nobles seeking to escape the heat of the lagoon in the summer months. The main grape variety of this sparkling wine is the rustic and vigorous native Glera. The sparkling winemaking method is Charmat.

“We are a laboratory of sustainability because it is our duty to take this path, for our children and for the consumers who choose us,” says Elvira Bortolomiol, the current chair of the Conegliano Valdobbiadene DOCG Consortium, founded in 1962. “We are aiming for the official birth of the Conegliano Valdobbiadene Biodistretto, the first case in Italy of an organic production system dedicated to sparkling wines. We have totally eliminated the use of glyphosate [a herbicide that is the active ingredient in products such as Roundup], and this makes us the most extensive glyphosate-free zone in Europe.”

A little history

This land boasts a long sparkling-wine tradition, which began in 1876 with the foundation of the Cerletti Institute in Conegliano, Italy’s

first oenological school. The area’s winegrowing vocation, however, dates back millenniums. In the sixth century, Saint Venanzio Fortunato, bishop of Poitiers, referred to his homeland of Valdobbiadene as “a place where the vine germinates beneath the high mountains, where lush greenery protects the most barren areas.”

An important figure in oenological history is Antonio Carpenè. He is one of the first creators of Italian sparkling wine, founder of Carpenè Malvolti in 1868 and of Italy’s first oenological school, as well as a pioneer in the production of Prosecco. He promoted the development of the Conegliano area which, in 1853, had only one vineyard, while today, the vineyards in the DOCG area cover about 8,700 hectares.

The Gregoletto winery has roots in viticulture dating back to 1600. “What has happened in our territory in the last 13 years is unheard of in other areas,” says Giovanni Gregoletto. “There are no examples of anything this big conquering people’s palates in such a short time, being commercialised in so many markets around the world, and becoming so famous and in demand, even by young people.”

The brand is so strong that people often order a Prosecco in Italy thinking they are asking for a generic sparkling wine.

“Our land was in the hands of farmers, who worked with extreme difficulty on these steep slopes,” says Gregoletto. “We never had nobles or wealthy people behind us as in other Italian wine territories. Up until the 1970s, Carpenè Malvolti was the only winery with a dominant position. As times prospered, work began on a sparkling wine with characteristics that the

world could easily understand. Prior to that, still wines were also made, and everyone drank a sparkling wine called Col Fondo, a wine left on the lees that re-fermented in the bottle. Consumption was purely local. Nowadays, everyone is a sparkling wine producer, but that was absolutely not the case until a few decades ago.”

Graziano Merotto, from the eponymous winery, is a 77-year-old who left the family business and founded his own winery in 1972. In the beginning, he produced Col Fondo and in 1979, he started producing sparkling wine using the Charmat method. “Back then, the economic possibilities were extremely limited,” Merotto recounts. “Col Fondo was sold directly at the winery, and it became popular. Prosecco has now become a big name that can be confused, especially abroad. I think that Conegliano Valdobbiadene Prosecco Superiore DOCG should be further enhanced. Producers need to be more committed to winegrowing: some of them, seeing the difficulties and costs of hill production, buy on the plain in the DOC area, where, with less effort and investment, they can earn more. That’s why it is essential to have a different price range between hill and plain versions. Our product, with its unique characteristics, cannot be undersold.”

Today

Differentiation is important. Those who think that the term Superiore, in reference to Conegliano Valdobbiadene, already distinguishes it from Prosecco DOC, should not ignore the work carried out in recent years on the DOCG hillsides. Look at the efforts made in territorial identity through AGUs (Additional Geograph-

Photo credit: Beatrice Pilotto

Photo credit: Arcangelo Piai

ic Units) on the “Rive”, the local term for the very steep hillsides high in the hills and often examples of heroic viticulture. The Rive sum up the territory’s authentic values: landscape, human effort, tradition, and the characteristics of the soil and climate, all of which enhance the viticultural vocation of the 43 Rive. Always seen as the flagship of the denomination, they were further regulated in 2019.

Franco Adami, from the Adriano Adami company, is one of the leading producers of Rive. In the early 1980s, together with his brother Armando, he took over the reins of an activity founded in 1933. “Rive wines correspond to three percent of the total production and have been constantly, and slowly, increasing since their regulation in 2019, although they have grown considerably in value,” says Adami. “We believe this is the right way to express the area’s evident differences (location, soils, exposure, altitude, microclimate, winemaking project). It will take at least one generation to appreciate the result of the work done on the Rive. We must continue to persevere on the road of promoting our differences.”

Alberto Ruggeri at Le Colture, second generation winemaker together with his sisters Silvia and Veronica, also believes strongly in the Rive. “It is an important opportunity to make people understand our unique territorial identity,” says Ruggeri. “Understanding why the Rive are usually about two euros more expensive is not immediate. It has to be explained, together with their uniqueness and longevity.”

Le Sorelle Bronca is one of the few female-run companies in the area. “The exploit on our land occurred around 2009, at the same

time as we obtained the DOCG,” says Antonella Bronca, second generation winemaker. “It was different in my parents’ day, when the fashion had not yet begun. We mainly produced Col Fondo but, as time passed, we realised the importance of the Rive, and now we produce three (plots 68, 232, and 181) to enhance the differences in the soils. Sometimes it is hard to communicate our differences; it is important to come and visit these beautiful hills in person. I think we should improve communication and focus on wine tourism. Another important aspect to work on is positioning. The image of our area is high but not matched by adequate price differentiation between DOCG and DOC sparkling wines.”

The historical typology of these hills with their millenary tradition is Col Fondo, a sparkling sur lie regulated in 2019 by the DOCG as Sui Lieviti (on the lees). This typical method, which wine producing families traditionally used, has enjoyed renewed success in recent years thanks to its spontaneity, rusticity, and carefree drinkability. “We joined the ‘On the lees’ DOCG,” Bronca continues, “and we have noticed an increase, even if it is still a wine for enthusiasts that you either love or hate.”

“Our company has always produced Col Fondo,” says Alberto Marchiori, oenologist at the second-generation eponymous family business. “But my revelation came in 2008 when I tasted a 1992 vintage and really understood its longevity potential. We then did various experiments following my doctorate on the evolutionary dynamics of effervescent wines and arrived at our Integrale, which has steadily gained popularity. A traditional yet

modern ‘On the lees’, judging by how much young people like it!”

One cannot forget the Grand Cru of Conegliano Valdobbiadene DOCG: Superiore di Cartizze DOCG. The golden pentagon, so called because of its shape, can trace its history back to the 14th century through the sale deed, dated 1408, of a 108-hectare patch of land divided among 143 families. It is a well-suited hill: the microclimate and soil create a natural oasis for cultivation, favouring the growth of healthy vines and giving the sparkling wine unique and particularly valuable characteristics.

Let’s travel then with a glass of Conegliano Valdobbiadene Prosecco Superiore DOCG among these World Heritage hills. But why not also visit them in person? It will be an opportunity to experience and understand in person the cultural and historical significance of a wine that is too often misunderstood.

Alessandra Piubello, a journalist, writer, editor and expert wine-taster from Verona, has an innate passion for wine. Born in Italy’s Valpolicella wine area, she, from a young age, began helping her father tend his vines and make the family wine. She began wine-tasting at the age of 8! Alessandra is the co-editor of the Veronelli Guida Oro I Vini wine guide - the first woman to hold this role in the guide’s thirty years. She collaborates with leading Italian and international wine magazines and is author for L’Espresso’s Ristoranti d’Italia guide. She has written several books and judges frequently at international wine competitions. She teaches at Luigi Veronelli Italian Gastonomy High School.

Photo credits: Arcangelo Piai

Elvira Bortolomiol presidente Consorzio

Graziano Merotto

Franco and Armando Adami Umberto, Giuseppe and Sara Marchiori

Veronica, Alberto, Silvia Ruggeri - Le Colture

Albums that Defined 1973

By Annie Zaleski

ICONIC INFLUENCES

Stevie Wonder, Innervisions

Stevie Wonder had more than a decade of hits under his belt prior to releasing Innervisions. The multi-instrumentalist paired this experience with a hunger for experimentation, using advanced musical technologies like the TONTO (The Original New Timbral Orchestra) synthesizer and Hohner clavinet alongside analog pianos and rich percussion. In turn, Wonder paired his warm, futuristic soul and R&B sounds with vivid, thought-provoking lyrics encompassing political critiques, social commentary, love songs, and musings about peace and solace. Buoyed by the funky, galloping hit single Higher Ground, Innervisions built on the commercial success of 1972’s Talking Book and ushered in a new era for Wonder’s genius.

GLAM ROCK GEMS

David Bowie, Aladdin Sane

FURTHER LISTENING:

• Led Zeppelin, Houses of the Holy

• Pink Floyd, The Dark Side of the Moon

• The Rolling Stones, Goats Head Soup

• Bruce Springsteen & The E Street Band, The Wild, the Innocent & the E Street Shuffle

CLASSIC DEBUT ALBUMS

FURTHER LISTENING:

• Mott the Hoople, Mott

• New York Dolls, New York Dolls

• Queen, Queen

• Roxy Music, For Your Pleasure

During the early part of the ‘70s, glam rock glittered and dazzled the hearts and minds of discerning music fans. Appropriately enough, the genre embraced daring chameleons like David Bowie. This enigma killed off his Ziggy Stardust persona at the dawning of the Aladdin Sane era, making room for one of his most iconic album covers—he sports a jagged lightning bolt streaked across his face—and a record full of swaggering guitars and pristine piano theatrics. Mick Ronson is at his best chopping out jagged riffs on The Jean Genie, while pianist Mike Garson brings delicacy to Lady Grinning Soul, and a glammy cover of the Rolling Stones’ Let’s Spend the Night Together hits all the right seductive grooves.

FURTHER LISTENING:

• Aerosmith, Aerosmith

• Barry Manilow, Barry Manilow

• Barry White, I’ve Got So Much to Give

The Pointer Sisters, The Pointer Sisters Long before the Pointer Sisters became beloved ‘80s pop stars, the troupe—siblings Anita, Ruth, Bonnie, and June Pointer—were one of the finest vocal groups around. Their self-titled 1973 debut album would’ve been a classic with just Yes We Can Can alone, which boasts subtle grooves, buoyant rhythms, and intricate familial harmonies. Luckily, the LP then kicks into the astounding Cloudburst—a red-hot, lightning-fast jazz number—and the equally impressive Jada, which morphs from a torchy cabaret number into a showcase for the Pointers’ supernatural vocal runs. To this day, it’s still one of the most underrated albums of 1973.

• Smokey Robinson, Smokey

The early ‘70s was a particularly fertile time for music. Part of that was undoubtedly due to the abundance of social and cultural changes unfolding in the world. Advances in musical instrument technology and a rise in freeform radio stations also allowed artists to expand their sound and audience. The result was a period where new genres flourished—think electronic music and punk—and long-standing genres such as country, soul, and R&B expanded in new directions

Narrowing down a list of the 50 most important and influential albums of 1973 is a particularly daunting and difficult task. You could do a list of top albums from the UK alone; in fact, LPs by Genesis, Faces and Budgie just barely missed out being on this list. As it turns out, 1973 is a year when many future legends began their careers, or icons released albums that would define the rest of their days. Still other artists issued LPs that became influential cult favorites, and only later had an impact.

The 50 albums listed, however, all deserve a place on your turntable or playlist—whether you know them by heart or are just discovering them today.

COUNTRY LANDMARKS

FURTHER LISTENING:

• Eagles, Desperado

• Little Feat, Dixie Chicken

• Tanya Tucker, What’s Your Mama’s Name

Dolly Parton, My Tennessee Mountain Home Country music evolved significantly during the ‘70s, first soaking up more renegade sounds and attitudes and later easing into the sleek countrypolitan style by the decade’s end. Dolly Parton was no exception—her music embraced disco and pop by the end of the decade—although her 1973 full-length My Tennessee Mountain Home is rooted firmly in bluegrass and classic country. Driven by songs Parton wrote about her family and upbringing in rural Tennessee, the LP is touching and vibrant—a chronicle of resiliency and love that would serve as a template for many future Parton songs and creative endeavors.

• Waylon Jennings, Lonesome, On’ry and Mean

SOUL/FUNK SENSATIONS

Marvin Gaye, Let’s Get It On

How did Marvin Gaye follow up his groundbreaking 1971 LP What’s Going On?

With a movie soundtrack (1972’s Trouble Man) and then the mighty Let’s Get It On. The LP’s sinewy, lights-turned-low title track is inarguably one of the best seduction tunes of the decade, if not all time. Although it’s just one example of the album’s greatness. Luxurious orchestration, languid tempos, and Gaye’s keening falsetto on tracks such as If I Should Die Tonight and the lust-filled You Sure Love to Ball create a romantic environment where the song’s narrators make their intentions crystal clear.

R&B LANDMARKS

Roberta Flack, Killing Me So ly

FURTHER LISTENING:

• Earth, Wind & Fire, Head to the Sky

• Isley Brothers, 3 + 3

• Labelle, Pressure Cookin’

• Rufus, Rufus

• Sly and the Family Stone, Fresh

FURTHER LISTENING:

• Al Green, Call Me

• Donny Hathaway, Extension of a Man

• The Spinners, Spinners

In early 1973, Roberta Flack was riding high from a 1972 duets album with Donny Hathaway, as well as two Grammy Awards (Record of the Year and Song of the Year) for her The First Time Ever I Saw Your Face. The North Carolina vocalist responded to this success by releasing another masterpiece: Killing Me Softly. The title track is perhaps most well-known, thanks to a ‘90s cover by the Fugees, but the rest of the album is a stunning display of Flack’s vocal gifts. On the ballad I’m the Girl, she’s heartbroken yet resolute while singing about being someone’s second choice, while on Jesse, she is tender and persuasive, pleading for a beloved to come home.

• Ike & Tina Turner, Nutbush City Limits

FOLK-POP NEW FRONTIERS

Fleetwood Mac, Mystery to Me

FURTHER LISTENING:

• Judy Collins, True Stories and Other Dreams

• Hall & Oates, Abandoned Luncheonette

Fleetwood Mac spent the first half of the ‘70s trying to settle into a permanent lineup and sound. In 1973, the band was still a few years away from Stevie Nicks and Lindsey Buckingham joining the group. However, the LP Mystery to Me—the band’s second album released that year—foreshadows Fleetwood Mac’s move toward a more pop-oriented sound. Songwriter-vocalists Christine McVie and Bob Welch trade off penning songs that folk, pop, and rock. Welch’s Emerald Eyes is a spaced-out, mysterious psychedelic rock jam, while Just Crazy Love is the kind of romantic, heart-on-sleeve song at which McVie excelled.

• Kris Kristofferson and Rita Coolidge, Full Moon

• Paul Simon, There Goes Rhymin’ Simon

SONIC BOUNDARY BREAKERS

Judee Sill, Heart Food

FURTHER LISTENING:

• The Beach Boys, Holland

• John Cale, Paris 1919

• Yoko Ono, Approximately Infinite Universe

• Lou Reed, Berlin

Judee Sill only released two proper studio albums in her lifetime, due to a combination of commercial disinterest in her music and troubles in her personal life. However, in the years since her 1979 death from a drug overdose, countless musicians have expressed appreciation for her “country-cult-baroque” music—a description she often used for her musical style. Sill’s sophomore effort, Heart Food, is indeed the kind of LP that defies categorization, where classical-tinged orchestration dances with lilting pedal steel and other country signifiers. The real star, however, is Sill’s knowing, wizened voice—which is earnest, lively, and spiritual—and lyrics that use references to faith, Christianity, and the occult to illuminate greater truths about our lives.

HARD ROCK HEAVYWEIGHTS

The Stooges, Raw Power

FURTHER LISTENING:

• Alice Cooper, Billion Dollar Babies

• Suzi Quatro, Suzi Quatro

• The Who, Quadrophenia

The Stooges didn’t exactly detonate the charts upon the release of their third album Raw Power, though the LP eventually grew into one of the anchors of the looming U.S. punk rock explosion. The secret? Guitarist James Williamson joined forces with howling wildchild vocalist Iggy Pop, and together they wrote eight uncompromising songs brimming with attitude. Search & Destroy is an immediate explosion of distorted guitars, while Gimme Danger starts off quietly seething before descending into noisy chaos, and the title track subverts bluesy ’50s rock ‘n’ roll with modern attitude.

• ZZ Top, Tres Hombres

KALEIDOSCOPIC POP

Todd Rundgren, A Wizard, a True Star

Todd Rundgren had already lived many lives prior to striking out on his own as a solo artist. Most notably, he wrote the singles Open My Eyes and Hello It’s Me while a member of the late ‘60s band Nazz. As a solo artist, Rundgren also relishes changing things up, as evidenced by the experimental fourth solo album, A Wizard, a True Star. Cosmic and psychedelic, the album is dizzying, driven by sound fragments full of electricity-zap synthesizers, disjointed rhythms, and disorienting vocal effects. Fans of the Flaming Lips will especially appreciate this album.

FURTHER LISTENING:

• 10cc, 10cc

• Various artists, Jesus Christ Superstar soundtrack

• Elton John, Don’t Shoot Me I’m Only the Piano Player

• Paul McCartney and Wings, Band on the Run

Annie Zaleski is an award-winning author, journalist and editor with profiles, interviews, and criticism in a variety of publications including Rolling Stone, NPR Music, The Guardian, Salon, Time, and Billboard. She contributed liner notes to the 2016 reissue of R.E.M.’s Out of Time and Game Theory’s 2020 collection Across The Barrier Of Sound: PostScript and wrote Duran Duran’s essay for their 2022 Rock & Roll Hall of Fame induction. Annie has been a radio commentator on various music and pop culture topics and also a talking head in the 2005 movie Punk’s Not Dead and in a 2014 Ovation TV special on the band Blondie.

Kadhi to Curry

By Amrita Amesur

Curry: A word familiar to every Indian and one most commonly associated with any and all manner of Indian food globally. It’s a term invented by the British to describe gravy-based dishes originating from the South Asian subcontinent. It immediately conjures the image of a creamy brick-red gravy with meat, paneer, or vegetables, passed off with the generic Indian food label.

Never minding that Indian food encompasses an enormous cluster of incredibly varied regional cuisines, whose sub-variants are broken down through caste, class, religious, geographic, and gender barriers. We won’t even mention the role regionally and seasonably accessible produce plays in Indian cuisine, nor how the introduction and naturalisation of ingredients through centuries of colonization affected what commonly appears on the table.

Curry means something entirely different to regions across the subcontinent. In South India, it denotes the anglicised form of kari, a spicy sauteed masala with meat and aromatics often served on rice-based dosse . North of there, it evokes the word kadhi, typically a velvety soup made with stewed roux and vegetables, spooned onto rice. It could be a Gujarati dahi kadhi made with yogurt; a Sindhi kadhi made with roasted gram flour; maybe a Rajasthani kadhi with a tempering of whole spices in ghee; or a Punjabi pakora kadhi dunked with crispy fritters.

Further north in Pakistan and Kashmir, curry can be likened to braised meat kormas or the Kashmiri rogan josh. Curry leaves or kadipatta, a citrusy aromatic herb, so incredibly quintessential and irreplaceable in the Indian culinary repertoire, are an entirely different matter altogether. The reconciliation of curry, kadhi, kari, korma, and kadipatta boggles the mind as much

as the tongue.

While the word may find its origin from these, the actual contents of what constitutes a curry is really a hodge podge amalgam of traditional regional dishes like Mughlai-style kormas, do pyazas, rogan josh, and Dakhni salans

All require slow braising meats in yogurt, spices typical in rich nut-based gravies, and are made less “spicey” or lowered in pungency to suit delicate westerner palates.

Outside India, curry is also assigned to a colonial-era powdered spice blend. Invented by the British in the 1700s, it was an attempt to assimilate culturally with the resource and wealth heavy subcontinent that they were only beginning to colonize. A seemingly random blend of sweet-savoury spices meant to form the flavour base of curries, the powder blend travelled far and wide to reach even the housewives in Britain. Just as swiftly, it became the only accessible spice powder for indentured Indian immigrants shipped off to the Crown’s plantation colonies across Africa, Guyana, Mauritius, and the Caribbean, after the abolition of slavery in 1833.

The little tin of pre-blended curry powder, sold in drug stores, became a grossly reductive and mass-produced symbol of the extremely intricate, varied, and diverse food culture of South Asia, that represented neither the nuance of its cuisine nor tastebuds of its people.

Curry powder is virtually unheard of in India to this day. Yet somehow, abroad it’s the visual representation of a monolithic Indian diasporic culture.

It’s hardly surprising that curry today carries with it the weight of severe cultural appropriation, colonization, and several global waves of immigration out of South Asia. It has been reimagined as the sweet Japanese kare raisu (curry rice), the infamous chicken tikka masala that stands as the national dish of Britain’s curry houses, German currywurst sausages, and Thai style massaman curry. Even restaurants in India have, to varying degrees, accepted the global terminology foisted upon them by referring to any and all meat-based gravy dishes as curries. Going so far as to name their establishments Kebabs and Curries , it seems to be the easiest way to describe foods of this nature. Curries have become the vehicle with which Indian cuisine has been characterised worldwide.

Interestingly, the globalisation of curry in fact started with British memsahibs assimilating Indian cuisine into the British repertoire, as a form of integrating with Indian culture. Nupur Chaudhuri, a gender studies scholar wrote that it was Victorian memsahibs that helped diffuse curry and rice into the national diet of Britain, thereby functioning as “agents of cultural exchange between colonizers and

colonized.” Whereas Uma Narayan, in her paper titled Eating Cultures: Incorporation, Identity, and Indian Food, described this sort of food assimilation as the non-threatening “acceptable face of multi-culturalism.” “While curry may have been incorporated... into British cuisine, ‘the desire to assimilate and possess what is external to the self’ did not extend to actual people of Indian origin, whose arrival in English society resulted in a national dyspepsia,” she asserts.

But the encouraging trend, which seems to be on the rise, is that the diaspora is really claiming back its agency to re-establish the bounds of regional Indian food. James Beard Award winning chef and restaurateur Chintan Pandya’s restaurant, aptly named Dhamaka, has taken the New York City dining scene by storm. Describing themselves as “unapologetically Indian,” this Lower East Side eatery has set the bar high, bringing regional Indian fare that highlights the cuisine and foods actually eaten by Indians at home. They even go so far as to cook it in one-pot pressure cookers, iron kadais and clay pots, as one would do at home in India.

Their sister restaurant, Semma—which just won its first Michelin star—serves up incredible South Indian regional food in New York City, scarcely seen outside of rural South India. On the West Coast, Avish Naran has shaken things up in Los Angeles with his restaurant, Pijja Palace. It opened after much pushback on his concept of an Indian sports bar with a seemingly absurd menu featuring items like Malai Rigatoni and Tandoori Spaghetti. Pijja Palace has pushed boundaries of immigrant cuisine and showcases familiar Indian flavours reseen through the lens of an Indian guy who grew up in LA.

Dishoom in London has become a household name, bringing the old world Irani café vibe from Bombay to the UK, serving up hot chai and Parsi akuri eggs as well as matar paneer with naan. The restaurant also cheekily boasts

of a “Permit Room,” which is what a bar is referred to in India even now, because they’ve had to gain a permit to serve alcohol since the prohibition era. A virtual love letter to Bombay cuisine, Dishoom has set the bar high for authentic and real representation of contemporary Indian food in the UK.

These world class restaurants are just the few amongst many that have reimagined immigrant Indian cuisine beyond the tropes of homogenous colonial era gloopy curries to shed light on the food actually eaten in India and what immigrants want to eat abroad.

The success of these restaurants would indicate that the Western world is, in fact, ready to experience more honest representation of Indian cuisine but not all is won just yet. In an article that was published recently in Esquire magazine, wherein Jeff Gordinier virtually writes a paean to the infamous Noma restaurant in Copenhagen that announced its closure, Gordinier wrote that “precious tasting menus seem to be on the way out and casual, get-your-hands-messy spots like Kalaya (Thai food) and Dhamaka are where the action is at.”

As a retort to this clearly problematic reference to Thai and Indian food restaurants as casual and messy, Jenny Dorsey—a chef, author, and educator on food politics and social justice—rightly pointed out on Instagram the “other-ing” by Gordinier of BIPOC food cultures in his piece, and questioned why upscale places like Dhamaka that serve entrées for $33 are portrayed as “casual.” Moreover, eating with one’s hands, a common practice in the world over, is seen as inherently messy by white food media, and as such, doesn’t qualify for grand fancy restaurant status with the likes of the tweezer-wielding Nomas of the world. The fallout is simply that “get your hands messy” places will never be seen as fancy nor qualify as fine dining, no matter the awards or recognition, due to the inherently racist and outdated lens with which white media consumes it.

What’s clear though is that there is a more coherent narrative underway from both the Indian diaspora and the regional-food focused restaurants in India, showcasing produce diversity, traditional recipes, cooking methods, and pride in their mother culture. The hope is that curry will no longer be a means of tokenising eastern cultures in the ethnic food aisle, but rather a more authentic assimilation of multi-cultural backgrounds, adding context with their evolved food cultures. Towards this assimilation, please make my family’s version of a Sindhi kadhi, which is not a curry.

Amrita Amesur is a corporate lawyer who is deeply passionate about food. She has spent the last year dedicatedly studying and documenting all of her family’s food experiences, while learning to develop her own voice as a cook and a writer. Her favourite comfort food is ghee idli podi and her go-to restaurant that never disappoints is Café Madras in Bombay.

Scan the QR code for Amrita’s family recipe of a Sindi Kadhi.

The Buying Guide

All wines listed are recommended by our experienced panel of tasters. Each wine is rated based on its varietal character, representation of style and/or region, balance and price-quality ratio. Readers should assess these, and all wines, using the same criteria. Browse our experts’ tasting notes to find the wines that may appeal to your taste or pique your interest to try something new. After all, one of the best parts about wine is the discovery. The prices listed are approximate retail prices and will likely vary from jurisdiction to jurisdiction. A large number of these wines can be purchased across Canada and the USA, so check with your local private wine store or liquor board for availability.

Our tasters are Tony Aspler (TA), Gurvinder Bhatia (GB), Michelle Bouffard (MB), Michaela Morris (MM), Tim Pawsey (TP), Christopher Sealy (CS), Brie Dema (BD), Donatella Dicca (DD), Christine Sismondo (CSO), Tod Stewart (TS), and Robin LeBlanc (RL).

STELLAR VALUES (Buy by the Case):

Incredible values that overdeliver with respect to their quality/price ratios. Ideal for everyday drinking and entertaining. Wines in this category retail for less than $25.

Château Pegau Plan Pégau Vin de France, NV, Rhône Valley France ($18)

From vineyards that span 41 hectares within Côtes du Rhône as well Côtes du Rhône-Villages and those designated Vin de France. This is a multi-vintage blend, comprised of 2017, 2018 and 2019. Spiced red berry jam but also ripe strawberry - sweet and sour, cedar wood, vanilla, and anise on the nose. Vinous with generous ripe fruit and tannins, and warm alcohol, this checks all the boxes for lovers of big reds. Fun to see the range of development from the multiple vintage components. (BD)

Carvalho Martins Pacto Douro DOC, 2020, Douro Portugal ($18)

(Viosinho 60%, Gouveio 20%, Rabigato 20%)

The combination of ripe exotic aromas with bright acidity brings you right to the Douro Valley. Appealing expressive notes of guava, papaya and passion fruit are lifted by a salty tang and grapefruit zest. Generous yet light on its feet and refreshing. A natural with grilled fish or shellfish. (MB)

Cave de Gan Domaine Laguilhon Jurançon

Sec AOC, 2021, Southwest France ($18)

(50% Gros Manseng, 50% Petit Manseng) This wine offers a great introduction to dry Jurançon. Medium bodied with fresh acidity and exotic notes of passion fruit, guava and lanolin in harmony with steely, mineral notes. A great pairing with yellow fish curry. (MB)

Doña Paula Estate Malbec Valle de Uco, 2020, Mendoza Argentina ($18)

This excellent value, sincere Malbec hails predominantly from Doña Paula’s vineyards in Gualtallary - upwards of 1300 metres. It boasts fresh tobacco, nutmeg, gravelly stone

and fragrant dark floral aromas. Tannins are grainy giving definition to a core of concentrated cherry. Fruit is fresh rather than confected or candied and propped up by juicy acidity. Black currant pops on the finish. (MM)

Bartier Bros. Rosé Okanagan Valley BC VQA, 2021, British Columbia Canada ($19)

Medium salmon in the glass with up-front, lively floral and strawberry aromas before a palate of rhubarb, watermelon and mineral with a touch of gentle tannins. A juicy and delectable rosé but with plenty of character made from an unusual blend of Pinot Gris, Chardonnay, Gewürztraminer, and Syrah, all fermented separately. Winemaker Michael Bartier refers to it as a ‘peasant wine’. It’s a wine “...not to ponder—to drink, rather than think about!” (TP)

Maçanita Branco Douro DOC, 2021, Douro Portugal ($19)

Siblings Joana and Antonio Maçanita are the two talents that crafted this wine. Joana focuses on winemaking in the Douro while her brother contributes here and at thirteen other Portuguese wineries that span the small, varietally diverse country. This wine is a love letter to indigenous varieties Viosinho, Códega do Larinho, and Gouveio. It is aromatic and floral with pear, apple, fig and orange notes. Well balanced and crafted to be enjoyed early - ideally in generous quantities with friends or family, it reflects the sibling bond and collaboration that created it. (BD)

Le Ragnaie Troncone Toscana IGT, 2020, Tuscany Italy ($20)

This Tuscan red remains one of the best values for Sangiovese lovers - a wine I seek out every time the new vintage is released, and it never disappoints. The elegant delicate frame and freshness exude the cooler terroir of the site. Bright and savoury with firm fine tannins and notes of red plum, red cherries with dried herbs and a hint of tomato stalks. Mineral notes on the finish add complexity. A real gem. (MB)

Cortonesi Leonus Toscana Rosso IGT, 2020, Tuscany Italy ($21)

Tommaso Cortonesi leads the charge for this family estate, and at one time was also the youngest appointed vice-president of the consorzio for the Brunello di Montalcino appellation. The Leonus bottling represents

the fresh, easy-going side of Sangiovese and is meant to be consumed rather than cellared. Charming on the nose - bing cherries, red berry vines and ripe tomato. The tannins are present but not overwhelming and have a pleasant rustic character. Bright and juicy palate, very food worthy. (BD)

Orofino Riesling Clone 239 Similkameen Valley BC VQA ‘Hendsbee Vineyard’, 2020, British Columbia Canada ($22)

Excellent drier style Riesling kicks off with apple and schist notes before an elegant, structured palate of apple, zesty lemon lime and a streak of hallmark Similkameen mineral that’s a great reflection of this site. Superb value. (TP)

Casaretti La Nogara Bardolino DOC Classico, 2020, Veneto Italy ($22)

The Bardolino denomination is often dismissed for its light, simple wines - but the former doesn’t necessarily result in the latter. Here is a sprightly red that offers a ton of satisfaction. A profusion of delicate white blossoms, pink peppercorn, cranberry, brushwood and raspberry leaps from the glass and clings to the palate. Lean, barely-there tannins, citrusy acidity, and modest digestible alcohol all leaves the mouth refreshed and begging for more. (MM)

Amalaya Torrontés Riesling Valle Calchaquí, 2021, Salta Argentina ($22)

Amalaya’s white is a perennial great value and as fresh as the nascent spring. Mostly Torrontés with a splash pf Riesling, it exudes rose, pink grapefruit with a flinty hint in the background. Dry but exuberantly fruity, the palate brings in peach and pear with a huge squeeze of lime. The slightly unctuous texture is offset by vibrant steely acidity. Finishes with perfumed orange blossom. A classic with fish tacos, at least at my house. (MM)

Finca Sophenia Altosur Malbec Gualtallary Uco Valley, 2021, Mendoza Argentina ($22)

Fresh and bright, Altosur sings with distinct licorice, mint, black raspberry and lilac scents. With barely any oak to speak of, the fruit is uncluttered and pure. it breezes across the palate showing delightful cherry in a light supple frame. Easy-going and easy to drink. If you like Malbec, you’ll love this. (MM)

OFF THE WALL

(Absolutely worth a shot):

Unique, distinct, interesting wines from lesser-known grape varieties or regions that are worth tasting because they are that good. Don’t bypass them because they may be unfamiliar or judge them by the first taste. They are well made wines and your palate deserves to give them a shot even if it takes a little time to get to know them.

Coto de Gomariz Flower and the Bee Treixadura Ribeiro DO, 2021, Galicia Spain ($22)

The ‘Flower and the Bee’ nickname refers to the beginning of all fruit at pollination. From young Treixadura vines, it is meant to be an introduction into the region and its local varieties - Treixadura being Ribeiro’s most planted white. This wine shows a delicate aromatic profilelemon, pear, and peach. The variety is known to give lower acidity but the grapes for this were thoughtfully grown and crafted to give a very balanced and fresh wine. Quite easy-going and inviting. (BD)

Umathum Rosa Burgenland Qualitätswein, 2021, Burgenland Austria ($25)

(Zweigelt 34%, Blaufränkisch 33%, Saint-Laurent 33%) Dry with vibrant acidity and abundant notes of cranberries, wild strawberries, rhubarb, and raspberries. Structured and precise with delicate chalky tannins and great mid-palate. The salty finish adds a pleasant savoury character. A rosé that offers intrigue and generosity. Will shine if served with grilled salmon or steak tartare. (MB)

Leaning Post The Geek Riesling Twenty Mile Bench VQA Niagara Peninsula, 2018, Ontario Canada ($35)

It is always a thrill to taste this wine. Ilya (winemaker) saves a portion of his Wismer-Foxcroft Riesling which he ferments to dryness. He adds the clean lees from other white fermentations; not just from the same vintage but also a reserved batch of lees dating back to 2014 when he began this project. The result is a super funky, reductive, textural being. On the nose it leads with smoke, petrol, flint and tart green fruit. The palate is the real delight for me, I love the density and unique texture achieved in winemaking. Exciting to think that this wine has elements that span four years. (BD)

Borgogno Derthona Colli Tortonesi DOC, 2019, Piedmont Italy ($52)

This is an impressive wine – in my top 10 of 2022. While I have not had hundreds of Timorasso, this spectacular wine makes me hope that producers in Piedmont will continue to plant more of this fantastic white indigenous grape. Beautiful gold colour with expressive notes of roasted hazelnuts, Meyer lemon, white flowers and guava mingling with pronounced mineral notes. Steely and compact with bright acid and a

long lingering salty finish. While this is delicious now, I am tempted to leave this wine in my cellar for 5-8 years. I can only imagine even greater complexity with a few years in the bottle. (MB)

CELLAR-WORTHY (Rewarding patience):

Wines that will not only benefit from some time in your cellar, but will evolve, develop and reward those with patience. Cellaring times are recommendations only and optimal drinking windows will depend on each individual wine lover’s personal preference.

Kacaba Vineyards Cabernet/Syrah Niagara Peninsula VQA, 2020, Ontario Canada ($25) Deep purple-ruby in colour. Spicy Christmas cake bouquet with a sweet vanilla oak note. Medium-bodied, dry and beautifully balanced with currant and red fruit flavours. Firmly structured and mellowed with well-integrated oak. Lovely mouthfeel. (TA)

Château Labégorce Zédé de Labégorce Margaux AOC, 2019, Bordeaux France ($39)

(50% Cabernet Sauvignon, 44% Merlot, 3% Cabernet Franc, 3% Petit Verdot) Bordeaux can still deliver great value and this wine is a great example. Beautiful aromatic profile with juicy notes of cassis, cedar, dark cherries and licorice mingling with mushroom and vanilla. Elegant and fresh with great complexity and a long finish. With 10-15 years in the cellar, the firm tannins will resolve, and the wine will display more harmony. (MB)

Nichol Vineyards Old Vines Syrah Naramata Okanagan Valley, 2020, British Columbia Canada ($40)

Aromas of vibrant dark red and black fruits with wild herb notes lead to a plush palate, wrapped in silky well-integrated tannins. Defined by flavours of cassis, black cherry, and clove spice with mineral undertones, this is well balanced with good acidity and polished mouthfeel, through a lingering peppery finish. From the original producer of Syrah in the Okanagan Valley, and in Canada, with vines planted in the early 1990s on a higher elevation west and south facing slope. (TP)

Pievalta San Paolo Verdicchio dei Castelli di Jesi DOCG Riserva Classico, 2019, Le Marche Italy ($45)

Verdicchio is one of Italy’s top 5 white grapes in my opinion – and one of the few that is truly age worthy. This was patently exemplified by Pievolta’s San Paolo bottling at a recent vertical going back to 2006. You could drink the 2019 now for all its elegance and restrain but there is so much more to come. For now, lees and blanched almond weave through green apple and plum. The palate is creamy in texture yet steely in its vertical backbone. It finishes with the fresh sea air. My suggestion is to wait a couple more years and up to 15. (MM)

Stratus Red Blend Niagara-on-the-Lake VQA, 2019, Ontario Canada ($49)

Known for the art of the blend, this is a symphony of Cab Franc, Merlot, Petit Verdot, Tannat and Syrah. Elegant, aromatic, unique. Nose of bright red fruits, violet, sage, and tobacco leaf. Full and fleshy palate, with a tight tannin frame and nice freshness. Good length. A very appealing version of this wine. Drinking window between 2023-2030. (BD)

Tissot Patchwork Chardonnay Arbois AOC, 2020, Jura France ($50)

This Chardonnay plays like Free Jazz in that the bouquet and palate interweave with harmonious discord that modulates between floral and hot mineral stone, to a sharp aromatic intensity of peaches and cream corn with the zest of lemon to green apple creating a linear finish on the palate. Scrumptious in every sense of the word. You will want more in an attempt to understand, though laying it down for 5-10 years will yield wonderful results. (CS)

Bachelder Bai Xu Vignes de 1981

Chardonnay Four Mile Creek VQA Niagara Peninsula, 2020, Ontario Canada ($50)

Thomas Bachelder is the Poet Laureate of Niagara terroir. He has coaxed favours reminiscent of Pouilly-Fuissé. Bright straw in colour with a minerally, vanilla and toasty oak nose. Medium to full-bodied with richly extracted pineapple and lemon flavours and just the right level of oak showing through. Lively mouthfeel and beautifully balanced, it finishes on green pineapple and lemon flavours. A delight! (TA)

Bachelder Pinot Noir Twenty Mile Bench

VQA Niagara Peninsula ‘Hanck Vineyard’, 2020, Ontario Canada ($55)

Another stunning Pinot from Bachelder. Deep ruby in colour. Rich nose redolent of toast, vanilla and dried cherries. Medium-bodied and dry with a lovely mouthfeel. Richly extracted and firmly structured with lively acidity and evident tannins. God blessed Niagara’s 2020 vintage for red wines! (TA)

Bachelder Chardonnay Twenty Mile Bench VQA Niagara Peninsula ‘Wismer-Wingfield’, 2020, Ontario Canada ($60)

This is the highest elevation (165m), farthest from Lake Ontario plot of the greater Wismer vineyard that Bachelder works with. In this vintage, it was harvested two weeks after Wismer-Foxcroft which is a kilometer closer to the lake. Dominated by minerality, it is quiet in its character, aromatically showing restraint, biding time before blossoming should you have the patience to cellar it. The currant reward is on the palate with its surprising richness blooming into generous tart and ripe fruit, a seam of minerality, and a firm structure. Let this unwind in your cellar for 3-5 years. (BD)

Joan d’Anguera Finca l’Argata Montsant DO, 2019, Catalonia Spain ($65)

A glorious specimen of Garnatxa Negra which typifies why Grenache is often called the Pinot Noir of the Mediterranean. Luminously crimson is this red wine from a 50+-year-old single vineyard. The sweetness of almond floral to

hibiscus flower over red berry aromas all waft from the glass. More flavours reveal themselves with warm, tart and juicy red berry fruit, with orange pekoe-like flavours rolling through the mouth. (CS)

Château de Pibarnon Bandol AOC, 2018, Provence France ($65)

This is an impressive wine that requires patience. Rich and compact with dusty tannins and concentrated notes of blackberries, dark plum, cassis, dried herbs, licorice and black olives. The 14.5% is well integrated and the wine has a long lingering finish. Bandol at its apogee but will need time to show its full potential. For the cellar. (MB)

Claus Preisinger Erdeluftgrasundreben GV, 2020, Burgenland Austria ($66)

Claus Preisinger is a guiding light when it comes to biodynamic wines of Burgenland, Austria. This GV – Grüner Veltliner is a wine of volume and intensity on the nose - leading with hot wet stone-like mineral aroma to wilted white florals. The palate is less about stone and orchard fruit and all about structure, presence and character. A wine to age in the cellar or to meditate over the course of an evening. (CS)

Ca’ del Baio Barbaresco DOCG Asili, 2019, Piedmont Italy ($80)

Ca’ del Baio is a top estate in Barbaresco with origins in the renowned Asili cru. From vines upwards of 60-years old, the 2019 starts with a dark forest character and wildness to the red berry fruit. Subtle mint and rose accents emerge slowly as this sits in the glass. There is power without richness or weight. Substantial yet elegant tannins are quite vertical really - with a chalkiness that builds across the palate. Then it lingers with sweet cherry allure. Give this another year in the bottle and drink to 2034 and even beyond. (MM)

Jacquesson Cuvée 745 Extra Brut Champagne AOC, NV, France ($115)

(60% Chardonnay, 20% Pinot Noir, 20% Pinot Meunier) The base wine comes from 2017, a spring frost year that offered a short, concentrated crop at harvest. The result is a rich, opulent wine with fleshy fruit ripeness and a solid character. The winemaking hallmark of barrel maturation on the base wine gives an openness to the aromas which are enveloped in bakery and brioche. The finish is long, bright and focused. It is worth the splurge and would cellar well for 5-10 years. (BD)

Fontodi Flaccianello della Pieve Colli Toscana Centrale IGT, 2019, Tuscany Italy ($125)

This wine is nothing short of spectacular. Great balance between the generosity of the fruit and the crisp acid. Generous notes of red cherries, red plum, baking spice and dried herbs are framed by firm fine-grained tannins. An impressive wine which needs time for the tannins to resolve. Keep at least for 10-15 years if you can. (MB)

TOP SUSTAINABLE WINE PICKS:

Sustainability refers to social, economic and environmental practises. It is important to understand that it is a process and journey rather than a finite destination. No one is perfect and we make no claims as to the degree to which the practises of these producers align with varying global standards, guidelines and certifications. But, the wines selected for this category are from producers who appear engaged in sustainable practices and, in the opinion of the reviewers, deserve recognition. Of course, they also taste great.

Vincent Carême Spring Vouvray AOC, 2020, Loire Valley France ($20)

While the highly regarded producers Vincent and Tania Carême make wine from their own vineyards, this cuvée is from purchased grapes. Their Spring cuvée always offers a classic expression of Vouvray at a great price. Classic notes of camomile, quince, yellow plum and lanolin lifted by tangy acid with wet stone notes on the finish. I highly recommend trying it with duck rillettes. (MB)

Finca Decero Malbec Agrelo ‘Remolinos Vineyard’, 2018, Mendoza Argentina ($25)

Leading with a fresh, attractive nose of violets, desert brush and spiced cherries, this fills the mouth with smooth-textured, enveloping tannins - all very polished and sophisticated. Bright acidity buoys hefty fruit, and both oak and alcohol are seamlessly integrated. Well-defined and structured, it distinguishes itself from many other similarly priced Malbecs. Decero is one of the founding members of the Porto Protocol, a wine industry foundation committed to practical solutions for mitigating climate change. The company also contributes to its community, providing mentorships and housing for vineyard workers and their families as well as investing in the local school and health centre. (MM)

Domaine Sclavos Vino di Sasso Robola of Cephalonia PDO, 2021, Ionian Islands Greece ($28)

Evriadias Sclavos’ winery is located on Cephalonia Island near the Lixouri village. Known as the pioneer of biodynamic viticulture in Greece, Sclavos is also the master of the indigenous white grape Robola. This wine, Vino di Sasso, recalls the Venetians who named the site where his vineyard is located “wine of the rock”, referring to the calcareous soils. This is Robola at its best. Made from vines planted at 800 metres, the wine is rich and round with a creamy texture. Notes of Meyer lemon and dried herbs end on a saline note making the wine refreshing. Great depth. (MB)

Planeta Frappato Vittoria DOC, 2021, Sicily Italy ($29)

With aromas of the freshest strawberries and raspberries, this smells as juicy as it tastes. There are also hints of jasmine and blood orange for added depth and intrigue. Light sandy tannins lend texture while steely acidity leads to the mouth cleansing finish. Despite its light weight and moderate alcohol, Planeta’s Frappato is big on personality and enjoyment. Planeta boasts a long list of environmental initiatives including using renewable energy from photovoltaic panels and biomass fuel to power all 5 of its wineries. The company is soon to be certified organic across all its 400 hectares which will land it among the largest organic estates in the world. (MM)

Zuccardi Q Malbec Valle de Uco, 2019, Mendoza Argentina ($29)

There is no artifice here. You feel connected to the intensity of the Uco Valley and unadulterated essence of grape. Aromas are immediate – proposing violet, lilac and black cherry with a suggestion of smoky incense. The fruit is plush, dark and layered with broad tannins keeping pace. An underlying crispness refreshes. The Zuccardi family are absolute leaders in equity and sustainability. For decades, they have built their business on creating a nurturing environment for all who work for them. Their environmental initiatives range from protecting native flora and fauna to waste recycling and incorporating alternative energy sources. (MM)

Mac Forbes Pinot Noir Yarra Valley, 2021, Victoria Australia ($34)

There are many things to admire at Mac Forbes. Beyond being organic and making the decision not to irrigate, Forbes constantly questions himself on the best practices to push sustainability to the next level. The wines are just as equally impressive. His quest is to make wines that express his vineyards rather than being lured by the temptation to emulate Burgundy. This Pinot Noir brings pure joy. Fresh and delicate with perfumed aromas of violet mingling with wild strawberries and a touch of cassis and sous bois. Nice texture with silky tannins. The 12.5% alcohol makes it very easy to drink. Bravo! (MB)

Zuccardi Concreto Malbec Paraje Altamira, 2020, Mendoza Argentina ($46)

Another winner from Zuccardi, this is a unique, standout Malbec that will make you rethink Argentina’s flagship grape. From the stoniest, most calcareous parcels, whole clusters are fermented with indigenous yeasts in unlined concrete vats where the wine continues its ageing. It is reductive upon opening so give it a good swirl to release all its floral and dried herb fragrances. On the palate cherry and blueberry purity are at the fore. It comes across as straightforward initially then all that textural drama emerges. The gravelly, stony feel is redolent of minerals. Well-weighted and long. (MM)

Mullineux Old Vines White Swartland WO, 2020, Swartland South Africa ($47)

I love all wines of Chris & Andrea Mullineux but I have a special affection for their whites. They are amongst some of the best whites the world of wine has to offer. The Old Vines is made from grapes coming from eight sustainably farmed parcels that are up to 66 years old. Just over 65% of the blend is Chenin Blanc with, in order of decreasing amounts: Clairette Blanche, Grenache Blanc, Viognier, Semillon Gris and Verdelho. Great harmony in this wine where the richness is beautifully balanced by a saline character and crisp acid. Chalky and creamy texture with notes of pear, quince and chamomile mingling with a pleasant reductive character. Long finish! Simply magnificent. (MB)

Ochota Barrels Fugazi Grenache McLaren Vale, 2020, South Australia ($62)

Even though Taras Ochota made his wines with low intervention, he did not like to be referred to as a natural winemaker. His goal was to make pure wines, free of faults, that expressed the sites where they came from. 2020 was his last vintage which makes this beautiful wine extra special. Made from old dry grown bush vines planted on the sandy soils of Blewitt Springs, Fugazi is Grenache at its best. Pure and fresh with silky tannins and expressive notes of crushed raspberries, violets and dried herbs. Buy every bottle you can find. (MB)

Frescobaldi Gorgona Costa Toscana IGT, 2021, Tuscany Italy ($120)

In 2012, Frescobaldi teamed up with the Gorgona Penal Institute on the island of Gorgona off the Tuscan coast. Inmates finish up their sentences working in the vineyard and cellar, learning skills that will help them re-integrate back into society. They are compensated just as anyone else would be. To date, there is 0% recidivism – contributing to social sustainability. A blend of Vermentino and Ansonica, this white captures the generous Mediterranean sunshine with ripe plump fruit as well as the sea air with a salty lick. Fleshy peach, papaya and sweet citrus are laced with sage, thyme and rosemary blossom. The leesy texture and mouth filling savoury brininess gives layers and depths. Round but refreshing, it would do justice to an elegant seafood feast but is equally capable of taking on chicken and pork. (MM)

Vin de la Neu Resistenti Vigneti delle Dolomiti IGT, 2020, Trentino-Alto Adige Italy ($160)

PIWI or fungal-resistant hybrid grapes varieties keep cropping up in conversations about sustainability. Proponents cite a significant reduction in necessary vineyard treatments which results in less energy use and CO2 emissions from the production and application of fungicides. In the high reaches of Trentino’s Dolomiti foothills, Nicola Biasi is a PIWI champion. His intensely fragrant Johanniter explodes with green alpine herbs, preserved lemon and flint. The palate is equally penetrating with concentrated flavours of pure fresh pear offset by searing acidity. Think of a judiciously oak-aged Sauvignon Blanc for comparison – with a bit more midpalate weight. (MM)

QUENCH HOUSE WINES: What the editors and writers of Quench are drinking at home and why.

William Fèvre Chile Espino Reserva Especial Chardonnay, 2021, Maipo Valley Chile ($15) The renowned Chablis producer has worked his magic in Chile with this great value Chardonnay. Bright straw in colour with a lightly floral, apple nose. Medium-bodied, dry and crisp with apple and white peach flavours. Great balance and great length. (TA)

Viña Perez Cruz, Cabernet Sauvignon

Reserva DO Valle de Maipo Andes, 2019, Chile ($17)

Great value, estate-bottled Cabernet Sauvignon blended with small amounts of Syrah, Carménère and Petit Verdot from a long established, substantial but family-owned winery that specializes in the variety. Classic varietal aromas with some leafy hints before a supple, juicy palate of dark red berries underpinned by good tannins with well managed oak through a solid close. Certified sustainable. Perfect with pizza and pasta on a Tuesday night but tastes more like a Friday night wine! (TP)

Tiberio Montepulciano d’Abruzzo DOC, 2020, Abruzzo Italy ($20)

One of my favorite house wines, this is truly an exceptional bottling of it. From vineyards located at an altitude of 350m near the village of Cugnoli in the foothills of the Apennines. Aromatically this has loads of violet floral tones, smoky minerality, and dense red fruit. The palate follows through similarly with appetizing crunchy texture, slightly rustic tannin and perfect acid/tannin to fruit/body tension. Montepulciano in this place by these hands is something special indeed. (BD)

Domaine Boissan Côtes-du-Rhône Villages Sablet AOC, 2020, Rhône Valley France ($25)

A subtle blend of Marsanne and Roussanne from the hills of the Sablet village in the Rhône Valley. The two grapes combine to present a vibrant and dry wine with white plum, white peach-like flavours. Rich, round and fresh with a spiced and slight bitter salted almond finish. A perfect house wine that will delight all at the dinner table. (CS)

L’espiègle Aube à l’Est Chardonnay Vin du Québec IGP, 2020, Quebec Canada ($30)

A stunning place with vines planted on slopes benefiting from a south and southeast exposure and good drainage. Meticulous work where every single detail is thought of. Wines with no make-up which express the cool climate of the place while still being ripe. A chalky texture with lemon balm, green apple and a salty tang on the finish that lingers. The wines of Quebec newcomer Zaché Hall are impressive, especially this Chardonnay. You might have to come to Quebec to find it - but it’s well worth it. (MB)

Bodega y Viñedos Nicolas Catena La Marchigiana Criolla Vino Natural Ancestral, 2019, Mendoza Argentina ($39)

I first tasted this wine in its ‘experimental’ stage. The final product is even better than I had hoped or expected. Laura Catena and her winemaking team call on Chile’s Criolla Chica grape to hark back to how wine was made in times past. It’s aged in terracotta amphorae and bottled without any added sulfur dioxide. Right down to the throwback label and lightweight bottle, everything about La Marchigiana screams house wine to me. Pale ruby in colour, this is almost mistakable for a dark rosé, and, in fact, is best with a slight chill. It evokes cranberry and raspberry bush, bits of apple blossom and baby’s breath. Pleasantly tart, crunchy acidity and light crisp tannins frame the red berry core. Linear, mouth cleansing and joyfully drinkable at a modest 12.5% alcohol. (MM)

BEST OF THE REST:

Wines that are Recommended and Highly Recommended by our experienced panel of tasters listed by price from low to high:

HIGHLY RECOMMENDED

Henry of Pelham Old Vines Baco Noir Ontario VQA, 2021, Canada ($20)

Henry of Pelham has cornered the market on Baco Noir. Always dependable, always tasty. Opaque purple-black in colour which speaks to the amount of dry extract. Smoky, toasty, blackberry bouquet. Medium to full-bodied and dry with floral, spicy blackberry and black plum flavours. Beautifully balanced and almost Syrah-like in character. (TA)

Hester Creek Old Vine Cabernet Franc Okanagan Valley BC VQA Golden Mile Bench, 2020, British Columbia Canada ($28) Forward notes of vibrant, red berry fruits with violet, earthy and savoury notes lead to a medium to full-bodied palate. A definite mineral background is highlighted by damson, mulberry and spice that evolve in the glass through superbly balanced fruit and acidity. An exceptional varietal example from the Okanagan’s oldest Cabernet Franc plantings in an ideal vintage. (TP)

Three Sisters Cabernet Franc Okanagan Valley BC VQA Naramata Bench, 2020, British Columbia Canada ($30)

Aromas of wild red berries with mineral hints precede a luscious and juicy palate of mulberry, raspberry, and damson, wrapped in well integrated tannins, with complex layers of cassis, clove, and mocha through the spicy, lengthy close. (TP)

Malivoire Le Coeur Gamay Beamsville Bench VQA Niagara Peninsula, 2021, Ontario Canada ($30)

Simply the best Gamay I have tasted from Malivoire. Ruby colour and floral, cherry bouquet. Medium-bodied, dry, fruity and spicy with lively acidity. Well-extracted ripe cherry flavours and well-integrated oak. (TA)

Catena Malbec Vista Flores, 2019, Mendoza Argentina ($32)

The Catena family has been sourcing Malbec from the vineyards of Vista Flores for upwards of 70 years. Reaching 1100 metres above sea level, the site yields a balance of ripeness, structure and elegance – at least in this example. Dark cherry mingles with raspberry and the two are laced with nutmeg and vanilla nuances. Full and rich without being heavy, concentrated fruit is supported by ample yet refined tannins. This is difficult not to like and offers an excellent quality/price rapport. (MM)

Gulfi Cerasuolo di Vittoria DOCG, 2021, Sicily, Italy ($34)

A blend of 65% Nero d’Avola and 35% Frappato, Gulfi’s Cerasuolo provides unadulterated pleasure while capturing the essence of Sicily. The latest release, it is still violent purple in colour and just so fresh and pure. It leads with scents of cherry, wild broom and fennel. The palate is fleshy and crunchy, just like freshly squeezed pomegranate juice. It has tang and mouth cleansing grape tannins. A contender for my house wine. (MM)

La Mesma Monterotondo Gavi del Comune di Gavi DOCG, 2020, Piedmont Italy ($37)

Owned and operated by three sisters, La Mesma is a small Gavi estate and one of the shining lights in the zone. The Monterotondo bottling comes from 35-year-old vines on calcareous soil. It radiates loveliness. Scents of lees, lemon and white blossom lead to subtle yellow apple flavours. The seamless, palate is tinged with salty minerals and a touch of green almonds. There is nothing aggressive about this wine, nor does its graciousness lack character. (MM)

Bodegas Albamar Pai Rías Baixas DO, 2018, Galicia Spain ($40)

Braced by the Atlantic Sea, this wine of Spanish Galicia is like a linear beam of lemon-streaked sunlight illuminating a bouquet - white flowers, fresh and emanating an aroma of the morning garden - verdant wet, mineral and stone. (CS)

Domaine AF Gros Moulin-à-Vent AOC ‘En Mortperay’, 2019, Beaujolais France ($40)

Driven by a love of Gamay, this renowned Côte de Nuits producer purchased a few hectares of mostly 60-year-old vines in the lieu-dit of ‘En Mortperay’. Vinified like a Burgundy, this cru Beaujolais could be mistaken at first for its more lauded brethren. Yet it has the intense spiciness and plush fruitiness of Moulin-à-Vent. Flavoursome and moreish, it exudes bramble berries and licorice root. The dense cranberry, sour red cherry core is offset by citrusy acidity. Tannins are evident but velvety in texture. This has a huge salivating factor. (MM)

Pietracupa Greco di Tufo DOCG, 2019, Campania Italy ($41)

Greco is one of Campania’s indigenous white gems, and Pietracupa crafts a benchmark example. Pristine and precise, the nose is decidedly mineral driven with wet stone and citrus fragrances. On the palate, pure fleshy pear and crunchy nectarine kick in. This has breadth and volume but does not plod along as

firm, steely acidity draws the wine effortlessly across the palate. Thrillingly energetic and full of flavour. (MM)

Gold Hill Winery Cabernet Franc Okanagan Valley BC VQA ‘Oxbow Vineyard’, 2017, British Columbia Canada ($43)

Dense ruby colour. Spicy, floral nose of blueberries with pipe tobacco and vanilla oak notes. Beautifully balanced and juicy with ripe tannins and lively acidity. (TA)

Vanessa Vineyards Right Bank Similkameen Valley BC VQA, 2017, British Columbia Canada ($45)

65% Merlot-dominant blend with 18% Cabernet Sauvignon and 17% Cabernet Franc. This is classic Similkameen, brimming with vibrant red and dark berry aromas, vanilla, and a touch of spice. On the palate, it’s plush and elegant with damson, blueberry, and lingering black pepper along with that streak of Similkameen mineral. Layered and complex, with well-integrated tannins and lively acidity, it keeps evolving in the glass. Enjoy now or put away for a few years yet. (TP)

Domaine les Arabesques Elanion Vin de France, 2020, Roussillon France ($48)

From vineyards located in the Roussillon, Saskia Van der Horst crafts an energetic white wine of bruised and macerated peach, pear and apricot, scented with white pepper, wild thyme and garrigue. The aroma and mouthfeel are as expansive as they are ever changing from sip to sip. Sourced from old vine Macabeu, Grenache Gris and Grenache Blanc, this provides a serious flavour excursion. (CS)

Bachelder Pinot Noir Twenty Mile Bench

VQA Niagara Peninsula ‘Wismer-ParkeWild West End’, 2020, Ontario Canada ($65)

The hallmark of this parcel of vines, tucked in the Wismer-Parke vineyard and composed of an unknown clone of Pinot Noir, is a savory, game, sanguine note that really shows us place is relevant. Bachelder is a champion of site-specific wines, and we are lucky to have him leading the charge on this sort of focus in Niagara. The wine is wild - the name says it all - and achieves power and elegance all at once. (BD)

Le Potazzine Rosso di Montalcino DOC, 2020, Tuscany Italy ($65)

Le Potazzine’s Rosso is the bomb! It is so gorgeously floral with rose and lavender. Vibrant and sumptuous in fruit, the palate offers cherry and pink grapefruit. It is silky in texture with light powdery tannins giving a subtle grip. Very sapid and hunger inducing, this will drink beautifully for the next 6 to 7 years or so. (MM)

Weingut Gross Sudsteiermark DAC ‘Reid Nussberg’, 2017, Styria Austria ($80)

These Sauvignon Blanc grapes were grown in the renowned Nussberg vineyard on south-southwest facing slopes in the warm Ratsche valley in Styria, achieving excellent ripeness whilst also enjoying the cool nights that give freshness and structure to the wine. I got lost in the aromas. Like the greats of Sancerre, it is complex and easy to admire. Rosemary, fennel, green cardamom, lime, white grapefruit, peach, nectarine,

struck flint and grated celeriac. On the palate, a plume begins with focused acidity then moves outwards to a mineral texture and dense core with a lingering, edgy finish. (BD)

Domaine Belargus Gaudrets Savennières

AOC, 2018, Loire Valley France ($92)

Attention Chenin Blanc fans! While Belargus’ calling card may be its dry Quarts de Chaume (under the name Ronceray), this Savennières is no slouch. It is like liquid rock and dewy flowers. Full and structured, the succulent pear and guava core is pierced by racy acidity and zingy minerality. Such depth and tactile pleasure. I’d even bet on it in the cellar 8 to 10 years. (MM)

Patrick Desplats Brahma Vin de France, 2020, Loire Valley France ($106)

Patrick Desplats is a winemaker who with each vintage, gets closer and closer to nature in all her perfect imperfections. All his 2020 cuvées are raised in Qvevri and the result here is astonishingly exquisite. Chenin Blanc and Sauvignon Blanc transform into a delightful chimera of tropical and orchard fruit, with pomelo and grapefruit citrus in aroma and palate. (CS)

Patrick Desplats Epona Vin de France, 2020, Loire Valley France ($106)

A single vineyard blend of 20+ varieties dominated by Pineau d’Aunis and Chenin Blanc. Through the translucent electric ruby red hue of this wine, one dives into a scent that is bright, floral, juicy and peppered with aromas of some mysterious garden that you can imagine you will only visit through tasting of this wine. The mouthfeel of this wine is as ripe as any red currant - or like the burst of juice from a pomegranate seed. (CS)

RECOMMENDED

Uko Estate Select Vineyards Cabernet Sauvignon Reserva Valle de Uco, 2019, Mendoza Argentina ($18)

A well-priced, good example of high-altitude Cabernet Sauvignon. Aromas are decidedly red fruited – fresh and lifted with accents of tobacco and coffee. Red currant provides the backdrop on the palate where fine-grained tannins grip sufficiently to give shape and form. Nice texture and flow. Finishes with green herbal nuances. (MM)

Ivory & Burt Old Vine Zinfandel Lodi, 2019, California USA ($20)

Deep ruby in colour with an earthy, leathery, blackberry nose. Full-bodied, dry and richly extracted. Meaty but well-balanced with evident but mellow oak, finishing on a minty note. (TA)

Bodega Atamisque Serbal Malbec

Tupungato, Valle de Uco, 2021, Mendoza Argentina ($23)

Serbal is as pretty as its label which sports a drawing of the native atamisque bush. The wine sees just 3 months in barrel, with the rest of the time in stainless steel to highlight Malbec’s fruit and floral charms. Violet and dusty lavender waft effusively from the glass. The palate is playful and buoyant with ripe raspberry and succulent plum. Soft tannins lend sandy texture. (MM)

Stag’s Hollow Dolcetto Rosato Okanagan Valley BC VQA Okanagan Falls, 2021, British Columbia Canada ($24)

Vibrant crimson in the glass complements bright, vibrant red berry aromas with a hint of mineral. Juicy cherry and cranberry on the palate supported by excellent acidity for a refreshing, intensely focused and very food friendly drop. With structure and balanced tannins, this Dolcetto is a solid alternative to paler coloured rosés. (TP)

Amalaya Malbec Valle Calchaquí, 2020, Salta Argentina ($24)

Scents of pepper and snappy spice with lovely lilac and plum chasing behind. Ripe sumptuous fruit fill the palate gently girdled by chocolaty tannins. This is quite zippy in its acidity. Mint and licorice add nuance. Malbec gets a little help here from 10% Tannat and 5% Petit Verdot. (MM)

Mooncurser Arneis Okanagan Valley BC VQA, 2021, British Columbia Canada ($27)

Complex aromas of orchard and stone fruits with some background herbal hints lead to a mouth-watering palate of citrus, apple and kiwi, framed in a perfect balance of fruit and natural acidity through a lengthy, mineral finish. Despite the searing heat dome early in the growing season, the freshness and acidity are still retained. Pairings? Think scallops with cream sauce or a Hangtown Fry—a fresh oyster frittata with lashings of French tarragon. A true rarity (the only known Arneis in the country), it comes from loamy, silica and granite soils in the estate vineyard on Osoyoos East Bench, at the foot of the winding road that ascends Anarchist Mountain. (TP)

Hester Creek Old Vine Cabernet Franc

Okanagan Valley BC VQA Golden Mile Bench, 2020, British Columbia Canada ($28)

Deep ruby in colour. Cedary, lightly floral nose of black plum and black olive with toasty oak notes. Medium-bodied and savoury with juicy blackcurrant and plum flavours. Balancing acidity and firm but ripe tannins. (TA)

Bernard et Benoit Landron ‘Melon B’ Muscadet-Coteaux-de-la-Loire AOC, 2020, Loire France ($30)

Think back to the very first memories of enjoying Muscadet. ‘THE’ Muscadet that actually was that saline nectar of the sea that you felt was so elusive. Gently rolling over the palate with lemon freshness, slightly viscosity from 6 month on lees finishing with a sensuality akin to a naked oyster freshly plucked from the sea. (CS)

Pinard et Filles Frangin Rouge, 2020, Quebec Canada ($35)

Equal parts of the 3 grapes known as Marquette, Petite Perle and Frontenac Noir. Enjoy this wine gently chilled, which helps only to bring into focus the energetic deep, dark bramble fruits. Savoury, earthy, peppery and fruity are but a few ways to describe this wine. (CS)

Longarico Nostrale Terre Siciliane IGT, 2021, Sicily Italy ($37)

A wine based on the white grape Catarratto, this exudes rich white floral intensity into pear and peach nectar, to white plum aroma. Simple yet

complex, pretty and floral, very engaging on the nose and palate with a fresh streak of citrus. (CS)

Bodega Lagarde Guarda Malbec

Colecciónde Viñedos Luján de Cuyo, 2019, Mendoza Argentina ($38)

Opening notes of cedar and sweet wood spices make way for dark red cherry underneath. This expands across the palate with rich plump blackberry fruit and silky tannins that layer up towards the finish. Juicy acidity gives vibrancy, and this finishes with accents of bitter chocolate. (MM)

Patrick Piuze Bourgogne-Côtes-d’Auxerre AOC, 2019, Burgundy France ($40)

Piuze, a Quebec native, is established as one of the top winemakers of Chablis in the 21st century. Though he works with purchased fruit rather than owned vineyards, he is well connected to the growing process and champions sense of place. This wine takes him outside of the boundaries of Chablis, into the greater Yonne region, close to neighboring Saint-Bris. This Chardonnay shows a lean, racy style, not as mineral-driven as Chablis tends to be, but with a fruit-forward, approachable character. I love how easy-going, ready-to-drink it is. (BD)

Bachelder Chardonnay Lincoln Lakeshore

VQA Niagara Peninsula ‘Grimsby HillsideRed Clay Barn Block’, 2020, Ontario Canada ($49)

Bachelder really drills down to site in his Grimbsy-Hillside bottlings, separating into two expressions, this lower lying, clay-limestone parcel (as opposed to the equally delicious ‘Frontier block’ - higher elevation and stonier). Despite being close to Lake Ontario, this is aligned with how we would sense a Niagara Bench wine - firm structure, stony and elegant. There is a depth to this wine that is the result of a warm, long vintage and exposed, breezy site. The corresponding concentration of aromas and flavours is captivating. (BD)

Leaning Post Chardonnay Lincoln Lakeshore

VQA Niagara Peninsula ‘Senchuk Vineyard’, 2019, Ontario Canada ($50)

A cooler year that allowed a long hang time for Chardonnay at the Leaning Post home vineyard, located in the extreme west end of Niagara Peninsula. The vineyard is young and certainly showing its promise. A complex wine, ranging in ripe to tart fruit character, flinted rock, white sage, and a hint of barrel spice. On the palate, a deceiving concentration and weight as the structure of the wine is on the lean, focused side. Long, long finish, lingering on mineral tones. If this wine were music, it would be a Joe Cocker guitar riff, edgy and persistent. (BD)

Villa al Cortile Brunello di Montalcino DOCG, 2016, Tuscany Italy ($65)

From a solid vintage and combining fruit from north (Montosoli) and south (near Lavacchio) Montalcino. Lots of power and grace co-existing here. Aromatically, this is still quite youthful, full of wild cherry, lavender, incense, and some smoky earthiness creeping in. On the palate, explosive, bringing forth strawberry licorice, bright acidity and firm, tight tannins. It would benefit to age this a further 3-5 years, and can go longer depending on your tastes. (BD)

Barbacan Sol Valtellina Superiore DOCG Valgella, 2019, Lombardia Italy ($72)

From terraced alpine vineyards of northern Lombardy, this Nebbiolo exudes warm earthy spices, wild plum and warmed dark berry with an earthy mushroom-ness and dried forest floor that is indicative of fine Nebbiolo. The palate provides pleasing harmony of spice and berry with approachable and firm tannin. Saline and very fine finish. (CS)

Clos i Terrasses Laurel Priorat DO, 2019, Catalonia Spain ($99)

A so-called second wine to Clos Erasmus, but really a standalone that is not in any shadow. Crafted from younger vines, though they are established organic and biodynamic. This is aged in a range of vessels including older barrel, concrete and oak vats and blended by the skilled hands of Daphne Glorian. Deep red fruit character, rich savoury cherry compote, baked earth, charred rosemary. The palate is robust and generous, with ripe, rounded tannins, warming alcohol, and enough freshness to balance it out. Meant to be enjoyed in its youth but can certainly age 5 years more. (BD)

BEFORE…

Sparkling wines, fino sherries, other wines that would traditionally be served before dinner.

Bernard-Massard Cuvée de l’Écusson Brut, NV, Luxembourg ($22)

A hidden gem. A blend of 40% Chardonnay, 35% Pinot Blanc, 15% Pinot Noir and 10% Riesling from vineyards overlooking the Moselle River. Active mousse of tiny bubbles and bready nose. Medium-bodied and dry with well-extracted apple and pear flavours. I welcomed in 2023 with this delightful sparkler. (TA)

Blue Mountain Brut Rosé Okanagan Valley, 2018, British Columbia Canada ($45)

Blue Mountain is a top address for sparkling wine in British Columbia and the estate’s Brut Rosé rivals pink bubble from any destination. With 30 months on the lees, it is toasty and redolent of fresh baked scones. There is well played richness balanced by tangy acidity and a refined mousse, along with great depth of raspberry and strawberry flavours. (MM)

Hidden Bench Blanc de Blanc Beamsville Bench VQA Niagara Peninsula, 2014, Ontario Canada ($48)

From organically farmed Locust Lane estate vineyard in a cooler year, with a small crop and concentrated fruit. All signs point to yes. This is delicious. Aromatically delicate, with pretty notes of green apple, pear, apple blossom, flinty minerality, and yeasty but not baked bread notes. This is a zero dosage, taut style with 4 years of lees aging before disgorgement and a further several years prior to release. Lingering on the finish, it ends with firm, appetite awakening freshness. Exceptional, and frankly a steal of a price for the quality. (BD)

Noble Ridge The One Okanagan Valley BC

VQA Okanagan Falls, 2017, British Columbia Canada ($48)

A classic blend of mainly Chardonnay with Pinot Noir. The winery’s sparkling flagship yields toasty brioche notes up front, a persistent mousse and fine bubbles, orchard and stone fruits with distinct mineral hints, broadly textured mouthfeel with excellent fruit - acid balance and a lingering, zesty close. (TP)

Champagne Bruno Paillard Cuvée ExtraBrut Champagne AOC, NV, France ($73) (Pinot noir 45%, Chardonnay 33%, Pinot Meunier 22%) This Champagne will please those who seek a rich and creamy style. Full bodied with generous notes of acacia, brioche and fresh pastry balanced by searing acidity. Fine bubbles with a well-integrated dosage of 6.5g/l of sugar. It displays elegance and finesse despite its generous profile. A brilliant match with gougères. (MB)

SPIRITS

Saint Benevolence Rum Clairin

“Bwason Pou Bonte” (drink to goodness) is what you’re supposed to do with this unique clairin, a traditional un-oaked sugarcane distillate from the Saint-Michel de l’Attalaye commune in Haiti. Saint Benevolence donates all its profits to a charitable fund that helps build schools, hospitals and homes in Haiti. Even without that, it’s a delightful drink with an earthy mushroom aroma and a bright, tropical fruit flavour profile and a lingering icing sugar finish. Note: Unaged sugarcane spirits can be pungent at first, so open the bottle in advance and allow it time to breathe. (CSO)

Saint Benevolence Five-Year-Rum

Even though the liquid in this Saint Benevolence expression isn’t from Haiti, all profits from this enterprise still support charitable projects in Haiti. This rum is a blend of cane syrup spirit distilled in the Dominican Republic and molasses-based rum from Barbados that’s been aged for five years in ex-Bourbon whiskey casks. It’s light golden in colour and tastes of vanilla, light honey, subtle ripe mango and a delicate hit of cinnamon and spice on the finish. (CSO)

Clairin Sajous de Saint-Michel de l’Attalaye

Rhum Agricole

This Clairin is also made in Saint-Michel de l’Attalaye, although at a different family farm distillery than Saint Benevolence. Despite being neighbours, there’s quite a distinct difference between the Saint Benevolence, which is from the Dorcinvil family distillery and the Chelo distillery owned and operated by Michel Sajous. The aroma has a touch of bubble gum, but the flavour profile is all herbs, spice and a distinct taste of fresh grass that all winds up on a long note of cane syrup and vanilla. Note: Unaged sugarcane spirits can be pungent at first, so open the bottle in advance and allow it time to breathe. (CSO)

Canoubier Caribbean Rum

Finished in old Cognac barrels in the cellar at Distillerie des Moisans in France, this blend of

Caribbean rum is extraordinarily mellow and buttery with quite pronounced tropical fruits, such as ripe banana and a fragrant coconut flavour that lingers long after the baking spice fades. (CSO)

Flor de Caña Rum 30-Year-Old

From a distillery known for its extraordinary aging projects—generally in ex-bourbon American oak—this three-decade old single barrel rum is rich, buttery and luxurious, with plenty of the ripe banana, pineapple, coffee and chocolate notes and a little touch of dry cigar box at the end. An extraordinary special occasion splurge. (CSO)

Distillerie Shefford Acérum White

Although it’s not cheap or easy to make, maple distillate is a growing category in the Quebec craft spirits scene, since, well, doesn’t everyone want to drink a liquor made from their favourite pancake topping? Distillerie Shefford is one of the pioneers of this lovely spirit that drinks like a well-made and smooth rum with some stone fruit notes and a distinctly sweet maple finish. (CSO)

Distillerie Shefford Acérum Brown

The colour of this lightly-aged spirit is really more straw or golden than brown but a little time spent in wood reveals the potential of aging maple spirit. This expression has more depth of flavour, a hint of tannin and a dab of vanilla— similar to the way a reposado tequila has picked up a little fresh influence, but not so much that it isn’t clearly a maple spirit at heart. (CSO)

Nikka Whisky Yoichi Single Malt Japanese Whisky ($92)

The first Nikka distillery was built in 1934 on Hokkaido, Japan’s second main island. Those who appreciate a more “seaside” style with a bit of peat - or those who like the concept of a malt aged close to the sea but find the Islay expressions just a bit too much - will really appreciate Nikka’s flagship whisky. This is an intriguing whisky with delicate - though obvious - notes of brine and smoke. However, these are tempered by floral/lemongrass undertones. Powerful, but in no way overpowering, it offers a collage of flavours that nicely combine salty, smoky, malty, and fruity…with just a hint of cracked pepper in the end note. (TS)

Nikka Whisky Yoichi Single Malt NonPeated Limited Edition 2021 Japanese Whisky ($280)

With its “Discovery Series,” Nikka turns the tables a bit with this spirit. Unlike the peated bottling, this Yoichi Limited Edition employed a coal-fired distillation to render a whisky that emphasizes a delicate pear-like fruitiness, with suggestions of citrus, combined with a hint of smoke and malt, all delivered in a plush, enveloping mouthfeel. (TS)

Nikka Miyagikyo Single Malt Japanese Whisky ($92)

Constructed in 1969, Miyagikyo is the second of Nikka’s two distilleries. Stylistically, Miyagikyo can probably best be seen as the “highland” to the Yoichi’s more “island” style. There’s some ev-

ident sherry cask aging going on here, resulting in aromatics that feature sultana, baking spice, pear drop, and orange peel. Dry and elegantly structured, with beautiful balance and just a suggestion of smoke on the palate. A subtle fruitiness reappears as the flavours trail off. (TS)

Nikka Miyagikyo Single Malt Peated Limited Edition 2021 Japanese Whisky ($280)

As previously noted, Miyagikyo typically plays highland to Yoichi’s island style, but once again things have been switched for this edition with batches of peated malt being used in the mash bill. Notes of brine and smoke with floral/lemongrass undertones and a nice balance between salty, smoky, malty, and fruity…with a hint of cracked pepper on the finish. (TS)

Nikka Coffey Grain Japanese Whisky ($89)

A grain whisky from a continuous still probably shouldn’t be this good…but it is very good, indeed. In fact, whisky expert Jim Murray has rated past vintages of this expression “Japanese Whisky of the Year” three times over the course of five years. Fragrant, biscuity notes swill around dollops of pear, with just a mild touch of smokiness. Soft and mellow in the mouth, with surprising complexity that leads to a long, mildly fruity finish. (TS)

Nikka From The Barrel Japanese Whisky ($69; 500ml)

An artfully blended Japanese whisky bottled at cask strength. Unless you have a rather strong constitution (and perhaps an ironclad palate) you’ll want to dilute this slightly to take the heat down a bit - and “unlock” the aromas. Your dilution factor will obviously affect the profile of the whisky, but expect a nose redolent of orange marmalade, treacle, toasted nuts, nougat, and cocoa powder. This is a big, powerful, warm whisky that sports flavour notes of toffee, buttered nuts, dark chocolate, and spice cake. In spite of the power and complexity, it retains Nikka’s “house style” that emphasizes impeccable balance over brute power. (TS)

Alberta Premium Cask Strength Rye Whisky ($85)

The annual release of this limited edition award-winning rye bomb clocks in at muscular 63.7 per cent ABV. Not for the timid (and definitely benefitting from a dollop of water), this is a bold, punchy whisky driven by spicy rye notes, vanilla nuances, and some dark berry aromas. Spicy and assertive in the mouth, but not without some gentleness and delicacy woven in. Though it may not be quite as seamless as last year’s outstanding offering, this is a truly iconic Canadian whisky that confidently hoists the flag for our county’s contribution to the world of classic spirits. (TS)

Dillon’s Single Grain ‘Three Oaks’ Rye Whisky ($50)

Geoff Dillon’s dream was to create an authentic Canadian Rye Whisky, and he’s done so admirably here. Made from a mash bill of 100% Ontario rye and aged (as the name suggests) in a combination of new Ontario oak, new American oak, and first-fill bourbon barrels, it shows classic, spicy/dusty rye on the nose, with a hint of dried citrus peel. Warm, round, and balanced in the

mouth, with layers of fruity/spicy rye, vanilla, and caramel, it’s quite elegant and gentle, while remaining elegant and complex. (TS)

Canadian Club Chronicles ‘The Icon’ 45 Years Old ($500)

There’s definitely been a North American “rye renaissance,” but the reality is that corn is still king of the grains both north and south of the border. This isn’t a bad thing at all, especially when you consider the Canadian Club Chronicles expressions. Starting with the 41 Years Old, the range has progressed from year to year, cumulating in this awesome spirit. Offering up intense baking spice, dark fruit, caramel, cocoa powder, and a hint of charred wood on the nose, it segues into powerful yet elegant notes of plum, spice, and smoky dried citrus that seem to last forever. A glorious example of what a Canadian whisky can be. (TS)

Stalk & Barrel Whisky ($32)

The “two Barrys” (Stein and Bernstein) behind Ontario’s Still Waters Distillery are Canadian craft distilling pioneers. Their Stalk & Barrel whisky delivers plenty of vanilla, plus butterscotch, baked apple, and marshmallow, with an interesting herbal quality. Round and viscous, with spicy/dusty rye with a touch of pear in the mouth, along with a smattering of vanilla and toffee. Crisp on the finish, with a lingering grind of white pepper. (TS)

Templeton 6 Year Old Straight Rye Whiskey ($55)

This is distilled from a mash of 95% rye and 5% malted barley and aged 6 years in charred American oak barrels. Expect to find intense aromas of butterscotch, vanilla, dark cherry, and a hint of spring flowers, all underpinned with classic rye spiciness. Vibrant and spicy in the mouth, with nuances of caramel and dark berries that fade slowly on the finish. Enjoy neat, over ice, or in a classic craft whiskey cocktail. (TS)

Reifel Rye ($50)

Among the many highlights of last year’s stay at “Rye Ranch” (courtesy of Alberta Distillers Ltd.) was being one of the first “civilians” to taste the distillery’s latest expression. A “high rye” number (yes, you can make a Canadian “rye” without using any rye at all) showing distinctive, dusty/spicy rye on the nose, with subtle hints of vanilla custard and dried fruit. Smooth, warm, mildly fruity/spicy and beautifully balanced. (TS)

Highland Park ‘Viking Honour’ 12 Year Old Single Malt Scotch Whisky ($85)

From way up in the Orkneys, this delivers some heather-honey sweetness with a bare hint of peaty smokiness on the nose that carry over to a rich, fruity/malty/mildly smoky flavours. The peat used in the north is quite different than that found further south on Islay, so those kelp/ iodine notes are nowhere to be found in this dram. (TS)

Highland Park ‘Viking Heart’ 15 Year Old Single Malt Scotch Whisky ($154)

In my books, Highland Park can do very little (if anything) wrong, and this 15-year-old doesn’t change my opinion…at all. The trademark HP

aromatic profile - a hint of sherry, heather, mild smoke and briny sea spray (with some milk chocolate and candied almond) is here in spades, and all the aromatic elements weave together on the palate in a wonderfully integrated tapestry of ripe fruit, malt, subtle smoke and gentle spice that lingers on and on. (TS)

Highland Park ‘Viking Pride’ 18 Year Old Single Malt Scotch Whisky ($230)

Take everything the 15 Year Old has and toss in some added complexity in the form of some fruity pear nuances, and slightly more intense char character. Flavours of toffee, dried fruits, and toasted almond intermingle on the rich palate, along with some buckwheat honey, and floral/gently peaty suggestions that persist on the lengthy finish. (TS)

Highland Park 21 Year Old Single Malt Scotch Whisky ($500)

This fabulous expression owes much of its character though aging in three types of wood (sherry, European, American). Marmalade and ginger flavours are enhanced by a dollop of sultana, fruitcake, toffee, smoke, and cocoa powder. Dry and spicy in the mouth, it delivers a full, viscous mouthfeel. Flavours are redolent of dried fruit, with a subtle earthiness, and a hint of aged wood. In spite of its richness, there’s a lively peppery quality to zip things through the final notes. (TS)

Bowmore 12 Years Old Islay Single Malt Scotch Whisky ($65)

If I had a “house scotch” (and maybe it’s about time I did), Bowmore 12 would be it. Not as overtly peaty as some other Islay malts, but nonetheless smoky, briny, and with a character that defines the Bowmore style - at once powerful and assertive, yet surprisingly gentle, with distinct sweet citrus fruit and chocolate flavours intermingled amongst the muscle. (TS)

Bowmore 15 Year Old Single Malt Scotch Whisky ($110)

As expected, this expression offers up more layers of complexity. Mellow mahogany in the glass. Aromatically, expect creamy caramel toffee with ripe fruit and smoke aromas - and that unmistakeable Bowmore “something.”  Incredibly complex, with beautiful soft fruit and cocoa, balanced with a light smokiness that glides into the long, slightly saline finish. (TS)

Bowmore 18 Year Old Single Malt Scotch Whisky ($185)

There was clearly a split in the room when the 15-year-old expression was tasted against this 18-year-old. While both expressions are unmistakably Bowmore, the 18 Year Old seems a bit more plush, with more rich, sherry/sultana, and dried fruit aromatic elements interlaced with Bowmore’s characteristic seaside character. The palate is warm, luxurious, and chocolate-tinged, with intense flavours that lingers into the hauntingly long finish. (TS)

Bowmore ‘Master’s Selection’ Edition One 21 Year Old Single Malt Scotch Whisky ($850) Bowmore’s partnership with luxury automobile maker Aston Martin has yielded a number of unique and limited offerings, including those in

the ‘Master’s Selection’ range, with packaging as glorious (almost) as the liquid within. Multi-layered, it’s aromatic profile covers a gamut - from smoke/brine/peat/leather to praline/wild honey/candied citrus/toffee. Assertive and fiery, viscous and mouth-filling, this amazing dram straddles that delicate line between poise and power - and pulls it off beautifully. Try pairing with some fresh, high-end chocolate like Läderach - you’ll be pleasantly surprised. (TS)

Bowmore ‘Master’s Selection’ Edition Two 22 Year Old Single Malt Scotch Whisky ($650) Maybe being driven to the launch of this expression in the shotgun seat of an Aston Martin DBX707 unconsciously coloured my opinion of this malt in a positive way (though we didn’t really get the chance to punch the beast’s 700hp engine in Toronto rush hour traffic). In any case, a dram of this was the highlight of the evening. Some honey and dried fruit to start, with tobacco leaf and clove flowing into traces of red fruit. Full-bodied and multilayered, with flavours ranging from tangy/saline/iodine, through to baking spice, and some sweet, fruity notes. Try with high-end chocolate like Läderach. (TS)

Laphroaig 10 Year Old Islay Single Malt

Scotch Whisky ($88)

Big, bold, and in-your-face; either you love this style of malt or, well, you don’t (and likely, you really don’t). Kelpy and briny, with medicinal/ iodine aromatic notes, it’s full-bodied, forward, and smoky, though there are some sweet notes intermingled amongst the sea salt and smoke nuances. Long and medicinal on the finish. Subtle? No. Delicate? Ha. Nirvana for the fans? Definitely. (TS)

Laphroaig 10 Year Old Islay Single Malt

Scotch Whisky Sherry Oak Finish ($100)

Finished in oloroso sherry casks, this expression offers fragrant and peaty, with traces of honey and the characteristic “seaside” notes found in many Islay drams. The honey reappears on the palate, along with some medicinal notes, cloves, and suggestions of grilled smoky bacon. There’s also a dash of new leather, and pine, as well as treacle toffee, maple syrup, dark chocolate. (TS)

Laphroaig Quarter Cask Islay Single Malt Scotch Whisky ($100)

This expression begins its maturation in ex-bourbon barrels before being transferred to small quarter casks. The result is a whisky offering up aromatics of peat-tinged fireplace embers with hints of coconut and banana as well as the characteristic Laphroaig punch and power. The long finish hints at smoke and gentle, slightly sweet baking spice. (TS)

Laphroaig Lore Islay Single Malt Scotch Whisky ($225)

Spirits selected for this luxury malt range in age from seven to 21 years and have been sourced from a variety of barrel types, including oloroso sherry butts, ex-bourbon barrels, and quarter casks. Rich and smoky with seaside minerals and a hint of ash and bitter chocolate, this full-bodied dram features loads of peaty, maritime flavours with a distinct, spicy (cayenne pepper?) kick on the tail end. Unique, somewhat surprising, but unmistakably Laphroaig. (TS)

BEER

Brock Street Brewing Co. Triple Threat Belgian Tripel, Whitby ON, Canada

Having opened their doors in 2015, Brock Street’s taproom and bottle shop sports a banquet hall and elevated gastropub that makes them something of a social hub in the downtown area of Whitby and a popular place for events. At 9.5% ABV, the Triple Threat boasts soft alcohol warmth with banana, citrus, and clove notes in a malty base. Flavours of dried fruit and spices linger throughout right up to a slightly peppery finish. (RL)

Shacklands Brewing Co. Tripel, Toronto ON, Canada

I think it’s pretty well established by this point what a gem Shacklands Brewing in Toronto is. Located deep in the Junction area, their Belgian-inspired beers have won awards and captured the hearts of many a beer-lover. And their eclectic taproom makes for a welcoming visit no matter what season. The award-winning Tripel is the brewery’s…well, it kind of feels like their flagship at this point, as they’re quite known for it. Can-conditioned and soft in alcohol notes, banana and clove hit hard with this one, featuring a touch of nutmeg that lingers towards the end. The beer hides its strength very well. (RL)

Folly Brewpub These Three Kings, Toronto ON, Canada

Folly has undergone a few changes in ownership over the years and the current owners have ended up being a rather understated member of Toronto’s beer scene that has produced some truly comforting and delicious beers. This release, initially made in conjunction with International Tripel Day back in March, is rife with coriander, white pepper, and citrus, starting slightly sweet but finishing rather dry. (RL)

Meuse Brewing Co. 2023 Tripel, Scotland ON, Canada

Not only are the married couple that runs Meuse the critically acclaimed masters of Belgian-style beers in Ontario (and rightfully so), their beers available on their web site are some of the most affordable in all the province, meaning no one has any excuse to not try them. The 2023 version of their Tripel, made for International Tripel Day over the spring, exhibits a beautiful dried fruit character along with some hints of banana and clove propped up with a soft malty-sweet backbone. One might wonder what it would be like after a year of aging. (RL)

Counterpart Brewing Rhythm Double IPA, Niagara Falls ON, Canada

Located in an industrial plaza in the north end of Niagara Falls, Counterpart has been a place of comforting food, good company, and excellent beers since it opened in 2019. The Rhythm Double IPA is a strong one at 8.2% ABV, but an otherwise fruity beverage with peach, orange, pineapple, and passionfruit crammed in there along with some bitter grapefruit pith to make for a slightly bitter finish. (RL)

Spearhead Brewing Co. Dragon Slayer ESB, Kingston ON, Canada

Did you know that as of 2021 the BJCP doesn’t count Fuller’s ESB, the definitive beer of the style, an ESB? This was a troubling realization for beer writer, George Brown Beer teacher, and occasional Quench contributor Jordan St. John, who set out to make one so that he could teach it in his class. Basing the recipe on the original Fuller’s ESB from the 1970s, the beer pours a deep amber and has warming malt notes and earthy English hop character. It’s as traditional as you can get, and all with a portion of proceeds going to Lunch By George in Kingston, which helps feed 125 people daily. (RL)

Godspeed Brewery Bůh Specialni Edice, Toronto ON, Canada

In 2022 Toronto’s Godspeed Brewery launched collaborations between them and the true Budweiser Brewery (not the American one that makes Bud Light, but the Czech one, also known as Czechvar or Budvar, that makes one of the gold standards for traditional Czech pilsner). The resulting beer, Bůh Specialni Edice, is a masterwork of subtlety. A crisp beer that is perfect for any occasion. It’s almost hard to explain what the flavours of the beer are, because it’s so soft and smooth, that it’s easy to just forget what you’re doing. Nice grassy notes, mild bitterness, and soft, cloudy malt character that makes for a truly special beer. (RL)

Mountainview Brewing Forecast Says West Coast IPA, Hope BC, Canada

Because what’s a beer from the west coast if it isn’t hoppy? The Forecast Says is a dry-hopped IPA with amarillo, Azacca, and Ahtanum, which makes for a citrusy and fruity explosion that tries to dance the line between sweet and bitter. (RL)

Elora Brewing Jetpack Black Pilsner, Elora ON, Canada

Elora is a wonderful spot in Ontario that offers up a fantastic respite from the noise of the world and brings in some fantastic beers incorporating some stellar art. The Jetpack Black Pilsner is one of two pilsner variants the brewery released, and describes itself as a little toasty and a lot of crispy. Making use of eight malts as well as Hallertau hops, the result is a black pilsner with very restrained roasted characters and a smooth, malty mouthfeel featuring hints of coffee and toast. (RL)

Beau’s All Natural Brewing Co. Lug Lite, Toronto ON, Canada

Since we last tried anything from Beau’s, the Vankleek Hill brewery had joined forces with Toronto’s Steam Whistle Brewing, with the latter taking charge of brewing while making use of Beau’s extensive marketing and client list. This latest addition to their core lineup is not wholly unfamiliar ground for Steam Whistle’s session beer from a few years back so the 4% ABV isn’t so low it would be lacking in flavour. The beer makes use of the mix of barley, wheat, and German hops that the original lug has, and the flavour retains the floral and slightly fruity notes of the original, with a clean, crisp finish. (RL)

There’s a Bad Moon on the Rise

READERS, I’M NOT GOING TO LIE; I’M AFRAID I MUST, AS THE KIDS SAY, “GET REAL” WITH YOU. IF YOU’VE EVEN TAKEN A PASSING GLANCE AT THE ONTARIO BEER SCENE SINCE NOVEMBER OF LAST YEAR, YOU PROBABLY KNOW WHAT I’M GOING TO TALK ABOUT.

It’s getting scary out there.

Now, I don’t mean “scary” as in “fruited sours with gummi worms in them.” Honestly, with the way some trends go, that’s not too far off from fiction. But rather “scary” as in there is a massive shifting of the landscape as breweries are bought, merged with others, or outright closed on what has felt like, as of time of writing, a weekly basis. Little Beasts in Oshawa announced that their owner, Erin Brandson, is stepping away with the fate of the brewery uncertain; Toronto’s People’s Pint has closed as has Kitchener’s Descendants Brewing, to name a few. Meanwhile, Danish brewer and beverage maker Royal Unibrew, makers of Faxe, purchased Amsterdam Brewery for $44 million, and Waterloo Brewing, who make Laker Ice, signed a deal to be bought by the Carlsberg Group for $144 million.

This isn’t even all the changes that have occurred in the last four months, and many more are expected and rumoured to be on the way. On one side, many breweries will get bigger; on another, much sadder side, many brewers and brewery staff will have lost their livelihoods.

But why is this happening? And why now? Well, there are a few reasons.

First is the somewhat obvious one: The pandemic did a number on sales as many people just weren’t going to bars. Pair that with an economic crisis just as people began to go outdoors again and you have the makings of mass closures in many businesses. If you’ve been to a grocery store in the past year, you’ll know that everything is more expensive. For breweries, that means more expensive grains, hops, and even aluminium cans all while rent is continuing to go up.

Combine all that with a craft beer market where, for the province

of Ontario at any rate, oversaturation has been a long-standing issue. Breweries that were just barely staying afloat are being forced to close or sell, and breweries that have reached a large level of growth can’t do so without the assistance offered by merging. However, the breweries that have been steadily growing and gaining social cachet with their fine beers have been sticking around and, hopefully, will continue to do so.

Now, all of that does sound scary, and it is. (I did warn you, didn’t I?) But honestly, if you’ve ever wanted to head over to your local brewery, hang out at their taproom, and buy a few cans to take home, now is the time. Support is always good, and in these times, it’s very much appreciated.

It should be said though that none of this has stopped new breweries from opening. Barrel Heart Brewing and Blending, Peace River Brewing, and Dandy Brewing all opened recently, and there’s only more coming. So, while the market may be in decline, we are seeing something of an odd rebirth.

But one wonders what form the craft beer market in this country will take next. We’ve seen a lot of positive shifts in legislation in recent years, and Canada has already earned an international reputation as makers of excellent beer. Breweries who start with that context could go on to do some very interesting things.

And that’s something to, I hesitate to say, “get excited about.”

Robin LeBlanc is an award-winning beer columnist, author, and podcaster with over a decade of experience in writing about the ins and outs of the beer world. In 2011 she started her blog The Thirsty Wench, which went on to win multiple awards including the Saveur Magazine Best Food Blog Award in the beer category. She has been a contributor, columnist, and co-author of both editions of the Ontario Craft Beer Guide. In addition to her regular contributions in multiple publications, she is the co-host of the Ontario Craft Beer Guide The Podcast. Robin lives in Toronto.

DOWN

1 The technique of aging a wine on the dead yeast cells is fl agrantly proclaimed on some bottles of Muscadet.

2 This valley was named Washington State’s fi rst AVA.

3 The world’s most prolifi c cork producing country.

6 French for grape shatter –that is, when grapes fail to develop because fl owers remained unfertilized.

8 This red grape is said to get its name from its explosively crunchy berries.

10 A South African mixture of vegetation found only on the tip of the African continent and oft en characteristic in the complex herbal, fl oral and earthy aromas and fl avours in many South African wines.

12 Australia’s take on the classic southern Rhône blend is the opposite of a fl avour enhancing food-additive.

13 The science of identifying and classifying grapevines according to their physical properties.

15 Mission Hill Winery owner made his fi rst fortune with the success of Mike’s Hard Lemonade.

16 This important cocktail ingredient is actually an aromatized fortifi ed wine and should be kept in the fridge aft er opening.

17 Common blending partner with Verdejo in the Spanish region of Rueda.

This oft rustic red served in Burgundy’s bars is a blend of Pinot Noir and Gamay.

18

20 Hybrid widely planted in Nova Scotia made in 1953 at the Vineland Research in Ontario.

23 What did Christian Barthomeuf of Clos Saragnat invented in Québec in 1989?

24 Several lawsuits have been fought over the trademark and delineations of this historic Napa Valley vineyard.

25 A vector for the Grapevine leafroll viruses.

26 Eddy and Patsy can’t get enough of this Champagne.

28 This grape, once nicknamed the Casanova of grapes, gave birth to Riesling.

30 The pretty “back road” that runs north and south in Napa Valley as an alternative to SR 29.

31 Sold commercially since 1830, this non-foxy hybrid is the offi cial grape of the state of Missouri.

33 Both Trousseau and Poulsard are found in this region.

39 Said to give a deep color and mouth-puckering palate, Saint Macaire is native to this region and was widely planted there before phylloxera.

41 A 600-liter American oak barrel used for aging Sherry, no joke.

42 A cross between Cabernet Sauvignon and Grenache that makes good wine in China and southern France.

43 Hugh Grant played “Champagne Charlie” in a fi lm about this 19th-century entrepreneur.

500 and 501.

44 Type of viticulture incorporating preparations

46 The French national agency that decides which regions can plant which grape varieties.

47 The Spanish name for Mourvèdre.

48 This country has the oldest producing vines of Syrah.

49 What is the name for Mourvèdre in Australia?

53 A Clint Eastwood movie title says this type of wine bottle has Force.

ACROSS

1 A small bottle of wine holding 187 ml is called a piccolo or ________.

3 A type of restaurant in Lyon, France known for serving traditional rich and hearty dishes in a friendly and personal atmosphere.

7 This popular cocktail featuring Prosecco takes its name from a 15th-century artist.

15 In 1973, Elton John sang in "Social Disease" that he gets juiced on this wine and just hangs loose.

17 This was the most planted wine grape variety in California in 1973.

19 The French term referring to stones or large pebbles oft en left behind by ancient rivers or glaciers.

20 As of the 2022 vintage, Pinot Noir was offi cially permitted Grand Cru status in this stallion of a vineyard in Alsace.

24 French term for a wooden cask of indefi nite size that is signifi cantly larger than a 225-litre barrique.

25 This region had a few scattered old vineyards prior, but in 1973 it saw its fi rst large vineyard plantings: a 2800-acre ranch and a separate 160-acre vineyard, both of which still exist.

26 Robert Parker Jr. offi cially became this in 1973.

33 The chemical compound responsible for what is commonly called cork taint which gives wines mouldy odors.

36 The Southern French have their garrigue. In Chile, this aromatic herbal plant may be an apt descriptor for some of its wines.

37 This state's Senate passed a bill in 1973 protecting its prime vineyard land, even though at that time its wine industry was miniscule.

38 Horse Heaven Hills is an AVA in which US state.

41 This popular Napa Valley winery was founded in 1973 following the purchase of a 22-acre parcel in Rutherford.

43 This major wine-producing country had a coup in 1973 that led to a military junta for the next 17 years, during which French companies began investing in vineyards.

44 This family-owned Italian wine company was founded in 1385.

In the fi lm that won the 1973 Oscar for Best Picture, this character says, "I like to drink wine more than I used to."

46

48 The above-ground portion of the grape vine graft ed onto the rootstock and identifying the grape variety grown by the plant.

49 The original Celtic name for Bordeaux.

51 This was the wine NASA nearly gave the astronauts on Skylab in 1973 before public outcry made the US outer-space project dry.

53 Producing just 29 bottles of red wine per year, the world's smallest winery is in the heart of which Italian city.

54 The colloquial name for pilzwiderstandsfähige grape varieties that are resistant to many fungal diseases that can aff ect a vine.

55 The largest wine region or DAC in Austria.

56 This ecolabel certifi cation strives to protect fi sh habitats in the Pacifi c Northwest.

57 Canadian whiskey brand J.P. Wiser released a 12-year-aged whiskey to honor the number of this player who was voted MVP of the 1973 Stanley Cup Finals.

58 Some of Niagara’s most esteemed vineyards sit below this geological formation.

AFTER TASTE Tony Aspler

Vancouver Island has 30 wineries; Israel has over 300 - including a proliferation of boutique and garagiste operations that produce, collectively, over 40 million bottles a year.

Winemaking in Israel dates back 5,000 years. According to the Bible (Genesis 9:20-21), Noah planted the first vineyard and got drunk— which is completely understandable, given he had to spend one year + 10 days in a floating zoo. Humanity’s first cruise … and Captain Noah needed to erase the memory.

The logo for the contemporary Israel Ministry of Tourism also has a biblical connection: it depicts Joshua and Caleb, the two spies whom Moses sent out to scout the land of Canaan. They returned carrying an enormous bunch of grapes, so big and heavy they had to suspend it from a pole on their shoulders.

As the late Daniel Rogov wrote in his Guide to Israeli Wines, “Baron Edmond de Rothschild, the owner of the famed Château Lafite in Bordeaux…financed the planting of the first vineyards near Rishon LeZion, on the coastal plain…. He brought in experts from Europe and imported grape varieties from the south of France, including Alicante Bouschet, Clairette, Carignan, Grenache, Muscat, and Semillon.”Rothschild founded two wineries there—Rishon LeZion in 1882 and the Zikhron Ya’akov on Mount Carmel in 1892 (now Carmel Winery). I visited both these facilities in 1967 for an English language radio program on Kol Israel.

From memory, the wines then—all kosher—were less than memorable.

Last summer, I returned to Israel with my wife to celebrate our 25th wedding anniversary. And what a difference!

Today, the favoured grape varieties are the noble European vinifera: Cabernet Sauvignon, Merlot, Cabernet Franc, Petit Verdot, Syrah, Sauvignon Blanc, Chenin Blanc, Chardonnay, Riesling, and Gewürztraminer.

During our two-week stay, I visited three wineries and ordered Israeli wines in restaurants.

We began at Tzora Vineyards in a kibbutz (type of settlement) high up in the Judean Hills. Winemaker Dan Scheinman had spent several years in Burgundy. His wines were first rate, especially Tzora Shoresh Blanc 2021, a blend of 80% Sauvignon Blanc with 20% Chardonnay, and Misty Hills 2020, a blend of Cabernet Sauvignon and Syrah.

Our next visit was to one of Israel’s finest wineries, Domaine du Castel in Ramat Raziel. Michal Kalisher, the young woman who makes the

wines here, has done a fabulous job, maintaining the quality of Israel’s most celebrated winery. We started off by tasting Rosé du Castel 2021 (a blend of Merlot, Cabernet Franc, and Malbec), followed by La Vie Blanc du Castel 2021 (a blend of Chardonnay, Sauvignon Blanc and Gewürztraminer), C Blanc du Castel 2021 (100% Chardonnay), La Vie Rouge du Castel 2020, Petit Castel 2020 (a Bordeaux blend of Merlot, Cabernet Sauvignon, Cabernet Franc, Petit Verdot and Malbec), and the winery’s flagship red, Domaine du Castel Grand Vin 2020—a magnificent Bordeaux blend. We finished with the winery’s second label, Razi’el Red 2020 (a blend of Syrah, Carignan, Grenache, and Mourvèdre). A stunning portfolio.

Our final stop was Kitron Winery in the Galilee region, Israel’s first gravity winery. Here we tasted their Kitron Chardonnay Reserve 2017, Shiraz 2016, Tigra 2016, and Single Vineyard Cabernet Sauvignon 2017.

The food scene in Tel Aviv and Jerusalem is as dynamic as the wine scene. At Shila restaurant in Tel Aviv, we enjoyed Clos de Gat Chardonnay 2020 and Tzora Misty Hills 2020.

At Hiba, an Israeli-Arabic fusion restaurant in Tel Aviv, we had a world-class tasting menu matched with Sphera White Signature 2021, Clos de Gat Sycra Chardonnay 2019, Ashkar Shafaya Special Edition 2020.At Chakra in Jerusalem, we ordered charcoal-oven sea bass and green salsa, and wild sea bass fillet with homemade gnocchi and tomato sauce. The accompanying wine was Yarden Katzrin Chardonnay 2020 that came on like a Grand Cru Burgundy.

I asked a local wine store in Tel Aviv to recommend three whites I could take home with me. They offered Sphera White Concepts Sauvignon Blanc 2021, Shvo Vineyards Chenin Blanc 2020, and Assaf Sauvignon Blanc 2021.

New world wines with ancient roots.

Tony Aspler, Order of Canada recipient, has been writing about wine since 1975. He is the author of 18 wine books, including The Wine Atlas of Canada and three wine murder mystery novels. The best concert he ever attended was Rush with the Tragically Hip as the opening band. His favourite comfort food is milk chocolate and his cocktail of choice is a Kir Royale. At home, he drinks wine (lots of wine).

YOU CAN FIT THE STATE OF ISRAEL ONTO VANCOUVER ISLAND.

Photo credit: Tzora Vineyards website

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