Wines from Orange and Mudgee: Bloodwood

This blog is growing so from hereon I will publish it in increments keeping the title intact albeit, indicating the content with key words/producers/wines after the colon (:).

Glen, Jack and I had declined to make prior appointments before arriving in Orange. While that may seem odd, I do find it refreshing to travel at times as a tourist rather than MW, buyer, sommelier or whatever other guise I choose are am made to fit. In this way, one can gauge realities that transcend older wines, special cuvess and a free lunch that are often integral to ‘the prior appointment’.

Thus it was, that I called Bloodwood’s founder, Stephen Doyle and asked if I could pop around to see him. I apologized for calling on a Monday morning. He told me that Bloodwood was always open to those who expressed interest.

Stephen is perhaps more gregarious than the erudite throwback to another era that others, and perhaps his website, portend. He simply asked me what I wanted to know and off we went! I had replied that I wanted to understand his philosophy through his wines and hoped for the best.

After all, I thought that any man who had planted every tree on his property, as he claimed; and anybody who choose thin, meager soils of varying degrees of decomposing basalt, malleable yet barren and cold; must have energy, a vision and most importantly, a passion for discovering what his site could bring to wine.

We tasted from tank to barrel to finished wine. It was hard to keep up at times but these wines spoke of a place-gritty and architected from nothing but a marginal clime and the voice of basalt-and a wonderful character who moves within the margins as the wines take shape, throwing in his two cents’ worth when necessary to ensure that they turn out at the very least highly drinkable but, in many cases, rather magically; doing far more than that by drawing one back for another sip, provoking thought and a little gluttony; which is what good wine does. Stephen adds nothing to his wines unless disaster is nigh albeit, is a firm believer in lab analysis as a forewarning of strife. In some cases, I did not want to spit. As my brother Glen said, ‘these wines make you salivate; they make you hungry’.

Bloodwood ‘Schubert’ Chardonnay ‘08: A tight-fisted expression of Chardonnay relying on the intrigue of ambient yeast aroma, judicious lees work to give a flinty, reductive note of tangerine tang; and substantial oak that smoothes out the wine rather than overwhelming it. Malolactic fermentation is not induced although it occasionally takes off when the temperature, pH and bacteria present in the cellar meld into activity. This wine will age well for a decade. 90

Pinot Noir ’10 (barrel sample): Unforced, highly attractive expression of cola, cherry and mulch with a chewy pliancy, brisk acidity and sensitive oak in the mouth to hone the fruit ripeness into a savoury drink of line and good length. I had thought there to be some whole-clusters in this cuvee due to a chewy sappiness but there are not, Stephen told me. 87

Shiraz ’08: I adored this wine. I wanted to drink more and will once it is released in while when I hope to buy a case or two. In fact, I thought this wine to be the single finest wine tasted during the trip. Aromas of briar, white pepper, violet and peat yet absolutely nothing green about this as was, in my opinion, the case with so many wines during the ‘90’s when Australian critics mistakenly took green peppercorn notes in Shiraz as evocative of the Rhone! Bloodwood’s `08 Shiraz comes in at just 13.2% yet is à point, long, persistent and fibrous. 94-96

Shiraz ’09 (barrel sample): a similar idiom of cool climate Shiraz’s expression yet altogether warmer, more svelte, creamier and less tightly defined than the prodigious ’08. Not at all sweet, however, yet more blueberry. This too is a winner and likely to appeal to many drinkers due to its fulsome texture. The ’09 is equally as long, layered and intense as the ’08 and in a way perhaps, more majestic. However, it lacks the gritty indelible stamp of something more that enamoured me of the ’08. 92

Cabernet Sauvignon ’09 (barrel sample): cassis, cedar and mulch notes exhibit accurate varietal expression although the wine is a little too minty for my liking. The tannins are fine-grained and long however, while the finish is substantial. 85

Cabernet Franc ’06: riper perhaps than what I seek in Cabernet Franc but of course the flipside to that statement, would be that Chinons and the like that I enjoy nourishing myself with are simply too green. In any event, it is a fine line! Notes of ripe berry, some varnish and wet leaf expand on a broad, textured palate. Very long wine. 90

Cabernet Sauvignon ’05: an experimental wine that had been aged for 52 months in old hogsheads. This wine came across as very Bordelais with cedar and lots of wet undergrowth; sweet pliant fruit in the mid-palate; and a long taut-almost classically skeletal-palate of considerable concentration and length. 92

Merlot `06: berry, hint of tomato leaf yet an overall intoxicating juiciness of aroma leads to a plush, cushy palate with modestly brisk acidity and soft yet suitably noticeable tannins for spine and texture. Long and lovely wine! 91

Wines from Orange and Mudgee Part 2

From Mudgee, Glen, Jack and I went to Orange. As a New South Welshman, I have been intrigued by the surge in popularity of all things Orange. The area is famous for apples and yet, as contemporary Australian cuisine became a talking point from New York to Singapore, I became aware that the area also supplied game and most importantly for me, an array of cool climate wine styles that bucked the rigid stereotype of overt ripeness in Australian wine.

I tasted a number of impressive wines in and around Orange, many grown at altitudes of around 1,200 metres- and in that respect, not dissimilar to fashionable idioms from areas as diverse as France’s Roussillon and Etna in Sicily.

The producer boasting consistency across a broad range and exceptional value for money was Logan and in particular, the Weemala range which I focused on in the tasting room due its availability in Japan.

While most of the Logan wines were lessons in restraint and purity of varietal expression, the Weemala range was particularly impressive when all was said and done. In fact, I bought a case or two for my parents to impress upon them that value can be found in the AUD 16/bottle price zone.

Pinot Gris is a variety that I have trouble enjoying. It is either too blowsy and fat or skinny and insipid. The Weemala example however is neither but rather, an exemplary effort boasting notes of pear gelato, apple and judiciously honed phenolics for balance and modest length. This wine needs food. Bravo! 90

The exactitude of varietal expression and altitudinal freshness continues through the range with the Gewurtztraminer also boasting lovely spice and lychee aromas with a grippy palate that is neither too thin nor too ‘bordello’. 88

The Weemala Pinot Noir is snappy, suitably elegant and although not particularly complex, sensational for the money. 88

The Syrah/Viognier exhibits cracked pepper, peat and violet in a relatively restrained and mellifluous manner given the price-point. Wines at this price tend to be round, rather sweet and one-dimensional. 88

Perhaps most startling was the sappy, slinky quaffability of the Merlot that reminded me of the Loire in a sense albeit, with more obvious curranty notes and a higher degree of ripeness. 90

The reality in Japan is that wines in demand are becoming less expensive. In my opinion, a great many Japanese consumers have little idea about quality and simply want to believe that a wine offers ‘value’, or that that mystical grail encompassing the too oft-used term ‘cost performance ga takai’, or ‘good quality for the money’. Unfortunately, most inexpensive wine is poor quality exactly because it is cheap.

Conversely, I would not hesitate to nominate the Weemala series as one of the finest ‘cost-performance’ portfolios tasted in the last two-years. This is ‘cost-performance’ that defines the category and allows the drinker pleasure through finesse, delicacy and attention to detail without charging the earth.

From Logan we continued toward Mudgee, arriving a little bedraggled at the Union Bank Wine Bar. It was getting late and we were eager for food, a slew of regional wines by-the-glass and a bed. Nevertheless, Belgravia wines, a former contract grower for Fosters cum independent producer, had their tasting room inside the excellent Union Bank Wine Store that abuts the bar (1300 721 731. Cnr Sale and Byng Sts, Orange) and Glen and I decided to taste most of their range before going to what we thought would be our hotel for the evening!

Belgravia Apex Chardonnay ’09: tangy cool aromas of nectarine and citrus are echoed on a mid-weighted, textured palate marred by excessive lees work out of whack with the stature of the wine. The wine’s freshness appears to be breaking down because of excessive yeastiness or autolysis, as it is known. 84

Roussanne ’09: lemon oil, tea and ripe apple serve varietal exactitude. The palate offers modest weight and yet, impeccable balance. Rather simple but a good drink and picked at a more optimal window of ripeness than the skinny innocuous Pinot Gris tasted prior. 88

Shiraz/Viognier: it seems that everyone and their dog is making this style of late but in this case, for good reason. Pitched aromas of blueberry, violet and peat expand on a medium bodied, gritty (in the best sense) and moreish palate. This wine avoids the curse of overt sweetness! 89

After chatting with the store’s amiable proprietress, Belinda-a voice etched with urban life’s indelible stamp of savoir-faire and a hint of tobacco-we discovered that our luxury accommodation, De Russie Suites (72 Hill St. 02-6360-0973) was not to be. The place was fully booked!

It was my fault as I had failed to make prior reservations and thinking I was venturing into a rural Australia devoid of people, who demand things like a roof over their heads, had expected to simply walk into the joint’s lobby and be greeted by beaming eager smiles. Alas, there were conferences all over the place apparently. Belinda kindly called every respectable place in town before we settled on a spare and very sparse room resplendent with three single beds, linoleum floors and a heater out back of the Masonic Temple. I kid you not.

While I would not recommend the place, it was at the very least clean and I pushed Jack and my bed together in order to keep him warm while Glen, as per every night, droned off to the commentary of the Tour de France. Prior, we had loaded up on plenty of wine by-the-glass thanks to the very fine and broad selection available at the Union Bank Wine Bar.
I will comment on one of these wines, from Canobolas-Smith, because we did not get to visit the winery as planned the following day.

Canobolas-Smith ‘Natural Yeast’ Chardonnay ’08: I have tasted this producer’s wines before and at the very least, always thought them idiosyncratic and thoroughly deserved of attention. They appear to be made by virtue of whence they hail rather than excessive work in the winery. This Chardonnay, while exhibiting gorgeous aromas of truffle, funky minerality and hazelnuts, was simply too hot in the mouth with my adam’s apple burning from the alcohol. I guess that if you leave a lot to nature’s devices, you cannot win with every wine. Indeed, it is better to have the occasional mishap than to full into the malaise of uniformity. I will return to these wines as I know just how much better they can be. 85

Where were we? I was caught up in a flurry of activity here at my desk in Tokyo and....ah yes! Well, the next day we awoke-Jack and I at the crack of dawn and Glen considerably later. Son and father trekked down to the Hungry Jack’s (Australish for Burger King) to let Glen sleep in. The egregious playgrounds, embellished with tubes and pirate ships, attached to the outside of virtually every fast-food outlet in Australia like architected zits, had caught Jack’s eye when we entered Orange. I had tried to speed past to no avail.

So there we were. Inside Hungry Jacks, a giant grease ball filled with overweight people in the garb of rural Australia- ugg boots and track pants-with rapid-fire eye movements indicating the presence of amphetamines in the system rather than stimulation from the sensationalistic morning shows on the flat screens, mantled at every corner. It was 7am on a Monday.

Indeed, Orange appears rather divided with the side marked by Maccas, Hungry Jacks and KFC blighted by this demographic. Conversely, the other side boasts detailed federation homes, sandstone buildings and a thoroughly more tasteful and gregarious population.

I have not eaten fast food of this nature in more than twenty-years. In fact, this was the first time I had so much as set foot in a place like this. I had a cappuccino. Yes, the coffee culture is so engrained in the Australian ethos that even places like this have espresso machines. It was not bad either and the large lass behind the counter offered me a free refill before I called Jack from Captain Blood’s cove to go and get Glen.

Arguably, the most inspiring visit of the entire trip-Mudgee and Orange together-was Stephen Doyle’s Bloodwood. Here, all that Orange claimed to offer and all that my imagination and zeal to believe in these claims had conjured were fulfilled.

To be continued....

Logan Weemala Range (Japanese)

”ニューサウスウェールズに住んでいた一人として、最近のオレンジ地方の爆発的人気ぶりには非常に感激しています。
同地域は、りんごの産地として有名ですが、さらに、新しいスタイルのオーストラリア料理が、ニューヨークからシンガポールまで、フード界の話題となっています。
そのような中で、食肉の需要・供給はさらに増加しています。中でも私が最も注目しているのは、これまでの”過熟した感のあるオーストラリアワイン”、といった固定観念を覆すべく、冷涼産地のワインスタイルが数多く登場していることですね。


そしてやっとのことで、この活気溢れる同地を訪問する機会を得たのはつい先週のことでした。標高1200m程で栽培されたブドウを使用した、数多くのすばらしいワインを味わいました。その標高の点で、ルーシヨンやシチリア島のエトナ山のワインのような多様性を持つ人気ワインにも負けず劣らず、様々な表情を持っています。生産者は幅広いワインの中で、一貫性を保っているのです。その中でも、ローガンワイン、特にウィマーラシリーズは、並外れたコスパをみせる醸造所だといえるでしょう。

ローガンワインは、各品種の特徴を純粋に表現していますが、ウィマーラは特にずば抜けており、シリーズ全てのワインから造り手の賢明さを感じることができます。
飲み手の私としては、実はピノ・グリをあまり楽しめていませんでした。何か一体感がなく、ぼってりしていたり、またやせ細って味気ない仕上がりになりがちです。しかし、ウィマーラはそのどちらでもなく、例えば洋ナシのジェラートや、りんごのノートと、そして見事なフェノール成分のバランス感は、まさにお手本ともなるべき、ブラボーな仕上がりです。

ローガン・ワインズの、ゲヴュルツトラミネール種のワインは、ブドウ品種の特徴が素直に表現されており、高い標高から生まれるフレッシュさを感じることができ、やせ細っているのでもなく、安い香水のようなものでもなく、アロマが明確で整っています。　心地よいスパイス、ライチのアロマをしっかりと捉えてくれる口当たりです。ピノはいきいきとして、エレガントで特に複雑な味わいというわけではないですが、見事なコスパをもっています。一方で、シラー/ヴィオニエは、品種の持つ滑らかな味わいの中で、あら挽きのコショウ、泥炭やスミレを感じます。
私が味わった中で最も驚いたのは、シルキーな、口当たりの良いメルローでしょうか。ロワールワインの印象も受けつつ、しかしもっと大胆なスグリのノートや、非常に高いレベルのブドウの熟成感を持っていました。

ワインに対する日本市場の現実は、より安価なワインを求めています。私個人の見解としては、ほとんどの日本の消費者はワインの質をわかっておらず、単にワインは“価値”を感じさせてくれると信じたいだけのように感じます。そしてその謎めいた”聖杯”に対して、何度も耳にしてきてきたフレーズ”コスパが高い！“でまとめてしまっています。残念ながら、価格重視の多くのワインは、美味しいとはいえません。それは単に安いからです。

逆に、ウィマーラシリーズは、ここ２年間で私が味わったワインの中でも、最も”コスパが高い!”と自信をもって言えるワインです。　同ワインは、まさに”コストパフォーマンス、”の定義づけであり、飲み手が、フィネス感、繊細さ、そして財布を気にすることなく細部までも楽しめる喜びを与えるものだといえます。”

Mudgee

I had always wanted to go to western NSW. Orange in particular and perhaps, to a lesser extent, to Mudgee. My father is from the Hunter Valley and yet I had never made the leap farther west to either of these towns. It was time to go with my brother Glen and son Jack in tow. The attached photo shows Glen after a long drive and Jack after too much cola!

My interest was piqued by the fine produce, especially game, coming out of Orange and more so, by the leap into independent cool climate viticulture in both regions, in many cases forced by the failure of Fosters and other giants to renew growers' contracts in NSW wine growing districts. While it is easy for me-sitting here in front of this device-to wax about the benefits of independent growing and the Darwinian necessity of such a leap in lieu of Wine Australia's belated emphasis on Australian regionalism; the fractious undercurrents caused by a global oversupply of wine and the ruthless nature of multinationals for whom wine is merely another product among a slew of others; not to mention over-eager growers chafing at the bit due to ill-advised government incentives; have inflicted economic duress on many in the Australian wine industry and there is no point in being glib for the sake of an entertaining blog.

Nevertheless, positively, large mechanically harvested vineyards from former regimes are increasingly being turned into smaller plots attuned to grape variety and soil potentiality with an emphasis on site-specificity in some cases, and less interventionist winemaking in many instances. Surely this will have long-term gains. In a few cases such as at Bloodwood, independent, idiosyncratic and highly articulate expressions of grape and site have always been part of the regional idiom.

Thus, it was with high expectations that my brother Glen who had taken time off from Sydney's Bentley Bar, my son Jack who gallantly trails his dad around wine regions of the world at the age of four and I, ever aware that Jack does not necessarily enjoy these journeys and hankers for the company of other children; set forth. Firstly to Mudgee.

Before I proceed, kindly note that only wines considered to be a good drink and intriguing as a reflection of whence they came-site and hand-will be noted.

Perhaps I should define 'a good drink'. A 'good drink' is that which inspires the urge for another glass and another after that. We are but animals and have a natural proclivity toward that which tastes good. What tastes good? Despite minor subjective gripes such as 'you like, but I like...', I believe quality assessment to be of great importance-absolutely necessary in fact-when defining a qualitative rubric for taste in wine.

Of course, wines must be judged in context. While a $20 Merlot made without oak and with minimal maceration on skins and other extraction techniques may be highly gulpable, it will likely be less complex than a $50 Merlot-based wine from say Pomerol, that has been given ample time in quality new oak and has sufficient extract for long-term ageing. Then again, ageability is not the point of the Merlot and this should be adjudicated when assessing its quality, just as a poorly balanced Pomerol may well be nasty and undrinkable if overly extracted or under-ripe, for example. Quality assessment is useful if not coldhearted, defined by a rigid set of parameters: intensity, concentration, length, complexity etc. Useful yes and not at all subjective really, for to believe so is nihilistic.

Good quality wine should be defined as such whether you or I like it or not. Conversely, what we like is up to use and we can champion our opinions in the market by buying Riesling over Sauvignon Blanc from New Zealand for example, but that is aside the point.

Most important to my critiques is that a wine has something lucid to say for itself-that which sets it apart from so many other good wines in the market-be it quality for the price, formidable expression of site and sleight of hand, or something-as with some wines reviewed below-that makes me want to grab a bottle and drink with gusto. This, I assure you, is an infrequent occurrence.

Drinkability is of prime importance for it allows us to enjoy wine with ease due to an inherent balance between judicious fruit-ripeness and the meld of acid and tannin, or a wine's structural components. Quite simply, if something is balanced and suitably ripe; animals including us humans want it.

Our first appointment was with the amiable Jacob Stein at Robert Stein vineyards. As the name suggests, there is German heritage in dem' bones and it was perhaps the Rieslings that most impressed.

Robert Stein Half-Dry Riesling 2010: clear cut aromas of lime juice-almost lime cordial-reverberating on a relaxed palate that is rather slatey but not at all austere as is the case with certain overly acidified Australian Rieslings. The finish is long and tangy with around 18 grams / litre of residual sugar balancing Riesling's forceful acid profile. A nice drink for AUD 22! 86

Robert Stein Reserve Riesling 2009: kaffir lime and oily aromas supported by a weightier, more concentrated palate. A drier, formidably concentrated larger-framed wine but again, the structural aspects of the wine are not forced but relaxed, persistent and allowing for a long, layered finish that bodes well for a decade of ageing. 91

Jacob also introduced us to a regional Chardonnay initiative whose thread was evident at other wineries. Essentially, the idea is to make Chardonnays that are distinctly not about fruit but rather, are crafted with ambient yeasts in mostly neutral wood and given ample time on gros lees for texture with variable degrees of malolactic fermentation.

This approach sounds simple enough but it is this 'let it run' mentality that has failed to instill itself into the thinking of many New World winemakers, steeped in a technocratic approach that controls each and every aspect of the winemaking process with predictable results oft-defined by fault-free flavour profiles and textures deemed necessary to sate a certain sector of the market. As this sector grows up and tastes mature however, Australian wine styles must mature with it. Jacob's Robert Stein 'Third Generation' Chardonnay suggests that this is indeed happening.

Robert Stein 'Third Generation' Chardonnay 2010: restrained aromas of nectarine and earthy wild yeast funk. Mid-weight leesy palate with some layered complexity and suitable concentration. While many winemakers in the New World loosely define this sort of wine as an attempt at Chablis, my belief is that this style of wine more closely resembles good Macon because of the softer acidity. Good value at AUD 20. 86

Finally, Robert Stein's 'Premium Range' Cabernet Sauvignon 2009 provided a clandestine source of enjoyment at the Orient Hotel (pub in Australish) later that evening. I had mistakenly bought a wine at the bar that had been battered by American oak and was so chocolate-smudged and minty to be undrinkable. My brother, Glen, went to the car and smuggled a bottle purchased at Robert Stein's cellar door in under his jacket! The wine offers impeccable varietal typicity on the nose-currant and a hint of savoury leafiness- a sappy mid-weight palate, no oak, very little complexity and yet juicy acidity, a sneaky finish and delicious drinkability! Drink now; drink by the case! 88

Our next stop was David Lowe at Lowe Family Wine Co. David is the president of the New South Wales Wine Association and had plenty of say about the lack of support the state's wines find in the state's institutions. Case in point is the Art Gallery of NSW which has only three NSW wines on its restaurant's wine list. In any event, to the wines.

The 'Tinja' range is an organic, preservative-free-and for the money-ridiculously good value tier at AUD 20 that proved among the most delicious of this idiom tasted anywhere.

Tinja Rieslings are grown at 1,180 meters on decomposed slate and quartz. There are no additions which means that while there is residual sulphur-dioxide post-fermentation, nothing more is added. This includes acidity.

2010: David called this a 'maniac's wine' due to the flinty, slatey composition and austerity of the palate. Indeed, the wine was akin to sucking white stones. Not that I have ever done this of course albeit, I did plaster bubble gum over ant holes as a kid, curious about what proved to be a bitter and slightly curried flavor of small black ants. The 2010 is bone dry yet only 10% alcohol and not at all green. This needs time to fill out but the stuffing is there for a good decade of age or more. It needs white fish carpaccio of some sort, dressed with a light chili lime vinaigrette, if attempted now. 91

2009: a broader palate here giving the wine a mellifluous ease in light of the former Riesling's obdurate carapace. This wine boasts apple and pear gelato notes; with 8 grams of residual sugar to balance the racy natural acid. 88

2007: this wine was interrupted by David's holler, 'You wanna` go throw things, Jack?' Jack, my young `un, was rightfully impatient as the sun disappeared, the stars were set ablaze by the darkness and the frigid wind stung from cheeks to bones. We were high up, after all. Jack was hungry. David gave him a basket and set him off to pick and chuck tomatoes. We returned to the tasting while my mind drifted off to the nooks and crannies where King Brown snakes hide, my son's ankle in a set of jaws with tomato dribbling down his chin....The 2007 was rather phenolic and disjointed with less of a sleek frame and lower acidity. The wine needs richer white meats with perhaps a mushroom duxelle to tame its tactile chewiness. David explained that the year had been very hot with thicker grape skins. This phenolic grip is often called 'skinsy' texture or even 'skinsyness' in wine-speak. 86

Tinja Merlot 2010: 'My Dolcetto', David exclaimed. I could see why. The colour was inky purple with grapey aromas, some peat and a hint of violet; intoxicating and savoury rather than sweet and deterring. These qualities reverberated on a mid-weight, round palate of judiciously managed tannins-soft yet apparent to the point of balancing the fruit-and brisk acidity. No oak and simple in the best sense. Yum! I thought this wine to be the finest 'preservative free' wine yet tasted and it truly shamed much of the poorly made, fault-laden 'natural' wine that we see here in Japan. I could drink the entire bottle in one draft like Captain Slaughterboard so perhaps I am being a little overexcited in bestowing it with 92, but sheer drinkability is surely worth a great deal!

Now to David's Reserve range which are all fermented with ambient yeasts and not mucked about, apparently-

Reserve Zinfandel 2008: Californian Dry Creek-like aromas of burnt orange rind and kirsch; a sweet and sour tang; followed by a creamy palate exhibiting blueberry notes, moderate fine grained tannins and fresh acidity for line and length. While I am not a Zinfandel fan (although I place it far above my desert island anathema, Nero d'Avola), I thought this wine to be so noteworthy as to call it one of the most iconoclastic wines in Australia. 93

Reserve Shiraz '06: not particularly expressive on nose aside from a bourbon-like polish from American oak, yet wild in the mouth with notes of espresso, peat and bouillon. Lively and bodes well for keeping in an old-fashioned sort of way due to a slightly heavy-handed oak regime. 89

Next to Di Lusso which, as the name suggests, is an adventurous practitioner of Italian varieties.

Vermentino 2009: aromas of sage, pine resin, some stone fruit and marzipan. Excellent varietal typicity although the palate appears unsure as to whether it wants to be akin to a Tuscan expression or Sardinian. Personally, I think the wine could use a bit more stuffing from slightly later harvesting and some less work for texture. Otherwise, suave and long. 87

'Il Polio' 2006: a whiff of Italianesque volatility is an appropriate lead into a briny palate of sour cherry notes and dusty tannins, indicative of the Sangiovese component. The wine is a little bit sweet perhaps due to the endeavour to emulate a Super Tuscan-type style and international grapes such as Cabernet Sauvignon in the mix. However, this is where the volatility comes into play to tidy things up a bit, leading to a moreish, moderately long finish. 89

Rushed Reviews

I have been to Mudgee and Orange NSW of late, turning down a very kind offer to visit buzzing bees curious for the abundant lavender and stumpy Grenache of summer in southern France in doing so. Insane? Perhaps, but after 48 hours by a French pool the novelty wears thin on a four-year old as is my beautiful son, Jack.

Conversely, tax-fed parks of even rural Australian town and cities mid-Winter serve to sate youthful energy by mid-morning. More so, kids are everywhere in Oz! By 11 am. I am able, with a a little convincing, to visit some wineries and Jack and I square off fairly as traveling companions. Such is our relationship.

In any event, more on that tomorrow with more time....

Tonight, very spontaneously, I wanted to scribble a little about Ngeringa Syrah '06 as I just about polished off a bottle on my own after two seminars and plenty of wine today.

Quickly...yeeha.....energy on nose of cracked pepper that manages to straddle the optimal zone of marginal ripeness without being green. In doing so, even as the wine opened, it remained moreish and savoury which to be frank, is what I seek and why I find myself drinking more and more Italian wines these days.

Cracked pepper became an echo behind lavender, wild violet and black olive with gritty hints of peat in the best sense; as the wine opened. In time, some crunchy blueberry notes emerged but again-I emphasize-the wine never became too sweet and remained a mellifluous meld of impeccably yet marginally ripe tannins, juicy acidity and crunchy layered sweet/sour fruit. Boysenberry notes became apparent as the wine opened further. Svelte texture and a joy to drink; I thought this one of the finest wines tasted in the last year.

Biodynamic religosity in the vineyard by the sounds of the website yet hey; if that serves to fuel a modus-operandi of conviction and passion, good on it!

Fine stuff. Imported by A-Wines out of Hokkaido apparently. Around JPY 5,000 a pop but well worth it. Bravo. 96.