Despite the fact that I have content to write up that spans more than a year of travel (including my takes on the wine scene in Israel, the southern Rhone, and Romagna), the thing that’s been rattling around in my brain and not letting the hell go stems from a much more recent excursion, when I had a brief, impromptu visit taken during my latest jaunt to Monferrato.
Specifically, to the as-of-right-now 219-year-old building (established the same year – 1900 – as the planting of the sort-of-famous tree in their backyard in Nizza) of Scarpa. My short-term obsession has to do with the impression that this relatively small (22 hectares, yielding about 120,000 bottles/year) producer is fascinatingly, anachronistically refreshing within the context of modern Italian wine. Time passing seems to have little impact on how Scarpa approach crafting wine in Piedmont.
Scarpa works only with indigenous Italian grape varieties, and is one fo the few regional producers that have been grandfathered in to the zonal production laws of Barolo. The rest of this short tale is literally told almost exclusively in liquid form, in the hopes that my written words can transmit the sense of nonchalant, almost insouciant joy that Scarpa’s winemaking style presents…
Among Idaho’s state slogans and motto (which have included Esto perpetua, “Great Potatoes,” “What America Was,” and “Tasty Destinations,”) was the phrase “Not California.”
There’s a slight air of desperation and defiance in defining your identity in the negative; though in the case of Idaho’s budding wine production scene, it’s not entirely inappropriate: despite 150+ years of winemaking history, this is a state whose first AVA (Snake River Valley) was recognized less than fifteen years ago (and is probably more famous for Evel Knievel than it is for wine). Idaho’s other two AVAs – Eagle Foothills and Lewis-Clark Valley – are less than five years old, and one of those is a sub-AVA. Despite its visually stunning expanses, the state has a mere 1300 acres of grapes planted, almost all of it in the Snake River Valley, and is home to just over 50 wineries (for some perspective: California has about 4400).
We can forgive Idaho for having a bit of a petulant-attention-seeking-middle-child chip on its wine producing shoulder, because there’s little reason that the state can’t make very, very good wines. Formed from ancient volcanic and flooding activity, Idaho’s soils are sandy, sedimentary and well-draining, and its climate is dry with cold winters; all of which are good conditions for reducing pest and disease pressure for grape vines (and in some cases, allow the vines to be own-rooted).
Actually, there is one very good reason why Idaho wine doesn’t get the media luv right now: there simply isn’t enough of it. As Idaho Wine Commission Executive Director Moya Shatz Dolsby told me when I visited the state last year, “our biggest problem is that we don’t have enough grapes.”
Following is a (very) brief overview of the wines that stood out the most to me during my Idaho travels. There are, I think, three basic themes that, like Idaho’s famous rafting rivers, run throughout the best of their vinous experimentation: a sense of purity (possibly helped by the lack of a need to graft on to American rootstocks), a pioneering spirit (sometimes to a fault), and a diversity that few American wine regions can legitimately claim to be able to match…
During my recent travels in Piedmont, I was part of a (rather large) media group that took part in a “Barbera Revolution” masterclass, held in the small town of Nizza Monferrato, organized by the Consorzio Barbera d’Asti e vini del Monferrato. There was nothing about that tasting of 2016 vintage releases to make me personally think that Barbera was undergoing some sort of quality revolution; likely a result of the fact that, given my history with the region, I was already convinced that Barbera in Asti was experiencing a quality renaissance.
So, no arms were taken up during the sampling of these 2016, but we did take up several glasses of promising Asti reds. Now that my stint with the My Name is Barbera program has wrapped up (for now, anyway), I felt comfy in taking a more critical eye on some of the latest Barbera d’Asti releases (not that you can ever fully take the critical eye from the critical guy, but I’ve generally avoided talking about Piedmonte Barbera here on 1WD while I was cashing checks for the video and blog work over at mynameisbarbera.com).
Here are my personal highlights from the tasting, many of which I think have been given short shrift from other critics in the past, and others that might be looking for US representation (importers… I’m looking at you!)…
You know that your brand is in trouble when, instead of talking about your forty-plus-year history in a nascent wine region, or your long hours of sun, 1300-foot vineyard elevation, diurnal temperature shifts of over fifty degrees Fahrenheit, or any of the other factors that make your terroir an ideal place for ripening interesting grape varieties, all anyone can mention is how your family business heir apparent allegedly got blowies during a commercial airplane flight.
When Napa-area veteran Camp came on board at Troon to help get the entity into more attractive sale shape, he told me that he was immediately impressed with the potential, given how good the wines already were. He focused first on ensuring that the operational and marketing basics were on solid footing – “block and tackle, man, block and tackle.” The additions of foot-treading and Biodynamics to the mix helped to put the finishing touches on the approach, and Troon was, in a very real sense, thus reborn as a brand.
What hasn’t changed is that Troon’s small vineyard location is capable of some excellent winegrowing magic when the right varieties are planted. Troon is more or less surrounded by the Siskiyou Mountains, near a wider section of the Applegate River, with river bench soils that consist of pieces of ancient seabed, granite, and sediment. “We have a mostly Northern California climate here,” Craig noted, “with a shorter growing season. So we can produce wines with European ‘weights.'”
Put another way, as winemaker Steve Hall noted when summarizing Troon’s current approach, “you do what can to make something… beautiful…”
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