“Sod the wine, I want to suck on the writing. This man White is an instinctive writer, bloody rare to find one who actually pulls it off, as in still gets a meaning across with concision. Sharp arbitrage of speed and risk, closest thing I can think of to Cicero’s ‘motus continuum animi.’

Probably takes a drink or two to connect like that: he literally paints his senses on the page.”


DBC Pierre (Vernon God Little, Ludmila’s Broken English, Lights Out In Wonderland ... Winner: Booker prize; Whitbread prize; Bollinger Wodehouse Everyman prize; James Joyce Award from the Literary & Historical Society of University College Dublin)


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Showing posts with label Wolf Blass. Show all posts
Showing posts with label Wolf Blass. Show all posts

19 May 2010

BAROSSA BIRTHDAY: ALL BOZOS ON THIS BUS


Wilma Kills A Year Secret Sausage Ritual In Barossa Three Top Cellars

This was one of those days, away back before a near-perfect vintage: stunning clear weather ... wicked company ... a safe bus driver ... three great wineries ... and a crew of thirsty devils loose in the Barossa on the occasion of Wilma McLean's birthday. These photographs are by the ace, Milton Wordley, a regular contributor to DRINKSTER, and a man who can hold frame and focus in the most savage and challenging conditions ...

Dr. White, tour leader, with the crew in the Karra Yerta vineyard atop Flaxman's Ridge in the high Barossa. James and Marie Linke and their boys are perfect Barossa hosts up here in the cool near the 500 metre mark, where the weather is often not quite so beatific. Check those old vines: with a neighbour, they share-farm Semillon, Shiraz, and Riesling here, in 600 million year old sandstone and micaceous schist.

The ancient hand-hewn Barossadeutscher barn and stables at Karra Yerta: James Linke pouring a round of killer Karra Yerta Riesling; Daniel Linke on guitar. The floor tiles are short redgum logs buried, up-ended in sand, the ceiling burlap. The Linke boys always turn on some very cool original music.

The high, wild, seven-year-old dry-grown bush vine vineyard of Big Bob and Wilma McLean, north of Karra Yerta, at McLean's Farm, smack on top of the high Barossa at Mengler's Hill. This is the schmick view from the winery apron. Wedge-tailed eagles are common on this ridge, the site of many gastronomic crimes.

Designer, sculptor and fabric artist Annabelle Collett loses her head doing the limbo beneath a six foot Barossa garlic mettwurst. Big Bob and Wilma turned on a classic lunch of Barossa meats, smallgoods, crunchy loaves, dill pickles and cheeses. Not to mention the crackerjack McLean's Farm wines.

Robin Wordley, lifestyle co-ordinator at Mixmasters Studios hits a lower note ...

Birthday girl Willie does it without spilling a drop. That's McLean's Farm Dry-grown Riesling, after all!

So blessed, the great wurst is carried aloft to the dining table ...

Big Bob sings the tenor part of Au Fond Du Temple Saint ...

... and then tells us grace: "Over the lips and over the gums, lookout guts, here she comes; knives and forks as sharp as razors, praise the lord and go like blazes ... "

Uberrieslingmeister Colin Forbes, with Marie Linke of Karra Yerta. Colin does tastings of his wines by arrangement at McLean's Farm.

The birthday girl attacks her spectacular McKuchen already.

Next stop: two Annabelles shopping for Shiraz at Greenock Creek Vineyards and Cellars, near Seppeltsfield. The underground tanks provide constant cool storage.

Taking a breather on the Greenock Creek open fermenters. This is one of the high temples of Shiraz, internationally. Michael, a master stonemason as well as ace winemaker and brilliant viticulturer, built the winery. The fermenter walls are good and thick, providing reliable insulation to prevent sudden changes of temperature. That's Peter Fraser of Yangarra Estate with the legs. He's a Shiraz and Grenache king, too, but in McLaren Vale.

"That's enough! That's enough!" Mick Wordley of Mixmasters Studios attempting to avoid drinking too much Greenock Creek Roennfeldt's Road Shiraz. Hardened experts know this to be a totally futile exercise.

Annabelle and Michael Waugh: custodians of some of the most revered Shiraz and Grenache vineyards in the world.

... and a few cold Trinnie's pales to seal the deal. This is the bar of the hallowed Greenock Creek Tavern, which has been in the hands of the eminently hospitable Schluter family since 1870 - probably an Australian record for continual country hostelry. Wolf Blass blended the first wines to bear his name in the stables at the back of this pub, and is still a member of the luncheon club.

Thanks again to Milton Wordley for the cool photography. As you can see, Milt specialises in the wine business, which he's been photographing for thirty years. If you need photographs of Australian wine, contact him through his website.

08 February 2010

PLASTIC BOTTLES CROSS-DRESS AS PETS

WINE FROM THE 2009 FICOFI TASTING AT KAESLER IN THE BAROSSA; FUNNY, NO PLASTIC BOTTLES ON THAT TABLE ... LEO DAVIS PHOTO

Queensland Wines Go Plastic Liquor Commish Loves PET
Green Dressing Adds Savour


This discussion of the plastic wine bottle was broadcast on the Australian Broadcasting Corporation's Radio National program, Bush Telegraph, on Friday 5th. February 2010. Regular announcer Michael Mackenzie was the host; the participants were Adam Chapman, chief winemaker at Sirromet Wines, Queensland; Ian Matthews, head of Portavin, Melbourne; and Philip White, author of DRINKSTER. The latter chappie made this transcription, which has not been cleaned up or edited: it's a warts and all rendition of the conversation as it happened.

Marketers, media skills consultants and communicators of all types should examine this broadcast to study whether the proponents of the PET-Pack winebottles got the sort of promo they set out to achieve back when they agreed to be part of the show.

It's interesting to hear Michael pronouncing Sirromet to rhyme with gourmet, which is obviously what the marketers would enjoy: the name is actually T. E. Morris, backwards. It should therefore be pronounced Sirromeet.

Of course the furniture - the illos, the ads - has not been placed to have any relevance whatsoever to the matter under discussion. These are here simply to indicate to potential advertisers just how their future placements might look within the text of DRINKSTER.

Michael Mackenzie: Let’s change pace now, because it’s time for Food On Friday. First it was the blasphemy of the metal screw cap; and now, wine drinkers are facing another shock - the plastic bottle. Yes, the days of the glass wine bottle could be numbered – perhaps.

Some in the industry are looking at plastic bottles as a way of reducing environmental impact. Plastic weighs less, it has a smaller have a smaller carbon footprint, apparently, and it’s easier to recycle than glass ... but not all wine lovers can stomach, literally, the idea of wine in plastic.

Prominent wine critic Philip White, will tell us soon why he won’t be drinking it, but first I’m joined by two people who’d like to convince him otherwise. Adam Chapman is the chief winemaker at Sirromet Wines, south of Brisbane, which last year became the first winery to sell its wine in plastic bottles to Australian consumers; Adam, welcome to the show -

Adam Chapman: Morning. How are you?

MM: - I’m well; its good to have you with us ... and with me here in the studio is Ian Matthews. Ian is the manager of the packaging and distribution company, Portavin, and Ian, welcome to you.

Ian Matthews: Thanks for the invitation.

MM: Ian I’m going to come back to you in a moment, but Adam if I can begin with you, as the chief winemaker from Sirromet Wines, ah, how did this all begin?

AC: Um well basically we’ve been doing a lot of our environmental impact sort of studies for the last ten years, um, um, and that involves everything from obviously the carbon footprint, you know, the worm farms, recycling, er, water management, benchmarking and so on. And uh, this is this putting in step, or putting our actions um to help reduce our impact, and er, we did a study and found out it was mainly packaging, and electricity that um you know is the only things that would help reduce our carbon admissions, so we thought well why not give it a go and it’s just been great for us because um you know it’s a benefit. We run four big concerts here a year and um Queensland licensing –

MM: These are music concerts, you were saying? Music concerts?

AC: Yeah. Big music concerts. A Day On The Green. And um Queensland Licensing um decided that there was no glass to be at the event. So lucky, you know, we had this wine in bottle um, and it’s just gone gangbusters from there.

MM: So, in fact there was a whole range of reasons why you were drawn to this idea of changing materials for bottling because you had the overall energy audit that was being conducted through your company and then you had the added impetus of your own Liquor Commission in, or Licensing Commission in Queensland saying “We don’t want people to er use glass any more as a, as a weapon." (Laughs)

AC: Yeah. It was just quite ironic, but um, you know I spose it’s just one good story or um (giggles) comes out to be another good story and er you know the lable 820 er above er works quite well for the Verdelho and the and the Cab Merlot that we’ve just got the two wines in there –

MM: Why only two, Adam?

AC: Um at this stage we’re just obviously still testing the market out but um most concerts we have here are between say five and ten thousand people and they love it. They just can’t get enough of it. It’s it’s a great concept and not only them I mean the boating fraternities and you know events and um you know all these other places airlines and all that, that’s the next area we’re working on. It just seems to make a lot of sense.

MM: Well, while we’re talking about airlines, Ian, I might bring you in on this because with your company Portavin, you’ve actually brought me in a bottle that is used by one of our major airlines from your factories.

IM: Absolutely.

MM: Yeah. It’s small. Of course they are, aren’t they? On airlines, I mean we like them small. I mean I love airline stuff because I love things that come in compart-ments. I’m kind of like that. I’m still seeing someone professionally about that. But ah, you’ve brought in a bottle of Clare Valley Cabernet Petit Verdot Malbec. And it’s ah, in a tiny bottle, and by all appearances until you pick it up you’d swear it was glass.

IM: Yeah and I’ve often given bottles, er people wine in that bottle format and about fifty percent of ’em actually don’t realise it is actually PET. Most people think it’s still glass.

MM: Now let’s try and er demythologise some of this. What does PET stand for – I want you to say it.





THE CHEMICAL STRUCTURE OF POLYETHYLENE TETRAPHTHALATE, OR PET: SIMPLE ENOUGH - WE USED TO CALL IT POLYESTER

IM: Ah. Polyethylene tetra phthalate. And it’s terribly difficult to say that’s why -

MM: It is –

IM: - and that’s why, that’s why we say PET (laughs)

MM: Yes. Adam?

AC: Thank God you’re there, Ian –

MM: - ah no, it’ll be your turn soon (laughter) we’re all gonna have to say it together as far as I’m concerned. Now these PET bottles, er, what is the shelf life Ian, of the wine within these bottles?

IM: Yeah. It does have a, or, we, we actually go saying it’s a “Best Before” date, because ah, a shelf life is basically once that expires you’ve actually gotta withdraw the product from the market because it, because it’s a, it could be a health hazard –

MM: What? See, I mean you say this to me and already alarm bells are ringing!

IM: No no!

MM: What does it do to the, to the wine?

IM: No no! So we go, we go, we call it a “Best Before” date. Which means it’s totally different. Like, there’s no way when the product reaches the Best Before date that its’ gonna harm anyone. It’s it’s just the fact that the wine may lose freshness from that point on so what the the thing with the Best Before date is that you can there’s an additive that goes in the bottle when you manufacture the bottle and it resides in the the wall of the bottle and it basically prevents oxygen coming from the atmosphere outside into into the wine –

MM: There’s a there’s a special term for this. It’s an, it’s a oxygen sort of consumer or something isn’t it, it’s a –

IM: Yeah. Oxygen scavenger –

MM: Right.

IM: And it depends on how much you put in as to what Best Before date you have on the product in the bottle.

MM: Well in general what would be the shelf life of wine inside this kind of PET bottle?

IM: Yeah that one you’ve got there is er nine months and if an airline say was using that for an international er situation, we we’d add more of the scavenger to extend it out to fifteen months.

MM: And that adds more to the cost, though.

IM: It’s a slight amount to the cost, but yeah. It’s still realistic.

MM: Okay. Where – I’m looking at the bottle you’ve brought in for me, this is, this is one of these small bottles and it contains all the usual labelling on the bottle. Where does it say the “Best Before” date?

IM: Ah it’s actually printed there in ah an inkjet code, and if you look closely you can actually see it –

MM: Oh there it is! Ah before 21st of the 5th 2010 so I’ve got another three months up my sleeve here. Four months, yeah? Okay. Ah look this is very intriguing Ian because this raises a whole lot of issues when it comes to plastic versus glass and Adam I’m going to come back to you on this and then we’ll go to our wine connoisseur and critic on this too. Ah, Adam as a as a chief winemaker with Sirromet Wines surely this is counterintuitive to the wine industry because after all, good wine you lay down and mature in glass but you can’t lay down and mature in plastic.

AC: Right. Can I go?

MM: You go for it. (Laughter) You challenge me if you feel like it.

WOLF BLASS; UPON ARRIVING IN AUSTRALIA WOLFIE SET ABOUT MAKING KAISER STUHL PINEAPPLE PEARL WITH A PLASTIC LID ... NOW HIS BRAND EXPORTS LAKES OF WINE IN PET PACKS



AC:
Right. Here we go. Some stats first. 96 per cent of wine purchased is consumed with 24 hours. Eighty per cent of people buying wine is around that thirteen, fourteen dollars or less; and they’re just basically saying “Look I’ll have a bottle of Verdelho or I’ll you know, and I wanna pay ten bucks or somethink.” So when you look at all these stats, um I know people think about laying wine down to cellar ah to age but you know we’re just out there we’re selling current vintage wines and the whites and it’s basically consumed specially for us on the concerts you know we we go through thousands of bottles on these days –

MM: Oh yes you’re hardly gonna be cellaring a wine at a Big Day Out or On The Green are you?

AC: No! That’s right. But that’s not the concept. Um look I totally agree it’s, at this stage we’re not certainly putting our super-premium wines in there. We’ve just looked at the market; we understand the stats ah we see there’s an environmental thing, there’s a weight thing, like all the good things tick, tick, tick and tick, and we just believe this is a good concept that works and helps the environment out, it helps the Liquor Licensing, helps all these bits and pieces out and um people like the concept.

MM: We’ve already had a call ah from a listener who’s been ah evesdropping on this conversation and Ian I might put it to as you’ve been so upfront about some of the the I guess the minimum standards -

IM: The technical side.

MM: Yeah the technical side of it but we had a call from a listener who wanted to know whether there could a chemical reaction between the wine and the plastic.

IM: Yeah that’s been very well researched in the US and Europe. And the um, FDA, the Food and Drug Authority in US, has actually put the PET with the scavenger under er quite a deal of scrutiny, and the um results that have come back, are that anything that does leach out is less than threshold for er health and safety er situations. And in some cases it’s a hundredth of what the limit is, so there’s there’s essentially nothing that you can taste in the wine that comes from the plastic.

MM: Taste is one thing. What I can’t taste is what worries me.

IM: Yeah and the FDA ah rec - er regulations and er their authority says that there’s absolutely nothing coming out of the of the PET to damage your health –

MM: But what if I mistakenly, but Ian, what if I mistakenly pick up a bottle and pour it into a glass having not checked that inkjet date on the bottom of your unit here and it’s actually three or four months out of date, or beyond the Best Before date?

IM: Yep. Still no problem. All, all you’ll find is that the wine will have succumbed to some extent –

MM: To oxidisation –

IM: To ox, oxidation –

MM: Right. Gotcha. Oxidation. Right well then look, listening to all these conversations I’m sure with some degree of scepticism himself is renown wine critic Philip White. Hullo Philip.

PHILIP WHITE: Hullo Michael.

MM: Are you reassured?

PW: (Laughter) Ah it’s all a matter of – as they say – sperkective -

MM: (Laughter)

PW: - you know, half the wine in Australia, and I can’t come out of this without looking like an insufferable snob – but half -

MM: Well it’s your job! You’re a wine critic for goodness sake! You know you have to be a -

PW: (Laughter) Half the wine in Australia is drunk from bladder packs, so, you know, it’s not such a big step for that part of the market to go to a plastic bottle. Ah, and of course the sorts of people that you have at a rock concert for example: for the last ten years they’ve all been walking around with a bottle of water in their hand.

MM: Sure that’s a good point. But I mean we’re talking here about very boutique or niche markets here if you’re doing outdoor concerts or you’re doing airlines, anywhere where there’s public involved and there’s potential danger from glass I can see that as a market but it’s not a huge market –

PW: No. There’s a few difficulties. I know that um the British market’s been a little bit reluctant to grab the PET-Pack bottle, ’cause - like Wolf Blass markets a lot in plastic - um, because it’s so thin, it looks smaller. So people think they’re not getting value for their money when it’s when it’s on the shelf next to a glass bottle.

MM: And even though I’m a cheapskate Philip, I want to pretend to people I’ve bought something that’s worth more than it is, which is why turning up with a plastic bottle to a dinner party isn’t gonna look me, you know, look me in the eye as well as a glass bottle, surely?

PW: No, of course not. And you know, um, I think the days of the petrochem business are fading. And while I understand and appreciate that ah, the glass, the, the footprint of a PET bottle is lower than glass, er, you know, I don’t want any of my food in plastic. We’re used to having, you know you get a chicken and it’s wrapped in cling wrap. Cling wrap. Whereas you go to a beautiful butcher in Paris; the chicken is dry and you get it in a paper bag; I know which one I’d rather eat. So I go to great lengths to avoid my food being in plastic of any sort.


MM: Adam Chapman, as chief winemaker at Sirromet, I think only mentioned two varieties in a bottle within your company at the moment. Do you have anything you want to throw back at Philip on this?

AC: Do you drink milk?

PW: Yes of course. And there you go. We used to have milk in glass, and now we drink it from cardboard. Or plastic, indeed. Um but then at the other extreme, you know with er, you find research which is going on at Penfold’s at the moment, where they’re even trialing Grange in a bottle which has absolutely no plastic, no cork, and the seal is glass on glass. Now of course that’s gonna be a $500 product, if indeed they proceed with launching that, but er, the premium end of the market will always prefer the glass. You know, I mean –

AMPHORAE: PAST THEIR BEST BEFORE DATE?

MM:
Can I pose something else to you Philip? Can I just say something else? At the moment the Australian wine industry, in some of its major markets overseas, is struggling to be heard. We have a wine glut in this country. We’re not selling as much overseas product anymore because our branding within those major markets like the UK, Europe and America has gone down in terms of value. Surely bottling in plastic is only gonna diminish our brand even further?

PW: I agree completely. It’s inevitable. But you know, this – look at it historically. They were having this argument at one stage about going from the wine skin – and you know, in the Holy Land the battle was whether you used a pig skin or a goat skin – and then the Romans go to Gaul and discover the barrel because the Celts have invented the barrel. You didn’t need six slaves to carry an amphora, which would shatter if they dropped it. You know these things have always changed, but the main thing is that glass is still, by far, the, the best premium container for a premium product. It’s a food. It goes into your body. Er, I don’t walk around with a plastic bottle to drink water. I like to have my water out of stainless steel, because it’s cleaner.

CANARY ISLANDS WINE SKIN: MILK COMES FROM THE LEATHER UDDER OF THE COW - WHY NOT USE LEATHER TO STORE WINE?













MM:
You are a snob, aren’t you!

PW: (Laughter) Huh! Yes!

AC: Philip -

MM: Adam?

AC: Look, at the end of the day, we’re not, I’m not, I’m pretty sure Ian’s with me as well, we’re not sitting here putting premium wine down and trying to put to put that across. The concept is, and it is a concept, is it’s environmentally friendly as far as, ah, carbon emissions is concerned, it fits with our concerts. If we couldn’t do this, if we couldn’t for some reason, bottle in PET, we couldn’t have four concerts a year. It’s like 50,000 people or so, that can’t come to our winery because of liquor licensing.

MM: So you’re doing it literally in house because that works for you at those public events –

AC: We have to do that –

MM: Yes, yes –

AC: We have to do that –

MM: Ian what about you? You’re you’re actually a manufacturer: what are you doing in terms of trade at the moment; volume on this?

IM: Well I think the key to remember with PET in the wine business is that it’s a very niche market that it fulfils so that it –

MM: And will it continue to be so?

IM: I think so. Um, it’s never going to have the dominance that glass has. I mean glass has been the dominant container for wine for an awful long time in the past, and it will continue to do so in the future. But when you get certain situations that call for maybe looking at things in a different way, like Adam when he’s serving wine at an at an event, and you look at the airline industry where they’ve actually got to carry these bottles of wine halfway around the world, ah suddenly, er, a product that weighs about a fifth of what it does in glass starts to make sense.

MM: It does, and I’ve actually opened up one of the bottles that you say makes sense and Ian I’m about to have a little swig here, straight out of the bottle. How’s that for sophistication? Here we go -

IM: Do you want a brown paper bag?

AC: Put it on Youtube (laughter)

MM: Guys we’re running out of time, but I just wanted to taste that and see, and of course that’s well within the date and it tastes fine to me – but I’m sure people will have their views, and -

AC: I’ve got four stats here –

MM: What’s that sorry?

AC: I’ve got four stats here if you want. Reduces packaging by 84 per cent –

MM: Quickly!

AC: - nineteen per cent less in energy, and 78 per cent less solid weight, er waste, sorry, and emits 52 per cent less greenhouse gas. I mean that –

MM: Well I guess the jury is out as to whether people will also want to drink it ... but Adam Chapman, Ian Matthews, Philip White: it’s been a pleasure crossing swords with all three of you! Cheers to you! Have a lovely weekend if you’ve been listening around the country; we’ll be back on Monday.















THE BYRON BAY BREWERY BEGAN USING PET FOR BEER FOR ROCK CONCERTS

21 January 2009

INFECTING REDS WITH ROT? WHAT ROT!


STEPHEN HICKINBOTHAM: THE AUSTRALIAN, KIWI, AND INDIAN WINE INDUSTRIES WOULD BE VERY DIFFERENT IF HE WAS STILL WITH US

Where Are Today's Young Wine Radicals?
This Dude Used Botrytis On His Reds!

by PHILIP WHITE


In the early 1980s, there was a dramatic change of guard in the Australian wine industry.


Feisty young blue bloods like Brian Croser were suddenly everywhere, in everybody’s face, changing the way everything worked.


Professing that only they knew how to do it.


Adam Wynn was back from duxing Bordeaux university, taking the reins of Mountadam, Australia’s first big high country chardonnay and pinot vineyard.


And in Victoria, the fearless, questioning intellect of Stephen Hickinbotham was kicking all the old inbred Australian shibboleths in the head.


Hickie’s grandfather, Hick, had founded the Roseworthy winemaking college; his father Ian was a formidable wine scientist and wine maker – the first bloke on earth to deliberately, scientifically, induce and manage malo-lactic fermentations when he worked for Adam Wynn’s father David at Coonawarra in 1952 and 53.


Ian once told me he deliberately named his first son Stephen because it was the “only name we could find with pH in the middle”.


Stephen was oenologist at his family’s winery and vineyard on the slopes of a volcano cone at Anakie, near Geelong, Victoria. An inventor, passionate theorist, and rigorous intellectual, he studied at Bordeaux University, where he also made wine for the Rothschilds. He worked for a while in a government wine research laboratory in Alsace, then at Bollinger and Mumm, and did vintages at Rutherglen, Barossa, Mildura, the Hunter Valley and Great Western. He made the first great modern reds from Tasmania, flying grapes from Meadowbank to Anakie, made some of the earliest Adelaide Hills wines at his uncle Allan's vineyard at Clarendon, and was an anchorman par excellence in the many tastings I conducted at Winestate, Wine And Spirit Buying Guide, and The National Times.


Hickie advised the Indian government on viticulture and winemaking, and was probably the first to realise the potential of sauvignon blanc in Marlborough, New Zealand, as it was he who teased David Hohnen into developing Cloudy Bay.


Not a bad innings for a 1955 vintage lad.


Put very simply, he turned my brain on.


When Stephen was killed, with his partner Jenny O’Regan,and five other good friends from Melbourne, in a plane crash at Cairns in 1986, he took an encyclopædic headful of ideas and knowledge with him.


The Australian wine industry would be very different today had he survived.


I narrowly missed catching that plane.


In those early ’eighties, it suddenly became highly fashionable to make botrytis-affected wines after the styles of Sauternes, Barsac and Germany. Many of these early experiments were dreadful.


The Alsatian wizard, Michel Dietrich, arrived in Clare in 1982, brought in by Francois Henri to manage Remy Martin’s new acquisition, Quelltaler, the grand old headquarters of Buring and Sobels almost a century earlier.


He was immediately bemused to discover two of the local hotshot winemakers, Tim Knappstein and Tim Adams, had begun deliberately infesting riesling grapes with laboratory-grown botrytis in specially constructed and humidified cellars where the grapes were laid on racks and sprayed with spores.


Michel had literally caught a plane in a blizzard in Alsace, disembarked in Adelaide in a 42 degree heatwave, hired a car and driven to Clare. He raised the French tricolour over his new charge, as if to purge it of any traces of Germany, took one look at the vineyards along the creekline at Watervale and announced that this was a good place for botrytis.


The locals were incredulous.


Michel let those grapes hang in that humid little microclimate and made a ravishing and revolutionary botrytis-infected semillon.


The locals accused him of cultivating the spores on V8 vegetable juice, as they had done, then stealing into the vineyard at night to spray it on the vines!


Hickie was already making great controversial stickies at Anakie.


Adam Wynn also made exquisite botrytised rieslings from one of highest blocks on Mountadam.


I was there once, after vintage, trying to take photographs in the frigid, swirling, highland mist. I heard a sound that made me think "bear!".


I'll never know why I thought it may have been a bear, because there are no bears in Australia, and the only bears I've seen have been imprisoned in solitary confinement in Guantanamo things they politely call zoos.


Sure enough, through the mist, there was a large dark figure, about the size of a bear, beneath the vines.


Silly enough to approach, I got closer.


It was David Wynn, wearing an oilskin Drizabone duster, on his hands and knees, studying the ground.


I said "Hullo David".


"Oh hullo Philip", he said, staring back at the sodden ground.


"This is awful", he said. "Terrible. Look at this terrible waste!"


The riesling that Adam had left hanging had got botrytis in its stalks, and the bunches were falling to the ground.


Adam picked, and picked up, that rizza into a wheelbarrow, and made a stunning sticky.


The four of us: Hickie, Michel, Adam and me, had many weekend summits where we rewrote the future, blending bottled wines from all over Australia's exciting new vignobles, just to see.


We spent a lot of time making the perfect pink. The base was usually Hickie's amazing dry botrytised rieslings from Anakie, with Michell's wood-aged Clare semillon, with red bits from Hickie's Meadowbank, Tassie cabernet, Adam's pinot, and some 1979 Petaluma Coonawarra shiraz.


We just had to have some Brian in there.


To encourage some public discussion about these heady botrytis developments, I ran a series of interviews in Wine And Spirit Buying Guide in 1984.


While most contributors knew only of botrytis on white grapes, Hickie immediately threw petrol on the discussion by claiming he deliberately used botrytis on his ravishing reds.


In fact, he said, he never made red wine without botrytis.


The wine business was, once again, incredulous.


“I think it was about 1896 when Louis Pasteur published his amazing study Les Maladies du Vin”, Hickie told me in 1984.


“It was a monumental work, but it was flawed. After studying many bad table wines, Pasteur determined that their malaise was due to these tiny single-celled organisms called bacteria. What he did wrong was to extrapolate on this finding, and he declared that all bacteria were bad. He invented pasteurisation as a means of destroying bacteria in wine.


“Now, if Pasteur’s well-intentioned advice was heeded by all the French vignerons, we’d have no great French wines today. Pasteur neglected to study great wines, and he never came to realise that if they were properly controlled, the same bacteria would, or could, have some highly desirable effects, like conducting the malolactic fermentation which is common to so many great French wines.


“The role that noble rot can play in making red wines has been obscured for several reasons. Certain ill effects found in red wines have been attributed to noble rot because the original grapes were noble rot infected. The great, healthy wines have never really been studied, and because researchers often have so little practical winemaking experience, the role botrytis can play in red wine making has been ignored. That’s pretty simple.


“Carefully controlled noble rot can contribute great complexity to red wines. Many of Bordeaux’s greatest red wines were from grapes infected by botrytis – ask Roy Moorfield about the ’61 Montrose we had.


"Anyone who says it can’t be done is wrong. In winemaking, there are a lot of nuances between the black and the white, and too many people aren’t sensitive to them.”


My experience of Hickie’s love affair with botrytis began in 1982, when he was blending the first Cab Mac, a carbonique maceration red he’d made using his revolutionary sealed pallet bags, for which patents were pending.


The cabernet sauvignon he’d selected from the Goulburn Valley, Victoria, was botrytis infected. He said he’d deliberately botrytised the fruit to pass some complexity and body to the wine.


When I reported this, the broadacre response from other winemakers was a guffaw followed by a loud “Bullshit!”


The main reason for this response centered on the widespread belief that in red fruit, botrytis gave rise to laccase, an oxidase enzyme which turns red wine milky when exposed to oxygen.


I asked Dr. Terry Lee, the NSW food scientist who’d just taken over the boss role at the Australian Wine Research Institute, about his experience with botrytis infected reds.


“We got involved with botrytis when some of the reds in Coonawarra became infected last year”, he said of the 1983 vintage, which was all fire then flood.


“If you get a bit of unwanted botrytis in reds they can go brown as soon as they’re exposed to air or oxygen.


“Chris Summers did most of the work.


“It wasn’t exactly noble rot, though, it was a real zoo growing on those grapes. We had to look for ways and means of preventing deterioration in the wines once they were exposed to air. We were mainly concerned with the bad effects of the wrong kinds of botrytis mixed with a lot of other moulds.


“Stephen Hickinbotham’s had a lot of experience in Bordeaux. I’m sure there’s quite a lot of botrytis in Bordeaux reds. The whole Bordeaux area has a significant level of botrytis: the conditions are right for it. He’s most probably right.


“There are a few components produced when botrytis gets in the grape berry. You get increased glycerol levels. You also get the production of an acid called gluconic acid. The presence of this acid is a fairly good indicator of botrytis infection.


“I think you’ve got to appreciate that Stephen’s trying to get a small botrytis infection as a complexing agent on his reds –- he’s certainly not trying to make sweet reds!”


Eventually Hickie made a couple of small batches of cabernet sauvignon that was deliberately infected with botrytis. He imported the test enzyme from Bordeaux to have the Wine Research Institute check these for gluconic acid, using the same techniques the Bordelaise use when testing sauternes for botrytis.


I arranged a tasting of these wines in Adelaide, and invited several fellows who had said quite distinctly and unequivocally that you couldn’t make red wine from botrytised fruit.


If you knew the big cheeses of those days, you'd be able to name the detractors and disbelievers. They're still here.


Once the wines were poured, and the and the wine sat there in the glasses, glowering red and jolly, totally devoid of anything vaguely resembling milkiness or cloudiness, the noses came down and the discussions began, but there was still a genuine air of disbelief.


The only fellow who didn’t detract from the Hickinbotham achievement was the most senior of the winemakers present, Max Schubert, who happened to be the fellow who created Grange Hermitage.


Max said the wines were good and interesting, and said they reminded him of the days when he used flor yeast on red juice to make “nice complex mother wines”, the bases for his famous blends.


“Nobody really believed I did that either”, Max chuckled.


“I had to get used to keeping my mouth shut.”


Back to Dr. Terry Lee.


“There’s not really such a big mystery about handling botrytis in reds”, he said.


“You can handle it with heat treatment”.


Presto! While Hickie never actually admitted he pasteurised his wines, it’s worth remembering that his father, Ian, had left Coonawarra to work in the Barossa, where he converted the foundering old grape-growers’ co-op to the phenomenally successful Kaiser Stuhl.


Part of this success was his adoption of pasteurisation of sparkling wines under pressure, stabilising them to a degree otherwise unknown in those years.


“I read a letter in an American magazine” Ian wrote in Australian Plonky, his autobiography.


“It was an important Professor Marsh, who was pondering why sparkling winemakers didn’t pasteurise in the bottle as did the spumante makers of Italy.


“Pasteurising was, and still is almost a dirty word in our wine industry and was dismissed because of the association with the cheap wines of Europe.


“However, the thrust of the argument was that, because of the gas content in sparkling wines, the temperature needed to achieve pasteurisation was quite low. I decided to trial the technique.”


Using the Kupke-Trinne team of Roseworthy College, Ian built a machine that pasteurised the Kaiser Stuhl Sparkling Rhinegold at only 63 degrees centigrade, “therefore not damaging the quality”, he wrote.


“In fact, in our experiments we had found that the heat treatment helped ‘round’ the taste, meaning the wine was more drinkable immediately.”


(Winemakers can now hire an Agmaster pasteurising machine that fits on a trailer, and processes very slowly, -- 2,000 to 4,000 litres per hour -- so the required temperature can be minimised, avoiding thermal damage to the wine.)


The resultant popularity of that Kaiser Stuhl Sparkling Rhinegold wine made necessary a full-time sparkling expert to manage the manufactory, and develop other products, like the first real kiddylikker alco-pop, Pineapple Pearl, which was packaged in a little pineapple-shaped bottle with a panoply of green plastic which resembled the foliage at the top of the pineapple, and twisted off to open the bottle.


The appointment? An eager young German from Avery’s of Bristol, one Wolfgang Blass.


Kaiser Stuhl sales went from £160,000 in 1955 to £740,000 in 1962.


Wolfie still has a row of Pineapple Pearl bottles along the top of his bar, sitting there like browning hand grenades.


Which is simply to say that Stephen Hickinbotham had a very learned advisor in matters concerning the pasteurisation of wine.


I miss Stephen -- with a pH -- dreadfully. But if you’re lucky enough to try his reds now, given a merciful cork, you’ll find them breathtakingly beautiful.


That’s getting close to eternal life.

And, just for the record, I should say that dear Max heat treated his flor-infected mother wines.

He learned to keep schtum about that, too.


16 December 2008

WOLFIE'S BLASSTARDISATIONS

Wolf Blass, left, mit frauleins


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ITEM: from a recent seminar in the Barossa, sent by a reader, quoting the great Wolf Blass:


“Wolf also revealed the burden of being one of Australia’s biggest wine businessmen. ‘I used to be six foot when I came here 40 years ago, now I’m only four foot two—talk about bloody knockers in Australia. That bloody Philip Vite and those other writers said I couldn’t do it, but I showed them all and I’m bloody proud of it’.”


This arrived while I happened to be browsing the April 1983 issue of Winestate, which I edited. I had invited Wolf to be a judge at a tasting called “Dry White Blands”. It’s worth perusing some of his quotes:


On the blends then called “riesling and hock” (“riesling” was usually semillon, crouchen, or both, in those days, mixed with only Bacchus remembers what; real riesling was generally called “rhine riesling”):


Blass: “I’m amazed at some of the leading wine companies ... so many winemaking faults that show not only in the bottle here today, but will show in their balance sheet next year and into the future. They’re just not competitive and it will be absolutely detrimental.


“It’s in the media’s hands at the moment to slander the wine industry because we are not truthful enough about what we are putting on our labels.


“I don’t think we should use the word ‘riesling’ – I honestly believe it’s a bastardisation of the real variety. For this style ‘hock’ or simply ‘dry white’ are better.”


On the blends then called “traminer riesling” (which often contained neither gewurztraminer nor riesling, but were blends of semillon and fronti):


Blass: “This has become a very popular blend with wine-makers recently, but it isn’t an easy one to market, so only the fittest and best will survive. To say this is a style of the future is wrong.”


In those days, Wolf was determined to prove that chardonnay would never become popular in Australia. He fought the new chardonnay trend with his Classic Dry White, which was usually colombard and crouchen, sometimes with trebbiano, whacked with overt oak, usually American. Wolf contributed to the following tasting notes:


Wolf Blass Classic Dry White 1982: “A top wine by all standards, showing a ton of fruit amongst the strong wood characters imparted by both American and French oak. The wood has given the palate a lot of flavour without overbalancing the fruit, and when left a few more years the bottle, this one should become a true classic.”


Wolf Blass Classic Dry White 1981: “Another very clean dry white from the Blass stable, showing similar wood treatment to the 1982, but perhaps in restrospect lacking the flavour of chardonnay that the 1982 features. Still, a well-balanced and integrated wine in a style that improves with short-term cellaring.”


And finally, to summarise the class then called “white burgundy”, which could quite literally contain anything:


Blass: “I’m sick and tired of the dishonesty of many companies putting chardonnay on their labels – it’s a bastardisation of the grape variety.


“We cannot make top class burgundies without blending, however I think we need to explore new winegrowing areas and new varieties at this time.”


As I continue perusing such ancient writings from the archive, perhaps I shall occasionally publish Herr Blass’s astute observations here as Blasstardisations.


AND FURTHERMORE:


Wolf Blass’ recent derisory volley, fired, I think, at my repeated suggestion that Australia should be experimenting with new varieties and new flavours, pushed me further back into my old tasting notes.


Wolfie summoned me to a tasting of his Classic Dry Whites in September 1982, delighted to point out how these wines were generally defeating the chardonnays at wine shows.


Always averse to chardonnay and the idiotic marketing extant in those days, he said that day of his white blends “I refuse to call it burgundy or chablis because we’d confuse the marketing issue overseas ... the law will prohibit the use of these words anyway”.


In those days, every company had a burgundy or chablis, made from whatever entered their little crushers. Generally, burgundy meant oak; chablis, none. The oaking was terrible. Wolf used mainly American, a little French, and mainly barrels rather than chips.


“What’s being done with chardonnay in this country is parallel only by the stupidity of the red wine manufacturing in the ’sixties”, he said. “I think the chardonnay belongs in the champagne. There’s a few companies who can make good chardonnay. Those should specialise. But at the moment, every company in Australia, in every region and every state, is trying to bring a chardonnay out. There’s no room on the shelf. The public is so confused that in a couple of years chardonnay is just a joke.


“If chardonnay of sufficient quantity and quality becomes available, we may replace the tokay [which was actually muscadelle] in the Classic Dry White with it” he concluded.


Also present at this tasting were Brian McGuigan, Brian Barry, Peter Fergusson, Ian Mackay, Paul Lloyd and George Truby, whose scores I have averaged with my own.


The wines were as follows:


77.5 points

Wolf Blass Dry White 1974 - 60% sauvignon blanc; 40% riesling


81.5 points

Wolf Blass Dry White 1975 - 100% trebbiano


75 points

Wolf Blass Dry White 1977 - 40% muscadelle; 30% riesling; 30% crouchen


75 points

Wolf Blass Dry White 1978 - 50% crouchen; 25% muscadelle; 25% sylvaner


79.5 points

Wolf Blass Dry White 1979 - 50% crouchen; 40% colombard; 10% muscadelle


82 points

Wolf Blass Classic Dry White 1980 - 40% colombard; 40% crouchen; 20% muscadelle


86.5 points

Wolf Blass Classic Dry White 1981 - 40% colombard; 40% crouchen; 20% muscadelle


91 points

Wolf Blass Classic Dry White 1982 - 40% colombard; 40% crouchen; 20% muscadelle

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