Featured Producer
Domaine Antoine Jobard
François Jobard was one of the first vignerons Kermit imported when he began prospecting for wines in France in the 1970s. The relationship has endured into the next generation, and François’ son Antoine now runs the domaine. This is as classy and as consistent a property as you’ll find in Burgundy, and theirs are generally counted among the best Meursaults. Other respected vignerons like Coche and Raveneau hold these wines in the highest esteem and are generous with their praise when Jobard comes up in conversation. Among the highlights from the domaine is Jobard’s stunning Bourgogne Blanc, which is routinely one of the best to carry that appellation. Their Meursault En la Barre is an outstanding value from an assiduously tended vineyard plot located just behind their home, and their enviable line-up of premier cru white Burgundies includes Meursault Poruzots, Blagny, Genevrières, and Charmes, each with its inimitable charms. Recently, they added Tillets to their list, the excellent vineyard that Roulot fans know and love – a high-elevation, very stony lieu-dit. Finally, their Puligny-Montrachet Le Trézin comes from another steep hillside parcel above the Hameau de Blagny and is always textbook Puligny, chiseled and fine-grained.All the Jobard wines are aged in barrel and spend a lengthy period of time sur lie in their cellars in Meursault. They are the last of our white Burgundies to come to the market every year due to their unhurried approach to vinification and typically slow malolactic fermentations. In their youth, these wines are often tightly wound with an intense mineral structure that only begins to soften with extended bottle aging. Though François and Antoine work side by side, Antoine has brought his own signature to the domaine: a more sensuous approachability to the wines, all delicious and ready to drink immediately. That said, the Jobard legacy lives on, and the wines will still explode with intense aromas of honeycomb and stone later in life. If you just can’t wait, there’s no reason not to uncork.
La Grange de Quatre Sous
Hildegard Horat-Diop’s rebellious streak, verve, and innate talent have made her a star of the Languedoc. Though she began making wine at a time when female winemakers in France were rare, she also broke many other social conventions along the way. She had started her career in her native Switzerland, where she was actively working as a restorer to old monuments. It all changed in 1975 when she and her first husband, Ernst Wirz, visited the Languedoc and fell in love with the domaine, La Grange de Quatre Sous. At the time, the property was in complete disrepair. It is a unique piece of land that borders an ancient Roman road, and the buildings are said to have belonged to the medieval order of the Knights of Malta, also known as the Hospitaliers. She and Ernst undertook extensive renovations, including an overhaul and replanting of the vineyards in 1983. Over the years, they slowly gravitated towards organic farming. By the time she received official certification in 1999, she had already been farming sustainably for several years. It was around that same time that she and Ernst split, and she started managing the property entirely on her own. Today, she is now part of a group called Vinifilles, an association of eighteen female winegrowers in Languedoc-Rousillion who assemble to share their research and expertise with each other. She is well-respected by her peers, so much so that Kermit refers to her wine as “grand cru quality.”Hildegard has since remarried and continues to direct this eight-hectare farm outside of the very small village of Assignac (145 inhabitants) in the appellation of Saint-Chinian. Though her vineyards sit comfortably within the boundaries of the A.O.C. Saint-Chinian, she prefers to take the lesser designation of Vin de Pays d’Oc, so she can plant the varietals that she wants, and make her wine without the same imposed rules and restrictions. Over the years, she has introduced unlikely grape varietals into her plantings, namely Malbec, and at times has experimented with some eclectic Swiss varietals. Not surprisingly, Hildegard’s wines are intense and powerful. Enjoy them with some bottle age or decanting.
Tenuta La Pergola
There is a romantic, yet misguided myth among Americans that one can sit down in any roadside trattoria in Italy and be served a delicious glass of wine. However, this idealistic notion is sadly at odds with the hard reality: it is rare enough for the vino della casa to be drinkable, let alone anything truly noteworthy.And yet, this most infrequent occurrence—the wine importer's dream—is exactly what fate would have in store for Kermit and Dixon one day as they trekked the back roads of Piemonte several years ago. The wine in the pitcher—an Arneis from a local producer—was not only drinkable, but it was really quite good: refreshing, balanced, typical of the grape and of the region, and an ideal companion to the antipasti of the day. Oh, and it was cheap.
That pitcher of Arneis led them to the cellars of Tenuta La Pergola, in the town of Cisterna d'Asti. Alessandra Bodda now runs the estate her great-grandfather founded in 1903, farming thirty hectares of indigenous Piemontese varieties with the help of her son Emanuele. The sandy and clay soils of the Roero and Monferrato, where their vineyards are situated, give softer wines than the marl-dominated terroirs of the neighboring Langhe, creating aromatic wines that bestow immediate pleasure.
Tasting this superb raw material sparked an idea, and with the 2009 vintage the first “Monferrato Rosso – Selected by Kermit Lynch” was born using a blend of the region's red varieties. Loaded with brambly berries, bright acidity, and soft, earthy tannins, the wine is a faithful representation of Piemontese reds at bargain cost: just what you would want in your carafe at a roadside trattoria, and the perfect weeknight red to gulp down at home. While the aromatic Brachetto grape is typically used for Birbét, a local red sparkling dessert wine, Alessandra and Emanuele also vinify it dry, creating the closest thing you'll taste to liquid rose petals and wild strawberries. Seductive, supple, and marvelously perfumed, “Il Goccetto” showcases the unadulterated pleasure achievable in Piemonte. La Pergola's wines may be the best values the region has to offer, offering crowd-pleasing delight and versatility at table. Kermit says they remind him of the Piemontese wines of old: simple, affordable, and totally satisfying!
Domaine Jean-Claude Regnaudot
Didier Regnaudot is the type of vigneron we always dream of finding in the Côte d’Or. Alas, there aren’t many like him left. Didier is the fourth generation to manage his family’s property in the beautiful little town of Dézize-les-Maranges, which is on the southernmost edge of the Côte d’Or, up in the hills just west of Santenay. The village is located at 1300 feet above sea level and its terroir is cooler and later ripening than the villages further north, and its vines are more resistant to rot. This is all good.Historically, red wine from Maranges was known to be the darkest wine of the Côte d’Or, a tannic wine not made to drink immediately, and would keep its color forever. As time goes by, more and more Chardonnay is planted here. Meanwhile, those still making red Burgundy here keep trying formulas to render it more accessible in its youth.
Like his father Jean-Claude and his other ancestors before him, Didier sticks to tradition and we celebrate that. He works old Pinot Noir vines mostly planted right after World War II (some before!) on the steep hillsides just to the east of Dézize. The vines are cordon trained, and planted in the middle saddle of the hillside in deep clay and fossilized limestone. His prized holdings are one hectare in a great premier cru site, “La Fussière,” and a small premier cru parcel just below called “Les Clos Roussots.” His formula is pretty simple: gorgeous, expertly managed vineyards, manual harvest, fermentation in concrete tank, long cuvaison, twelve months in oak, bottling without fining or filtration. The Regnaudots long ago understood what makes Maranges special and are dedicating to preserving that tradition, as unglamorous as it may be to some. Here, we raise our hats to Didier. Tradition means learned from experience, not the latest paraphernalia.
How does this sound? Deep, structured, seriously dark red Burgundies with thickly textured tannins. There’s a nice taste of Burgundian soul in there.
Patriarca Franco
It wouldn’t be true to say that the area of Piedmont kown as the “Alto Piemonte” is undergoing a renaissance because the planted acreage is still microscopic compared to a century ago. However, there is starting to be a groundswell of interest and activity in the region that is promising for the wine world as the terroirs are very good. The region is located just southwest of Lake Maggiore in the foothills of the Alps, south of the border between Switzerland and Italy, two hours north of Barolo. Gattinara is probably the best-known wine among the nine DOCs and DOCGs of the Alto Piemonte and one of its only two DOCGs.In the late nineteenth century the vineyards of the Alto Piemonte were Italy’s best known and largest. The vineyard surface at the time of 40,000 hectares was equal to the entire planted surface of all of Piedmont today! As the Langhe area of Piedmont’s wine production surged in the 20th century, led by Barolo and Barbaresco, the Alto Piedmont suffered from a mass industrial exodus that took a vibrant wine producing culture along with it. However, the land is still there, and as the wines of a few ancient artisans and a few new explorers can attest, the potential is important and hopefully economics will support the continued revitalization of the area.
The wines of Gattinara require the most Nebbiolo (known locally as Spanna) of all of the wines of the Alto Piedmont at 90% minimum. The terroir here is porphyry, an igneous rock similar to granite that is loaded with minerals and crystals and is often red or purple in color. Rustic and powerful when young, Gattinara is long-lived and requires lengthy aging in wood and bottle before it softens and develops finesse with time.
Franco Patriarca is a member of the ancient artisan category of growers in the Alto Piemonte. Franco followed in the footsteps of his father and grandfather and tends the family’s old Spanna vines, vinifying them in the tiny cellar below his home in Gattinara. His cellar is so small that he can only vinify one third of the production from his 2.5 hectares of vineyards. Franco does everything by hand, including the unfiltered bottling, and the result is an archetypal example of the DOCG with zero artifice. Franco reminds me of our very own Silvio Giamello in Barbaresco—almost no one has heard of him, including the locals, yet there is treasure in his cellars.
Domaine de la Cadette
In the village of Saint-Père, along a little creek to the southeast of Vézelay in Burgundy, a quiet, peaceful revolution is taking place. This part of Burgundy has been producing wines for centuries, but estate bottling still represents a relatively recent phenomenon here. In fact, when Jean and Catherine Montanet planted their first vineyards in 1987, the fruit was destined for vinification in their very own cave coopérative, which saw its first vintage bottled in 1990. As general manager of the business, Jean quickly found his feet as a capable vigneron, counseled by coworkers such as the brilliant Bernard Raveneau, who would later introduce Jean to Kermit.By 1997, the INAO (Institut National des Appellations d’Origines) had awarded Vézelay its own AOC—a timely decision that lends more credibility to the noble work of the Montanets. They began farming organically in 1999, a particularly bold decision given the physical and financial effort required to do so in an area where most wine is sold in bulk. Unable to fully express themselves as vignerons at the coop and determined to continue working organically, the Montanets finally split off and founded their own label, Domaine de la Cadette, taking their vineyards with them. Their son Valentin joined them in 2010 and now manages the domaine, espousing his parents' philosophy of organic farming and natural vinification to craft refreshing, mineral-driven whites and reds.
The vineyard land sits deep in the Morvan, the great mountain range that runs west by northwest of the famous Côte d’Or. The land here is quite exceptional: the creation of the granite massif of the Morvan has uplifted a marl and limestone strata, revealing fossilized marine deposits. Though Vézelay is a geographic appendage of Chablis, the soils are not exactly the same. Instead of the Kimmerdigian soils, the clays here range from blue and gray to red, sometimes with no clay at all but just shallow limestone. While the climate is slightly cooler than in Chablis, the vines enjoy great sun exposure, lending a balance between generous fruit and deep mineral structure. That the wines from Vézelay have gone largely unnoticed until recently may certainly be attributed to an underwhelming production of forgettable wines; however, Domaine de la Cadette stands proudly as a beacon of change, representing the most sincere expression of their terroirs with grace and integrity. Though they are best known for their Bourgogne Vézelay, a Chardonnay, their Bourgogne Rouge and their Melon de Bourgogne are also equally remarkable.
Domaine Follin-Arbelet
Still waters run deep with Franck Follin-Arbelet. He may seem quiet and unassuming, but the intensity of his wines speaks louder than words. Having grown up in Burgundy’s famous Côte d’Or, he was always attracted to viticulture, but his family’s vines were all rented out to métayeurs (share croppers), and they did not make their own wine. Instead, he gravitated towards Geology, a field that gave him an expertise in soil. His wife, Christine, comes from the famous Latour family, and her father, André Masson (once the régisseur at the Hospices de Beaune), had his own vines. In 1990, when the opportunity came to join André’s domaine in Aloxe-Corton, Franck jumped at the chance, giving up one noble career in terroir to take on another. In 1993, André retired and Franck took over the direction of the domaine.Franck and Christine are fortunate to produce one village wine, four premier crus, and four grand crus in Aloxe-Corton (their hometown), Pernand-Vergelesses, and Vosne-Romanée. Pedigreed land such as this demands much of its stewards, and these vines are farmed sustainably without synthetic fertilizers or weed killers, working the soils regularly to aerate them and keep them healthy. Their winery and cellars are as picturesque as they are practical—said to be the deepest in their village. In traditional Burgundian homes of this time (1764), the family lives on the second and third floors, above a first floor winery and deep cellars below. This kind of depth makes the cellars colder and more humid than most, two key components in crafting age-worthy wines. Vinifications are in the old-school style, fermenting slowly in open-top wooden vats, using only indigenous yeasts, and the wines are bottled in all of their unadultered glory, unfined and unfiltered. Both pure and intense, they are deep with stony freshness, explosive with bright fruit, and framed with balanced structure.
When asked what inspires him the most, Franck responded, “wine that represents its terroir and a job well done.” Simply put; not so simply executed—but tasting the wines of Domaine Follin-Arbelet is not only inspirational—it is a revelation.
Kuentz-Bas
Maison Kuentz-Bas was first established by the Kuentz family in 1795, and the domaine as we know it today was forged through a marriage that joined the Kuentz and Bas families in 1895. Nestled in the town of Husseren-les-Châteaux, it sits at one of the highest points in Alsace, and the vineyards stretch out from the village over an area of ten hectares. More than two hundred years of tradition and vineyard pedigree have made these wines perennial favorites, with the grand crus of Eichberg and Pfersigberg earning the highest esteem. However, when the family sold the property to famed vigneron Jean-Baptiste Adam in 2004, many wondered what direction the new team would take. Adam, like the estate’s former owners, has a reputation for being an advocate of Alsatian terroir, and he is the fourteenth generation to continue a family winemaking tradition that began as early as 1614. Eager to restore Kuentz-Bas to its former glory, Adam lowered yields significantly and reverted to natural methods, following organic and biodynamic approaches to vineyard work.Meticulous attention to detail is the defining characteristic of both the viticulture and the vinification at Maison Kuentz-Bas. Winemaker Olivier Raffin, who took over direction of the cellar after Samuel Tottoli’s departure in 2017, puts a strong emphasis on both terroir and accessibility. The wines are divided into two tiers: Tradition, a fresher collection focusing on fruit character, fermented and aged on the lees in oak foudre for 6-8 months and Trois Châteaux, from the domaine’s finest vineyards. The Trois Châteaux wines are fermented and aged in stainless steel tank, then bottled and held for a year before release. Raffin embraces hard work in the vineyards and minimal work in the cellar. Reduced doses of sulfur allow for a greater expression of fruit, and a drier fermentation yields crisp, mineral-laden wines with less residual sugar. The wines are therefore more open than ever while still reflecting the unmistakable character of the vineyards that clients have come to expect from the Maison Kuentz-Bas. Alsace’s noble terroir shines through like never before in the domaine’s wines, making these among the greatest white wine values to be found.
Domaine Robert Chevillon
The stunning collection of premier cru and old-vine vineyards held by the two Chevillon brothers would make any Pinot Noir grower jealous. Their innate ability to carefully tend the vines and master the difficult Burgundian conditions provides ripe, healthy clusters of grapes year after year. Taste through the barrels of Chevillon post-harvest and it doesn't matter what happened the year before, almost as if by miracle, the wines show class and character and each terroir has its distinct idiosyncrasies. It is le vrai Pinot chez Chevillon.Brothers Bertrand and Denis Chevillon are the fifth generation managers of this property in Nuits- Saint-Georges, which means they work the vines and make the wines. Their father Robert, for whom the domaine is named, is still active as well. Both brothers bring passion, experience, a tireless work ethic, and intensity to their work at the domaine. Tasting through their palate of Nuits- Saint-Georges is a venerable tour of the appellation. Their Passetoutgrain, a blend of Pinot and Gamay, is a worthy introduction and their rare (two barrels made) Nuits-Saint-Georges Blanc made from the “Pinot Gouges” is an exotic treasure that ages just as long as the domaine’s fabled reds. And their Bourgogne Aligoté, Bourgogne Chardonnay and Bourgogne Rouge are grown and vinified with the same care as their premier crus. It shows.
The track record of the Chevillon wines in the cellar is one of the most remarkable aspects of this storied domaine. We regularly have the good fortune to taste back through the past three decades of vintages of all the various premier crus and the wines always more than convincing—they are amongst Burgundy’s very best. In fact, I have often been more disappointed with grand cru bottlings than I am with the top-tier Chevillon premier crus. Indeed, Nuits-Saint-Georges does not officially have any grand cru vineyards, but we are convinced that Cailles, Vaucrains and Les Saint-Georges are firmly grand cru quality. This decision is currently in the hands of the appellation authorities but it is almost better if the status quo doesn’t change–that way we are assured to get grand cru quality at a premier cru price!
Domaine Dupeuble
In the hamlet of Le Breuil, deep in the southern Beaujolais and perched above a narrow creek, the Domaine Dupeuble has been running almost continuously since 1512. The name of the domaine has changed just three times in its history, most recently when the last heir, Anna Asmaquer, married Jules Dupeuble in 1919. Anna’s son Paul, and her grand children Ghislaine and Stéphane Dupeuble, manage the domaine. Kermit first met Ghislaine and Stéphane’s father, Damien, for lunch in Paris in the late 1980s, and thus began the annual tradition of blending the KLWM Beaujolais Nouveau.Tradition runs deep in the family, but each generation has also managed to add something new, including increasing the property. Today it is comprised of one hundred hectares, about forty percent of which is consecrated to vineyards. Strong advocates of the lutte raisonnée approach to vineyard work, they tend their vines without the use of any chemicals or synthetic fertilizers. The vineyards, planted primarily to Gamay, face Southeast, South, and Southwest, and about two thirds of the property is on granite-based soil. The grapes are harvested manually and vinified completely without SO2. The wines are not chaptalized, filtered, or degassed and only natural yeasts are used for the fermentation. The wines of Dupeuble represent some of the best values in the Beaujolais today and are widely regarded for their very high quality and eminently reasonable price.
From the Blog
From the archives...An Evening with Aubert de Villaine
by Kermit Lynch
[From the July 1997 Newsletter]
Bouzeron, population 151, is a little tail’s end of a village in Burgundy where winter’s night can fall with an especially icy clunk. Its three or four streets were already dead and deserted when I drove up to Aubert de Villaine’s iron gate last November. Actually I was running a bit late, so after a handshake we descended straightaway into the cellar and its heady smells of earth, oak, and newborn wine.
Aubert de Villaine has a ready sense of humor and an enviable combination of lucidity and discretion. When I picture him, I see him just breaking into a smile, a playful gleam in his dark, intelligent eyes. Having known each other for more than 20 years, we always have too much to talk about, so our tastings bounce chaotically from comic asides to catching up on friends and family to wine trade gossip and a no-holds-barred critique of whatever we are tasting.
[caption id="attachment_7238" align="alignright" width="309"] Aubert de Villaine (© Gail Skoff)[/caption]
Of course we begin with his Aligoté de Bouzeron, considered Burgundy’s best, and Aubert said that personally he prefers 1996 to 1995. I said 1996 ($14.95) seemed leaner than the 1995. “J’aime bien les vins austères,” he said, contradicting almost the entire American wine establishment.
Then he announced that for the United States he left his 1995 white Burgundy “Les Clous” ($16.50) completely unfiltered. A true stony hillside wine, “Les Clous” always shows more race and structure than flatland Bourgognes, and I must say that it gains by remaining unfiltered because there is more flesh left on that impressive bone structure. He uncorked a 1993, too, which has opened up beautifully. If ever I make a wine, I would hope it shows such subtlety and class.
Aubert’s newest acquisition, a premier cru from Rully, Les Saint-Jacques, is a real prize. (But then, could a de Villaine settle for an ordinary terroir?) The 1995 has a delicious pear-skin aroma and a firm, full palate. The 1994 ($18.95) has so much personality that I made it a Jaded Palate selection, and the 1995 shares that same goût de terroir.
My tasting notes on the 1995 red Burgundy “La Digoine” ($18.50) begin with the word WOW and then I repeat it at the end, too, which isn’t like me. Due to 1995’s short crop, I had to settle for half the quantity I wanted.
His 1995 Mercurey “Les Montots” ($19.95) is something else entirely. “La Digoine” is so pretty a wine, but the terroir of “Les Montots” produces a more tannic, old-fashioned style. “Un vin d’autre fois,” Aubert said. But it also seems to smell of grape skins and stems and freshly cut Pinot Noir. “That is one reason I love the Mercurey,” Aubert said, “because it always recalls that smell of the harvest, you know, working the grapes, the crush.”
Something about the 1995 “Les Montots” made me think of Conrad’s title The Heart of Darkness, and the title would occur to me again before the night was over.
Right about then, as Aubert poured a taste of the 1994 Mercurey, I mentioned that I was wearing espadrilles from Provence, and that my toes were chattering. During wintertime that earthen cellar floor is like standing on an iceberg, so carrying along the 1994 Rully blanc to serve as our apéritif, we walked out into the darkness up to his house.
He built a fire first thing, poured that wonderful Rully, then showed me two new recordings of the Bach Cello suites, one by Yo-Yo Ma, the other by the Russian Mstislav Rostropovich. We decided to “taste” and compare the two performances.
I grew up with the Pablo Casals version of the suites, one of the great recorded performances of the century, so truthfully I was prepared to be a little underwhelmed by the new recordings. The Casals seems soulful, existential, the Rostropovich so emotionally vast. How their cellos seem to sing and speak. The Yo-Yo Ma is more lively, dance-like, but not as subterranean.
Right about then Aubert left to search for another white. Many of you might not be aware that he owns part of another winery farther north, in Vosne-Romanée. Anyway, he returned with a 1967 Montrachet from his other winery, which really hit the spot as we listened to the second cello suite à la Rostropovich.
Aubert began to tell me what he had heard about the actual recording of the suites, which the Russian must have believed will remain his foremost legacy as a cellist.
Rostropovich chose to record the suites in France in the ancient cathedral at Vézelay from which the Crusades were launched because, he wrote, “I saw the rhythm of the internal architecture shorn of all superfluity, with none of the gilt and ornamental trimmings of the Baroque style. I saw the severity of line and rhythm of this vaulted construction, which reminds me so powerfully of the rhythm of Bach’s music.”
Recording took two months. He recorded at the midnight hour, the cathedral silent, empty, except (I’ve been there) for whatever spooky stuff might be emanating from its crypt (which is said to have some remains of Mary Magdalene). Imagine the texture of the cello’s sound in that vast, dark, stone cathedral! And my God it is fabulous as it growls and soars.
We listened to the Sarabande from Suite no. 2. (Film buffs, didn’t Ingmar Bergman use this piece in Through a Glass Darkly? I seem to recall hearing it during a scene in the dark hull of a wrecked ship, with…was it incest, sexual initiation, both?) Is there music that searches deeper? It is terrible and magnificent. The cello’s bow seems to scrape right across your own guts.
While recording, the Russian and his wife lodged with Marc Meneau, who has the three-star restaurant L’Espérance just down the hill from Vézelay. A cellist who apparently has a healthy appetite, Rostropovich might have enjoyed some of our Bourgogne blanc “Henry de Vézelay” from Bernard Raveneau ($12.50), which is made practically next door. I like to think he did.
Back now, though, to Bouzeron, where dinner is served with a 1961 Romanée-Conti. I have, I admit, during my career, enjoyed many an old vintage, but this, this!!! I told Aubert that is has a goût de terroir, mais pas de cette terre. It is from another planet. Tasting notes? Are you kidding? I am in no mood to attempt the impossible. But what a culmination to the evening. Would I have been so receptive to the glorious intricacies of the 1961 Romanée-Conti had it not been for our passage through the Bach Cello Suites? Forget wine-and-food marriages. Here was a fusion of music and wine. The only way I could describe the wine would be to play the music.
And what a voyage the entire evening had been, starting with that first innocent burst of fresh Aligoté.
You can find the latest Bouzeron Aligoté from A. & P. de Villaine here as well as our current selection of wines from Vézelay here.
[From the July 1997 Newsletter]
Bouzeron, population 151, is a little tail’s end of a village in Burgundy where winter’s night can fall with an especially icy clunk. Its three or four streets were already dead and deserted when I drove up to Aubert de Villaine’s iron gate last November. Actually I was running a bit late, so after a handshake we descended straightaway into the cellar and its heady smells of earth, oak, and newborn wine.
Aubert de Villaine has a ready sense of humor and an enviable combination of lucidity and discretion. When I picture him, I see him just breaking into a smile, a playful gleam in his dark, intelligent eyes. Having known each other for more than 20 years, we always have too much to talk about, so our tastings bounce chaotically from comic asides to catching up on friends and family to wine trade gossip and a no-holds-barred critique of whatever we are tasting.
[caption id="attachment_7238" align="alignright" width="309"] Aubert de Villaine (© Gail Skoff)[/caption]
Of course we begin with his Aligoté de Bouzeron, considered Burgundy’s best, and Aubert said that personally he prefers 1996 to 1995. I said 1996 ($14.95) seemed leaner than the 1995. “J’aime bien les vins austères,” he said, contradicting almost the entire American wine establishment.
Then he announced that for the United States he left his 1995 white Burgundy “Les Clous” ($16.50) completely unfiltered. A true stony hillside wine, “Les Clous” always shows more race and structure than flatland Bourgognes, and I must say that it gains by remaining unfiltered because there is more flesh left on that impressive bone structure. He uncorked a 1993, too, which has opened up beautifully. If ever I make a wine, I would hope it shows such subtlety and class.
Aubert’s newest acquisition, a premier cru from Rully, Les Saint-Jacques, is a real prize. (But then, could a de Villaine settle for an ordinary terroir?) The 1995 has a delicious pear-skin aroma and a firm, full palate. The 1994 ($18.95) has so much personality that I made it a Jaded Palate selection, and the 1995 shares that same goût de terroir.
My tasting notes on the 1995 red Burgundy “La Digoine” ($18.50) begin with the word WOW and then I repeat it at the end, too, which isn’t like me. Due to 1995’s short crop, I had to settle for half the quantity I wanted.
His 1995 Mercurey “Les Montots” ($19.95) is something else entirely. “La Digoine” is so pretty a wine, but the terroir of “Les Montots” produces a more tannic, old-fashioned style. “Un vin d’autre fois,” Aubert said. But it also seems to smell of grape skins and stems and freshly cut Pinot Noir. “That is one reason I love the Mercurey,” Aubert said, “because it always recalls that smell of the harvest, you know, working the grapes, the crush.”
Something about the 1995 “Les Montots” made me think of Conrad’s title The Heart of Darkness, and the title would occur to me again before the night was over.
Right about then, as Aubert poured a taste of the 1994 Mercurey, I mentioned that I was wearing espadrilles from Provence, and that my toes were chattering. During wintertime that earthen cellar floor is like standing on an iceberg, so carrying along the 1994 Rully blanc to serve as our apéritif, we walked out into the darkness up to his house.
He built a fire first thing, poured that wonderful Rully, then showed me two new recordings of the Bach Cello suites, one by Yo-Yo Ma, the other by the Russian Mstislav Rostropovich. We decided to “taste” and compare the two performances.
I grew up with the Pablo Casals version of the suites, one of the great recorded performances of the century, so truthfully I was prepared to be a little underwhelmed by the new recordings. The Casals seems soulful, existential, the Rostropovich so emotionally vast. How their cellos seem to sing and speak. The Yo-Yo Ma is more lively, dance-like, but not as subterranean.
Right about then Aubert left to search for another white. Many of you might not be aware that he owns part of another winery farther north, in Vosne-Romanée. Anyway, he returned with a 1967 Montrachet from his other winery, which really hit the spot as we listened to the second cello suite à la Rostropovich.
Aubert began to tell me what he had heard about the actual recording of the suites, which the Russian must have believed will remain his foremost legacy as a cellist.
Rostropovich chose to record the suites in France in the ancient cathedral at Vézelay from which the Crusades were launched because, he wrote, “I saw the rhythm of the internal architecture shorn of all superfluity, with none of the gilt and ornamental trimmings of the Baroque style. I saw the severity of line and rhythm of this vaulted construction, which reminds me so powerfully of the rhythm of Bach’s music.”
Recording took two months. He recorded at the midnight hour, the cathedral silent, empty, except (I’ve been there) for whatever spooky stuff might be emanating from its crypt (which is said to have some remains of Mary Magdalene). Imagine the texture of the cello’s sound in that vast, dark, stone cathedral! And my God it is fabulous as it growls and soars.
We listened to the Sarabande from Suite no. 2. (Film buffs, didn’t Ingmar Bergman use this piece in Through a Glass Darkly? I seem to recall hearing it during a scene in the dark hull of a wrecked ship, with…was it incest, sexual initiation, both?) Is there music that searches deeper? It is terrible and magnificent. The cello’s bow seems to scrape right across your own guts.
While recording, the Russian and his wife lodged with Marc Meneau, who has the three-star restaurant L’Espérance just down the hill from Vézelay. A cellist who apparently has a healthy appetite, Rostropovich might have enjoyed some of our Bourgogne blanc “Henry de Vézelay” from Bernard Raveneau ($12.50), which is made practically next door. I like to think he did.
Back now, though, to Bouzeron, where dinner is served with a 1961 Romanée-Conti. I have, I admit, during my career, enjoyed many an old vintage, but this, this!!! I told Aubert that is has a goût de terroir, mais pas de cette terre. It is from another planet. Tasting notes? Are you kidding? I am in no mood to attempt the impossible. But what a culmination to the evening. Would I have been so receptive to the glorious intricacies of the 1961 Romanée-Conti had it not been for our passage through the Bach Cello Suites? Forget wine-and-food marriages. Here was a fusion of music and wine. The only way I could describe the wine would be to play the music.
And what a voyage the entire evening had been, starting with that first innocent burst of fresh Aligoté.
You can find the latest Bouzeron Aligoté from A. & P. de Villaine here as well as our current selection of wines from Vézelay here.