Quench Magazine Fall/Winter 2022 issue no371

An Unexpected Eating Guide to North Goa

Varma

in Sweden?

Johansson

– Ontario’s Wine Middlemen

the Evolution of a Canadian Wine Law

as Resistance

Rotterdam: From Rough Harbour to Progressive City Åsa Johansson

Letter from the Editor

ON NUMEROUS OCCASIONS I’VE POSED THE QUESTION, “ARE YOU A ‘WINE DRINKER’ OR A ‘WINE LOVER?’”

The immediate response tends to be, “What’s the difference?”

Wine drinkers generally drink the same wine, are reluctant to try wines made from unfamiliar grape varieties, producers or regions, and tend to default to commercially well-known brands with eye-catching packaging and marketing campaigns. On the extreme are those that only drink wines based on point scores or, for those that can afford it, only drink high end labels that they perceive have status.

Conversely, wine lovers are curious to try wines from grape varieties, producers and regions they’ve never tried before. They frequently seek recommendations from experienced wine professionals who champion quality, value, transparency and sense of place, and they are concerned with where their wine comes from and the story behind the people, place, culture and history of its home. Wine lovers are also excited to share new wine finds with colleagues, family and friends.

Let’s be clear, there’s nothing wrong with being a wine drinker. In fact, most wine lovers started out as wine drinkers. But drinking wine, just for the sake of drinking wine, does not a wine lover make. Similarly, eating food only for the sake of sustenance does not make someone a foodie.

For most consumers, the journey from wine drinker to wine lover almost always starts with a “light bulb” encounter with a thoughtful wine industry professional – someone who sees the consumer as an individual rather than just another commoditized drinker among the homogenous masses. I firmly believe that members of the wine industry need to take greater responsibility for the transformation of more wine drinkers to wine lovers. In particular, the wine-by-the-glass programs at casual everyday restaurants must evolve beyond the “people will drink it anyway” mentality and offer more than just insipid Pinot Grigios and malaise-inducing Merlots.

By-the-glass is the opportunity for the wine curious, want-to-be-wine-curious and don’t-even-know-yetthat-they-are-wine-curious to try different wines without committing to a full bottle. Most good wine bars and top-rated restaurants are doing their part, but it’s the casual everyday restaurant that has the greatest ability to make a significant impact on the regular wine drinking consumer. To do so, these establishments must stop building their wine-by-the-glass programs based solely on what’s commercially popular and which importers/distributors have the biggest promotional budgets.

There is too much great wine and variety at all price points being grown in the world to perpetuate the myths that the stratification of quality is based solely on price and that consumers only want to drink certain wines.

Other than being familiar with the names, most consumers don’t know the difference between Cabernet Sauvignon and Syrah and don’t really care. What they do care about is liking the wine regardless of the grape. Whether Nero d’Avola, Grüner Veltliner, Bonarda, Verdicchio, Chenin Blanc or Garnacha, if a wine drinker likes the wine, this becomes the door-opening opportunity for the entrusted wine professional to guide that consumer to further explore – regardless of the grape - and begin expanding the consumer’s palate and horizons. But the entrusted wine professional must not abuse the consumer’s trust.

It’s great to be a wine drinker, but to ensure the sustainability of the wine industry and the existence of distinct, quality producers who represent the heart and soul of the wine industry, we should all strive and encourage others to be wine lovers. Casual everyday restaurants can play a significant role and need to accept a greater responsibility rather than placing the burden solely on the consumer.

Gurvinder Bhatia editor-in-chief

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Alessandra Piubello

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

Brie Dema

Brie has a career rooted in hospitality and has worked with several fantastic Canadian wine and culinary programs including Langdon Hall, Fogo Island Inn and the Elora Mill. She has studied with WSET and CMS, holding the Diploma and the Advanced Pin respectively. Brie played the part of a bumblebee in her dance studio’s production of Peter Pan when she was five. She has a lousy sense of direction but can always find her way to the bottom of a glass of wine. Brie’s favorite role and greatest accomplishment is being a mom to her wonderful daughter Una. She wishes she was a better cook, but is glad she married a chef.

Janet Dorozynski

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

Meher Varma

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

Oset Babür-Winter

Oset is the Senior Drinks Editor of Food & Wine magazine, where she previously held the roles of Associate Culture Editor and Associate Restaurant Editor. She has a level 3 award in wines from the Wine and Spirits Education Trust, and her writing on food, drinks, and more has been published in The New York Times, The Guardian, Bon Appétit, and GQ, among other publications. Oset’s favourite comfort food is a big bowl of garlic-y, lemon-y pasta with broccoli rabe and anchovies. She lives in Brooklyn, New York with her husband and rescue pup, June, both of whom love a good wine bar.

No. 371

Exploring Culinary Traditions; Anything but Pinot Grigio

Editor-in-chief Gurvinder Bhatia editor@quench.me

Managing Editor

Tom Murray

Contributing Editors

Michaela Morris

Tod Stewart Kathy Valentine–Music

Columnists

Tony Aspler Robin LeBlanc

Christine Sismondo

Contributors

Adrian Miller

Alessandra Piubello

Aman Dosanj Åsa Johansson

Brie Dema Christopher Sealy

Jacky Blisson MW Janet Dorozynski

Jessica Dupuy Meher Varma Michael Apstein Michelle Bouffard Oset Babür-Winter Vanessa Chiasson W. Blake Gray

Tasters

Tony Aspler

Gurvinder Bhatia Michaela Morris

Michelle Bouffard

Tim Pawsey

Christopher Sealy Brie Dema

Donatella Dicca Christine Sismondo Robin LeBlanc

Creative Director Alex Chan

Creative by Studio Reface

Quench, Food and Drink Magazine (founded in 1972), is a registered trademark of Vinomania Consulting Inc. It is published 2 times a year (Fall/Winter; Spring/ Summer).

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Every once in a while, you taste a spirit so great it makes you feel a little bit sorry for all the other spirits.

Equiano rum is one of those. And it’s not only that the liquid is spot-on, it’s also that the entire project is brilliant. Equiano is a thought ful contribution to the “decolonization” of spir its that manages to put slavery at the centre of the rum story, celebrate African-Caribbean her itage and culture and, at the same time, raise money for contemporary anti-slavery efforts.

Co-founded by Aaisha Dadral and Ian Bur rell in 2020, Equiano is the world’s first Afri can-Caribbean rum, a reference to both slave routes and Burrell’s Afro-Caribbean heritage, which has made this a deeply personal project.

“I was born into rum,” says Burrell, who, in 2007, founded RumFest, which is held annu ally in the United Kingdom. “My parents are Jamaican, so I had my first sip of rum when I was about four days old. It’s always been a part of my blood, my DNA, my culture.”

“But one thing that was never taught to us was that the Africans who were enslaved built the rum industry, but never profited from it directly.”

Although things are slowly changing, rum companies have mostly glossed over the role slavery played in the history of the industry. Burrell and Dadral decided to correct this omission by creating a trans-Atlantic rum that’s blended with spirit from both Mauritius and Barbados. It’s named after Olaudah Equi ano, a pioneering abolitionist, political activist and memoirist who bought his way out of slav ery in the United States by selling, among other things, rum.

“When we decided to create Equiano, it was to tell that story,” Burrell explains, “But not so much the troubles and strife about what it was like to be an enslaved African. It’s more about the celebration of accomplishment, of

empowerment, and of perseverance. A lot of great things came out from the darkness of the enslavement of Africans and the rum industry is one of those things.”

The project also manages not to feed into the rhetoric that frames slavery as a thing of the past. The Equiano Foundation supports ef forts to abolish modern slavery with a donation of a share of all profits to Anti-Slavery Inter national (ASI)—one of the oldest anti-slavery organizations in the world. ASI’s roots can be traced back to an 18th century group that was aligned with Olaudah Equiano, himself.

“I’ve got to a stage now where I’m starting to think about how we can leave our footprint,” says Burrell. “One of the reasons we created Equiano was to be able to raise money and cre ate a foundation to elevate.”

EQUIANO DAIQUIRI

Burrell says he loves to drink Equiano “Light” (a reference to the colour, which has a light golden hue) in a simple Dai quiri. The other expression is Original, a dark aged rum. Tasting notes for both can be found in this issue of Quench Magazine’s The Buying Guide.

2 oz Equiano Light

1 oz fresh lime juice

½ oz agave nectar (not syrup)

Orange or grapefruit twist

METHOD: Shake rum, juice and nectar well, over ice, for 30 seconds. Strain into coupe and garnish with a citrus twist.

Christine Sismondo, PhD, is an historian and the author of America Walks into a Bar: A Spirited History of Taverns and Saloons, Speakeasies and Grog Shops; Mondo Cocktail: A Shaken and Stirred History; and, most recently, Canadian Spirits: The Essential Cross-Country Guide to Distilleries, Their Spirits and Where to Imbibe Them (with Stephen Beaumont). Sismondo also acts as Canada’s Academy Chair for The World’s Best 50 Bars and as a judge for the World Gin Awards. Christine lives in Toronto and is working on a new book about cocktails and art. Her cocktail of choice is a Pisco Sour.

Photo credit: supplied

Ian Burrell and Aaisha Dadral

BE DEDICATED

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The Cult & Culture of

Bottega del Vino

By Alessandra Piubello

Photo credit: Bottega del Vino

We take the liberty, entrusting in Shakespeare’s approval, of modifying the famous phrase from Romeo and Juliet. Tourists the world over see Juliet and her statue as the symbol of Verona, just as Verona’s Bottega del Vino is the Olympus of wine lovers everywhere, a centuries-old bea con in the culture of good drinking.

Recognised as one of the oldest historical establishments in Italy by the Locali Storici d’Italia association, which promotes institu tions that have made history within Italy’s borders, the roots of this legendary Veronese venue dates back to the 15th century. It was then known as Osteria lo Scudo di Francia, since the upper floor housed the French consulate; the alley sporting the venue’s signboard still goes by that name.

Under the Austro-Hungarian Empire in the 1800s it became Osteria Biedermeier, an influence still visible in the decor, which has remained largely unchanged. The venue’s symbol, a typical Upper Bavarian hunchback hanging from the ceiling which used to indi cate the owner’s table, represents the cellar master with keys and a lighted lantern in hand. The current name was adopted in 1890 and has never changed in the 132 years since.

The Bottega del Vino’s history mirrors that of Italy. It has seen centuries go by, including two world wars, and yet it has always been there, dispensing wine and food in an atmo

sphere of conviviality, the fulcrum of Veronese social, cultural and artistic life. It has only ever closed twice for any length of time: once during the Second World War (it was bombed) and then during the Covid-19 pandemic.

Ownership has changed over the centuries. In 1890 it belonged to the Sterzi family, who handed the management down for genera tions. In 1957, the Rizzo family (from which stems Elia Rizzo, who went on to found Il Desco, a star-awarded restaurant) took over and later, Alda Grigolo and her daughter, the family’s fe male members, took charge. In 1986, Severino Barzan and Raffaelo Cedro acquired owner ship, with Giovanni Pascucci succeeding Cedro in the last ten years of management. Within two years, thanks to connoisseur Barzan’s in ternational contacts and wine expertise, the Bottega became the mecca of wine enthusiasts.

In 2010, due to disagreements between part ners, the venue was purchased by the “Famiglie Storiche” - an association that groups together longstanding Valpolicella wine producing families, such as Allegrini, Begali, Brigaldara, Guerrieri Rizzardi, Masi, Musella, Speri, Tedes chi, Tenuta Sant’Antonio, Tommasi, Torre D’Or ti, Venturini and Zenato. They were desirous to protect this temple of wine, this crossroads of Scaligeri intellectuals and illustrious person alities, instilling new energy into this Veronese wine institution.

“For centuries the Bottega del Vino has been spreading the culture of the nectar of Bacchus around Italy and the world,” says Sabrina Te deschi from the Tedeschi winery, president of the Famiglie Storiche establishment. “How ever, it is also a trendy place, highly popular among young people who can learn about wine

“There is no wine world outside the walls of Bottega del Vino, but only purgatory, torment, hell.”

Photo credit: Bottega del Vino

through the wide choice by the glass. Anyone who goes into the Bottega breathes in history, that deep bond with the blood of the earth, as well as enthusiasm, vitality, energy. During Vinitaly, the atmosphere is rampant, everyone wants to have that unique experience.”

The Bottega is, after all, a hit, and a must. Just walking by on the days and nights when the city is the capital of wine, is enough to re alise that. No one can really say they have been to Vinitaly if they haven’t “clocked in” here, and the cheerful, lively but well-behaved crowd that fills the pedestrian area and the entire street is a constant wave, from the first aperitif to the last glass at closing time.

“At the Bottega,” Tedeschi continues, “we are one big family, at home, welcomed with human warmth and infinite professionalism. Every little detail becomes magical, especially in the eyes of the young who are enthralled by the wine and the food, which has remained typical and traditionally Veronese. It is a blend of unique ingredients: location, people and wine from all over the world.”

“I well remember the summer of 2010,” says Marilisa Allegrini of Allegrini Estates, “when I read about the Bottega’s closure. I thought

that the Famiglie Storiche could take on the responsibility of preserving this fundamental institution for Verona, not to turn it into some where to sell our wines but to return it to the wine community. I immediately spoke with my brother Franco and Sandro Boscaini from Masi, who were enthusiastic. Soon all the Families’ members joined the mutual project. None of us have ever interfered with the management, the managers are totally free. We are proud to have kept a piece of our world’s history in Veronese hands and grateful to those who came before us for having built and preserved it over the years. Here you experience an unforgettable territorial identity of wine and food.”

Every year since 2004 the Bottega has re ceived the Wine Spectator’s Grand Award, an ac colade given to only five other establishments in Italy in 2021. This sanctum sanctorum of wine holds 4,300 labels, 20,000 bottles, with many impressive vintages. The wines come from about sixteen countries with all the bestknown regions and depth of vintages. The wine list is a bible and four sommeliers and a head sommelier serve with simplicity, concerned only with making the customer feel at ease.

A blackboard lists the wines of the day: 40

labels (60 during Vinitaly) plus 13 from the Family producers. The oldest label is a 1928 Ber tani Acinatico, although there are also Bertani Amarone ‘59, Château Lafite-Rothschild ‘51 and many more. Manager Luca Nicolis, who defines himself as an innkeeper, is attentive, friendly, able to catch the most discreet looks, identify desires and anticipate requests: in short, a fine hospitality interpreter.

“Veronese born and bred,” Nicolis confirms. “I used to come to the Bottega with my father when I was a child; I would get a soda, and he would have his glass of wine. It was the same for many of us and even our regular Bottega ‘oldies’ who, at 90, managed to stay until clos ing time. Because that’s what the Bottega is: the place of the Veronese. We are always here; we only close for Christmas Day dinner. I start ed here in 2014 after various experiences as a chef. Severino Barzan, the genius who built the Bottega legend, was my inspiration.”

“Maintaining the sumptuous wine cellar with unique vintages and constantly devel oping it has been a fundamental objective,” Nicolis continues. “We include new labels and pay attention to organic and natural wines. I have tried to create a solid community because the Bottega is made up of people who interact with the mystical and ancestral soul of this place. We don’t like formality; the Bottega is open to everyone without distinction, from the old chap who spends 10 euro on a glass to the guest who spends 15,000 euro on a bottle of Domaine Romanée Conti. What matters is that they feel good, that they enjoy a few easy hours amid cultural, spiritual and aesthetic

Photo credit: Gurvinder Bhatia

The party in the alley outside of Bottega del Vino during Vinitaly

beauty. And that they come back. In recent years the Families, who have given us absolute free rein, have been spreading the culture of wine through events involving national and international producers.”

Severino Barzan was the soul of the Botte ga for more than 25 years. The Revue de vin de France’s “Homme de l’année” in ‘98, the first Italian to be invited to the Hospice de Beaune auction, member of the Grand Jury Éuropéen, founder of the Bottega del Vino’s twin in New York (demolished in 2019 after he had already sold up), fine connoisseur and wine lover, careful selector of raw materials. With him, the Bottega’s wine list began to win its first interna tional awards.

“I was a Bottega customer,” Barzan recalls. “I thought it was a municipal, not private, establishment. For me it was a monument to Veronese life. When we acquired it, I respect ed its soul, welcomed the poets, the Veronese artists, the elderly who came to play cards, and I re-introduced typical Veronese cuisine. Many famous people passed through here, from the Queen of Holland to Pertini, our President of the Republic, from all the artists performing in the Arena, to great international wine per sonalities, but I never wanted to name drop. I treated them as normal customers. People came and sat at the table for five hours, choos ing various wines. I had an incredible wine list with various rarities and wines from all over the world. For me, wine has no nationality: it is either good or bad.”

“Every wine lover who comes to Verona, whether Italian or foreign, goes to the Bottega

del Vino,” says Stevie Kim, managing director of Vinitaly International. “It’s a given fact. And when Vinitaly is on, it becomes the centre of the wine world. There is vitality and joy, peo ple are out in the street opening bottles from Verona, Italy and abroad. Everyone goes there: big wine stars and small producers. Many for eigners come just to meet the producers, the atmosphere is one of conviviality and sharing. People just naturally meet up there, whether for an aperitif with a “cicchetto” (snack), a dinner or the last glass of the day. It is an easy international place.”

Kim continues. “The Bottega offers an admirable balance between maintaining tra dition and opening up to the world with wine. It is identified with the Veronese territory that acts as a bridge to world wine. We always come here for dinner with the staff of Wine Spectator, which organises OperaWine, as well as with my students from the Vinitaly International Academy. Young people love it and always want to come back.”

“The Bottega del Vino,” as wine journalist and writer, Robert Camuto ( South of Some where: Wine, Food and the Soul of Italy), who has lived in Verona for six years, reports, “is a very rare place that combines history and locality with a kind of cool co smopolitanism. I mean, you walk in and walls literally speak of another time when Verona was part of the Austrian empire. The first wood tables and stools are usually taken by locals taking their aperitivo or cicchetti (Venetian style tapas) or some simple trattoria dishes. It feels like a local hangout that has been here forever. Then you

look at the wine board or the thick list and you realize that this is also a temple of wine with one of the great lists in Europe that draws wine people from all over. But the wine is not only Valpolicella /Amarone to be sure. You can find anything open at the bar— from across Italy to Burgundy to the Mosel. Bubbles are part of a Northern Italian (and Veneto) tradition— wine lovers here really enjoy and drink champagne with far more gusto than I ever saw in my years in France!”

The Bottega del Vino represents the past, clearly imprinted in its walls and period furni ture; the present, made up of enthusiasts from all over the globe who come to enjoy the hos pitality of this magical place; and the future, enlivened by young people with their own life stories, who will continue in the wake of the profound connection between culture, wine and colourful humanity.

Alessandra Piubello, a journalist, writer, editor and expert wine-taster from Verona, has an innate passion for wine.

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

Photo credit: Bottega del vino

Bottega del Vino’s wine cellar

Hetty Lui McKinnon

An intimate conversation with the To Asia, With Love author.

By Aman Dosanj

As a confused third culture kid myself, the first time I read  To Asia, With Love: Everyday Asian Recipes and Stories from the Heart—the fourth cookbook from bestselling author Het ty Lui McKinnon—I was like, this is better than therapy!

It’s just one of those books where you come for the comforting recipes but stay for the de liciously relatable stories long after the dishes have been washed and neatly stacked away. So, hearing the latest book has earned the Austra lian-Chinese writer her first James Beard Foun dation nomination (in the vegetarian-forward cooking category) wasn’t all that surprising.

As children of immigrants know, navi gating through everyday life is hard (really, really hard). Burdened with writing your own sick notes for school while co-existing in two worlds, “It’s like we belong everywhere and no where all at once,” McKinnon says. “Growing up on the fringe of society, you feel like your ex perience is singular. We feel alone in our lone liness,” she shares. “But writing honestly about my childhood and my life has freed me. It has connected me with a whole global community of third culture kids who felt like they were alone [and] their experiences didn’t matter. It has given value and worth to our struggles. That is the power of writing.”

Now living in Brooklyn, New York, Chinese food makes McKinnon feel most at home. “It provides me with comfort, sparks my memory, keeps me grounded,” she says. Nostalgic yet new, To Asia, With Love is brimming with nonfussy, make-forever, time-saving recipes which

celebrate the endless possibilities of third cul ture cooking (a third interpretation of the two cultures). From the leftover rice jook (congee) and buttery miso noodles (with an Aussie-sized dollop of Vegemite) to life changing udon noo dles and soy sauce chocolate brownies, by em bracing the third culture, McKinnon can taste the legacy of her ancestors in her food. (Okay, I think it’s best we call it a cookbook-slash-mem oir-slash-self-help-book from now on.)

We spoke with her about cultural explora tions of identity through food, surrendering to vulnerability, a pilgrimage (that wasn’t) and why she continually pushes through her own discomfort to speak out against discrimination within the food industry.

LET’S TALK ABOUT YOUR CHILDHOOD. DO YOU HAVE A STANDOUT FOOD MEMORY?

Waking up on Lunar New Year to the smell of oil wafting from [the] kitchen. That smell meant it was going to be a good day of eating. My mother always made her ‘special food’: jian diu (fried sesame balls), gok zai (dumplings from our family’s native Zhongshan), si jay gao (steamed potato rice cakes), spring rolls, jook (congee) and lo han jai (Buddha’s feast). I loved the never-end ing feast.

TO ASIA, WITH LOVE IS YOUR FOURTH COOK BOOK, CAN YOU TELL ME ABOUT IT?

To Asia, With Love [reflects] my search to understand my identity since moving to the U.S. [in 2015]. But really, this has been a lifelong exploration. The things I have experienced in the past, the bias, the cultural confusion, [and] my internal struggles with being Chinese but also

Australian, these are things I could never really verbalize until I started to cook. Cooking gave me the language to understand all these dichot omies in my life—and finally helped me make peace with all these different sides of myself.

AND HOW DO YOUR OTHER BOOKS FIT INTO THIS JOURNEY?

I see all my books as an evolution of my story. Each book exactly encapsulates who I am—and [is] a reflection of my personal journey at a spe cific time. Community documents how I fell in love with sharing food; Neighbourhood [is about] surrendering to your surroundings and finding community wherever you live in the world; Fami ly is an exploration of how [the] food we eat stays with us forever. These books led to a cultural exploration of my identity in To Asia, With Love. Importantly, this exploration is not over.

WRITING IN GENERAL IS SUCH A VULNERA BLE ACT, HOW IS THAT PROCESS FOR YOU?

I do feel absolutely exposed in every single one of my books. Every time I hand in a manuscript, I feel like I have bared too much. I feel uncomfort able with the part of my soul that I have parted with, but that is a good thing. That discomfort means I have given everything I can to that book. It means I have written it with honesty, with truth. Vulnerability is something I encourage all writers to surrender to.

YOU WENT TO HONG KONG TO REDISCOVER YOUR CULTURAL ROOTS. WHAT DID YOU LEARN FROM THAT TRIP?

I went back to Hong Kong in 2018 for work, but I really did see the trip as a pilgrimage. I felt

Shirley Cai

like it was my ‘homecoming’; like I was going to find ‘my people’—to bask in my Asian-ness. In reality, my experience was the opposite. It was a similar feeling to the cultural confusion I felt growing up in Sydney (Australia). Even though I look Chinese, I felt like a phoney. I speak Cantonese, but I felt embarrassed to use it because I didn’t speak it well enough. It was a confusing trip which highlighted that people like me, third culture kids, are very hard to put in a box. Our experiences are so varied, so complex, and so layered, that it is hard for us to find that sense of home and belonging in one place.

I LOVE HOW YOU TALK ABOUT EMBRACING THE THIRD CULTURE. WHY DID YOU WANT TO GET THAT MESSAGE ACROSS?

Because it allows people like us to understand who we are—we are all a product of our families and our experiences. [The] feeling of rootlessness can be destabilising, but in food, we can harness it into something powerful and resonant. We can use this to challenge flavour conventions, challenge “authenticity,” [and] think about flavours and ingredients in a new way. And this is how food evolves.

SO, WHAT’S THE DIFFERENCE BETWEEN FUSION AND THIRD CULTURE COOKING?

Fusion is a maligned word in the food world because it was chefs bringing cuisines together for their own enjoyment, without [acknowledging and respecting] the people who created these dishes. Third culture cooking is based on experience, connection, and respect for [those who have] come before us.

WHY DO YOU REGULARLY SPEAK OUT ABOUT DISCRIMINATION IN THE FOOD INDUSTRY?

As my audience has grown, I am surprised to find myself in a position of influence. I never thought nor expected to hold any sway over what others think. But since I find myself here—and as a woman of colour who is raising children of colour—I think it is important that I speak out, that I support my community, that I am as honest as I can be about the inherent biases faced by food creators of colour.

I hope that what I share inspires others to think critically about themselves and how we can all learn and do better. Ultimately, I hope we can decolonize the food space, strip away the white gaze, and leave the industry a place that is a fair playing ground for all.

SPEAKING OF THE FUTURE OF FOOD, WHAT ARE YOUR HOPES?

The future of food should be an inclusive space which respects where food comes from, [that] celebrates small stories. [It] should be a space that stops valuing whiteness over all else, a place that works harder to understand the experiences of people from all backgrounds, a space that says they value diverse stories [and] voices—and truly means it.

DO YOU HAVE ANY ADVICE FOR OTHERS LIVING BETWEEN CULTURES?

Embrace it all. Be inspired by all the sides of your identity. Harness this sometimes-chaotic energy into something new and uncharted

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

Scan the QR code for Hetty Lui McKinnon’s recipe for Steamed “ Water Egg” with Custard

Photo credit: Hetty Lui McKinnon

by: Hetty Lui McKinnon

CHUBBY CARRIER FAVE 5 with

When Chubby Carrier first started touring in ‘87 there were no zydeco clubs or festivals for him to play at.

“I had to get fitted into the blues circuit,” the singer, songwriter, and accordionist explains over the phone from his home in Louisiana. “Blues and zydeco are first cousins; you see what I’m saying? I was on the outside, but they introduced me into the circuit to see what would happen. Let me tell you friend, when I started playing, word got out, ‘when Chubby Carrier is playing nearby, make sure you book him.’ It’s a good time, or as we say ‘laissez le bon temps rouler!’”

The Lafayette-born Carrier may not be the first zydeco musician to have an impact on the wider world of music, but he’s certainly staked a claim, especially with a Grammy win in 2010 for his tenth release, Zydeco Junkie. He’s a constantly touring advocate for the appealingly syncopated genre, a simmering bouillabaisse of blues, rhythm and blues, and soul that originated amongst the Creole people in the Louisiana countryside. In his quest to spread the gospel of zydeco, Carrier has wandered far and wide; we asked the ebullient accordion master about a few of his favourite things.

FAVOURITE FOOD

My grandmother’s cooking. Let me tell you, when you’re at home and you eat your grandmother’s rice and gravy, the good gumbos and red beans and rice, you tend to miss those dishes when you’re not there. So when she passed away I tried to make those dishes and of course I didn’t make it as well as she did. That food is home. That’s Louisiana when you’re growing up as a kid. They never had any measuring cups. They never measured anything they cooked. They never measured how much salt and pepper and seasoning garlic they put in the pot. My grandmother would say ‘you can add, but you can’t take away.’

FAVOURITE PLACE TO PLAY

Man, you know, I can’t keep it to one. There’s a place in St. Louis called the Broadway Oyster Bar that I love, and one in Kansas City called Knuckleheads. But man, the Edmonton Blues Fest was one of the best places to play because they put me on their t-shirt. It was like I had made it, you know?

FAVOURITE SONG

Well, I mean there’s BB King and Bobby ‘Blue’ Bland, but yeah, (zydeco legend) Clifton Chenier was my idol. There’s a song of his that I can sing in French even though I don’t know French. (laughs) It’s called Tu Le Ton Son Ton. It means ‘every now and then.’ So he sings ‘tous les temps en temps, j’vais voir ma ‘tite femme,’ which is ‘every now and then I’m gonna see my little girl.’ That is absolutely one of my favourites. Clifton Chenier, wow.

FAVOURITE SPORTS TEAM

I’m a big football guy and my team is the Dallas Cowboys. Everybody says ‘you live in Louisiana, why Dallas? Why not the New Orleans Saints?’ I fell in love with the Cowboys in 1977 when I was watching them on TV. The Saints were terrible, just terrible, and they weren’t fun to watch because they always lost. The Cowboys? Man, I said to myself ‘this team is electrifying.’ They’re great and fun to watch. I kept watching them and eventually I became a fan.

FAVOURITE ACTIVITY

I love touring and taking zydeco music out of the state of Louisiana and introducing it to the world. My grandfather and my father introduced me to this music, and they only kept it locally. But music needs to be heard around the globe. I want to be able to take it around and show it to people who have never heard it. That’s one of my absolute favourite things to do, take our traditional culture and spread it around the world.

By Tom Murray

An Unexpected Eating Guide To North Goa

By Meher Varma

Colonized by the Portuguese till as recent ly as the 1960s, then a mecca for hippies from the Global North, this seaside state has long challenged the concreteness of geographic boundaries. Its openness – and some say easy permeability – is what gives it its unique, syn cretic culture. Any attempts to pigeonhole Goan things into categories like ‘East’ or ‘West’ fails. Hard.

Recently, Goa has become a favorite desti nation for domestic travelers, many of whom have found the good life of sea, sun, and suse gad tempting enough to make it a permanent home. While some locals say this wave of Indianization has changed Goa’s hippie-alter native vibe forever, others are grateful for the professionalization of industry it has brought in. In a place infamous for slow service, Swiggy and Zomato are just a click away.

I, like many urban, privileged Indians, spent a good part of the winter in a village in North Goa. Though ‘village’ is the technical term to

describe the land I resided in, it is misleading when you think that about twelve restaurants – including a Tapas bar, a traditional Tamil restaurant, a Mexican-Goan establishment, and an ironically trashy Chinese takeaway –were all in my neighborhood. Let’s just say I was never, ever hungry, nor at a loss of ideas for how to spend money.

What follows is an ‘Unexpected Eating Guide to Goa’ that intends to capture the deep cultural mix that characterizes, and has always characterized, the state. Unlike many hip guides that are dominated by fancy, one-sylla ble named restaurants, or places so local that we’d never find out about them without ‘going native,’ this is a healthy mix of both: the new and the old, the professional and urbanized.

ANTONIO 31 Fontainhas, Panjim

In the Latin quarter of Panjim, which many well-heeled travelers compare to Lisbon, are streets lined with small, curbside restaurants. A favorite amongst these is Antonio 31, which

is even more special for its tiny-ness. These days, it’s hard to score a place, and forget hav ing a conversation that you don’t want to be overheard.

Antonios does an amazing job of mixing Goan ingredients and flavors with gastronom ic trends. The butterfly pea flower gin infusion, crispy baitfish, and truffle mushroom rissois (a crumb fried Goan snack) are all very satisfying. Many frequenters are there just for the hay smoked mackerel, which has an umami they closely associated with the Old Panjim. The nostalgia is palpable, but not overbearing.

TAMIL TABLE Assagao

Traditional Tamil food, served in a gorgeously designed restaurant. Tamil Table mixes the traditional and contemporary in every way: many of the dishes will arrive on traditional banana leaves (which serve as plates), but your cocktails will pop with bright, instagrammable colors. You may find an edible butterfly in your Goan made gin.

no place like Goa.

Loyalists are used to the comparatively smaller plates that burst with flavor, while first timers may find the hearty cocktails to be more value for money. Either way, the duck pakoras, curry leaf prawns, coconut milk pulao, and au bergine curry are mouth-watering plates that can be enjoyed for lunch or dinner.

SEA VIEW

Dona Paula

A restaurant that you’d be hard pressed to find on any guide, Sea View is a bit of a forgotten se cret. I would have missed it if not for the Dona Paula local who took me there and promised that the lack of conventional good taste in aes thetics would be made up for by the wonderful seafood.

He was right. Sea View is proud of its dated ness, which justifies its authentic, old-school seafood. Here you’ll get butter garlic squid the way it’s supposed to be, rava fried mussels, and lepo (tongue sole) – also best in most tradition al rava (semolina) coating. For lovers of spices, the recheado masala is great on the squid: the kick you’ll sense is from the chef’s clever use of cinnamon.

FELIX BEACH

Morjim

Felix Beach takes inspiration from the classic Goan beach shack, but updates it to bring you every urban creature comfort you desire. This is one of the only places in North Goa where you can dip into the sea between tiki cocktails and negronis, have beach towels, clean show ers, and excellent internet all provided for you. The chefs source from the best seafood and grocery vendors across town. The thai-spiced clams, grilled lobster, and red snapper poke are most recommended.

HIDEAWAY

Vagator

A TripAdvisor reviewer calls Hideaway the ‘coolest local hangout,’ and I cannot disagree.

A relaxed pre-party spot, or ideal place for a chilled out dinner, Hideaway is low-key, friend ly, and manages to keep you happy without try ing too hard.

I fell in love with it as soon as the server con firmed how dirty I wanted my dirty martini, with just a hint of a smile. Hideaway is run by three gentlemen who began this venue to in dulge their equal love for food and music. They host talented artists from across India through the season, and it is not unusual to find their gig nights filled with people swaying to Afro beats, disco, and house.

Plates are made for sharing, so ordering for the table is recommended. The chorizo chili, coupled with mustard greens and some fiery chili, is excellent. The cocktail, ‘Nights in Trop icale’ is a liquid ode to Goa, and for that reason alone, must be sampled.

KOKNI CANTEEN

Panjim

Located in the heart of Panjim, Kokni Canteen is a family establishment that is serious about serving home cooked seafood, straight up. Ev erything here is uniquely ‘kokni’ (read: authen tic) and you’ll find no submission to hipster trends, or ‘cool’ ingredients, unless they belong in the original recipe. Transparency runs large: there is even a dynamic chalkboard on the wall that lists the variety of seafood available, with the price of the fish, per kilo.

While many come here for freshly cooked crab (a great idea), if you cannot decide be tween the wealth of seafood options, settle for the Bappa Thali. It comes with a crab and prawn curry, mussels and fried fish. Only fish in season are served. A cocktail called ‘Traffik Jaaam’, which is maybe a witty comment on a changing Goa, is a refreshing accompaniment to just about anything.

Photo credit: Venkata Ram

On the table at Sappadu

SAPPADU

Assagao

Located on a quiet lane in one of Goa’s fanciest neighborhoods, Sappadu, is perhaps the per fect example of how traditional food can be rel evant and exciting to an urban, cosmopolitan demographic without giving into larger, food ‘scene-y’ pressures.

The establishment is bright and minimal, and resembles a tasteful South Indian home. From the entrance (where you are asked to leave your shoes), you can peek far into the tradition al kitchen where a highly organized, familial system of cooking and serving is discernible.

There’s nothing like the traditional Sunday lunch if you can make it for one, but if not, the set meals on any weekday are splendid and reasonable. While the menu changes weekly, there are some constants, like the rasam –flavored with seasonal fruits – sambhar, and spiced potatoes. The okra poriyal and ragi dosas are glowingly fresh and lightly cooked. Whatever it is you order, you must finish with one of their beautifully wrapped paans. The restaurant is 100% vegetarian and alcohol is not served.

7 SHORT 1 LONG

Moira

If someone in Goa personifies the phrase “the hostess with the mostest” it is Belinda, the owner and hands-on-chef of 7 Short 1 Long. Warm, friendly, and unforgettable, a testament to her distinct character are the online reviews, which focus on customer conversations with her almost as much as the food.

The fare at 7 Short 1 Long can be described as Goan-contemporary, but has a hardcore homemade vibe. The Cajun calamari with ai oli for example, made with fresh-from-the-sea squid is delectable, as is her take on Thai prawn curry. She’s also somewhat of a tongue chili magician and can get nervous diners to try this Goan classic with the gentlest of nudges.

TEJA Anjuna

Once upon a time, Goans in the same neigh borhood could get into feuds about which fish thali establishment was better, and their arguments would be strong and nuanced. Now, thanks to the cafe-ification of Goa, it’s not so easy to find a thali place you can call your ride or die.

Teja in Anjuna is a rare thali place many Go ans would still get into fights for. Despite its lo cation in the heart of touristy, chaotic Anjuna, it has retained its authentic Goan charm. It’s the kind of place where the ladies cooking in the back still have time to talk to you, and strik ing up a conversation with the people seated at the next table is not unusual.

All their thalis are amazing, but the kingfish is a favorite. When in season, the pomfret tha li is also a winner. Please order with a side of clams.

AGNELO BAKERY

Siolim

You’d be forgiven for missing this little bakery, right next to Siolim Market. But for those in the know, breakfast in sleepy Siolim is one of Goa’s most pleasurable experiences, thanks mostly to its local, family run bakeries.

Agnelo bakery serves village famous beef croquettes. As locals know, the earlier you get there, the better, as freshness waits for no one. Sannas – authentic Goan breads made from coconut – are also recommended for anyone who likes something a little savory with their morning news.

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

Photo credit: supplied

Vietnamese noodle salad at Felix Beach

Bonarda in Argentina GRAPE PROFILE:

By W. Blake Gray

Argentina is a wine-drinking country.

In 2020, it ranked seventh in the world in wine consumption per capita at 27.6 liters: more than Germany or Spain, and twice as much as Canada. Argentina is also a country where the economy is like a series of earthquakes and tidal waves. Sometimes it’s wealthy; sometimes there’s hyperinflation. Through it all, people need wine, whether or not they have a lot of money to spend on it.

That’s where Bonarda comes in. Bonarda was the most-planted variety in Argentina until about 20 years ago, when Malbec passed it. Growers like it because it produces large crops. Drinkers like it because it makes fresh, fruit-driven, soft-tannin red wine: perfect for quaffing when you quaff a lot. Malbec, which is harder to grow and more tannic, is for serious occasions; Bonarda is for every day. That’s the stereotype.

But often Bonarda and Malbec were blended together, because they’re a perfect couple. If Malbec is Argentina’s Cabernet Sauvignon, Bonarda is its Merlot. I realize that doesn’t sound like a selling point, but many of the world’s most-loved red blends are based on Merlot. Bonarda also has that approachable, easy-todrink fruitiness.

“I also like that there’s a spiciness, but it’s a little bit more fruity than Malbec,” said Laura Catena, managing director of Catena Zapata

winery. “And it’s a bit lighter: it’s not as rich as Malbec. It has a kind of sweet-and-sour taste that makes it refreshing. My father always says that when his grandfather, when they used to meet together, they would have a bottle of Malbec for my grandfather and a bottle of Bonarda for my great-grandfather.”

Many wine drinkers are not familiar with Bonarda mainly because so little of it leaves Argentina. Importers want the serious Malbec, not it’s gentler sidekick. Catena said it’s easy for her to impress wine buyers in Europe with Bonarda - it’s just so likable - but harder to get that second order because nobody outside Argentina has heard of it.

Bonarda also has an interesting history. Argentina has strong ties to Italy and growers years ago thought it was the same grape as Italian Bonarda. There are at least six grapes called Bonarda in Italy; the best-known is grown in Piedmont and is sometimes used in a blend to soften the tannins of Nebbiolo. Sounds like the same thing, right?

But Argentine Bonarda isn’t actually from Italy at all. Genetic testing showed that it is actually from the Savoie region of France, where it goes by the name Douce Noire. It’s almost extinct in France, with just five acres of it left in 2007. There’s more of it in Napa Valley, where it goes by the name Charbono; California has 80

acres. Argentina has more than 40,000 acres of it, so it’s easily the grape’s home base now.

Not being taken seriously as a grape is a vicious cycle: we see this with Carmenere in Chile. While Bonarda has the ability to create large crops, it’s still better to limit them for wine quality. Bonarda usually doesn’t get the attention in the winery that Malbec does, for better and worse: this is not a grape that benefits from a heavy oak treatment. But Bonarda is more forgiving than Carmenere; you can grow it in a less-favorable spot in the vineyard and crop the heck out of it and still get a quaffable wine. You just may not get something special.

The worst part of the cycle is in planting. In the 1960s and ‘70s, when Argentina was in a high-inflation cycle, growers ripped out Malbec to plant more Bonarda. But now it’s the opposite.

“A lot of the vineyards of Bonarda are really old vineyards,” Catena told Quench. “But the reason they’re old is that people are not replanting Bonarda. Whenever they replant, they replant with Malbec. (At our winery), we’re preserving different vines of Malbec. We’re doing the same with Bonarda. We’re really scared the genetic diversity of Bonarda is going to disappear.”

That would be a shame, because a big selling point for Bonarda is that it’s much more

heat-tolerant than Malbec, or indeed than any Bordeaux variety. In California, that means it was planted in Calistoga, in the warmest part of Napa Valley. In Argentina, that means that while Malbec is planted in increasingly high er-elevation parts of Uco Valley to get cooler temperatures, Bonarda flourishes in lower altitudes under the hot sun. As global warming inexorably advances, that could be increasing ly important.

“Bonarda thrives in real dry weather, and high temperature, around 40 Celsius,” said Ale jandro Vigil, president of Wines of Argentina and winemaking director at Catena Zapata. “It grows well in pergola. It needs much sunlight on the leaves.”

Vigil makes single-vineyard Bonardas for his own winemaking project, El Enemigo, some from 100-year-old own-rooted vines.

“I remember my first time with a grower who worked in the vineyard; the vines were old and he was about 80 years old,” Vigil said. “He was interested in Bonarda but the young er workers weren’t. For Argentina, the people say Bonarda is cheap wine. The last five years, there are more higher end wines. We have great potential for this, especially in the east part of Mendoza.”

I have been a believer in Bonarda for a while because I like a quaffable red, and it’s slyly more interesting the more you drink it. In 2016 I spent a month in Argentina, and in a tasting-menu restaurant I had a carbonic-mac eration Bonarda from a brand called Revolu cionara that I shudder to bring up because I couldn’t find it in any wine shops in Buenos Aires, much less Calgary. But it was lovely like a cru Beaujolais: light in body but with great texture and complexity. That was my favorite wine from the whole month.

It’s not the only Bonarda to remind me of Beaujolais. I experienced something like it again with Catena’s natural-wine version of Bonarda, La Marchigiana, which is fermented and aged in clay amphora. It’s juicy, fresh and lively, with a bottom note of concrete mineral ity. It’s easy to drink yet gets more interesting as you go along, and the good news is this one you can buy in Canada and the USA. (Catena describes its label, the same as the one used by her great-grandfather in the early 1900s, as “a little bit art deco slash Mussolini.”)

“When I told my dad, ‘We’re going to make wine without sulfites in amphora,’ he said, ‘You’re not inventing anything. That’s how my grandfather made wine,” Catena said. “What I have found when I did my natural wine tast ings is that there are some really good wines and some really bad wines. When we decided to make a natural wine, we decided to try 10 varieties that we like. Bonarda really shined. I don’t know if that was a result of the alcohol and the pH and enough tannin so that you don’t have any weird problems.”

Conventional Bonarda is just as agreeable (and safer). I’ll steal this line from one of my tasting notes for this story: A wine like this is easy for anyone who likes red wine to like.

Altos Los Hormigos Colonia “Las Liebres” Mendoza Bonarda 2020 13.5%

Made with organic grapes. A very dark purple color, this wine is juicy, fresh and a little savory. It’s a simple wine that isn’t ambitious, but is quaffable.

Dandelion Mendoza Bonarda 2020 13% (organic and Fair Trade certified)

This wine reminds me of what people want to make when they make wine at home: juicy and fruity, with black berry fruit and a bit of tannin on the finish. Not a wine for contemplation; I can imagine somebody’s grandfather slowly downing a bottle of this on the porch in the afternoon while chatting with the neighbors.

El Enemigo “El Barranco” Mendoza Bonarda 2017 13.5%

Winemaker Alejandro Vigil wants people to notice the impact of terroir on Bonarda, and it works with his single-vineyard series. This wine has a sweet-and-sour aroma characteristic of some Bonardas; it smells like dark berries but also with a sour cherry note. On the palate it’s juicy, low tannin, easy-drinking dark berry fruit with a slight sweet-and-sour note. The acidity is not pronounced but plays up on the finish.

El Enemigo “La Esperanza” Mendoza Bonarda 2017 13.5%

What a difference a vineyard makes. This wine delivers juicy dark fruit and a light-medium body with just a bit of tannin on the finish. There’s also a noticeable line of minerality. The finish is fairly short, but invites another sip.

Nicolas Catena “La Marchigiana” “Vino Natural Ancestral” Bonarda 2020 13%

Made in an amphora with no added sulfites, this is what you hope for from a natural wine (and don’t always get). There’s an exuberance to this: juicy red plum on the nose with a distinctive note of concrete minerality. It’s well balanced and more complex than it first appears. I don’t always sample the same open bottle the next day, but this one I did and it stayed fresh, pure and delightful.

Zuccardi “Emma” Valle de Uco Mendoza Bonarda 2018 13.5%

W. Blake Gray is US editor for Wine-Searcher, the world’s most-visited wine website. He has written about wine for many publications including the San Francisco Chronicle and Los Angeles Times. In 2013 he won the Roederer Award for best online wine writer in the world. During the pandemic, Blake rediscovered his childhood love of cheeseburgers, but his death-row meal is steamed crabs. His cocktail of choice is a Manhattan. Blake lives in San Francisco.

A lively wine with plenty of freshness and dark plum fruit. While you could find more complex wines, this is the kind of wine that pretty much anyone who likes red wines would find a reason to like.

Photo credit: supplied by Catena Zapata

Laura Catena, managing director of Catena Zapata

Gamay in Ontario

By Janet Dorozynski

By W. Blake Gray

Earlier this year I tasted through Thomas Bachelder’s latest offerings of Ontario Gamay - seven single varietal Gamay, and a passe-toutgrain-style from the 2020 vintage.

The number of Gamay made by one winery struck me. When I started looking around and saw that Malivoire was making an equally im pressive seven single varietal Gamay, and 13th Street was making four, including a traditional method sparkling Gamay, I was intrigued to investigate further the current Gamay state of mind in Ontario.

While Bachelder admits it has become more difficult to get all the Pinot Noir he would like,

his interest in Gamay pre-dates the recent re leases. He remembers sourcing Chardonnay in the southern Mâconnais to ferment in Nuits St. Georges for his Bachelder Burgundy project, while his northern Burgundian colleagues were sourcing Côte de Brouilly and southern Mâconnais Gamay to vinify in the Côte de Nu its. Bachelder wondered at the time why he was not doing this in Niagara, since, like Burgundy, there was not enough Pinot Noir planted in Ontario to satisfy demand. He is doing just that now, and as “a pilgrim on the road to Gamay,” believes that “Gamay Noir is immediately un derstandable and forever unknowable”.

THE HISTORY OF GAMAY IN ONTARIO

Gamay has an important place in Ontario’s wine and viticulture history, and a longstand ing commitment to the variety by wineries like Inniskillin, Cave Spring and Château des Charmes. It was one of the earlier planted vi nifera, with records of commercial plantings dating back to the early 1970s. Karl Kaiser and Donald Ziraldo were early supporters of the variety, and their first Liquor Control Board of Ontario (LCBO) order in 1975, after Inniskillin was granted the first winery licence in 1974, was for 500 gallons of Gamay Noir. Then, as now, Gamay is well suited to Ontario’s climate and growing season - short, warm to hot, fairly humid, and followed by cold winters. Gamay is cold hardy, even more so than its Burgundian cousins Chardonnay and Pinot Noir, the latter of which is later ripening, lower yielding and overall quite finicky.

Ontario even has its own clone of Gamay, “droit,” which was discovered at Château des Charmes in the early 1980s and propagated at the winery vineyard ever since. Owner Paul Bosc Sr. discovered the clone after seeing certain Gamay vines that grew straight up (“droit”) and taller than the rest of the vineyard. The wines they produced were more complex, and after genetic testing, a specific and unique

Janet Dorozynski coined the hashtag #gogamaygo in 2012 as a rallying cry for Gamay in Canada and globally. After tasting several dozen Gamay from Ontario, she remains bullish about its future in the region.

clone of Gamay was identified. Château des Charmes was granted International Plant Breeders’ Rights and is the only producer that can grow the Gamay Noir “Droit” clone.

Other early adopters of Gamay are 13th Street and Malivoire. I have very fond memories of tasting earlier vintages of the 13th Sandstone Gamay and being impressed by the depth, beauty, and Cru Beaujolais-like quality of these wines that were like nothing I had tasted before in Ontario. Malivoire, first planted Ga may in 1998 to make rosé, but little did they or anyone else know that the guiding hand, first of Ann Sperling and now Shiraz Mottiar, would take Gamay to the heights of transcendence on the Beamsville Bench. GM Stephen Gash says it’s important that each of their seven Gamays are individual and “that each bottle offers a dis tinct voice while being varietally true and true to site(s) and intention.” They currently have 23 acres planted of Gamay with the variety being the key focus of any future red plantings.

GAMAY IN ONTARIO: “IT'S TOUGH” AND “IT GROWS”

Ontario has the most vineyard space devoted to Gamay outside of Beaujolais and then Swit zerland. While exact acreage is impossible to come by for Ontario, latest data from the On tario Wine Appellation Authority shows that

thirty-nine wineries made 68 single varietal Gamay wines in 2022, compared to 20 winer ies and 26 wines in 2011. Production of single varietal Gamay has increased from 177,618 to 238,190 litres between 2011 and 2022, with a high of 427,518 litres in 2021. The total produc tion of Gamay used in all VQA wines in Ontario has almost doubled between 2011 and 2022, climbing from 443,818 to 784,940 litres. Long story short, while the number of wineries and production of Gamay has increased, a signifi cant volume of Gamay finds its way into blend ed rather than single varietal wines. In terms of Ontario VQA production, Gamay represents 3% of the total volume, while Cabernet Franc and Merlot are at 11% and Pinot Noir at 6%.

Most Ontario Gamay is grown in Niagara, with a smattering in Lake Erie North Shore and Prince Edward County. Colio Estates and Pelee Island have been making Gamay in Lake Erie North Shore since the 1990s. There are also re spectable examples of Gamay in Prince Edward County from Casa-Dea, earlier vintages from the Grange, and from newcomer Broken Stone, who make an oaked and unoaked Gamay from County fruit.

Gamay ripens early and consistently, which makes it well suited to Ontario’s shorter grow ing season. The vine is also vigorous and tends to over produce (and is more susceptible to

powdery mildew than other Burgundy variet ies) which according to Harald Thiel, propri etor of Hidden Bench, “needs thinning to yield quality.” Hidden Bench planted Gamay in 2016 and Thiel believes that depending on the style, Gamay can be “an easy drinking red that pro vides good value to consumers” or a “serious Cru style cellar worthy wine.” He considers that Gamay, like Cabernet Franc, has potential for a “cost effective red wine alternative” since the “viticulture costs/quality ratio is more effective.” That said, Thiel and Hidden Bench remain very committed to Pinot Noir as their primary red grape.

In addition to early and consistent ripening, the variety is very cold hardy. Tom Pennachetti of Cave Spring Cellars, who first planted five acres of Gamay on the Beamsville Bench in 1984, describes Gamay as “in a word, it grows.”

Jim Wilwerth, assistant professor of Biological Sciences and researcher at Brock University’s Cool Climate Oenology and Viticulture Insti tute (CCOVI), concurs. Wilwerth notes that CCOVI has “tested many cultivars in Ontario, from core ones to very uncommon, and Gamay is one of the hardiest vinifera” and that it’s “one of the most resilient cultivars we grow –it’s tough.” Grape grower Craig Wismer also attests to the cold hardiness of the variety. He explains that while there was a fair amount

Photo credit: supplied by Malivoire

Winemaker Shiraz Mottiar and Martin Malivoire of Malivoire

of dormant bud and vine damage in winter 2021/2022 across the 300 plus sites that the Wismer family farms for themselves and oth ers, “Gamay Noir came through as the hardi est…. especially on the Vineland Bench where we had a 95+ survival rate in the Wismer-Fox croft vineyard.”

MAKING AND TASTING ONTARIO GAMAY

Many Ontario producers vinify Gamay like Pi not Noir: destemmed, cold soaked and regular punch downs during fermentation. There are a growing number using semi-carbonic mac eration, with percentages of whole clusters varying from five to 100%. Many use stainless steel and neutral barrels, while some employ concrete fermenters. Oak treatment also var ies, with some producers unfortunately still using too much new oak that smothers the bright fruit and flavours of the variety.

Though difficult to generalize, I think Ontario wineries are getting a handle on the vineyards and sub-appellations where Gamay does well. We see great and diverse examples from Lincoln Lakeshore, Vinemount Ridge, Four Mile Creek and the Beamsville and Twen ty Mile Benches. After tasting dozens of Gamay my takeaway is that Gamay from the flatter, hotter Niagara-on-the-Lake sub-appellations

tend to be more perfumed with juicy acidity and red fruit, while Bench Gamay leans to darker fruit, firmer acidity and tannins with less floral and spice notes.

GAMAY CRYSTAL BALL GAZING

I remember a discussion ten plus years ago with a Niagara winery who pulled out their Ga may vines because they found it too difficult to sell, only to replant it again. I think one of the reasons why Gamay has been a hard sell in On tario is because consumers do not have a clear idea of what the variety is, or if they do, have an association with Beaujolais Nouveau, which has done little to pique consumer interest, nor highlight Gamay as a quality variety.

The tide, however, seems to be turning and not just because Cru Beaujolais is having a moment. Cave Spring’s Pennachetti believes the tannin and acid structure of Gamay makes for “a succulent style of wine that meets the demand among younger restaurant buyers and consumers,” and the bold, complex flavour profile matches “beautifully with contempo rary food trends incorporating South Ameri can, Middle Eastern and South Asian dishes.”

When I asked Pennachetti about his outlook for Gamay in Ontario, his response was un equivocal: “actions speak louder than words…. over the past dozen years we have more than

doubled our plantings of Gamay.” Cave Spring has plans to return to making their estate Ga may again, and will release their first tradition al method rosé brut made from 100% Gamay.

I remain bullish about the future of Gamay in Ontario. While Pinot Noir and Cabernet Franc do well, Gamay is an undeniably worthy variety that offers good value - most are priced between $15 and $30 - spanning the gamut from bright and light to concentrated and complex, with just enough seriousness to keep them interesting.

Photo credit: supplied by Malivoire

Photo credit: supplied by Cave Spring Cellars

Courtney Gamay vines at Malivoire

Len Pennachetti, president & co-founder of Cave Spring Cellars

Bachelder ‘Bai Xu Single Vineyard’ Gamay Noir 2020, VQA Four Mile Creek

One of Bachelder’s seven Gamay and the most compelling in my opinion. From the Bai Xu vineyard planted in 1981, the combination of old vines and 32% whole cluster bolster and benefit this complex and intense wine. Vivid perfumed aromas and flavours of black raspberries and dark cherries with a savoury mid-palate. Aged in neutral oak barrels. Medium bodied with rounded tannins and a salivation provoking acidity. Very long dark berry finish. 13% abv.

Brokenstone ‘Unoaked’ Gamay Noir 2021, VQA Prince Edward County

Intensely fragrant nose of raspberries and cream and cinnamon spice toast. The palate displays slightly more tart fruit, think cranber ry and sour cherries that are equally pleasing. Medium bodied with juicy acidity and silky smooth tannins. Very long red berry compote finish and oh-so-charming. Long live County Gamay. 12% abv.

Château des Charmes Gamay Noir 2019, VQA Niagara-on-the-Lake

One of Niagara’s OG Gamay producers with vineyards dating back to the late 1970s. This unoaked Gamay made from estate-grown fruit is a consistently good and good value wine and this vintage might be the best to date. Spice and sour cherry and cranberry aromas and flavours with delicate fine tannins and crisp juicy acidity. Medium long finish. Château des Charmes also makes a Gamay “droit” worth checking out as well. 12.5% abv.

Flatrock Cellars ‘Explore Project No. 9’ Gamay 2019, VQA Niagara Peninsula

This is Flatrock’s first foray into the Gamay grape and an impressive effort at that! Medium intense nose and palate of cherries, cranber ries and some cinnamon spice. Dry, with juicy acidity and slightly chalky tannins. The lighter side of medium bodied with a long, dried cherry finish. 11.5% abv.

Hidden Bench Gamay ‘Unfiltered’ 2020, VQA Lincoln Lakeshore

A polished juicy Gamay with intense red berry fruit aromas and flavours along with a hint of spice and savouriness. Medium bodied and well structured with rounded tannins. Good concentration and length. 12.5% abv.

Leaning Post Gamay 2019, VQA Twenty Mile Bench

Dark cherry and blackberries on the nose and palate with a lovely savoury spice character with floral notes. Dry and medium bodied with good concentration and structure. The dark and red berry finish is long and succulent. 12% abv.

Malivoire ‘Le Coeur’ Gamay 2021, VQA Beamsville Bench

Malivoire first planted Gamay in 1998 with the intention to make rosé. Fast forward several decades and they have become Niagara’s and Ontario’s flagbearer for delectable Gamay. The “Coeur” is 100% whole cluster made using semi carbonic maceration, which yields a com plex yet fresh red with silky ripe tannins and juicy acidity. A bushel of red and black berries and fruits mingle with spice and tea notes on the palate and long finish. 12.5% abv.

Southbrook ‘Whimsy Clone 358’ Gamay 2020, VQA Vinemount Ridge

From the Vinemount vineyard of wine growing wizard Heather Laundry, this fresh and juicy medium-bodied Gamay radiates intense red berries and spice on the nose and palate. Delicate powdery tannins with very good con centration. One-third whole cluster. A long and pleasing finish of red and black berries with dried herb notes. Certified organic. 13% abv.

Stratus Gamay 2020, VQA Niagara-onthe-Lake

For fans of bigger, bolder styles of Gamay. Blackberry, spice and mocha notes on a fuller medium bodied frame. Dry and concentrated, the acid is slightly tart and there is a fair bit of tannin, which is ripe and will no doubt resolve in time. I would age this for several years or decant it if you plan on drinking it now. 13.8% abv.

Tawse ‘Cherry Avenue Vineyard’ Gamay Noir 2019, VQA Twenty Mile Bench

From Tawse’s first estate planting of Gamay dating back to 2014. Quite a silky and textured wine with red and black cherry aromas and flavours with hints of tea and spice. Medium bodied with rounded tannins and juicy acid. Long spicy ripe cherry finish. Aged 20% in new oak. 11.5% abv

13th Street Gamay 2020, VQA Niagara Peninsula

13th Street makes three varietal Gamay as well as a vin gris and traditional method sparkling from Gamay. This is their unoaked version, which has a purity of red and black cherry fruit and I find to be their best. Medium bodied with lively acidity and soft tannins. The palate is juicy with good concentration and a medium long finish. 13% abv.

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

Photo credit: supplied by Malivoire

Malivoire’s Wismer Foxcroft Vineyard

The New Lazio

By Michaela Morris

Indeed, few of the millions of tourists who breeze into Rome likely realize that they are in the region of Lazio. Nor do they go there for the wine. I am guilty of this myself and admit that it took several visits to Rome before I stayed to explore Lazio’s vineyards.

I remember my first trip to Rome - for several reasons. After dragging around an overweight rolling suitcase with broken wheels in the heat of summer, I was pacified by dinner in a neighbourhood osteria that I had spied from my hotel. The deliciously homey food was per fect with the equally rustic, brassy-hued white served by the carafe. When I asked about the wine, the owner simply replied, “it’s local.”

As much as I enjoyed the vino in that mo ment, it played to the stereotype I had about Lazio: unsophisticated wines best consumed in situ.

This isn’t a reflection of the region itself. Lazio boasts sunshine aplenty, appropriately hilly terrain, volcanic soils and a roster of unique grapes. Rather, it speaks to the prevail ing ‘quantity over quality’ philosophy of the last century. To slake the thirst of the masses, much of Lazio turned its back on its own native varieties in favour of more reliable and produc tive ones. The region was - and still is - awash with homogenous, high yielding whites from the dress circle of towns to the south of Rome. “We made mistakes. It was too easy to sell to Rome,” declares Francesco de Sanctis. He is the winemaker at his family’s estate in Frascati, a once admired denomination that has fallen from grace.

“The rise of Malvasia Bianca di Candia and Trebbiano Toscano in the ‘70s was the demise of the zone,” says oenologist Lorenzo Costanti

Photo credit:

Michaela Morris

“People don’t know where Lazio is,” laments Paolo Carpineti.

ni at the nearby Villa Simone. Nevertheless, he maintains that since changes to denomination regulations last decade capped Trebbiano Tos cano to 30% of the blend, plantings have been curbed. Costantini leaves it out of his Frascati Superiore altogether. Instead, he blends the dependable Malvasia Bianca di Candia and the higher quality Lazio native Malvasia del Lazio (aka Malvasia Puntinata) with the characterful Grechetto grape.

De Sanctis’ dueling Frascati Superiore demonstrates a clear distinction between the two Malvasias. Made with 55-year-old pergola plantings of Malvasia Bianca di Candia, the estate’s ‘496 Bio’ label is a fresh aperitivo-style white with lovely citrus and almond. But the ‘Abelos,’ which sees 80% Malvasia del Lazio and 20% of zesty Bombino Bianco, is a fleshy, creamy mouthful nuanced by sage and berga mot. It has the stuffing to stand up to local fare like Cacio e Pepe or Bucatini all’Amatriciana and can even be tucked away for a couple of years.

Rising above a tarnished reputation is an uphill battle, but Lazio has far more to offer than its most infamous wine. Quality-minded producers are aiming to make a name for the region by championing its most capable native grapes, particularly Cesanese and Bellone - red and white respectively.

The Casale del Giglio estate is in the Agro Pontino Valley. Just 10 kms from the sea, the area was recovered from marshland in the ‘30s. When Dino Santarelli purchased the property in 1968, he originally cultivated it for bulk

wine. In 1985, Antonio joined his father and the two launched a research project, planting and eventually micro-vinifying 57 different varieties. Initial success was with international grapes like Syrah, Petit Verdot and Sauvignon Blanc. However, Antonio is determined to achieve the same for native Lazio grapes.

“Cesanese wasn’t successful in the 1985 experiments as the area is too hot and flat,” Santarelli explains. He sought out growers inland at loftier altitudes who he continues to work with today. He has shared findings of his research and many of those growers now bottle their own wines as well – rather than simply filling the jugs of Rome’s trattorias.

To quote Nicolas Belfrage from his Brunello to Zibibbo book, Cesanese has been “produced since time immemorial” in the hills east of Rome. Attention: in typical Italian fashion, there are actually two officially registered, dis tinct Cesanese grapes - Cesanese Comune and Cesanese d’Affile. The former is more widely diffused in Lazio and found in the DOC of Ce sanese di Olevano Romano.

To the east and upwards from there, the sub-alpine DOC of Cesanese d’Affile takes its name from the main town – Affile – as well as the grape. “Cesanese d’Affile produces very lit tle,” says Walter Formiconi at one of just three estates in the zone. “It also has lots of tannins because the berries are smaller than (Cesanese) Comune.” Walter describes the area as once covered in vines. Today the denomination counts a mere eight hectares.

The Cesanese d’Affile grape is also associ ated with the DOCG of Cesanese del Piglio in the red volcanic hills south of Affile. As with the latter, viticulture was largely abandoned in the ‘70s. Paolo Perinelli at the excellent Casale della Ioria estate was among the pioneers of its renaissance. When the 2001 vintage of the estate’s barrique-aged Torre del Piano bottling garnered high praise at Vinitaly’s wine compe tition, the denomination received a new lease on life. “Now there are 29 estates,” says Paolo proudly.

Photo credit: Michaela Morris

Photo credit: Michaela Morris

Federico Perinelli at Casale della Ioria checking the ripeness of Cesanese d’Affile grapes with a refractometer

Antonio Santarelli of Casale del Giglio

Among these, Antonello Coletti Conti de scribes the area of Piglio as extremely varied - in soil, altitude and exposition. “Cesanese is very sensitive to this, so it is difficult to characterize.” Unquestionable though is the challenge of ripening Cesanese to perfection. Picked too early, the skins can be very bitter. “The problem with Cesanese is that it reaches phenolic ripeness late when sugar is high. It is an ugly beast,” says Antonello affectionately.

Managing Cesanese’s potentially heady al cohol is as crucial as careful extraction, but the labour of love pays off in the glass. Cesanese is one of Italy’s fruitier reds – like a cheerful bowl of sumptuous cherries with spice and floral accents to boot. It has the gusto of Rome’s cui sine. While Cesanese may not have the ageabil ity of Nebbiolo or Sangiovese, it certainly owns a unique spot in the matrix of Italy’s multitude of grapes. My preference is for those in which the fruit, rather than the oak, is at the fore.

Scarcer than Cesanese, Bellone is a casualty of replanting to high yielding, neutral grapes like Trebbiano Toscano in the expansive Cas telli Romani hills south of Rome where it was once profuse. Today its heartland is Cori, which is further south and far enough away from Rome’s insatiable restaurants. Here, Bellone thrives in volcanic soil, bathing in the intense light reflected off the sea in the distance and cooling off at night thanks to winds from the mountains.

Translated as ‘big beauties,’ Bellone yields large bunches of buxom grapes. The resulting wine is succulent and mouth filling, offering pulpy peach and tropical fruit with a refreshing lemony lift.

At his eponymous estate, Marco Carpineti has hung his hat on Bellone. After years selling to the local Cincinnato cooperative, which he eventually became the president of, he started making wine under his own label in 1996. His Collesanti bottling is a benchmark.

“Bellone has a great diversity,” says Mar co’s son Paolo. While most examples are dry and still, Bellone’s intrinsic acidity persuaded Carpineti to produce a traditional method sparkler called Kius.

“Bellone is also risky as it can change on a dime,” Paolo continues. “The pulp is firm, but the skin is delicate.” While it is susceptible to botrytis, Bellone’s sweet wines tend to be made with late harvested, raisined grapes like Carpineti’s Ludum.

Likewise, the Cincinnato co-op celebrates the versatility of Bellone making eight differ

ent versions – from tank method bubbles to grappa. Cincinnato is also the leading light when it comes to the even rarer local Nero Buono grape. The deeply coloured, juicy red makes a flavourful, savoury wine with a pleas antly bitter herbal twist. The significance of a high-quality cooperative like Cincinnato with a tight focus on Lazio’s native grapes cannot be overstated. It contributes to economic sta bility for all 130 of its grower members while preserving the region’s genetic heritage and diversity.

Once you open Lazio’s treasure chest of na tive varieties, the rewards keep coming. And if the region aspires to make itself known on the wine map, it is to these strengths that it must play.

Casale del Giglio Bellone IGT Lazio 2021 $22

Not included in the estate’s original experi mental plantings in 1985, Casale del Giglio’s Bellone hails from sandy soil giving a partic ularly perfumed expression. Fragrant white blossom and Mediterranean herb lace through apricot and pineapple. Fleshy fruit weighs plumply on the palate and is buoyed with super snappy acidity. Tactile and engaging, it lingers with dried mango.

Sergio Mottura Poggio della Costa Grechetto di Civitella d’Agliano IGT 2018 $30

In the far northern corner of Lazio, Sergio Mottura has nurtured the Grechetto grape for almost 60 years. Bursting with personality, the unoaked Poggio della Costa sings of sage, mint and camomile on a backdrop of salted pineapple. While made for drinking young, it can stand up to a few years in the bottle taking on candied lemon and hints of blanched almond.

Casale del Giglio Cesanese IGT Lazio Rosso $25

Gorgeously scented - cinnamon, pepper and rose emerge confidently with each swirl. Replete with red cherry, plum and succulent

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

tropical red fruit, the lush and creamy palate is caressed by velvety textured tannins. This gets quite a lift from its cranberry-like acidity.

Formiconi Cisinianum Cesanese d’Afile DOC 2018 $25

Aged in stainless steel rather than wood, Cis inianum sports a piercing nose of black cherry and clove. With an earthy, foresty character, this fleshy, juicy mouthful is simply begging for a bowl of fresh porcini pasta.

Casale della Ioria Cesanese del Piglio Superiore DOCG 2019 $35

Spiced wild berries make way for heady, pure floral notes of violet and crushed allspice. Expanding sumptuously, dense rich fruit is hemmed in by smooth tannins. There is a background nuance of nutmeg and a definitive black pepper twist on the finish.

2019 Cincinnato Erole Nero Buono IGT Lazio $25

Distinct and compelling, aromas express balsamic herbs, pine forest and leather. On the palate, tangy blackcurrants and rhubarb are gripped in grainy tannins. Ends with a salty lick of licorice. So savoury and sapid, this makes you salivate for an irony steak.

Photo credit: Michaela Morris

Photo credit: Michaela Morris

Vineyards at Formiconi

Paolo Carpineti

BOOK REVIEW Michael Apstein

Rosés of Southern France

by Elizabeth Gabay MW & Ben Bernheim Zalabim Conseil, 2022, 263 pages, $27 USD/$35 CDN

Imagine Elizabeth Gabay’s reaction when the editor at Quench asked her to send me a PDF of her new book, Rosés of Southern France, for re view. She and I had debated the virtue—or lack thereof—of rosé in the Spring 2022 issue of this magazine, so she knows that I have not been swept away by the tsunami of enthusiasm for pink wine.

I’ve even been accused, not unfairly, of having a disdain for the entire category. Instead of reviewing it based on a PDF, I purchased a copy of the book because I wanted to give the final product a fair shake. Am I glad I did! It’s a book you’ll keep handy because in addition to teaching us a lot about rosés, you learn an enormous amount about how the vari ables of terroir and winemaking determine a wine’s character.

In Part One, Gabay and co-author Ben Bernheim deliver one of the clearest and most succinct explanations of how the soil, climate, and winemaking techniques influence the character of the wine. They fo cus on rosé, of course, but their explanations are applicable to all wine. For those of us with an enthusiasm and a passion for wine, but without formal education about the subject, this kind of summary is invaluable. You’d be justified in buying this book just to read Part One.

Gabay and Bernheim are, moreover, uniquely qualified to write this book. I am always reluctant to state that someone or something is THE BEST because it assumes knowledge of the entire category. But in this case, I will go out on a limb. Gabay, a Master of Wine since 1998, is THE world’s authority on rosé. Her experience comes from living in south eastern France and Provence for the last two decades and her previous book, titled, Rosé: Understanding the Pink Wine Revolution.

Along with those impressive credentials, Gabay has the rare ability to teach. Even I, the non-rosé enthusiast, found her April 2018 masterclass on Rosé of Anjou, held at the Château in Blois, mesmerizing. The direct and unadorned writing in Rosés of Southern France further demonstrates her ability to communicate. Bernheim, her son, is quite talented in his own right judging from his writings (https://benbernheim.com/blog/). Rosés of Southern France contains no extraneous fluff. The simple declar ative sentences make it a joy to read.

In Rosés of Southern France, Gabay reiterates what she emphasized at the masterclass: “The fact the wine is pink should not distract anyone from its quality.” Taking a swipe at the fad for increasingly pale rosé, she and Bernheim emphasize that, you cannot judge a wine by its color.

The authors unravel the myriad of appellations stretching across the south of France, discussing how the climate and soil influences the style of the wines. Beautiful maps allow a quick understanding of the rela tionship of the small appellations to the larger ones.

They give a succinct overview of the various subdivisions of Côtes de Provence, Sainte-Victoire, La Londe, Pierrefeu, Notre-Dame des Anges, and Fréjus, the last of which they write, “Easily forgotten, this volcanic dénomination in the east of the appellation is by far the smallest and least well-known…Quality is excellent and the rosés are often tightly structured.” About Sainte-Victoire, they comment, “quality is consistent and extremely good, and typicity or terroir expression is amongst the best in Provence.”

They obviously, given the title, cover more than just Côtes de Provence. Of Tavel, they note, “Tavel is unequivocally historic and presti gious. It is also famous for its age-worthiness—we recommend waiting at least a couple of years.” And of the Languedoc-Roussillon, “Much of the wine made here is inexpensive with variable quality—but the top is excellent, if you can find it.”

Especially useful for consumers is their forthright opinions regard ing producers, naming names as they go and devoting a whole chapter titled, “The Top of the Pyramid.” They admit that these premium rosés, sometimes commanding triple digit price tags, may “not be for the ma jority of rosé consumers, but for producers and serious rosé drinkers, they stretch the boundaries of where rosé can go.”

In the last section, devoted to vintage reports and aged rosé, they name more producers whose specific wines they tasted in 2021 or 2022, one of which, a Tavel, dated to 1976!

After reading this book, I’m still not a fan of the category because, as they point out, there are still too many innocuous ones out there, but I have been converted to rosé’s potential for quality.

courtesy of Elizabeth Gabay MW

The Noble Ascent of Chenin Blanc

By Jacky Blisson MW

Chenin Blanc is notoriously absent from many such lists. And yet, this most versatile of white cultivars has more than enough merit to warrant its place on the honour roll.

No other white variety quite matches Chenin Blanc in terms of stylistic range. From dry to sweet, sparkling to still, unoaked to barrel matured, conventional to natural, white to orange, Chenin does it all and (in the right hands) does it well.

Chenin Blanc grapes are naturally high in acidity and phenolics. When yields are kept in check and ripening is optimal, Chenin Blanc produces racy, textural wines. These hallmark features are the key behind Chenin’s ability to produce well-balanced, age worthy wines in such a myriad of styles.

THE VINE OF ANJOU

A descendant of the Savagnin variety, Chenin Blanc has been cultivated in the Loire Valley for over a thousand years. Native to Anjou, the grape was originally called Plant d’Anjou (vine of Anjou), and later Pineau de la Loire. The name Chenin Blanc is thought to have emerged at the Montchenin monastery in Touraine, a like ly tale given the importance of the monastic orders in proliferating plantings throughout Anjou-Saumur and Touraine from the Middle Ages onwards.

The reputation of Loire Chenin Blanc was forged by the Kings of France. When Henry II Plantagenet, Count of Anjou, became King of England in 1154 he only allowed Anjou wines at

court. This spurred a fashion that spanned cen turies among the French nobility as the grand châteaux of the Loire sprang up.

GLOBAL EXPANSION AND FALL FROM GRACE

In 1655, the intrepid Chenin Blanc took to the high seas, destined to become the most plant ed white wine grape in South Africa. For the next three hundred years, Chenin Blanc was re ferred to as Steen, potentially as it came to form the hoeksteen (Afrikaans for cornerstone) of the South African wine industry. It wasn’t until the 1960s that the University of Stellenbosch deter mined that Steen and Chenin Blanc were one and the same.

The major wine grapes of the world are often grouped together under the illustrious title of noble varieties.

Photo credit: supplied by

Domaine les Pierres Ecrites

The late 18 to mid 19 hundreds marked a shifting of the tides for Chenin Blanc. After Phylloxera, and two grueling world wars, the young Loire Valley farmers left the countryside in droves to work in factories. Meanwhile, in South Africa, trade embargos imposed during the apartheid era cut the nation off from inter national trade.

In both cases, the vineyards suffered. Over cropped and under tended, Chenin Blanc pro duced thin, acidic wines in the cool Loire Valley, often masked by a healthy measure of residual sugar. Fruitier, yet equally insipid wines be came the norm in warmer South Africa. At the same time, this propensity for high vigour and crisp acidity led Chenin Blanc to become the star grape in California’s innocuous “Chablis” jug wines.

CHENIN BLANC QUALITY REVIVAL

By the turn of the century, California plantings of Chenin Blanc had begun to dwindle. How ever, in South Africa and the Loire Valley the efforts of a determined few brought about a Chenin Blanc renaissance.

“People thought I was crazy when I started out in Montlouis,” recounts Jacky Blot of Do maine de la Taille aux Loups. Now common practice for quality-focused Loire Chenin producers, his approach of low yields, organic farming, hand harvesting, and barrel ferment ing Chenin Blanc was revolutionary in the late 1980s.

In Stellenbosch, Ken Forrester’s champion ing of Chenin Blanc, especially its older vine plantings, also puzzled many growers who farmed the grape for quantity not quality, rou tinely uprooting older, less productive vines. Now “South Africa has the highest concen

tration of old vine Chenin Blanc in the world,” recounts Swartland winemaker Andrea Mul lineux of Mullineux & Leeu Family Wines.

Mullineux refers to the grape as a “natural survivor,” referencing the process of natural and massal selections over the years, and the work of Rosa Kruger’s Old Vine Project. Today, South Africa’s 2000 hectares of old Chenin Blanc bush vines are highly sought after by winemakers for the depth and textural rich ness they bring.

A CHAMELEON OF TERROIR

In the Loire Valley, the sweet, often botrytised wines of Anjou-Saumur appellations such as Bonnezeaux, Quarts-de-Chaume, and Coteaux du Layon once represented the heights of Chenin Blanc quality. Now, dry wines of equal ly revered calibre are the focus of the region and neighbouring Touraine.

This shift has revealed the marked terroir differences across the area. Indeed, the schist soils of Savennières produce far steelier, more structured wines than the chalky tuffeau of Vouvray. In Montlouis, biodynamic vigneron François Chidaine was an early adopter of sin gle vineyard bottlings, showcasing the diversi ty of clay, sand, flint, and limestone rich soils across the appellation.

“Chenin Blanc is a real chameleon of ter roir,” agrees Mullineux. This realization led her to produce four separate Chenin Blanc from their Swartland vineyards. The first was a firm, flinty expression on decomposed granite soils, the second a riper, more phenolic expression from a schist terroir, the third a concentrated, textural bottling from iron-rich gravelly clay. Fi nally, Mullineux produced a racy, mineral-laced Chenin Blanc grown on quartz.

Increasing frequency of frost/erratic weather in Loire and how Montlouis producers are reacting

In recent years, wine grape growers across France have witnessed an alarming accel eration of vegetative cycles. According to a 2021 study by the World Weather Attribu tion initiative, climate change is to blame.

Average winter temperatures are warming, leading to an earlier start to the growing season. This puts early budding varieties, like Chenin Blanc, at greater risk. April frosts are hardly a new phenomenon in the Loire Valley. However, in the past, the tender buds were less often exposed.

Over half of Montlouis-sur-Loire vintages in the past decade have suffered significant frost damage. “We have had to learn how to act, rather than simply react” explained Ludovic Chanson at the recent Montlouis on the Rock conference.

At La Grange Tiphaine, this meant investing in fixed and mobile wind turbines. According to Damien, within a few short vintages they had already paid for them selves. “The spring frosts were particularly bad in 2021,” he said. “Many neighbours lost up to 70% of their yields. My losses were less than 30%.”

Many of Montlouis’ smaller producers, like Domaine Thet and Domaine les Pierres Ecrites, are members of groups that share vineyard equipment. This collaborative arrangement has allowed for the purchase of units to cover multiple vineyard sites.

In 2017, Montlouis-sur-Loire newcomer Laura David lost over half of her first vintage. When frost struck again in 2019, followed by a mid-summer heatwave, David’s vines struggled to ripen. “I wanted to make single terroir wines, but certain parcels were excessively acidic, others had a vegetal bitterness,” she explained.

David decided to abandon her initial plan and instead make one blend which she labeled “L’insolente” (the insolent one). The wine received a highly positive response and taught David an important lesson. “I couldn’t afford to lose another vintage, so I was forced to adapt.”

Photo credit: supplied by Mullineux

Andrea Mullineux harvesting Chenin Blanc from a bush vine vineyard

MONTLOUIS ON THE ROCK

In July 2022, Chenin Blanc specialists from South Africa, Spain, the Pacific Northwest, and France’s Limoux region joined local producers for Montlouis on the Rock, a Chenin Blanc celebration organized by the Vins de Montlou is-sur-Loire growers’ association.

The day-long event included comparative tastings and discussions on how to express terroir, achieve balance, and enhance overall quality across a vast range of Chenin Blanc growing regions, in an ever more challenging climate context.

Debates included the merits of oxidative handling to bring greater stability and textur al appeal to wines vs. reductive winemaking techniques for finesse, as well as the relative importance of continuing to block malolactic fermentation with falling malic acid levels and greater frequency of spontaneous malolactic conversion.

Montlouis producers discussed the latest improvements in barrel fermentation and ag ing with the advent of the chauffe blonde tech nique of long, slow, low heat barrel toasting. These barrels provide gentle micro-oxygen ation without overpowering Chenin Blanc’s vibrant fruit and floral aromas.

Extended skin contact techniques, efforts to limit or eliminate sulphur, varying practices in Pét Nat production, and experimentation with different ageing vessels were all shared, with an impressive array of wines demonstrating each style.

THE FUTURE OF CHENIN BLANC IN AN EVOLVING CLIMATE

While the specific climate challenges were dif ferent in each area, all growers at the Montlouis

conference spoke of the increasing frequency of erratic and extreme weather events. Smoke taint, hydric stress, frost and hail damage, rot, and the arrival of never seen before vineyard pests were just some of the many issues raised.

Despite these growing threats, the mood among producers was optimistic. They were there to share solutions and work collabora tively. The sense of community, among Mont louis growers, and extended to international guests, was infectious.

As the quality and stylistic diversity of Chenin Blanc continues to increase, so does the grape’s fan base around the world. Once a grape most commonly found on supermarket shelves or dessert wine lists, Chenin Blanc is now the darling of trendy wine bars.

South Africa and France continue to domi nate worldwide plantings, but small quantities of excellent Chenin Blanc are emerging from Argentina, Australia, Spain, New Zealand, California, Canada, Chile and beyond, bringing ever more stylistic range and quality focus to this most noble white grape.

Thomas Monroe, Division Wine Co. (Portland, Oregon)

Thomas Monroe left the world of corporate finance to study enology. In 2010, Monroe set up Division Wine Co. with partner Kate Norris. The négociant winery sources organic and biodynamic grapes from across Oregon and Washington. Monroe crafts rich, precise Chenin Blanc from own-root ed, old vine plots in the Columbia Valley. Monroe shared his experience coaxing quality Chenin from this arid environment, with its ever-increasing challenges of combating smoke damage.

Craig Hawkins, Testalonga (Swartland, South Africa)

In 2007, Craig and Carla Hawkins returned from years of harvest globe-trotting to set up Testalonga in the Swartland. The skin macerated wines of Ligurian master Anto nio Perrino inspired the Hawkins’ winery name and approach. Years of experimen tation with different vessels, oxygen ratios, and fermentation techniques has given Hawkins a wealth of experience in produc ing structured, textural Chenin Blanc on his beloved decomposed granite soils.

José Luis Matéo, Quinta da Muradella (Monterrei, Spain)

Agudelo (aka Chenin Blanc) is a rare grape in Galicia, used in blends for its vibrant acidity. José Luis Matéo was so enamoured with the quality of his co-planted Agudelo vines, grown on granite and schist soils, that he decided to produce a monovarietal wine. Over the past 30 years, faced with a steady rise in regional summer temperatures, Matéo has gained significant expertise in adapting Chenin Blanc winemaking techniques.

Thomas Fort, Domaine Mouscaillo (Limoux, France)

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

Chenin Blanc is an important blending element for Domaine Mouscaillo’s still and sparkling Limoux wines, bringing freshness and verve. Despite its secondary role, Fort is committed to low yields and carefully selected harvest dates to derive the best expression of the grape. Despite its souther ly location, Domaine Mouscaillo’s location, perched in the clay-limestone foothills of the Pyrenees gives uniquely ripe, yet lively Chenin Blanc with distinctive florality.

The visiting winemakers at Montlouis on the Rock 2022

Jean-Philippe and his father Jacky Blot of Domaine de la Taille aux Loups

Photo credit: supplied by Domaine de la Taille aux Loups

La Grange Tiphane Les Epinay 2020, Montlouis-sur-Loire France

Grown on sandy clay soils veined with flint, the Epinay cuvée is fermented slowly throughout the winter in neutral barrels and casks, and aged in a mix of foudres, amphora, and concrete eggs. Enticing notes of lanolin, oatmeal, red apple, and honeysuckle leap from the glass, gaining in complexity with aeration. Brisk acidity balances the weighty, textural palate, elongating the juicy, spiced finish.

François Chidaine Rive Gauche 2020, Montlouis-sur-Loire France

The partially botrytised Rive Gauche cuvée is sourced from three different vineyard sectors, vinified separately and then blended during ageing. Fragrant notes of spiced apple tart and honey are underscored by hints of lanolin, giving significant complexity to the nose. The palate’s weighty core and luscious sweet ness are seamlessly balanced by its vibrant freshness.

Domaine de la Taille aux Loups Triple Zéro, Montlouis-sur-Loire France

Triple zéro means no chaptalisation, no added yeast, and no dosage. The wine spends seven to eight months in barrel before transfer to bottle at 12 grams/litre residual sugar, where it completes fermentation over three years or more. The latest cuvée is mainly sourced from the ripe 2019 vintage. Delicate notes of bruised apple, brioche, and underbrush on the nose. The palate is lively and elegant, with its fine bubbles and silky, dry finish.

Domaine les Pierres Ecrites « Empreintes » 2019, Montlouis-surLoire France

New to Montlouis, Anthony and Coralie Rassin have quickly gained a following for their organic, minimal interventionist wines crated in a very precise style. Discreet chamomile and yellow apple aromas give way to hints of quince with aeration. The palate is racy and linear, with vivid citrus and apple flavours. Appealing saline notes linger on the finish.

Domaine Laura David L’Insolite 2019, Montlouis-sur-Loire France

Assailed by frost and mid-summer heat, recently arrived Montlouis vigneronne Laura David decided to blend her various vineyard plots to produce one cuvée. Aromas and flavours of baked yellow fruits, raw honey, and baking spice are offset by bright, tangy acidity. The palate is broad and subtly earthy with refreshing citrus pith bitters on the finish.

Mullineux Old Vines White 2020, Swartland South Africa

This Chenin Blanc dominant blend is sourced from schist, granite, and iron-rich vineyards across the Swartland. The wine is fermented and aged in large, neutral oak casks. Pretty aromas of white blossoms, orchard fruit, and flint feature on the nose. The palate is rich, yet steely, with a concentrated core of tangy fruit and subtle savoury flavours that persist on the dry finish.

Reyneke Organic Chenin Blanc 2020, Stellenbosch South Africa

The organic grapes for this cuvée are sourced from a hot, semi-arid area of Stellenbosch, on loamy soils. Wild yeast fermentation and subsequent lees ageing takes place in stainless steel at cool temperatures. Quite an aromatic expression, with exuberant notes of honey, quince, and yellow apple. The palate is plush and rounded, bookended by bright acidity and refreshing citrussy bitters that lengthen the finish.

Beaumont Wines Chenin Blanc 2021, Bot River South Africa

With its close proximity to the Atlantic Ocean, Bot River enjoys a long, slow ripening season. The Chenin Blanc vines here grow on deep, shale soils. Vivid orange marmalade, lime blossom, and wild thyme notes emerge on the nose, in perfect harmony with the wine’s bracing acidity and light bodied, precise palate.

Ken Forrester “The FMC” 2020, Stellen bosch South Africa

An icon wine from Ken Forrester, the FMC hails from well-drained soils of decomposed granite and clay. This Chenin Blanc is barrel fermented and aged for on lees in new and one-year French oak barriques.

Very opulent, full-bodied Chenin Blanc with its rich, creamy core and perfumed notes of acacia, yellow peach, toasted oak spice. Fresh acidity lifts the palate and lengthens the fruity, textural finish.

Testalonga “Stay Brave” 2021, Swartland South Africa

The Stay Brave Chenin Blanc is in deep rooting schist soils, giving small, thick-skinned berries. Two weeks of skin contact is followed by a long, slow native yeast fermentation in large vats. Initially savoury flavours give way to appealing citrus peel, baking spice, and quince notes. A complex, vibrant white of medium body, with subtle citrussy bitters and lingering malted nuances.

Division Wine Co. Chenin Blanc “Inondé” 2020, Willard Farms Columbia Valley, Washington

This hot, arid sector of the Columbia Valley experiences significant diurnal shifts, allowing for excellent acid retention in these organ ically farmed Chenin Blanc grapes. Aromas of preserved lemon, white grapefruit, and elderflower on the nose. The palate is crisp and initially firm, broadening across the smooth, rounded mid-palate, then tapering to a dry, textural finish.

Quinta de Muradella Monovarietal de Agudelo 2015, Monterrei Spain

Agudelo is the local name for Chenin Blanc in Galicia. Grown on granite and slate soils, this cuvée is aged for one year in a mix of stainless steel and oak barrels. Tropical notes of guava and papaya give way to a more mineral, earthy impression as the wine develops. The medium weight palate is dry and firm in structure, with a precise, clean finish and gentle bitters.

Photo credit: supplied by Ken Forrester

Ken Forrester’s FMC Vineyard

By Åsa Johansson

Photos courtesy of the producers

Wine production in Sweden?

Yes, you read that right.

Say Sweden, and most people think of ABBA, IKEA, or Volvo. Wine production not so much – but that might change soon. Meet the people and foreign winemakers who want to put Sweden on the world´s wine map.

“We wanted to start a winery up north to avoid problems with climate change, but honestly, we did not think it would be as far north as in Swe den,” says Andrea Guerra.

Guerra is an Italian winemaker from Salerno. After working in wineries around the world, he ended up in Tuscany, where he met his Swedish girlfriend, Emma.

“One day Emma said, almost by a joke, why don’t we start a winery at the Island of Gotland where we have our summer home,” Guerra continues.

The idea seemed crazy, but they started to study the soil and the climate and were sur prised by the data they collected. Emma and Andrea understood that their dream could come true – in Sweden.

“The Island of Gotland outside Sweden´s eastern coast has the most sun hours in the country,” explains Guerra. ”A constant wind from the sea and the soil has a high level of chalk, not different from the soil in Chablis or Champagne.”

During the spring of 2018, the winery Lång myre was born. Andrea and Emma planted 26.000 vines on five hectares, approximately 12.3 acres. “In a couple of years, we will be able to make around 20,000 bottles,” says Andrea.

The varieties are so-called PIWI varieties, or hybrids, produced by the nursery Vivai Rausce do in the north of Italy. For example, Fleurtai, a crossing of Tocai Friulano and Sauvi gnon Kretos originating from Sauvignon Blanc.

PIWI varieties are crossings with traditional grapes (vitis vinifera) and wild vines, making them both resistant to many diseases and adaptable to the Nordic climate. But why use hybrids if the climate is changing? Why not use vitis vinifera like they have done in England us ing Pinot Noir and Chardonnay?

“Why not?,” answers Guerra rhetorically. He then adds “We live at the winery, and the hybrid varieties require no chemical treat ment. Therefore the agriculture is naturally environmentally friendly and sustainable - all without compromising the quality.”

K Felix G Åhrberg from the winery Kul labergs agrees. “Why use a Fiat when you can have a Ferrari,” he says while showing the new and impressive 2000 square meter size winery under construction. Åhrberg grows many dif ferent hybrids, as well as the most common hy brid in Sweden, Solaris. With Solaris he makes one of the most appreciated wines from Swe den,  Immelen, a rich white wine with tropical fruit aromas, buttery texture and a fresh finish.

Kullabergs is in the western Scania, the most southern region in Sweden. The stunning area has high cliffs overlooking the sea, picturesque villages, and beautiful hiking paths.

“The only problem with the view is that you see Denmark from here,” Felix says, laughing while opening the door for his little dog, suit ably named Piwi.

Åhrberg  is one of the leading figures behind the Swedish wine scene. An enologist, viticul turist and pomologist educated in Austria, with experience also from Italy, France, Switzerland, South Africa, and New Zealand (he almost counts as a foreigner), Åhrberg is trying to take Swedish wine production one step further. He has a leading role in creating the first rules for wine production, as well as the upcoming first Swedish PDOs (Protected Designation of Origin) and PGIs (Protected Geographical Indication), something that does not exist yet in Sweden.

“The document is being controlled by the authorities now and will hopefully be approved before this harvest,” Åhrberg explains.

Kullabergs has 14 hectares (30.8 acres) with vineyards. Several foreign winemakers are working in the field and the cellar, including Nicola d´Agostini from Italy.

“I came here after seeing an announcement on Facebook and thought, why not? ” d´Agos tini says.

He thinks it is fascinating and, at the same time, challenging to work in such a young wine

country. Swedish wine production started in 1999, and today there are around 150 hectares in total and 20 serious producers who are not seeing wine production only as a hobby. Most vineyards are in southern Sweden and on the Islands of Öland and Gotland.

“I think it will take time to find an identity,” d´Agostini muses. “Today many Swedish wines are forced to be something they are not. I mean too much use of wood, too ripe and too similar to wines from New Zealand or France. It is dif ficult not to try to copy something that already exists.” Like everyone interviewed, he thinks sparkling wines will be the future, together with vertical and mineral whites and rosé wines.

Another winery in Scania is called Thora, owned by Johan and Heather Öberg. Here, two young French winemakers take care of the facility. Emma Berto grew up in a Swedish and French family in Avignon, France. She studied oenology and viticulture at the University of Montpellier and worked with prestigious do maines like Beaucastel and Chateau Six tine in Châteauneuf-du-Pape. At the university, she met Romain Chichery, a French winemak er specialising in biodynamic viticulture.

They are not sure that the PIWI varieties are the future for Sweden. In fact, at the winery, they have traditional Pinot Noir.

“Hybrids give good grapes, but it is hard to control the maturation,” Berto notes. “Most PI WIs have big leaves, which result in intense

photosynthesis and accumulate a lot of sugar. It is hard to find a balance.”

Chichery thinks it is vital for a new wine country to have a long-term strategy, and it might not be suitable to focus only on hybrids.

“Maybe in five-ten years, the PIWI varieties will be sensitive to new diseases or mildews, and then they will make no sense,” he says. “I would not take the easiest way.”

They have noticed that the vines with Pinot Noir are doing well.

“Our vineyards are only 500 metres from the sea and exposed to a lot of wind,” Berto says. “The wind brings sea salt that helps to dry the atmosphere and reduce the impact of fungus. We sprayed the same amount of sul phur on Pinot Noir as on our Solaris. We are not allowed to spray the vines with copper in Sweden; that is forbidden.”

Another challenge compared to their previ ous experiences around France and Germany is handling the vineyard.

“We have a short growing season in Sweden, with intense sunlight during summer,” Berto continues. “The cycle of the vine is different from the ones on the continent. It is a big chal lenge during summer, the vines grow quickly, and the photosynthesis is strong, so we are still learning to find a good balance in this new growing environment.”

The route to market for Swedish wine is an other challenge. Direct sales from the wineries

is forbidden by law, and the State Monopoly, Systembolaget, regulates the Swedish market. It is possible to find some Swedish wines in the local monopoly stores; otherwise, the only way to try them is in Swedish restaurants or at the wineries.

“The cost for production is high, so the prices start from 20 euro a bottle,” Berto points out. “It is expensive for what you get. We must make a larger quantity of higher quality in the future – we will get there, I am sure.”

Perhaps when thinking of Sweden in the future, we might need to add Swedish wine to the list with ABBA, IKEA, and Volvo.

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

K Felix G Åhrberg from Kullabergs winery in the region of Scania

Andrea Guerra and Emma Serneer från Långmyre winery on the island of Gotland

The vineyards at Kullbergs winery in Scania, southern Sweden

Johan and Heather Öberg from Thora winery, southern Sweden

The Resurgence of Indigenous Grapes

By Michelle Bouffard

According to the International Organisation of Vine and Wine, there are

6000 Vitis vinifera grapes.

If you are doing a count in your head and the list is short, there is a good reason. Thirteen grape varieties cover one third of the world’s vineyards, and 33 cover half. Those grapes that have been widely planted in multiple wine regions such as Merlot and Chardonnay are known as international varieties, while indige nous varieties refer to grapes that are associat ed to a particular region and have a long record of being grown there. Autochthonous grapes carry a rich heritage and play an important role both culturally and financially in their respective countries. While indigenous grapes may not be as well known by wine consumers, new wine trends and the challenges brought by climate change could change this.

The reason why only a few varieties cover a large portion of the world’s vineyards is due to a series of devastating incidents. Namely two world wars, phylloxera, and fungal diseases like downy mildew and powdery mildew. As a result of those challenging events, wine producers opted to abandon grapes that were difficult to grow, and instead replant with high er yielding varieties that also had the ability to retain their appealing aromatics and structure when grown across several wine regions. Glo balization coupled with the success of variety labelling in North America also contributed to the widespread of what we now refer to as international grapes.

Meanwhile, indigenous grapes possess cultural significance for many countries. Greece is a great example of this. As Vassilis Papagiannakos of Papagiannakos Winery in Attica points out, symposium in the Greek language means drinking wine with company. The cultivation of the vine and the production of wine was, since ancient times, a key element not only in economic activity but in communi cation and the dissemination of ancient Greek spirits. Back then, consumption was served

in gatherings that involved philosophical ses sions which were called symposiums. Over the centuries, wine became a product for people of all classes and a commodity. Papagiannakos also reminds that the popular retsina, which at the end of the 19th century was flooding Greek tavernas, played a key role in preserving indig enous grapes such as Savatiano and Roditis.

The ritual of enjoying wine made from local indigenous grapes is not unique to Greece. I think of the families in the Douro who exported Port, but drank table wine at home. And Croa tia! Damir Štimac, owner of Rizman Winery in Dalmatia, says that to this day Croatians have carried on the tradition of making their homemade wine. He gathers that on average people make 500 L per year for their personal con sumption. This long-time practice has no doubt helped preserve Croatia’s indigenous grapes heritage. According to Štimac, the country lays claim to over 130 indigenous grapes.

Despite local support, it has been financially challenging for many of the regions blessed with autochthonous grapes. Economic and political struggles have often been the main reason, and for Eastern Bloc countries, it was extremely challenging until the end of the 20th century. Many wineries were consolidat ed under the state monopoly: the focus being

on high yielding indigenous and international grapes to supply the USSR and Comecon, aka the Council for Mutual Economic Assistance, which the Soviet Union established to coordi nate economic activity in the Eastern Bloc.

Large-scale vineyards were privileged. Countries like Hungary, who benefited from international investment and had a good sys tem for land redistribution after the collapse of communism, recovered better. This is reflected on the export market. Robert Gilvesy, owner of The AUSTRIA winery near Lake Balaton, says that a handful of producers see the potential of their indigenous grapes and the possibility of making great wine. “Locals are not enamoured with indigenous grapes like Furmint, but sommeliers in export markets are,” he shares. “They are looking for something different and they are excited about the possibility of pro posing something unique to their consumers.”

Education has been key in improving the quality of wine of recovering countries and as a result, wine production has become econom ically beneficial. “The younger generations are travelling and working vintages in other coun tries,” says Gilvesy.. “The money they make in two seasons is the same they would make in 12 months in Hungary. When they come back, they bring knowledge and contribute to the increasing quality of the local wine.”

Born in Turkey, Şeyma Baş, marketing consultant in Europe and co-founder of Maki Seltzer, also emphasizes the role of the young er generations in the increasing quality of Turkish wine. “Before, wineries would rely on consultants. Now, local winemakers study in prestigious oenology schools and come back with the desire to make our best local grapes like Narince shine.”

Oenotourism has also been financially im portant for wine producers. Damir Štimac likes to say that he exports 100% of his wines. “I ex

Photo credit: Michelle Bouffard

Rizman Vineyards in Dalmatia

port about 18% to other markets and the rest is consumed locally by tourists. Locals don’t want to splurge on wine made from local wineries. They drink their home-made wine.” When a country becomes a popular tourist destination, it not only helps the local economy, it exposes vacationers to the array of indigenous grapes and in return, helps boost sales on the export market.

The role of co-ops in different countries also should not be ignored in the preservation of indigenous grapes. As mentioned previously by Quench contributing editor Michaela Mor ris, “the 350 members cooperative Cantina di Venosa in Basilicata plays an important role in Vulture giving a place for small growers to sell their grapes, rather than abandoning their vineyards. It has also been instrumental in the revival of Malvasia Bianca di Basilicata inspiring other producers to recover this rare grape.” This is just one example. Co-ops have also played an important role in countries like Portugal and Greece.

With respect to climate change, indigenous grapes could well be a silver lining for produc ers. While research centres in countries like France, Italy and Germany are working on cre ating grapes that are resistant to drought and fungal diseases (known as cépages résistants), the renowned ampelographer Dr. José Vouilla moz insists that we should do more research on the already existing, lesser-known grapes. This is certainly what Miguel Torres of Familia Tor res has been doing in the last 30 years, though by accident. While his quest to find forgotten Catalonian grapes was originally meant to preserve heritage, his findings brought prom ising solutions to adapt to climate change. The white grape Forcada is a great example. In the Penedès region, it ripens one and a half month later than Chardonnay and at the time of picking, it has a total acidity of 8 mg/L. He

is working with the ‘Institut National de la Re cherche Agronomique Français à Montpellier’ to develop an innovative method to propagate those grapes.

Some regions are consciously doing what Dr. Vouillamoz advocates. In 2019, the winemakers of AOP Bordeaux and Bordeaux Supérieur adopted with unanimity a list of sev en new grapes, as long as they would not rep resent more than 5% of the plantings and 10% of the blend. Those grapes (Arinarnoa, Castets, Marselan, Touriga Nacional, Alvarinho, Liliori la, Petit Manseng) were chosen out of 52 grapes they had been experimenting with since 2009.

In McLaren Vale Australia, producers have been championing Mediterranean grapes. Shiraz might be the most planted grape in this region, but it is not the most adapted to climate change. This is why Stephen Pannel has planted over 20 different grapes, including Fiano, Assyrtiko and Touriga Nacional. “My Montepulciano finishes at 3.3 to 3.4 pH, while my Shiraz can go up to a pH of 3.9. In some years, my Shiraz reaches 15.5%. This does not make a food friendly wine.” The Italian grapes allow him to add less S02 and make it easier to control microbial stability.

Indigenous grapes have also been helpful in adapting to increasing problems with drought. Vassilis Papagiannakos says that Savatiano has been cultivated without irrigation since antiq uity and nothing has changed. This is despite the fact they only have 25 days of rain per year.

Savatiano is durable. Damir Štimac echoes the resilience of indigenous grapes in general, saying “local varieties have shown in the last century that they are best suited to survive difficult conditions and are the best adapted. Plavac Malic resists drought and reacts much better if it gets very little water.” Such grapes could offer solutions to countries suffering from lack of water. It is certainly what many winemakers in McLaren Vale are exploring.

The history of indigenous grapes might have been tumultuous, but the future is look ing much brighter. The tide is turning, and everything is aligned for those varieties to shine and get the attention they deserve. Join the trend, many wine professionals and wine lovers already have.

Michelle Bouffard is a sommelier, author, speaker, educator and consultant based in Montréal. Her first book Dis-moi qui tu es, je te dirai quoi boire was published in 2017 and for the past six years, she has been the sommelier on the popular Quebec cooking show Curieux Bégin. In 2017, Michelle founded Tasting Climate Change, an international symposium to explore the challenges and solutions in the wine industry. Ever the eternal perfectionist, she is continuing her studies at the prestigious Institute of Masters of Wine.

Photo credit: Michelle Bouffard

Posip grapes at Rizman Vineyards

The Dynamics of Grüner Veltliner

By Christopher Sealy

Grüner Vetliner is Austria’s most planted grape. The wine estates that grow it are relatively small in size which allows for a focus on flavour and quality. This approach, in my opinion, produces some of the most charming white wines in the world. As the reputation of these wines grow, Grüner is popping up on wine lists and in wine shops all around the world, becoming a bright verdant light on the horizon of the everexpanding world of wine.

I asked Niki Moser, winemaker at the fam ily run estate of Weingut Sepp Moser in the Kremstal DAC (DAC = appellation), about his views on the potential of Grüner Veltliner to increase its share in the global wine market. He emphasises that “after decades in which the wine industry has marched towards uniformity, the wine world is thirsty for small but fine re gional specialties such as the Grüner Veltliner.”

Tasted with the eyes closed, the wine suggests parallels with the elderflower and acacia floral aromatics of Sauvignon Blanc, conjuring saline and zesty profiles of Muscadet or Chablis, and then dazzles with the fullness, body and breadth of Riesling. Grüner is singular in that any given wine can capture and present a complex level of aromaticity and flavour in one glass.

Grüner’s characteristic ‘pfefferl’ – white pep

pery note – is intertwined with a white floral aroma of varying intensity over orchard and stone fruit flavours. The wines can be as de lightful and refreshing as a mountain stream in early spring, or as soft and round as sun-kissed fruit enjoyed on a late-summer morning.

For the most part, Grüner Veltliner is raised from vine to wine in the greater area of the Niederosterreich DAC a.k.a Lower Austria.

Photo credit: Austrian Wine/Robert Herbst

This area extends north and westward of Vi enna and is home to a smaller DAC within its boundaries. It is here that one can find multi ple vinous articulations of the grape. Generous wines can be had from the terraced vineyards that line the rivers of the Traisen, Krems and Kamp valleys as they flow into the Danube Riv er, which is the thread that binds the region. Seek out the steep and more elevated slopes of the ‘Bergs’ that form foothills and mountains throughout the landscape and you will find many complex and elegant illustrations of single vineyard wines. Niki Moser reports that “The oldest mentions of vineyard site names in our village (e.g. Gebling and Breiter Rain) [Kremstal] date back to the year 1284.” This long history of focus on the grape and vineyard site has developed across all appellations.

Grüner Veltliner is also a grape that is close ly connected with place. It often presents a dis tinct mineral-like intensity that is, in part, due to soil, rock and location.

Nuances derived from vineyard location and viticulture come mainly from the soil. Loess soil is dominant in the region and is the medium through which Grüner performs at its best. Loess is windswept dust of crushed and pulverised rock from the last glacial age that has been deposited over the hills and valleys of Lower Austria. Loess settles at various depths on top of what is called primary mother rock, a crystalline mass of sedimentary rock formed through the ages.

A wide range of crystalline rock formations sit under the vineyards of the key Grüner Velt liner focused DAC (appellations). Rivers, side valleys and mountain ranges carve the land scape, and though each DAC side-by-side seem similar, below the loess they can differ dramat ically. Grüner translates this ancient soil and crystalline energy into a vinous language that we can taste today.

DAC that are either divided by the Danube River or are entirely south of the river sit on more alluvial and gravel stone. The most west erly regions of the Wachau DAC and Kremstal DAC, with terraced mountain vineyards on the north banks of the Danube, on top of gneiss and amphibolite mother rock, produces crisp, lean and refined Grüner Veltliner.

Fuller bodied Grüner is found on heavier soils such as clay, gravel silt and loam on the south banks of the Danube vineyards. Mean while, the south sitting DAC of the Traisental, composed of loess over clay rising further southward to sandstone and calcareous lime stone into the higher foothills of the Austrian Alps west of Vienna, produce more focused and generous flavoured Grüner Veltliner.

The Wagram DAC is divided by the Danube as we circle north to the vast Weinvertel DAC. In the subsoil transition from a mixture of clay and silt to sandy gravel the Grüner here contains joyful primary fruit flavours. The Weinvertal DAC fans out to cover the largest areas under vine. In some places there may

be granite, sandstone, and limestone, and it is these variations that make the Wienvertal DAC a source for dynamic wine.

Lastly there is the Kamptal DAC, which is nestled between the Kremstal to the west and the Weinvertal to the east. Here, key vineyard sites of feldspar-sandstone provide many of the benchmark expressions that combine struc ture and flavour for crowd-pleasing Grüner.

While rock, soil and vine are the blueprint, it is climate that draws fruit from these raw elements. The vineyards of Grüner Veltliner benefit from two major climatic influences. The cool Atlantic winds that descend over the Wachau DAC from the northerly plateau of the Waldvertel, the Forest District which lies in the northwest, and a warm air stream rising from Pannonian Basin in the east. Mediterranean in origin, this warmth creates tension in an em brace with the Waldvertel winds. The warm air travelling along the Danube corridor, snaking past the capital of Vienna, brings warm days and cool nights: the perfect environment for Grüner Veltliner to develop its characteristic spiced and mineral backbone fleshed out by delicate fruit flavour.

When it comes to style, it is the winemaker who matters. Running a small-to-medium sized estate allows for a focus on quality. At the most recent VieVinum Austrian Wine Con ference, there were several masterclasses that highlighted a vast array of wine styles and tex tures from Grüner. Indeed, there are so many

Photo credit: Austrian Wine/Fotostudio Semrad

Terraced Vineyards in the Wachau, Niederösterreich

that only a few are currently represented in any given market. Though there are many wines striving to break the ‘mold,’ regional typicity is clearly defined.

Many winegrowers are using natural farming techniques, and you can taste the difference. Wines are alive and energetic like farm-to-table vegetables. A nation that has converted close to 20% of its vineyards to or ganics/biodynamic is producing compelling wines. Martin and Anna Arndorfer are wine growers in the Kamptal who make only biody namic natural wines. For them, Grüner Velt liner fits beautifully with their farming prac tices since, according to Martin, “wine made this way shows ‘the original taste of the fresh grapes.’” It is understood that the spice, aroma and flavour of a grape is developed in the skin, not just the flesh. Martin explains that biody namic/no chemical farming provides a path towards “spicy, vibrant and elegant wines with drinkability and joy.” Whether conventional or biodynamic, the diversity of choice in wine style has never been better.

With so much diversity in regions, and vari ations in microclimate and winemaking styles, Grüner Veltliner is an impressive experience for the palate. If character and personality are what counts, Grüner has loads of it!

aromas rise from the glass. The palate is dry, textured with an engaging mouthfeel around apple, apple skin with medley of chamomile, lemon-pepper. The finish is tart and energetic. A most lively expression of the raw-energy of Grüner Veltliner.

Weingut Schloss Gobelsburg ried Lamm 1otw Grüner Veltliner 2017, Kamptal DAC

A single vineyard cru on the Heiligenstein berg composed of loam (laam) and loess over red sandstone and clay rock. This wine is day-bright and luminous with a yellow tinge in colour. The perfume is immediate and exotic with precise florals, pear to candy lemon, with peach. There is a tone of creamy pear scented lees that carries to the palate with medium body weight. Juicy and tart orchard fruit flavour, with a light almond viscosity. A mellow mood of wine, yet fresh, generous and elegant.

Weingut Veyder-Malberg ‘Leibedich’ Grüner Veltliner 2021, Wachau DAC

A wine sourced from 3 terraced vineyards on pri mary rock soil, blended to create regional DAC wine. Luminous, day-bright with an emerald green hue. Light touches of white flowers-inspring and white pepper. Mineral tones of wet stone frame white peach and nectarine fruit. The palate of this wine is lean and cool in the mouth with orchard and stone fruit leading to a gentle finish.

Weingut Veyder-Malberg ried Hochrain Grüner Veltliner 2019, Wachau DAC

Weingut Schwarzböck ried Aichleiten Grüner Veltliner 2020, Weineviertel DAC Reserve

This wine exhibits the famous ‘pferrl’ – peppery note typical of the Weinviertel. From stone soils of ‘flysch,’ the wine aromas of orchard and stone fruit are amplified by a floral, pepper and spiced nose that translates directly to the palate. The wine is dry, savoury with ripe fruit of apricot, almond, and acacia honey. Loads of flavour and expression on the plate. This wine is amped up like listening to music on proper Hi-Fi Stereo headphones.

Weingut Gruber Ròschitz ried Mühlberg 2018, Weinviertel DAC Reserve

A wine from a south-facing vineyards on granite rock. The wine is elegant and poised with high toned honeyed pear, with lemon-citrus. Spice in aroma gives way to a salty stone and nuttiness on the palate that mirrors fruit from the aroma, yet tart, creamy-rich, bright and complex. A wine that does all the things well.

Weingut Prager ried Achleiten Smaragd Grüner Veltliner 2019, Wachau DAC

This wine from what is considered a warmer vintage producing fuller wines is an example of restraint and playfulness. The wine is ripe with pear and apple fruit aroma, balanced by a pow erful and persistent tone of salt and pepper that keeps your attention. The palate is direct, clean with orchard fruit and extract to give a certain sensation of texture. Remarkably complex with clarity in expression.

Huber ‘Terrassen’ Grüner Veltliner 2015, Traisental DAC

The way Grüner develops is fascinating. This one has a mellow golden and yellow apple aroma, with a roasted medallion of lemon to add a tingling of the nose akin to gentle incense smoke. The palate is soft and relaxed with a gentle hint of savoury and fading acid structure: think juicy peach, apricot and an apple medley. It is a good example of an aged Terrace wine, just past its prime.

Weingut Huber ‘ried Berg Getzersdorfer 1otw Grüner Veltliner 2014, Traisental DAC Reserve

A wine that is traditionally fermented and aged in acacia wood casks, with 8 months on the lees, this wine presents rich yellow green hues with distinct warm, ripe golden pear, pear skin and honey. Gentle notes of green peppercorn, spice and mature aromas rise from the glass. The palate delivers more pear, pear nectar, with citrus, apple. Exotic spices arise almost as a light blend of cumin, bay leaf and sage.

Weingut Martin and Anna Arndorfer ‘Handcrafted’ Grüner Veltliner 2021, Kamptal

The Grüner grapes for this wine are sourced from vineyards with different soils throughout the Kamptal region. Unfined and unfiltered giving neon lemon-green with aromas of fresh flesh of crushed green apple and pear, with ripe tropical white fruit. Raw and distinct white floral

This is a unique single vineyard on deep loess soil. Day-bright with a green-yellow hue in colour, the aroma is intense with apple, red apple, the nectar of pear and nectarine providing riper aroma. The palate is ripe with juicy orchard and stone fruit flavour. The is a wine of greater amplitude expressing typical Grüner flavours of intensity and spice, gently restrained by the cooler location of the vineyards.

Weingut Bernhard Ott ried Spiegel 1otw Grüner Veltliner 2018, Wagram DAC

In the Wagram on the north side of the Danube. The wine exhibits pear, green apple, with creamy lemon aroma. Inviting with white floral aroma, elements of almond and some spice. A youthful aroma yet poised and complex. The palate is direct with juicy peach, nectarine with a salty viscous mid palate weight. The wine offers clar ity and freshness in flavours, like a cool morning wind in summer.

Weingut Gschweicher ried Galgenberg Grüner Vetliner 2018, RoschitzNiederosterreich DAC

Showing a deep yellow-green gold hue, the aromatic intensity is broad, deep and showing evolution with dried petals of sweet acacia flowers, roasted honey, and citrus. The palate is warmed lemon, citrus, with chamomile tea, underscored by a gentle sweet green apple note on the finish. This wine deserves time to open up and reveal itself.

Weingut Sepp Moser reid Schnabel Grüner Veltliner 2020, Kremstal DAC Reserve

A single vineyard over loess soils opens up with a sweet floral expression that invites you to take in more of its Grüner pear, apple and peach fruit aroma with a seductive intensity of creamy lees and spice. Unfiltered and fermented in large old casks the wine is open, fresh and light on the palate without loads of intensity. It presents a unique concentration of flavour on the palate that reveals itself with time in a decanter.

Christopher Sealy is the wine director for the alo food group. Christopher has been with the group since late 2015 when alo, the flagship restaurant, began to garner national and international attention as Canada’s premier fine dining tasting-menu only and wine pairing restaurant. Alo currently sits at #90 on the San Pellegrino World’s 50 Best Restaurants. In 2019, Christopher was voted #1 Sommelier by Canada’s 100 Best. He is a mentor for Vinequity, an organization which aims to amplify the voices of Black, Indigenous, People of Colour and LGBTQ+, in the Canadian wine community.

FAVE 5 with DELHI 2 DUBLIN

By Tom Murray

Sanjay Seran of Delhi 2 Dublin is slightly bemused at how he’s spent the last two-and-a-half years.

“I’ve just been at home,” the vocalist exclaims from Galiano Island, just off the coast of British Columbia, Canada. “There’s like 1,300 people here. I’ve just basically been doing yard work and writing my solo project. It’s quite different from Delhi 2 Dublin, more like stoner sex music. I’m married and I have a kid, so I write music about fucking being high. That’s my life.”

Delhi 2 Dublin’s glorious mashup of funk, bhangra, dub, electronic, reggae, hip hop, and Celtic music has channelled itself through a number of different lineups over the years, but they’ve been on a hiatus since the release of 2019’s We Got This. Started on a workshop stage at a Celtic festival in 2006, the band originally featured Seran, electronic artist and tabla player Tarun Nayar, violinists Kytami and Oliver Schroer, and DJ Adrian Blackhurst. Since that inspired beginning, they’ve gone on to become a world trotting collective, beloved at folk festivals and always incorporating new sounds.

We spoke with Seran about some of his favourite places to play around the world.

COMMODORE BALLROOM, VANCOUVER CANADA

We’ve played it seven times. It was a goal of ours and we manifested it to happen, I’m still not sure how. The best shows we’ve ever done were there and I’ve always wanted to see ourselves from the audience perspective at the Commodore. There were so many ego boxes that got ticked off when we finally got there. It felt fucking fantastic. The staff are awesome, the guy that runs it is awesome. I think he plays in a band so he gets it. One little tidbit of information: my wife’s grandmother used to go clubbing there when she was at UBC. It was the place for socialites at the time, so that made it perfect for us.

BALI SPIRIT FEST

There are some pretty magical things that happen in Bali. It’s a very spiritual place. We played Bali Spirit Fest twice as a band and once as a DJ collective, so I wasn’t on that trip. I think my son was just born or something. So it’s a yoga festival with yogis from all over. When the concert happens it’s completely wild because you’re just sweating so much. I couldn’t even hold the mic, it was just slipping. But the sound

is impeccable, and it’s in this beautiful, closed in, outdoor area. Just fucking wild, you know?

HUMBOLDT, NORTHERN CALIFORNIA

It’s not a venue, it’s a region. Northern California gave us so much love early on starting with Earthdance, which takes place south of Humboldt, and north of San Francisco. That was my first time being introduced to bands like Sound Tribe and Sector Nine and a lot of American jam bands. I grew up in Richmond, so I didn’t really listen to the Grateful Dead or anything. It was a bit of a shock. It was also the wild west of weed, because that’s where all the growers were. So that was the vibe, and Delhi 2 Dublin were welcomed because we fit it.

THE FILLMORE, SAN FRANCISCO

Someone across the planet might not know the Commodore in Vancouver, but they’ll know the Fillmore. The Summer of Love, the hippies in San Francisco, everyone knows it. We were on a roll and we finally got to play there. And like The Commodore, the staff from top down were incredible. Like, we roll up in a minivan, and they treat you exactly the same as a band that shows up with a semi and a tour bus. So that was just special. But also as a musician it’s impossible to put into words what it feels like to be offered the Fillmore.

RANDOM BAND SHELL, SHEBOYGAN WISCONSIN

So what the fuck are we doing in Sheboygan? There were two brown people in the audience and everyone else was middle-aged to older white people. You’re like, great, I’m a fucking clown on stage. What am I going to do? ‘Look at that guy, he’s so ethnic.’ But I was wrong. Tarun (Nayar) goes in and he was basically like, ‘yo, everyone, hands up, stand up.’ And holy shit, everyone stood up. And it was like thousands of people doing bhangra in Wisconsin. That was another one of those experiences where you’re like, holy shit, like this is bigger than me.

THE CHARMING TASTE OF EUROPE

THE CHARMING TASTE OF EUROPE

THE CHARMING OF EUROPE

There are places in Europe that have a timeless charm, where the highest quality products with distinct flavors are born. The Charm ing Taste of Europe is a unique project that connects the flavors of wine from Italy and France, as well as fresh fruit from Greece, and introduces the United States and Canada to these exquisite items that evoke all of Europe’s beauty and grace.

There are places in Europe that have a timeless charm, where the highest quality products with distinct flavors are born. The Charm ing Taste of Europe is a unique project that connects the flavors of wine from Italy and France, as well as fresh fruit from Greece, and introduces the United States and Canada to these exquisite items that evoke all of Europe’s beauty and grace.

There are places in Europe that have a timeless charm, highest quality products with distinct flavors are born. ing Taste of Europe is a unique project that connects wine from Italy and France, as well as fresh fruit from introduces the United States and Canada to these that evoke all of Europe’s beauty and grace.

The campaign is co-funded by the European Union and aims to promote the merits of European agricultural products, such as quality, tradition, traceability, safety and high production standards. Quality is one of the greatest assets of the producers across the EU in their attempt to meet the consumer demand, to increase the competitiveness of the EU products on US and and Canada markets.

The campaign is co-funded by the European Union and aims to promote the merits of European agricultural products, such as quality, tradition, traceability, safety and high production standards. Quality is one of the greatest assets of the producers across the EU in their attempt to meet the consumer demand, to increase the competitiveness of the EU products on US and and Canada markets.

The campaign is co-funded by the European Union promote the merits of European agricultural products, quality, tradition, traceability, safety and high production Quality is one of the greatest assets of the producers EU in their attempt to meet the consumer demand, the competitiveness of the EU products on US and markets.

To learn more about the campaign, visit : www.charmingtasteofeurope.eu/en.

To learn more about the campaign, visit : www.charmingtasteofeurope.eu/en.

To learn more about the campaign, visit : www.charmingtasteofeurope.eu/en.

DO YOU KNOW ABRUZZO, ITALY, AND ITS WINES?

Can a single territory encompass beauty, history, nature, landscape, and good wine? Yes, definitely! These are in comparable elements when describing the region of Abruzzo, a still unexplored territory where its diverse fea tures have found perfect harmony. Considered as one of the greenest regions in Europe, Abruzzo is located be tween the Adriatic Sea and the massifs of the Gran Sasso and the Majella. Within this hidden gem, there are three National Parks and more than sixty national and regional reserves. Given its strategic position, it is a territory natu rally predisposed to viticulture.

The wine culture of Abruzzo, which has its roots in Greek and later Roman times, has its production areas concen trated almost entirely in the hilly landscapes, more specifi cally, near the coastal hills. Thanks to an ideal microclimate and the passionate dedication of its producers, quality products are born with unique and irreplicable taste pro files.

The undeniable leader is Montepulciano d’Abruzzo, cultivated on 17,000 hectares, with a constantly growing popularity. Present in the region since the mid-’700s, this wine, with its signature ruby red color and aromas of violet, cherry, berries, and licorice, remains a staple and qualifies as one of the greatest Italian reds. Alone, Montepulciano d’Abruzzo represents over 80% of the total denomination of wines produced in Abruzzo and is among the top three DOC wines produced in Italy.

Its white wine counterpart is Trebbiano d’Abruzzo, a white wine of great potential and versatility. Some accounts place the production of Trebbiano in Abruzzo since the six teenth century. With its straw yellow colour, it is known for its pleasant bouquet of fresh flowers and fruit, with a dry and harmonious taste. But it is not the only white wine ca pable of refreshing the palate of those who taste it. Once you get to know it — and you’ll want to get to know it —

Abruzzo Pecorino will find its place in your heart alongside big-name white wines. It’s the kind of wine that can be ap proachably youthful or age-worthy and complex. You get character, noticeable terroir, a richer flavor profile than of ten accompanies “fresh” white wines — notes of soft fruit, florals, dry herb, minerality, all balanced by freshening acid and a slightly heavier mouthfeel (thank you, sugar). You cannot continue this itinerary of taste without mentioning rosé wines, such as Cerasuolo d’Abruzzo, that manages to combine a distinct structure and unforgettable freshness. This wine is produced from Montepulciano grapes using a unique winemaking technique and since 2010 has been the first denomination in Italy dedicated solely to the produc tion of rosés.

Each of these products represent the culmination of the passion, tradition, and dedication of the Abruzzo commu nities. They are an invaluable commodity to be cherished and nurtured towards the preservation and development of the territory’s cultural identity.

The Consorzio di Tutela Vini d’Abruzzo plays a fundamental role to guarantee the quality, typicality, and origin of Abru zzo wines and the development of its products.

Helen Nguyen

By Oset Babür-Winter

As the chef/owner behind New York City’s buzzy Vietnamese spot, Saigon Social, Helen Nguyen knows a thing or two about building community during challenging times.

Having constantly pivoted her business, which opened in March 2020 just days before the city’s restaurants were ordered to shutter in an attempt to halt the spread of COVID-19, Nguyen is essentially the modern definition of what it means to be a chef –– versatile, patient, and above all, committed to creating shared memories over delicious dishes that both cel ebrate and build upon their origins.

We spoke with Nguyen about how she got into cooking professionally, what motivates her to keep serving customers, and her vision for Saigon Social’s future.

The following conversation has been condensed and edited for clarity.

TELL ME A LITTLE ABOUT WHERE YOU GREW UP.

I was born in California and my family moved to Houston, Texas for a couple of years before going back to California, and then it was Seattle pretty much my entire life prior to moving to New York.

WHAT WAS YOUR FAVORITE COMFORT FOOD GROWING UP?

Braised pork belly and crepes that my dad would make. Or over rice. It’s still very much in my weekly rotation today –– I have to have my rice two to three times a week. I would say I’ve put my own twist on it, but honestly I don’t think there was ever technically a recipe for it –– my parents didn’t use cookbooks or anything like that. I would just mimic what they were doing, and as I got older and learned more about in gredients and cooking techniques, I was able to refine it over time.

WHAT’S YOUR FAVORITE INGREDIENT TO COOK WITH?

Fish sauce! I think it’s in almost every recipe or every sauce I make. Whenever I make spaghetti or any kind of pasta, it’s in there as well. My favorite in the last couple of years is Red Boat.

DO YOU HAVE A FAVORITE RESTAURANT THAT NEVER DISAPPOINTS?

I would say there are two restaurants that fit this for me –– they’re both Vietnamese restaurants in Seattle, and they’re actually right next to each other, but they serve very different foods. The first one is called Hoang Lan, and they’re known for their spicy beef noodle soup, which really hasn’t changed over the past 25 years. It’s been the same family running the restaurant all this time. The other is called Huong Que, and they’re very much focused on homestyle cooking –– it’s been around for decades as well. The mom and the son who manage Hoang Lan have helped me on many occasions to tweak my spicy beef

noodle soup that I’ve learned from them, and they’ve even offered to fly to New York to help me refine the dish here. Every time I go home, that’s one of my first stops.

WHO (OR WHAT) IS YOUR MOST SIGNIFICANT CULINARY INFLUENCE?

I grew up watching a lot of Jacques Pepin’s videos. He’s been a huge influence since child hood in that his videos have always been so approachable, even a child could understand. Even now, I catch myself watching them and they resonate so differently, but the foundations remain the same –– they’re very easy to follow! What made it so intriguing and helpful for me is that I obviously didn’t understand what an omelet was when I was much younger, but he breaks everything down by technique. He shows you how to cut an onion, for example, but also explains different ways to make a single dish, which I still find really interesting.

Photo credit: Pat Dunford

Photo credit: Gurvinder

Bhatia

WHAT DO YOU DRINK AT HOME?

I drink a lot of green tea, but I also drink a lot of coffee. I think the very first thing I do when I get to work is to have a quart of coffee. Before, I’d drink whatever coffee was available at work, but over the last few years, I’ve been only drinking Nguyen Coffee Supply. Sahra (the founder) and I became really good friends, and I try to support them as much as possible. I love the Truegrit blend, and I’m a big fan of the Robusta –– I don’t love the acidic aftertaste of Arabica coffees as much. I feel like I used to drink coffee with condensed milk, but over the last few years, I’ve just been having coffee black.

WHAT KIND OF MUSIC DO YOU LISTEN TO WHILE YOU COOK?

Vietnamese music! That’s what’s always on at home and in the restaurant. I have a few different playlists, sometimes it’s just classic, other times it’s more modern Vietnamese rap or pop. I personally think it makes the food taste better –– when you’re in a happy mood, it translates!

WHY AND WHEN DID YOU START COOKING?

I think I’ve always had an interest in cooking. When I was younger, my cousins and I used to play house and restaurant a lot; they used to watch me while my parents were working,

we’d cook eggs or fry spam. As I got older,

really enjoyed hosting weekly dinner parties for friends. Several years before moving to New York, I would volunteer at my church kitchen, and I think that was my first experience with large volume cooking. They had a community kitchen that offered hot meals to those in need, and I was a parishioner at that church, which is how I learned about the program. I would work two to three times a week to cook between 150 to 300 meals. I found a lot of joy about that –– I

would become a career, but I

FEEL LIKE WHAT YOU WANT OUT OF COOKING HAS EVOLVED OVER THE YEARS?

you’re doing it recreationally versus professionally, your outlook changes. Yes, I have a restaurant now and I cook as a profession, but I see us as more than a restaurant –– it’s a strong foundation for a community. I get a lot of joy out of conversing with regulars, or with people who are coming in and tasting this food for the first time. When I opened the restaurant, it wasn’t to make money –– everyone knows how slim the margins are. But it’s something that made me so physically and emotionally exhausted at the end of every night, but I’d wake up every morning energized to do it again!

WHAT IS YOUR VISION FOR SAIGON SOCIAL MOVING FORWARD?

Honestly? Stability. We’ve been stop-and-go for so long that I’m waiting for the day that everything we’re doing becomes second nature rather than constant pivoting. That’s what I’m excited for.

Scan the QR code for Chef Nguyen’s recipe for Banh Xeo

Photo credit: supplied by Helen Nguyen

By Jessica Dupuy

A Local’s Guide to Austin TX

As a native of Austin, it’s not a stretch to say that the Capital City is the epicenter of the Lone Star State. For food, music, recreation, leisure, and school spirit at the University of Texas, Austin has quickly garnered a reputation as one of the most popular U.S. cities in recent years. And it has a booming population to prove it. But it hasn’t always been this way.

When my family arrived on the scene more than 40 years ago, the population was a diminutive 415,000. Today, the greater metro area is home to more than 2.1 million wouldbe Austinites. Newcomers to town, whether recent transplants or visiting weekend war riors, are often searching for the hottest new restaurants, bars, and shops—for that, South Congress, Clarksville, downtown, and the east-side districts won’t disappoint. And while locals usually have a good pulse on the latest points of interest to hit the scene, there’s a defi nite layer of standard, longtime favorites that rest beneath the surface of all that is shiny and new. There are plenty of boxes to check when you  visit Austin, but this is what you do when you live in Austin.

For a city known as the “Live Music Capital of the World,” Austin certainly lives up to its name. But not every venue is created equal, and sadly, in recent years, some stages don’t

live up to the standard to match the hype. Still, there are a few spots that remain tried and true. Iconic spots such as The Continental Club on South Congress, Stubb’s Bar-B-cue, and The Mohawk on Red River are worth checking out for local and touring acts. The White Horse Sa loon is a favorite East Austin honky tonk, and the Cactus Cafe at the University of Texas fea tures a tremendous local lineup. The Broken Spoke is a must for a classic country-western vibe with ample space to do some boot-scootin’ on the dance floor.

There was a time when fans could line up outside the old Austin Public Broadcasting Sta tion (PBS) station to earn free tickets to a tap ing of Austin City Limits, the longest-running American television music series in history. It was one of the most intimate venues in town to catch acts such as Stevie Ray Vaughn, Willie Nelson, Robert Earl Keen, and the Black Pu mas, but these days you have to buy tickets for tapings at the new Moody Theater downtown. (You can enter to win “space available” seats via a random lottery drawing online.)

Though it lacks the vintage feel, the modern venue is one of the best in town for acoustics. As for festivals, the SXSW music festival in the spring and the ACL Festival in the fall were once musical celebrations of Austin-based

talent, but in recent years, they have grown be yond their local caché. Instead, smaller options include the Hot Luck Food & Music Festival in late May.

When it comes to dining, there are typically two cuisines most visitors should investigate first: Barbecue and Tex-Mex.

Texas barbecue is best defined by large, iron off-set smokers slowly smoking meats (pri marily beef brisket) bearing a secret recipe of peppery dry rubs—no sauce, please. The holy trinity of any barbecue plate includes brisket, sausage, and ribs (pork or beef), but you’ll also find chicken and turkey on many menus as well. And it’s worth noting that barbecue, BarB-Q, and BBQ spellings are interchangeable.

In Austin, there aren’t many smoked meat lovers who haven’t heard about Franklin Bar becue. This east Austin icon does serve some of the best brisket, well, anywhere. I’ve even called it “unicorn meat.” But plenty of other places rank up there as equally impressive, namely Interstellar BBQ, a north Austin spot heralded for its peppery smoked brisket and peach tea-glazed pork belly. Leroy and Lewis BBQ is another go-to central Austin spot for next-level ‘cue (the Mexican-inspired barbacoa is remarkable, and the Deluxe Frito Pie with spicy beef chili is pure Texas soul food).

Valen

It’s often been said that Texas is a state of mind.

Photo credit: ABC Kite Fest

tina’s Tex-Mex BBQ is a South Austin favorite serving up a delicious hybrid of barbecue and Tex-Mex (breakfast tacos here with brisket and scrambled eggs are legendary).

And let’s talk Tex-Mex. Of Texas’s many influences in its culinary tapestry, Mexico has undoubtedly been one of the greatest. After all, much of the Lone Star State was actually a part of Mexico at one point in its history. But as the cultural landscape evolved over the past centu ry with German, Irish, and Polish immigrants along with settlers from other parts of the country, the amalgamation of cuisines became more Tex than Mex, yielding a unique identity that was a departure from authentic interior Mexican food.

Today Tex-Mex incorporates a few signifi cant dishes and sides, namely enchiladas (with corn tortillas, not flour), tacos (crispy beef is a Texas original), nachos, and fajitas (grilled skirt steak, onions, and peppers served in flour tortillas). No Tex-Mex meal is complete without salsa and an order of chile con queso, locally referred to as “queso,” served with tor tilla chips. House-made guacamole is also a standard. And don’t forget the margarita. Fro zen or on the rocks, this salt-rimmed, tequila, and lime-based cocktail is a thirst-quenching refreshment that owes its origins to the Tex,

rather than the Mex side of the cuisine.

In Austin, there are a few iconic spots long loved by locals, including Matt’s El Rancho on South Lamar, where you can find almost every combination of Tex-Mex delight you can think of. Originally opened in 1952 by the Martinez family, every longtime Austinite pays a visit here every so often. Cocina ATX gives Tex-Mex a dressed-up feel and is worth the higher price tag (the tequila selection is excellent). Further north, La Mancha and Taco Flats are local haunts that more than satisfy.

Of course, most people prefer to stay near home when getting their barbecue or Tex-Mex fix. It’s sort of like having the neighborhood pub or watering hole. Fortunately, good op tions tend to be plentiful. In my case, I opt for Treaty Oak Distillery or The Salt Lick for barbe cue, and Flores, a small family-owned chain for Tex-Mex. Each is about 15 minutes away, which is all you need if you want to avoid a big pro duction of heading into town for dinner.

But Austin has much more to offer than smoked meats and cheesy Mexican-inspired fare. Dan’s Hamburgers is a classic with three park-and-order locations around town for good ole greasy-spoon burgers. Pool Burger near the historic Deep Eddy Pool—a spring-fed swimming pool off Lake Austin Boulevard—

serves up excellent burgers, tiki cocktails, and a fresh, vibrant scene. Mighty Fine Burgers and P. Terry’s checks all boxes as local chair fast-ca sual burger joints.

For fine dining, it’s hard to beat longtime sushi favorite, Uchi. The original location on South Lamar opened in 2003 under the helm of James Beard Award-winning chef Tyson Cole, and has since grown to include sister restaurant Uchiko, and fellow Uchi locations in Dallas, Houston, Denver, and Miami. Here, traditional sushi and Japanese heritage are honored, balanced by innovative presentations and unique preparations of some of the fresh est cuts of fish from around the world.

Jeffrey’s on West Lynn St. is the place for delicious steak and expert service. It is well worth arriving early for pre-dinner drinks in their chic living room bar. Fonda San Miguel has long been a north-central favorite for an interior Mexico feel. Tucked in a neighbor hood alcove off of North Loop, this enchanting eatery serves up classic Mexican fare such as enchiladas mole poblano, and carne asada a la tampiqueña in a luxe Hacienda-style environ ment reminiscent of Puerto Vallarta. Among the newer additions to town, the Caribbe an-inspired Canje is the latest rage, and sister restaurant, Hestia, a modern American grill,

Photo credit: supplied by Treaty Oak Distillery

Photo credit: supplied

Photo credit: Larry D Moore

Photo credit: Carol M Highsmith

Treaty Oak Distillery

Pool Burger

Entrance to the Cactus Café at the University of Texas

The Broken Spoke is a must venue for classic country-western vibe

is equally as enticing. Pecan Square Café in Clarksville offers a flavorful, upscale menu of local, seasonal ingredients.

Lately, great wine bars have increased in variety. For a well-appointed diversity of of ferings, Apt 115 is an excellent little wine bar tucked into a mixed-use development on the east side. On the same side of town, the Cape Bottle Room is a popular stop for a wide se lection exclusively devoted to South African wine. Over on the west side, the Austin Wine Merchant is the go-to place for the best wine retailer in town, but to sit and enjoy a glass, the new Neighborhood Vintner in the Westlake neighborhood is a swanky wine bar and shop worth stopping in for a glass or two.

When it comes to apparel, By George on South Congress, Adelante Boutique on North Lamar, and Vintage Soul in Dripping Springs are go-to spots for unique frocks and accesso ries. For him, Austin-based Howler Bros. Out fitters offers a laidback Texas vibe to outdoor threads. And you can’t say you’ve experienced Austin without selecting a pair of real-deal cowboy boots from Allen’s boots on South Congress. Here locals have already stocked their closets with at least two or three pairs from shelves upon shelves of this landmark boutique.

For a wide selection of vinyl records and the latest releases from Texas musicians, Waterloo Records has been an Austin institution since 1982. It’s also a great spot to catch live music from acts such as Spoon, Norah Jones, and Wil lie Nelson. Food aficionados need to check out Central Market, which offers a culinary para dise as fresh as the weekend farmer’s market, and stocks of ingredients equally as diverse in flavors from around the world. The market has north and south locations on Lamar Blvd.

For a taste of artistic inspiration, the Blan ton Museum of Art is a regular haunt for checking out the latest exhibits. Boasting one of the country’s largest private collections of old master paintings and drawings, the Blan ton is part of the University of Texas’ center for research and training in visual arts. It is the largest university art museum in the country. Permanent exhibits include Renaissance and Baroque work along with 20th and early 21st century American and Latin-American art. Still, it’s worth keeping tabs on the calendar of special visiting exhibitions as well.

While it’s true Austin is no longer the small college town it once was—and it has the traffic to prove it—the deluge of attention and fanfare hasn’t diminished the city’s charm. Though locals may sport t-shirts that offer the tongue-

and-cheek slogan “welcome to Austin. Please don’t move here,” the underlying sentiment is that the Capital City is a great place to be, espe cially if you can look beneath the surface of the trendy newfound veneer.

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

Photo credit: Logan Crable

Photo credit: David Reyes

Photo credit: supplied by Uchi

Fonda San Miguel serves up classic Mexican fare

Tyson Cole on the line at Uchi

Oysters at Uchi

Agencies on the rise -

Ontario’s wine middlemen

By Brie Dema

Over the last few years, I’ve noticed a greater selection for wine lovers in Ontario.

This is largely owing to the rise of ‘bottle shops,’ retail-esque displays in restaurants that sprung up after the provincial government, prompted by the shutdown in-person dining due to the pandemic, permitted alcohol to be sold to-go (with takeout food orders) in 2020. The ‘bottle shop’ selection is unique from what you would see on the shelves at an LCBO (Li quor Control Board of Ontario) store (ie. retail stores operated by the provincial monopoly), making them exciting places to shop. Many businesses have kept the model after in-person dining was reinstated, though there are rea sons why we may not see the trend continuing. First, the profit margins for retail sales are low er than a restaurant model, and second, there still exists strict policy as to who can retail alcohol in Ontario (spoiler alert, this does not include restaurants).

Why and how do restaurants have wines that you can’t find on LCBO retail shelves? Because they do most of their wine buying through the LCBO consignment program. If you live in Ontario and this channel is not on your radar, it should be, as it has always been a fantastic way to find artisanal and unique wines. What is also exciting for wine lovers is that it is growing in scale.

While the LCBO provides a good selection in its stores (specifically in Vintages and Des

tination Collection) and online, consignment relies on the participation of agents - folks who source and vet international producers, acting as brand ambassadors and salespeople on their behalf. The LCBO does the importing and warehousing both of retail and consign ment products, in consignment it is the agents who choose which wines will be imported, and whose livelihood rests upon their success.

Each agent’s portfolio acts as a catalogue, comprised of unique and oftentimes small producers or niche styles that may not fit the broader retail landscape. Historically each wine was only available to purchase by the case (which appeals to restaurants but not necessar ily consumers), agents are now permitted to sell in mixed cases; another pandemic related government policy change. Portfolios can be

browsed online from the comforts of home, most agents host ‘taste and buy’ events for both restaurant buyers and consumers, and many deliver or ship province wide. By buying direct through an agent you also avoid the bottle shop markup.

Now, consignment is not new, but it has had a recent facelift. The LCBO moved its current warehouse to a larger facility in 2019 “(as a) result of the sale and development of LCBO’s Head Office land which included the Toronto warehouse. It led to a once-in-a-lifetime oppor tunity to modernize our operations and ways of working, providing…more opportunities for agents to partner with the LCBO to bring new and innovative products to Ontario’s market,” says an LCBO Spokesperson.

We are seeing more agents as startups, with the AGCO (Alcohol and Gaming Commission of Ontario) reporting a rise in agent licenses granted; in 2019 there were 858 active licens es and to-date at the time of writing there are 1100. Jim Lisson, president of Drinks Ontario, a membership-based organization that ad vocates for wine/alcohol agencies, reports a roughly 20% increase in its membership base, which is now at its highest in its history (est 1970’s). We are on the upswing, wine a-flowin’ circa the ‘roaring twenties’… but unlike a cen

tury ago, without the pesky prohibition part.

So, how does a new agent stand out from the pack in the eyes of the consumer and restaurant buyer as well as potential producer partners? Many new agents are building their portfolios with focuses such as regions or philosophies, and while not a new concept, it is useful in providing the agent with an iden tity. Some focuses might be quicker to become over represented though. Take for example The Living Vine; an organic, biodynamic and natural wine focused agency that Mark Cuff started over 15 years ago, well before these style of wines became trendy (in Ontario).

It is safe to say Cuff and his team have a de servedly dedicated fan-base; they are among the best for many reasons. But today, there is a plethora of new agencies that sell only such wines, and though demand is still high, it re mains to be seen how they will differentiate themselves without a track record like Cuff’s.

It has also been relatively easy in the past to find an agent that specializes in Italian or French wine, but we are currently seeing un derdog regions and new-wave/artisanal pro ducers dominating agents’ portfolios.

One newcomer who is filling a void is for mer Yugoslavian native Vedran Lesic, owner of Azra Wines, an agency that works with up-and-

coming Balkan producers. In his words, “There is definitely great interest in the wines from Eastern Europe, especially from the Balkans. The style of winemaking and the indigenous varieties in the region make for very distinctive wines. I think Slovenia is a great example of that, especially noticeable with their beautiful textural white and skin contact wines. When I started the agency there were very few wines from Eastern Europe on wine lists around the city (Toronto), and now you can find them in celebrated restaurants like Grey Gardens, Pearl Morissette or Alo, and in the great wine bars and bottle shops in the province. Azra works with winemakers that practice lower intervention winemaking and I have noticed that consumers seeking wines made following this philosophy are less concerned whether it comes from a more renowned winemaking country like France or an emerging one like Serbia.”

Restaurant buyers that I spoke with cited reliable service as the most important trait for an agent. Things like timely deliveries, organized invoicing, and an understanding of their programs are paramount. For con sumers, choice dominates from whom they would buy. The question becomes how many agencies can the market support, and at what

The Rise of Bottle Shops in Ontario | Christopher Sealy

At the time, wine bars such as Happy, in a busy corner of Parkdale, were just opening. They were able to easily adjust to the new cir cumstances by opening as a café and bottle shop, designing shelves and investing in wine. Across the city, tables became displays; patrons in window seats were replaced by wine bottles.

made meals and wine kits were incorporated into a ‘virtual zoom’ for an at-home food prepa ration and wine experience.

The first quarter of 2020 was, without ex aggeration, a period of doom and gloom for restaurant owners in Toronto.

Pre-pandemic, the city’s restaurant scene was bursting at the seams. New spaces were continually opening, and the city’s diners seemed – if you will forgive the pun – insatia ble for new dining experiences. In the blink of an eye, lockdown changed everything. Dining rooms were empty and wine glasses stacked on shelves; the possibility that they might never be filled again painted a depressing picture. Wineheavy restaurants and bars no longer able to sell the wine in their cellars were desperate for a break.

A lifeline came in the form of changed LCBO and Ontario government regulations for the way alcohol could be sold. Bottles of wine could now be purchased alongside a food item, and the bottle shop retail model was born. Restaurants and wine distributors were back in business – sort of.

The bottle shop model provided access, an opportunity to bypass the lines at the LCBO and its ‘General List.’ The selection of wines at bottle shops was often more diverse, and many championed wines that had been cultivated using biodynamic or more “natural” farming practices.

My local café, Voodoo Child, with an already established business of coffee regulars, now had new patrons who were purchasing a coffee plus one or two bottles of wine. The obligation to sell food items generated the ‘nouveau pan try.’ Everything from chocolate bars to bags of truffle infused potato chips, to canned fish from Spain could be had with a baguette from the local bakery. On the way home or to the park during those long days of lockdown, the bottle shop created choice.

The service team at Paradise Grapevine has emphasized that both guests and venue have grown into the bottle shop experience. Para dise, with its own branded natural wines, has further capitalized on the opportunity to grow their clientele into an immersive wine experi ence with their “buy a bottle and stay or take it home with you” approach.

Larger operations such as Ascari Enoteca developed their Mercatino i Vini. Oven ready-

The Grape Witches, already champions of natural wines, made a name for themselves with events and have recently grown into an agency. Having just signed a lease on an event space, they also designed a fully-fledged retail bottle shop. Offerings include monthly virtual education and wine club memberships, which have become the pillars of their new business.

A few sommeliers collaborated on joint virtual wine classes for industry and the larger public. Peter Pantry on Queen St. led the way in this initiative, generating greater client engage ment from the comfort of their own homes. The bottle shops were stocked with specific wines as prep for a future virtual wine class.

But what to do as we make the transition back to in-person dining?

Peter Pantry took the leap by opening a stand-alone bottle shop adjacent to their main restaurant, offering a selection of wines across palates and budgets. Not all restaurants have fully committed to a ‘retail space for wine,’ however, and many have preferred the more cautious, wait-and-see approach.

Only time will tell where the new bottle shop in Toronto will go, and whether it will be integrated into a new restaurant model for the city. Either way, the message is clear: there is no going back. The bottle shop format is here to stay.

point does a healthy competitive market full of choice become oversaturated? More likely than the problem of having too many wines to choose from, is that many new agencies won’t have long-term viability. Having spoken with several veteran agents, it is evident that the transition from small scale to financially viable is a tough one.

The growing number of agencies is not without impact on producers. Ontario is a nu anced market to enter and operate in. Agents are key for a producer’s success in navigating both LCBO retail and consignment sales.

Cristiana Tiberio from the eponymous Abruzzese Italian winery talks about logis tics challenges: “The method in Canada can be quite complicated, and (there is) a lot of bureaucracy in the countries where there is a monopoly... but honestly, we receive great

support from our partner... the relationship is really transparent.”

Mark Cuff emphasizes the importance of maintaining excellent relationships with the wineries he represents, as he estimates 80% of new partnerships come from recommenda tions by his previous producers.

So, the market has a greater selection of wines to choose from, chosen by a growing and more diverse group of people, which, in my opinion, is a good thing. But there exists the possibility of instability under the surface. I love to say that a rising tide raises all ships, and in many ways that is true here. But like any wave, it will naturally recede, and my hope is that the Ontario market can continue to support a mul titude of independent agents and build on the province’s burgeoning wine scene. And that the good agents and the good wines remain.

Brie Dema has a career rooted in hospitality and has worked with several fantastic Canadian wine and culinary programs including Langdon Hall, Fogo Island Inn and the Elora Mill. She has studied with WSET and CMS, holding the Diploma and the Advanced Pin respectively. Brie played the part of a bumblebee in her dance studio’s production of Peter Pan when she was five. She has a lousy sense of direction but can always find her way to the bottom of a glass of wine. Brie’s favorite role and greatest accomplishment is being a mom to her wonderful daughter Una. She wishes she was a better cook, but is glad she married a chef.

VQA: the evolution of a Canadian wine law

By Tod Stewart

The room’s decor was minimalist. White acrylic and whitewashed wood. Stainless steel sinks. Chrome wine glass racks. Chrome cocktail shakers acting as spittoons. On the counter against the far wall there would be a lineup of 40 or so clear carafes filled with wines of various colour and composition - most made from grapes, some from other fruits. Also on the counter were touch-screen tablets that displayed information pertaining to each sample. The only details missing were the producer and the intended price.

I assessed these submissions based on criteria displayed on the tablet’s screen: colour, clarity, aromatic integrity, varietal character, balance, finish, and an overall assessment of quality. If all went well, the wine would (assuming other legal criteria were met) be awarded VQA (Vint ners Quality Alliance) status.

Having acted as a VQA panelist for close to 20 years, I’d say the organoleptic testing com ponent of the VQA grading scheme was - and likely remains - an integral part of the overall quality evaluation. And it is probably the most controversial aspect.

practices pursuant to each specific VQA region and sub-region. Winemakers have some flexi bility when it comes to grape varieties - so long as they are either vitis vinifera or an approved hybrid (eg. Vidal).

There are other checks and balances around things like brix (sugar) levels at harvest for specific types of wines, and the pedigree of fruit for particular regional designations (the requirements for a wine labeled as VQA On tario, for example, will be more relaxed than for a wine identified as an Estate Grown Char donnay with the designation VQA Beamsville Bench - a geographical sub-appellation). Label ling terminology is also regulated.

quality as result, but not a defined intent.”

The ongoing evolution of wine laws is both unavoidable and necessary to take in every thing from winemaking practices to climate change. When I contacted VQA Ontario head quarters to get a status update - and to ask how the pandemic had affected operations - I was somewhat surprised by the response.

“VQA Ontario has changed its operating name to the Ontario Wine Appellation Author ity,” informed Laurie Macdonald, the organiza tion’s Executive Director. “When the pandemic began in March 2020, LCBO suspended all VQA tasting panels. The sensory evaluation has been conducted by the Appellation Authority using its own panelists since then, and this will continue on a permanent basis.”

As with most other wine laws enacted throughout the vinous world - starting with those conceived by the Reichstag in 1498 - VQA Ontario (and its sister - BC VQA for the wines of British Columbia and operated under a dif ferent authority) acts as a consumer guarantee that what the label says is in the bottle, actually is what’s in the bottle.

The Vintners Quality Alliance Act, 1999, proclaimed on June 29, 2000, VQA Ontario as Ontario’s wine authority. Broadly speaking, the mandate of VQA Ontario is to enforce the province’s appellation of origin system, control the use of specific terms, descriptions and des ignations, and set out mandatory winemaking

Which is all well and good, but if the middle letter of your acronym stands for “quality,” it begs the question: quality by whose measures or standards?

Brian Schmidt, winemaker for Niagara’s Vineland Estates Winery sees the “quality” as pect as being something inherent to the VQA’s overall intent.

“I see the purpose of VQA to guarantee ori gin, and to provide a platform for winemaker’s wines to be tasted by a panel of qualified tasters that are considering if any flaws or faults in a wine are considered excessive,” he explains, noting that the majority of the tasting panel must be in agreement that a wine is faulty. “Identifying excessively faulted wine ensures

To backtrack a bit for perspective: for a wine to become VQA certified, it not only has to com ply with labelling and packaging standards, and demonstrate geographic origin, it also has to pass laboratory and organoleptic testing de scribed earlier. Up until the change Macdonald refers to, both of these functions were carried out by the Liquor Control Board of Ontario (LCBO), the province’s government-controlled beverage alcohol monopoly. This wasn’t a bad thing. The LCBO lab is sophisticated and its technicians are, for the most part, top-notch. (Lab analysis is still carried out by LCBO.) The sensory evaluation panel consisted largely of LCBO product consultants - essentially LCBO retail store employees with superior product knowledge and, in the case of those on the tast ing panel, proven knowledge of wine defects and various wine characteristics.

With the new changes, the panel roster is made up of qualified wine professionals, including sommeliers, winemakers, wine edu cators, Wine & Spirits Education Trust (WSET) diploma and MW holders. Another change is that wines are no longer given scores (out of a possible 20 points, with 13 required for a pass

ing grade). In the early days VQA actually had a two-tiered scoring system. If memory serves me correctly, a score of over 13 counted as a pass and the wine could carry the VQA medal lion on the bottle. Those scoring over 15 points could carry a gold VQA medallion. Whether or not I’m completely accurate on this point is more or less moot, as this system was eliminat ed early on in the history of VQA.

The move away from any type of numerical scoring apparatus is likely a good thing, at least in the eyes of winemakers. In fact, some have grumbled (in varying levels of volume) that the tasting panel itself should be scrapped. The argument for this stance centres around the possible “subjectiveness” of the panel and the awarding of passing grades to wines that are personally preferred as opposed to those which are technically sound. It also, perhaps in an in direct way, points to an issue with section (c) of the Act’s sensory guidelines that reads:

(c) To the extent that an applicant identifies a varietal designation in the application, such wine should exhibit the predominant char acter of a wine produced from the designated grape variety or varieties.

Simply put, if you submit a Riesling to the panel for evaluation it should smell and taste like Riesling (and, of course, be defect-free - we’ll get back to that). Some winemakers claim that this forces them to conform to some arbitrary “standard” that determines what the “predominant character” of a specific grape variety actually is. The “T word” - typicity - is often bandied about, along with the notion that an emphasis on typicity limits innovation.

In fact, Niagara’s Pearl Morissette winery’s website offers this:

“We’ve all been blackballed. Some more than others. But whether it was not getting selected on the school soccer pitch or having the VQA repeatedly pass over your Niagara Riesling on the basis that it ‘lacked typicity’,

getting blackballed has not always been a posi tive experience.”

“It is important to note that ‘typicity’ is not mentioned anywhere in the VQA regulations or procedural documents,” Macdonald points out. “We do not prescribe any typical presenta tions of varietals for Ontario and aim to recruit tasters with global exposure to a wide range of styles. Innovation is welcome as it should be for a relatively young region. For example, we have seen oak-aged Rieslings which are certainly not typical but have been approved based on soundness. We do however confirm certain category requirements during the sensory testing, for example, sparkling wines must be carbonated, Icewines must be sweet. In my opinion this discussion is really about what is or is not perceived as an unacceptable flaw. Problems typically arise when the “style” is characterized by unacceptable levels of H2S, volatile acidity, brett[anomyces], etc.”

But surely (it could be argued) a profession al winemaker should be able to determine if a wine is of sound quality without some paternal body pointing out when the kid hasn’t lived up to expectations. Granted. But having a profes sionally-trained panel of experts available to lend guidance can’t be a bad thing. In fact, it may be helping to improve overall wine quality.

Macdonald reports that since 2000, submis sion failures have declined by 10 per cent to a range of about two per cent over the past five years. She also notes that some failures are not the fault (or the sole fault) of the winemaker. Still, technical and microbiological issues make up the bulk of the reasons for failures. Part of the VQA mandate is to help eliminate these.

“We facilitate winemakers forums to encourage winemakers to share their expe riences, challenges and best practices,” she informs. “This is intended to assist in making the best wine possible given any set of param eters – vineyard, varietal, vintage conditions,

price point, style, and so on, and it necessarily includes preventing and managing faults.”

Schmidt reports on the many positive changes he has witnessed over the years. “VQA is not static,” he emphasizes. “I have absolutely seen positive changes. Deregulating packag ing, introduction of skin-fermented wines as a category, modifying sugar standards to rec ognize the unique and evolving characteristics of grapes grown in Ontario to name just a few. There are dozens of other examples.”

As Ontario’s (and Canada’s) vinous land scape continues to broaden, the Vintners Qual ity Alliance Act,1999 will no doubt continue to be modified to reflect changes within the industry. This sort of flexibility ensures that in novation and creativity can thrive, with the Act lending a degree of guidance to winemakers, while ensuring geographical authenticity and, ultimately, consumer confidence and interna tional respect.

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

Food as Resistance Chef Reem Assil is reclaiming what it means to be an Arab woman in the west.

By Aman Dosanj

“From my very youngest age, I remember being bombarded with imagery of people like me who were either refugees or terrorists,” explains Reem Assil.

For decades, Assil has devoted her profession al career to serving underrepresented commu nities, and giving them a voice. Now, the mul tiple James Beard-nominated chef (including finalist for outstanding chef), restauranteur, and social justice activist has most recently added cookbook author to her already impres sive resumé, paving the way for other Arab and Palestinian chefs to rewrite the narrative. “To be able to create mediums for telling our own stories is super, super important.”

Assil’s Palestinian-Syrian parents met during the Civil War in Beirut, Lebanon, then immigrated to the U.S. in the early 1980s.

Born and raised in Waltham, a small — and very white — suburb just outside of Boston, Massachusetts, her parents were scared their first-generation children would lose their cul tural identity. “I lived in this weird paradoxical world where, by the weekend, we had potluck dinners with traditional Arab dishes [but] sub sisted off macaroni and cheese, singing Yankee Doodle Dandy in school and doing all these very Americana things [during school days]. It was quite confusing, to say the least,” she recalls from her home in Oakland, California. Grow ing up amidst rampant racism and xenophobia towards Muslims, which only heightened after 9/11, “It was hard to admit you were Arab, let alone Palestinian.” While those fear-based views were far from the truth, Assil still felt afraid: “I wanted it to be different for the gen eration after me.”

Years later, as she visited Lebanon and Syria with her father, she fell in love with the “magical” street corner bakeries. Despite the political unrest occurring just steps away, they were a place of refuge for locals. But this wasn’t an isolated case: the living, breathing alchemy of bread not only transcends across cultures, but also acts as a bridge. “I felt like the universe was telling me to be a baker,” says the activist. Leaving behind a tiring career in the non-profit sector as a labour and commu

nity organiser, Assil enrolled in a baking and pastry program at a local community college in 2010. Following a seven-year stint as a pro fessional baker, she founded Reem’s California in 2017—an Arab bakery of her own with two nationally-acclaimed locations in Oakland and San Francisco.

Like many living in diaspora can under stand, even if one is trying to find home, home is an elusive thing. Assil wanted to recreate a snapshot of how she felt in the Arab world within the communities struggling to find a sense of home in California. For her, that is deeply rooted in how Arabs  do  hospitality. Jokingly describing it as “sweet torture,” Assil tells me Arab hospitality is all about ensuring your guest’s heart, belly, and mind are chockfull as possible sometimes with very little. Back in the day, that virtue was essential for the survival of traders, but Assil believes mod ern-day hospitality is also about a sense of belonging. “It’s not just about the food but how you serve it and what conditions you create for that person to feel at ease.”

While other chefs before Assil may have hidden behind a more palatable guise of Med iterranean cuisine (for the American public, that is), “I made a very intentional choice to call my food what it was,” she says. “This is Arab food. This is Palestinian food. This is Syrian food.” And claiming (or reclaiming) her Arab identity and taking ownership of their recipes (including hummus) is a political act of resis tance—and a way to showcase their beautiful presence and everyday existence.

With the release of her new cookbook, Arabiyya: Recipes from the Life of an Arab in Diaspora, which proudly translates to ‘Arab woman,’ Assil is here to debunk every preconceived image—or misguided trope—readers may have about Arab women. Loaded cover to cover with more than 100 vibrant recipes, expect fresh, seasonal Californian produce mingling with all the orchestrated rhythms of hospitality, a mosaic of vegetables, the unapologetic bold flavours of slow-cooked meats, and mounds of fresh herbs, as well as a hefty baking section, of course. The book is not only about the recipes but the culture and communities that inform it. “This cookbook is a documentation of my family history. Each chapter is dedicated to a person or people in my family and has [related] themes [spanning from how to host like an Arab and the street corner bakeries with hot-out-of-the-oven mana’eesh to finding her vegetable roots],” she shares.

For Assil, food is much more delicious—and alive—when you can understand the context. For example, her take on  Musakhan —Palestine’s iconic sumac-scented chicken dish, topped with caramelised onions and remixed into a wrap—reflects her experience of being Arab in America. “We joke we don’t have a nation-state but we [do] have a national dish,” she says. “There are so few ingredients, but an easy way to connect when I talk about the comfort dishes I grew up eating.” Even though many of us are messy, complicated humans living in multiple identity spaces, food has a way of expressing the various parts that make up that

beautiful story—and  Arabiyya is a celebration of that.

Much like the ancestors before her, who adapted family recipes through occupation and displacement to new surroundings, the food traditions of Syria and Palestine out west continue to tell a remarkable story of resilience. “This is not a California version,” she says. “I happen to be in California using Californian ingredients, but this is very much Palestinian because the hands that made it is Palestinian, and I come from a lineage of Palestinians. But it’s as much about Oakland—it’s the intersection of all my experiences.”

To Assil’s surprise, her book has touched a broader audience than first anticipated. Travelling down to Texas and Charleston, “White folks are coming up to me and saying, ‘This challenged me and spoke to me,’ so that was eye-opening [to know] the world has changed; people are searching for a different way and want to understand more,” she explains. “I think people have felt the vulnerability, and [they] love the recipes—they’re really working out,” she says with a laugh. “Now I know they’re part of my community: they know my story, and they’ll associate that food with that story. That feels heartening for someone whose whole goal is to build community.”

“If we could build that empathy for people across cultures, we can understand what equity is and what it means. Then we can start to dismantle racism and this misconception that we can have one culture,” says Assil. “Imperialists have been trying that for centuries, and it

hasn’t worked, so something has got to give— and I imagine a [multicultural] world [where] everybody is sharing.” Through collaboration, Assil believes our neighbourhoods will be more delicious. Maybe then, we can reverse some of the damage done to people—and the planet. And as a fellow third-culture kid myself, I, for one, am here for it.

Scan the QR code for Reem Assil’s recipe for MUSAKHAN (Sumac-Spiced Chicken Wraps)

Photo credit: Lara Aburamadan

Photo credit: Lara Aburamadan

Photo credit: Reprinted with permission from Arabiyya © 2022 Alanna Hale

Orange Turmeric Cake

California Fattoush Salad

Rotterdam:

Photo credit: Guido Pijper

from rough harbour to progressive city

By Åsa Johansson

Rotterdam was destroyed during World War II, when the city centre burned to the ground.

It was a terrible crime, but the blank slate that was post war Rotterdam became attractive to artists and architects. Holland’s rough harbour put on its fine clothes without losing its working-class soul, and today it is one of Europe’s most exciting destinations.

The first thing that strikes you when arriving in Rotterdam is the energy. The whole city is bubbling with fearless, forward-thinking, al ternative and, at the same time, well-organized energy - with an ever-present humorous under tone. In recent decades, a lot has happened in Europe’s largest port. Here, where the church bells still ring every Tuesday at a quarter to two to commemorate the catastrophic bombing in 1940, the presence of history is still quite strong. At the same time, the city has jumped into the future, becoming a vivid hub with an international vibe - and it has gone fast.

For example, in Blaak, an area in central Rot terdam, the architect Piet Blom’s grey and yel low cube-shaped houses from 1984 already feel old. If you turn your back on the shaky-but-ac tually-straight houses, you look at Rotterdam’s impressive Markthal, the Netherlands’ largest indoor market with restaurants, bars and stalls, designed by the architectural firm MVRDV and inaugurated in 2014. Turn a U-shape upside down, decorate the inside with large colour ful fruits and build 240 apartments in the

U-shaped building and it feels big. It’s pop. It’s kitsch. But it’s not the latest development.

The most recent architectural contribution to the city’s constantly changing skyline is De Depot, which was also created by MVRDV. De Depot opened in November 2021 and is prob ably the world’s most beautiful warehouse, which is precisely what it is, a warehouse for the city’s art museum Boijmans Von Beunin gen’s permanent collection.

“This is a democratic way to create new bonds with our guests, and show works that would otherwise be inaccessible. It is a tiny part of all art museums’ works shown in exhi bitions,” says our guide.

According to many, De Depot is a revolu tionary place from several points of view. Not least the architecture. The building is a huge, mirrored dress ball with trees on the top. The closer you get, the stronger the city’s contours become. It is impressive to see the views of skyscrapers and dark water take shape on the building’s facade. The mirror image reminds us of the city’s continuous change and how it has taken on a new form after being destroyed.

HOW DID CHANGE HAPPEN?

“When I went to the university in Rotterdam in 1990, the city was not a safe place, and there were many neighbourhoods you should not vis it,” says Wilbert Lek, CEO of Rotterdam Partners, the communication agency for Rotterdam.

Lek works closely with local entrepreneurs and the popular mayor Ahmed Aboutaleb, who has been in office since 2009. Mayor Abouta leb, who came to the Netherlands from Moroc co at the age of 15, is the first mayor of a large city in the Netherlands of both immigrant origin and the Muslim faith. Like all port cities, Rotterdam had a lot of domestic migration and then international migration. Today, the city has more than 175 nationalities, representing all of the religions and cultures of the world.

“The real change of the city happened when we developed the infrastructure,” Lek explains.

“The central station was rebuilt in 2014 and be came a safe place, exactly like other vital spots in the city, that was the base to start to build on.”

Lek says that the unique transformation that Rotterdam has gone through also depends

Photo credit: Iris van den Broek

Photo credit: Iris van den Broek

Cube Houses designed by Piet Blom

The Markthal

on close collaboration between local govern ment, citizens, and private entrepreneurs. The city has not taken any easy solutions but fo cused on long term investments, giving space for new creative initiatives.

“We regularly meet and talk together, and I think the unique thing is that so many oppor tunities are given to new ideas, young persons, and people with different backgrounds,” says Lek. “Rotterdam has decided to develop locally, small, and step by step. Here it is possible to fail without losing everything.”

What Lek is suggesting is that the new Rotterdam is built around its people. That is also the strategy he uses to market (with great success) the city internationally.

“We do not own the product we promote, and therefore we have less control,” he says. “Rotterdam is developing itself, and our job is to feel it, understand it and tell what we do differently.”

WATER: THE NEW CHALLENGE

Rotterdam continues to change, and the focus now lies on the city’s closed ports.

“Today, water is the new challenge,” says Sander Waterval, initiator of the hotel project De Wikkelboats. “What should we do to best use the empty ports and the Maas River’s water?”

De Wikkelboats is one of the ways in which the city’s watery spaces can be used; the small

cardboard houseboats can be rented for meet ings, accommodation, or other events. He cur rently has seven, all with solar panels on the roof, high-tech furnishings, and a kitchen. One of the houseboats even has a built-in jacuzzi.

“Here you will, among other things, build beaches, and practice water sports. Young en trepreneurs will have the chance to start new projects, exactly like myself,” he says, pointing to the other side of the empty harbour.

The city’s most popular new restaurant, Putaine, is a stone’s throw away. The eatery, which also swings, makes you feel slightly dizzy when you enter. This is partly because the restaurant is built on a boardwalk, and also because of the Miami Vice-inspired decor that attracts so many beautiful people it is difficult to know where to look. The area had a bad reputation for a long time, with prostitution and crime, hence the name, which translates to “whore” in French. At Putaine, you can eat modern food with an international touch of the highest level. The owner Eva Eekman also runs the city centre restaurant Héroine.

“20 years ago, the city was full of drugs and prostitution,” says Eekman. “It was under-de veloped and unsafe, and so much has changed in a short time.”

By this she means that the city has become more diverse, attracting not only workers for the harbour, but also curious middle class and high income patrons, as well as young artists.

“One of the problems is that young persons and the lower class cannot afford anymore to stay in the city centre,” Eekman notes. “It is a pity. One of the things I am worried about is that we will become too developed like Dubai. We must remain a working-class city – a city where you live.”

If she had been in Amsterdam, she could have asked five times the price for a tasting menu. “Here in Rotterdam, people will not accept that. Here, people work, are down to earth, do their thing, and want you to deliver good stuff and do not take any shit,” she says with a laugh.

The food and wine scene has changed a lot in the last few years.

“We are a little behind other cities, and we are still developing because you have to prove yourself much more here than in Amsterdam,” Eekman says. “But we are working on it. Cool places are coming, and here in Rotterdam things are possible.”

One of these dreams is OX, a new restaurant and speakeasy that is very difficult to find. There is no sign or street number. The only assistance is the Google maps blue dot, which indicates that we are more or less in the right place. Another sign that you are where you’re meant to be is the other people who look as confused as you do. Once we discover the en trance, we find out that the small restaurant

De Wikkelboats at Rijnhaven

is in a rough house with graffiti on the walls, cigarette butts, and rubbish on the pavement.

Once inside, you go down a dirty dark stair case using your phone’s flashlight to avoid tumbling down the narrow steps. Later, we learn that the concept is that visitors’ expecta tions should disappear in the dark and that you should come here with an open mind. Inside the room itself possesses a wow-factor. Soft lighting illuminates the small room. A large black bar is in the centre, and tables surround it with white tablecloths and an elegant setting. There’s a rattling sound in one corner where Alexander Wong creates the most delicious dishes. He has a past of three-star restaurants in Europe, including La Pergola in Rome.

“I came back home to Rotterdam because I felt so strongly that I wanted to convey my Chinese culture genuinely and honestly,” says Wong. “My parents’ generation offered an accommodating version in Europe to please unfamiliar taste buds.” Wong felt that this was possible in Rotterdam because it’s an open-minded city and easier to open a new business compared to other places.

His dim sum is an explosion of flavours. Oysters, three kinds of eggs, or the classic Babi Pangang, all are given a new meaning at OX. The dishes are beautiful and so good that you feel like booking another reservation before you’ve even finished your current dinner. Before we leave, we’re tapped on the shoulder

by Wong, who follows us out into the street to reiterate his dedication to Chinese tradition.

“And we also want to become the best in Europe,” he says before running back into his little kitchen.

FLOATING FARMS AND BEER BREWERY

Another project on the water is The Floating Farm, which is literally a farm on water. It’s in a small harbour on the outskirts of Rotterdam where a number of homes and meeting places are being renovated, redone, and built. One of the first initiatives is the floating farm, which is entirely self-sufficient and supplies the area as well as some of Rotterdam’s top restaurants with milk, butter, and yoghurt.

“This is a solution for cities with little space but a lot of water,” says Minke van Wingerden, who started the project together with her hus band Peter. “The Floating Farm means that we avoid long transport distances, we are close to our customers inside the city, and only use green energy. We show that you must think outside the box in the future to protect the en vironment and our surroundings. We are good at thinking outside the box in Rotterdam,” she finishes, smiling.

The cows eat grass from the city’s football stadium (where the city’s pride Feyenoord plays) as well as leftovers from the city’s restau

rants. Both are mixed with grain used in the adjacent brewery, Stadshaven Brouwerij. In a short time, the brewery has become a new meeting place for Rotterdam’s beer lovers.

“This was one of the city’s most important warehouses for citrus fruits. That is why the area is called the vitamin district,” says the brewery manager Nina Landl.

The former warehouse consists of 5,000 square meters. Many beers have a fruit theme to connect the past with the present. Here you can play shuffleboard, take a a guided tour, or hang out at the bar and immerse yourself in the beer world with the help of the knowledgeable counter staff.

“We have also kept much of the original interior, but we have 1700 solar panels on the roof and reuse the water we need for beer pro duction,” Landl says.

Past and present. Old and new. Sea and land. High and low. In Rotterdam, everything be comes a creative mix without losing its work ing-class soul.

Photo credit:

Photo credit: Iris van den Broek

Photo credit: Iris van den Broek

De Depot a warehouse for the art museum Boijmans Von Beuningen’s permanent collection

The city’s popular new restaurant Putaine Wilbert Lek, CEO Rotterdam Partners

Eva Eekman, of restaurants Putaine and Héroine

Floating Farm

FAVE 5 with CLEM BURKE

By Kathy Valentine

Clem Burke is one of the hardest working men in rock and roll.

It’s a scientifically proven fact after Burke was the chosen subject of study by England’s University of Chichester for a research program examining the physiological effects and health benefits of drumming. The Clem Burke Drumming Project also earned the New Jersey-born musician an Honorary Doctorate of Music (PhD) in 2011. Outside of conferences, conventions and journals presenting the findings of the study, Clem is perhaps better known as an original and current member of Blondie.

The iconic New York band has just released Against the Odds, a box set that includes remastered versions of its first six studio albums, demos, alternate takes and a book of photos and commentary. Inducted into the Rock and Roll Hall of Fame in 2006, Clem takes on drumming gigs non-stop, whether with superstars like Bob Dylan, Pete Townshend and Eurythmics, or as a member of one of the many bands he’s formed or joined liked The Empty Hearts or Split Squad.

Any band featuring Clem gets more than rock solid energy and precision driving their sound—he is a showman whose performances clearly show the unmistakable joy he’s feeling to be where he is, in that moment, doing what he does best. Having toured countries around the world dozens of times over in his decades long career, Clem shares with Quench the places he loves to revisit and a peek into his life and experiences on the road.

FAVORITE NEW YORK RESTAURANT

Wow, that’s a tough one. Off the top of my head I’d have to say the brasserie Balthazar in the Soho district of NYC. Restaurateur Keith McNally has a long history of artist friendly establishments in NYC, beginning with Odeon—a favorite of Andy Warhol’s in the 1980’s. Balthazar is the quintessential NYC watering hole: open late, with great food, great service, and a classic clientele of artists, musicians and such.

FAVORITE PARIS RESTAURANT

La Coupole in the Montparnasse section of Paris, with its beautiful painted frescoed columns. It’s the sort of place you might rub elbows with Serge Gainsbourg, Jane Birkin or Brigitte Bardot back in the day. My favorite dish is the Sole Meuniere—but mind the bones!

FAVORITE LA RESTAURANT

The Italian restaurant Dan Tana’s on the West Hollywood /Beverly

Hills border is a great place for a transplanted New Yorker like me. The Troubadour, a classic music venue is next door and Dan Tana’s is a great place for dinner before checking out the bands.

MEMORABLE GIGS

Over the years there have been many memorable gigs and venues at places from CBGB and Max’s Kansas City in NYC to London’s Wembley Stadium. One of my most memorable shows was when I was on tour with my friends Annie Lennox and Dave Stewart, better known as Eurythmics. We were invited to perform at the Free Nelson Mandela tribute concert at Wembley Stadium along with Eric Clapton, Dire Straits, Steve Van Zandt and many others. I felt as though I was taking part in a very significant moment in history, and when Mr. Mandela was finally released from prison in South Africa, I felt honored to have played a very small part in helping that happen.

FAVORITE BARS

The Beaufort Bar at The Savoy Hotel on The Strand in London, along with The Palm Court in The Plaza Hotel, NYC. Also Bar 228 at Le Meurice hotel in Paris, where Salvador Dali once drank and resided. The amazing sense of history resonates in my soul while happily having a glass of wine in such beautiful and rarefied surroundings. I’m elated from a visit to any one of these beautiful establishments—I guess the wine helps as well?

ESSENTIAL ROAD ACTIVITY

Exercise. I always make time to work out. This is a very important part of my lifestyle and it’s a big help to me as a musician. I can’t imagine living life without it. Usually, the better the hotel, the better the gym. I also enjoy going out for jogs around a new city and somehow wind up getting somewhat lost before a familiar landmark appears to direct me back to the hotel. I get an amazing feeling of discovery whenever I’m out on my own in a new town or city. I find myself being able to let go and just enjoy the experience of seeing new and different things that are commonplace to the local inhabitants. It frees my mind in a very simple way.

Scan the QR code to watch Clem Burke drumming.

Clem Burke

WINES

HONEST

Will The Grey

a Port City’s Soul? Restore and Redeem

By Adrian Miller

“Savannah doesn’t know that the nineteenth century has ended.” Damon Lee Fowler, an influential food writer in this southern city, noted that popular joke in his definitive 2008 work, The Savannah Cookbook. Fowler quickly dismissed the joke as “silly” given the city’s evolution in recent years. Within a decade of Fowler writing those words, Chef Mashama Bailey and her business partner John O. Morisano’s restaurant The Grey has shown just how forward-looking Savannah’s dining scene had become.

Photo credit: supplied by Adrian Miller

The initial driving force behind The Grey, the peripatetic Morisano grew up in New York and then spent years in Paris and Los Angeles be fore moving to Savannah. Morisano is acutely self-aware of his journey when it comes to race relations. On The Grey’s website he wrote:

I am very white and as much as I would love to make the claim that “I have a lot of black friends,” I don’t. I grew up in a closeknit, white neighborhood of Italian and Irish descent in Staten Island, New York. My professional career also was not one big on integration – the white collars in the world in which I have spent most of my adulthood primarily adorned the necks of other white people. That said, race and culture have always fascinated me.

That thinking informed The Grey’s mission and aesthetic.

When Morisano first viewed the space, it was the dilapidated remains of the Atlantic Greyhound Bus Terminal which opened in 1938 on what was then called West Broad Street. The bus station was a major transportation hub for the region in its heyday, with nearly a hundred arrivals and departures daily. During that time, African American bus passengers experienced humiliating limitations due to segregationist laws and policies. They had to wait, eat, drink, and ride separately from Whites who used the same travel facilities.

The station eventually closed in 1964—the same year that landmark civil rights legislation went into effect—when the current bus station opened in another part of town. Though coin cidental, the timing of the original building’s

closure is noteworthy because so many public facilities across the United States, not just in the South, permanently closed rather than have Black customers on equal footing with Whites. In Savannah’s case, the bus station move was already in motion prior to 1964.

After the Atlantic Terminal bus station closed, the location housed various businesses, and restaurants, until a part of the building’s roof collapsed in 2002. It remained vacant until Morisano purchased the location in late 2013. He hired a local architectural firm to re vive the terminal’s prior glory . . . and he kept the vestiges of the Jim Crow indignities. Along with the signs indicating where departure gates were previously located, others point out where “colored” passengers, to use the termi nology of the time, had to wait in a separate section of the terminal.

The restaurant’s name is intentionally contracted and a constant reminder of the building’s past. The Grey’s visual concept was being realized but a beautiful setting doesn’t mean much if the food isn’t top notch. Mori sano needed to recruit a chef, particularly an African American chef, to fulfill the vision of a welcoming space for everyone, regardless of race. Enter Chef Mashama Bailey.

When Chef Bailey met Morisano, she was a sous-chef at a highly-regarded New York City restaurant called Prune, helmed by celebrity Chef Gabrielle Hamilton. Even though Chef Bailey grew up in New York City, she had a Savannah connection; it’s her mother’s home town, and she spent summers there during her childhood. After Morisano sold her on the opportunity, Chef Bailey had to culinarily

translate the idea of racial reconciliation into the restaurant’s menu.

Her apt new concept: “Port City Southern Cuisine.” As a major port on the Atlantic sea board, Savannah became home to a dizzying array of cultures: European colonizers (primar ily from Great Britain and France), enslaved West Africans, Jews fleeing persecution, and the remnants of the indigenous people who lived in the area prior to European contact. Chef Bailey intermingles all of these influences to feed her guests innovative food in a fine din ing atmosphere.

I was fortunate to dine at The Grey in early 2015, a couple of months after it opened. My meal was: a salad of winter greens with come back sauce (a spicy condiment similar to re moulade), tomato and black-eyed peas, braised eel in a broth spiked with cabbage, tomato and onion, roasted beets with buttermilk yogurt and beet tops, and a whole fried sweet potato drizzled with sorghum buttermilk. For dessert, there was cornmeal pound cake with Leopold’s vanilla ice cream and caramel popcorn. A de lightful palate cleanser was a cube of frozen lemon Kool-Aid, something the local kids and chief consumers call a “thrill.”

A more recent visit in late summer of 2022 quelled any doubts about The Grey remaining at the top of its game. The appetizers were a combination plate of a creamy catfish dip, spiced pecans, a Savannah red rice ball with green goddess dressing, ham hock terrine, and a catfish deviled egg topped with trout roe. Another highlight out of many was a serving of diver scallops with a succotash of field peas, ham hock fume, and charred okra.

Photo credit: supplied by The Grey

Photo credit: supplied by Adrian Miller

Photo credit: supplied by Adrian Miller

The Grey business partners John O. Morisano and Chef Mashama Bailey

Biscuits at The Grey Market

Outside The Grey Market

The Grey’s appealing story piqued media in terest almost from the beginning. From the lo cal press to the New York Times, the accolades have piled up over the years. In 2015 alone, The Grey was a top twenty-one new restaurant for Eater.com, a top ten new restaurant for Gayot. com, a top five restaurant of the year for Food & Wine. In 2017, it was Eater.com’s “Restaurant of the Year,” and one of Southern Living’s best restaurants of the year. Chef Bailey won the 2019 James Beard Foundation Award for Out standing Chef: Southeast, and the 2022 James Beard Foundation Award for Outstanding Chef . . . of the entire country! This prestigious or ganization has previously recognized only two other Savannah restaurants: Mrs. Wilkes’ Din ing Room was named an “America’s Classic,” and Elizabeth on 37th was nominated for “Out standing Service.” Both restaurants received those honors in 2000.

Chef Bailey acknowledges that the exorbi tant attention adds pressure. “If I’m at a food festival representing The Grey, I need to be best in show or if I’m working with a new cook, I need to have a plan and get my messaging right the first time,” she said.  “When dishes hit the table, they should wow our guest. That doesn’t always happen, so I feel the pressure of living up to people’s expectations. At the end of the day, I love that about this business . . . it constantly keeps you in check.  Eventually, you will have to let the ego go and just do the best you can.”

Today, The Grey’s vibe is one of expansion. About a mile from the restaurant, Chef Bailey and Morisano have opened a combination food service and specialty grocery store called The Grey Market. In 2021, the team opened similar

concepts; The Grey Dining Bar and The Grey Market, at the Thompson Hotel in Austin, Tex as. The Grey Market concept intrigues on many levels. There’s an entire section of Grey-related merchandise that reveals a comprehensive marketing strategy. They’ve also decided that it’s not all about them. This market showcas es and celebrates local and regional food and drink products made by others.

The Market’s dining space conjures up mem ories of the lunch counters targeted by Black Savannah activists for sit-in demonstrations in the early 1960s. The menu is decidedly more ca sual than its fine dining counterpart, but no less playful, refined and delicious. At breakfast, for example, diners may opt for wild mushroom toast, creamy grits with braised greens, or one of the tempting baked goods. Market options also include a number of previously prepared “Grab ‘n’ Go” salads and sandwiches.

As for Morisano and Chef Bailey’s grand vision of a common ground for a city divided by race, the work endures. This is a very small sample size, but on my two visits, there were certainly Blacks and Whites in the restaurant, but they weren’t eating together. A persistent challenge is cultivating a steady clientele of Black diners. “It’s still a work in progress,” Chef Bailey reflected. “We are a downtown restau rant, and if you live downtown most likely you have heard of us and have come by for a drink or a meal.  Many Black folks that live in the downtown area don’t seek us out because we may not be in their price range. But that is not true for the entire city. I think we are becoming a special occasion destination in Savannah’s Black community.”

As Morisano freely admits on The Grey’s website: “I still do not have a lot of black friends, but I do have a few more than I used to, and I call that progress as well.” Through their words, efforts, and food, Morisano and Chef Bailey remind us that we all have work to do. In a fractious society where there are fewer and fewer spaces where people from various walks of life gather, restaurants like The Grey invite us to acknowledge the past and forge a future through the fellowship of food.

Sources:

Savannah’s old Greyhound terminal could soon earn a place in history, savannahnow.com – December 5, 2016

The Grey Invites Guests to Dine in the 1930s, savannah.com History and The Grey « The Grey Blog, thegreyrestaurant.com

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

Photo credit: supplied by Adrian Miller

Photo credit: supplied by Adrian Miller

The Grey’s dining space

The Grey Market

Ployes - Canada’s Most Endangered Pancake

By Vanessa Chiasson

It’s a culinary experience he shares with generations of kids from northern New Bruns wick’s Madawaska region. These hearty buck wheat pancakes have long been a dietary staple in the area. In fact, they were once served with every meal in lieu of bread. But in recent years, consumption is plummeting. Today, the ploye is all but unknown outside the area. Can a re cent revival in nearby Maine hold the key to its survival?

Martin, a history doctoral candidate at the Université du Québec à Montréal, has a keen insight into the tasty fare that he loves to pair with maple syrup or creton (a spiced pork spread). As he says: “Ployes have an important cultural significance in the region. (They) are made with buckwheat, which is easy to grow in Madawaska. Families used to cook ployes to replace bread and to feed large families during hard times.” He goes on to add: “Since many relied on ployes, this crêpe-like recipe came to be one of the most important cultural traits of the people living in the Madawaska region.”

That reliance on buckwheat can be traced to the mid-1830s when disease and pestilence brought havoc to the local wheat crop. Buck wheat use soared as farming families sought to augment their meagre flour stores with a more reliable food source. As it is not a grain but actually a fruit and a member of the rhubarb family, buckwheat was immune to the midg es and rust ruining wheat production. By the 1850s, the nutritious, vitamin-B-laden plant was the region’s leading crop. For the next hundred years or so, hearty, sustainable, buck wheat-based ployes were served three times a day in most households.

Residents of the Francophone Madawaska region, who primarily identify as being of Brayon heritage, found ployes to be endlessly versatile. They were served as an alternative to pancakes at breakfast, subbed in for bread and rolls alongside soups and stews at lunch, and sopped up jam and maple sugar for an evening dessert.

However, in recent decades, the ploye’s popularity has fallen. The ready availability of store-bought bread and inexpensive baking mixes is often cited as a significant factor, as is general population decline and the exodus of young people heading to cities. The demise of the Foire Brayonne festival is an added blow to the fortunes of the ploye. For four decades this Edmundston-based celebration (considered the largest festival of French Canadian culture outside of Quebec) honoured all aspects of the Brayon culture. Ployes were a large part of that, and family-friendly fun and games like eating contests were always a part of the schedule. However,in recent years, the event has strug gled. The pandemic seems to have been the final blow, as Foire Brayonne hasn’t been cele brated since 2019.

But there may be some hope for a ploye revival based on what’s happening in nearby Maine. In Fort Kent, a ploye festival is enjoyed every August and includes inventive activities like making massive, oversized ployes. Ployes

When Mathieu Martin was growing up in Edmundston, New Brunswick, his mother’s homemade ployes were a beloved treat.

Photo credit: Edmundston Tourism

Ploye with Creton Spread

are also gaining notice in Maine for being a healthy vegan food. A local buckwheat mix producer, Bouchard Family Farms, leans heavily on the fact that ployes are fat and cholesterol-free and require no pricey ingredients like eggs, sugar, or oil. It’s not that far-fetched to imagine they could be the next trendy food in Maine. Can it happen in northern New Brunswick?

At Frank’s Bar and Grill, part of Edmundston’s Four Points by Sheraton hotel, hipster-worthy ployes are on the menu in addition to the traditional versions. In one popular offering, tiny ployes are plated with smoked salmon, fresh greens, and dill remoulade, bringing to mind classic pairing of caviar, blini, and crème fraîche. Nearby at the bustling seasonal farmers’ market, freshly made ployes are served up in much the same way that funnel cakes or BeaverTails are offered in other Canadian communities – fresh off the grill and slathered with delicious toppings such as butter and brown sugar.

Ployes are very easy to make, which will hopefully encourage novice cooks. Their base is a locally made, light yellow buckwheat flour sourced from Edmundston’s Les Industries Corriveau. Those who are used to granular,

dark buckwheat will find this flour surprisingly silky and refined. It’s separated from its coarse hulls, which are diverted for other purposes (including filling pet beds). Wheat flour, baking powder, salt, cold water, and boiling water complete the recipe. The resulting batter should be the thickness of wet paint. Ideally, the mixture sits for up to half an hour before cooking (which proponents argue gives the final product more bubbles). The batter also benefits from a quick stir between each ladle you pour onto the griddle or pan. But the most important step of all is what you don’t do. Never flip a ploye! As Martin says: “Although the recipe can slightly change between families, the most important thing is to cook it only on one side. Never flip it!” The top side of the ploye forms tiny craters or “eyes” as they’re known, perfect for soaking up molasses, and maple syrup.

Fresh ployes are warm and soft, with a slightly nutty chewiness that imparts a real stick-to-your-ribs heartiness. They have the potential to be the next regional Canadian culinary superstar, much like British Columbia’s Nanaimo bar or Ontario’s butter tart. But for now, ployes remain one of the world’s most endangered pancakes, with an uncertain future.

Vanessa Chiasson is a Canadian writer specializing in travel, human interest narratives, and digital marketing. Her blog, turnipseedtravel.com was named one of the world’s 100 most influential travel blogs by the Obama White House in 2014. Her past (mis)adventures include running a marathon in Paris, working on a Malawian fish farm, and getting seasick on Amsterdam’s houseboat museum. Now based in Ottawa, Vanessa grew up on Cape Breton Island and credits her Maritime roots for her love of storytelling.

Scan the QR code for a recipe for ployes

Photo credit: Edmundston Tourism

Photo

credit: Vanessa Chiasson

Photo credit: Vanessa Chiasson

Champ de Sarrasin (buckwheat)

Ployes with smoked salmon at Frank’s Bar and Grill

Classic ployes at Frank’s Bar and Grill

Sunny War

By Tom Murray

When Sunny War started learning guitar at the age of 10, it was simply a form of babysitting.

“That was when we were living in Nashville,” explains the 31-year-old singer-songwriter, who was born under the name Sydney Lyndella Ward. We’re speaking in a media tent after her afternoon performance at a music festival, the sound of gospel music drifting in from the distance. “My mom had a job at this place called the Sportsplex, and across the street was Centennial Park, where they had free children’s guitar lessons. She put me in there and the teacher happened to be a blues guitarist. So my mom was able to work while I was being taught guitar.”

War fell quickly into learning simple chords and riffs, but it was a bandmate of her stepfather that really got her imagination firing. He was a close family friend that War thought of as more of an uncle, and he was also proficient on the banjo. Fascinated, War found herself imitating the fast picking banjo style on her acoustic guitar.

“Also, my real uncle was a bass player,” says War. “So the people I saw playing instruments in real life happened to be picking their instruments, and I just went with that. I just thought that sounded better.”

Thus was laid the foundation of an idiosyncratic guitar style that has raised more than a few eyebrows among devotees of the style. Raised on the blues artists like Bessie Smith

and Elizabeth Cotten, steeped in a high school diet of AC/DC, Slayer, Chet Atkins, and Bad Brains, War is a perfect child of the internet, obsessing over a wide variety of artists and not bothering to distinguish between them. In War’s mind, punk rock fits snugly next to Nashville hot pickin’ and Delta blues.

It all flows together nicely on War’s latest album, Simple Syrup, which also highlights her developing songwriting skills. If personal experience equates to quality material, then War already has a lifetime’s worth to work with. After continually running away from home as a young teen, she began travelling up and down the California coast before settling in with street punks in Venice Beach. Dabbling with drugs, spending time in a mental hospital, busking on the Venice Beach streets, she eventually dug herself out enough to form a punk band called the Anus Kings in 2009.

“It was a rough time,” she says softly. “All that travelling around got me in a constant state of delusion. So everything’s surreal to me. All of the things that have happened…I just don’t feel like I have any real footing. There’s no context, everything feels fake.”

War stepped out on her own in 2014 with Worthless, putting that virtuosic fingerpicking style front and centre around a batch of beautifully measured songs that traversed the personal and political. By 2018 she was attracting attention of music critics with her third release, With the Sun, adding small measures

of strings, piano, and percussion to the stark guitar figures. Mostly, however, she plays alone as she always has.

“I just can’t keep a consistent band,” she sighs. “Every drummer seems to play in 10 other groups. Also, I don’t really have the money to really secure anybody. So sometimes I might have a gig where people can all work, but other times I just can’t. Like, I can’t afford to fly a whole band in to play most gigs, even folk festivals.”

It’s especially ironic that War is being interviewed at a folk festival because she readily admits that she’s personally not all that into folk music.

“I don’t really pay attention,” she sheepishly admits. “I mean, I like the stuff I hear when I’m here, but I’m not going out of my way to hear this stuff. I’m just learning about folk music at these kinds of festivals.”

So what does War listen to in her spare time? And where does she think her music will be going down the line?

“Soul music,” she says with a grin. “I’ve got a couple of new songs for the next album, which will be out next February on New West Records. I’m going for that retro ‘60s kind of sound, like Motown. That would be sick. That’s the idea, anyways, I don’t know where the other demos will take me. What I really want is to make an album like Elliott Smith’s Either/Or, which to me is absolutely perfect. From start to finish it’s absolutely symmetrical, and that’s what I want to recreate. I feel like I’m going to be trying forever to make something like that.”

Scan the QR code to watch Sunny War music videos

Photo credit: Florencia

P Marano

Photo credit:

Florencia

P Marano

The Buying Guide

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

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

STELLAR VALUES

(Buy by the Case):

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

Creekside Sauvignon Blanc Niagara Peninsula VQA, 2020, Ontario Canada ($15)

Stellar value from a winery well known for Sau vignon Blanc. This one is straightforward, with grapefruit, guava and ripe peach aromas. Fresh, well-balanced body, finishing on a juicy note. Not complex, but not expected to be. (BD)

Telmo Rodríguez Basa Rueda DO, 2021, Spain ($17)

If this wine always offers great value, the 2021 is by far one the best vintages I’ve had. While many producers in the Rueda include Sauvignon Blanc, Telmo Rodríguez focuses on the indigenous Verdejo grape. Juicy and crisp with generous notes of lemon, grapefruit, and a delicate herbal touch, Basa offers a beautiful expression of the grape. Delicious on its own and pairs beautifully with white fish ceviche. (MB)

Gérard Bertrand Côte des Roses Chardonnay Pays d’Oc IGP, 2020, France ($19)

Yellow gold in colour. This is toasty and minerally with pineapple and peach flavours and a lingering lemony finish. (TA)

A&D Wines Monólogo Avesso Vinho Verde DOC ‘P67’, 2021, Portugal ($20)

Not all Vinho Verde is fizzy and sweet. This Avesso arrives with vibrant citrus, orchard fruit and multilayers of herbs - from sage to mint - supported by white floral aromas. The palate is clean and carries the same energy and persistence of fruit and flavour. Intense and exciting! (CS)

Quinta do Tamariz Loureiro Vinho Verde DOC, 2021, Portugal ($20)

From a vineyard located 20km inland from the Atlantic Ocean along the Lima Valley River. Old vines provide true laurel floral aromas, with kiwi fruit to herbs and a saline, light green tea sensation. The palate is luminous with notions

of white tropical fruit and citrus, challenged by more savoury herbs. A gentle mouthfeel and lengthy finish. Not ordinary Vinho Verde. (CS)

Quails’ Gate Rosé Okanagan Valley BC VQA, 2021, British Columbia Canada ($20)

This Gamay and Pinot Noir blend (fermented separately) had just four hours of skin contact, which accounts for the pretty, pale salmon colour. Red berries and tropical hints on the nose before a juicy palate of cranberry, raspberry and watermelon. Nicely balanced with good acidity through a crisp, dry finish. Very food friendly and flexible, as in perfect with Pissaladière... A foil for the saltiness of black olives and anchovies but picking up on the sweetness of the caramelized onions. Quails’ Gate’s vineyards are now certified by Sustainable Winegrowing British Columbia (SWBC). (TP)

Fontana Dominio de Fontana Sauvignon Blanc-Verdejo Uclés DO, 2021, Castilla-La Mancha Spain ($22)

Lightly grassy aromas with hints of apple, citrus, white pepper and fennel, fresh with good texture, medium long finish, with stony mineral notes. A nice match with baked trout with a tart fruit salsa. (DD)

Fontana Dominio de Fontana TempranilloSyrah Uclés DO, 2020, Castilla-La Mancha Spain ($22)

Fresh and ripe, earthy black fruit aromas maintain clarity and freshness, bolstered by juicy acidity and elegant tannins. Plum and currant flavours linger on the finish. A great value and approachable while still maintaining great character. (DD)

Fontana Dominio de Fontana TempranilloCabernet Sauvignon Uclés DO, 2019, Castilla-La Mancha Spain ($22)

Ripe black-fruit aromas are full, layered and spicy, this blend of Tempranillo and Cabernet Sauvignon is juicy and textured with refined, elegant tannins. Wild berry flavours are nicely spiced, with bright acidity creating a nice lift on the lingering finish. Another excellent value from this producer sustainably farming at high-altitude vineyards in Uclés. (DD)

Bideona Mayela Tempranillo Rioja Alavesa DO, 2021, Rioja Spain ($22, Tank sample)

Bright vinous aromas, juicy and crunchy cherry, red currant, plum and fresh herbal flavours

mixed with notes of spice and smoke with lively acidity on the mouth-watering finish. Chill and quaff, quite delicious. (DD)

Hidden Bench Locust Lane Rosé Beamsville Bench VQA, 2020, Ontario Canada ($24)

I’m so glad to taste this wine with an additional year of bottle age. It was lovely last year, but this year a beautiful savoury, slightly herbal note adds a layer of interest. There is also a more generous nature to the body of the wine. The tart strawberry and rhubarb aromas are still very much there, but together with rosemary and wild-foraged plants (the kind with a bit of soil clinging to the stalks). Organically farmed estate-grown Pinot Noir with a touch of Viognier. (BD)

Head High Pinot Noir Sonoma Coast, 2019, California USA ($24)

This wine offers all the elegance and generosity you seek in a Pinot Noir from Sonoma Coast, and at a stellar price! Lush notes of wild strawberries and raspberries with round silky tannins and 14.5% well integrated. A rare find at this price. (MB)

Alta Alella GX Garnacha Catalunya DO, 2021, Spain ($24)

Joyful in every way. Bright, lifted fruit aromas of red plums, cherries, red rose and roasted herbs. Surprisingly fresh, strawberry-fruited flavours greet you, with easy-going tannins, and unintrusive alcohol. A great choice for when you want to love what you are drinking but you don’t want to think too much about it. (BD)

Weingut Schloss Lieser SL Riesling Trocken, 2020, Mosel Germany ($25)

A focused and precise wine, true to Mosel origins, this is delicate, with aromas of pear, white peach, dainty florals, and flint. The wine has a texture like lemon pith and the refreshing acidity takes centre stage from start to finish but never overshadows the fruit or body. Classically modest ABV and effortless balance. (BD)

OFF THE WALL

(Absolutely worth a shot):

Unique, distinct, interesting wines from lesser-known grape varieties or regions that are worth tasting

because they are that good. Don’t bypass them because they may be unfamiliar or judge them by the first taste. They are well made wines and your palate deserves to give them a shot even if it takes a little time to get to know them.

Malivoire Melon Beamsville Bench VQA, 2021, Ontario Canada ($22)

From Malivoire Estate and Mottiar vineyards - a unique wine in that there is little of the Melon de Bourgogne grape planted in Niagara. It shows lemony citrus, fresh pear and apple, and a faint floral note - though not as mineral as its Loire-raised cousins. The palate shows a vibrant acid-centered edge, and a lovely lees aroma and texture; baker’s dough/brewery-like. Precise and refreshing. (BD)

Domaine Gerovassiliou Malagousia Vieilles Vignes PGI Epanomi, 2021, Macedonia Greece ($27)

What a beautiful expression of Malagousia! Beautiful, perfumed nose with aromas of fresh pink grapefruit mingling with dried herbs and orange peel. The pleasant bitterness on the finish gives structure and balances the aromatic profile. Shines when served with grilled eggplant or salad of roasted beet, fennel and mandarin. So much character! (MB)

Tetramythos Malagousia Achaia, 2021, Peloponnese Greece ($28)

Textural and racy with citrus blossom and zest, melon, minerally saline and lightly herbal, sleek and expressive with a long, mouthwatering finish. (DD)

Tetramythos Mavro Kalavrytino Natur, 2021, Peloponnese Greece ($28)

A savoury and tart red, full of delicious juicy ber ry and cherry flavours, sweet spice, supported with firm, yet accessible tannins and a mineral, zesty and fresh finish. (DD)

Tetramythos Retsina Amphore Natur, 2021, Peloponnese Greece ($28)

Excellent balance between traditional flavour and contemporary refinement. Subtle herbal/ pine notes with a bright citrus edge, a lively mix of acidity, lemon and lime peel and crushed herbs. Balanced and intriguing. (DD)

Franco Conterno Langhe Nascetta DOC del Comune di Novello, 2020, Piedmont Italy ($30)

While based in the Barolo township of Monforte d’Alba, the Franco Conterno estate owns vineyards in the neighbouring village of Novello, where the local Nascetta grape is on the rise. This sees no oak – just a short passage in stainless steel. The nose is pretty and discreet showing green apple, sage and lemon. The pa late brings in tropical fruit flavours of pineapple and guava. Midweight and ripe without being heavy, it offers appropriate substance and chew. Acidity is soft but a saline touch lends refresh ment. (MM)

Rizman Pošip, 2021, Dalmatia Croatia ($35)

Pošip is one of the best indigenous white grapes of Croatia, and Damir Štimac, owner of Rizman winery, brings it to its heights. The vines are planted on steep vineyards on limestone soil. Daytime temperatures can easily rise to 40 de grees Celsius, but the decrease in temperature at night and harvest in cool conditions preserve freshness. Vibrant and fresh with rounded texture. Melon, yellow plum and citrus are in harmony with saline notes. Pleasant bitterness on the finish lifts the wine. Great discovery! (MB)

Bodegas Los Bermejos Malvasía Volcánica Seco Lanzarote DO, 2021, Canary Islands Spain ($36)

On the sub-tropical, volcanic island of Lan zarote, Bodegas Los Bermejos has revived a tradition of winemaking by partnering with local grape growers. Together they have preserved the unique growing system of individual vines grown in small craters protected from winds by lava stone walls. The ungrafted Malvasía Volcánica opens discreetly but this ain’t no wall flower. Peach blossom, melon and strawberry papaya meet sun baked stone. Dry and energetic, it packs a core of sweet, concentrated fruit with saline edges, leaving the palate cleansed and ready for another bite of sweet, fresh shellfish. (MM)

Bodegas Los Bermejos Listán Negro Maceración Carbónica Lanzarote DO, 2021, Canary Islands Spain ($36)

A close relative of Chile’s País grape, Listán Negro is rarely seen in Europe but is the most planted red across the Canary Islands. This bottling is made using carbonic maceration which is apparently quite common too. This gives an exuberantly fruity expression. Aromas of ripe blueberry, candied plums, cinnamon and nutmeg repeat on the palate. Medium weight yet mouth filling with soft juicy acidity and light, grapey tannins. The finish is bitter edged but in a fascinating way - very salted black licorice. (MM)

Brash Higgins ZBO Zibibbo Ricca Terra Farms Riverland, 2020, Australia ($45)

Another stunning vintage crafted by Brad Hickey! Made from 70-year-old bush vines, Zibibbo (also known as Muscat of Alexandria) is macerated on the skin in amphorae for 150 days. The result is irresistible! Stunningly aromatic with juicy notes of pink grapefruit, orange peel and fresh grape and a pleasant bitterness on the finish. Saline and thirst quenching. Dangerously easy to drink on its own and a natural with Indian food or roasted root vegetables. (MB)

Ursa Major Más Cerquita de Ti, 2020, British Columbia Canada ($50 - 1.5L)

The gateway wine into the world of skin contact ‘orange’ wine. An expression of aromatics and texture from the combined forces of Riesling, Semillon, Gewurztraminer and Sauvignon Blanc. Mango compote, pear and nectarine nectar with pronounced spiced aromatics bring you into a mouthfeel that is zesty, with pith and texture as it brings you into this lovely world of psychedelic flavours. (CS)

Bideona Badiola L4GD4 Rioja Alavesa DO, 2019, Rioja Spain ($55)

The fresh L4GD4 with crunchy red fruits comes from the high elevation vineyard plots around the village of Laguardia, so grapes usually ripen the earliest among the Bideona wines. Elegant and fragrant with present, but velvety tannins, floral and a delicate juiciness of wild strawber ries that enhances the wine’s brightness and accessibility. A lovely wine for charcuterie and carpaccio. (DD)

Bideona Badiola V1BN4 Rioja Alavesa DO, 2019, Rioja Spain ($55)

Rounder and riper with slightly darker fruit, V1BN4 has more presence than the L4GD4, but without being heavy on the palate. From the vineyards surrounding the village of Villabuena, the wine shows excellent balance between freshness, elegance and concentration with a purity of berry aromas and flavours, firm, fine-grained tannins and a precise, focussed finish. (DD)

Bideona Badiola S4MGO Rioja Alavesa DO, 2019, Rioja Spain ($55)

The firmly textured S4MG0 is sourced from the village of Samaniego. The pure and defined fruit is leaning towards the darker side with firm, refined tannins and texture, spicy and complex with great depth and length on the finish. An incredibly delicious wine that is complete from start to finish. (DD)

Bideona Badiola L3Z4 Rioja Alavesa DO, 2019, Rioja Spain ($55)

The L3Z4 shows serious structure, but main tains purity and freshness. Fruits is from the vineyards around the village of Leza. Loads of mineral, graphite, black cherry, blackberry and blueberry aromas, with herbal notes, precision of the palate with an abundance of mouth-wa tering acidity to keep the wine and the long finish fresh and lifted. (DD)

CELLAR-WORTHY (Rewarding patience):

Burrowing Owl Merlot Okanagan Valley BC VQA, 2019, British Columbia Canada ($32)

The nose invites with aromas of red and black fruit, then plum and floral hints wrapped in vanilla. The entry epitomizes a house style that leans more gently towards the understated than some ‘in your face’ Okanagan offerings. A plush, finely balanced palate shows complex notes of damson and dark cherry, ripe dark berries, wild herbs, spice and mineral undertones. The wine is

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

supported by well-integrated and approachable tannins—all in sync and brightened by a streak of fresh acidity. Drinking very nicely now but well worth putting away for a few years. The winery reckons it’s good for a decade at least, and we’ll drink to that. One of the original Okanagan pioneering hallmark reds that rarely, if ever, fails to impress. (TP)

Kacaba Proprietor’s Block Syrah Niagara Escarpment VQA, 2019, Ontario Canada ($33)

A gold medal winner at the 2022 Ontario Wine Awards. Deep purple in colour with a spicy, oaky, blackberry nose and white pepper notes. Medium-bodied, dry, beautifully balanced and firmly structured, this offers black cherry and blackberry flavours. Northern Rhône in style. (TA)

Viña Olabarri Gran Reserva Rioja DOCa, 2014, Spain ($33)

80% Tempranillo, 16% Graciano and 4% Mazuelo. Deep purple in colour. A cedary, spicy, black cherry bouquet with notes of vanilla and coconut. Medium-bodied, dry, richly extracted and firmly structured, this has cherry, black plum and blueberry flavours with powdery tannins. A very harmonious wine. (TA)

Closson Chase Chardonnay Prince Edward County VQA ‘South Clos’, 2019, Ontario Canada ($42)

This has all the right stuff. Aromatically, oak spice plays with a range of fruit characteristics - leaning to the green apple/pear side, but also with ripe Meyer lemon notes. A touch of flinti ness complements. The precise palate sports a beautiful seam of acidity and a balanced, long flavourful finish. Looking forward to tasting this again with a bit more age. (BD)

COS Cerasuolo di Vittoria DOCG Classico, 2017, Sicily Italy ($49)

In keeping with my expectations from COS, the 2017 Cerasuolo di Vittoria is a thing of power and beauty. Aromas of ripe red fruits, cigars, forest walks and wild places. Striking balance and elegance on the palate, it is still voluptuous and full-flavoured. Priced well under the top wines of Tuscany, but like-minded and equally well-crafted. Great value, amazing now and over the next 15 years. (BD)

Thibaud Boudignon Anjou AOC, 2020, Loire Valley France ($50)

Nothing falls short of greatness from this highly talented producer of the Loire Valley. But his wines need time to reveal themselves. Pure and precise with a great backbone and tangy acid. The wine is driven by minerality underlined by subtle notes of chamomile, stone fruit and white flowers. With time, the austere profile will ease into a more generous profile. Long life ahead. I will keep my bottles for at least a decade. (MB)

Clos du Soleil Signature Similkameen Valley BC VQA, 2019, British Columbia Canada ($55)

From an excellent and relatively normal vintage with ideal growing and cool ripening conditions, this blend of Merlot, Cabernet Sauvignon, Malbec, Cabernet Franc and Petit Verdot was hand harvested, cold soaked, concrete fer

mented and aged 16 months in French oak. The wine lures with warm aromas of red and black berries, floral and spice notes before a layered and complex palate of black cherry, mulberry, mint and cassis. It shows some mint and savoury notes with distinct minerality. The mouthfeel is plush but well-structured with well-integrated tannins. Certainly age-worthy for a decade or more. (TP)

Vassaltis Assyrtiko Santorini PDO, 2020, Greece ($60)

Assyrtiko is one of the greatest white grapes in the world, especially when found on the volcanic soils of Santorini - and Vassaltis definitely brings the grape to its heights. Tension, energy, minerality and texture are the words that come to mind when I drink this wine. Crisp and saline with notes of guava, passion fruit and Meyer le mon, this Assyrtiko is still reserved and will need another 3-6 years in the cellar to show its best. If you can’t wait, drink the bottle over a few days. It’s amazing to witness how the wine evolves and reveals itself. Octopus anyone? (MB)

Pasquale Pelissero Barbaresco DOCG ‘Bricco San Giuliano’, 2019, Piedmont Italy ($60)

Mother and son team Ornella and Simone Pe lissero work tirelessly at this modest 8-hectare estate just outside the town of Neive. They make sturdy, unflashy wines that represent very good value for the money - in the realm of the Langhe. One of their top bottlings, this comes from the sun-doused top of the San Giuliano cru. Robust and ripe, it exudes licorice and dark black cherry with an underlying wondrously wet forest character. Tannins are currently at the fore and slightly astringent but should sort themselves out. A solid 10-year wine. (MM)

Big Head RAW Syrah Niagara Peninsula VQA, 2020, Ontario Canada ($65)

Includes 5% Viognier. Dense purple in colour with a smoked meat, blackberry and white pep per bouquet. Full-bodied and dry with a meaty, blackberry flavour, this is firmly structured and rich on the palate. (TA)

Aurelio Settimo Barolo DOCG ‘Rocche dell’Annunziata’, 2016, Piedmont Italy ($70)

Tiziana Settimo has been at the helm of this estate since her father Aurelio died in 2007. She describes herself as the ‘jolly joker’. While I wouldn’t say that her wines are similarly jovial, they do reflect her genuine and unpretentious character. Rather ‘old school’ in style, with firm commanding tannins that are on the right side of dry, the 2016 Rocche dell’Annunziata is just starting to come around. It is very savoury edged showing nuances of chestnut, hazelnut and tobacco with exotic spice. Full but not hard with such a satisfying chew, this should continue to evolve intriguingly over the next dozen or so years. (MM)

Viberti Barolo DOCG Riserva ‘Bricco delle Viole’, 2016, Piedmont Italy ($75)

The Viberti estate owns 4 hectares in the lauded Bricco delle Viole cru with altitudes reaching a cool 500 metres. The Riserva hails from a 0.5-hectare plot planted in the 60s and ages

slowly over 4 years in large, untoasted oak vats. Though recently released, it is immediately expressive with notes of mint and eucalyptus. Hints of lilac and violet lurk in the background. The palate is layered with red currant and cherry infused with pepper. Tight, fine-grained tannins wrap around this taut Barolo Riserva while racy acidity cleaves through the core. As tempting as the aromas are right now, it will benefit from a couple of years in the cellar with another 12 to 15 years of enjoyment ahead of it. (MM)

Castello di Neive Barbaresco DOCG ‘Santo Stefano’, 2019, Piedmont Italy ($78)

One of Barbaresco’s most historic and presti gious vineyards, Santo Stefano is entirely owned by Castello di Neive. The 2019 is austere and linear but with great fruit depth. Though resolu te, the tannins are integrated and balanced. Very savoury and balsamic, it is saturated by iron, bay laurel, forest floor and cooling mint. A full, powerful Barbaresco with easily 15 years ahead of it. (MM)

Betz Family Winery Domaine de Pierres

Syrah Walla Walla Valley AVA, 2018, Washington USA ($80)

Domaine de Pierres is the latest addition to Betz’s single site Syrah offerings. The vineyard is located in the Rocks of Milton Freewater AVA which is nestled in the Walla Walla AVA. The soils, made of large river stones washed down from the Blue Mountains, accumulate heat and offer the ideal microclimate for Syrah to thrive in. Full-bodied with fresh acidity, firm tannins and generous notes of red plum, the wine exudes a nice balance between ripeness and freshness. The lifted violet notes combined with smoked meat and black pepper make the wine savory. If you can resist, wait 7-10 years till opening. With time, tannins will resolve, and oak will integrate. (MB)

Phantom Creek Estates Kobau Vineyard

Cuvée Okanagan Valley BC VQA Golden Mile Bench, 2019, British Columbia Canada ($80) Kobau vineyard on the Golden Mile Bench is relatively cool due to early morning sun and af ternoon shade from Mount Kobau. Its complex, gravelly soils can drive unique minerality. This blend of Cabernet Sauvignon, Merlot and Cab ernet Franc, with Petit Verdot, Malbec, Viognier and Syrah, yields forward vibrant red berries with some earthy hints. The precisely balanced and structured palate of mulberry, damson and spice is accentuated by a distinctly mineral core with spice notes to close. (TP)

Mac Forbes Pinot Noir Yarra Valley

‘Gladysdale’, 2019, Victoria Australia ($90)

This wine represents the top tier in Mac Forbes’ lineup. Gladysdale is a site located in the south of Yarra Valley on clay-based soils. The resulting wine is incredibly aromatic, perfumed with notes of wild violets, game meats and partridge berry. The palate fans out into a crescendo of crunchy red fruit, and an iron-like salinity. It is surprisingly firm and dense (with around 11% ABV). I want to see this wine in 5-7 years but can imagine it would be lovely up to 10 years depending on your preference. (BD)

Quite generous in perfume with fresh currant, ripe field strawberry and raspberry. Red florals and some cacao warm the nose. To palate - the wine is crisp and clean with similar red berry fruit energy, yet with depth and complete in flavour. There is a clarity of Pinot expression. (CS)

Mauro Molino 40e Anniversario Barolo DOCG, 2016, Piedmont Italy ($100)

To commemorate the estate’s 40th anniversary, brother and sister Matteo and Martina Molino have come out with this limited release bottling. From a tiny 0.2-hectare southwest facing plot in the Annunziata cru planted in 1971, it is vibrantly and persistently perfumed with mint and nut meg. There is plenty of concentrated strawberry through the core to match the ample structure. Long, suede-like tannins are elegant, eventually dissolving into a soft powdery grasp. A worthy tribute to their parents Mauro and Maria Luisa who started bottling wine in 1982. (MM)

TOP SUSTAINABLE

WINE PICKS:

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

Anthonij Rupert Wines Protea Chenin Blanc Western Cape WO, 2020, South Africa ($15)

This packs in a lot of pleasure for the price. Scents of honeydew melon and green apple are dusted with lees. Light in weight, the palate brings in a honeyed note countered by a crisp, steely backbone of concentrated lemony acidity. Finishes with hints of camomile. Closed with a reusable twist cork and sporting a label printed on recycled paper, Protea’s pretty bottle was designed to encourage repurposing. Go ahead and use it or a vase or adopt it as your water bottle. (MM)

Tania & Vincent Câreme Terre Brûlée Chenin Blanc Swartland WO, 2020, South Africa ($22)

This wine delivers on so many fronts. Above all, the value for money can’t be beat. Intriguing aromas of pastry dough and earthy mushrooms make way for honeyed apple and pear. Concen trated, ripe stone fruit gives a midweight palate that is textured and generous. Then a minerally,

salty beam pierces through. The finish pops with flavour. A contender for my house white all year long, it’s made from dry-farmed, old vine Chenin Blanc and bears South Africa’s Integrated Pro duction of Wines (IPW) sustainable certification. (MM)

Salcheto Rosso di Montepulciano DOC, 2020, Tuscany Italy ($23)

Young vine Sangiovese is blended with a little bit of Canaiolo Nero and Merlot, then refines briefly in stainless steel. The result is a delightfully bright, uncomplicated yet satisfying red. Crisp red berries are at the fore as light clayey tannins give fine frame. Finishes with an energizing tang. Led by Michele Manelli, the Salcheto winery is desi gned to be off the grid and certifies the carbon footprint of each bottle of wine. The company has also established a Welfare Plan for employees, among the first Italian wineries to do so. (MM)

Jean-Paul et Charly Thévenet Morgon AOC, 2020, Beaujolais France ($28)

In a blind tasting, it would be easy to mistake this Gamay for a good Pinot Noir from HautesCôtes de Beaune. Great purity of fruit and silky texture. Bright acid with crunchy fresh notes of red cherries which mingle with violet and subtle earthy notes. Very elegant. Serve slightly chilled with grilled tuna or steak tartare. Outstanding value. (MB)

Tetramythos Sideritis Natur, 2021, Peloponnese Greece ($34)

Engaging and crisp, with juicy apple, nectarine and citrus flavours, concentrated but balanced acidity on the lively finish. From 50+ year old vines. (DD)

Rizman Tribidrag, 2019, Dalmatia Croatia ($35)

The origin of Zinfandel is Croatia and one of its original names is Tribidrag - hence the name of this wine. I am extremely impressed by the balance and savoury profile. Fresh and vibrant with dusty tannins and notes of black plum and blackberries in harmony with dried herbs and black olives. Having tried older vintages, I predict even greater complexity in 5-7 years from now. (MB)

Troon Vineyards Biodynamic Blend Druid’s Fluid Apple Gate Valley AVA, 2020, Oregon USA ($35)

Druid’s Fluid’s blend changes from vintage to vintage but I am told the 2020 favours Viognier with Marsanne, Roussanne and Vermentino. Animated aromas are redolent of peach tinged with lemon balm, rosemary and honeysuckle. Appropriately round and creamy, this fills the mouth with plump apricot. The acidity is soft but juicy and offers plenty of verve to invigorate. In 2021, Troon became the second winery global ly to receive the newly established Regenerative Organic Certification which is based on soil health, animal welfare and social fairness. (MM)

Sperling Old Vines Riesling Okanagan Valley BC VQA, 2016, British Columbia Canada ($35)

From Canada’s organic/biodynamic maven - Ann Sperling, the Old Vines bottling is crafted from

Riesling planted in 1978. It makes you sit up and take notice at first whiff. Penetrating lime and wet stone are quite transcending. Very linear yet infiltrates every part of the palate with rocky minerality intersecting vibrant citrus and juicy apple. A touch of residual sugar balances out that searing acidity. There is a touch of petrol developing but this is still so fresh and youthful. And lip-smackingly good with spicy sautéed prawns. (MM)

Bideona Badiola Las Parcelas Blanco Rioja Alavesa DO, 2020, Rioja Spain ($38)

This 100% Viura comes from old vines in small plots as part of a program to highlight the his toric vineyards of Rioja Alavesa. Part of the wine ferments in French oak barrels which provides texture and complexity without masking the freshness of the fruit. Bright and salty with a long mineral character on the finish. (DD)

Torres Salmos Priorat DOQ, 2017, Catalonia Spain ($40)

Having invested more than 15 million euro in research to mitigate and adapt to climate change, Miguel Torres is an inspiring leader in the wine industry. One of their latest projects has been regenerative agriculture. The success in the arid land of Priorat has proven that this form of viticulture can succeed anywhere if done properly. Rich and full-bodied with generous notes of prune, blackberries and black cherries mingling with dried herbs. Dusty tannins offer great structure to the broad palate. Delicious with grilled lamb. (MB)

Brash Higgins NDV Nero d’Avola McLaren Vale, 2021, Australia ($45)

The region of McLaren Vale has been an Australian leader in the exploration of Medi terranean grapes. There are many reasons for this. The grapes are more drought resistant, require less water and retain freshness despite the hot climate. Brad Hickey of Brash Higgins exemplifies this trend with this lip-smacking Nero d’Avola. High-toned with notes of dark plum, red cherries and violet lifted by fresh acid. Dusty tannins and herbal notes make the wine savoury. Bravo! (MB)

Hidden Bench Pinot Noir Beamsville Bench VQA ‘Felseck Vineyard’, 2019, Ontario Canada ($48)

Felseck Pinot Noir impresses with its lightness of touch. This doesn’t mean it is lacking in flavour though. Crunchy sour red cherry and currants are nuanced by crush allspice flowers, dried thyme blossoms and a very subtle overlay of toasty wood. Tannins are skillfully extracted –silky yet with a confident grip. They give textural complexity to the palate which lingers with a graphite note. Fully certified organic in the vine yard and winery, Hidden Bench uses geothermal energy in the winery, solar panels for its storage facility and even provides electrical vehicle charging stations for customers free of charge. Members of ‘1% for the Planet’, the company contributes 1% of gross revenues to various environmental groups annually. (MM)

Beaux Frères Pinot Noir Yamhill Carlton AVA ‘Abbott Claim’, 2018, Oregon USA ($90)

Hailing from a cool and more classic vintage in comparison to recent hot vintages, this Pinot Noir is pure, fresh and elegant with notes of sour cherries, red cherries and fresh strawberries. Notes of vanilla from new French oak are discreet and well-integrated. The silky tannins and voluptuous profile recall a fine 1er cru from Chambolle-Musigny. Stunning and a natural with grilled salmon. (MB)

Planeta Eruzione 1614 Carricante Sicilia DOC 2019, Sicily Italy ($50)

Grown at lofty elevations reaching 860 metres on the slopes of Mount Etna, this Carricante rings out with volcanic character. Smoky and flinty, it recalls earthy herbs, rocks and mountain blossoms. A smattering of Riesling brings out a classic diesel character. Very intense and linear with bracing acid balanced by a taut fleshiness. Juicy citrus notes draw out the finish. If you like your wines austere, you can drink this now. Otherwise try cellaring for another five years. The Planeta clan are leaders in Sicily. Besides helping elevate and disseminate the wines of the island and recuperating forgotten cultivars, they have also been at the forefront of sustainability, piloting programs like VIVA Sustainability & Culture and SOStain. (MM)

Matthiasson Chardonnay Oak Knoll AVA ‘Linda Vista Vineyard’, 2020, Napa Valley California ($60)

Not a ‘typical’ Napa Chardonnay, but a typical Matthiasson version certainly. From a certified organic, west Oak Knoll vineyard, a place that combines cool breezes and hot Napa sun, this demonstrates it balance. Ripe golden apple and melon with a subtle grace. The palate is open, showing neutral-wood aged fruit character, but with a vibrant, fresh acidity and bright light ness. Jill and Steve Matthiasson are leaders of sustainable practices in California, both on their owned and leased land as well as in support of their greater community. (BD)

QUENCH HOUSE WINES:

What the editors and writers of Quench are drinking at home and why.

Henry of Pelham Pinot Grigio Niagara Peninsula VQA, 2021, Ontario Canada ($16)

Light golden in colour with a minerally, white peach nose. Medium-bodied and dry with peach and lemon flavours. This is well-balanced with a good mouthfeel and flavourful for this usually dull grape in Ontario. (TA)

Finca La Mascota Santa Ana Cabernet Franc Maipu, 2019, Mendoza Argentina ($18)

From a vineyard close to the Mendoza River, in the Andes foothills with rocky alluvial and clay loam soils. Up front red and black fruit with spicy hints followed by mulberry and cassis notes and some black pepper. This has approachable tannins and a solid finish. Perfect with pizza or pasta as well as a good pot roast. (TP)

Benjamin Bridge Nova 7 Gaspereau Valley, 2021, Nova Scotia Canada ($22)

Nova 7 is always aromatic, owing to the New York Muscat in its composition (the rest of the blend is made up of Ortega and Geishenheim). This vintage was particularly good both in quan tity and quality for this grape, and its personality shines through this bottling. Passion fruit, guava, nectarine, lilies and orange grove. At 31g/l sugar, this is actually slightly drier than usual which I quite enjoy... I always love this wine, but it may be my favorite vintage of it to date. (BD)

Tantalus Bear Chardonnay Okanagan Valley BC VQA, 2021, British Columbia Canada ($25)

An attractive, restrained nose of lemon, pear, pastry dough and flint leads to a succulent, juicy palate where the backbone is firm and texture creamy. This lingers appetisingly. I have long said that Chablis is the ultimate house wine. Alas, it

Ebner-Ebenauer

I tasted the wines of Marion and Manfred Eb ner-Ebenauer for the first time earlier this year and was impressed by their incredible balance, elegance, precision and depth. A small producer in the Niederöstereich, seek these out. The wines are highly regarded in Austria and their international profile will continue to grow as the rest of the world discovers these compelling, delicious and immensely drinkable wines.

Ebner-Ebenauer Grüner Veltliner Weinviertel DAC, 2021, Niederöstereich Austria ($36)

Lovely, expansive and well-balanced with an inspired combination of fruit purity, white pep per, spice, steely salinity and stony minerality. Finishes long, focussed and precise. (GB)

Ebner-Ebenauer Chardonnay, 2021, Niederöstereich Austria ($48)

From limestone-rich soils, this bright, expansive wine shows aromas and flavours of ripe pears and citrus, elegantly structured with juicy tex ture, spicy and complex with a mouth-watering, deliciously long aftertaste. (GB)

Ebner-Ebenauer Grüner Veltliner ‘Ried Hermanschachern’, 2021, Niederöstereich Austria ($55)

From steep, south-facing slopes with warm loess soils and high limestone content comes this dynamic, focussed wine with depth and concentration while still maintaining a refined elegance. White pepper, ripe apples and tropical fruit with a salty core, juicy acidity, linear, yet

softly textured with compelling tension between fruit and acidity on the persistent finish. (GB)

Ebner-Ebenauer Grüner Veltliner ‘Ried Bürsting’, 2021, Niederöstereich Austria ($55)

Ried Bürsting is situated on a high plateau with clay soils which contribute to the wine’s struc tured core. The must undergoes twenty-four hours maceration on the skins before fermenting spontaneously in used 500-litre oak casks and small stainless steel tanks. Spicy, complex, concentrated and juicy with a tight core, broad structure and loads of potential. This one will take some time to fully express itself, but it will be worth the wait. (GB)

Ebner-Ebenauer Grüner Veltliner ‘Alte Reben’, 2021, Niederöstereich Austria ($68)

From 70+ year old vines, the grapes are harvested at the end of October in a state of high Auslese ripeness. The must ferments sponta neously in used oak casks without temperature control. Expansive with big shoulders the wine shows an abundance of aromas and flavours of yellow stone fruit, baked apple, citrus and fresh herbs, full-bodied, deep, complex and luxurious, but with incredible freshness from the firm backbone of acidity. A versatile wine for the dinner table to serve with everything from lighter poultry to rich, rustic meat dishes to aged cheeses. (GB)

Ebner-Ebenauer Riesling ‘Alte Reben’, 2021, Niederöstereich Austria ($68)

These old vines only produce a few clusters which are harvested at advanced Auslese

ripeness. The botrytis berries (approx. 20%) are processed separately and later blended with the must of the healthy grapes and fermented in stainless steel. Compelling aromas of ripe stone fruit, floral with juicy fruit on the palate, spice, texture, complexity and depth, with a finely balanced, focussed acidity and long persistent aftertaste. (GB)

Ebner-Ebenauer Weißer Burgunder ‘Alte Reben’, 2021, Niederöstereich Austria ($68)

Firm acidity imparts energy to this finely tex tured white, which features a streak of seashell minerality, underscored by aromas and flavours of white blossoms, pear, citrus, hazelnuts and spice. Firmly textured, juicy acidity and a persistent savouriness on the refined finish. (GB)

Ebner-Ebenauer Grüner Veltliner ‘Black Edition’, 2018, Niederöstereich Austria ($100)

Voluminous and textural with complexity and depth, loads of bright, ripe, fresh fruit, spice, and nutty notes, with firm, but balanced acidity that cuts through the thickness, giving this energy and intensity, leading to a complex, mouthwa tering and mineral-infused aftertaste. Delicious now, but will continue to get better with time in the cellar. (GB)

Ebner-Ebenauer Chardonnay ‘Black Edition’, 2020, Niederöstereich Austria ($100)

Stylish and concentrated, with a creamy texture, the aromas tend toward peach, white apricot, lime, fresh herbs and honey, incredible balance, seamless from start to juicy finish. Tempting now, but still tight and a little closed. This is going to be a stunner with some age. (GB)

Roserock by Drouhin Oregon Pinot Noir Eola-Amity Hills AVA, 2017, Oregon USA ($50)

is difficult to find the most basic one for under $30 these days. Tantalus is billing its young vines Bear Chardonnay as Chablis-style. It is a bit fruitier that its French reference, but it does have that steely finish – and a huge yum factor (MM)

Fontana Dominio de Fontana TempranilloGraciano Uclés DO, 2019, Castilla-La Mancha Spain ($27)

Exuberant and fresh with bright black and red fruit, liquorice, spice, integrated tannins, breadth and deliciously balanced. Really a bargain for the quality and a great match whether for Tuesday night pizza or Saturday rib roast. (DD)

Monte Bernardi Sangió Chianti Classico DOCG, 2019, Tuscany Italy ($32 - 1L)

Juicy and simple but so authentic and highly satisfying. And I love the fact that it comes in a 1L bottle! Notes of red cherries mingling with subtle tomato stalk, dried herbs and a touch of balsamic combined with dusty tannins and crisp acid bring you right to the Chianti Classico region. No special occasion needed. It will make your weekdays brighter, especially if served with take-out pizza Margherita or home-made pasta al pomodoro. (MB)

Hatzidakis Skitali Santorini PDO, 2019, Greece ($65)

100% Assyritiko. This wine is pure pleasure of salt, sun and sea. It opens up with white floral notes, lemon, lemon skin, smoke and flint. Vol canic soils and time on lees add depth in aroma connecting to a plate that is rich and vibrant with length and poise. Citrus and a sweet-like creamy Meyer lemon meringue feel to the palate, it is held together by texture of pith. (CS)

BEST OF THE REST:

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

HIGHLY RECOMMENDED

Bachelder Les Villages Gamay Niagara Peninsula VQA, 2020, Ontario Canada ($26)

A beautifully balanced marriage of Niaga ra-on-the-Lake and Beamsville Bench fruit - the former delivering the body and the latter the re finement. Brilliant fruit character, a firm mineral texture and fleshy, fruit-forward palate. Super value that over-delivers in typical Bachelder fashion. (BD)

Peak Cellars Broken Granite Gewürztraminer Okanagan Valley BC VQA, 2020, British Columbia Canada ($30)

Think Alsace in style, with floral rose petal, ginger and garden herb hints up front. A well balanced, complex and layered, gently viscous palate with candied ginger, floral notes and underlying spice. There’s added texture here from a little judicious barrel time. This superb wine takes Okanagan ‘Gew’ to a whole new level. (TP)

Sandhill Sangiovese Rosé Okanagan Valley BC VQA ‘Block C9’, 2021, British Columbia Canada $30

Winemaker Sandy Leier likes Sangiovese for its natural acidity, which contributes to the vibrant and fresh fruit palate. Also, that natural acidity means, when the mercury soars, the fruit doesn’t drop out as much as some other varieties. The grapes come from a sun-drenched site below a rocky bluff on Sandhill’s Black Sage vineyard. 2021 saw the record-breaking heat dome at the end of June. The stressed vines shut down at a critical time, resulting in about a 2025% lower crop but more intense fruit. This wine is a pretty, pale copper colour, with red berry and stone fruits on the nose before a juicy cherry, peach and rhubarb palate through a lengthy end. A standout from the pack of 2021 BC rosés, it’s a delicious sipper that—thanks to the acidity and structure (from a little neutral French oak)—is also a seriously good food wine. (TP)

Domaine de L’R Le Canal des Grands Pièces Chinon AOC, 2020, Loire France ($32)

This represents all I love about Loire Cab Franc. It has that snappy bell pepper note, that green ‘love-or-hate’ herbaceousness, and a medi um-bodied core of bright raspberry and cherry. Organically farmed old vines on gravel soils and a low-intervention treatment in concrete allow the complexity and pure fruit character to shine through. Benchmark, and oh so good. (BD)

Kir-Yianni L’Esprit du Lac Vieilles Vignes Rose Amyndeon PDO, 2021, Greece ($32)

Who says you can’t drink rosé year-round? I plan on having a bottle of this in my fridge at the ready for whenever I need a reminder of summer. Made from a saignée, or bleeding, of Kir-Yanni’s Kali Riza cuvée, this 100% Xinomavro rosé is gloriously bone dry. An attractive nose of rose and stone leads to raspberry and cherry pits on the fleshy, chewy palate. Definitely more flavour and character than its pale colour would suggest. That assertive acidity and salty tang is guaranteed to refresh. A mouth-cleansing, food worthy rosé. (MM)

Tawse Gamay Noir Twenty Mile Bench VQA ‘Cherry Avenue Vineyard’, 2019, Ontario Canada ($33)

Ruby colour with a cherry nose showing toasty oak and vanilla notes. Medium-bodied, dry and juicy with sour cherry flavour carried on fresh acidity. A chillable wine. (TA)

Kir-Yianni Kali Riza Xinomavro Vieilles Vignes Amyndeon PDO, 2019, Greece ($34)

Kali Riza – or ‘good root’ refers to the low yielding, 60-plus year old Xinomavro vines that grace this bottling. Evocative in its fragrances of allspice flower, rose, pomegranate and hibiscus. An exotic red fruit character is dried but not pruny and repeats on the palate. Tannins are textured with a scratchy, grainy sensation. The depth of fruit fleshes them out. And there is a freshness, like biting into a crunchy cranberry. Best with a meal. Yes, lamb sausages would certainly do. (MM)

Tawse Chardonnay Vinemount Ridge VQA ‘Quarry Road Vineyard’, 2019, Ontario Canada ($35)

Light gold in colour. Toasty, apple nose with oak spice and vanilla notes. Medium-bodied, dry, yellow apple flavour with well-integrated oak and lively acidity. (TA)

Cantina del Pino Nebbiolo Langhe DOC, 2020, Italy ($35)

Selected from the estate’s youngest plots within the Barbaresco denomination, this Nebbiolo highlights the grape’s fresh, elegant charms wi thout sacrificing its intrinsic structure. Beautiful rose and crush raspberry permeate throughout. There is substance and depth that speaks to the wine’s breed. Those powdered silky tannins are yielding, bringing instant drinkability. A lovely introduction to this under-the-radar producer. (MM)

Antonio Madeira Vinhas Velhas Dão DOC, 2018, Portugal ($40)

A rising star on the Dão wine scene, Antonio Madeira’s wines are finding more clarity vintage after vintage. This leads with dark bramble berry fruit on the nose and a pleasant earthiness countered by a high note of floral, rock rose aroma. The palate arrives with flavours of chalky sweet ripe concentrated currant and black fruit with sandy texture… Tart and concentrated with elegant power, deep in tone and energy. (CS)

Tetramythos Cabernet Sauvignon Natur, 2019, Peloponnese Greece ($40)

Elegant, bright and rich with juicy aromas and flavours of red fruit, mulberry and plum, minty with well-integrated, slightly drying tannins and a ripe, stylish and crisp finish. A lively bright Cabernet that has the ability as a versatile food wine. (DD)

Craven Syrah Stellenbosch WO ‘The Firs Vineyard’, 2020, South Africa ($44)

What beautiful purity and animated personality! I couldn’t help fall hard for this Syrah. Ageing in neutral oak barrels encourages the fruit is to shine – and it does. Black cherry, blackberry and raspberry are interwoven with violet and black pepper. Seductively and supply textured, it seems to swaddle the palate while remaining graceful and vivid. There is also a modesty to this too as it clocks in at under 13% alcohol. A profusion of sweet spice drives the finish. (MM)

Black Hills Estate Winery Nota Bene Okanagan Valley BC VQA, 2020, British Columbia Canada ($45)

Black Hills winemaker, Ross Wise MW continues to make his mark on this BC icon. And we contin ue to be impressed. Cabernet Franc (42%) leads this 2020 blend, with 33% Cabernet Sauvignon, 24% Merlot and 1% Petit Verdot. Forward notes of vibrant red and black fruit invite with hints of camphor, spice and a little schist. The entry is layered and luscious, with black cherry, damson, cassis, mocha, clove and fennel. Already very approachable, with finely interwoven tannins underpinning the generous but elegant mouth feel, it is brightened by fresh acidity. Soft and supple, with a spicy background and sagebrush

through the lengthy finish. Overall defined by purity of fruit and discretely managed oak, this wine reflects the long and warm ripening season - a return to a more ‘normal’ vintage following a series of extremes. (TP)

Trail Estate V4 Unfiltered Chardonnay

Prince Edward County VQA, 2019, Ontario Canada ($50)

Showing its natural winemaking with funky, lifted aromas of green apple and pithy lemon. The lithe, juicy mouthfeel wakes up the palate. At just under 11%, it is a crushable, drink-youngto-harness-its-energy style. (BD)

1 Mill Road Home Block Pinot Noir Naramata Bench Okanagan Valley BC VQA, 2020, British Columbia Canada ($55)

The third release from the post-Laughing Stock project of Cynthia and David Enns marks David’s 20th vintage. The 1 Mill Road site is a glacier sculpted, southwest tilted bluff overlooking Okanagan Lake. Made from a single clone - Dijon 115, hand harvested and fermented in 2200L French Oak tanks. The slow ripening season yielded red berry and baking spice aromas leading to a cherry, cranberry and gently savoury palate buoyed by bright acidity and wrapped in elegant tannins through a lingering finish. A stellar anniversary wine! (TP)

Envínate Táganan Vinos Atlánticos, 2020, Canary Islands Spain ($60)

Listán Negro combined with a field blend of other grapes raised on elevated volcanic soils against the Atlantic. It is exactly what you might conjure in your mind - to see and taste. Smoky white and black pepper with sultry spice and florals are underlined by just ripe red berry and currants. This is serious rustic pleasure and certain ecstasy. A wine ready to reveal itself with time in a decanter or a few years in cellar. (CS)

Betz Family Winery La Serenne Syrah Yakima Valley AVA, 2018, Washington USA ($80)

From Dick Boushey’s eponymous vineyard in Yakima Valley, which has long been a source of Washington’s finest Syrah. It is the highest altitude, coolest site that Betz works with and the last to be picked. A full-on Syrah in terms of flavour, the 2018 is decidedly gamey with evocative bacon fat and smoked meat nuances. The 70% whole cluster inclusion lends an olive accent eventually making way for scented lavender. Plush cassis suffuses the elegantly structured, glossy textured palate. Despite all that intensity, this never becomes tiresome or heavy. Just gorgeous joyful drinking. (MM)

Lamy-Caillat Saint-Aubin AOC ‘En l’Ebaupin’, 2018, Burgundy France ($220)

One of my favorite wine surprises so far of 2022. This lovely bottle was chosen, producer unknown, at a restaurant. What a fortunate choice! It was so expressive of well-made Burgundy Chardonnay, a perfect mix of honest fruit and rocky salinity - transportive in nature. The palate was a case study in balance, length and elegance; not one single thing out of line.

This is the first bottling from this vineyard by this micro-domaine. I would not pass up any opportunity to try their other wines (almost all from Chassagne-Montrachet). Superb now, but drinking window is wide (5-15 years). (BD)

RECOMMENDED

Marchesi Alfieri La Tota Barbera d’Asti DOCG, 2019, Piedmont Italy ($26)

Vanilla and licorice laced black cherry greets the nose and echoes on the palate. There is vibrancy to the fruit thanks to juicy, integrated acidity. Tannins are tame and smooth. An appealing hint of espresso brings it to a close. This is neither too rich, nor over concentrated as can sometimes be the case with overly ambitious Barbera. Instead, La Tota is quite chuggable. But watch out - that 14.5% does sneak up. (MM)

Strewn Winery Cabernet Sauvignon Niagara-on-the-Lake VQA, 2017, Ontario Canada ($28)

Intense, deep purple colour. Cedary, ripe plum and black cherry bouquet with cassis notes. Full-bodied, dry and well-structured with lingering flavours of black fruits, this finishes with bright acidity and firm tannins. (TA)

Pearle Morissette Roselana Niagara Peninsula VQA, 2021, Ontario Canada ($28)

One of my fave rosé wines. The blend (which has varied in the past) is Pinot Noir and Gamay (pressed after a few days of skin contact) with just a touch of whole cluster, longer macerated Syrah. The result is a deep, unctuous rosé with rich, savoury red and black berry compote, fresh cranberry and herbs. It is dry and beautifully bal anced with appetizing tannins and bright acidity. Such a versatile and food friendly wine. (BD)

2027 Cellars Gamay Twenty Mile Bench VQA ‘Armbrust Vineyard’, 2020 Ontario Canada ($30)

I always notice an elegance from Gamay grown in this vineyard - no matter who gets their hands on it - and this one is no exception. This is the first time winemaker Kevin Panagapka is working with Gamay from Armbrust. It is a refined wine, more fruit driven than savoury or floral. Delicious. (BD)

Domaine de l’Aigle Chardonnay Limoux AOC, 2020, France ($35)

Bright, light straw in colour. Spicy, apple nose with a touch of oak. Medium-bodied, dry, apple and green pineapple flavours with notes of struck flint and a thread of minerality. A beautifully balanced wine. (TA)

Mac Forbes Chardonnay Yarra Valley, 2018, Victoria Australia ($40)

Mac Forbes continues to search for greater clarity in his wines of the Yarra Valley. The Chardonnay presents Chablis-like energy, with only slight reduction and an essence of green and lemon fruit. The palate is dry with a distinct clarity and freshness in flavour. Each element of light fruit and structure presents as so fresh and clean. Chardonnay that defies expectations. (CS)

Vinca Minor Carignan Mendocino, 2017, California USA ($40)

Old vine and dry farmed Carignan opens up with ripe plum and game on the nose. The wine brings more with a palate that is like saline crusted dried currant and blue fruit. Bright intensity of flavours yet easy going and light in the middle of its fruit core. Very clean as the wine dances over your palate, with enough structure to be serious yet playful. (CS)

Southbrook Estate Cabernet Sauvignon

Four Mile Creek VQA, 2019, Ontario Canada ($44)

Sitting at just over 13% ABV and showing a nice balance of grape ripeness to freshness. Aromas of black fruits, cedar branch, roasted green pepper, and pronounced oak spice. A savory wild character is noted, owing perhaps to the indige nous yeast fermentation lasting approximately 25 days. The oak should find more subtlety in 3-5 years. (BD)

Viña Cobos Bramare Malbec Luján de Cuyo, 2019, Mendoza Argentina ($55)

For Malbec fans looking to seriously splash out, Viña Cobos Bramare from the Mendoza’s heart land of Luján de Cuyo is a seductive, sumptuous, layered mouthful. It has all the intensity of its high-altitude climes with the warm generosity of the culture. Scents of violet, lavender, black plum and baking spice waft from the glass. The palate is replete with blueberries and black currants enveloped in velvety tannins. There is a sense of sweetness imparted by ageing in American oak, but it is easily digested and finishes dry. (MM)

Gran Moraine Drop Stone Chardonnay Yamhill Carlton AVA, 2017, Oregon USA ($65)

This is a delightful Chardonnay, that with time will open up from its reductive state of warm bruised apple and creamy lactic aromas kept in check by flint and wet stone. The palate is clean, precise and pleasant with ripe, round apple to citrus-like fruit, pleasing mouthfeel and moderate length. (CS)

Weingut Rabl Alte Reben Grüner Veltliner Kamptal DAC Reserve ‘Reid Dechant’, 2019, Niederöstereich Austria ($66)

This wine is just so inviting. The nose is showy with an interplay between rich pineapple, a trop ical note, dried legume and smoked sage. The palate is citrusy, but with enough complexity to make me want to see this wine age a bit more to invoke its savouriness. (BD)

Austin Hope Cabernet Sauvignon, 2020, Paso Robles California USA ($75)

Expressive and approachable right off the get-go with aromas and flavours of ripe fresh red and black berries, cherries, currants, smoke and spice with lush, velvety tannins, mouth-filling and rich with a needed bit of acidity on the finish. Not all that complex, but well structured and well made and quite pleasant to drink with an assortment or dishes or just on its own. (GB)

Artemis Karamolegos Pyritis Mega Cuvée Santorini PDO, 2019, Greece ($79)

A wine that is composed of Assyrtiko grapes with an average age of 100 plus years sourced from 3 vineyards. There is a youthful energy to this wine as it combines aromas of apple and pear with salted sugared lemon peel. A wine that is coming together and will benefit with time in the cellar. The palate is tangy apple, pear and candied lemon sprayed with salt of the sea. Very clean and precise. (CS)

BEFORE…

Domaine Bergeville Colfo, 2021, Québec Canada ($9 - 250ml)

Focusing solely on sparkling wine, this biody namic producer from Québec never disappoints. This Colfo is a blend of Riesling and Seyval Blanc with a touch of Vidal. The second fermentation takes place in the can and the wine is not fil tered, hence the cloudy color. The result? A dry, light, tangy and refreshing pétillant dangerously easy to drink. Perfect for brunch or as an aperitif. (MB)

Okanagan Crush Pad Narrative XC Method Rosé Okanagan Valley BC VQA, 2018, British Columbia Canada ($24)

Made from Pinot Noir and Chardonnay in state-of-the-art Charmat tanks, where the wine spends 90 days - as in the Roman numeral ‘XC’. Medium copper salmon in the glass with a lively stream and persistent mousse. Forward wild red berry notes lead to a strawberry raspberry palate and a little earthiness. Creamy and nicely textured, with a crisp dry finish. Think oysters on the half shell with mignonette, or something equally seductive. (TP)

Kew Rosalie Sparkling Niagara Peninsula VQA, 2018, Ontario Canada ($24)

From estate grown Pinot Noir grapes. The nose is dominated by tart red fruits – cranberry and wild strawberry. The broad and fleshy palate is kept in check with plentiful, small bubbles and an uplifting acidity. Just over two years on lees gives a more interesting mouthfeel and savoury nose. I’m tucking a few bottles away and predict they will be great over the next 5 or so years. (BD)

Silvio Carta Vermouth Bianco Servito, Sardinia Italy ($50)

Smells of sun-baked herbs, orange blossoms, figs and lemon oils. On the palate, a perfect amount of sweetness to satisfy those who prefer a cocktail like a spritz or gin-tonic. On its own, the texture is smooth and slightly mouth-co ating, with a caramel note lingering. With an added squeeze of lemon, it becomes pure magic. (BD)

SPIRITS

Equiano Original

This is simple: Equiano Original is exactly what a premium dark rum should smell like, look like and taste like. There’s a bit of wood on the nose and tongue, but it’s not an oak bomb. The sweetness, chocolate, orange and coffee is all in here, but no one single flavour overwhelms this clean, integrated and balanced spirit. Perfect after-dinner sipping perfection. (CSO)

Equiano Light

From the nose, which is all dewy grass, rock sugar and a little hint of citrus, you’d never guess how much tropical fruit, cinnamon and delicate heat is lying in wait. It’s rich, round and full-bodied, which most people wouldn’t expect in a “white” rum. It’s not exactly “white” rum, of course, since it has a golden hue. That’s by design, since the Equiano project is also about getting consumers to think beyond the white, amber and dark classifications. Rum is a far more complex and nuanced category than many realize. (CSO)

Tia Maria Matcha Cream Liqueur

Nobody is likely to have had this innovation on their bingo card, especially since, as far as we can tell, Matcha Cream represents Tia Maria’s first attempt at brand extension. And, as unlikely as a matcha cream liqueur might sound, it’s quite tasty and works well in place of cream in a White Russian and similar drinks. It’s subtly herbal, a little less sweet than, say, most Irish creams and has a hue I’m going to call “creamy Grinch.” (CSO)

G.E. Massenez Crème de Framboise

Fresh raspberries have a lovely little sour note—a dimension to the fruit that few raspberry liqueurs manage to capture. Happy to report that G.E. Massenez Crème de Framboise has beat the odds with this obviously well-made liqueur. It’s light on its feet, just sweet enough and, unlike many fruit liqueurs, has a distinctly fresh and clean taste. (CSO)

Bottega Gianduia Liquore

An entirely unexpected pleasure, this liqueur is a rich and chocolatey liquid version of Gianduja, a hazelnut and chocolate spread (or bar) that was invented in Torino. What’s nice about Bottega’s creative expression of it is that it’s neither heavy nor sweet. (CSO)

BEER

Allagash Brewing Co. Allagash White, Portland ME, USA (5.2% ABV, 355mL can/bottle)

One of the most popular beers among craft lovers, the Allagash White is an award-winning interpretation of the classic Belgian-style wheat beer. Brewed with oats, malted wheat, and raw wheat and spiced with the brewery’s own special blend of coriander and Curaçao orange peel. The beer is the perfect example of simple done well, with a lightly hazy pale appearance and a taste of light wheat and coriander being the most prominent. Perfect with potato chips or, if you’d

like an authentic Maine experience, some good seafood like oysters or lobster rolls. (RL)

C’est What Durham Brewing Al’s Cask Ale, Pickering ON, Canada (4.1% ABV, 473mL can)

A fun development of the past year was the won ders of solid cask ale from Toronto’s famous spot for Ontario craft has become available in stores thanks to the pub’s formalized partnership with Durham Brewing in Pickering. This all-cascade, malt-forward Pale Ale in the tradition of an English Bitter contains nitro, ensuring that it has the closest feel to a pint of proper cask. Copper in colour with earthy floral and citrus notes that work well with caramel toasty malt, and biscuit in a fairly light and smooth body. The beer finishes a touch dry. (RL)

Tooth and Nail Brewing Vim and Vigor, Ottawa ON, Canada (5.2% ABV, 355mL can)

One of the best beers in the province made at the nation’s capital. Tooth and Nail’s award-win ning North German Pilsner with an American twist is a favourite among Ontario beer lovers, bars, and bottleshops. Expect some wildflower and grass hop notes on the nose and going right into flavours of light pepper and a touch of biscuit in a wonderfully crisp and slightly bitter finish. (RL)

Siren Craft Brew Off Beat Bohemian Pilsner, Wokingham Berkshire, UK (5.2% ABV, 440mL can)

Siren Craft Brew’s nautical theme is related highly to their ethos, believing that great beer is something to be discovered and there’s plenty of adventure to be found if you dive into it. They’re known as much for their highly flavoured and bold beers as they are for their understated and carefully made subtle ones. The Off Beat is a favourite among the staff and makes use of the Haná variety of barley, first developed and grown in Czech Moravia and used in the first ever Pilsner lager. Light citrus notes and grassiness work well with the bready malt base, leading towards a slightly bitter and dry finish. (RL)

Superflux Beer Co. Colour and Shape, Vancouver BC, Canada (6.5% ABV, 473mL can)

A beer both made in BC as well as Ontario, this hazy American-style IPA is the flagship for the hip Vancouver brewery Superflux and is generously hopped with citra, giving it a healthy punch of citrus and tropical flavour notes. Juicy, slightly bitter, and dangerously crushable for a 6.5% ABV beer. (RL)

Godspeed Brewing Co. Bůh Originální Ležák, Toronto ON, Canada (4.6% ABV, 355mL can)

Godspeed has never been ashamed of their love of lagers, particularly those of the Czech masters at Budějovický Budvar, otherwise known as Budweiser Budvar or Czechvar or those at Pilsner Urquell. The Bůh Originální Ležák is a fantastic tribute to the former, using a double decoction mash process and twelve week lagering time. The 100% whole cone saaz hops and floor-malted pilsner malt come in beautifully with its notes of grass and just a touch of smoke and spice, all in a crisp, slightly dry finish. (RL)

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

Local Brewing Co. Sixty-Nine Pils, San Francisco CA, USA (4.1% ABV, 473mL can)

It’s admittedly hard not to make “nice” just the entire note listed here, but there’s so much good this proudly queer-owned brewery is doing in terms of creating a space for and supporting a more queer and inclusive space in the brewing world. The Sixty-Nine Pils is refreshing and light, with the enigma hops providing subtle notes of white wine and berries. (RL)

Rorschach Brewing Co. Quantum Leap DDH IPA, Toronto ON, Canada (5.5% ABV, 355mL can)

Rorschach Brewing is definitely a brewery that is understated in Toronto, as they mostly get a lot of press for their sours or heavily fruited beers. But the fact of the matter is their IPAs and pilsners are very subtle and well-made, and the Quantum Leap is no exception. The beer was brewed with oats and wheat, giving it a nice smooth creamy texture and the addition of galaxy and vic secret hops make for an explosion of tropical fruit, apricot, peach, orange, grapefruit, and a little bit of pine. Plus Ziggy says that it’s Dr. Sam Beckett’s beer of choice as he leaps from life to life, putting things right that once went wrong, and hoping each time that his next leap will be the leap home. (RL)

Prince Edward Island Brewing Co./Gahan Restaurants Blueberry Ale, Charlottetown PEI, Canada (4.5% ABV, 473mL can)

PEI Brewing has a number of brands under their name, one such made with the Gahan chain of restaurants that tie in the sense of history and place of PEI. The Blueberry Ale is one of the brand’s most popular, an unfiltered wheat beer made with Atlantic Canada blueberries. Expect a somewhat flowery affair with light notes of citrus, pie crust, and, you guessed it, blueberry. The blueberry here really makes itself known in both the aroma and taste. (RL)

Hop Valley Brewing Co. Bubble Stash IPA, Eugene OR, USA (6.2% ABV, 473mL can)

Cryo Hops are something of a new novelty in brewing these days. It’s a process that separates whole leaf hops at extremely low temperatures to get to the concentrated lupulin and bract. This preserves the essential oils and resins and the finishing product is a beer that focuses more on the flavours imparted on the hops with less of the bitterness that you might come to expect from it. One such example of the fruits of this process is the Bubble Stash IPA, which uses mosaic Cryo Hops to make a beer that still has some resin bitterness, but focuses more on the tropical notes and a touch of sweetness. It’s quite light, with any sign of bitterness leaving mid-way through the palate. (RL)

Three Sheets Brewing Puerto Elguino Cerveza, Port Elgin ON, Canada (4.2% ABV, 473mL can)

Three Sheets is a brewery just recently opened to the public this year, with owner Jeff Carver and partners Cynthia Auer and brewmaster Curt Thomas kicking off the official launch party this past June. However Three Sheets is already well known throughout the community, as they’ve

been making beer for the Saugeen Golf Club as well as the flagship beers for the Wismer House. The Puerto Elguino Cerveza is a beer that just has to be paired with the take out food available adjacent to the brewery. Filtered, pale straw colour with flavours of light biscuit and corn in a quick dry finish. (RL)

Beyond the Pale Brewing Co. Yummy!, Ottawa ON, Canada (5.4% ABV, 473 mL can)

Beyond the Pale is one of those much-beloved breweries of Ontario. Talk to any brewery in the Ottawa valley and you’ll find that many career brewers first learned the ropes there either by working with them or by just coming over and asking questions. The appropriately named Yummy! is a north east pale ale brewed with southern cross and citra hops and generously dry hopped with mosaic. Hazy in appearance and smooth in mouthfeel, flavours of orange, tangerine, melon, and peach hit nicely with surprisingly little to no bitterness. Yummy indeed! (RL)

Bow & Arrow Brewing Co. Savage Times Sour IPA, Albuquerque NM, USA (6% ABV, 473mL can)

Founded in 2016 by Shyla Sheppard and her wife Dr. Missy Begay, Bow & Arrow have been making some incredible beers while also paying tribute to their personal origin story and the land they live in. A notable initiative they’ve put on has been the Native Land Beer Campaign, an IPA collaboration in which other breweries can raise awareness about ancestral Native land while also raising funds to Native communities and organizations. Their Savage Times Sour IPA is a fan favourite, finally put into can form. Slightly dank resin notes with a heaping level of tropical fruit notes and a light amount of acidity. (RL)

Collective Arts Brewing Get It Dry-Hopped Blonde Ale, Hamilton ON, Canada (5% ABV, 473ML can)

Collective Arts have always been good for collaboration, but things are taken to a whole other level with this collaboration with hip hop duo Run The Jewels. Featuring label artwork by Jordy García aka BLUMOO, the beer is a tropical fruit and citrus twist on a light blonde ale. It’s definitely a beer that’ll have you going “Ooh la la, ah, oui oui.” (RL)

Necromancer Brewing Co. Kill Switch, Pittsburgh PA, USA (6.7% ABV, 473mL)

Necromancer has a really fun concept behind it in that they seek to “resurrect” old styles of beers, while still making it something uniquely theirs. Utilizing a distinctly horror theme (because why wouldn’t you with a name like Necromancer?), Kill Switch is a Red Rye IPA that pours a beautiful amber and has flavours ranging from orange marmalade to berries with that a nice rye bread note all rounded out by caramel. (RL)

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THERE’S A JOKE OFTEN TOLD BETWEEN BEER NERDS ABOUT THE ‘GREAT CYCLE OF BEER’.

Before we learn more about the wild world of better beer, we start with a love of lager. After realizing there’s more out there, we go nuts with overly-hopped IPAs. And then boozy imperial stouts, Belgian ales, fruited sours, a brief but regrettable phase with milkshake IPAs, and then, having tried all there is to try in the gamut of beer styles, we find ourselves right back at the beginning enjoying lagers.

It’s funny to think about, but there’s a lot of truth to it. Only after we’ve learned the process of making beer and developed a deep appreciation for the skill and artistry of it do we fully appreciate the beer style that started it all for us, which is usually a Czech pilsner, but can also be a German pilsner or helles as well. They’re such simple styles of beer, but then again, it takes a lot of effort and experience to make a beer simple. Even more if you want it to be good. It has to be a beer that you don’t have to think about if you don’t want to, but if you do, it’s only good things. It has to be that beer that you think of when you want to just relax.

And it’s that love for the simple-done-well that has led Luc Lafon taine (known as Bim to virtually everyone), to be one of the country’s best brewers, with his brewery, Godspeed, Toronto’s gem for tradition al Czech lagers. Garnering inspiration from the wonderful beer from Budějovický Budvar (known as Budweiser Budvar or Czechvar in North America), Lafontaine took it upon himself to learn the ways of the mas ter Czech brewers and the elegant, understated beauty found in their beer...often learning from the brewmasters themselves and working with the Czech consulate to make it happen.

This past year Godspeed released Bůh Originální Ležák, meaning “God,” Bůh is a 4.6% ABV Original Czech Pale Lager, and a beautiful homage to a classic. Using a double decoction mash process and twelve week lagering time, and using 100% whole cone saaz hops with special ly-sourced floor malted pilsner malt, the beer is crisp and grassy with

just a little hint of smoke and spice. It’s a wonderful addition to a brew ery lineup that already has some internationally loved lagers such as Světlý Ležák 12° Czech Premium Pale Lager and the Sklepník Old Pilsen Style Lager.

Meanwhile, just down the road at Rorschach Brewing, the brewery known for outlandishly fruited sour beers and Double IPAs has also been picking up a reputation as a place with excellent lager, namely their Reminiscence Mexican Lager and the Rorschach Super Dry Japanese Rice Lager. The Reminiscence is light and crisp with a distinct note of toasted corn tortillas while the Super Dry is crisp, clean, and very dry with a little malt sweetness. There’s an alternative version of the beer available that includes shikuwasa citrus that’s also worth trying.

As to why there’s this rise in crisp light lagers in the craft world, there are a number of reasons. But one of the key ones is that there is admitted ly a sense of relief in finding a simple, well-made beer in a world seem ingly full of outlandish flavours that challenge and, at times, assault the senses. The beer style’s simplicity may be seen as a welcome respite for both the overstimulated beer lover and the overwhelmed newcomer. Sometimes you just want a beer that tastes like beer, you know?

And with that one commonality between beer expert and beer new bie, the ‘Great Cycle of Beer’ continues on. Lucky us there’s plenty of good stops along the way for a decent pint.

Robin LeBlanc is an award-winning beer columnist, author, and podcaster with over a decade of experience in writing about the ins and outs of the beer world. In 2011 she started her blog The Thirsty Wench, which went on to win multiple awards including the Saveur Magazine Best Food Blog Award in the beer category. She has been a contributor, columnist, and co-author of both editions of the Ontario Craft Beer Guide. In addition to her regular contributions in multiple publications, she is the co-host of the Ontario Craft Beer Guide The Podcast. Robin lives in Toronto.

Photo credit: Max Morin

Luc Lafontaine of Godspeed Brewery

DOWN 1 The technique of aging a wine on the dead yeast cells is fl agrantly proclaimed on some bottles of Muscadet.

2 This valley was named Washington State’s fi rst AVA.

3 The world’s most prolifi c cork producing country.

6 French for grape shatter –that is, when grapes fail to develop because fl owers remained unfertilized.

8 This red grape is said to get its name from its explosively crunchy berries.

10 A South African mixture of vegetation found only on the tip of the African continent and oft en characteristic in the complex herbal, fl oral and earthy aromas and fl avours in many South African wines.

12 Australia’s take on the classic southern Rhône blend is the opposite of a fl avour enhancing food-additive.

13 The science of identifying and classifying grapevines according to their physical properties.

15 Mission Hill Winery owner made his fi rst fortune with the success of Mike’s Hard Lemonade.

16 This important cocktail ingredient is actually an aromatized fortifi ed wine and should be kept in the fridge aft er opening.

Common blending partner with Verdejo in the Spanish region of Rueda.

17

18 This oft rustic red served in Burgundy’s bars is a blend of Pinot Noir and Gamay.

Hybrid widely planted in Nova Scotia made in 1953 at the Vineland Research in Ontario.

20

ACROSS

4 Training system on the island of Santorini in which the canes of vines are woven into baskets to protect grapes from harsh sun and wind.

5 Southernmost wine valley in Chile.

7 Genevrières is to Meursault what Clos du Roy is to this village.

9 Winemakers use this tool to steal a taste of wine as it ages in the barrel.

11 You can go bungy jumping and tour Lord of the Rings locations in this high end Pinot Noir region.

The three vine diseases—powdery mildew, downy mildew, and phylloxera—that were brought to Europe from America were given the nickname “the American _________”.

Is it terroir or a fl aw? Debates rage.

Vines grow on this type of soil in the small Portuguese wine region of Colares.

If you were nibbling on Olive all’Ascolana (stuff ed fried olives) in situ, hopefully they would be accompanied by a glass of this local white.

A lightweight glass bottle has 525g C02e/L vs a heavy bottle which has 675g C02e/L. What type of wine packaging only has 70g C02e/L?

First to use DNA profi ling to discern parentage of grapes, starting with Cabernet Sauvignon.

This kind of fermentation led to the creation of Kendall-Jackson Vintner’s Reserve Chardonnay.

23

What did Christian Barthomeuf of Clos Saragnat invented in Québec in 1989? 24 Several lawsuits have been fought over the trademark and delineations of this historic Napa Valley vineyard.

25 A vector for the Grapevine leafroll viruses.

26 Eddy and Patsy can’t get enough of this Champagne.

28 This grape, once nicknamed the Casanova of grapes, gave birth to Riesling.

30 The pretty “back road” that runs north and south in Napa Valley as an alternative to SR 29.

31 Sold commercially since 1830, this non-foxy hybrid is the offi cial grape of the state of Missouri. 33 Both Trousseau and Poulsard are found in this region.

39 Said to give a deep color and mouth-puckering palate, Saint Macaire is native to this region and was widely planted there before phylloxera.

41 A 600-liter American oak barrel used for aging Sherry, no joke.

42 A cross between Cabernet Sauvignon and Grenache that makes good wine in China and southern France.

43 Hugh Grant played “Champagne Charlie” in a fi lm about this 19th-century entrepreneur.

Type of viticulture incorporating preparations 500 and 501.

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46 The French national agency that decides which regions can plant which grape varieties.

47 The Spanish name for Mourvèdre.

48 This country has the oldest producing vines of Syrah.

49 What is the name for Mourvèdre in Australia?

53 A Clint Eastwood movie title says this type of wine bottle has Force.

English word derived from the medieval Dutch verb meaning “to drink to excess”. 35 The 2000 novel “Blackberry Wine” by Joanne Harris (author of “Chocolat”) is narrated by a bottle of this wine (hint: not blackberry). 36 A shallow silver tasting cup historically used by winemakers to taste wines from casks in dark cellars. Some sommeliers still wear them like necklaces.

37 The most planted grape in Rioja. 38 The Xarel-lo grape is associated with which type of sparkling wine? 40 Hybrid allowed for the production of VQA Icewine. 42 Australian winemaker who created Penfold’s Grange Hermitage. 45 This wine region is symbolized by a black rooster. 50 This notorious wine counterfeiter ended up going to prison for 7 years. 51 A licorice-fl avoured French liqueur with a cloudy greenish yellow colour.

These unpaid laborers do all the real work of turning grapes into wine. 54 The driest style of Madeira. 55 The wine served at Michael Corleone’s son’s communion party in Godfather II. 56 These very successful brothers started out by selling grapes by train to home winemakers during US Prohibition. 57 This fi nal top up determines the sweetness level of a sparkling wine. 58 Argentina’s hot, dry, dust-carrying wind is said to drive people crazy –and can cause serious damage to vines. 59 Washington region known for top quality wine as well as delicious onions.

That quote, from Bernard Shaw’s 1905 play Man and Superman, might well apply to me and a lot of my fellow wine scribes. I confess it certainly describes me. The quote could well read, “Those who can, make wine; those who can’t, become wine critics.”

I have tried to make wine on a few occasions.

First, there was the home winemaking kit which I put to use in the kitchen and, ultimately, the bathroom, where the offending liquid ended up down the drain. Then I tried to make wine with a friend of mine and a near neighbour in London, England. His name was Lionel Frumkin. His father owned a wine shop which I could see from my window in CBC’s London office.

Lionel had studied oenology at Bordeaux University and in 1974 he published a book entitled, The Science and Technique of Wine, which became a recommended technical textbook for Masters of Wine students. The book is still available on Amazon. Lionel Frumkin also has the dubious distinction of being the guy who introduced Bag-in-Box wine to the UK market.

The wine Lionel and I made together from a kit turned out to be passable. This was before wines were judged by numbers. In retrospect, I probably would have given it a charitable 86.

In 1982, when I started writing the wine column in the Toronto Star, I made Australian Shiraz from a Wine Art kit.

Flushed with pride (and chutzpah), I took it down to Inniskillin in Niagara to have it critiqued by the co-owners, Donald Ziraldo and the late Karl Kaiser. I still have their notes – rather like a school report. Karl’s was “Clean, slightly burnt aftertaste. Good colour.” He probably could have written “Should try harder.” Donald Ziraldo’s written comment was more encouraging: “I’m impressed. For an amateur, it’s quite good. I’m surprised.”

On the strength of my first foray into winemaking on Canadian soil, they invited me to come down to the winery during harvest and make a wine with a mutual friend - restaurateur Franco Prevedello. Under Karl Kaiser’s supervision, Franco and I picked the grapes, crushed them and

left the must with Karl to finish and bottle. He and Donald created a special label for our efforts: Cantina Franco-Antonio Vidal 1982.

According to the label, it’s Medium Dry but I must confess I can’t recall what it tasted like. The label also reads: “A selected vintage of Vidal grapes, hand-harvested and crushed by Tony Aspler and Franco Prevedello to commemorate and inspire the writing of Vintage Canada.’’

I held a competition for Toronto Star readers and 48 winners each received a bottle. I still have a single bottle in my cellar – Limited Edition No. 119. At 40 years old and well past its ‘Best Before’ date, if it ever had one. The shrinking cork has begun to disappear down the neck of the bottle and I really should bring it back to Inniskillin and ask them kindly to dip it in wax to prevent further deterioration.

Since those heady days, I have left the winemaking to the professionals. I have enormous respect and admiration for winemakers and prefer to sample and critique the fruits of their labours than have my back ache from bending over vines and my hands stained purple from racking barrels and moving hoses.

I do not, however, think of myself as a wine critic, even though I have been writing about wine since 1965. I prefer the term “wine evangelist,” as I feel it’s my job to turn people onto wine – the most complex and fascinating of beverages – rather than turn them off it.

Tony Aspler, Order of Canada recipient, has been writing about wine since 1975. He is the author of 18 wine books, including The Wine Atlas of Canada and three wine murder mystery novels. The best concert he ever attended was Rush with the Tragically Hip as the opening band. His favourite comfort food is milk chocolate and his cocktail of choice is a Kir Royale. At home, he drinks wine (lots of wine).

“THOSE WHO CAN, DO; THOSE WHO CAN’T, TEACH.”