I'll Drink to That! Wine Talk

Richard Sanford co-founded the Sanford and Benedict Winery and planted the Sanford and Benedict Vineyard. He founded the Sanford Winery, and he also founded the Alma Rosa Winery, all in Santa Barbara County, California.Richard discusses his sailing career, working in the merchant marine, racing boats recreationally, and as an officer in the United States Navy. He talks about his travels around the globe, both before and after his service in the Vietnam War. He reflects on his short time working in business and education, and then his segue to planting a vineyard in what became the Sta. Rita Hills appellation of California. That vineyard became known as the Sanford and Benedict vineyard, and Richard co-founded the Sanford and Benedict Winery with Michael Benedict to produce wine from that vineyard. They had realized that Santa Barbara County, with its transverse mountain range, offered opportunities for growing vines in areas cooled by winds coming off the Pacific Ocean.Richard remembers his introduction to wine and a bottle of Volnay, and his desire to plant Pinot Noir in the Sanford and Benedict Vineyard. He talks about the early days getting the vineyard going, in an area where Pinot Noir had not been planted previously. He discusses the geography and geology of the place, as well as the history of ownership there. Richard recalls converting a small barn into a winemaking facility, building the fermenters, and inviting his friends to harvest the first grapes from Sanford and Benedict. He also recalls the subsequent visit from the local sheriff. Besides the attention of the police, the activity at Sanford and Benedict also drew interest from wine writer Robert Lawrence Balzer, who wrote about the wine being made near Lompoc.Richard talks throughout this interview about both the agriculture aspect and the business side of making wine. He notes that tax write offs were an impetus for the planting of many of the vineyards in Santa Barbara County in the 1970s. He talks about the difficulties of dry farming and of organic viticulture in that area. Richard recalls meeting his wife Thekla during a fun sail. And he talks about the tough breakup with his business partner Michael Benedict that would eventually lead Richard to found the Sanford Winery near to the original Sanford and Benedict Vineyard.Richard recalls the Small Winery Technical Society, and the other winemakers in the group, such as Dick Graff (Chalone) and Josh Jensen (Calera). He talks about the role that that group played in his own development as a winemaker, and the camaraderie that he found amongst a group of friends who were also competitors in the wine business. Richard thinks on that period with a lot of fondness. He also speaks fondly of the period of time where he felt he was at the forefront of wine and food in California, meeting and sharing time with people like Julia Child and Robert Mondavi.Richard shares his memories of visiting Burgundy and meeting vigneron and winery owners like Vincent Leflaive of Domaine Leflaive, Jacques Seysses of Domaine Dujac, and Aubert de Villaine of Domaine de la Romanée-Conti. Richard notes specifically what he learned while visiting Burgundy, and what he then brought back to his own winemaking work in California.Richard notes how many more vineyards had been planted in the surrounding area by the time he started the Sanford Winery, a stark difference from when he first planted the Sanford and Benedict vineyard. He talks about the shifts in ownership for those vineyards over time. He talks about adding a Sauvignon Blanc to his white wine lineup, in addition to the Chardonnay. He touches on the specifics of the Sanford and Benedict Vineyard, in terms of how the wines from there taste. And he discusses the elaborate construction of the Sanford winery facility, an expensive project that obliged him to take on an additional financial partner in the Sanford Winery and would eventually lead to Richard's exit from the Sanford Winery that bears his name. Richard is frank in this interview about the challenges he faced in the wine business during his career.Richard states that he has had to dust himself off and start over several times, such as when he founded the Alma Rosa Winery with Thekla after leaving the Sanford Winery. As with the winery projects Richard was involved with earlier, the Alma Rosa Winery is also in what is now referred to as the Sta. Rita Hills appellation. It is an area that saw increased interest from consumers in the wake of the movie Sideways, something Richard talks about in this episode. Richard would eventually be obliged to sell the Alma Rosa Winery, but was involved in planting vineyard parcels there. He continues to live and work in Santa Barbara County, an area which is now well-known for its success with the Pinot Noir grape.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

David Rafanelli and his family own the A. Rafanelli Winery in the Dry Creek Valley of Sonoma County, California.David relates the story of his Italian grandmother arriving in California in 1903, and beginning to make homemade wine in San Francisco. He explains how the family bought farm land in the Dry Creek Valley in the 1920s, thus beginning a 100 year stretch of working with vines within a 3 mile radius, something which continues today. The current winery housing A. Rafanelli was founded in 1973.David took agronomy and crop science courses in Oregon in the late 1960s, and also went to school for viticulture in California. He has throughout his career compared and combined the wisdom that was passed on to him by his family members with the teachings he learned in school. David went to work for the Lambert Bridge Winery in the 1970s, allowing him the opportunity to contrast the situation of another winery with that of his own family. David’s dad, who passed away in 1987, typically worked with Zinfandel and complementary grape varieties at the Rafanelli winery. David convinced him to also plant Cabernet Sauvignon. David discusses the introduction of heat treated vines in the 1970s, and the prevalence of leaf roll virus prior to their introduction. He speaks about the failure of the AxR1 rootstock in California, and how that shaped the replanting of vines later on in the state. David emphasizes working a piece of land and the importance of being familiar with it.The process of achieving an appellation for the Dry Creek Valley started in 1982, and David speaks about that, as well as the characteristics of the Dry Creek Valley in terms of climate, soils, and geography. He also talks about the challenges to Zinfandel presented by cooler and hotter years, and how he approaches blending from different sites within Dry Creek to achieve consistency. He further talks about the difference between making a wine just from Zinfandel versus blending other grape varieties into a wine that is mostly Zinfandel.The A. Rafanelli winery began using new French oak barrels for Zinfandel in the mid-1980s, and David talks about the significance of that, as well as what the unfined and unfiltered approach implies for his Zinfandel based wines. David sums up the challenges that were associated with marketing Zinfandel outside of California in the 1980s, and the stylistic divergence of different types of Zinfandel: light Zin, white Zin, table wine, and the late harvest style. He talks about being in on “the ground breaking of premium wines” in California and points to a “big change” between the 1960s and 1990s. He recalls how fruit crops were removed from California and replaced with vines, whereas previously there had been more demand for those fruit crops.David speaks at length about winery sales and production size, and points out that the job isn’t just making wine. It is also dealing with what nature gives, and then marketing bottles of wine. He explains why he focused on selling direct to consumers, instead of having someone else market and sell all the wine. He talks about patterning his marketing efforts on wineries like Stony Hill that sold direct through a mailing list. David suggests asking what the goal of a winery entering the wine business should be, and that the answer is “all on what you perceive as success.” He suggests avoiding a production size that ties a winery into permanent growth, and also having a plan for the wine that will be made before it is produced.David is frank about the pressures on wineries in California to sell the winery instead of retaining a family business for generations. “Everything is working against that family winery,” says David, and he specifically warns against the hazards of increasing bottle production. “What is the definition of success?" asks David. "Success is happiness, success is making what you need to make.” David speaks about the significant roles two of his daughters hold at the family winery today.David speaks about the Zinfandel grape and soil types: what Zinfandel prefers in terms of rocks versus clay. He also addresses the effect of soil type on Zinfandel ripening, as well as the thickness of the skins. Zinfandel is generally thin skinned, with tight clusters, and a ripeness that is not uniform, says David. He relates that the frustrations of growing Zinfandel are such that “if I was growing grapes, I probably wouldn’t grow Zinfandel to sell.” That being said, two thirds of the family winery production is Zinfandel. David suggests that Zinfandel is a grape that California largely has to itself, and that as such, he generally isn't competing with the rest of the world and other versions of that grape variety. He also summarizes the Dry Creek flavor profile for Zinfandel.When discussing his winemaking, David says he aims for a long ageing style of Zinfandel that is not overripe. He talks about Bordeaux winemaking technique being used with Zinfandel. He talks about ageing the wine in the winery for a bit of time before releasing it to the public. He emphasizes cleanliness in the winery. He differentiates between punch downs and pumpovers, and what they means for both the fermenting juice and the skins. He talks about how they approach malolactic conversion and the pressing of grapes at the winery today.David advises determining a wine style that you like and sticking to it, he relates the pleasures of working with hundred year old vines in Sonoma, and alludes to the "never ending process” of learning.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dan Keeling is a co-founder and partner in the Noble Rot restaurants and Shrine to the Vine retail shops in London, "Noble Rot" Magazine, and Keeling Andrew and Co., an importer of wine into the United Kingdom. He co-authored "The Noble Rot Book: Wine From Another Galaxy".Dan admits to some of his obsessions, namely food and music. He describes how a friend's accident allowed him the chance to start a nightclub in Manchester. He talks about his early jobs writing about music, and then progressing to working in A&R for record labels. He signed Coldplay to Parlophone Records, marking a huge win, but admits that at first he wasn't that taken with the band. He then succinctly breaks down the elements that contributed to Coldplay's massive success. That success propelled Dan to a Managing Director job at Island Records, but eventually that career high gave way to a career transition, as Dan found himself without a job and wondering what to do next.Dan met his now business partner Mark Andrew at a wine shop near the Island Records office, and they quickly established that they shared a sense of humor and a fascination for the same wines. They went on to begin a wine magazine (er, fanzine) titled "Noble Rot" in 2012, working together on Mark's old computer. Writing for the magazine led to introductions to vigneron, some of whom joined the import portfolio of Keeling Andrew and Co. The magazine also led to the start of a wine focused restaurant group, today encompassing three Noble Rot restaurants in London. Dan talks about being a restauranteur who is not a chef, and about the emphasis of the restaurants on wine.Dan discusses how the writing and graphics in the "Noble Rot" magazine are designed to stand out from other publications about wine. He talks about contextualizing wine amongst other aspects of culture, such as food and music. He rejects the idea of trying to be objective or encyclopedic about wine. Instead, Dan emphasizes the importance placed on humor in his wine magazine, as well as finding insights. He further describes how he developed an interest in certain kinds of wines, favoring idiosyncratic and different wines over corporate, homogenized examples.Dan talks about wine tasting trips to Burgundy, to the Jura, and to Spain, sharing some of what he learned along the way. He discusses the pricing situation for Burgundy wines today. He also discusses the wines of Bordeaux, and of Greece. Dan stresses the importance of finding the characters in wine for his own work, and then shares some advice that he would give to the next generation.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Robert Drouhin and his family own Maison Joseph Drouhin in the Burgundy region of France, as well as Domaine Drouhin in the Willamette Valley of Oregon.Robert describes moving to Burgundy as a child, and his experiences around Beaune during World War 2. His adoptive father, Maurice Drouhin, owned the Maison Joseph Drouhin winery, and began instructing Robert in the specifics of wine. Maurice was a wine producer, making wines from vineyards near Beaune. Robert remembers Maurice also as a sales agent for the wines of the Domaine de la Romanee-Conti, and a Vice President of the Hospices de Beaune. Robert recalls Maurice hiding from arrest by the Nazis during the war years, taking shelter for months in the Hospices de Beaune. When Maurice had a medical emergency, Robert assumed control of the Maison Joseph Drouhin winery.Robert discusses the notable Burgundy vintages of the 20th century, from the 1930s through the 1990s. He also talks about his decision making after taking control of Maison Joseph Drouhin at the age of 24. He recalls traveling to California and meeting Robert Mondavi. He then describes the development of enology and new techniques for wine in the 1950s, his experiments, and eventual response to the wines produced with new methods. Robert talks about the wave of vine replantings that took hold in Burgundy after World War 2, and what that meant for the wines. He expanded the Drouhin vineyard holdings in the Cote d’Or and in Chablis, and Robert talks about the characteristics of famous vineyards like Le Montrachet, the Clos des Mouches, Griotte-Chambertin, Musigny, Bonnes-Mares, Chambolle-Musigny Les Amoureuses, and Vosne-Romanee Les Petits Monts.Robert talks about his children, and their roles in the Drouhin businesses today. He remembers hiring Laurence Jobard at Drouhin in the 1970s. He talks about the style of the Drouhin wines, and takes up the question of tannins and extraction in red Burgundy wines. He also speaks about the changes in the Drouhin winemaking in Burgundy since the 1960s, touching on topics like temperature control, filtering, fining, new oak, and the timing of bottling. Robert experimented in the 1980s with vinifying wine by hand destemming and natural fermentation, utilizing a sixteenth century press and adding sulphur in the old way. He compares the results of those methods to the Drouhin wines made in the contemporary way. He shares his reflections about what makes for a good wine, and at what stage it may be drunk at its best.In the 1980s, Robert Drouhin purchased vineyard land in the Willamette Valley of Oregon, and he speaks about what led up to that purchase and the formation of Domaine Drouhin in Oregon. He talks about exchanging experiences and ideas with grape growers in Oregon, and divulges what he learned there. He also recalls the blind tastings that launched his interest in Pinot Noir from Oregon. He then describes the differences of the wines from the divergent vineyard parcels Drouhin owns in Oregon today, and mentions that further knowledge of the different growing areas of Oregon is something that is still in development. Robert contends that organic farming is easier in Oregon than it is in Burgundy, because of the different weather patterns in those places. He also speaks about the introduction of organic practices in some Drouhin vineyards in Burgundy. He gives an overview of the vineyard practices of Drouhin in Burgundy.This episode features commentary from:Jason Lett, The Eyrie VineyardsSteve Doerner, Cristom VineyardsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sandy Block was a Master of Wine who was also the Vice President of Beverage at the Legal Sea Foods group of restaurants, and an Adjunct Professor at Boston University in Massachusetts. Sandy passed away in November of 2021.Sandy talks about his rollercoaster relationship with academics: doing very well in school during some periods of his life, and almost flunking out of school during others. Sandy explains that he began working at a restaurant while working on his PhD dissertation. He would eventually abandon his dissertation, but pursue his interest in wine at the restaurant. He explains how he was given his first wine job in 1981. The only French speaker on the waitstaff, he was promoted to the sommelier role, although he did not know anything about wine. He looked for answers about wine in books that he would consult during his shifts. He found that the subject of wine encompassed many of the fields of study that he already had an interest in, such as geology and history.During his first wine tasting trip to Europe in the 1980s, Sandy discovered that wine was made by farmers, and that those farmers didn't always live in elaborate palaces or chateaux. He came back to the States more energized about wine at the same time that there was a greater shift towards wine in the wider American culture. Customers were beginning to show more interest in wine at the restaurants, with the rise of varietal wines by the glass and an increase in interest in opting for wine instead of a cocktail. In the interview, Sandy discusses the character of the Boston wine trade in the 1980s and later.Sandy talks about his experiences taking the Master of Wine exam. Having obtained his MW in 1992, Sandy was one of the first Americans to achieve that distinction. He talks about learning to pass the test, writing essays under time pressure, and honing his blind tasting skills. He remembers being tasked with describing one particular set of blind wines, which turned out to be Bulgarian. And Sandy discloses how he approached studying for the test in secret, among a small group of friends who divided the study responsibilities. He then discusses how that study regime was eventually developed into a curriculum that he taught about wine with some of his fellow test takers - Alex Murray and Bill Nesto - at Boston University in Massachusetts. Sandy divulges the typical student profile of a wine class. He speaks about having the context to understand what a good wine is, an emphasis on value wines, and having some resistance to the winemaking trends of the 1990s. Sandy describes a cultural history of wine where wine has been understood as a food much longer than it has been viewed as a connoisseur's beverage.He discusses the rise of countries like Chile, Argentina, and Australia on the global wine market, the importation of Portuguese wines into the United States, and the difference between working in restaurants and working in wine distribution or import. He also addresses what qualities he used to evaluate potential hires at the restaurant group where he oversaw the beverage program. And he answers the questions frequently asked by his students, including "How does one get into the wine business?" and "How does one succeed in the wine business?" He also contrasts the interest shown in wine by young Americans today with that of their parents.This episode features commentary from:David Wrigley, MWSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Steve Doerner is Winemaker Emeritus at Cristom Vineyards in Oregon.Steve discusses his shift from being a Biochemistry Major at UC Davis in the mid-1970s to his first Job working for Josh Jensen at Calera Wine Company. Steve arrived at Calera for the 1978 harvest, the first vintage for Pinot Noir at Calera. Josh had begun making wine at Calera in 1975, first planting a Pinot Noir vineyard in 1974. Josh hired Steve after a blind tasting test that included tasting a La Tâche. Steve worked at Calera for a total of 14 years. During that period of time, Steve met some of Josh's peer/friend group in Burgundy, a circle of people that included Jacques Seysses of Domaine Dujac.Steve recalls his early years working at Calera in its limited facilities, working highly physical harvests that left him questioning if this was really the career path for him. He talks about his early days tasting wine, mostly Zinfandel from California. He also talks about utilizing different fermenting techniques in response to certain winemaking tools, and his growing knowledge of the techniques being implemented in Burgundy by the likes of Jacques Seysses and others. Steve comes to the conclusion that in California in the 1980s, Pinot Noir was often treated like Cabernet in the wineries. He also concluded that this was problematic, and began teasing out the nuances of practical meaning from adages he heard in Burgundy.A serious accident left Steve questioning his relationship to his job, but his perception of his worked changed after his first trip to Burgundy. Steve encountered Jacques Seysses as an outsider to Burgundy who was actively experimenting with different ways of doing things with his winemaking. Steve developed a friendship with Christophe Morin, who eventually worked for many years at Domaine Dujac, and who later died in a motorcycle accident Although Calera was in an isolated location, Steve tasted fairly regularly with other top American vintners, including Dick Graff of Chalone, Jeffrey Patterson of Mount Eden Vineyards, and Ken Wright. Eventually Josh and Steve began to make white wine at Calera, including from Chardonnay, Chenin Blanc, and Viognier. Josh brought back Viognier from France to the United States. And Steve recalls going to France to speak with vigneron in the Rhône Valley about Viognier. For the red wine from Pinot Noir, they contended with very low yields from the Calera vineyards, with limited access to water. Steve leaves Calera and transitions to working at Cristom Vineyards in Oregon from 1992, encountering a supportive winemaking community in Oregon. He recalls his early days at Cristom, and his first harvests there. He talks about planting vineyards at Cristom, and how they went about it. He also shares his realization that over the years the ripeness levels in the vineyards have changed, and that he has been rethinking vineyard planting decisions that were made in the 1990s. He also believes it is now possible to achieve ripeness at higher elevations in their vineyards. He further asserts that keeping the vineyard yields low, with a lot of thinning, is less necessary than it once was.Steve discusses where Cristom is located in the Willamette Valley, inside what is now the Eola-Amity Hills AVA. He talks about the influence of wind from the Van Duzer Corridor, and also the Columbia Gorge. He asserts that lower humidity in the area implies lower disease pressure, and points out that due to the wind, fruit typically gets dry on the vine after rainfall in the vineyards. Steve notes that the soils at Cristom are primarily volcanic, and that they retain water due to their clay content. He contrasts this situation with the sedimentary soils that are found elsewhere in the Willamette Valley. Steve goes into detail about the ripeness levels in the vineyards, and how they have changed since the 1990s. He notes that more extreme vintages have occurred more recently. He talks about the differences between vineyard designate Pinot Noir wines from Cristom: Louise, Jessie, Eileen, and Marjorie.He talks about using less whole cluster for Pinot Noir at Cristom than he did at Calera, and how this affects the taste of the resulting wines. Steve speaks at length about different aspects of whole cluster use, including specifics of stems in the vineyard, in the fermenter, and in the taste of the final wines. He also considers the fashion for whole cluster winemaking more recently. He also addresses approaches to slowing down a Pinot Noir fermentation, and why that is important. He touches on cold soaks, and what they do to microbial activity. He notes that he is opposed to cold soaks, and also opposed to inoculating with yeasts. He explains his winemaking philosophy in approaching phenomenon like reduction. He talks about his approach to racking Pinot Noir, and how he tries to leave Pinot Noir alone during maturation in the winery.Steve talks about making Pinot Gris, Chardonnay, and Viognier in Oregon. He addresses how the climate during the vintage year affects the Viognier grape. He talks about flavor and ripeness vs. alcohol level in finished wines, and about alcohol levels of the wines at Calera and at Cristom. He generalizes about the climate conditions of Oregon and California, and draws a contrast between Burgundy and the growing conditions in both of those states. He also advises keeping in mind that “Burgundian” encompasses a wide array of winemaking techniques, as wine is made in so many different ways in Burgundy.He notes that there was a global fashion for wines of power and bigger fruit, but points out that elegance has become more embraced by wine drinkers, while at the same time Pinot Noir has become more and more popular over the course of his winemaking career.This episode contains a segment recalling the relationship of Josh Jensen with Jacques Seysses of Domaine Dujac, as well as also recounting the work of Christophe Morin in the vineyards of Domaine Dujac and elsewhere.This episode features commentary from:Jacques Seysses, Domaine DujacJeremy Seysses, Domaine DujacJean-Pierre de Smet, co-founder of Domaine de l'ArlotThe interview with Steve Doerner was originally recorded in June of 2018.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Alicia Towns Franken is a Co-Founder of Towns Wine Co. and the Executive Director of Wine Unify.Alicia discusses her upbringing in Chicago and her introduction to wine in college. She then segways into describing her role as the Head Sommelier at Grill 23 & Bar in Boston, Massachusetts during the 1990s and early 2000s. Alicia talks about the bigger themes of her career, including inclusion, mentorship, building community, being hospitable, building long term relationships, and being a woman supportive of other women. She also talks about the differences between the 1990s and now in the wine world.Alicia details how the experiences in her life affected and shaped her work, and how she organized her life as a parent raising two children. She identifies the connecting thread of her mentorship in the wine world and the parenting in her personal life. She discusses what makes a good mentor, and what support and scaffolding can achieve for mentees. She further addresses the challenges and rewards of personal and work transitions. Alicia stresses the importance of education, as well as the need to welcome more people into the wine world.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Neil Empson is the founder of Empson & Co., an exporter of wines from Italy and other countries.Neil, who was born in New Zealand in 1939, recounts his youthful days driving fast, reselling Ferraris, and meeting with intelligence officers. He talks about meeting his wife Maria, who convinced him to move to Italy and take up the wine business there, founding a company for wine export. And he recalls his first sale of wine to the United States, a Chianti that was sold to Trader Joe's. At that time, back in the early 1970s, Neil recognized the potential for Italian wine sales in the United States. He both exported the first Italian wine labelled Chardonnay to the United States, and coined the term "Super Tuscan".Neil discusses the changes in the market for Italian wine in the United States in the intervening decades since the 1970s. He also talks about his relationships with key Italian wine producers, such as Angelo Gaja (Gaja), Beppe Colla (Prunotto), Elvio Cogno (Marcarini), Sergio Manetti (Montevertine), Emilio Costanti (Conti Costanti), Alberico Boncompagni Ludovisi (Fiorano), Silvio Jermann (Jermann), and Ampelio Bucci (Bucci). He touches on the rise of varietal wines made with Chardonnay, Merlot, and Cabernet Sauvignon in Italy. He addresses the changes in cooperage that happened in Tuscany around the same time. Neil also discusses his relationships selling Sassicaia, discovering Poderi Luigi Einaudi, bringing Cantina Santadi Shardana to market, and his memories of oenologists like Giorgio Grai, Giacomo Tachis, and Vittorio Fiore. He also touches on Luigi Veronelli and what Neil learned from Veronelli's writing.As the interview wraps up, Neil talks about some of the difficult moments in his career selling Italian wines for export, opening up about his feelings around producers that have left his portfolio as well as the difficulty of collecting payments.This episode features commentary from:Angelo Gaja, GajaAmpelio Bucci, BucciSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jean-Emmanuel Simond is a writer and wine critic for "La Revue du vin de France", covering the Côte de Nuits of Burgundy and Alsace. He is also a co-owner of wine importer Oenotropie. He is based in Paris, France.Jean-Emmanuel describes a chance introduction to fine, old wine and the subsequent revelation he had about wine. He discusses a key period for his wine experience that happened while he was living in New York City in the late 1990s, where he met Joe Dressner. He explains that in his role selling bottles from Natural wine pioneers to restaurants and wine shops in Manhattan that he learned about the wine philosophy and outlook of Joe Dressner and the vigneron he represented, at a time when there were few Natural wine producers. Jean-Emmanuel talks about tasting little known wines from the Loire Valley and the south of France, and how he recognized those as something artisanal and local, and wines with a sense of place.Jean-Emmanuel next describes his transition back to France, and then to writing and reviewing wine for "La Revue du vin de France" magazine, something he has done since 2005. He emphasizes that he is drawn to the side of wine writing that is about making discoveries, while covering diverse regions like the Côte de Nuits and Alsace. He contrasts the positions of Burgundy and Alsace in the market, with strong demand following the wines of Burgundy, but with Alsace being perceived as stylistically out of fashion, despite the emphasis on organic and Biodynamic farming there. Jean-Emmanuel goes on to describe a global fashion for lean, crisp white wines drunk too young, a trend which he finds frustrating. He cites a lack of aged white wine bottles on restaurant wine lists and suggests that white wine producers should hold back bottles longer in their own cellars. He then goes on to suggest that a fashion for underripe white wines from across many different wine regions has resulted in white wines that have been made in a way that emphasizes acidity over ageability, arguing that white wines from riper vintages will age better.Jean-Emmanuel strongly believes that global warming has helped improve the quality of Pinot Noir grapes for red Burgundy today, and he discusses this while comparing and contrasting the red Burgundy vintages of 2019, 2020, and 2021. He addresses the role of chaptalization in Burgundy today, and also raises that point that with climate change and riper grapes, the growers are finding that they cannot work in the same way that they used to. He postulates that more acidity in wines can result from adjusting work in the vineyards. He also covers current trends for red Burgundy in whole cluster use and for the level of extraction. He touches on how the timing of malolactic conversion can affect the build of a red Burgundy. He also describes how adjustments to canopy and trellising in the vineyards may affect wine quality and texture. He further touches on the importance of lees contact for red Burgundy, and how Burgundians are moving away from pumping grapes and juice, and towards an increased interest in bottling barrel by barrel. He talks about learning about wine by tasting in Burgundy cellars, and what that has been like for him. He also postulates more unpredictability and small yields in Burgundy in the future, as a result of further climate change.Jean-Emmanuel highlights the quality and value of Pinot Noir from Alsace today, suggesting that this is not always noticed because of the image of the region for white wines. He covers some of the different styles of Pinot Noir being made in Alsace today, and talks about why consumers should buy them.He also discusses his import business, which imports Italian wines into France for French consumers.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Levi Dalton speaks with three Ukrainians about the struggles faced by winemakers and winery owners amongst the warfare in Ukraine.Alla Plachkova discusses fleeing Kyiv as bombs begin to fall on the city in 2022. She talks about rescuing her mother and fleeing south inside Ukraine as warfare stretches across the country. She shares the fears she felt as a mother trying to protect her children, and the terror she felt as bombs fell and planes roared over her home. Alla talks as well about her family's decision to open their home to refugees fleeing the war.Alla talks about the roots of her husband's family, and his founding of a winery near Odessa. She talks about the success her husband found with Odessa Black, a grape variety specifically associated with Ukraine. She also touches on the success the winery has had in bringing tourists to the region it was founded in. She finishes with a strong statement of ideals about the freedom of the Ukrainian people.Sergiy Klimov covers the recent development of Ukrainian wines since the early 2000s, as well as the ancient roots of winemaking in the country stretching back thousands of years. He describes a history where winemaking has at times flourished in the area, while it has been restricted or suppressed at other times. He also touches on the different winemaking regions of Ukraine today. Sergiy describes what it is like to sell Ukrainian wines to people who have never had it before, and gives a rationale for the recent rapid quality development for winemaking in the country.Anna Gorkun talks about the difficulties faced by a wine business in Ukraine today, and about adjusting business strategies to cope with a country that has seen waves of turmoil from warfare and the pandemic. She also talks about what her own business is trying to achieve. Anna further gives her assessment of Ukraine's shift towards the west, and of Volodymyr Zelensky, Ukraine's President.This episode features commentary from:Alla Plachkova, Kolonist WinesSergiy Klimov, the author of "The Untold Story of Ukrainian Wine"Anna Gorkun, 46 Parallel Wine GroupNOTE: This episode contains discussions that may be disturbing for children. Parental discretion is advised.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.