Aldi Wine Club 16th Tasting Panel – Note #3

AWC Logo

Having proudly been part of several of Aldi’s previous tasting panels it was inevitable that at some point I would come across a wine previously tasted.  The last tasting note was prepared a full year and a half ago in April 2016 and so we’re a couple of vintages further forward and any assessment is far from a regurgitation of my earlier thoughts.

The Limestone Coast in the south eastern part of South Australia is clearly named after its Limestone base, which is exactly the right ground on which to grow Chardonnay.  The free draining soil allows the vines easy access to water whilst not allowing them to become water-logged or damp, therefore keeping a low PH level and a fresh vibrant acidity.  It is the same combination that gives us both the world famous wines of Burgundy and Champagne.

The magic is clearly working here too as both Decanter and the IWSC have bestowed awards upon the wine’s 2014 vintage.  With the ‘Exquisite Collection’ a flagship in the Aldi wine range, the bottle comes smartly presented with a royal blue neck brace and screw cap, nicely off-setting the green glass colouring.

Aldi Chard 1

The label is printed on nicely textured paper and is clear and well-presented, although it does contain my pet-peeve; the signature ‘approval’ from ‘someone somewhere’, in this case chief winemaker Adam Eggins.

The wine was bottled in South Australia by well-respected family run winery Taylors, and imported in to the UK by a subsidiary of Burgundian wine royalty, Louis Latour.

Exquisite Collection Chardonnay 2016, Limestone Coast, South Australia, 13.5%, £5.79

The backlash days of ABC (anything but Chardonnay!) are long gone but, as if still weary of the burden, the first word that the back label summary says is ‘unoaked’ and it did get me wondering if makers of Aussie Chardonnay still feel the need to distance their product from the cheaper, mass-produced offerings of the past.

Aldi Chard 2

In colour this is a pleasing medium yellow with golden tints, but the real fun starts with the nose which is rich and full with an almost gloopy quality.  Led by the clean, well ripened tropical pineapple, there’s a whiff of stony apricot to back it up.

As suggested by the nose, the palate is rich and full with an oily texture, well balanced by an upfront mouth-watering acidity.  The fresh fruit seesaws between the yellow notes of tropical pineapple and honeysuckle, over to pippy green apple and freshly squeezed lime.

In terms of weight the palate has a nice creamy, buttery, peppery spiciness and I can imagine it being a wonderful match for a similarly weighted dish such as pasta carbonara.  The pepper gives way to some white grapefruit on the end palate which adds a drying, bitter tone which frankly, overstays its welcome.

Not recalling any bitterness in the 2014 vintage I decided to check my notes and, sure enough, the end palate was fruit driven and long-lived, and was something I raved about in terms of quality.

A quick check on the vintage reports for both 2014 and 2016 for the region show that 2014 was the better of the two years with good sunshine fully ripening the fruit.  2016 would therefore naturally have fruit that wasn’t as bright as before and would contain trace elements of unripe characters such as apple pips and bitter grapefruit.  I also noted with interest that a fellow customer review on the Aldi website called it out for being drier and not as ‘outstanding’ as the previous vintage.

Followers of biodynamics believe that certain days are better than others for tasting a wine, and I did ponder whether the time of year may have something to do with the overall success of the tasting.  Tasting the 2014 on a bright and sunny day in early springtime yielded a wine that I fancifully described as reminiscent of ‘blue skies’ and yet this tasting left an impression as brooding as the dusky autumnal evening I conducted it on.

In summary, whilst not as immediately satisfying as the 2014, this is still a rich, ripe wine that will pay dividends when matching up to food.  Another thing definitely worth a highlight is that, in the time between the two tastings the UK has seen an increased level of wine duty as well as pricing fluctuations from the uncertainty of Brexit, yet there has been no price change for this wine.

That on its own is frankly remarkable.

A customer favourite scoring 4.6 out of 5 on the Aldi website, my thanks go to AldiUK for supplying the bottle used in this tasting.

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Dom Pérignon 2002 Andy Warhol Collectors Edition

Warhol Banner

The 1996 Irodori and 1998 collaboration with Karl Lagerfeld had seen Dom Pérignon dip their toe in to the water with the hottest designers of the day.  The limited editions had both been a critical and consumer success selling out almost instantly, and a new marketing strategy was born.

The early part of the millennium saw Dom change their creative agency.  Neville Brody were now on point to give the brand a refreshed direction and, as such, regular packaging for Dom at this time was full of frequent stylistic changes.  Perhaps as a consequence, no designer editions were initially offered for the 2000 vintage.

Never one to be behind the curve, the next Dom Pérignon special edition packaging would push things further than ever before, putting a twist on the iconic shield label for the first time in the brand’s 74 year history.

Warhol Bottles

Andy Warhol was (and still is) a cultural art icon, famed for his pop art designs that took (amongst others) household brands and re-imagined them via silk-screen prints.  Just as he had done with Campbell’s Soup, it was time to create a vivid and varied composition of a well-known image.  It was time to deconstruct and elevate the iconic Dom Pérignon design.

Passing away in February 1987, Warhol was clearly unavailable to supervise the designs himself, so the Design Laboratory housed within Central Saint Martin’s School of Art and Design in London were commissioned for the piece.  In full collaboration with the Andy Warhol Foundation, their task was to harness the Warhol legacy and establish Dom Pérignon as both a heritage and cultural brand.

Released in October 2010, just a month after the standard 2002 vintage, the fruits of this collaboration culminated in a collector’s edition that initially spanned 3 different bottle designs.

Warhol Pop Art Image

During his life Warhol had long been a devoted fan of Dom Pérignon Champagne.  The hedonism of the 1970’s, his personal wealth, as well as the famous clientele and social situations through his regular frequenting of the Studio 54 nightclub, saw him treating it as his ‘go-to’ Champagne brand.

The limited edition Dom Pérignon release would call out one specific date from his infamous (and badly punctuated) posthumously published diaries; March 8th 1981.

“Went to the gallery where they were having a little exhibition of the glittery Shoes, and had to do interviews and pics for the German newspaper and then we had to go back to the hotel and be picked up by the ‘2,000’ people – it’s a club of twenty guys who got together and they’re going to buy 2,000 bottles of Dom Pérignon which they will put in a sealed room until the year 2,000 and then open it up and drink it and so the running joke is who will be around and who won’t…”

Taking the quote at face value, there is nothing to suggest that Warhol himself was a member of the ‘2,000 people’ as he referred to being ‘picked up’ by them, and that ‘they’ were going to stockpile the Dom.

To this day there is little evidence that the club managed to ever seal the deal or purchase any Dom.  Despite an incredibly alluring bounty, surviving members of the 20-strong group never surfaced over the millennium, and neither did the room or storage vault heaving with 2,000 bottles.  Andy, of course, would depart this earth a good 13 years ahead of the planned millennial party, so it will therefore probably remain a well embellished myth.

Assuming for a second that the club did manage to make the purchase, in 1981 they would have been looking at buying up the remaining stocks of the very good 1971 vintage or the more recent OK (but available in large quantities) 1973.  Both vintages were still openly available in the early millennium as part of the Dom library Oenotheque releases.

As far as the UK was concerned the Warhol bottles were initially released at high end retailers such as Harrods and Selfridges, followed (where availability allowed) by high street merchants including Majestic (albeit without their card packaging).  Keeping things simple the UK release in October 2010 comprised three different bottle labels (red, blue, yellow) priced at £150 each.  Each was housed in a black coffin box and encased in a printed Warhol outer sleeve.

Warhol Boxes

In the USA and elsewhere, a fuller set of 6 labelled bottles were issued alongside matching branded flutes featuring coloured shields.

Warhol Glasses

Shortly after, normal style wine glasses were also produced for launch events featuring the colourised shield design, but there was no suggestion that these were commercially available.  The Flute pack edition for the UK featured flute glasses with a simpler silver shield logo.

Warhol 2002 Flute pack.jpg

The revised Warhol labelling was then back-dated to the previously ‘designer’ missed 2000 vintage (which was much more apt for the 2000 club!).

Warhol 2000 LabelsPhoto Credit: Carrie Godsiff

In 2011, a further set of limited edition labels were issued for both the 2000 and 2002 editions with a metallic style label and slightly varied colour designs.

Warhol Colourful

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Laithwaites Vintage Festival 2017

Laithwaites recently opened the doors on their 38th Vintage Wine Festival and, fittingly for the ever expansive world of wine, it was bigger than ever before.  Not only were they showing over 380 wines on the day but they had representation from Turkey from the first time and were now including their incredibly popular sensory session ‘Tasting in the Dark’.

2017 Laithwaites Vintage Festival

The Fine Wine room was once again in place meaning that, along with the tasting theatres and other assorted activities (including an ‘I’m a Celebrity…’ influenced pairing of jungle critters to wine), there was a seriously wide array of activities to cover off in the time.

Having been a Laithwaites customer for many years and having been to other portfolio tastings of theirs I decided that the general tasting room would be tackled only where time permitted.  In the end, aside from a handful of English wine producers (including Ridgeview), I simply didn’t get the time.  How curious to attend a wine tasting and spend virtually no time at all in the main wine tasting!

To be fair though, the Fine Wine upgrade is a complete and absorbing experience in itself and in many ways equal or better than some standalone tasting events I’ve been to.  Mildly saddened that they hadn’t used the Willy Wonka-style glass elevator from last year, this year’s entry was via an equally glamorous private staircase complete with red carpet.

2017 Red Carpet Laithwaites

Now split over multiple rooms the Fine Wine experience is bigger than ever and more of a Fine Wine floor.  I spent two full hours tasting through the majority of the 67 wines and spirits on display and, perhaps mischievously, tried a couple of them more than once.  My first three pours were all very much double-tasters, with my perennial favourite Dom Pérignon (2006, £120) to start me off.

Alongside this was the ever reliable Krug Grande Cuvée (£130) and the Charles Heidsieck Blanc des Millénaires 1995 (£120).  Having been an award winning stalwart for at least 10 years, my host informed me that the stocks of this exalted 1995 wine are now running down and Heidsieck are heading for the new vintage.  Although she wouldn’t confirm which year this would be, she did say there would be a leap forward, and my money is on the powerful 2002.   My only regret here was that the Roederer Cristal wasn’t on display as per last year even though they have moved forward from the 2007 to the 2009 vintage.

2017 Laithwaites Vintage Festival Fine Wine Room

Other rare wine highlights included:

  • Cháteau Gruaud-Larose 2001 – £80. Black cherry fruit with woody touches.  Seriously good length
  • Cháteau La Tour Carnet 2010 – £45. Extremely floral nose, light tannin, silky soft fruit
  • Prunotto Bric Turot Barbaresco 2013 – £45. From Italian genius Antinori.  Subtle but intense, fragrant and feminine
  • La Rioja Alta Gran 2004 Reserva 890 (served from Magnum) – £145. One of the last bottles remaining from this vintage, it was soft and retained a vibrant acid whilst having tertiary coffee notes and almost the character of a tawny port

Following my Fine Wine session I headed off to the tasting theatre for a 30-minute session with ‘Mr Wine’ himself, Oz Clarke.  Whilst always being a part of the Laithwaites brand, at this festival Oz was almost omni-present, to the extent of a camera following his every move around the event.  This session though caught the raconteur at his relaxed best and gave us a canter through some of his ‘Desert Island Wines’.

Hosted by Master of Wine Justin-Howard Sneyd, the session was a rollercoaster of wit and repartee, running well over time as Oz discussed wine, film (he was in the first Superman film if you hadn’t spotted him), train trips, TV co-host Jilly Goolden (he still won’t confirm if they are or aren’t married!), and how he found his love of all things vinous.

Oz Masterclassjpg

His choices on the day included:

  • Support for English vineyards through a Rosé from Wyfold Valley (I’ll be visiting here shortly so look forward to a vineyard review in due course)
  • A classic Bordeaux 1969, amazingly still available through Laithwaites from producer Château La Tour du Roch-Milon
  • A fine example of stalwart Australian producer Penfolds and their classic Bin 311 Chardonnay 2015
  • A nod to the well-respected wines of Spain with the Altos de la Guardia Reserva 2011

As hinted at earlier, Oz could seriously talk for hours such is his passion and wealth of experience on the subject, and he did run over by some 15 minutes.  Nevertheless I was able to have a quick catch-up with him at the end of the session to gauge his thoughts on the possibilities of him bringing wine back to mainstream TV following the success of The Wine Show.

As well as confirming that James May is still too much of a man in demand following the Top Gear decampment to Amazon and, as full of praise as he was for Wine Show host Joe Fattorini, Oz was just beginning to convey to me his view as to why the new show hadn’t been a complete success in his eyes when a bunch of four ladies mobbed him for a photo opportunity.

Frustratingly that was the last I heard on the subject from him.  How I would have loved to have finished off that conversation!

Due to the session running over and the impromptu Q&A after, my time at the event was now drawing to an end.  I scarcely had time to match a dried bee to an Aussie Shiraz at the ‘I’m a Celebrity’ stand before it was time to go.

Once again this was a wine event not to miss and, although I scarcely spent any time in the main arena at all, pound for pound on the samples tried in the Fine Wine room, I certainly covered my fair share of ground and came away with many taste memories.

With thanks to Laithwaites for providing the tickets used in this tasting.

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UK Vintage 2017 Report #1 – April

As usual, one month after the first signs of life in my Chardonnay, Ortega and mystery vines I like to kick of the yearly document of their progress.

UK17 Twit Pic

Compared to last year we have more leaf and new stem growth in all varieties, with the Chardonnay taking the lead as usual.  The weather has been very pleasant, with one early April weekend warmer than many parts of Europe, and temperatures of circa 26°c gave us one of the warmest April days on UK record.

UK17 Chardonnay

                                                                                      Chardonnay

UK17 Ortega

                                                                                          Ortega

Generally the weather has been hovering around the mid-teens celsius with patchy cloud, and there’s only been a handful of days with rain but, as I write, the vignerons of Champagne are reporting crop loss due to bad frosts.

UK17 MVN3

                                                                               Mystery Variety #3

I’ve noted at least one English wine producer worried about this hitting the south of the UK, and the forecast for the week ahead does seem to be punctuated with overnight temperatures around O°c and more rain than we’ve seen up to this point.

Here’s hoping that the good progress so far isn’t spoiled early on.

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Dom Pérignon 2006

The release of the 2006 Dom Pérignon marked the first time in their history that a 5th consecutive vintage was declared.  In recent times Chef de Cave Richard Geoffroy has been very open about the fact that he is steering the brand away from only releasing a prestige Champagne a handful of times each decade, as has historically been the case.

Writing on his own website ‘Creating Dom Pérignon’ Richard reflected that the declaration of 5 consecutive and unique expressions was “maybe my proudest moment in 25 years at the head of Dom Pérignon”.  Even so, with the 2007 not making the grade and the 2011 also unlikely to be declared, it may be at least another decade before we see this feat equalled.

DP 2006 Label Images

2006 saw irregular weather in the vineyards, with a warm and dry spring climaxing in a scorching hot July.  The temperatures then dropped away somewhat and August was both wet and humid.  The vintage was saved by the strong summer weather returning in September, both drying out any patches of botrytis (fungus leading to mould/rot) and driving a good ripeness in the grapes.

Beginning on September 11th harvesting was methodical and protracted to allow each parcel of vines to ripen in turn.  Taking just over 3 weeks to complete, it has gone down as one of the longest on record for Dom Pérignon.

The patience required in the vineyard was also required in the cellars, with Richard Geoffroy noting that the maturation of the wine also took much longer than usual, only starting to show the harmony and finesse just prior to its release in October 2015.

Comprised of 55% Pinot Noir and 45% Chardonnay, the official tasting note tells us that the nose gives an immediate impression of its bright and airy bouquet, followed by “a floral, fruity pastel tone (that) quickly darkens into candied fruit, ripe hay and toasted notes, along with hints of liquorice”.

On the palate it is “complex and edgy, silkier than it is creamy”.  “The whole eventually melts into an exquisite bitterness tinged with the briny taste of the sea”.  Richard Geoffroy went on to add that the high PH level of the vintage had proved problematic for him: “It needed to be turned around, so I had to stretch it out to achieve the signature DP harmony. The vintage is about brightness and the art of blending.  Despite minimal dosage 2006 is lush and ample, fleshy without being fat and has an intricate, mother of pearl-like gliding texture. It’s one of the most complex vintages at the time of release that I’ve ever made,”.

My own tasting note largely followed these lines, particularly picking out that, whilst toasty and bready, the palate lacked the characteristic creaminess usually found in a Dom.  On the palate the liquorice came through clearly, as did notes of confection (parma violets) and a light nuttiness.

Dp 2006 Bjork Bottle

As was now tradition for the brand, a limited ‘Creators Edition’ was produced.  For this vintage the design was a collaboration between Icelandic singer Bjork and British filmmaker and music video director Chris Cunningham.  Explaining the choice, Richard Geoffroy said “We try to align the artists with the character of the vintage.  She’s been on our minds for a while and 2006 was the right vintage for her as it’s all about brightness and light”.  Bjork and Chris were already long-time collaborators on various pieces including one of her music videos.

The creation, titled “From Earth to Heart”, featured an earthy green light shining down on the bottle from above, seemingly piercing the glass with its glow.  The imagery was there to evoke the illumination generated by the new vintage as it meets the world, creating a link between earth and emotion.  This limited design was released in October 2015 at the same time as the standard vintage bottles.

A further limited bottling was released a year later in October 2016, designed by contemporary German artist Michael Riedel.  Having a similar creative approach and affinity for transformation and transcending the original material, his additional collaboration was also seen as a natural fit with the brand.

DP 2006 Riedel

Deconstructing the letters D and P and layering them across both the box and bottle label, Riedel designed an optical metaphor inspired by the passing of time, signifying the transformation of Dom Pérignon during its time spent ageing on the lees.

The standard edition bottles were housed in the usual black display boxes, with one small change to previous releases.  The small embossed lettering stating the vintage was not present as in previous years and the only reference to the year was now to be found on the shield sticker.

DP 2006 Box Image

Bottles were secured with the standard vintage branded corks and the dark green capsules used in recent vintages.

Magnums of the 2006 were readily available, and a ‘flute’ set was also released.  In the UK this was merely the addition of 2 Dom Pérignon branded flutes in a separate box, but for the US market a custom designed box that housed both bottle and glasses was produced.

A 2006 Rosé is currently scheduled for release in 2018.

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Champagne Deutz Masterclass

Champagne Deutz were in town recently as part of the Gonzalez Byass 2017 portfolio tasting, and commercial director Etienne Defosse was on hand to guide us through a masterclass of eight of their wines.

Founded in 1838, much of their production is consumed domestically in France and so this session was a rare and welcome opportunity to taste through their standard Brut NV, their Vintage Champagnes, and their prestige Amour range.

deutz

Producing a mere 2 million bottles per year (a drop in the ocean compared to the annual 300 million bottles produced in the Champagne region), Deutz have 42 hectares, 80% of which are classified at either Grand Cru or Premier Cru level.  This accounts for 20% of their grape needs (a fairly high amount by Champagne standards), with the compliment bought in from the Cru status vineyards of local growers.

The house has 150 individual vats each containing one particular component of their wine.  This distinct and high level of separation gives them absolute control and flexibility when blending their final cuvées, and their NV, for example, contains the grapes from up to 40 different sites.  40% of their annual production is kept as reserve wines for future blending.

The big take-away from this tasting was just how rich and vibrant their wines are, from the classic and classy NV’s through to the rich, layered and yet fantastically ‘alive’ Amour vintages with 10+ years of age already under their belt.

Champagne Deutz Brut Classic NV ~ £30

The base of the current Classic NV is comprised 50% of grapes from 2013, with the compliment made up of 2012 and a touch of 2011.  The NV Champagnes account for 85% of Deutz production and Etienne enlightened us with a good level of detail of the costs involved (€6.50 per kilo of grapes and each bottle needing 1.5kg of grapes to make).

Composition is split evenly between Chardonnay, Pinot Noir and Pinot Meunier, and the house style is accessible, fresh, lively and crisp for immediate pleasure.

Champagne Deutz Rosé NV ~ £40-45

The current Rosé NV is comprised of 50% reserve wines, mainly from the 2011 vintage.  Fully refreshing and bursting with strawberry and cranberry fruit, this showed a good complexity at this level.

Champagne Deutz Blanc de Blancs 2009 ~£55

Hailing from the great year of 2009 this Blanc de Blancs had a wonderfully layered texture throughout.  The nose was full of bread and brioche, cream and a touch of smoke to the citrus.  The palate followed this up with lemon curd, a twist of lime, and blossom florality.

No oak is used in the ageing process and so the density and complexity here is fully achieved through the detailed blending.  Etienne did mention that one very large barrel had recently found its way in to their cellars, with the Chef de Cave clearly trying out a new cuvée!

Champagne Deutz Rosé Vintage 2009 ~£55

With 80% Pinot Noir in its composition, the Rosé had a fragrant nose, immediate strawberry and then headed off to the darker notes of raspberry and redcurrant.  To achieve the precise colouring and fruit characters a vat of red wine is added; at just 5 to 7% of the overall blend.

As a point of interest Etienne disclosed that the same red wine vat is used for the colouring of both the NV Rosé and the Vintage Rosé but, even so, the difference between the two Champagnes was obvious.

Champagne Deutz Brut Vintage 2007 ~£50

I’m pretty sure that this was my first tasting of a 2007 Vintage Champagne, with the wet summer weather and uneven ripening resulting in many houses side-stepping the year.  When quizzed on this Etienne responded that they almost always try to make a vintage expression, only recently failing to do so in 2011 due to vegetal characters in the Pinot Noir.

Etienne also divulged that the bottling was smaller than many vintages and so is already becoming harder to find.  Using a greater compliment of Pinot Noir than usual (65%), this had a very distinctive nose (fennel, apparently) and followed it up on the palate with biscuit, ripe green pear flesh, and honeyed citrus.

deutz-amour

Amour de Deutz Blanc de Blancs 2006 ~£100

Amour de Deutz Blanc de Blancs 2005 ~£100

Amour de Deutz Blanc de Blancs 2003 ~£100

First produced with the 1993 vintage, we were treated here to a trio of the most recent Amour releases.  Many characteristics were present across all three vintages, not least the distinctive, almost luminescent colour (Imperial Gold, so we were told).

All three featured developed noses full of bread and biscuit, with a touch of nuttiness to the older two years.  They were also all able to show off a freshness and vibrant mousse that showed no signs of dulling down any time soon, and the layers of cream and butter were a true treat.

The 2005 and 2003 both showed what felt like a small amount of tannin, and there was an identifiable smoky quality to the 2005.  The 2003 had a particularly great depth and character.  All were wonderful and long lasting on the palate.

We ended the session with one fun anecdote surrounding the Amour range.  Since the 1999 vintage Deutz have produced a limited bottling of 365 numbered Methuselahs; one for each day of the year (and yes they do make 366 in leap years!).  One particular customer who is an avid James Bond fan has block-reserved the bottle number 007 for all future releases.

With thanks to Gonzalez Byass for the tickets to their portfolio tasting and Champagne Deutz masterclass.

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‘Dom Pérignon 1998 – The Collection’. The world’s most expensive cookbook

Over the years Dom Pérignon have found ways for the consumer to experience the prestige of their brand, even if they’ve never opened a bottle of their Champagne.  As well as the more standard accessories such as glassware and Champagne buckets, official merchandise has ranged from Bento boxes (used to serve Sushi as an ideal accompaniment to a bottle), cigar cases, and even a chess board.

One of the most curious items to appear though must be the cookery book that was released to tie in with the June 2005 release of the 1998 Vintage. ‘Dom Pérignon Vintage 1998 – The Collection’ (published by Ptarmigan) came in at a whopping 292 pages and was likely never intended to be something that you would keep in the kitchen to idly flick through for inspiration on a weekday night.

Indeed, in the written introduction by Dom Pérignon Chef de Cave Richard Geoffroy, he describes the tome as “not in fact a book but a great work of art”.  He goes on to add that “whilst containing no more than bound sheets of high quality paper…recipes and images have been woven into a rich counterpoint, like…(those) which great opera and symphonies depend”

Stirring stuff but, as of the time of writing, this release remains the only time the brand has attempted to produce such a companion piece.

The volume pulled together 35 of the best chefs working in the UK at the time, each working for a famous restaurant such as Le Gavroche or Les Manoir aux Quat’Saisons.  Many well-known names were included such as Michael Caines, Angela Hartnett, Michel Roux Jr, and Tom Aikens.

The record temperatures of the 1998 vintage had provided grapes that were succulent and full of flavour and each chef had been invited to provide a recipe that they believed would pair exquisitely with the final blend.  In addition, some chefs even included the wine as part of the ingredients.

Alongside a clutch of starters and desserts, the core of the book featured many fish-led main courses, and included:

  • Andalouse of sole – Jean-Christophe Novelli
  • Tartare of sea bass with dill – Michel Roux Jr
  • Caramelised lobster and Wagyu beef – Tom Thomsen
  • Salmon ‘mi-cuit’, spiced lentil, foie gras ballotine – John Campbell (who, incidentally, was then the head chef at my nearby eatery The Vineyard at Stockcross)

dom-p-cookbook

Art was also very much a key part of the book, and it contained exclusively commissioned pieces from three major artists:

  • Charles Saatchi favourite Sophie von Hellermann provided a series of vignettes of the ‘glitterati’ including Joanne Harris, Philip Green, Sir Roger Moore, Theo Fennel, Lord Lloyd Webber, Meredith Etherington-Smith, Karl Lagerfeld and Helena Christensen. These sat alongside short interview pieces for each of the subjects, captured by journalist Lucia van der Post
  • French illustrator Stephane Gamain provided stylised illustrations of each featured chef to sit alongside their biographies
  • Japanese photographer Yukata Yahamoto produced still life images for each recipe, based on the key ingredients

dom-p-cookbook3

Also included was a nod to fashion designer Karl Lagerfeld, who at the time was collaborating with the brand on the artistic vision of their 1998 Vintage release (featuring Helena Christensen).

In keeping with the prestige tradition of Dom Pérignon, two different versions of the book were available to purchase.  Retailing for £1000 and listed as the most expensive cookbook ever produced, the premium edition was a limited run of just 30 copies and came bound in sea-green galuchat leather, harvested from the hide of a rare Japanese ray.

dom-p-cookbook2

Each of the 30 sleeves were individually hand polished giving them a distinct and unique appearance and, in addition to this exclusive sleeve, the commissioned prints were signed by the artists involved.  In a generous move by the brand, the highly positioned retail price wasn’t to be swallowed up simply as vast profit; all proceeds from the sales were donated to a selection of UK charities.

For those that couldn’t stretch to the deluxe version, the same (unsigned) hardback edition was produced in a wider print run of 1500 editions housed in a dust jacket containing a printed image of the galuchet leather effect.  The retail price for this version came in at a more modest £40.

‘Dom Pérignon Vintage 1998 – The Collection’ was released in November 2005.

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Dom Pérignon Vintage 2005

The release of the 2005 vintage was announced in the May of 2015.  With a good decade of ageing already under its belt the declaration was a standout for a number of reasons.

dp-2005

The yields gathered from the harvest were markedly down on the usual volumes seen for a Dom Pérignon release.  With only 50% of the average sized haul making the grade this was the smallest recorded vintage since 1971.  Such was the scarcity of the bottles, the 2005 was the ‘current’ vintage for a mere 6 months, being replaced by the 2006 in October.  In November the Dom Pérignon website had sold out at source and were no longer offering the 75cl bottles for sale (magnums were still available).

If the small overall volume released was a hint that the weather conditions in 2005 had been challenging, another indication came from the blend which was usually split 50/50 between Chardonnay and Pinot Noir.

In the case of the 2005, Chardonnay would account for a record 63% of the blend.  With the exception of the 1970 vintage that’s the highest proportion of Chardonnay ever used for a Dom Pérignon.

The release also marked the 4th consecutive vintage of Dom Pérignon in a row – the first time ever in the brand’s history that this had occurred, and a phenomenon that would be extended to an unprecedented 5 releases with the upcoming 2006 vintage.  It was also one of the handful of years where the vintages released did not mirror those of the overall Champagne house Moét & Chandon, who moved straight from the 2004 to the 2006.

Critics were now starting to ask the question as to whether a Dom Pérignon vintage still equated to a rare cuvée released in only exceptional years.  Throughout its history, a particular decade would see perhaps only 3 to 4 declarations, but in recent times there had been 7 vintages declared out of the last 8 years (since 1998 only the 2001 vintage hadn’t made the grade).

Explaining his motives for persevering to produce a vintage, especially in years that offered up such difficult climatic circumstances, Chef de Cave Richard Geoffroy explained “I come from a medicine background so there’s a sense of bringing things to life. I don’t think regular releases devalues the concept – luxury can’t be artificial.  Some houses limit themselves to three vintages a decade but that makes no sense to me, plus they might pick the wrong three. It’s just not practical”.

The weather conditions had been warm throughout the spring and summer, with both heat and drought being on the minds of the winemakers.  Such was the intensity of the sun that, at times, the year was described as the hottest in a decade and compared to the famous drought of 1976 (the soil humidity levels in 2005 were even lower than that landmark year).

Conversely, the little rain seen throughout the year had been building with equal intensity and September was cool and wet with the early part of the month seeing torrential downpours.  These damp conditions blighted the grapes just when they were getting ready to be picked and rot/botrytis began to set in, particularly affecting the Pinot Noir grapes (hence their lower inclusion in the blend).

A short break in the weather allowed harvest to begin on September 14th for the Chardonnay and the 17th for the Pinot Noir.  As the rains returned to the vineyards it was only through drastic grape selection that a wine of vintage standard could be achieved.  Richard Geoffroy would describe the 2005 vintage as having “exceptional quality” and being an “iron fist in a velvet glove”

The official tasting note tells us that the nose offers up “intense fruit, more black than red, which then melts into silvery minerality.  Notes of praline and coriander compliment the whole”.  The palate has “a strong character and a powerful presence” with an almost physical aspect.  “It is structured, focused, firm and dense.  Its intriguingly spicy, flowery finish remains present in each sip”.

Stepping away from the highly stylised official note, respected Champagne palate Tom Stevenson described it as being “toasty and chocolaty” with “coffee-infused red and black fruit”.  My own tasting note also picked up on the toasty and darker characteristics, adding a green-skinned fleshiness to the nose and a streak of lemon to the forefront of the palate.

With Pinot Noir responsible for much of the body and backbone of a Champagne it has been suggested that the reduced amount of the variety in the 2005 blend will prevent it having the weight and structure to age as long as other Dom Pérignon releases.  Time will tell, but with only limited volumes available in the first place, it will probably be harder to get hold of as time goes by.

dp-05-corks

Upon release the bottles were housed in the standard black presentation casing containing the bi-lingual information guide, and topped with the same dark green capsule as the 2004.

Whilst a small number of magnums of the 2005 were released, due to the limited nature of the vintage no special editions or flute packs were issued.  Despite the low availability of Pinot Noir grapes, a Rosé edition was released in June 2017, but it is yet to be seen if the overall grape availability will allow for a Vintage or Rosé P2 variant.

DP Rose 2005

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UK 2016 Vintage Report #6 – September

A quick check in on my vines in what has proven to be an interesting month weather-wise.  The beginning of September saw continued sunshine and temperatures hovering around the early twenties (Celsius), and the heat culminated mid-month with the hottest UK September day since 1911!

This proved to be a peak though and temperatures lost ten degrees virtually overnight.  My base of Newbury was at the epi-centre of a spectacular storm which included some of the loudest thunder I have ever heard.  Such was the intensity and proximity, lightning actually obliterated a portion of the road in the street behind my house leaving something of a pot-hole.

The rainfall for the 12 hours of the storm actually exceeded the average full month total such was the intensity, and flooding caused disruption to the local area.

As I write this note towards the end of the month, we’ve passed the autumnal equinox (on the 22nd) and the weather has followed suit meaning that you can already sense the difference, and the wind and cold are starting to be more keenly felt.

chard-sept-16

My vines continue much as they did last month, with the later maturing Chardonnay probably about to come in to its own and the Ortega doing thoroughly well with numerous bunches of well-formed grapes of decent sizes.

ortega-sept-16

My MVN3 still shows substantial difference in the berry sizes, but we have a decent number of clusters and are just starting to see some of the berries developing their true colour.  You may recall from previous blogs that this is the reason I can conclude that it isn’t the Cataratto variety I was intending to purchase, in that it is the wrong colour.

mvn3-sept-16

Speaking of colour change, a few of the lower leaves are now starting to show their autumnal hues.  Pests are also increasingly to be found buried within the knotted vines and I notice that I’ve lost a fair few grapes to them since I last looked.

Hopefully they won’t attack too many more as the overall yield is a bit less than expectations.

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UK 2016 Vintage Report #5 – August

A quick catch up now on how my vines are doing in the summer month of August.

There has been continued good weather throughout the month with just enough rain here and there to keep the vines watered.  The temperatures have peaked on a handful of days at 26-28 degrees Celsius (usually during the week when I have to be at work!), but are maintaining a good run in the early twenties.

UK Ortega Aug16

There are two main points of interest since the last update.  The first relates to the vigour of the vines which have basically (and would have done if they could’ve) gone through the roof.  Due to a recent leg injury I wasn’t able to tend them as closely as I should have for several weeks and so it has been increasingly obvious.

When I was able to get back out I needed to seriously prune something like 50% off of the height, and I have even done one further pruning session since then to keep them tidy.  All varieties are seeing this growth, even my Ortega, which last year was noticeably less vigorous than the Chardonnay and the MVN3.

This growth (especially when I was unable to tend them) has had one bad consequence.  When twinned with the high winds that we have seen on several days, my trellising has become loosened and has pulled my vines forward by 2-3 inches. At only 3 years in the ground they are still fairly fragile and, fearing they could snap at the bases, I quickly corrected this.

When winter comes I shall have to look in to installing a new trellising system, more robust than before, that can take the weight of the vigour I am now used to seeing.

UK MVN3 Aug16

The second point of interest is the grape growth, which is coming along nicely, albeit still showing elements of uneven bunch growth (millerandage) on my MVN3.  This is odd as this variety was planted a full year before the Chardonnay and Ortega vines and I would therefore have thought would be more established.

uk-chard-aug16

The Ortega and Chardonnay are coming along nicely with the later maturing Chardonnay progressing just behind the Ortega, but both have good volumes of healthy bunches.  In terms of disease, the mites still seem to be attacking the extremities of the Ortega, but this was cleaned off during pruning so shouldn’t be a problem.

As August comes to an end we approach the final bank holiday weekend of the year.  Traditionally these are wet and miserable affairs in the UK, but the forecasts currently show decent weather akin to that which we have seen recently.  This is hopefully a good sign that we will have a settled and warm September, maturing the grapes in their final 8 weeks on the vine.

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