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It is quiet at Cain Vineyards. The hillside estate at the top of Napa Valley’s Spring Mountain is far removed from the hustle of the valley floor. The air is crisp, days are short, winter has arrived and there has been rain. Just enough, says Cain winemaker Chris Howell, to ignite new life in the desiccated vineyards.
Napa Valley winemakers, or at least enough of them to signify the start of a trend, are rethinking the region’s excessive tendencies. Lost for decades in a soulless race to please a handful of critics with dubious taste, these evolving winemakers are trying to reconnect with the soil and climate of America’s most celebrated wine region. While their wines still reflect the strength of the valley’s sunny climate, they are striving for lower alcohol levels and more restrained fruit flavors.
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Howell doesn’t have to change. He has been making terroir-driven wines for decades. And paid a price for that unfashionable decision. Overlooked by critics, his wines have been relative bargains, and most bottles are priced $75 or below. Still, you could say that the newly chastened winemakers are playing catch up with him. And none too soon.
California’s drought has Napa Valley on a razor’s edge. Howell says rain is now a “miracle,” a spiritual event. On Spring Mountain where the only water for the vineyards falls from the sky, those two inches will carry the vineyard through to spring.
“It reminds me that wine is about gardening, nature and the earth,” says Howell. “Those of us on Napa’s hillsides and completely disconnected from the water grid think about these things now.”
There was almost no rain in 2013. By the spring of 2014, there had been 14 months with nothing beyond a few sprinkles. “It was a shock, a big wake-up. I didn’t think we would have any grapes. None.” Rain, not much, but enough, came at the perfect time in February and March of 2014 to save the vintage.
The recent rain falls far short of guaranteeing next year’s vintage. “But the vines loved it. The soil came to life.”
Cain’s 90 acres of vineyards are scattered across the estate’s 550 acres of some of the most rugged hillsides in Napa. The winery’s Cabernet Sauvignon-based wines have a complex herbal quality that sets them apart from other Napa Cabs. His intense, dark wines have a lightness that allows them a seat at the dinner table. They have always been softer, less tannic and more nuanced, even lilting, than the heavier fruit-forward wines most often associated with Napa.
His old-school wines are the result of Howell’s belief that the best wines reflect what is happening in the vineyard. Over the decades Howell has managed Cain’s vineyards, he’s dialed back the irrigation, dry farming the plots where the soils are deep enough. He has farmed organically for 15 years and now is bringing biodynamic — an extreme organic, somewhat metaphysical farming discipline advanced by Rudolf Steiner early in the 20th century — to Cain’s vineyards.
“The more people pay attention to the whole ecosystem of the vineyard, the healthier the vineyard. And, in general, biodynamic vineyards are healthier everywhere I’ve visited them around the world,” says Howell.
That’s given Cain a bit of protection against the ravages of the drought. “We live year to year now,” he says. “I always took the winter rains for granted. They always came. I didn’t think about it. Now I know we can take nothing for granted. I feel closer to the reality of nature, to the vineyards.”
Howell delights in making wines that vary year to year. The drought will be but another marker. So soon in the winemaking process for the 2014 vintage, it’s too early to know how it will change the wines.
How the drought affects his wines doesn’t concern Howell. Using only the wild yeast from the vineyard to ferment his grapes, Howell has given control of his wines back to nature. These days, that is an act of supreme faith. “We think about the spiritual part of things more often these days,” he says.
Other Napa winemakers may never catch up with such radical thinking.
Main photo: Cain Vineyards in the Napa Valley. Credit: Janis Miglavs
* * *
Cain Vineyards makes just three wines:
Cain Five comes is 100% from the Cain Vineyard, and is a blend of Cabernet Sauvignon, Merlot, Malbec, Cab Franc and Petit Verdot.
Cain Concept comes from alluvial soils in the Benchland areas of the Napa Valley. It is a blend of Cab Sauv, Merlot, Cab Franc, Petit Verdot.
Cain Cuvee ($34)
NV10, is a blend of two vintages (51% 2010 and 49% 2009) and is a blend of Merlot, Cab, Cab Franc and Petite Verdot. Sourced from Rutherford, Yountville, Spring Mountain and Atlas Pea.
South African wine has arrived. Smart wine buyers seeking good values and wine geeks looking for exciting discoveries are making their way to the rapidly expanding South African section of their wine store.
For the first time in, well, forever, delicious, distinctive South African Chenin Blancs, Sauvignon Blancs, Cabernet Sauvignons and Syrahs are showing up in U.S. wine stores at prices that are as surprising as the wines: $10 to $18 a bottle. Even South African Pinotage is making a comeback, this time without its notorious barnyard-in-a-bad-way funk.
What’s changed in South Africa? Everything. The new wines represent a massive transformation of the country’s insular, low-quality, high-volume wine industry that began two decades ago after the end of apartheid.
Young winemakers working with ancient, abandoned vineyards kicked off the revival. Devoted to organic, dry-farmed vineyard management, their wines showcased the potential buried in South Africa’s arid coastal climate and varied soils.
New generation of winemakers emerge
Following their lead, a new generation took the helm of the large, established wine houses and rose to the challenge of meeting international standards for wine quality. The combination is enabling the oldest non-European wine region in the world to rise above its plonky past.
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“A lot of things have come together for us,” says Eben Sadie, a leading winemaker working to revive the coastal Swartland region north of Cape Town. With 15 vintages under his belt, Sadie Family Wines is producing some of the most celebrated wines in South Africa’s 400 years of winemaking. Even though he limits his production to 4,000 cases a year, many of his wines are priced close to $60 a bottle, near the top of the market for South African wine.
“We don’t want to push prices up too high,” Sadie says. “South Africa has a place of its own on the wine shelf now. Even our most commercial bottlers — wine companies producing 500,000 cases — are making much better wine. There are great South African wines, amazing wines, for $20.”
Although wine writers are applauding the new South African wines — Financial Times’ Jancis Robinson christened them a “new era” for the country — few of them made it to the U.S. In 2014, South African wine exports to the U.S. surged 37% and are still climbing.
“There is a ton of good stuff here now,” says Ryan Woodhouse, the South African wine buyer for San Francisco-based K&L Wine Merchants. “The wines from South Africa’s old vineyards are liquid gold.”
Selling it, however, is an uphill battle. Many producers, including DGB of South Africa, one of the country’s largest wine companies with an extensive collection of properties, are entering the U.S. market for the first time. They have to build awareness of their brands from scratch. “It a big challenge,” says Niël Groenewald, chief winemaker at DGB’s Bellingham Collection. No one in the U.S. has ever heard of his wines. Still, Groenewald says, the company is “grabbing the opportunity.”
This is a pivotal moment, says Pascal Schildt, a U.S. importer specializing in the new South African wines. As a whole, South Africa hasn’t expanded its overall vineyard acreage, he says, with most vintners focusing instead on improving their farming and winemaking. If wine drinkers are disappointed this time around, they may not give South Africa another chance. “No one wants South Africa to just be a flavor of the month,” Schildt says.
Sadie isn’t worried. “We aren’t going backward from here.”
Shopping for new South African wines
Good value South African wines are easy to find if you shop at a trusted wine shop where the people behind the cash register understand the wines they sell. But beware of discount bins. Junk South African wines haven’t disappeared.
Top regions. Swartland is the hot spot; the wines of Western Cape, Paarl, Hermanus, Citrusdal Mountain, Stellenbosch and Walker Bay are also gaining acclaim.
Rising stars. South Africa’s best producers have made a decision to over-deliver, to produce wines that exceed expectations for the price. Look for Sadie Family Wines, Badenhorst Family Wines, Mullineux Family Wines, The Three Foxes, Fram Wines, Hederberg Winery and Botanica Wines.
Leading importers. Two companies stand out for their selection of top quality producers. Look for wines imported by Pascal Schildt and Broadbent Selections Inc. Also retailer K&L Wine Merchants is directly importing some choice South African wines available only in its stores.
I recently picked up a 2013 Secateurs Chenin Blanc from Badenhorst Family Wines in Swartland. The initial fresh, light fruit flavors quickly dissolved into a rich complexity that lingered far longer than I had any right to expect for $13.
Another gem was a 2012 False Bay Pinotage from a region slightly south of Swartland on the West Cape. It also was a fresh tasting, balanced wine. The bonus this time was a sophisticated earthiness that made it a steal at $15.
Main photo: Adi Badenhorst, one of the new generation of winemakers at Badenhorst Family Wines in Swartland, South Africa. Credit: Badenhorst Family Wines
The cause and cure for much of what plagues our society — obesity, ill health, social injustice — have roots in what we eat. Fix our food system and we are on track to resolve those larger issues.
Belief in this food-first approach is inspiring food entrepreneurs across America to find healthier, more sustainable ways to produce and process food. On Sept. 7, PBS premieres a series championing these food heroes. “Food Forward TV,” a 13-part series underwritten by Chipotle Mexican Grill, is uplifting and educational, packed with stories of people creating food solutions that point toward lasting change.
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A sour note? I’ll get to the episode on genetic engineering later.
Many of the food producers and experts featured in the series are familiar, trusted names to anyone who tracks the food movement. Journalist Paul Greenberg shares new optimism that aquaculture has improved to the point that farmed fish can be a healthy substitute for their wild brethren. The folks at Belcampo Meat Co. — a livestock operation in the shadow of California’s Mount Shasta — explain how they raise animals on a grass-only diet on their ranch, slaughter and butcher them on site, and then sell the meat through their own stores; their system is so old-fashioned it’s positively revolutionary.
There are many reasons to watch the series. An innovative effort to revitalize worn-out farmland using compost containing livestock and human waste has a nice star turn. Effective new methods for teaching inner-city kids to love healthy food in Detroit gives us hope. And far-sighted plans show how urban farms are redefining “local” agriculture. There is so much new information about milk, particularly raw milk, that it gets its own episode.
A cast of young musicians performing food-centric ballads — interstitial segments that by all rights should have been too precious by twice — buoy the series and keep things moving. The Detroit rappers are eloquent.
“Food Forward TV” offers concrete, meaningful ways to use your food dollars to hurry along the happy day when our misbegotten food system exerts a positive impact on both our health and environment.
Slip-sliding away from the GMO issue
The misbegotten-ness of things, however, is important. And the series grapples only reluctantly with how we ended up in this food pickle. This is particularly true in the episode on genetically engineered seeds, ironically the one issue many Americans are being asked to consider in the voting booth.
In this episode, a young Midwest farmer growing GMO crops explains how she switched to non-GMO strains of corn and soy only to switch back because non-GMO crops required more pesticides and herbicides. A round of applause for GMOs might have caused me to raise an eyebrow, but I would have respected the producers for taking a stand on a difficult subject. I would have appreciated hearing the reasons for their endorsement.
Never mind. They punted. The farmer flips the issue by saying she would never feed her family the corn she grows. The GMO debate is far too polarizing to address head on, says series producer Greg Roden. “We wanted to show the two sides of the debate through a farmer who is caught in the system.”
Why wouldn’t the farmer feed her children the GMO crops she grows? Turns out she grows corn for ethanol. It isn’t fit to eat. I wondered what other obfuscations I might have missed.
PBS and Chipotle should be applauded for their support of this series. The profiles of extraordinary folks undaunted by the challenge of bucking conventional agriculture left me more hopeful than not. I learned things that empower me to support food producers who reflect my values.
The show’s underwriters and producers are far from alone when it comes to giving GMOs short shrift, but I expected more from this group.
Check your local PBS listings for show times.
Main photo: One “Food Forward” episode focuses on school lunch programs, including some where kids are not only served healthy food but are growing it. Credit: “Food Forward” TV
Aubert de Villaine is a rare wine character. The gatekeeper to the most celebrated wines in Burgundy — Domaine de la Romanée-Conti — de Villaine works in the service of his vines. His wealth and power are obscured by frayed tweed jackets and mud-caked boots.
When you meet him, there is no hint of the haughtiness typical of lesser lights in the wine world. Neither is there the equally off-putting salesman’s instant friendship. A private man, de Villaine maintains a surprisingly low profile for someone with his influence.
By Maximillian Potter
Knowing this, I am all the more astonished by the intimacy of the story Maximillian Potter tells in “Shadows in the Vineyard: The True Story of a Plot to Poison the World’s Greatest Wine.” Potter’s unprecedented access to the great vigneron and the people closest to him imbues the book with the spirit of its two main characters, bringing both de Villaine and his vineyards to life as no one has.
This is a thriller, complete with a blackhearted criminal and a scheme so frighteningly sinister it is nearly unbelievable. Unable to put it down, I read it in one sitting.
Lesson in the ‘Shadows’
Potter deftly delivers everything you need to know about winemaking, the French Revolution, de Villaine’s family, the birth of the American wine movement and Burgundy’s history to keep you turning the pages to learn more. When you close the book, you will want to pull a cork as an act of homage and celebration.
My favorite chapters focus on de Villaine’s ancestor, Louis-François de Bourbon, who began the family wine dynasty in the pre-revolutionary intrigue of the court of King Louis XV. From that vantage point, Potter pulls the threads with which he weaves the modern drama that took place in the dark of night on the hillside of La Romanée-Conti vineyard.
In my home, I have two giant bookcases filled with wine books, at least 200 volumes. As a wine writer, I have at least perused nearly every wine book written in the last couple of decades. I keep the ones with information I might need in the course of my work.
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“Shadows in the Vineyard” goes on a separate bookshelf, one reserved for books I’ve enjoyed and want to either read again or pass along to friends. This is a book for anyone who loves a well-told tale. It also might turn you into a wine lover.
I worked with Potter at Premiere magazine when he was a fresh-from-college assistant to the editor. He went on to become an award-winning journalist, writing for Philadelphia and GQ and working as an editor at 5280: The Denver Magazine, Men’s Health and Details. He is now a senior media consultant to Colorado Gov. John Hickenlooper.
The dogged journalist with an open heart I met 20 years ago is in evidence on every page of this, his first book. It is a feat he accomplishes without once getting in the way of the story he tells. Bravo, Max.
Main photo composite:
Maximillian Potter. Credit: Jeff Panis
Book cover: Credit: Courtesy of Hachette Book Group
The view from the deck of the old wooden shack is a sweeping panorama of unspoiled Southern California sand and waves below a low cliff dotted with similarly ramshackle dwellings.
We are accustomed to an Orange County coastline stripped of its humble past. Yet here is a reminder of that lost world.
Founded by squatters in the 1920s, Crystal Cove was favored by Prohibition-era rumrunners who landed their illegal cargo here in the dark of night. Itinerant plein air painters immortalized this hidden beach and claimed it as their home.
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By the 1980s, the state of California was on a mission to “clean up” the dangerously decrepit community. Descendants of the founders fought back. Just when it appeared certain everything would be razed so that a massive hotel development could rise, the Laguna Beach community and other neighbors raised the funds necessary to preserve this tattered love note from California’s past.
We lifted our glasses of rum punch in honor of our friend Jennifer’s grandmother who once owned the cottage where we had gathered for cocktails. The particular privilege of growing up in such an unaffected oceanfront retreat has never been lost on our friend. She loves the fact that it remains exactly as she enjoyed it 50 years ago and now is available to everyone.
Of the 46 cottages in Crystal Cove, so far 29 have been restored. Two- and three-bedroom houses with full kitchens rent for less than $250 a night.
They were built for a nickel, says Harry Helling, president of the nonprofit Crystal Cove Alliance, which manages the California State Parks property. Renovating them without disturbing their original look costs as much as $750,000 each.
It’s “vernacular” architecture, he explains, a fancy term for using whatever is available to build a community. Most of the cottages were cobbled together from flotsam that washed ashore. A fancy teak bathroom sink was discovered in one home, a prize probably stripped from a shipwrecked sailboat.
Earthquake-proofing walls made out of 80-year-old pilfered highway billboards can be a challenge, says Helling.
Crystal Cove guests can skip the cooking and enjoy breakfast, lunch and dinner at the Beachcomber Cafe. An inviting broad, wooden terrace overlooks the ocean for al fresco dining.
View from the tasting cottage at Crystal Cove. Credit: Corie Brown
As the sun sinks low in the sky, families continue to play on the beach. Lovers return from strolling along the more than three miles of state park beach. No one rushes. We savor the moment with a Dark and Stormy made with Gosling’s Black Seal rum.
It is the only rum you can use if you are making a proper Dark and Stormy, Helling insists. In researching the history of the cove, the Prohibition-era cocktail culture has become a centerpiece of the Beachcomber’s bar service. Rum is the favored spirit.
He treats us to four of his concoctions. The cocktail hour ends as the sun sinks below the horizon. We amble over to the Beachcomber for a starlit dinner.
Four rum cocktail recipes, courtesy of Harry Helling.
Paradise Rum Swizzle
With a nod to the Barbados drink whisked with the stem of a native plant, Helling uses Rhum Barbancourt from Haiti. The swizzle sticks are Crystal Cove driftwood.
2 ounce Rhum Barbancourt
1 ounce fresh honeydew juice
1 ounce coconut water
½ ounce fresh lemon juice
½ ounce simple syrup (1 part water to 1 part sugar)
4 dashes of Angostura bitters
Pack a glass with crushed ice, swizzle rum, syrup and juices, top with bitters and sprig of mint.
Helling adapted this recipe from the one served at Campbell Apartment, a 1920s apartment-turned-bar in New York City’s Grand Central Station. It is made by the pitcherful.
12 ounce Pusser’s British Navy Rum
3 ounces Grand Marnier
2 ounces fresh lime juice
20 ounces mango juice and water (1:1)
6 ounces cranberry juice
Shake with ice, strain and float champagne on top with a pineapple garni.
Dark and Stormy
Invented in Bermuda just after World War I, Dark ‘n’ Stormy is a trademark-protected cocktail of rum and ginger beer. Helling adds lime juice — and so changes the spelling of the cocktail.
2 ounce Gosling’s Black Seal Bermuda Black Rum
4 ounce ginger beer
½ ounce fresh lime juice
Pour the ginger beer into a glassful of cracked ice and then add the Gosling’s topped with lime juice. Garnish with a fresh lime wedge.
Barrel Aged Rum Manhattan
It is increasingly popular to age rum in an oak cask to make a sipping drink. Helling served one from Venezuela.
2 ounces Ron Anejo Pampero Aniversario
1 ounce Carpano Antica Formula vermouth
½ ounce homemade bay leaf bitters
Pour the rum over an oversized ice cube in a short glass and stir with vermouth and bitters. Garnish with rum marinated blueberries and a flamed orange peel.
Main photo: Dark and Stormy rum cocktail at Crystal Cove. Credit: Chris Fager
It was the knife work. The way he smeared a dab of sauce across the plate with the back of a spoon. Jon Favreau’s moves were too smooth. The actor-turned-screenwriter-turned-blockbuster-director, is also a professionally trained chef? No way. I began looking for the “tells” of a body double.
“Chef,” Favreau’s new film, shot in one month, is a trip back to his indie-film roots when 18 years ago the work-a-day actor wrote himself out of that rut with the cult hit “Swingers.” Directing “Iron Man” catapulted him onto Hollywood’s A-list, wattage that is evident in the “Chef” cast, which includes Robert Downey Jr., Scarlett Johansson and Dustin Hoffman.
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But what makes this fairly predictable father/son feel-good road trip so engaging is the authenticity of the kitchen scenes and those chefy moves. Unlike most food flicks, “Chef” is not food porn. Favreau’s chef Carl Casper handles food with skill and respect — and you leave the theater desperate for a melty Cuban sandwich, sweet plantains and a cold beer.
“Ever since I read [Anthony Bourdain’s memoir] ‘Kitchen Confidential,’ I have been intrigued by the chef world,” Favreau told the sold-out audience opening night at Hollywood’s ArcLight Cinemas. He dashed off the screenplay in a couple of weeks, congratulating himself for such an original story — a celebrated chef, trained in the French culinary tradition, who decides to chuck it all to cook the food he loves out of a food truck … and ends up with a rock star career.
Favreau soon learned his “original” idea mirrored the life of Los Angeles chef Roy Choi. One afternoon, Favreau stopped by the raw space in Koreatown where Choi was pacing out a new restaurant, Pot, his ode to Korean cuisine. Favreau’s plan was to make Choi a consultant on the film and avoid a lawsuit for stealing his story.
“He just showed up by himself,” said Choi, who joined Favreau for the opening night Q&A. After they talked, “he got in my car — which surprised me because it’s a beat old car — he just followed me around all night.”
Six hours on the town with Choi
Kogi BBQ trucks made Choi a Los Angeles hero and paved the way for his other places in the area: the college casual Chego; 3 Worlds Cafe in South L.A.; the neighborhood bistro A-Frame; Caribbean-flavored Sunny Spot; and his late night lounge, Alibi Room. That night, Favreau made the circuit with him. “I just showed him little bits and pieces to see if he thought what we were doing was interesting,” Choi said. “I was just trying to show him what I was about. Chefs are really transparent. We’ve got nothing to hide.”
Favreau agreed, saying, “Roy showed me everything. We were out for six hours that night. I tasted a lot of food. And it was amazing food. That’s the thing, you want to eat it all.”
Favreau sent Choi the script. “You know, I’m a fairly successful director and Roy started going after it,” Favreau said. “He red-lined the whole thing.” Chefs don’t wear their whites to the farmers market, Choi chided him. “And here you have the chef smelling the ingredients. You’re not Belle in ‘Beauty and the Beast,’ ” Choi said.
Choi insisted on more than script changes. He would sign on to help only after Favreau went to cooking school. “My first day studying at the culinary academy was learning how to tie your apron. It is almost a martial art. Where you tie it, how tight,” Favreau recalled. “Roy told me you can tell whether you are a chef by how you hold a towel. And the whites. Keeping the whites clean.”
On the set, Choi showed up every day that involved cooking. The food couldn’t just look good; it had to taste good too. Choi created every dish that appears in the film and insisted that his food not be treated as a prop. The cast and crew would eat it. “Nothing was wasted,” Favreau said. “He kept everything up to restaurant standards. That pig we cut up? We parceled it out and gave it to the crew. Respect for the food permeated the culture on the set.”
As an actor, Favreau schooled himself in Choi. “I watched Roy and emulated everything he did. Every tattoo on chef Carl was approved by Roy,” he noted. The makeup artists added “burns” on his forearms, the mark of a working chef. “I worked from the inside out,” Favreau said.
Favreau’s last chef test
His final exam: joining Choi’s prep crew when he did a three chef tasting menu with Wolfgang Puck and David Chang. “No one knew I was there,” Favreau said. “At the end of the night they noticed me and they were busting my balls. David Chang noticed my whites were dirty.”
Slowly, Favreau found his way from acting like a chef to feeling the part.
“Once I realized his heart and his mind and his soul were open to [being a chef], that’s half the battle,” Choi said. “His movements changed once he got down with how a chef’s mind is working with so many different things going on. We have eyes in the back of our heads. By doing that, his body language changed.”
There was no body double.
Main photo: A scene from “Chef” with Emjay Anthony, left, and Jon Favreau. Credit: Open Road Films