All sorts of reasons exist to justify our interest in wine — wine tastes great, on its own and with food; wine is a complicated beverage that encourages thought and contemplation; wine gets you drunk — and one of those reasons is the story behind the wine. Now not all wines have compelling stories. The cheap wine fostered in vast vineyards in California’s Central Valley and raised in giant tanks on megalithic farms generally does not offer a fascinating back-story. And financially-padded collectors don’t suck up cases of Chateau Latour and Haut Brion because of the histories of those august properties.

This pair of rosé wines, however, tells one of those tales of a dream long-striven for and finally accomplished. When I mention that the wines derive from the Cotes de Provence appellation in the South of France by a couple who never made wine before, My Readers may rise to their feet and let loose a chorus of “Brad and Angelina!” but no, I am not speaking of the (excellent) celebrity rosé Miraval, now in its second vintage, but of the slightly older Mirabeau, the brain-child of Stephen Cronk, an Englishman who gave up his job in telecommunications and house in Teddington in southwest London — motto: “We’re in southwest London!” — and moved his family to the village of Contignac in Provence for the purpose of growing grapes and making rosé wines. Cronk did not possess the fame, notoriety, influence and fiduciary prowess of the Pitt/Jolie cohort, but he did manifest a large portion of grit, married, inevitably, to naivete. (This is also a great-looking family; they could be making a ton of dough in commercials. Image from the winery website.)

Cronk discovered that he couldn’t afford to purchase vineyard land, even at the height of the recession, so he settled for being a negociant, buying grapes from growers that he searched for diligently and with the help and advice of Master of Wine Angela Muir. Five years after he began the process, his Mirabeau brand is sold in 10 countries and is now available in two versions in the U.S.A.

Mirabeau “Classic” Rosé 2013, Côtes de Provence, is a blend of grenache, syrah and vermentino grapes that offers an alluring pale copper-salmon color and enticing aromas of fresh strawberries and raspberries with hints of dried red currants and cloves and a barely discernible note of orange rind and lime peel. The wine slides across the palate with crisp vivacity yet with a touch of lush red fruit in a well-balanced structure that includes a finishing element of dried herbs and limestone. 13 percent alcohol. A very attractive, modestly robust rosé for drinking with picnic fare such as cold fried chicken, deviled eggs, cucumber sandwiches — or a rabbit terrine with a loaf of crusty bread. Very Good+. About $16.

The Mirabeau Pure Rosé 2013, Côtes de Provence, is a different sort of creature. A blend of 50 percent grenache, 40 percent syrah and 10 percent vermentino, this classic is elegant, high-toned and spare, delicate but spun with tensile strength and the tension of steely acidity. The color is the palest onion skin or “eye of the partridge”; hints of strawberry and peach, lilac, lime peel and almond skin in a texture that practically shimmers with limestone and flint minerality; rather than lush, this is chiseled, faceted, a gem-like construct that still manages to satisfy in a sensual and exhilarating measure. 13.5 percent alcohol. We drank this over several evenings as an aperitif while cooking and snacking. Excellent. About $22.

Seaview Imports, Port Washington, N.Y. Samples for review. Bottle image by Hans Aschim from coolhunting.com.

Just six weeks ago I made the Flora Springs Chardonnay 2012, Napa Valley the Wine of the Week, and, darn it, I can’t help but put the Flora Springs Soliloquy Vineyard Sauvignon Blanc 2013, Oakville, in the same spot today. The grapes derive from a two-block proprietary vineyard in Napa Valley’s Oakville District AVA, and, in fact, the vineyard receives more prominent display on the label than the grape variety does. Is that device helpful to consumers? Probably not, but it makes for a very elegant and typographically balanced label, one that matches the balance and elegance of the wine. Thoughtful work by winemaker Paul Steinauer puts the wine through seven months in a combination of concrete and stainless steel tanks, oak barrels and steel drums, the result being a sauvignon blanc of unusually appealing texture, subtlety and suppleness, as well as being fresh and crisp. The color is very pale gold, almost invisible; aromas of apple peel and lime peel are woven with lemon balm and lemongrass and back-notes of celery seed, hay, fennel and thyme. Brisk acidity energizes what is otherwise a sleek and suave sauvignon blanc that encompasses stone-fruit and citrus flavors enmeshed with hints of cloves, freshly-mown grass and pink grapefruit. The finish engages the palate with a touch of grapefruit bitterness and an unexpected feral tang. 14.2 percent alcohol. Drink now through 2015 as a delightful aperitif or with grilled or roasted salmon or swordfish. Excellent. About $25.

A sample for review.

Today’s notes feature eight rosé wines, four from France, three from California and one from the state of Virginia. In style they range from ephemeral to fairly robust. I have to take shots at a couple of these examples, but those are the breaks in the realm of wine reviewing. No attempt at technical, historical, geographical or personal information here (you know, the stuff I really dote on); instead, the intent is to pique your interest and whet your palate. Except for the Calera Vin Gris of Pinot Noir 2013, these were samples for review. Enjoy!
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Chateau de Berne Terres de Berne Rosé 2013, Côtes de Provence, France. 13% alc. 50% each grenache and cinsault. Very pale onion skin hue, almost shimmers; light kisses of strawberry, peach and orange rind, hints of dried thyme; bone-dry, crisp and vibrant, loads of scintillating limestone minerality. Really well-made and enjoyable but packaged in an annoying over-designed bottle that’s too tall to fit on a refrigerator shelf. Excellent. About $20.
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Bila-Haut Rosé 2013, Pays d’Oc, France. 13.5% alc. Cinsault and grenache. (From M. Chapoutier) Pretty copper-salmon color; orange zest and raspberries, dusty minerals, notes of rose petals and lavender; quite dry, with limestone austerity, a fairly earthy, rustic style of rose, not in the elegant or delicate fashion. Very Good. About $13.
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Calera Vin Gris of Pinot Noir 2013, Central Coast. 14.7% alc. 466 cases. Bright copper-peach color; think of this as a cadet pinot noir in the form of a rosé; currants and plums, raspberry with a bit of briery rasp; notes of smoke and dried Provencal herbs, hints of pomegranate and orange zest; very clean, fresh and vibrant with a damp limestone foundation. Excellent. About $17.
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Dunstan Durell Vineyard Rosé of Pinot Noir 2013, Sonoma Coast. 13% alc. 92 cases. Light but bright copper-salmon-topaz hue; strawberries and red currants, both fresh and dried, blood orange, note of pomegranate; lovely, lithe and supple but energized by brisk acidity; floral element burgeons and blossoms in the glass, as in rose petals and camellias; very dry, delicate, ethereal yet with a real bedrock of limestone minerality; a touch earthier than the version of 2012. Excellent. About $25.
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Domaine de la Mordorée “La Dame Rousse” 2013, Tavel, France. 14.5% alc. 60% grenache, 10% each cinsault, syrah and mourvèdre, 5% each bourboulenc and clairette. Brilliant strawberry-copper color; strawberries, raspberries and red currants with a touch of peach; very dry and fairly robust for rosé; notes of dried herbs and summer flowers, dominant component of limestone and flint, almost tannic in effect, but overall high-toned and elegant. Excellent. About $30.
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Notorious Pink 2013, Vin de France. Alc% NA. 100% grenache. (Domaine la Colombette) Better to call this one Innocuous Pink. Carries delicacy to the point of attenuation; very pale onion skin color; faintest tinge of strawberry, bare hint of orange zest and limestone; fairly neutral all the way round. Comes in an upscale frosted bottle, woo-hoo. Good. About $20.
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Stinson Vineyards Rosé 2013, Virginia, USA. 12% alc. 100 percent mourvèdre. 120 cases. Ruddy onion skin hue; fresh strawberries and raspberries with cloves and slightly dusty graphite in the back; notes of orange pekoe tea and dried red currants; a little fleshy and floral; bright acidity and a mild limestone-like finish. Very Good+. About $18.
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Robert Turner Wines Mosaic Rosé of Pinot Noir 2013, Santa Lucia Highlands. 14% alc. With 15% cabernet franc. 25 cases. Pale copper-onion skin color; musky and dusky melon, raspberry and strawberry with notes of pomegranate and rhubarb; finely-knit texture, delicate, elegant, lively, with a honed limestone finish. Excellent. About $22.
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…might be called the Isabel Mondavi Deep Rosé Cabernet Sauvignon 2013, Napa Valley, and in case any of you winemakers out there are thinking, “What a great name! I think I’ll use ‘deep rose’ for my label,” there’s a little trademark symbol that protects the name from other use. Anyway, this is 100 percent cabernet sauvignon, from vineyards in the Altas Peak, Rutherford and Howell Mountain AVAs, made all in stainless steel after a long cool fermentation. The color is an entrancing medium ruby-magenta hue, a little darker and richer than the color of most rosé wines. The impressions are fresh and grapey, with notes of red currants and raspberries and a lift of just-cut Braeburn apple; hints of cranberry and rhubarb linger in the background. The freshness, bright berryish qualities and element of earthiness remind me of Beaujolais-Villages, particularly in the bouquet, but in body and dark spicy red and blue fruit flavors it feels like what in Bordeaux is called clairette, a wine that’s darker and exhibits slightly more heft than a Bordeaux rosé but is lighter than a “regular” cuvée. The combination of freshness, elegance and substance makes the Isabel Mondavi Deep Rosé 2013 a versatile match with all sorts of summertime fare. Alcohol level is a sane and manageable 13.2 percent. Winemaker for the Isabel Mondavi label is Rob Mondavi Jr. Drink now into 2015. Excellent. About $20.

A sample for review.

In June I spent three days in North Yuba, a sub-appellation of the Sierra Foothills, about an hour’s drive north of Sacramento, for a brief immersion into the situation of Renaissance Vineyard and Winery and the other wineries and properties in the area. The first task of my visit was devoted to a day-long tasting of RVW library wines, a fairly astonishing collections of thousands of bottles going back to the early 1980s. Not surprisingly, the winery would like to sell these wines, which themselves are a pretty astonishing reflection of quality, integrity and single-minded devotion to an ideal. The winery staff was quite open in its expectation for my visit and looked to me for recommendations about how to market these wines and for the direction RVW should take to make their products more appealing to consumers. This sort of consulting work is not typically the position I find myself in when visiting a vineyard and wine region, but I felt that I had to take these expectations seriously. Here, by the way, are links to my two-part posting on the tasting: Cabernet-based reds and White table and dessert wines.
(Image of Sierra Foothills counties from 1916, courtesy of quarriesandbeyond.org.)
How is the winery going to divest itself of this tremendous store of library wines dating back to the early 1980s? By conveying a sense of a narrative that focuses on the winemakers, the terroir of the property and the quality and character of the wines. It’s a truism of today’s wine market that consumers, especially under the age of 35, are attracted to wines that possess a back-story, whether it’s a unique history or location, whether there’s an interesting aspect to the personalities involved or to the winemaking process. To reach to the contemporary audience, Renaissance needs to do what it has never done in its almost 40-year chronicle: Hire an outside marketing agency to craft this narrative and package the wines for sale to a particular stratum of restaurants and retail outlets. The advantage for restaurants would be that they could offer aged wines on their lists without having to serve them before they’re ready to drink or store them for a decade, the latter a prospect that few restaurants have the space for or can afford. Imagine being able to recommend the Renaissance Late Harvest Sauvignon Blanc 1989 or the Riesling 2002 or the Estate Cabernets from 1994, ’93 and ’91, all drinking perfectly now, to discerning palates.

This marketing agency could create, indeed with no embellishment, a fascinating narrative about a succession of fanatical winemakers dedicated to low alcohol content, little or no new oak, Old World techniques and organic methods. Imagine the appeal to collectors of a package that included cabernet-based wines from the 1980s, 90s and 2000s made by original winemaker Carl Werner; his wife Diana, who became winemaker when Werner died in 1988; and Gideon Beinstock, winemaker from 1994 to 2011, or of the winery’s late harvest dessert wines. The ability to taste such wines and compare them is invaluable. The fact that Carl Werner’s cabernets from years such as 1983 and 1984 are just coming round to a drinkable state, having shed their considerable tannins, creates a unique opportunity in California. It doesn’t hurt that Renaissance is located not in Napa Valley or Sonoma but in North Yuba in the Sierra Foothills, a region that may lack the glamor and recognition of better-known areas but offers the attraction and authenticity of laboring in obscurity and even a tinge of stubbornness.

A variety of ways exist through which a wine-savvy marketing agency could package and promote these wines to retailers and the restaurant trade, but Greg Holman, president of RVW, and his staff would have to be receptive to suggestions and new ideas and willing to make the financial outlay necessary.

And what about the future?

First, trim the line. RVW offers four cabernet sauvignon or cabernet-based wines — the “regular” cabernet sauvignon, a Reserve bottling, the Claret Prestige and the Vin de Terroir — and four Rhone-inspired red wines, a single-variety syrah and the blends La Provencal, Mediterranean Red and Granite Crown. Asking consumers to understand the differences among these wines and their motivations leads to confusion and indifference. Perhaps limiting these labels to a regular and reserve cabernet and one Rhone-style blend in addition to the syrah would clarify matters.

Second, engage in a major label revamp, another task for a marketing or design firm. Let’s face it, while the Renaissance label may be dignified, it’s also stodgy and bland. I don’t advocate changing a label design whenever the vagaries of fashion seem to dictate, and I admire wineries like Grgich Hills, for example, for staying with an uncluttered, elegant and easily identifiable label. The retention of the Renaissance label, however, feels more like habit than devotion, and I would say that it’s time for a shake-up. Keep the initial “R,” or a version of it, with its hint of antique finery, but clarify, simplify and modernize the rest.

Third, update the winery website with better graphic elements, a more compelling design, pictures of the winery and the estate, and, speaking selfishly, a section for Trade & Press where images and technical information can easily be obtained. A website and an active blog increasingly are part of a winery’s story.

Gewurztraminer might not be as off-putting to so many people if its name were changed to Steve or Samantha, but there it is, a grape that can be made into one of the most beautiful wines in the world with a name that is almost unpronounceable. So be it. Gewurztraminer thrives in Alsace, where France nestles uneasily against Germany, and to some extent in the northeastern Italian region of Alto Adige, in the Tyrol Alps just south of Austria. There are outposts in other countries, such as Australia and New Zealand, and also in the states of Oregon and California, and it’s to the latter that we turn for today’s Wine of the Week, the Gundlach Bundschu Estate Vineyard Gewurztraminer 2013, Sonoma Coast. The vineyard lies at a fairly low elevation in the southwestern foothills of the Mayacamas range. Ninety percent of this clean, fresh, crisp wine was made in stainless steel, the rest in neutral oak barrels. The color is very pale gold; aromas of rose petals, lychee and spiced pear are highlighted by notes of white pepper, peach and lime peel, all subtly and delicately woven. Acidity is essential to the success of gewurztraminer — as in any wine, truly — to balance the potentially overpowering floral and fruity elements, and this example has acidity in spades, a factor that contributes to its appealing liveliness and its deft poise. Citrus and stone-fruit meld seamlessly in the mouth, while the spicy, limestone-laced finish brings in a hint of grapefruit pith bitterness, savory, astringent and exciting. 14.3 percent alcohol. Drink now through 2019 to ’22 with — I know this is the cliche — moderately spicy Thai or Vietnamese cuisine, with grilled shrimp or mussels, with seafood risotto. Excellent. About $22.50.

A sample for review.

In the ancient Occitan language of the South of France, picho means “petit,” hence la pitchoune is a diminutive for “little one.” That’s the name that Julia Child and her husband Paul gave to the cottage they built in the village of Plascassier in Provence, now a cooking school. And that’s the name of a small-production winery, founded in 2005, that makes tiny amounts of wine from Sonoma Coast grapes. Winemaker and partner is Andrew Berge, and he turns out, at least in the samples I was sent, wines of wonderful finesse and elegance.
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The color of La Pitchoune Vin Gris of Pinot Noir 2012, Sonoma Coast, is vivid copper-salmon. A bouquet of slightly fleshy strawberries and raspberries opens to notes of watermelon, spiced tea and flint; this is bone-dry but juicy and tasty with raspberry, melon and dried red currant flavors, a rosé of nuance and delicacy enlivened by crisp acidity, a slightly leafy aspect and a finish drenched with damp limestone minerality. 14.2 percent alcohol. Production was 39 cases. I could drink this all Summer long. Excellent. About $30.
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La Pitchoune Pinot Noir 2012, Sonoma Coast, offers a transparent medium ruby color and enticing aromas of rhubarb, cranberry and pomegranate wreathed with sassafras and cloves, rose petals and lilac. The texture feels like the coolest, sexiest satin imaginable, riven by acidity as striking as a red sash on a blue coat; the resulting sense of tension, resolution and balance is the substance of which great wines are made. Oak is subliminal, a subtle, supple shaping influence, so the wine feels quite lithe and light on its feet; flavors of spiced and macerated black cherries and plums emit a curl of smoke and a wisp of ash as prelude to a lively finish permeated by notes of briers, brambles and loam. 14.2 percent alcohol. Production was 279 cases. Sublime pinot noir for drinking through 2017 or ’18. Exceptional. About $60.
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The Jameson brand represents the largest-selling Irish whiskey in the world. The company was founded in Dublin in 1780 by (of all things) Scotsman John Jameson. Its parent entity is Irish Distillers Corp, formed in 1966, which in turn was acquired by Pernod-Ricard in 1988. Pernod-Ricard encompasses 36 spirits and wine brands that include Absolut, Chivas Regal, Ballantine’s Scotch, Beefeater Gin, Jameson, Kahlua, The Glenlivet, G.H. Mumm and Perrier-Jouet. Let me know if you haven’t heard of any of those names. The company owns 96 production sites in 23 countries, according to its annual report for 2012-13. Total assets currently are $8.72 billion, according to Market Watch. Pernod-Ricard is, in other words, a company that possesses worldwide depth and breadth, mega-clout and the dinero to back up its claims.

Jamieson Ranch Vineyards is a winery located in the Napa Valley, in fact the southernmost winery in the appellation. Formerly known as Kirkland Ranch Winery and Reata Vineyard, the company changed its name to Jamieson Ranch in 2013; it happens to be located on Jameson (not Jamieson) Canyon Road. The history of the property is tangled, involving dubious business decisions going back to the late 1990s and bankruptcy filings, but it is owned now by Madison Vineyard Holdings of Greenwood Village, Colorado, a company involved in myriad enterprises including high-end art storage in New York. Jamieson Ranch produces about 35,000 cases annually under its eponymous label, retaining the Reata name for some pinot noirs and chardonnays, and uses the Light Horse brand for inexpensive products. Prices for the Jamieson and Reata wines range from about $24 to $60. Assets of Madison Vineyard Holdings, according to the company’s website, are $250 million.

Early this year, Irish Distillers sent a cease-and-desist letter to Madison Vineyard Holdings, asserting that “Jamieson” is “confusingly similar” to “Jameson” and is “likely to cause consumer confusion and/or the appearance that your client’s business originates from or is endorsed or authorised by Irish Distillers,” the use of which is likely to dilute the mark “Jameson.” Madison Vineyard Holdings responded by filing suit against Irish Distillers for declaratory relief, a term that is totally meaningless to me but I assume implies that there’s no danger to Jameson Irish Whiskey from Jamieson Ranch Winery and that Jameson should leave Jamieson the hell alone.

It seems to me that only people who lack the intellectual prowess to tell the difference between, say, Lady Gaga and Little Lulu — meaning lawyers — would find the labels, intentions and products of Jameson Irish Whiskey and the wines of Jamieson Ranch Vineyard “confusingly similar.”

Let’s examine the evidence.

Jameson Irish Whiskey is a distilled spirit made from grain. The alcohol content is 40 percent. It’s a rich amber-brown color. It looks and tastes nothing like wine.

The products of Jamieson Ranch Vineyards are fermented from grapes. Alcohol contents tend to be about 13.5 to 14.5 percent. Colors range from ruby-purple to pale gold. They look and taste nothing like Irish whiskey.

Additionally, distilled spirits and wine are stored in different sections of retail stores, none of which want to muddy the waters by keeping whiskey next to wine. I cannot conceive that any person would set a bottle of one next to the other and think, “Oh ho, these brands must be the same.” Despite these factors, lawyers for Pernod-Ricard are tallying the billable hours in going after a harmless gnat with a baseball bat. This rigamarole makes as much sense as a case I mentioned three years ago in which the giant Anheuser-Busch InBev went after a tiny winery in Argentina called Budini because their label would “dilute” the effect of Budweiser. The result was than Budini became Bodini. Money counts, as if you didn’t know.

The Madeira Archipelago, an autonomous region of Portugal, sits in the North Atlantic Ocean about 625 miles southwest of the European continent and 466 miles west of Morocco. It is the outermost reach of the European Union. Encountered primarily by shipwrecked sailors until the 15th Century, the islands were claimed by Portugal in 1419. Situated advantageously in the sea-lanes that ships used to journey to Africa, South America and India, Madeira and its capital of Funchal became a natural port-of-call and supply station for shipping companies. The islands’ major agricultural product was sugar cane and its industry sugar refineries, though when those activities migrated to the New World, vineyards and winemaking developed, and that’s where this post is concerned.

Madeira became a fortified wine sometime toward the end of the 16th Century, that is to say that, like Port, alcohol was added to the wine to strengthen it for long sea voyages; with fermentation stopped, the wine retained residual sugar and became sweet to varying degrees. Madeira was very popular in North America in the 17th and 18th centuries, as well as Brazil, North Africa, Great Britain and Russia. In fact, the Russian Revolution of 1917 dealt a severe blow to the Madeira industry, though from the mid-19th Century double whammies came from powdery mildew and phylloxera. From the 30 shippers working in Madeira at the end of the 17th Century, now there are six, with several of the better-known companies, such as Blandy and Cossart Gordon and other brands, gathered under the rubric of the Madeira Wine Company, of which the Symington family of Oporto has controlling interest.

The island of Madeira is mainly vertical, meaning that vineyards are allocated on steep and narrow terraces that must be tended and harvested by hand. The climate is subtropical, the rainfall high, so the altitude of the vineyards, some over 5,000 feet, helps alleviate problems of mildew and rot. What makes Madeira unique is that the wine is deliberately oxidized through a process called estufagem in which the wines in barrels are exposed to induced heat for periods ranging from at least 90-days — for bulk wines in stainless steel — to six months to a year in 158-gallon wood casks for better Madeiras to periods as long as 20 years for the finest products, these aging in the lodges in Funchal heated by the sun. While a number of lesser grapes made be grown in Madeira for the bulk wines, the best products are made from sercial, verdelho, bual and malvasia grapes; these are listed on labels as an indication of the relative dryness or sweetness of the wine.

Today, we look at seven Madeiras from Blandy’s, founded by John Blandy, who arrived at the island in 1808. His descendents still run the firm, though now in partnership with Symington.

Imported by Premium Ports & Madeiras, San Francisco. These wines were samples for review. Image of terraced vineyards from madaboutmadeira.org.
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Blandy’s Sercial Madeira Aged Five Years. The color is light golden-amber; initial aromas are dominated by toasted almonds, hay, dried thyme and caramelized fennel, opening then to toffee and honey. This Madeira is dry yet filled with a strain of slightly honeyed and roasted peaches, enlivened by cloves and allspice, with the characteristic astringency of the latter; it’s quite vibrant and resonant, with vivid acidity cutting through the salted caramel flavor and a lovely satiny texture. The finish is dry and clean but slightly earthy. 19 percent alcohol. Delectable. Excellent. About $24.
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Blandy’s Verdelho Madiera Aged Five Years. Here the color is medium amber with a hint of green; here toasted almonds are married to toasted coconut with touches of almond skin and orange zest, cloves and ginger. The dense, chewy silky texture is seductive, though buoyed by brisk acidity, while the finish brings in notes of sea salt, salt-marsh and salted caramel; the impression is of shapely sweetness that tapers to dryness from mid-palate back. 19 percent alcohol. Excellent. About $24.
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Blandy’s Bual Madeira Aged Five Years. The color is burnished medium to dark gold-amber; hints of maple syrup and pine resin, toasted walnuts and coconuts, cloves and sandalwood waft from the glass. This Madeira is undeniably sweet, at least on the entry, but is neither cloying nor opulent; it’s quite lively and vibrant, spicy, wild, sleek, yes, dense and chewy and imbued with toffee and creme brulee flavors. The finish is clear, clean and lively. 10 percent alcohol. Very Good+. About $24.
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Blandy’s Malmsey Madeira Aged Five Years. Now the color is brilliant dark amber with a golden rim; aromas of toasted almonds and hazelnuts, fruitcake, orange zest, cloves and quince jam are finely-knit yet generous. This Madeira is rich and honeyed, thick and chewy, viscous but not heavy; it flows like money across the tongue in the denominations of baked peaches, spiced pears, salted toffee and crystallized ginger. 19 percent alcohol. Excellent. About $24.
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Blandy’s introduced the Alvada 5 Year Old Rich Madeira in 2002 as a different expression of the wine designed to appeal to younger consumers who don’t know anything about Madeira or believed that it’s the domain of crusty of English gentleman. In a radical move for the island, Alvada is a blend of Malmsey and Bual. The color is medium gold-amber; rich and smoky aromas of fruitcake and figgy pudding, toasted almonds and coconut, cloves, allspice and orange zest are woven in an alluring amalgam that subtly reveals a ghostly hint of bacon-wrapped dates grilled over an open fire. Dense, chewy, viscous, of course, but with high notes of roasted peach, toffee and caramel-apple, all wrapped in sea salt and almond skin. 19 percent alcohol. Pretty riveting stuff.. Excellent. About $18 for a 500-milliliter bottle.
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Blandy’s Sercial Madeira Aged 10 Years. A medium golden-amber hue seems both dense and transparent; this is an earthy Madeira, with dark notes of autumn leaves and moss under a surface of toffee, smoke and tobacco and the typical toasted coconut and almonds. A few minutes in the glass bring in notes of orange zest, bitter chocolate and candied grapefruit rind. This is dense and chewy, deeply satiny, but given resonance by blinding acidity and a dry, spicy finish. 19 percent alcohol. Very Good+. $29 for a 500-milliliter bottle.
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Blandy’s Malmsey Madeira Aged 10 Years. The color is an entrancing tobacco-amber hue with a copper-gold rim; notes of buttery toffee and roasted caramel are blended with an aroma that personifies the best fruitcake, with all that implies of dried fruit and exotic spices and a sort of dark rum-imbued wheatmeal; this is rich, savory and saline, a Madeira that’s lively and vibrant, with a core of strong lapsang souchang tea, bitter chocolate, macerated peaches and maple syrup nestled in a luxurious texture that’s viscous without being heavy or cloying. The finish is surprisingly dry and vivid. 19 percent alcohol. Deliriously attractive and sensuous, and a few sips suffice. Excellent. About $30 for a 500-milliliter bottle.
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You’ll have to do a little searching for this beauty, My Readers, because the production is limited, but if you’re a fan of rosé wines, this is worth a phone call or visit to the winery website. The MacPhail Family Wines Rosé of Pinot Noir 2013, Sonoma Coast, offers a radiant copper-salmon color and bright aromas of dried red currants and strawberries with a hint of peaches and orange zest. The wine is clean, fresh and dry, but nor austere; an earthy, slightly brambly background encompasses notes of wild berries and cloves, over a dusty limestone element; there’s even a touch of tannic power under the vivid acidity, but this is not one of those serious rosés that neglects its higher purpose: to be delightful and pleasurable and vivacious. 14.5 percent alcohol. 400 cases. James MacPhail founded the winery in 2002; it is now part of Hess Family Estates. Excellent. About $22.

A sample for review.

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