There are rosés, and then there is the Inman Family “Endless Crush” Rosé of Pinot Noir 2013, Russian River Valley, Sonoma County. The wine’s nickname commemorates the long relationship between winery owner and winemaker Kathleen Inman and her husband, Simon. At first, she made the wine only for them and the family, but you can’t keep a great wine hidden endlessly. This rosé derives from Inman’s Olivet Grange Vineyard, from pinot noir vines dedicated to that purpose. It is fashioned, of course, completely in stainless steel. The color is the true Provençal rosé hue of light salmon-copper, more gris than pink; delightful and enticing aromas of dried currants and strawberries are buoyed by thyme, damp gravel and a tinge of ripe tropical fruit. This is a zesty rosé, layered with notes of peaches, watermelon and cloves riven by crisp acidity and a lacy limestone element that seems to lend tensile strength to what might be ephemeral and evanescent. The total effect is dry, spare, elegant, lively, irresistible. 12.8 percent alcohol. Production was 1,350 cases. Drink now through the Summer of 2015 with such picnic fare as cold fried or roasted chicken, deviled eggs, watercress and cucumber sandwiches, rabbit terrine. I don’t often rate rosé wines Exceptional, but this one is an exception. About $25.

A sample for review.

Actually, it’s unseasonably chilly today in my neck o’ the woods, but that doesn’t stop me from drinking rosé wines and posting about them. Here we touch the South of France, Spain’s Rioja region and two areas of California for pale wines that are light-hearted yet versatile, quaffable yet good with all manner of fare, especially if you’re on a picnic or sitting on the porch or patio. These are quick notices, not intended to bother your pretty little heads about technical, historic or geographical data but desiring to picque your interest and whet the ol’ palate. Enjoy! These wines were samples for review.
__________________________________________________________________________________________________________________

Marc Roman Rosé 2013, Vin de France; the postal code on the bottle indicates Caunes-Minervois, northeast of Carcassonne. 12.5% alc. 100% syrah. Pale pink-salmon color; ripe and fleshy, strawberries and raspberries, fairly spicy; notes of potpourri and orange rind; quite dry, with snappy acidity and a hint at a stony structure. I like this version of 2013 a bit better than the 2012. Very Good. About $11, a Fine Value.
___________________________________________________________________________________________________________________

Pedroncelli Signature Selection Dry Rosé of Zinfandel 2013, Dry Creek Valley, Sonoma County. 13.2% alc. Bright rosy-pink color with a magenta tinge; robust for a rose, very spicy and floral, scents and flavors of red currants, raspberries and red cherries; hints of limestone and flint, enlivened by vibrant acidity; medium body woven of delicate supple strands; tasty, thirst-quenching; lots of personality and appeal. Excellent. About $12, a Great Bargain.
_________________________________________________________________________________________________________________

El Coto Rosado 2013, Rioja, Spain. 13% alc. A 50/50 blend of tempranillo and garnacha. Medium salmon-copper hue; rose and violets, lightly macerated strawberries and raspberries with a touch of tea and orange zest; hint of dried thyme; clean, fresh, dry; good acidity though a moderately lush texture; could you a bit more tautness, still quite enjoyable and better than I remember. Very Good. About $13.
________________________________________________________________________________________________________________
Paul Jaboulet Aîné Parallèle 45 Rosé 2013, Côtes du Rhône. 13% alc. Grenache 50%, cinsault 40%, syrah 10%. Pale salmon-copper color; tender and robust, lithe, taut and tart; nervy, attractive; raspberries and red currants, blood orange, touch of what Keats calls “the warm South” in its dried herb, sunny, slightly saline nature; all qualities strung on a line of limestone and flint buoyed by brisk acidity. Very tasty. Excellent. About $15.
________________________________________________________________________________________________________________

M. Chapoutier Belleruche Rosé 2013, Côtes du Rhône. 13% alc. Unspecified blend of grenache, syrah and cinsault. Slightly ruddy onion skin hue; lively and engaging; cloves, spiced tea, orange zest; ripe and dried red currants, raspberries, hint of cherry; rose petal and lilac; good body, even a bit lush yet light on its feet and fleet with vibrant acidity; very clean and refreshing. Excellent. About $15.
_________________________________________________________________________________________________________________

Bonny Doon Vin Gris de Cigare 2013, Central Coast. 13% alc. Grenache 55%, mourvèdre 23.5% roussanne 10%, cinsault 7% carignane 2.5%, grenache blanc 2%. Very pale pink color; beguiling aromas and flavors of strawberries, raspberries and red currants with a faint flush of blood orange and violets; a transparent filigree of limestone lends a crisp yet talc-like aura to the structure while tense acidity keeps it lively and appealing. Beautifully made. Excellent. About $18.
_______________________________________________________________________________________________________________

If national borders were erased and a sort of primal geography took over, northeastern Italy would fittingly spill over into Austria and Switzerland, where place names, surnames and grape varieties are shared in abundance. That’s certainly true for the mountainous areas of Italy’s Alto Adige region, where Germanic terms are as common as Italian. Taking a prominent place among producers in Alto Adige is Elena Walch, who, with her daughters Julia and Karoline, makes some of the best white wines, well, that I have tasted so far this year. A specialist in gewürztraminer and pinot blanc grapes, Elena Walch — person and estate — farms along rigorous sustainable practices and was among the first in the region to do so. The two examples under review today represent the “regular” bottling of gewurztraminer, drawn from several vineyards, and a single-vineyard model from Kastelaz. Both wines are made completely in stainless steel tanks and are all the fresher and appealing for it, though stinting not a whit on complexity. These were samples for review, imported by Walch/USA, Sausalito, Calif.
________________________________________________________________________________________________________________
The Elena Walch Selezione Gewürztraminer 2013, Alto Adige, Italy, is the estate’s standard or regular bottling, but the quality is far above standard. The color is medium-gold; pungent aromas of peach, jasmine and lychee, cloves, quince and ginger are seamlessly woven with notes of yellow plum, lightly roasted fennel and a stray finger of coriander; if you think it’s difficult to tear oneself away from these seductive scents, you’re not wrong. Spicy and lively citrus and stone fruit flavors are buoyed by bright, lithe acidity, while the long dry finish offers refreshing notes of celery seed, grapefruit bitterness and brisk salinity. 14.5 percent alcohol. Drink now through 2016 or ’17. Excellent. About $20, marking Great Value for the Price.
__________________________________________________________________________________________________________________
The Elena Walch Kastelaz Gewürztraminer 2012, Alto Adige, derives from a steeply terraced vineyard (pictured here) that lies 340 to 360
meters — 1,115 to 1,240 feet — above sea level; the soil is chalk-clay with raw rock of volcanic origin. The color is radiant medium-gold; a dazzling array of effects, however splendid, is beautifully integrated. The highly perfumed bouquet features notes of jasmine and lilac, cloves, candied ginger and lime peel, orange zest and blossom, all wreathed with fruit tones of peach, spiced pear and lychee; yeah, pretty heady stuff. Overall, though, the wine is both luscious and seductive, on the one hand, and spare, supple, elegant, on the other, even a bit demanding in its dryness and steely, limestone character. Wonderfully alive and resonant. 14.5 percent alcohol. Drink now through 2018 to 2020. Exceptional. About $32.
_____________________________________________________________________________________________________________________

Our ideal of and faith in the minuteness of soil variations is formed by Burgundy, where vineyards separated by only a stone wall or the width of a country lane are assumed to evince subtle differences in wines made from the same grapes, either pinot noir or chardonnay. Why, then, wouldn’t a difference in 200 feet elevation produce some deviation in wines made from cabernet sauvignon grapes, all other aspects being equal?

That’s the question that two 100 percent cabernet wines from Anakota in Knights Valley asks. Winemaker Pierre Seillan, who also makes the Verite wines for Jackson Family, produces these wines from the Helena Dakota vineyard, which lies at 750 feet elevation, and the Helena Montana vineyard, 200 feet higher at 950 feet elevation. Knights Valley, nestled in the western reaches of the Mayacamas range, is the warmest AVA in Sonoma County as well as the most isolated and least populated, at least by wineries and vineyards. The landscape is dominated by the 4,339-foot peak of Mount St. Helena, located just west of the cusp where Lake, Sonoma and Napa counties meet. In the 1840s, the vast area of what was then Mallacomes Valley formed the hunting grounds of Jose de los Santos Berryessa, whose lodge still stands. When California became part of the United States in 1850, Berryessa returned to Mexico; Thomas B. Knight purchased a large portion of the ranch and eventually the valley was named after him. Beringer and Kendall-Jackson own most of the vineyard acreage. Just north of Anakota is the Peter Micahel Winery and its Les Pavots Estate Vineyard.

While only 200 feet — 2/3 of a football field — separate Helena Dakota and Helena Montana, they are also divided by Yellowjacket Creek and a rocky ridge, geographical or geological factors that must have some influence on the make-up of the vineyards. Below the creek, Helena Dakota consists of red-brown silty loam, and vine roots tend to be deeper; above the creek, Helena Montana contains yellow-white sandy soil and gravelly loam, and the vines are shallow and stressed. Both wines — this pair is from 2009 — see 15 months aging in new French oak barrels; both exhibit 14.5 percent alcohol. The first vintage of these wines was 2001.

These wines were samples for review. The label images below display previous years.
____________________________________________________________________________________________________________________
The color of the Anakota Helena Dakota Vineyard Cabernet Sauvignon 2009, Knights Valley, is deep ruby-purple with an opaque center; aromas of dust, briers and graphite, cloves and allspice, lavender and bitter chocolate are tightly wound around notes of intense and concentrated dark plums, currants and cherries. This is a deep, dark and dusty cabernet, gird by polished tannins, granitic minerality and a slightly austere finish with a hint of a charcoal edge, yet the whole package is vibrant and resonant. I knocked the cork back in the bottle and reopened the wine 24 hours later; it had opened beautifully, adding more spice, more graphite minerality, though also softer and more macerated fruit and a touch of anise. Still, the structure was forthright and rigorous. Try from 2015 or ’16 through 2025 to ’30. Excellent. about $75.
__________________________________________________________________________________________________________________
So, a clamber over the rocks, jumping the mountain stream and a short stroll upward, and here’s the Anakota Helena Montana Vineyard Cabernet Sauvignon 2009, Knights Valley, not so much a different wine as an intensification of all the virtues of its lower elevation cousin. The same opaque ruby hue, yes, but a wine that’s deep and powerful yet expressive, almost elegant in its litheness and sleekness, its chiseled minerality — this sounds like the guy you don’t want to work out next to at the gym; you certainly feel the dusty mountain roots, translated as leather and loam and earth, and something cool and distant, aloof, even; yet the wine is wrapped around a seductive ash, lavender, bitter chocolate core that only hints, sparely and obliquely, 24 hours later, at the ripeness of its intense black and blue fruit character. Try from 2016 or ’17 through 2028 to ’30. Excellent. About $75.
_______________________________________________________________________________________________________________

Founded in 1883, Wente Vineyards is the oldest family-operated wine operation in California; winemaker is the fifth-generation Karl D. Wente. I say “operation” rather than “winery,” because Wente owns vast tracts of vineyards not only in Livermore Valley, where German immigrant Carl H. Wente (1851-1934) was a pioneer, but in Monterey County, where in the 1960s the family also was an early developer. Wente was the first winery to bottle varietally-labeled chardonnay and sauvignon blanc and for several decades both before and after Repeal sustained a reputation as the finest producer of white wines in California. Naturally, in a company with a 130-year history there have been ups and downs, and for Wente Bros. — the name was changed to Wente Vineyards in 1996 — the down occurred during the expansion and acquisitions of the 1980s, when quality slipped. More rigorous standards apply today, though, and Wente offers a range of attractive and fairly serious red and white wines from all its properties.

Today’s Wine of the Week hails from the red side of the roster. This is the Wente Vineyards “Southern Hills” Cabernet Sauvignon 2011, Livermore Valley, San Francisco Bay*, and if you don’t find the aromas entrancing, you just don’t have a heart. The color is dark ruby with a medium ruby rim; notes of star anise, lavender and graphite, black olive, cedar and a hint of caramelized fennel leap from the glass, amid a welter of ripe, spicy black cherries and currants. The wine aged 14 months in a combination of neutral** French, American and Eastern European*** oak barrels, a tactic that lends supple and mildly spicy support to tasty blue and black fruit flavors nicely balanced by vibrant acidity, lightly dusted tannins and some slightly ashy iron/iodine minerality on the finish. 13.5 percent alcohol. Loads of personality and just gets down on its knees and begs to be drunk with a fat juicy bacon-cheeseburger. Drink now through 2015 or ’16. Very Good+. About $18.

A sample for review.

*The ridiculously far-ranging San Francisco Bay AVA was approved in 1999, largely due to the efforts of Wente Vineyards. It gathers under one region not only the counties of San Francisco, San Mateo, Santa Clara, Contra Costa and Alameda and parts of San Benito and Santa Cruz but the city of San Francisco and San Francisco Bay. You can leave your heart in San Francisco and sell your wine everywhere else.

**Meaning already used, as many as two or three times, so the wood influence is very subtle.

***”Eastern European” oak generally refers to Romanian, Slovakian, Slovenian or Hungarian oak barrels.

Three pinot noirs, two cabernet sauvignons, one syrah; a nice sense of symmetry, n’est-ce pas? Five from California, one from Oregon’s Willamette Valley. All rated Excellent. One more costly than most of us can afford, the others more reasonable. All offering many virtues and confidences of the vineyard, the grape, the winemaker’s gentle and genial art. Quick notices here, eschewing technical matters and such geographical and historical information as much stimulate our fancies; the idea is that these notes — not as full-bodied as actual reviews — will inspire your interest and whet your palates. Enjoy!

These wines were samples for review.
____________________________________________________________________________________________________________________

Olema Pinot Noir 2012, Sonoma County. 14.2% alc. (The second label of Amici Cellars.) Radiant ruby-magenta color; plums, mulberries and cranberries, brier rose; hints of cloves, rhubarb and pomegranate; dense, supple and satiny; ripe and lightly spiced red and blue fruit flavors; a few moments in the glass bring in notes of roses and violets, leather and tobacco; undertones of graphite, earth and mild tannins. Really lovely. Now through 2016. Excellent. About $20, marking Great Value.
____________________________________________________________________________________________________________________

Elizabeth Chambers Cellar Winemaker’s Cuvée Pinot Noir 2011, Willamette Valley, Oregon. 13.9% alc. Transparent medium ruby color; quite spicy and lively, with macerated red currants and cherries, seductively ripe but balanced by a spare structure and long elegant lines; hints of cloves, cola and rhubarb, leather and loam, subdued oak; lovely satiny texture, but again that sense of reserve and delicacy, with acidity that lays an arrow across the palate. I could drink this one all day long and almost did. Now through 2015 or ’16. Excellent. About $32.
__________________________________________________________________________________________________________________
Ramey Wine Cellars Syrah 2011, Sonoma Coast. 14.5% alc. With 5% viognier. 780 cases. Dark ruby color; deliriously spicy; notes of
macerated and slightly fleshy black currants, blackberries and raspberries, roughened by brambles and underbrush elements; robust, dynamic, powered by bright acidity, graphite minerality and sleek tannins; quite dry but flavorful, deft balance of spareness and rigor with generosity and expressiveness; finish packed with woody spices, granite and lavender. Perfect with pork chops coated with cumin, urfa pepper and chili powder. Now through 2017 or ’18. Excellent. About $40.
___________________________________________________________________________________________________________________

Gary Farrell Russian River Selection Pinot Noir 2011, Russian River Valley. 14.2% alc. Entrancing ruby-magenta hue; nicely layered aromas of cloves and allspice, hint of sandalwood; macerated red currants, plums and cranberries; notes of rhubarb and pomegranate; gently sifted tannins over loam and slightly granitic minerality; a touch of lightly candied red cherry; lithe, supple, sinewy; exhibits terrific confidence and authority without being ostentatious. Now through 2016 or ’17. Excellent. About $45.
________________________________________________________________________________________________________________
Smith-Madrone Cabernet Sauvignon 2009, Spring Mountain District, Napa Valley. 13.9% alc. With 8% each merlot and cabernet franc. 1,302 cases. Dark ruby color; rigorous structure with mountain roots but such a pretty surface, violets and lavender, cassis, plums and black cherries, note of licorice; stout, robust tannins and dusty oak bastions; walnut shell and underbrush; gets dustier and more austere but still scrumptious; lithic chambers of blueberries, sweet smoke, soy sauce and barbecue; iodine, iron, resonant acidity. Drink 2015 or ’16 through 2025 to ’30. Always one of Napa Valley’s best and most characterful cabernets. Excellent. About $45, representing Great Value for the Quality.
____________________________________________________________________________________________________________________

Hestan Vineyards Cabernet Sauvignon 2010, Napa Valley. 14.7% alc. 400 cases. An exemplary Napa Valley cabernet, and at the price it ought to be. Dark ruby-purple hue; iron and iodine, lavender and violets; black currants, black cherries and raspberries with a graphite/ancho chili edge, a hint of black olive, a dusting of dried rosemary; glossy tannins and a polished oak superstructure, all enlivened with brisk and elevating acidity; a long, dense yet lithe finish. If you have on hand a medium-rare ribeye steak, hot and crusty from the charcoal grill, introduce it to this wine. Now through 2020 to 2025. Excellent. About $110.
_____________________________________________________________________________________________________________________

The phrase “Wine and Memory” may evoke for readers the memories we carry within ourselves of the great vintages of wine we have consumed or the wonderful times we spent with others, in some trattoria in Tuscany, next to a canal in Venice, on a wind-swept plain in Extremadura, high in the hillsides of the Douro region, in sight on the Andes in Mendoza, or among the lush vineyards of Napa Valley, always with the perfect bottle of wine, be it rare and costly or a simple everyday luncheon quaff, all bound by the congenial cords of friendship and landscape and pleasure.

Those evocative images, however, are not what I intend by writing “wine and memory.” What I mean is the memory of the wine itself, of wine as an evanescent record of the verities of soil and weather and location, the factors that merge to create the character of the wine, along with, of course, the nature of the grape itself. The reverse scenario also applies; wine can be stripped of its memory, rendered forgetful and inchoate.

I was impelled to write this little essay by a recent reading of two books, one of which has nothing to do with wine, the other of which has everything to do with wine.

First, then, from The Situationist City (MIT Press, 1998), in which Simon Sadler, speaking of the anti-modernist situationist architects and designers of the 1960s and ’70s, writes: ” … they deplored modernism’s tabula rasa approach to the city, one that would effectively leave the city without a memory.” And he mentions “the authority of narrative,” by which he means the deep accumulated history of cities that in its layers and diversity create a unique complexion and identification. You may wonder why those ideas reminded me of wine and winemaking, but if you don’t catch the drift, have a little patience.

Let me juxtapose that quotation with two from a book that should be essential (though difficult) reading for anyone connected with making, selling or writing about wine, Robert E. White’s Soils for Fine Wine (Oxford University Press, 2003). Much of the material in this volume is highly technical, algebraic and meticulous, but White, a professor of soil management at the University of Melbourne, makes clear, in his examination of the soils of St. Emilion, the Medoc, Burgundy, Beaujolais, Napa Valley and Australia’s Coonawarra region that there is “a significant influence of soil on wine character for particular grape varieties” grown in those areas. In addition, “the distinctive character of this wine will depend on the terroir (soil and climate), provided this influence is not obscured by extraneous factors in the vineyard or the winery.”

My point in aligning quotations from these disparate volumes is my sense that as in the city decimated by the rationalist and utopian methodology of modern architects, urban designers and sociologists, so it may occur in the vineyard and the winery, where producers have the ability to tailor wines to their own and their customers’ expectations rather than allowing the cogent features of geography, landscape, soil and microclimate — which White narrowly defines as the conditions that maintain in the vine canopy down through the roots — to shape the final product.

Now I am neither so naive nor so romantic that I would advocate for what is called “natural wine,” the current buzz-concept, nor would I assert that wine should “make itself.” For wine to be totally “natural” and “make itself,” it would have to be the product of ripe grapes that fell off the vine and fermented because of native yeasts on the broken skins, an elixir for the beetles and worms that burrow in the dark earth. Making wine calls for dozens if not hundreds of crucial decisions in the vineyard and the winery, most of which don’t involve mechanics as much as instinct, knowledge and experience. On the other hand, there’s virtue in simplicity, and while many so-called New World winemakers bristle — or become downright vituperative — at terms like “nonintervention” and “nonmanipulative,” it’s my feeling that the best wines result from a balance of sensibilities and techniques that concentrate on the benefits to the integrity of the wine.

What, for example, is the use of bottling single-vineyard chardonnays and pinot noirs if whatever qualities those vineyards might embody are obscured by an aggressive oak regimen? I frequently receive samples from wineries that take pride in a series that involves a separate and increasingly limited bottling for, say, a region, a valley, a vineyard, a block within that vineyard; the implication is that the sequence of these releases will provide a more accurate and profound expression of a particular place. How tragic, then, that the hoped-for eloquence is muted or disrupted or actually negated by the sweetness of high alcohol or tediously ripe flavors or a toasty overlay of new wood.

As you learned in Philosophy 101, tabula rasa is Latin for “blank slate,” a concept most familiar from John Locke’s idea that the human mind is a tabula rasa upon which the world imprints its impressions and effects. A few years ago, a very well-known winemaker for a venerable producer in Napa Valley said to me, “You know what I love about chardonnay? It’s a blank slate. You can do anything you want to with it.” That must explain why I could not drink this winemaker’s stridently spicy, toasty, cloyingly tropical chardonnays.

A grape variety is not a blank slate, My Readers, nor should winemaking devolve to an exercise in ego and dictatorial principles. If you’re not in the business of making fine wine because you revere a place and the grapes you work with and will not through thoughtful nurturing allow that place and those grapes complete expression, why bother? There’s history in the vineyard, geology in the vines and a narrative in the bottle that satisfies a deep longing for connection and gratification on many levels. It should be a privilege to husband that character to ultimate realization.

With last night’s pizza, which combined the basil/radicchio/red onion food group with the roasted eggplant/caramelized tomato/bacon food group, I opened a bottle of the Graffigna Centenario Elevation Red Blend 2012, from Argentina’s San Juan region, abutting Mendoza to the south and similarly located in the Andean foothills, though San Juan tends to be hotter and drier than Mendoza. The winery was founded in 1870 by Italian immigrant Santiago Graffigna and remained in the family until 1980, when it was sold to Allied Domecq, in turn acquired in 2005 by Pernod Ricard. The term “Elevation” isn’t used trivially; these vineyards average 4,600 feet about sea-level. Graffigna Centenario Elevation Red Blend 2012 is an equal five-part blend of bonarda, cabernet sauvignon, malbec, syrah and tannat grapes. You would not be surprised, then, that it’s a robust and rustic red wine, offering a dark ruby color and aromas of ripe, fleshy black currants, blackberries and plums thoroughly imbued with graphite, lavender, bitter chocolate and cloves. The wine is sleek and supple, though full-bodied, borne by healthy, slightly shaggy tannins and bright acidity under tasty blue and black fruit flavors, all devolving to a cast of moderately astringent dried porcini, underbrush and brambly elements. 14 percent alcohol. Drink now through 2015 with such hearty fare as burgers, grilled pork chops, braised shanks or spaghetti and meatballs. Very Good+. Suggested retail price is $15, but I have seen it marked down as low as $10.

Imported by Pernod Ricard USA, Purchase, NY. A sample for review.

…. and it’s not from Napa Valley or Alexander Valley or Paso Robles. No, it hails from the Clare Valley in South Australia, a region that I associate more with superb riesling than cabernet sauvignon, but I’m happy to have my horizons expanded. The Taylor family, wine merchants in Sydney, searched for the right location in keeping with their idea of well-balanced wines and found what they were looking for in 1969, a 178-hectare vineyard — about 380 acres — near the Wakefield River in Clare Valley, about 120 kilometers north of Adelaide. Mitchell Taylor is managing director and third-generation winemaker; chief winemaker is Adam Eggins.

So, the Wakefield St Andrews Single Vineyard Release Cabernet Sauvignon 2010, Clare Valley, offers a transparent medium ruby color and beguiling aromas of mint and iodine, cassis and blueberry, lavender and violets, all borne on deeply rooted elements of briers, loam and graphite. Black and blue fruit flavors are distinctly spicy in the cloves, allspice and mocha range, with a lingering hint of sandalwood; tannins are finely sifted and polished, while any wood influence, from 18 months in French oak barrels, 50 percent new, the rest two and three years old, is firm, subtle and supple. There’s energy and eloquence here, expressed in a feeling of resonance bolstered by vibrant acidity, yet nothing flamboyant or opulent; rather a sense of elementary power married to deftly balanced elegance. The finish is long and packed with dried spice, notes of underbrush and granitic minerality, bringing in a touch of austerity. 14.5 percent alcohol. Now through 2018 to ’20. We gladly drank this with grilled pork chops and mashed sweet potatoes and pan gravy. 250 cases were imported. Excellent. About $60.

Imported by AW Direct, Novato, Calif. A sample for review.

Usually the “Weekend Wine Notes” offers more than a pair of wines, but I thought that this would be a good weekend to get you started on rosé wines, though I’m in favor of drinking rosés all year round. One from France’s Loire Valley and one from Cigales, a not-so-well-known region in north-central Spain; made from different grape varieties, slightly different in style, both exceedingly charming and satisfying. I won’t provide much in the way of technical, historical, climatic or personnel-type matter; the purpose of the “Weekend Wine Notes” is to titillate your taste-buds and pique your interest quickly. Both of these wines were samples for review; both are imported by Frederick Wildman and Sons, New York. Enjoy!
___________________________________________________________________________________________________________________

Finca Museum Vinea Rosado 2013, Cigales, Spain. 12.5% alc. 100% tempranillo grapes, known in the area as tinta del pais. Lovely salmon-copper color; notes of fresh watermelon, raspberries, peaches and pink grapefruit; a few moments in the glass bring in hints of roses, lilacs and blood oranges; very dry, stony, moderately spicy and herbal — think cloves and dried thyme — with a citrus undertone and a real cut of bright acidity; fairly lean, limestone-inflected texture. Now into Spring 2015. Excellent. About $24.
___________________________________________________________________________________________________________________

Pascal Jolivet Sancerre Rosé 2013, Loire Valley, France. 12.5% alc. 100% pinot noir grapes. Slightly ruddy copper-peach color; hints of ripe peaches, red currants and blood oranges, touched with peach skin, pomander and pomegranate; this rosé is a bit fleshier, a bit more florid, supple and strawberryish than the preceding model, but is just as dry, as crisply acidic, even a touch austere from mid-palate through the spice and stone influenced finish. Now through the end of 2014. Excellent. About $27.
___________________________________________________________________________________________________________________

« Previous PageNext Page »