Finos from Equipo Navazos

Our focus here will be two fino sherries from Equipo Navazos, but before describing the wines we will look into the general process for Sherry making.

Sherry Production

Sherry is a fortified wine made from white grapes grown near the town of Jerez de la Frontera in Andalusia, Spain. The word Sherry is an English corruption of Jerez (Xérès being the French term). Sherry was originally known as sack, derived from the Spanish saca, meaning extraction from the solera.

Jerez

The Sherry triangle (Jerez de la Frontera, Sanlúcar de Barrameda and Puerto de Santa Maria) is an area of rolling hills and gentle slopes that gets around 300 days of sun and 70 days of rain each year. The rain comes as brisk tropical style showers that usually only occur during the winter, and the summers are extremely hot and sunny, with temperatures often reaching 40°C. Each area has its own microclimate that gives distinguishing characteristics to the sherry produced and stored there.

No additional irrigation is allowed within D.O. Jerez-Xérès-Sherry appellation, so the unique soils perform a key role in allowing grapes to survive. The area was once mostly covered by sea and the soils consist of marine sediments (fossils and skeletons of plankton, transformed into chalk) mixed with limestone and clay.

Arenas, Albariza, Barros

Albariza is the lightest coloured of the soils (alba means white) and is made up of between 30 and 80% chalk mixed with limestone, clay and sand. It is very good at retaining water from rainfall, which allow the vines to survive over the dry summer months. The upper layers of soil bake hard during the hot summer, preventing evaporation, and the moist Poniente winds from the ocean form a heavy dew overnight. These factors provide the vines with moisture and allow them to withstand the extreme heat. Additionally, the soil's white colour reflects sunlight onto the vine helping with photosynthesis, and the loose texture of the soils allows a widely distributed root system. Albariza soil is perfect for Palomino grapes, but can also be used for growing Pedro Ximénez, however these are mostly imported from neighbouring D.O. Montilla – Moriles.

Barros soils are rich and dark brown, made up of 10% chalk with higher clay content and organic matter than Albariza, occurring predominantly on lower ground, and more difficult to work. They are more fertile and give higher but lower quality yields than Albariza, producing a coarser wine not suitable for fino sherries.

Arenas soils have a slightly yellowish/reddish colour and consist of only 10% chalk, but with a high proportion of sand and some limestone. They aren't very good at retaining water, making them unsuitable for Palomino grapes, instead they are mostly planted with Moscatel grapes. They occur mostly in the coastal areas, especially around Chipiona, Rota and El Puerto.

Base Winemaking

The main (white) grape variety used in sherry production is Palomino, which has low sugar and acidity, and neutral flavour, desirable as flavours and aromas will come from the flor yeast and solera system. Palomino has a tendency for oxidisation, so is vinified almost immediately after picking. The finest finos are made from older vines grown on the best albariza soils, while vines grown on clay soils go into making olorosos. Two other grape varieties Pedro Ximénez (PX) and Moscatel are mostly used for sweet sherries and for sweetening sherry blends, and often undergo asoleo (drying out in the sun) to concentrate their flavours and sweetness. Pedro Ximénez is high yielding but disease prone, with high sugar content. Moscatel grows best on the lesser clay and sandy sandy soils, mostly around coastal Chipiona.

The grapes are destemmed and carefully pressed without crushing the stems and pips, as these contain phenolic compounds that would give the wine a harsh character. The first juice extracted from the lightest pressings (free-run juice "primera yema") is lowest in phenolics, so most likely to develop plenty of flor and produces the finest fino sherries. Wine destined to become fino tends to be fermented at lower temperatures, and not barrel fermented this produces wine too coarse and tannic. Juice from heavier pressings (press run juice "segunda yema") is more phenolic and best suited for oxidatively aged sherries where the tannins will be tamed by oxidation.

The grape must (pressed juice, seeds, skins and stems) is allowed to settle overnight or for several days so that the solids sink to the bottom, and the clear juice can be be racked off (transferred) into another vat. Tartaric acid may be added if the naturally low acidity of the Palomino grape means the overall acidity is too low. A small amount of already fermenting must is added to begin the fermentation, usually in large stainless steel vats rather than the traditional oak butts, to avoid barrel fermented characteristics. Fermentation happens at relatively high temperature for white wine, between 20 and 25 C, in order to produce a neutral wine. The yeast converts most of the grape sugars to alcohol within a week while it is very active, but continues to ferment slowly for up to twelve weeks, giving a very dry neutral wine between 11 and 12%.

After fermentation the wine is allowed to settle then racked off its lees (dead yeast cells), and a film of yeast called flor begins to form on the surface. At this point all wines are initially classified depending upon their style. Wines that are light and delicate, and have a well enough developed layer of flor to be aged biologically, are initially classified a finos, or those which will age oxidatively (in contact with air) as olorosos.

Fortification and Flor

The wine is then fortified with grape spirit (typically Brandy mixed with aged Sherry in a 50:50 ratio). Sherries to be aged under biologically are fortified to no more than 15 to 15.5%, so that the flor continues to protect the wine from oxidisation, as its growth is inhibited at 16% or above. Oxidatively aged sherries are fortified to 17% or more, causing the flor to die off. Normally oxidisation is considered a wine fault, however when allowed to mature for years the wine becomes rich in flavour and well balanced.

Flor yeast

Flor is the veil or film containing several strains of indigenous yeast that forms on the surface of the wine, making up an ivory coloured, wrinkled and waxy foam up to around two centimetres thick. Under aerobic conditions, once no sugar is left for alcoholic fermentation, it starts feeding off alcohol in the wine and oxygen in the air (technically it is oxidising ethanol) to produce acetaldehyde (ethanal) along with other by products. Acetaldehyde gives certain sherries their distinctive characteristics, identified as a but like smell in oxidised wines.

Flor requires precise levels of alcohol, temperature and humidity to thrive, and is sufficiently sensitive that the conditions in an individual Bodega and the sherries' position within can noticeably influence the final product. Flor favours cool to moderate temperatures and high humidity, so consequently grows more vigorously in spring and autumn, dying back in winter and summer.

Climatic differences over the region influence flor growth, giving subtle stylistic differences between their wines. Within the Jerez region, flor grows more thickly and evenly in the cooler and more humid coastal towns Sanlúcar de Barrameda and Puerto de Santa María, than in Jerez de la Frontera. In Montilla there is a hotter continental climate, reducing the flor a scum like film during the hottest months, whereas in cooler Jerez it grows year round.

Left to its natural conclusion, the flor would die, before having a distinct influence upon the wine, once the nutrients in the wine had all been consumed, but is kept alive for years by continually replenishing the butt with younger wine containing fresh nutrients. This method of fractional blending is the basis of the solera system, which as well as maintaining the flor, maintains a consistent style for other sherries.

Solera System

Solera System

Barrels are arranged in groups called criaderas (nurseries), with the barrels in each containing slightly older wine. The oldest criadera (itself called the solera) holds wine ready to be bottled. Periodically a fraction of the wine is extracted from the solera (called the saca) and replaced with an equal fraction of wine from the first criadera, which holds the next oldest wine. The first criadera will be replenished with with an equal fraction of wine from the second criadera, and so on. The last criadera holding the youngest wine, is replenished with new wine (called sobretabla). This process of extracting wine and replacing it with wine from the next youngest criadera is called rociar (to wash down). The wine is extracted and replenished using special tools called the canoa (canoe) and rociador (sprinkler) whose purpose is to disturb the delicate layer of flor as little as possible. A saca (extracting a fraction of the oldest wine) and rocío (replenishing the barrels) takes place a number of times each year, typically between two and ten, depending upon factors such as the activity of the flor. By law the a maximum of 35% (roughly 1/3) of the wine may be extracted from each barrel, so as to retain the style of the wine, but typically only between 10 and 15%. It is uncommon for wine to be extracted from all barrels in the solera each time.

A solera system is commonly represented as tiers of barrels stacked on top of each other, with the solera at the bottom (solera is derived from the suelo - floor). In practice barrels are usually stacked in blocks, and this arrangement is only the case in smaller bodegas. Solera systems may contain hundreds of barrels, sometimes a whole room is filled with a single criadera, and the biggest solera systems may be spread over several buildings. Apart from size, for stability to be maintained, barrels can only be stacked three or four tiers high. Fino and Manzanilla barrels are best placed near the floor where it is cooler, and barrels containing oxidatively aged sherries higher up.

Sherry Barrels

The number of tiers in a solera system depends on both the style of wine and preference of the bodega. Fino and manzanilla solera systems usually have more criaderas than those for oxidatively aged sherries such as oloroso, and older wines generally have fewer criaderas. A typical fino solera system has between three and seven criaderas, a manzanilla solera system at least nine and up to twenty.

Wine at the bottom of the stack is drawn off to be bottled, with even wine bottled at a very young average age theoretically containing a small proportion of very old wine. This is a continual process, with many solera systems being centuries old. The goal is to add complexity and migate the risks of bad vintages.

Sherry Styles

There are two main types of sherry, those aged biologically under flor, and those oxidatively (in contact with air), giving a distinctive difference in character. The former category includes Fino and Manzanilla sherries. Fino sherries are pale with fresh and nutty flavours, with the flor yeast also giving a bitter character. They are usually aged from two to ten years. Manzanilla sherries are basically Fino sherries produced and matured around Sanlúcar de Barrameda, which is closer to the sea than Jerez and has a cooler and more humid climate. This results in thicker flor growth that protects the wine from air still more, producing slightly lighter sherries which are very dry and saline, and fresh, zesty characteristics. In the latter category, Oloroso sherries are dry and spicy, dark in colour, with a rich taste of raisins and walnuts, and are usually aged anywhere from five up to twenty five or more years.

A third type of sherry is initially aged under flor for a period, then aged with air contact. After an initial period of biological aging, the flor may be intentionally be disturbed and removed, or die naturally once its supply of nutrients has been exhausted. Either way the wine will then be refortified up to 16% or more to prevent the flor regrowing, and aged oxidatively to become Amontillado, dry and darker in colour, with a rich, nutty taste. Fino beginning to take on some characteristics of an Amontillado may be bottled as Fino Amontillado, or if from around Sanlúcar de Barrameda as Manzanilla Pasada.

Sometimes the flor dies off unexpectedly, before again being refortified and aged oxidatively, to become Palo Cortado. Traditionally Palo Cortado would originate as a Fino that deviated unintentionally due to unplanned yeast activity, unusual grape juice characteristics, a slightly faulty cask or ambient conditions influencing the flor. Nowadays winemakers will more often take decisions that encourage the conditions necessary for the transition into Palo Cortado to occur, although many would prefer you to believe they still use traditional methods. Palo Cortado should have the aromatic refinement of an Amontillado on the nose with the structure and body of an Oloroso on the palate. Compared with an Amontillado it will have spent less time under flor (one to three years) and the base wine will have been slightly more delicate (having originally been destined to become Fino).

A less traditional way of making a Palo Cortado style sherry is to blend Amontillado and Oloroso, however this will not give the complexity and integration of a true Palo Cortado.

Equipo Navazos

La Bota de Amontillado

Equipo Navazos is not a Bodega, but a group of sherry lovers led by wine writer Jesús Barquín and technical director of Grupo Estévez, Eduardo Ojeda, who have been producing bottlings of specially selected barrels. It started when in 2005 the group discovered several dozen barrels of an exceptional 20 year old Amontillado at Sanchez Ayala, from which drew a volume equivalent of a butt and produced 600 bottles to be shared privately amongst the group's 30 or so members. These bottles were produced under the brand name 'La Bota de Amontillado', giving a nod to Edgar A. Poe's popular story 'The Cask of Amontillado'.

The group realised that there were numerous brilliant sherry butts lying around in the cellars of Jerez, Sanlúcar and El Puerto, and from all around Montilla, with volumes too low to be viable for commercial bottling, but too good be part of but large solera blends. In 2006 the group produced two more bottlings, but not until 2008 did the the Equipo Navazos bottlings start to be released more widely, each numbered chronologically and marked with the date of withdrawal from cask.

Their primary objective has always been passion for the unique wines of the region rather than commercial success. Using their intimate knowledge of the region, the group sources high quality and distinctive barrels from numerous Bodegas, with ongoing relationships with Valdespino and La Guita (owned by Grupo Estévez), and with Rey Fernando de Castilla, Miguel Sánchez Ayala and Pérez Barquero.

All bottlings are unfiltered, or with the lightest filtration possible, to preserve as much body and complexity as possible, in line with the current trend for en rama sherries. A transparency not traditionally associated with Sherry is also provided for the bottlings, with the Bodega, date of withdrawal from cask, number of casks used, their yield, geographical area of grape production, and and other information being openly available on the bottle or website. The group have subsequently also bottled several unfortified dry white wines made from both Palomino Fino and Pedro Ximénez, sparkling wines and Brandy.

Equipo Navazos Finos

Equipo Navazos La Bota No 54 de Fino Macharnudo Alto saca de Junio de 2014

A rare single vineyard wine produced from 100% Palomino grapes grown in Macharnudo Alto, one of the four great pagos (vineyards) that lie north and west of Jerez, and the one with the highest altitude and purest chalk rich albariza soils. Fermented in bota (barrel fermented) before being added to Valdespino's Inoente solera. Normally around 10 years old, this is a blend of wines from the solera and second criadera so slightly younger.

Pale amber in colour, with a slightly rusty orange hint.

Pronounced nose. There's a damp canvas, musty scout hut store room smell. Nutty walnut shell, orange marmalade, furniture polish, fresh pine tree bristles and resin. Some sweeter crusty honeycomb and fresh young honey hints, especially as it warms up. Developing.

Dry palate (but there's an almost off dry sensation from the distinct honeycomb character), medium acidity, medium plus alcohol (but hides it well), medium plus body. Smooth honeyed mouthfeel, with beeswax, leather, and polished dry wood. Dry musty walnut and brazil nut. Lots of dry grassy, sweet hay, straw like flor character, but still some saline and slightly oxidative hints.

Outstanding, quite unusual and unexpected, with an almost mead like quality. Quite a sweet honeyed sensation on the palate.

Equipo Navazos La Bota 45 de Fino "Un fino que va para amontillado..." saca de Octubre de 2013

A very old fino from some of the best vineyards in Montilla Moriles, outside of the Sherry triangle close to Córdoba, which like Jerez have very chalky soils and a strong tradition producing fortified wine in a solera system. From 63 butts located on the third row of Pérez Barquero's Bodega Los Amigos solera, of which 28 were chosen to represent its current state. Produced from Pedro Ximénez grapes aged under for a very long time, estimated to be over 15 years old. Pedro Ximénez typically produces wines that are richer and less saline than Palomino, but still have distinct flor characteristics. The traditional name for this type of wine would be Fino Amontillado, but as legislation prohibits this term, Equipo Navazos use the periphrasis of a fino on its way to toward becoming an Amontillado.

This wine is a medium dirty amber colour, rusty tint.

Immediately pronounced and complex on the nose. Rusty water, linseed oiled wood, dirty mechanical engine grease, muddy and leafy, reminiscent of used old oak casks and worn leather. Orange pith and zest, along with mature marmalade give some fresher characteristics, along with hints of sea salt and ground black pepper. There's yeasty, fermenting bread dough, lees character. Hints of a Palo Cortado in style.

Dry and pronounced on the palate, with medium plus acidity and alcohol, full bodied. Salty, oily, with a composting maturity. Complex and long lasting. As it warms up there's more brazil nut and walnut, but still retaining the salty and tangy element, even more so on the nose.

Outstanding, sophisticated, complex, mature, superb.

Domaine de la Pinte Savagnin 2006

Our focus here will be on Domaine de la Pinte Savagnin 2006, but before describing the wine we will discuss the Jura in general and various wine making factors that influence the final product. First, a brief summary of the method used in making this wine...

Made from 50 year old vines, the must is allowed to settle for 18-24 hours after crushing before racking off the wine (also known using the French term debourbage, this reduces the need for filtration or fining), then undergoing malolactic fermentation in temperature controlled cement vats using indigenous yeast. The wine then spends 18 months on the lees and five years in large old French oak barrels, allowing only a restrained level of oxidisation.

The Jura

In eastern France's Franche-Comté, the Jura is a small region scattered amongst woodland and meadow in the foothills between Burgundy and Switzerland, 50 minutes from Burgundy's historic wine capital Beaune. Between Burgundy and the Jura is la Bresse, flat land lying either side of the river Saône. The vines start when the ground begins to rise towards large limestone plateau in the east.

The Jura

The Jura vignoble (vinyards) were decimated by a combination of mildew and phylloxera at the end of the 19th century, the first world war, then the railways which opened the Languedoc as an alternative source of wine to the city dwellers of northern France. Less than 1000 hectares of vines remained by the 1960's, which had been 10 times the size before phylloxera, and even today there are less than 2000 hectares, making it one of the smallest wine regions in France.

The Jura known for unusual grape varieties vinified in distinctive styles, and it's wines have become increasingly fashionable, not least because of their often organic and natural credentials. It is a land of lush green farmland, heavily influenced by the food, soils and weather of Burgundy to the west, and is home to fantastic selection of cheeses.

Soils and Climate

Like Burgundy, Jurassic limestone soils overlayed with clay are characteristic of Jura, but there is enormous variation in aspect, elevation and soil types, suiting different grape varieties - the Jura's signature Savagnin grape excels on marl soils but does not do so well on limestone.

Marl soils contain a crumbly mixture of clay sediments, mixed with calcium and magnesium carbonates, and fossilised sea shells, collected at the bottom of the ocean during the Jurassic and Cretaceous periods. Marl soils are rich in mineral and organic content, although this is not easily absorbed by the vine. They are cold soils giving slow regular growth, holding back ripening, and giving wines with high acidity. The different colour marl soils result from varying organic and mineral content (including blue, white, black and red).

Limestone is a sedimentary rock dating from same period as marl, predominantly composed of fossilised sea shells. Limestone itself is hard and not easily penetrated by plant roots except through cracks. Soils formed from on broken up limestone are rich in calcium carbonate, easily absorbed by plants. These soils have good drainage capabilities, and unlike clay do not stick together when it rains, and reheat quickly in the spring. Wines from limestone soils are typically structured and mineral, but can be very dry on the palate.

The Jura has a continental climate, with long cold winters and hot summers, but in its jumbled terrain there is more rain and the winters can be much more severe than Burgundy. Continentality is the temperature difference between the hottest and coldest months. Continental climates have a wide temperature range, and are typical of the interior of large continents. Maritime climates have a narrow temperature range, and usually occur near oceans or other large water bodies, which provide a moderating influence. Continental climates are characterised by short summers, then a large rapid temperature drop in the autumn. They usually have little rainfall and wide diurnal temperature variation (difference between day and night) during the growing season.

As in the Côte-d'Or, the best vineyards slope, sometimes steeply, south and south-east, maximising exposure to sunlight and heat. This helps ripen the grapes, with steep slopes increasing the affect further. The vines are trained high to avoid spring frosts, and the harvest is late and can often extend into November.

Grape Varieties

Five grape varieties are widely planted, including the two main Burgundy grapes. Some Pinot Noir is grown, traditionally blended but now more often single varietal, making wines of pale colour that are fragrant and earthy.

Chardonnay is well suited to the heavy clay soils and is widely planted, increasingly vinified in the non oxidative Burgundian style called floral by some locals. Acidity is higher than in Burgundy, consequently the wine is generally oak aged for longer, at its best giving rich and complex wines. Chardonnay can also make a Vin Jaune like wine when aged under flor, and is also used as the base for the traditional method sparkling wine Crémant du Jura.

The Jura is best known for its three distinctive native varieties. Poulsard (also known as Ploussard, especially in village of Pupillin) is a large oval black grape variety which has very thin skins with little colour pigment and low in tannin. Poulsard is often blended with Pinot Noir as it can have little colour even when macerated for several weeks, making light bodied red wines that are fragrant and delicate, and can be good served slightly chilled.

Trousseau (also known as Bastardo, a variety used in making port) is an ancient variety that buds late avoiding the spring frosts, producing irregular yields. Trousseau produces deeper but still pale coloured wine, full flavoured and bodied, often gamey and earthy, with hints of strawberry.

The Jura's most famous variety Savagnin Blanc (also known as Naturé or Fromentin) is identical to Traminer from the Alto Adige, therefore related to its aromatic, pink-skinned variant, Gewürztraminer. Savagnin is well adapted to the climate, ripening slowly, with picking as late as December in some years. However it is difficult to grow, producing irregular yields of small pale berries, sometimes almost nothing. Savagnin produces long lived, full bodied dry white wines, often deliberately exposed to oxygen during ageing. Some non oxidative wines are made, either single varietal or blended with Chardonnay, producing fresh, full bodied wines, with a hint of spice and bone dry.

Savagnin is used to produce the famous Vin Jaune 'yellow wine' of the Jura. Savagnin grapes are picked late, usually late October but often November, when the grapes are as ripe as possible, with potential alcohol between 13% and 15%. The grapes are fermented slowly, then transferred to age in 228 litre old oak Burgundy barrels, which are never topped up. The wine becomes partially protected from oxidation by thin veil of yeast, locally called 'voile', very similar to the flor on sherry. To qualify as Vin Jaune, the wine must be aged in the barrel for at least six years and three months, after which time only about 62% of the wine remains after evaporation. The wine bottled in the unusual stubby clavelin bottle holding 62cl, supposedly the volume left of an original litre put into barrel.

Malolactic Fermentation

Malolactic fermentation (commonly referred to as MLF or malo) is the conversion of sharper (tart, unripe apple) malic acid to softer (milk like) lactic acid through the action of naturally occurring or added bacteria (Oenococcus oeni and various species of Lactobactillus and Pediococcus). Carbon dioxide is also produced during this process, hence the term fermentation. The reduction in acidity is because malic acid has two acid radicals, whereas lactic acid only has one.

Primary fruit aromas are lost during malolactic fermentation, but by-products such as diacetyl are formed, which gives the wine a buttery richness (but in excess can give strong caramel and rancid butter character). Malolactic fermentation is considered to give the wine a rounder, fuller mouthfeel.

Malolactic fermentation usually takes place shortly after the end of primary fermentation (when grape sugar is converted to alcohol by yeast). It is almost always used in red wine making, but only for some white wines (generally lighter bodied, fruit driven wines with crisp acidity do not benefit). Winemakers can can alter various factors to encourage or discourage malolactic fermentation from occurring. Leaving the wine on the yeast lees after primary fermentation, as early racking clarification reduces nutrient and bacterial levels. Using low levels of sulphur dioxide before fermentation, and not adding any sulphur dioxide post fermentation until malolactic fermentation is complete, as levels greater than 25 mg/l will inhibit bacterial growth. Maintaining wine temperature between 17-20°C and increasing the pH to above 3.1. Adding freeze dried MLF bacteria or lees from tank already undergoing MLF (during or after alcoholic fermentation) will also kick start the process. Malolactic fermentation should never be allowed to occur in bottle, as the wine will appear to still be fermenting (carbon dioxide being produced), this can be prevented by sterile filtration at bottling.

Oxidative versus Reductive Winemaking

Wines can be made in an oxidative or reductive style. Because yeasts ferment wine mostly under anaerobic (without oxygen) conditions they generate lots of smelly volatile sulphur compounds including hydrogen sulphide and mercaptans which would otherwise be neutralised by oxygen. If wines were made and bottled without any contact with oxygen these compounds would remain in the wine and be noticeable once the bottle was opened.

Therefore wines are generally given some exposure to oxygen during fermentation and élevage (French term for progression of wine between fermentation and bottling), for example in open top fermentors or during racking. Conversely by using stainless steel tanks and inert gasses, the level of exposure to oxygen can be greatly decreased. Most wine making lies somewhere on between, neither totally totally reductive or oxdative, avoiding the risks of either extreme, preserving the fruit character whilst adding complexity.

Generally modern making tends towards the reductive wine making style, which emphasises primary fruit flavours and aromas, typically giving wines fresher and paler in colour. However in overtly reduced wines, volatile sulphur compounds can develop, giving the wine a burnt matchstick, sewage, or rotten egg aroma. Sometimes these characteristics will diminish with decanting or vigorous swirling. Towards the oxidative end of the spectrum, the risk of oxidation is increased, where wine has had too much uncontrolled exposure to oxygen, turning the wine brown and flat, with faded fruit flavours and taking on a nutty, bruised apple character.

Oxidative wine making is a style still practiced in many Jura wines, along with Sherry, Madeira, and others. Wines made in this style are generally more stable, being less vulnerable to the negative effects of later oxygen exposure. Oxidative versus reductive wine making is also an important factor in determining Champagne style.

Domaine de la Pinte

Domaine de la Pinte was bought by Arbois native Roger Martin in 1953 and replanted with 20 hectares of mostly Savagnin vines, with the first harvest was in 1959. The vineyards now cover 34 hectares in the Arbois and Arbois-Pupillin appellations (17 hectares of Savagnin), situated on a band of blue marl running between Arbois and Château Chalon at an altitude of 400 metres. The estate has been organically farmed since 1999 and biodynamically since 2009, when viticulturist Bruno Ciofi was hired to take over winemaking. The wines typically have fresh acidity and mineral characteristics, and mostly avoid the extremes associated with the region.

Domaine de la Pinte Arbois Savagnin 2006

Domaine de la Pinte Savagnin

The wine is a rich, golden, honeyed amber colour in the glass.

Pronounced on the nose, distinctively oxidative, nutty and sherry like, with beeswax polished hard wood furniture and worn belt leather. There's wildflower heather honey, sweet vanilla spice, nutmeg and cinamon. Sour apple, ripe apricot stone fruit, and brighter yellow apple and grapey notes give the wine some freshness, and there's a yeasty, biscuity character.

A creamy, leesy, full bodied mouth feel on the palate, umptuous and glossy, but still dry, with eye watering high acidity and definite salinity. Feels warm, with medium plus alcohol and pronounced intensity. Spicy white pepper and nutmeg, with green fruit again on palate, granny smith apple and pear. More citrus than on the nose, bitter dry orange peel.

Outstanding and distinctive, showing definite age. However there's still plenty of acidity with potential for more tertiary character and further integration, interesting to try again and see how this has developed in a few years time.

Somewhere between a Fino sherry and aged white Rioja!

Wines from Sepp & Maria Muster

Maria & Sepp Muster are winemakers in Südsteiermark, southern Styria, near Austria's Slovenian border. They are committed to following strict biodynamic principles (certified biodynamic by Demeter since 2003), including practices such as the potentising and spreading of plant, mineral and animal substances, and also following the patterns of the planetary constellations. With these methods they aim to maximise the vitality of the soil and vines, consequently impacting upon the quality of the resulting wines, and make the use of chemical herbicides and fertilisers unnecessary.

Austria

The vineyards are steeply sloped and on rocky lime soils composed of clay silt known as Opok, at an altitude of around 450 metres, and are worked mostly by hand. Sgaminegg, the best vineyard of the estate, has southern facing slopes of pure Opok soil (apparently the word Sgaminegg is a Slavic word meaning 'from stone'). Sgaminegg is sparsely planted with old Sauvignon Blanc and Morillon (traditionally used in Steiermark as a synonym for Chardonnay) vines, in the top third of the vineyard slopes. This has very poor soils, yielding fewer clusters of small berried grapes, all of which are hand selected and picked.

Vines generally grow best in poor soils where they must work hard to find nutrients and water. This lack of water stresses the vine and forces it to prioritise the development of the berries rather than the leaves and canopies, because the berries (which contain seeds) are the vine's mechanism for propagating. Restricted water and nutrition also result in lower yields of smaller berries which have more concentrated flavours. In poor soils the roots must work harder to find nutrients, increasing the mass and depth of roots, meaning more nutrients ultimately reach the vine, and also making the vine less susceptible to changing weather patterns.

Steeply sloped vineyards aid drainage and are typically low in nutrients due to years of erosion, consequently the soil will be poorest higher on the slope. In the northern hemisphere, vineyards in cooler regions benefit from a southerly aspect, which has the greatest exposure to heat and sunlight. This helps ripen the grapes, with steep slopes increasing the affect further.

Stony soils are generally well drained with limited water holding capacity, and not too fertile. They help moderate diurnal temperature variation (temperature variation over the course of a single day), by absorbing heat during sunshine, and radiating it during the night and cloudier periods.

They have a weak continental climate, with warm summers and mildly cold winters, influenced by the nearby Koralpe high mountain plateau, which gives cool nights and winds. Continental climates are characterised by short summers, then a large rapid temperature drop in the autumn. A northern continental climate typically has severe winters (no moderating ocean influence like Bordeaux) and hotter summers (but here these are moderated by the cooling effect of the mountain plateau). The winds of the Koralpe have particularly significant influence on the wines from the Sgaminegg vineyard.

The vineyards are managed using the traditional single wire trellising on 1.8 metre chestnut posts, with the one year old canes hanging down from the wire, giving a slightly wild appearance. Winemaking is as natural as possible, with spontaneous fermentation often in oak barrels and casks, and long barrel ageing for up to two years. Wines are bottled without fining or filtration, with no or minimal use of sulphur dioxide. The grapes are destemmed and gently crushed over 4 hours, with the concentrated juice fermenting and maturing in small oak barrels, then maturing for a further 12 months in large casks.

They believe all these factors result in warm and complex wines, which have distinct varietal aroma character and potential to develop over a period of years. The wines from the Sgaminegg vineyard have a fuller structure, with more extract/density, and a pronounced mineral character.

Opok

And so to the important bit...

Sepp & Maria Muster Opok 2013

A blend of Welschriesling, Sauvignon Blanc, Morillon and Muskateller.

Pale lemon colour.

Pronounced nose giving distinctive impressions of cider apple vinegar, sightly soured apple/orange juice, and tropical pineapple. Funky, farmyardy, slightly cabbagey, with baked apple, straw and hay. Some yeasty Fino notes.

Dry, medium to high acidity, medium alcohol, medium body, medium plus intensity. More citrus fruit on the palate (orange zest/pith), with a distinctly mineral/stony character and some saline tang. Medium plus finish.

Excellent, quite distinctive, creamy mouth feel, but with some mineral elements.
(05/16)

Sepp & Maria Muster Sgaminegg 2008

Sgaminegg

A blend of Sauvignon Blanc and Morillon (Chardonnay)

A pale lemon colour in the glass, distinctly golden and bright. Glossy, oily and glass coating.
Wow - a pronounced and complex nose, savoury and sophisticated, with definite signs of development. There's a distinctly vegetal, slightly cabbagey, aged Sauvignon character, but with some fresher asparagus and white floral wild garlic flowers. The wine is rich and nutty, with brazil nut, polished hard wood, tanned greasy leather. For me there's quite a musty sense, like dusty, cobwebby cupboards, with a cereal, wet wool character. Still some tropical and stone fruit (apricot, pineapple) remaining.

Dry, with medium to high acidity, medium plus alcohol (feels fairly spicy and warm), pronounced intensity. The vegetal cabbagey character distinctive again on the palate, along with some saline, slightly salty seaweed. There's more citrus than on the nose, tart, mouth puckering lemon juice, and some green apple. Savoury black peppercorn spice, especially on the long finish.

Outstanding, complex and multi layered (add own superlatives).

Developing, but still with plenty more potential to develop (plenty of acidity and vibrancy remains).

I think this is is a superb wine which I love, however it does have fair amount of tertiary character, some of which may not be the everyone's taste.

(05/16)

Sepp & Maria Muster also produce a wine Erde, using same varieties but fermented on the skins and stems for 6 to 12 months, which I'm looking forward to an opportunity to try.

Sam & Wil Dolomites 2012

Passo Giau

5 hours delay gets a little boring, and getting your dinner for free doesn’t really compensate for losing the best weather day of the week. This was the first time in the Dolomites for Wil and me, and I’d like to say we were met by stunning mountain scenery, but our 3am arrival in Cortina didn’t provide the best views. Nevermind, a good lie in, we can still make the most of the day with some sport cragging. That’s if the Polizia hadn’t shut both lower and upper mountain passes for the lycra clad brigade. Eventually we make it through as the stragglers ride past. Go-cart handling in our Fiat 500 rental car is fun, its rev-counter working hard to drag a week’s worth of climbing gear and clean underpants up the steep mountain passes. Reaching the high point of Passo Giau, even relatively uncelebrated peaks look inspiring. A small stout tower nearby dominates over the viewpoint, coach tours and bikers gazing in awe while slurping warm lager. The same thought comes to us both at once, the rock looks great and the guidebook shows a 8 pitch IV running up the Gusela’s south west wall, with only only a twenty minute walk-in.

Wil on Via Dellago

Via Dellago is a great surprise that neither of us expect, almost having written off the day to hold-ups. A few steady but interesting pitches on decent rock then we get some practice scrambling together over the straightforward upper pitches. One route down, we negotiate the giant rock crevasse onto the summit proper, then after a few victory shots begin the trudge back down the car. Tourists now retreated, we back on the road, stopping off for celebratory pizza and beer, the mood somewhat sobered by an Italian football defeat. Canezi at last, the campsite gate’s been locked up for the night, but we get the tent up then into bed, checking in will wait until the morning.

Keeping the customers happy

Monday, a late start and the forecast’s not looking so promising so we decide on an easy day doing a few single sport pitches at the base of the Piz Ciavazes. Frustratingly the weather turns out better than expected, but nevermind, the forecast is to stay fine for the next few days.

We’d decided not to take the multifuel stove, less hassle just using gas. Typically gas cylinders prove hard to track down, not that a staple diet of pizza is too much hardship. Nevertheless, lumpy milk power tea tastes amazing when finally we chance upon an outdoor shop selling the necessary article, which somehow we’d missed earlier in the week.

Wil on Messner route

Tuesday, the Messner route on North Wall of the Second Sella Tower, at last a recognisable route. Mostly solid, the coarse dolomitic limestone gives good friction and sharp pockets. Grade VI makes the climbing a little more challenging, continuously absorbing moves on great rock. We make good time again and move together for a few easier pitches, this time taking a few more coils so avoiding horrible rope drag. Drizzle starts as we scramble down the descent, but turns back to glorious sunshine later in the evening, so we put decide vary our diet and cook sausage and pasta for tea.

Wil on Tissi route

Now with gas, Pizza has to be earnt, so Wednesday we make a prompt start and plan for two routes. First the Tissi route on the First Sella Tower, straight into brutal cracks and chimneying, but eases after that. A good route with enjoyable climbing, though of lesser quality and not so consistent. This time we make several abseils down, we’re both tiring now after 6 pitches in the hot sticky weather, but our promise of pizza after two routes gives the incentive needed, so we compromise and decide on the Micheluzzi route on the Piz Ciavazes, looks a much less intimidating prospect than our intended objective, the Zeni Corner.

Start of the day

Argh, where’s my belay plate, must have left it at the Sella Towers, it was hot after abseiling. Nevermind, suppose an Italian hitch seems appropriate given the country. Brilliant rock and sustained interest give great value climbing for the first two pitches, before clouds draw in and the first spots of drizzle start to fall. Deliberation decides it’s best to back off now before descent gets difficult after the traverse pitches, think we can allow ourselves pizza, we started both routes after all. A run back up to the Sella Towers to retrieve one belay plate makes sure of the pizza.

Sam on Micheluzzi route

Thursday, we decide to give the Micheluzzi another go, swapping the first pitches, then going off route on the third. A scary bold traverse gets us back on route, and almost onto the classic traverse, before rain threatens and dramatic rolls of thunder make the decision to turn around easy. Half an hour later the storm quickly clears up and we’re in brilliant sunshine, so make the most of it and head out again for some sunny sport cragging. A few routes later and our decision to back off earlier proves correct, heavy rain and exciting flashes of lightning send us sheltering under the steep routes and glad we’re not nearing the top with no easy escape! We’re both shattered anyway, so glad of the chance for some rest.

Two days to go, forecast for Friday decidedly pessimistic, but Saturday looks good all day, this is our chance to tick a big alpine route. I’m apprehensive, not sure I’m really up to this, telling myself another classic route on the Sella Towers would still make a great day, but know I’d go home feeling disappointed. Friday morning the rain is beating on the tent and massive crashes of thunder don’t help ease the anxiety. After lunchtime coffee and pastry things are looking much better, so soggy tent stuffed in a bag and packed in the car, we make our way to Malga Ciapela and begin the trudge up to Refuge Falier, psyched for the Marmolada tomorrow.

Refuge Falier

Bags everywhere, the hut’s full of excited Italian Alpine Club kids, might not be great for making an alpine start, Wil draws the short straw and has to endure my snoring as well. 4.30 sees us munching down stale hut rolls and jam, will anyone notice if we pinch another? 5 o’clock, bet those guys are going for the same route, we set a good pace and at 6 o’clock start up Don Quixote, 750m of classic grade VI on the Marmolada south face. We make a head start over several other teams, moving together for the first few pitches, only a few slowdowns for route finding uncertainties.

Looking down on Don Quixote

“Be careful dropping rocks”, Wil says as we move steadily, pressured by the Italian guide following behind. Nevertheless, I place the camelot he hands me and clip in his rope as I move off the belay, thinking his client at least might appreciate a good belay. Later on he demonstrates super dexterity, somehow not dropping his phone while simultaneously chatting to pals “I’m on the Marmolada” and belaying, lighting up to ease the stress of poor mobile signal.

Half way scree ledges

Pitch 5 the climbing gets more challenging and we start pitching, and by mid morning we’ve reached scree ledges halfway up. We gobble down crumbly Italian pastry slices, which have somehow survived so far, while scrabbling to untangle a jumble of rope and keep our lead. Later on Wil learns that jacket pockets offer much less confectionery protection.

Wil on upper pitches

We keep our lead and start the more technical upper pitches. Awsome rock covered with pockets and water runnels, mostly around grade V but at 3000 metres it feels hard compared to the climbing earlier in the week. Taking the crux VI pitch, inadvertently following the slightly harder direct variation, I’m thankful for the fixed gear, tenuous smearing on featureless slabs for feet, pulling on insecure finger jams and strenuous laybacks. Reaching the belay, ecstatic on making it, Wil follows and leads through. Only grade V but after the crux it feels hard to me, we both just want the top now.

Sam on upper pitches

Atmospheric swirling mists make fingers numb and wooden, hot aches taking hold, but intermittent clearings to brilliant sunshine thankfully give warm relief. The last pitches seem to take forever, but actually not too long in real time, and at 2.30 we make the summit. Shattered, but psyched to be here, this feels like an achievement, the hardest alpine day either of us has experienced, proud to have made it.

Made it!

Time still to make the cable car down, summit shots then a couple of abseils down the north side onto the glacier. Wil goes first and unfortunately misses the second abseil, clinging nervously to uninspiring pitons and leaving me to re thread some marginally better gear. Typically the rope tangles, but eventually we reach the glacier and wade up soggy snow, with freezing wet trainers tumble into the top station. Back down, we stretch out over wooden benches and sip coffee, satisfied and happy to chill out, no more challenges waiting for now. Two guys approach and ask how it was, they’re going for the route tomorrow, we chat, feeling important that anyone’s interested.

Bavarian beer tastes good as we squander left over euros, and after snoozing uncomfortably in the car we wake up aching, looking forward to home. We reach Birmingham before hitting queues for passport control, mercifully tame this time, and chat to two guys with climbing packs.

Home now, excited to tell my stories and reminisce over experiences. Summer 2013, the Comici route on Cima Grande?

Looking up at the Marmolada

More photos from the trip: 
https://plus.google.com/photos/103929906942237290345/albums/5764669851753013153?authkey=CLGf2ev1q9OLEg