“We take each year as it comes. Recipes are boring. We look at what nature gives us and go from there.” Kitá’s winemaker Tara Gomez is a straight shooter. With some winemakers, you get the feeling they are thinking about their marketing strategy before they answer a question. With Gomez, there is none of this artifice or pretense; instead, there is a delicate and thoughtful honesty. This past week I tasted through numerous 2012 and 2013 barrels with Gomez and assistant winemaker Tymari LoRe, and discussed their approach in the vineyard and the cellar.
The young Kitá label was created by the Santa Ynez Band of Chumash Indians, debuting with the 2010 vintage. Gomez herself is Chumash, and seeks to carry on the stewardship of the land that her ancestors have been part of for centuries, now via their estate vineyard, Camp 4. Fess Parker originally planted this large, stunning 256 acre vineyard with 19(yes, 19!) different grape varieties in total. In 2010 the Santa Ynez Band of Chumash Indians purchased the land, and since taking over, they have fine-tuned the farming along with the team at Coastal Vineyard Care Associates (CVCA), working towards their goal of a more sustainable ecosystem and more expressive site character.
With the managing team of Rudy Bravo and Ben Merz, two of the stars of the renowned CVCA team, at the helm, they have addressed the needs of each block and variety in-depth, not an easy task for a vineyard with so much diversity. As part of their move toward sustainability they have installed owl and bat houses, moved away from using synthetic treatments in the vineyard (save for a couple of blocks that they’re still dialing in, and even then in miniscule amounts), and generally moved toward creating a more diverse environment. “Taking from the land only what we need and giving back to it is what we believe in,” proudly states Gomez. “We’re doing a pomace-to-compost program now, for example, which is a lot of work, but it’s important to us, so it’s worth it.”
While located in the extreme east of the Los Olivos District, Camp 4 still lies on the Positas series, part of the Ballard-Santa Ynez-Positas series that defines the AVA. Their close proximity to Happy Canyon is only hinted at by the chunks of serpentine present here that have come down from Figueroa Mountain. With the Rhone and Bordeaux varieties at Camp 4, there is an intense minerality present in the final wines that is distinct from Ballard Canyon to its west or Happy Canyon to its east. In the red varieties in particular there is a gravelly textural presence that unifies the wines.
In addition to their estate program for Kitá, Camp 4 sells fruit to around 60 different producers in the valley, many of whom vineyard designate the fruit or use it as the backbone for appellation bottlings. Grenache Blanc has jumped out as a star as it has in many vineyards within the Los Olivos District. Cabernet Sauvignon and Sauvignon Blanc also find a voice in this site that is strikingly different from the very-close-by Happy Canyon. “Cabernet Sauvignon is my baby,” states Gomez, and it shows in the details of the finished wine. While Happy Canyon Cab has a tendency to be brawny and ultra-ripe, reminiscent of modern Napa Valley’s powerful renditions of the grape, Kitá’s take on Cab is finessed, with notes of pencil lead and cassis that are more reminiscent of France’s Medoc. The sun-kissed character of California is still apparent, but with a great sense of balance and encouragement of non-fruit aromatics.
A graduate of CSU Fresno’s renowned viticulture & enology program, Gomez carefully blends science and intuition in her winemaking approach. “I look at everything when I’m picking,” she says. “I like to pick for acidity, because I like that brightness, but we look at brix and pH, we look at flavors, and we often do several picks to find the various components that we want to achieve.” This meticulous approach is present in the final wines. Tasting through barrels with the winemaking team here was fascinating, as they were constantly questioning what they could do to improve a wine the following vintage, or how they could blend barrels to make a more complete wine. “We try to be as true to the varietal as we can and deal with what we’re given. Of course, we strive for lower alcohol, we like that brightness, that acidity. We want age-ability. And I don’t believe in doing a bunch of additions to correct a wine.”
While a young label, Kitá is already making beautiful wines, and has a bright future ahead of it. They are taking a special site to even greater heights through devoted farming, and they are striving at every step to make wines that will age and showcase place. Tara Gomez is part of a great Santa Ynez Valley tradition of channeling the land that goes well beyond grapes, and ultimately, it is this love of a spiritual home that makes the deepest impression.
It was nearing dusk when I met Ryan Roark on Zaca Station Rd. “Follow me…”, and up a winding gravel road we went, deep into the Firestone property. As the road turned to dirt, we passed a simple wooden sign: “Jurassic Park Industrial Complex”. Rolling slowly past oil derricks, around a bend in the road, we finally came upon the dramatic hillsides of one of Santa Barbara County’s hidden gems: Jurassic Park’s old vine Chenin Blanc.
In my mind I had imagined this place to be flat; for a commercially challenging grape like Chenin Blanc to survive so long here, I figured it must come from land no one prized all that highly. What I discovered instead was steep slopes and intriguing soils. The fact that this hadn’t been grafted over to one of Foxen Canyon’s more prized grapes, like Syrah or Grenache, was proof that someone saw something very special in these vines. As it turns out, Firestone had kept this fruit alive as a blending component for their program through the years. It really wasn’t until 2008, 26 years after it was planted, that a critical mass of winemakers suddenly started clamoring for this fruit.
I recently spoke with several of the producers crafting Chenin Blanc from this site about the different approaches and influences each brings to his expression, and felt the palpable excitement for Jurassic Park. “I make this wine as an homage to my grandparents; they loved wines from the Loire,” says Habit’s Jeff Fischer. Planted in 1982 by legendary farmer Jeff Newton (Coastal Vineyard Care), on its own roots, these vines thrive in the sand and sandstone (Arnold series to be exact) that make this vineyard so distinct.
Walking the rows, I observed distinct soil differences between the western and eastern sides (separated by a dirt road in the center). The Western half appears to be more purely sand; walking up these steep inclines after a recent rain, my shoes continually sunk several inches into the soil. The Eastern half, while still very sandy, had much more apparent chunks of sandstone, rockier in general, with perhaps a bit more loam. “There are definitely some soil differences,” says Roark, “though I don’t know if they’re necessarily that apparent in the wine.” Indeed, the aromatic profile of Chenin here seems to share a common thread among these producers, with their own personal stylistic choices creating the major differences.
For his Habit wines, Jeff Fischer strives to capture the minerality of Jurassic Park: “I love the high acidity, and like to pick on the early side. I have been making it entirely in stainless steel, fermenting cold, and aging on the lees.” This comes across in the wine, which marries the weight and aromatics of lees contact with beautiful salinity and very precise, just-ripe fruit character. There’s a varietal and site-driven profile in his wine that reminds me of the drier expressions of the grape from Vouvray or Montlouis. Fischer has worked alongside Ernst Storm, winemaker for Curtis, for his first few harvests, and says he has been inspired by Ernst’s history with the grape.
Born and raised in South Africa, Storm grew up around Chenin Blanc (Steen as it’s known in Afrikaans), the flagship white of his home country. As winemaker for Curtis, he has had the opportunity to work with this fruit in the Curtis and Firestone programs for several years now, and will be releasing the first Jurassic Park Chenin under his eponymous label this spring. “With 30 plus years in vine age, the roots have penetrated deep into the ground, giving us fruit that opens up to one more dimension. I am a big fan of a style where the juicy acid is balanced by the added texture from ‘sur lie’ aging.” Storm points to the sandy soil here as being a big factor in the unique character of the wines, one whose challenges are worth the risk. “The sandy soil controls the vigor naturally, and with a minimal, sustainable farming approach, the vineyard consistently yields fruit with a lot of natural acid, juicy flavors and added depth. However, it is quite apparent that the fruit is Nitrogen deficient due to the locality and vine age, so paying close attention to the fermentation needs is imperative.”
Ryan Roark built his label around the Chenin Blanc from Jurassic Park, discovering it while working at nearby Andrew Murray, and seems to have undergone the most radical shift in his winemaking approach of all the producers I spoke with. Inspired by time spent working in the Loire Valley, Roark’s style has moved closer and closer to his greatest source of inspiration, Savennieres. Savennieres, whose wines are frequently (and positively) described as smelling of wet wool and cheese rind, produces incredibly distinctive and long-lived Chenin. To achieve an expression of the grape that hews more closely to this influence, Roark has moved to neutral barrel for aging. Sulfur is utilized only when absolutely necessary, fermentations are performed by indigenous yeast, malolactic fermentation is allowed to occur, and there is great acceptance and encouragement of microbial development. His 2012 was the first wine to prominently showcase this shift, and his 2013 in barrel really displays the cheese rind/wool aromatics of great Chenin.
Mike Roth, who recently left his post at Martian Ranch to launch his own label Lo-Fi, also derives inspiration from Savennieres. His Chenin captures this richer, powerful expression of place with those same intriguing non-fruit characteristics. While the argument could be made that these renditions are more style-driven, I still find the same thread of minerality and sense of place in these wines, channeling a different facet of site that is still unmistakable.
“I think I pick Chenin riper than anyone out there, probably a week later than everyone else.” This is how Nick DeLuca begins his discussion of the Chenin Blanc he crafts for his Ground Effect label. Granted, in this case, ‘ripe’ is only 22.8 brix, with intense acid. DeLuca also takes the unique approach of blending his Chenin Blanc, typically with nontraditional grapes, giving it the proprietary name ‘Gravity Check’. His 2010 saw it joined to Viognier from elsewhere on the Curtis property. The 2011 was accompanied by Pinot Gris and Albariño from Edna Valley’s Paragon Vineyard. And the 2012, his best yet, marries 87% Chenin Blanc with 13% Riesling from Area 51, another vineyard on the Curtis property. Yet it is the Chenin in each vintage that has been dominant and readily apparent, its intense minerality being framed by the various accompanying grapes. “There’s an earthiness to Jurassic Chenin, and it really comes out as the wine ages. I opened up a 2010 a couple weeks ago, and it’s roasted without being roasty.” Nick elaborates further that this roasted character is along the lines of hickory or BBQ smoke.
Other producers I spoke with identified the minerality here as being like sea salt or saline. Without a doubt there is that oceanic influence in the wines, whether it is the roasted, almost peaty character that comes out with age, or the more precise, inorganic earth of young releases. However one wants to describe it, this is the mark of a great site, where the soil and climate speak clearly through whatever stylistic choices a winemaker chooses to make. Time will only tell if these wines will make old bones, but given the overwhelming passion devoted to the site and how to best express it, I have no doubt we’ll be happily sipping 2013 Jurassic Park Chenin Blanc in 2030, reminiscing about simpler times, savoring this time capsule in a glass.
“Thought of you as my mountaintop
Thought of you as my peak
Thought of you as everything
I’ve had but couldn’t keep”
– The Velvet Underground, “Pale Blue Eyes”
The recent passing of Lou Reed hit me hard. As a teenager growing up in sleepy Santa Maria, the world created by The Velvet Underground transported me to a place far removed from the sprawling broccoli and strawberry fields of the valley. Characters from Andy Warhol’s Factory and New York’s seedy late ‘60s underground were vividly captured by Reed, evoking a time and place that, 45 years later, still feels timeless.
This loss of a hero got me to thinking about wine (all roads seem to lead me there nowadays). As an adult, I have often found this same transformative experience through great wine bottles. Unlike The Velvet Underground & Nico, however, which will sound exactly the same 100 years from now, wine, no matter how great the vintage or producer, is finite by its very nature, prone to inevitable decay. The memory of a great bottle is persistent and haunting because we know we will never have quite that same experience again.
So for those whose art is wine, how does one find the same sense of immortality allowed through the mediums of film, painting, or music? In the Old World, it is the site, the terroir, which is prized above all else. Each successive generation is passed the torch of great land, from Romanee-Conti to Clos de la Coulee de Serrant. Yet it is the human element that must channel Mother Nature and define the voice of a given place in a lifetime; as the vineyard passes from one generation to the next, so too an inevitable stylistic shift happens.
In the New World, on the other hand, we often place the human element above all else. Technical innovations and stylistic touches often trump the expression of site, for better or worse. The greatest practitioners of this style focus less on sense of place and more on sense of self, driving so intently toward a personal vision that they capture something utterly unique.
The greatest wines and winemakers of the world, however, be they from France or Germany, Oregon or California, manage to marry these two philosophies; they showcase a special place while putting their own personal, inimitable stamp on it. One such winemaker that I had the chance to share a table (and more than a few bottles) with numerous times this past harvest is Lane Tanner.
Lane retired her namesake label with the 2009 harvest; she still consults here and there, but she is, essentially, done with full time winemaking. Unlike the typical scenario in Europe, there is no scion to carry on her namesake; all we have left is the string of superb vintages she crafted from 1984-2009. These wines, whether from consumption or from decay, will eventually disappear, leaving only the memories they created and the imprint of their influence.
Rather than dwell on this unfortunate fact of wine, however, I’ve begun to embrace the unique beauty in its life and death cycle. The fact that I am alive to enjoy these wines in their prime (her ’90 Sierra Madre was a transcendent experience), to learn the farming and winemaking lessons that Lane has been gracious enough to pass on, to have a hero from my hometown; these are things to celebrate.
Perhaps it’s fitting that, here in the Wild West, our vinous heroes ride off into the sunset. And maybe one of wine’s greatest qualities is its fleeting nature: it forces us to be present in the moment, to embrace those sharing a table with us, and to stop and appreciate something beautiful. So as you pop a bottle of Lane Tanner’s ’94 Sierra Madre Plateau, and cue up “Sunday Morning” on the stereo, take a moment to appreciate the unique, and ephemeral, beauty of the experience; ‘cause when it’s gone, it’s gone.
We have a VERY limited quantity of library 4 packs from Lane. Limit 1 per person. Featuring:
– 1992 Sanford & Benedict Vineyard Pinot Noir
– 1994 Sierra Madre Plateau Pinot Noir
– 1995 Sierra Madre Plateau Pinot Noir
– 1996 Sierra Madre Vineyard Pinot Noir
In the heart of Santa Barbara Wine Country, we are the premier wine merchant for California Central Coast wines, from Santa Barbara County to Monterey County, with select vintages from other areas of California’s Wine Country and noteworthy wines from around the world.