On Thursday September 18th, we’ll be hosting a dinner here at the Café featuring Bob Lindquist of Qupe, Jim Clendenen of Au Bon Climat, and Trey Fletcher of Bien Nacido Estate to celebrate 40 years of Bien Nacido Vineyard. It’s very rare to get this legendary brain trust in one place to share their stories, so it should be a pretty magical evening. Leading up to the dinner, I’ve been reflecting about what makes Bien Nacido so distinctive, and, in a larger sense, the things that make a vineyard special beyond the usual talk of soil and climate.
Beginning in 2008, I had the privilege of working at Bien Nacido for 2 ½ years as a cellar rat for Tantara, whose winery was located on the property. From our location in the central flats of the property, I could see our neighbors Ambullneo down the road (Dieter Cronje and Matt Murphy, who would go on to create the formidable Presqu’ile property, were part of the cellar team there at the time), and ABC and Qupe’s massive cellar across the river. Driving into work each morning, checking out the various blocks was a visual roll call of the who’s-who in Santa Barbara County winemaking: that slope is Foxen’s Block 8; that little wedge of Syrah belongs to Paul Lato; there’s Manfred from Sine Qua Non checking on his fruit. And of course, there were the legendary parcels made famous by the likes of Au Bon Climat, Qupe, and Lane Tanner, each its own piece of history with a story to tell. Great vineyards have a certain energy to them, a soul if you will, and Bien Nacido is one of the most soulful sites I’ve had the opportunity to spend time in.
Where does this presence of place come from? I don’t think it’s something that can be separated from the human element. All of the factors that have come together in Bien Nacido- the passion of the Miller family, who founded the property and own it still; the fervent passion of Jim Clendenen, who spread the gospel of Bien Nacido throughout the world; the brilliant modern stewardship of vineyard manager Chris Hammell- have given form and voice to the natural elements of this piece of land in a way that is singular and special. A site whose natural factors suggest something merely good cannot be willed into greatness; by the same token, a site with the seeds of greatness can’t realize its potential without the vision of human beings like those mentioned above. In this way, wine may be the ultimate expression of the union between Mother Nature and Man.
If I were to use one word to describe the character of Bien Nacido Vineyard, it would be verve. Whether it is a late-picked, luscious Syrah, a spice-driven, lithe Pinot Noir, or a mineral, lean Melon, there is a brightness and vivaciousness that gives lift and precision to wines from this site. The cool climate of the Santa Maria Bench, coupled with calcium-rich shale soils, is a large part of the reason for this, though again, the personalities behind the wines are a huge factor. When one observes the passion and attention to detail given by Justin Willett of Tyler and Lieu Dit, or the acuity of Trey Fletcher for Bien Nacido’s estate program, it’s no surprise that this lively, precise quality can be tasted across the varietal spectrum.
There is a story in the soil, a voice waiting to be broadcast that will shout to the world the character of a great site. Bien Nacido is such a site, with translators who have managed to magnify and capture its unique personality. I look forward to hearing from Jim Clendenen, Trey Fletcher, and Bob Lindquist as they delve deeper into the story of Bien Nacido; no matter how much you think you know about a familiar place, there is also a new layer to be uncovered.
To purchase tickets to our event Rock Steady: 40 Years of Bien Nacido Vineyard,
“Sauvignon Blanc is the poor bastard child grape, it’s just so unappreciated,” sighs Dragonette’s Brandon Sparks-Gillis. “And there’s just so many producers who treat it like sh*t, and who treat it as just this cash cow, turn-and-burn grape, which I think is part of why it has a bit of a bad reputation.” Sparks-Gillis is one of Santa Barbara County’s most vocal advocates for the nobility of Sauvignon Blanc. While the grape’s value-driven examples from California, the Loire Valley, and New Zealand are popular everyday choices for much of the wine-drinking populace, few bestow the grape with the praise reserved for, say, white Burgundy. The team at Dragonette is among the few lavishing Sauvignon Blanc with an intensity of farming and winemaking to rival the world’s greatest estates. This week I spoke with Brandon Sparks-Gillis and John Dragonette about their work with Sauvignon Blanc in Happy Canyon.
Great wine often requires context. While I’m a believer in the merits of blind tasting, particularly if one is seeking to identify typicity within a grape variety or a region, many of the world’s most unique and treasured wines don’t show their best in a blind setting. I would include Dragonette’s Sauvignon Blancs in this group. These are wines that not only require but deserve a few hours at table with the right food and enough time and air to explore their nuances, along with an understanding of the philosophical approach behind them. The concentration in the wines, along with the use of oak, puts them in the rarefied air of producers like Francois Cotat, Didier Dagueneau, and Yquem’s ‘Ygrec,’ wines that are similarly proportioned and walk the tightrope between voluptuousness and mineral intensity effortlessly. In a blind tasting, these stick out when poured next to more traditional and/or mundane renditions of the grape, which I believe is something to be celebrated, not maligned.
The wines of Dragonette would not be possible without the unique geological and climatic character of Happy Canyon. While their initial Sauvignon Blancs incorporated fruit from outside the AVA, they have now devoted themselves solely to this amazing region. “We were inspired by a pretty wide range of Sauvignon Blanc initially,” says Sparks-Gillis. “As we started to work with Vogelzang and Grassini (both in Happy Canyon), we were really interested in what they were giving us. And as we started tasting the wines, we saw that they definitely lean a little more towards a Bordeaux expression of Sauvignon Blanc.” Without a doubt, the closest analogue to the area is Bordeaux, particularly the bold examples from producers like Smith Haut Lafitte and Haut-Brion. And unlike Bordeaux, the Sauvignon Blancs of Happy Canyon don’t require the addition of Semillon. “We initially sought out Semillon,” states Sparks-Gillis, “but we found that the wines from here were already so round and rich that we didn’t need it.”
Harnessing the power of Happy Canyon and fine-tuning how to best channel the area’s site character in the vineyard and the winery has been Dragonette’s greatest achievement. “Our dogma is to have no dogma,” emphatically states Sparks-Gillis. “We’ve had lots that range from 11.5% alcohol to 15%, and that may lean more towards one direction or another depending on the vintage. We want to let the season speak rather than having a dogmatic approach to when we pick.” They have worked tirelessly in the vineyard to control canopy and yield, seeking tiny, concentrated clusters that can strike a balance between fruit and minerality. “Sauv is all about minerality. There should be a fruit component, but if it’s all about fruit it can often get flabby and boring.”
The wines are never the ripest examples from Happy Canyon, though they’re certainly not ultra-lean, early-picked examples. The team at Dragonette believes that the area finds its truest expression in-between those two extremes. “I think in general, Happy Canyon has leaned toward a riper style, and that’s often where we find the best representation of place,” states Sparks-Gillis. “If you ask most people about Sauvignon Blanc, a lot of the things they’ll talk about- herbaceousness, cat pee, high acid- yes, these are related somewhat to climate, but they’re also very much stylistic decisions related to stylized winemaking.” This slightly riper, more intense character has been a big factor in the wines’ ability to age gracefully as well. “Happy Canyon typically drifts into the 3.4-3.6 pH range, but the wines still show a lot of spine. I think part of that has to do with our lower yields. Without that intensity and concentration, these wines don’t have the bones to age.”
The winemaking seeks to accent this concentration texturally and aromatically while preserving the minerality. Early experimentation with varying amounts of new oak has led them to what seems to be a relatively stable regime of 80% oak (of which only 10-20% is typically new) and 20% stainless steel, though again, the vagaries of vintage may shift these percentages. “A winemaking technique will often evolve from what someone who’s inspired us is doing, but ultimately we want to express the truth of Happy Canyon,” says John Dragonette. “For example, we’ve shifted to larger format cigar-shaped barrels similar to what Dagueneau is using, which is what most of our new oak is now, and that brings about a much slower evolution in the wines.” Rather than create wines defined by the spice or structural character of new barrels, they are using oak as a very subtle accent, with the ultimate goal of, again, emphasizing the site-driven character of Happy Canyon.
The two sites they are currently working with, Grassini and Vogelzang, create very different wines despite their close proximity and similar soils. The Grassini shows a unique top note of very fresh coconut, along with kiwi, guava, and piercing minerality. Sparks-Gillis says the wine’s green label is a nod to the character of the site. “Grassini has a little more of a green spectrum to the fruit, which is not to say herbaceous or underripe. This is more just-barely-ripe pineapple, kiwi, more of a freshness.” Vogelzang on the other hand is very deserving of its yellow/orange label: The more exotic of the two, its notes of fig, papaya, and musk are incredibly sexy, and more importantly, utterly singular; in short, it is the essence of Happy Canyon.
In a piece I wrote on Happy Canyon Sauvignon Blanc a few months ago, I said that no one had quite nailed it yet. Maybe I was being a bit hard on the area, but that’s because I have such strong conviction that Happy Canyon is capable of producing some of the greatest single vineyard Sauvignon Blancs on the planet. Now that I’ve had the chance to experience the Grassini and Vogelzang bottlings from Dragonette, and more importantly had the chance to experience them in the proper context, I can honestly say that these guys are nailing it. Brandon Sparks-Gillis says there’s no magic formula; rather, their success is the sum of numerous small steps that elevate the wines to their highest expression. “Getting from mediocre wine to good wine is not that difficult, but getting from good to great can be an overwhelming amount of work. We feel like our wines are getting there, but 10 years from now I hope people can taste our wines blind in a lineup and say, ‘that’s Dragonette.’ And hopefully there’s an element of greatness there.”
Journey just past the Santa Ynez River, into the hills off of Refugio Road, up a steep gravel driveway, and you will be greeted by the spectacular vistas of Refugio Ranch. Rising dramatically into the Santa Ynez Mountains, this 415 acre ranch is a sprawling piece of property, comprised mostly of open spaces; just 27 acres are currently planted. I met with Ryan Deovlet, Refugio Ranch’s contemplative winemaker, on an overcast Monday to explore the intricacies of this special site.
We climbed into the ranch’s Polaris, and went zooming up a precipitous hill. Rounding a bend, I was greeted by a tiny block of Syrah. “This is the Escondido (hidden) block, Clone 383, which is a little bit compromised by daylight hours.” Tucked way back into a canyon on the ranch, one can understand both the name and the challenges of ripening in this spot. “Because of the shadowing in this block we lose a couple hours of sunlight compared to the rest of the ranch. It tends to be a little more red fruit, with a lot of the carpaccio, pepper, meaty character. It actually inspired me to create a second red wine blend because it is so distinct from our other blocks.”
In talking with Deovlet, I quickly saw his desire to grow with the Ranch, willing to abandon previously held ideas or techniques if it meant better expressing a sense of place. “I have total autonomy, but it’s a collaboration between all of us, Niki and Kevin Gleason (the Ranch’s owners), Ruben Solorzano, (of Coastal Vineyard Care Associates), and myself. We’ll pull corks together and talk about the direction of the property and evaluate what we’re doing. With these small lots, you take a risk sometimes and it doesn’t always work. But for the most part, things are working out and they’re putting their trust in me and giving me autonomy.”
The farming here is essentially organic, though there aren’t currently plans to pursue certification. Like many properties I’ve visited in the valley recently, I was impressed by the diverse ecosystem they’ve preserved and nurtured here and how they’ve adapted to the unique needs of the site. “Kevin and Niki were cognizant of what they had here. It’s a nice, cool sanctuary,” says Deovlet. “They were very conscientious of where to plant and how to preserve the natural terrain. It still has a raw, wild feel.”
The diversity of the Ranch also applies to their choice of plantings: Semillon, Sauvignon Blanc, Roussanne, Viognier, and Malvasia Bianca for the whites; Syrah, Grenache, a recent addition of Sangiovese, and Petite Sirah for the reds. Deovlet also plans for some new additions, perhaps Picpoul or Bourboulenc to bring more acid and minerality to the whites, as well as some Grenache planted in their sandier river blocks. One of the most intriguing varieties on the property is Malvasia Bianca. Deovlet crafts a beautiful Spring white from this fruit, with a touch of residual sugar, a hint of spritz, and great acid, balancing the minerality of the Ranch with an easy-going exuberance.
Speaking of minerality, the soils here are some of the most exciting I have seen in Santa Barbara County. Black and lunar-like, with lots of rocky topsoil, it’s a clay loam with mudstone in its origins, quite different from the soils of the Los Olivos District AVA that stops just north of here. “It’s organic, heavy earth, alluvial mountain runoff all captured within this little bowl we have here,” states Deovlet. “We have great water retention. The goal is to eventually dry farm everything, which we’ve been working with Ruben on.” While these are mostly sedimentary soils, there is a bit of igneous material in their Petite Sirah in the form of granite, perhaps helping to explain why this grape expresses itself in such a singular way here.
“The Petite, for me, sort of serves as our Mourvedre, bringing a little more structure and putting a California twist on a Southern Rhone-inspired blend,” states Deovlet. He and Ruben are also exploring a new farming technique, using a crossbar to spread the canopy in the fruiting zone on the Petite, with the goal of giving the fruit longer hang time while preventing issues with rot or mildew. “We have to be very focused on canopy balance and low yields, with the intention that we can get all the fruit off before we hit the late October rains. In ’09 and ’10 we had those storms come through before we got everything in and we learned some hard lessons. That being said, if low yields over and over and over again mean the project never gets into the black, that project isn’t sustainable. There has to be a balance in the farming.”
Deovlet and Solorzano have had to make some big strides very quickly in approaching the farming at the Ranch as the growing conditions are so particular. “We haven’t had the most consistent of vintages, so we’ve had to learn on the fly. I’m blessed to be working with Ruben; everyone calls him the grape whisperer, and it’s true, he’s very intuitive in his approach.” While Deovlet initially had some concerns with the slightly higher pHs/lower acids the site was giving him, he’s learned to accept them, particularly after speaking to old world winemakers like Chave who see similar numbers. In place of acid, the structure of Refugio Ranch comes from tannin. “When I’m pulling fruit, it might be 25 or 26 Brix. At those numbers, we see that ideal tannin development, and at this site the vine isn’t starting to shut down.”
When the subject of Chave, one of the great iconoclcasts of the Northern Rhone, arose, I asked if Deovlet still saw the Old World as his benchmark. He thoughtfully replied, “I’m certainly inspired by the Old World, and you do find some of those aromatic markers here. That being said, I like to have a foot in the Old World and a foot in the New. I certainly take some ideas and inspiration, but we have this California sunshine, and these unique growing conditions, and I want to create something that speaks to the character of the Ranch.” To that end, the project is expanding their lineup of wines based around what the vineyard has shown them thus far, from 3 different bottlings to 8. While this may initially present challenges from a sales standpoint, their motivations are solely quality-driven. “It’s not diluted in moving from 3 wines to 8; it’s the opposite, it’s listening to the vineyard and fine tuning our style,” emphasizes Deovlet. “We’re making great strides in learning to understand the property, and how distinct it is.”
For such a young property, Refugio Ranch has made incredible leaps in quality very quickly, due in no small part to the passionate team in place. “The Ranch, generally speaking, has been a beautifully organic evolution to learn, block by block, how to approach viticulture from a very individualistic approach, and the same in the cellar,” says Deovlet. “I think that process has kept us in tune and taught us to listen to the wine. The ultimate question is, stylistically, are we doing justice to this property? They’re coming out of the gate delivering pleasure, and I think and hope they’re going to age as well.” Their current lineup indicates that they are indeed listening intently to the voice of this place, and I expect it to become ever more clear and distinct in the coming years.
My memories of the weather growing up as a kid in Santa Maria aren’t exactly the stuff of idyllic Norman Rockwell paintings. The howling wind blowing clouds of dust from the nearby strawberry fields into my grandparents’ yard where I was playing, families freezing at Little League games, and relentless fog even in the middle of summer. Ironically, given the career path I’ve chosen, this weather also makes for one of the planet’s most ideal locations for Pinot Noir. In the past year I’ve fallen in love all over again with the wind-battered, fog-shrouded west end of the valley in particular, and the thrilling Pinots emanating from this tiny corner of the world. This week I spoke with several of the farmers and winemakers who are crafting incredible Pinot Noir here.
While this area doesn’t have a specific name yet, some have begun referring to it as the Solomon Hills (also the name of one the most prominent vineyards here). Beginning in the southwest portion of the Santa Maria Valley AVA along the transverse Solomon Hills range, directly exposed to the Pacific Ocean, this is an area defined by its extreme maritime conditions: harsh winds, constant fog, and lots and lots of sand. The nearby Guadalupe Dunes Complex is the second largest dune series in California, and walking the vineyards, one gets a sense of just how coastally influenced the soils here are. Over millennia, wind deposited all of this sand among the vineyards of what is now the west end of Santa Maria Valley. “This is pure sand, essentially no rocks or pebbles, and growing grapes in this soil is very difficult,” says Trey Fletcher, winemaker for Solomon Hills and Bien Nacido. “It doesn’t hold water at all, so irrigation has to be managed very carefully. These vineyards could probably never be dry farmed.” The two dominant soil series in the far west along the Solomon Hills are Marina and Garey sands. As one heads north or east, the Pleasanton, Positas and Sorrento series begin to enter the picture, with more loamy, pebbly textures, marking the transition out of this small subsection of the Valley.
The Westside is separated from the eastern part of the valley by a gradual change in soil, climate, and exposure, beginning with the shift into riverbed soils that occurs at Cat Canyon Creek and the Santa Maria and Sisquoc Rivers. As the valley floor rises into what is referred to as the Santa Maria Bench, the soils undergo a more dramatic shift, showing the origins of volcanic uplift, with shale, limestone and more clay entering the picture. Much of the bench also moves to a southern exposure, warmer and slightly sheltered from the direct wind. When tasting Pinot Noir from riverbed sites such as Riverbench or benchland sites such as the famed Bien Nacido next to Pinot Noirs from the Western edge, the stylistic differences are readily apparent. “Solomon Hills looks to the sky. Bien Nacido looks to the earth,” says Fletcher. To elaborate on this idea, the wines from the valley’s west end, particularly those within the Solomon Hills such as Presqu’ile, Solomon Hills, and Rancho Real/Murmur, are shaped by refrigerated sunshine, pummeling wind, and wind-deposited soils, leading to sun-kissed Pinot Noirs driven by fruit and spice. Vineyards on the bench on the other hand have much rounder textures and more overt notes of organic earth thanks to the loam and stones that define this part of the Valley.
“There is a very apparent spiciness in the wines here when made in a delicate style,” says Ernst Storm. “In the case of Presqu’ile, it is exciting to work with a young vineyard that is already showing so much terroir.” Many producers, such as Storm, choose to highlight this character by utilizing whole-cluster fermentation. “I find that the Solomon Hills area is more conducive to whole-cluster,” says Luceant’s Kevin Law. “You get all of this beautiful savory spice, along the lines of Italian herbs.” Others feel that the fruit already provides so much spice that stem inclusion isn’t needed. “My tastings prior to 2013 of other producers and our own verticals seemed to show a more brooding character to the fruit and spice profile. As a result I was more reticent with our use of whole cluster, not believing there was much to gain in terms of spice and structure from the stems,” says Dierberg’s Tyler Thomas. “For the most part we found this to be true of 2013 though I would say 2012 and 2013 highlight fruit over spice more than I observed in vintages past.” Personally, I love the use of whole cluster here, particularly from the Presqu’ile vineyard. The intense spice these producers speak of, which for me leans somewhere between Christmas spices and dried Italian herbs, is distinctive, not only within the Santa Maria Valley, but within California as a whole.
Another facet that producers speak to about the area is its ability to capture perfectly ripe fruit at low brix and, therefore, low alcohols. “With the soil being so sandy, early-ripening Dijon clones do incredibly well, and there is beautiful phenolic character at perfect pH and brix of only 22 or 22.5,” says Law. “With those vineyards by the river, I find it can be harder to get that perfect triangulation of pH, brix, and phenolics.” These lower alcohols could also be due to the fact that most of the producers working with fruit in this area are a new generation of winemakers seeking a return to balance. Names like Storm, Luceant, Presqu’ile, and La Fenetre are associated with this movement, and it is not uncommon to see alcohols in the 12% range from these sites.
It will be interesting to see where this region goes in the coming years. While it is currently defined by a small handful of sites, there is still a lot of available land that hasn’t been utilized. Most of the vineyards are also quite young, and I expect their character to become more pronounced and refined with time. For now, it is one of the most consistent and unique Pinot Noir regions on the Central Coast, and for lovers of the balance and spice-driven profile that makes Pinot Noir so wonderful, this should be at the top of the list for new areas to explore.
Enjoy this brief video journey through the West end shot this past week, heading north and east, through the Solomon Hills, Ca del Grevino (Addamo), Presqu’ile, Dierberg, and Garey Vineyards.
“I’ll go out on a limb and say the Sta. Rita Hills is a Chardonnay AVA that’s famous for Pinot Noir.” Wes Hagen is not one to mince words, particularly when it comes to his beloved Sta. Rita Hills. Hagen’s Clos Pepe vineyard has become highly sought-after for Pinot Noir, so his statement may come as a bit of a shock. However, after years of tasting Chardonnay from the Sta. Rita Hills, particularly its Northern half, I am inclined to agree with him. These are unparalleled expressions of the grape, distinctly different from the south of the appellation, channeling a saline minerality rarely found outside of Chablis, yet with a presence of fruit and power that could come from nowhere else. This week I spoke to several producers of Chardonnay from the Northern Sta. Rita Hills to find out what makes this part of the AVA so special.
The Northern Sta. Rita Hills corresponds roughly with the path of Route 246, which is essentially one giant wind tunnel that opens up to the Pacific. As one heads west, the temperatures get cooler and the wind gets more extreme, making for subtle but noticeable differences from vineyard to vineyard, and very severe conditions overall. In fact, Chardonnay often struggles to ripen here, a rarity for sunny California. “We’re not guaranteed full ripeness in any vintage,” says Hagen. “It is these on-the-edge appellations that produce world-class wine.” Indeed, wines grown in marginal climates, such as those from Chablis or Germany’s Mosel River Valley, have an intensity and depth that can only come from challenging conditions. The battered vines in this part of the region are better for their hardship, with a complexity borne from struggle that is readily apparent in the bottle.
The marine influence carries over into the soils, which are comprised of sand and sandy loam. Much like Burgundy, the heavier soils are favored for Pinot Noir, while the leanest, sandiest blocks are comprised mainly of Chardonnay. The Tierra and Elder series are dominant, with minor amounts of the extremely sandy Arnold and Corralitos soils. This stands in contrast to the Southern Sta. Rita Hills, which has more clay, shale, and diatomaceous earth, and seems to produce Chardonnay with more weight and power. Bryan Babcock, one of the area’s pioneers, sees significant difference in the flavor profile between the two: “I find the Chards in thesouthernhalf, most of which are growing on more fertile soils, to be fruitier in an apple-y or tropical way. In the northern half, along Highway 246, growing in more sandy soils, I find the wines to have more minerality. They are often more steely, mossy/wet stream bed, or broth-y, even to the point sometimes of having a bit of aspirin character.” Tyler Thomas, a Sonoma transplant who was recently appointed winemaker for Dierberg, finds a similar soil-driven intensity unparalleled in California, saying “in the North Coast I used to seek out Chardonnay vineyards I thought would give us mineral character; almost a citrusy-saline nose with an electric mouthfeel. I didn’t realize I just needed to source from the Northern Sta. Rita Hills.”
One of the biggest questions with Chardonnay, particularly in an area such as this that produces fruit with an already distinctive character, is how to best capture it in the cellar. From stainless steel to full barrel fermentation in new oak and everything in between, producers have explored the fruit from every possible angle. Greg Brewer has crafted Chardonnay from numerous sites in the region for two decades, and while he does utilize some neutral oak in his programs, stainless steel is the chosen medium for what are, in my opinion, his top expressions of place: Melville’s Inox and his own Diatom label. “The flavor profile we typically see has citrus character such as lime, lemon, meyer lemon, and yuzu,” says Brewer. “There also tends to be oceanic/saline characteristics, particularly texturally. Frequently, the sandier the parcel, the more crystalline and precise the resultant wine is.” Without the support of oak, these wines are incredibly intense, bordering on austere, even at alcohols that can climb into the 16s. Clos Pepe’s “Homage to Chablis” bottling, also rendered in steel, has this same stark character; one can taste the punishing wind and the sea air in every sip.
For those winemakers seeking a bit more textural breadth while still capturing the distinctive character of the fruit and the site, oak is utilized. “The growing conditions, certainly if you compare them to Chardonnay outside of the Sta. Rita Hills, lend more European lines to the wines, and it sets them up for a very strong and integrated expression of malolactic fermentation, lees character and new cooperage if the winemaker chooses the full elevage route for the maturation of the wine,” says Babcock. His “Top Cream” bottling is a great example of this, beautifully integrating this approach into a wine that is still very much driven by place. The team at Liquid Farm, one of the new critical darlings of the region, utilize mostly neutral oak in their renditions from the area. “We are White Burgundy freaks,” says co-owner Nikki Nelson. “We wanted to support something that was domestically grown that really hit home to the energy, minerality, ageability and overall intrigue that the best wines of Chablis and Beaune deliver. The best place for us to do that was undoubtedly the Santa Rita Hills.” They also choose to blend sites from the North AND South of the appellation, and the components that each brings to the blend are readily apparent. The flesh and more tropical/stone fruit character of the South makes for a beautiful contrast to the North’s sea salt and citrus notes. The result is almost like a marriage of Chablis and the Cote de Beaune, while still remaining uniquely Californian.
In the coming decades, I would not be surprised to see the Sta. Rita Hills subdivided further as our knowledge and experience with the site character here becomes more developed. This is not to say that one part of the appellation is better than another; rather, the goal is to better understand the subtle nuances of soil and climate that are distinct within the region. Chardonnay from the northern Sta. Rita Hills is a great jumping-off point because its voice is already so distinctive and has been captured so vividly by its practitioners. Over the next few months we’ll be exploring other facets of the Sta. Rita Hills and learning more about its sense of place. In the meantime, grab a plate of oysters and some Northern Sta. Rita Hills Chardonnay; it’ll blow your mind.
Working with wine on a daily basis, it’s easy to become cynical: Tales of wineries heavily adulterating their wine after claiming it to be “unmanipulated and hands-off”; cookie-cutter wines crafted with sleight-of-hand rather than sweat and intuition; the feeling that it’s all been tasted, that it’s all been done before. But there is hope. Inspired by the ghosts of California’s reputation-making icons from the 60s, 70s, and 80s, Europe’s embrace of balance and terroir, and their own desire to craft something utterly unique to this time and place, there is a new group of rebellious, restlessly inventive Californian winemakers working at the edge of sanity to create something distinctive and enduring, something to call their own. Among the most exciting of this new crop on the Central Coast is J. Brix.
I had the pleasure of meeting the husband and wife team behind J. Brix, Emily and Jody, back in 2008, when they were first delving into their own garage-based winemaking endeavors. They have grown exponentially since then, and are now crafting some of the most expressive, pure wines of place in Santa Barbara County (and a little bit from their home base of San Diego too!). I spoke with Emily via email about their philosophy on wine, their plans for the future, and more.
Cameron: Having two winemakers involved in a project is difficult enough, but you have the added element of being husband and wife. How does this affect your project and the decision-making process?
JBrix: The closest thing I can compare this partnership to is a seasoned band. Each member brings his or her own innate, different skills and ideas, and you riff off one another until you end up with something better than where either of you started. Or, you realize after you’ve hashed it all out that one person’s initial suggestion is simply a better plan. It doesn’t feel difficult to work together. We start at a place of mutual respect for one another’s abilities. We are fortunate to have very similar palates and philosophies, but that doesn’t mean we never disagree. We do always make sure we come to an agreement before important decisions are made. I think we each appreciate having another person readily available and willing to listen to our occasionally harebrained schemes – which sometimes, actually work out better than we could have imagined. (After all, that was how we ended up making wine in the first place.)
C: How do you feel about being classified as “natural” winemakers? What does natural wine mean to you?
JBrix: We approach winemaking as we do life, seeking and finding pleasure in simplicity. We taste a clarity in wine made from healthy fruit, grown in the right place, and guided in the cellar without unnecessary manipulation. We hope to hear the voice of the vineyard in the finished wine. For us, the best way to facilitate that is to work with well-tended fruit; pick it at the right time; listen to what it has to say throughout the fermentation and aging process; and respond accordingly.
C: What do you look for in a vineyard? Do you start with a desired soil/climate and then see what’s planted, or do you seek out specific grape varieties?
JBrix: The first thing we look for in a vineyard, whether we’ve sought it out because we’re looking for a specific variety, or because we’ve tasted a wine from there that we loved, is an unquantifiable stirring. It feels like when you first meet someone and instantly connect; you can tell you’re going to be dear friends with that person, even though you haven’t gotten to know one another yet at all. When that happens for us at a particular vineyard site, we just need to make wine from there. For example, we never thought we’d be making Pinot Gris – but when we went to Kick On in search of Riesling, we fell in love at first sight, and we wanted everything they grew. We now make vineyard-designate Pinot Noir and Pinot Gris from the vineyard, in addition to our Riesling (which is coming in crown-capped Petillant Naturel and traditional versions in 2013!).
C: What are your thoughts on Riesling in California? Where do you see the future of this grape going in the state in general, and SB County specifically?
JBrix: We could not be happier to be making Riesling from what we suspect is the perfect place in California for it to grow – Kick On Ranch in Los Alamos. We can thank Adam Tolmach of The Ojai Vineyard for making the Kick On Ranch Riesling that inspired our then six-year-old son to declare it “better than ice cream,” which set us on a quest to discover the place from which it came. Will there be a huge resurgence of Riesling in California? Probably not. It’s definitely not a workhorse grape. It’s a bit of a finicky variety to grow, and very climate-specific, if it’s going to be grown well. But, if the soil and the climate in the vineyard are right, we’d be happy to see more.
C: How has your winemaking changed over the years as you’ve had the opportunity to work with some of these sites, such as Santa Barbara Highlands or Kick On, for a few vintages?
JBrix: It’s so amazing to get to know these places better every year, and to see how they respond to all the facets of the different growing seasons. One of the most fun things about making wine is that it’s really a year’s worth of events that contribute to the decisions you make once the fruit is picked, and if we stay attuned to what’s going on in the vineyards all year, there usually isn’t much hand-wringing at harvest. We handle things differently from year to year based on what nature brings us, and each season offers more insight into the ways of each vineyard.
C: Where do you think the potential lies in San Diego as far as sites/growing regions/grape varieties?
JBrix: San Diego’s wine identity is still up for grabs, and our cellarmates Chris Broomell and Alysha Stehly of Vesper Vineyards are pioneering the new winegrowing movement. Chris is a sought-after vineyard consultant these days, and he’s made a conscious decision to bring the whole Rhône catalog to new area vineyards – everything from Picpoul to Terret Noir. Most of these plantings aren’t old enough to harvest yet, but we are looking forward to seeing it happen, and tasting the results, in the years to come.
C: What are the wines that inspire you? Have there been any particular producers or bottlings you’ve modeled your various wines after?
JBrix: We love wines that instantly allow us to understand something about the place they were made. We always enjoy drinking wines made by people we know and respect, and those they recommend. We are fortunate to be represented on the West and East Coasts by two distributors (Amy Atwood and Zev Rovine) who bring in some very exciting small-production wines from Europe, Italy and Australia, so several of those are on our radar right now. The only wine we’ve made that’s strictly modeled on a particular style is the Pinot Gris we fermented and aged in a beeswax-lined clay pot, after the kvevri wines of the Republic of Georgia. Our first vintage, the 2012, is yet to be released, and we did it again in 2013.
C: What mark do you hope to leave on the landscape of wine? What would you like for the J. Brix legacy to be?
JBrix: “Legacy” is an amusing word to ponder at the moment, as we’re still trying to teach our children to turn out the lights after they’ve left the bathroom. This project, though, is more than the two of us and our ideas. It has its own soul. It arose from an undeniable impulse; one that we didn’t see coming until it chose us. It came from something true and real, and that is all we want for our wines: that they are true, and that they are real. In the end, our legacy, our lifetime, is the sum of our stories. We are compelled to tell the stories of these seasons, transmitted through these vineyards. To do so honestly is our highest goal.
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.