For some reasons there's just been a tremendous number of burgundy 'occasions' recently and most of the more illuminating lessons I've had came from these recent recollections. Over time I suppose as the interests of the group become more focussed on burgundy (I don't know why but certainly within my nearby circles everyone seems to be burg-ified all of a sudden) the occurence of structured or theme-specific tastings abound aplenty nowadays.
One of the highlights of our recent wine discovery must be Domaine Comte Armand of Pommard. To be quite fair, the domaine had made its mark in history for a long time, and any true burgundy diehard must know of this famous estate. The resurrection of this domaine seems inextricably connected to the finding and founding of two young "superstar" winemakers responsible for turning around the overall quality and within a short spate of time, reestablishing and once again justifying the fame of this historical estate. Pascal Marchand and his one-time assistant, Benjamin Leroux, had both achieved in the burgundy geek-speak context, nothing short of a winemaking superstardom. Benjamin particularly is extremely young, but is very well-travelled, and is a hardworking, deliberate and philosophical winemaker. Based on what I've been told by Andy through his personal encounter with Leroux, he struck me as a good wine taster too.
This estate is also synonymous with its most prized parcel of land, the monopole "Clos des Epeneaux", thought by many as possibly the most gifted and distinctive plot of Pommard. Such attribution, of course, often tends to be more romantic than it is quantifiable, but as far as my personal experience goes, this plot of land has indeed produced quite consistently many Pommards of distinction, not just with respect to its appellation, but also in the greater Burgundy in general.
(For a concise yet informative introduction to this domaine, its current winemaker and the "Clos des Epeneaux", pls refer to Auric Pacific's newsletter here.)
The tasting tonight at Wine Garage showcased several vintages of Clos des Epeneaux -- 2003, 2002, 2001, 1998, 1995 and 1990. The first three wines were made by Benjamin Leroux while the last three were the works of Pascal Marchand. It promised to be exciting as we could experience the difference the winemaking practices of these two guys made to the wines, as well as taste the development profile of the terroir. Quite specifically I wanted to explore what is "Clos des Epeneaux"?
Besides the aperitif, two other red wines were also served as a precursor to the vertical tasting: Domaine de la Vougeraie's Pommard "les Petit Noizons" 2002 (Marchand produced this wine) and Comte Armand Volnay 2002 (Leroux's Volnay interpretation).
Aperitif came in the form of Domaine Guy Roulot Bourgogne Blanc 2004. Still as malic as the last time I tasted it, the glass tonight seemed more cohesive. Nonetheless, green apple skins and limes still dominate the fruit profile of this wine. There was healthy acidity and extreme liveliness but being what it really was, this was still very thin in the mouth. What it made up for was length at the end, which was not so much fruit laden, but more due to the persistent acids. Bright wine but ultimately very light weight. Delicious, just not serious.
Comte Armand's Volnay 2002 was quite serious in the nose, with high-toned aromas of dark raspberries. Sweet and pliant in the mouth, if somewhat lacking midpalate, this had redcurrants aplenty and suggestions of golden sultanas in the innermouth perfume. Even textured and gentle wine ultimately. Finished with a subtle but sufficient suggestion of sappiness and some structure (for a Volnay AC particularly). Reasonable finish. Good, even handed, but not quite special. (This was put in so that the context of Benjamin's approach to winemaking would be better understood when we later assess the Clos des Epeneaux.)
Vougeraie's Pommard "les Petit Noizons" 2002's nose was distinctly different from the Volnay -- and it should be, by typicity alone. A serious Pommard nose which was visibly more massive, with slightly oily and almost roasted aromas. Lots of black fruits and very tannic in the mouth. This has impressive extract for a villages level wine. The use of stems was detected -- quite deftly done (I don't think the stems were green at all). Not transcedental for the cru but a classy Pommard nonetheless complete with its honest-to-goodness rusticity.
The vertical of six wines were served in the following flight of pairs: 2001 & 2003, 1998 & 2002, and 1995 & 1990. My personal order of tasting (which I deliberately did) was to taste: 2003 & 1998, 2002 & 2001, 1995 & 1990. This worked out better for me, though I must say that the 2003 was unlike any other wines, as expected and so pairing it with anything wouldn't have provided a better context other than, on hindsight, perhaps with the 2002. Nonetheless...
The 2003 sported a vitamin-B nuance on the nose with an almost liqueur like aromas and cassis. Very ripe, almost plummy, yet managed to stand up straight on its structure. Decidedly creamier than all the others with vanillin-scented oak influence, this did not have the sappy cleanliness in the finish which this wine tends to have but other Pommards don't. Nonetheless, generously textured and voluminous in the mouth still, if not quite lacking a certain freshness. Quite impressive in the context of the vintage.
The 1998 (under Marchand's hands) was a complete contrast. There was aloofness and edginess in the wine -- something I'd rather attribute to the vintage more than the winemaking style. However, the winemaking did impart certain characteristics too. The nose, for example, showed evidence of stems. This was quite ripe and extracted, but the extraction went a little off-balance IMHO -- as it turned slightly green in the finish. Nonetheless the natural sweetness was quite impressive for what had been a challenging vintage. The note of greeness persisted later on and the finish had a marked rusticity on it. This is unlikely to become better, but should still last for a while.
I once remarked that Comte Armand's Clos des Epeneaux 2002 redefined my perception of Pommard. At least my first bottle of it did for sure. My second experience was less impressive with the wine coming across as very ripe, generously styled burgundy. And tonight, my third bottle was certainly more typical compared to my previous experience, sporting ripe fruits, almost candied, and almost roasted but just did not cross the line. Bright red fruits predominate here, in fact also blue-fruits streak. At some point, due to the size, concentration, foursquare elegance and blue-fruit tendencies of this wine I was reminded of Bonnes-Mares, a mini version if you will. Sweet, persistent, plush and quite sappy, yet not quite as cleansing as the 2001 and less angular too. Textured, but not a fruit-bomb like the 2003 and very ripe but not as dehydrated as the 2003. Delicious and one day would be great.
The 2001 took my breath away after letting it sit in my glass for more than half-an-hour. Lighter hued than the densely red 2002, the '01 immediately struck the nose with crushed red fruits and a heightened expression of minerals quite hard to imagine to ever come out of Pommard. Bright raspberries and cherries fruits, with lots of minerals again on the palate complicated by nuances of wet soil, this wine possessed the linearity of flavours which is unsurpassed by even the 2002 example. Deeply penetrating, awesomely structured but not hard, in fact, rather gentle, this has the backbone of minerally fruits I associate only with truly great burgundies. Very impressive with great future but already a great wine of impeccable stature and balance. Spellbinding.
The last two wines set the stage and truly define what Marchand could and had done with this precious land. The 1995 seemed to be cut out of the same mould as the 1998 except that I suspect it had a better raw materials to start with. There was tell-tale stemmy whiff on the nose but more gentle, perhaps due to riper stems? The aromas were more pristine, combining fruits of black cherries and flinty minerals. Sweet and persistent in the mouth with an assertive tartness at the finish which further lenghtened the flavours. A very good showing regardless of what I've read about this wine. The origin of this wine is showing well.
The 1990 can be summed up in one word: monstrous. Huge, thick, meaty and finished off with a somewhat spirit-like nuance in the nose. In the mouth, none too different the typical Pommard outfit of ash, soil and tobacco were all there. So this was probably the most typically Pommard wine of the night with a hugely tannic structure to boot even at this age. A one of a kind Pommard (or even burgundy) of massive extract, the youthfulness of this wine is mind-bending. That said, everything, despite being upsized, was still in balance. This is a relentless monument of a wine which is unlikely to soften for another 15-20 years. Incomparable, to say the least.
Suffice it to say, as I contemplate on the wines tonight, Clos des Epeneaux is indeed quite special. There is an understated quality to its wines, the fruits bright and relatively gentle (especially in the context of Pommard). This is also the only Pommard that possesses an unshy levels of minerals in the wine. In short, quite extraordinary. What is left to see is whether it would put on the more typical Pommard character as it ages. After tasting the 1990 and 1995, I believe it would -- and this is very important.
Leroux and Marchand to some extent also offers two different styles. Both respect terroirs but while Marchand's wines tend to have this unbridled sense of energy and some degree of rustic edginess, Leroux's interpretation tend to be more plush, refined and gentle. Marchand's wines invariably demonstrates more power and density, but Leroux's version always showcases pristine high-pitched fruits with juicy sappiness. There is no right or wrong here, but this goes to show the effect a winemaker can lend to the wine, regardless of how little intervention they profess to make and how much they respect the already gifted terroir. Winemaking, in its most basic, after all, is but a human interpretation of the nature's gift.
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