12 Days of Vinebox: Day 10

3 01 2019

By Raymond Lamontagne

My final vial of this inaugural Canadian Vinebox run hails from a producer with which I am familiar, at least in an academic sense: Chateau Gillet. The Nadau family has made Bordeaux wines for around 150 years. The Gillet vineyards fall smack dab on the limestone plateau that comprises the heart of Entre-Deux-Mers. Although Gillet makes red, rose, and white wines, the Entre-Deux-Mers region is best known for white Bordeaux. The area is vast, sandwiched between the Dordogne and Garonne Rivers (hence the name), and you will only see “Entre-Deux-Mers AOC” on white wines, with reds from this region labelled with the generic “Bordeaux AOC”. Confusingly, though, many producers of whites from the area now eschew the more specific regional appellation in favour of “Bordeaux Blanc AOC” or even just “Bordeaux AOC”, as is the case for the present vial. Ugh. According to Stephen Brook in his omnibus The Complete Bordeaux, there is little point in trying to navigate this morass of tedious bureaucracy and confusing regional laws. At least for today, I am inclined to agree. Suffice to say, Entre-Deux-Mers is too large and too flat to yield consistently great wines, although here and there are pockets of limestone that can elevate the grapes that comprise the typical white Bordeaux blend.

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Chateau Gillet’s white consists of 60% Semillon and 40% Sauvignon Blanc from 25 year-old vines. This is rather “old school” at a time when more and more white Bordeaux is dominated by Sauvignon Blanc, presumably in an attempt to capitalize on the popularity of this grassy, tart varietal in the New World. Traditionally Semillon provides the body and some texture. Personally I am fond of this grape’s rather unique aromas, which can be reminiscent of fresh linens and other textiles, candle wax, and so-called “wet wool”. Although the best white Bordeaux typically sees oak, many entry-level bottlings from less prestigious appellations are made in a fresher style. Such is the case here, fermented and aged in stainless steel. It would seem that Vinebox and oak do not mix, eh? Have we had even one oaked wine in this thing?! Maybe Day 2. I wonder how strategic this state of affairs might be. Read the rest of this entry »

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12 Days of Vinebox: Day 7

31 12 2018

By Raymond Lamontagne

Day 7 finds us sampling different wines from the same winery in close succession, presenting us with another native Sicilian grape, from the very same producer as Day 6. Or is it grapes, plural? What I’m glomming onto right away is the name “Inzolia Catarratto” on the vial. “Inzolia” is reminiscent of “Trebbiano”, in that this name actually refers to numerous white grape varieties that are in fact distinct. Most commonly this word is an incorrect but still commonly used moniker for Ansonica, a widely planted, golden-skinned, low acid Sicilian variety that has also made some inroads into Tuscany. Which brings us to Catarratto. This is another broadly planted Sicilian white grape, in this case in the high-acid camp. Yup, this is a 50-50 blend of Ansonica and Catarratto, two workhorses, presumably intended to capitalize on a balance between Inzolia’s relative bulk and Catarratto’s fresher edge.

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Ansonica is interesting in that it is so prevalent in the hot Sicilian climate despite being a low acid variety. On the plus side, it is drought-resistant. Turns out that Tuscany might be a better locale for it despite this grape’s Sicilian roots; in Sicily the wines tend to be citrusy and light-bodied, whereas in Tuscan island regions such as Elba the grape yields sturdier, richer wines that recall golden orchard fruits with a saline bite. In either case, Ansonica is also a rare example of a naturally tannic white grape. The name Catarratto (or Catarratto Bianco) means “waterfall”, which refers not to some pretty landscape feature but rather to the effusive quantities of wine this grape is capable of producing. Hoooo boy… When a grape name refers to a wine lake rather than some unique aspect of of its vinous personality, one has to wonder how it’s going to show in the glass. In any event, Ian D’Agata compares Catarratto to Chardonnay, stating that it can conjure up notes of savoury herbs, banana and butter. He also acknowledges that these conceits might have more to do with wine-making technique than they do with any innate characteristics of the grape itself (which, hey, actually does sound rather like Chardonnay). The technical sheet on the Feudo Solaria website reassures us that we can pair the wine with snapper, “with no fear of being banal”. Hmmm… Maybe there’s at least a little fear. Read the rest of this entry »








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