Boccella’s 2006 Campi Taurasini “Rasott”

After the veritable flood of provocatvive remarks (more like a drizzle really…) that came crashing through the gates in response to Thursday’s post on the ethics of accepting wine samples for review, today I’ll get right down to business.

After digging around for historical information about the relatively new Italian wine designation of Irpinia Campi Taurasini, I can more than sympathize with Il Signor Cevola’s frustration over the lack of a central repository of information on Italy’s DOCG system. If you think it’s tough digging up info on the 40+ Italian DOCGs, just try doing the same for any of the hundreds of Italian DOCs. If there’s an authoritative, up-to-date source on the web, I couldn’t find it. Let me know if you can.

At any rate, here’s what I was able to cobble together, using my far less than utilitarian grasp of the Italian language and stopping a step or two short of the outer limits of my patience.

Irpinia was first proposed as a DOC zone in 2003 and ratified as such in September 2005. The designation "Campi Taurasini," one of several subsets of the broader Irpinia DOC, is specific to Aglianico based reds from the “Taurasian Fields” – my translation, feel free to improve upon it – in the hills east of Avellino. The delimited area is inclusive of the entire Taurasi DOCG zone plus seven additional communes. Wines from Campi Taurasini, as with Taurasi, must include a minimum of 85% Aglianico, with allowance for blending other “non-aromatic” local red varieties. The nine-month aging requirement for Campi Taurasini, however, is considerably shorter than the obligatory three years for Taurasi. Wines can be released to the market as early as September 1 in the year following the harvest.

Campi Taurasini “Rasott,” Azienda Agricola Boccella 2006
About $22. 14.5% alcohol. Cork. Importer: Domenico Selections, New York, NY.
Per the Domenico Selections website (importer Terence Hughes sent me two sample bottles for review consideration), Boccella’s Campi Taurasini is varietal Aglianico from young vines planted in limestone and clay dominated soil at 800 meters altitude. The Boccella family farms organically and bottles their reds without fining or filtration.

That latter factoid presents itself quite clearly (unclearly, actually) in the glass, as a fine cloud of particulate matter hangs in liquid suspension, giving a slightly murky appearance to the wine’s otherwise deep blackish-red hue. Initial aromas of cherry fruit, tobacco and cedar unfurl to scents of blackberries, grapiness and, with more time in the glass, a touch of pruniness. In the mouth, sweet red fruit hits first – dried Montmorency cherries in particular – laced with herbal flavors of rosemary and bay leaf. There’s an edge of grape and wood derived tannins that call out, along with that cedary oak influence, for pairing this wine with grilled red meats. The wine handles its relatively high alcohol (14.5%) well; you’ll know it’s there via body and texture but there’s no hint of heat on the finish. Surprisingly fresh, medium acidity helps the whole package along and actually helps make it more food-friendly. In spite of the meat pairing suggestion above, I found it perfectly viable alongside pasta with a sauce of tomatoes, onions, ceci, olive oil and rosemary – a touch big-boned perhaps, but it still worked.

Will I be running out to buy a truckload? Probably not. But I’d happily order a bottle were I dining in a Southern Italian restaurant savvy enough to give it a place on its wine list. It’s a solid wine that gets extra marks from me for its freshness and persistence.

Faults? It’s facile enough to demonize filtration for potentially robbing wines of some of their natural character but here’s a case where I think a light filtration might have been to the wine’s benefit. Aside from that, I really have to stretch to find anything at issue.

Why am I going looking for faults rather than simply being open to noticing them? The quandary I mentioned in my procedural post of Thursday turns out to have what may be an unexpected twist. Rather than being kinder or gentler to a wine because it was received as a sample from a friend, I found myself being even more intensely critical than usual. In that context, I’m glad Terry sent two bottles – I told you he’s a smart guy – as the second bottle didn’t just show better than the first, it also gave me the opportunity to relax into the tasting experience, to get to know the wine better, to accept its bumps and wrinkles as a natural and complementary part of the whole.

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Marc de Grazia Grand Tour 2008 Tasting

I’ve been struggling for several days now as to whether or not to post this. As you’re now reading it, my decision should be obvious. However, it wasn’t reached easily. It took encouragement and inspiration from a few friends. Really, it wasn’t until I saw Jeremy Parzen’s video of his recent visit to the Gambero Rosso tasting in San Diego and, subsequently, Brooklynguy’s reluctant report on the Gambero Rosso event in New York that I made up my mind. Even then, coming to a decision took a little more self-inflicted torture. The reasons are many. First and foremost, the tasting occurred in the middle of a busy workday. I tasted fairly but did not have the time to sample all of the wines present or to take notes in as much detail as I’d usually like. Second, I found little to like among what I did manage to taste. Even after years in the trade and a year-plus of blogging, I still feel a tug of self-conflict when griping about something for which I didn’t pay.

It’s time to get over it, McDuff.

The whites:
The only producer whose wines I enjoyed across the board, white or red, was Gini, an estate located in Monforte d’Alpone at the heart of the Soave Classico zone. Their 2006 Soave Classico “normale,” done all in stainless and unusual in its claim of being 100% Garganega, was pure and well-balanced, with golden pear fruit and mouth watering acidity. The 2004 Recioto di Soave Classico “Col Foscarin” was simple but lovely for its honeyed fruit and, again, good acidity. More compelling was their botrytis affected cuvée, Recioto di Soave Classico “Renobilis” 2003. The extra concentration provided by the noble rot lent the wine more aromatic depth and a longer, spice-tinged finish.

Overall, the whites in the de Grazia portfolio fared better than the reds, though mainly by dubious virtue of falling in the neutral zone, that undistinguished, middle of the road, neither bad nor characterful part of spectrum. This, of course, is an issue that many critics have pointed out with all too many Italian white wines in general. One such pundit, Terry Hughes at Mondosapore, has been digging for the exceptions to that rule lately (see here and here). Along with him, I’ve been looking to Campania in search of some of those exceptions. The wines I tasted today, though, didn’t quite raise the bar.

The 2006 Falanghina from Cantina del Taburno was corked, so I’ll withhold judgment (aside from the fact that they were pouring it). Their Greco from the same vintage was perfectly acceptable for its fruitiness yet was boring. But then, I’ve yet to find a Greco I have liked much… any recommendations out there? On the flipside of the simple yet fruity coin was the 2006 Fiano di Avellino from Collio di Lapio; it showed intense structure, with both acidity and apparent extract on the palate, yet it was nearly bereft of fruit.

Moving up the boot to Umbria, the Orvieto-based estate Palazzone was showing three of their whites. Their 2006 Orvieto Classico Superiore “Terre Vineate” fell very much into the same camp as the Greco from Cantina del Taburno, perfectly nice yet ultimately uninspiring. More interesting and soundly up there in the “wines I liked” category was their vineyard designated 2004 Orvieto Classico Superiore “Campo del Guardiano.” Fourteen months of bottle aging prior to release, along with what would appear to be better quality fruit, had give it firmer texture and a savory, herbaceous and nutty character. Falling totally flat, however, was Palazzone’s 2005 Umbria Bianco IGT “L’Ultima Spiaggia,” a barrel fermented, varietal Viognier. De Grazia’s signature barrique stamp had robbed the wine of any varietal character, with wood dominating the fruit profile, aroma and texture of the wine. The idea of a “de Grazia signature” moves me right along to…

The reds:
As mentioned earlier, I was a touch pressed for time. So rather than letting my brain lead me to the southern Italian reds with which I’m slightly less familiar, I let my heart lead me right to the region of Italy to which I feel the strongest affinity – Piemonte.

I so wanted to like the wines from Cavallotto Fratelli. I’ve enjoyed their Freisa on occasion and have particularly fond memories of drinking a bottle of their 1996 Barolo “Bricco Boschis” Riserva more or less in situ, over lunch at the fantastic restaurant Le Torri in the town center of Castiglione Falletto. Relatively speaking, I did find at least a little to like. A 2004 Barbera d’Alba “Bricco Boschis Vigna del Cuculo” was still tightly wound and loaded with plump yet structured Barbera fruit. The 2003 version of their Barolo “Bricco Boschis” showed some character, especially for the vintage, on both the nose and palate. Both wines, however, were marred by an overzealous use of oak and were lacking, respectively, in juiciness and nerve.

It was with the line-up from Domenico Clerico that I really hit the wall. Across the board, the wines were over-extracted, over-oaked, inky black and lacking in a clear expression of place. Their 2005 Dolcetto d’Alba “Visadi” was missing both the aromatic nuance and fruity charm of which Dolcetto is capable, instead clamping down on the palate with aggressive tannins and closed, over-saturated fruit. One de Grazia rep called it “not your father’s Dolcetto” (I doubt my father ever drank Dolcetto but that’s beside the point). Another boasted that the wine had somehow gained nuance by being aged in barriques formerly inhabited by the estate’s Barolo…. Ahem. Next. A similar fate befell the Barbera d’Alba “Trevigne” from 2004 that was just plain overblown. Worst of all was the estate’s 2004 Langhe Rosso “Arte,” a blend of 90% Nebbiolo and 10% Barbera done in 100% new barriques. I look to Nebbiolo for nuance, for structure, for delicacy intertwined with sinew; this was loaded with oak and tannins but had nothing else to say.

Clerico’s 2002 Barolo smelled great, with lots of spice, tar and wild red fruits. Yet it turned out to be unpalatable, marred by an apparently dogmatic insistence on using all new barrels in spite of the difficult, slightly dilute nature of the 2002 vintage. Only in the 2003 Barolo “Ginestra Ciabot Mentin” was there enough natural substance for the resulting wine to stand up to the oak and vinification techniques that were thrown at it. Even then, this is Barolo designed for lovers of the overtly modernist style – big fruit, dark color and lavish oak.

A couple of my coworkers who ventured over to the tasting later in the day assured me that I hadn’t missed much with the Tuscan and southern Italian reds. Their essential summation: “Everything tasted the same.”

It may seem unfair to judge de Grazia’s portfolio after going through only a subset of his producers. But my experience at the tasting is backed up by similar past experiences with wines from other estates in his Piemonte cadre alone, such as Paolo Scavino and, in particular, La Spinetta. Like them or not, it’s hard to argue that they don’t fall into a very narrow extreme of the stylistic spectrum.

This brings me full circle to the main message and inspiration of the posts from my fellow bloggers. The Gambero Rosso awards, as with most of the points-based systems used by major print critics, have come to favor high alcohol, high extract, in your face, drink me now wines. That’s just too many extremes to balance, even if a real, honest and truly good wine does occasionally sneak into the fray.

It also brings me to my final discomfit. The dominant trend over the last 15-odd years to reward high alcohol, overtly modern wines that end up lacking a sense of place – fueled by the Gambero Rosso and similar systems – is irksome enough. A portfolio of wines from an importer that, from what I’m given to understand, pushes its producers to make wines to appeal directly to those systems – via the promotion of roto-fermenters and required new barrel aging regimes, for instance – is even harder for me to swallow.

* * *
Related links, aka, flame off:

For a very thoughtful essay on the topic of modernist vs. traditionalist Barolo, see Craig Camp’s 2003 article on the Barolo wars.

A fair-handed piece on the pros and cons of roto-fermenters:
Fast and furious: rotary fermenters have fans and skeptics
from Wines & Vines, April, 2005, by Tim Teichgraeber

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