For Channel Four to devote a whole hour to the Wine Trade, at peak time, is a rare enough event - good news one might think. But wait, do I not recognise the Dispatches correspondent? Is it not The Sun’s fragrant trouble-maker at large, Jane Moore? A putative ignorance of wine is of course essential, so that the questions and observations, seemingly innocent, are able to expose some seemingly rather dubious practices, things such as inconsistencies in ingredient labelling and, in terrifying counterpoint, an exposition of some of these ingredients. Shocking things like tannins, yeasts and, horror of horrors…sugar.

Champagne was a suitably easy target; the sanguine Françoise Peretti from The Champagne Information Bureau did, it has to be said, struggle to justify ’sur lattes’ trading, trying to defend the indefensible perhaps. Then there were the shots of carefully manicured Champagne vineyards…manicured with what purported to be Parisian rubbish, to expose the rather unusual practice that persisted until fairly recently, whereby the vignerons covered their land with the contents of domestic rubbish bins in a dubious attempt to extract goodness from their residue.

Left: No rubbish at Jacquesson!

And of course endless discussion of the fact that the Champenois use far more pesticides than other French vignerons…ignoring the reality that this is as a result of its relatively northerly location and that it is, as a practice, currently diminishing. As a pièce de resistance, came the revelation that there is sugar…yes sugar…in Champagne. All most astonishing.

For the Champagne producers, wrestling still with the enviable dilemma of not having enough wine to satisfy growing demand, this will all have caused wry amusement more than anything. The only shard of displeasure may have been fired by Jancis Robinson MW, the most respected UK wine critic of them all. Jancis affirmed that only 30% of all Champagne is worth its elevated price…by inference there were 27.3 million bottles of over-priced poor value fizz shipped to the UK last year, and 27 million consumers whose sparkling experience was, is, or is to be not quite as good as it ought to be.

Pol Roger have already issued a statement to the effect that there is no residue, let alone Parisian domestic rubbish, in their vineyards, that they never buy ’sur lattes’ and that their practices in the vineyard use a minimum of fungicides and pesticides. All very re-assuring but interesting that they feel the need to make this defence.

Right: Benoit Marguet; closer to the soil with an organic approach

This will be especially annoying to an industry, if that’s the correct word, which has done a lot to put its qualitative house in order, and so it should, some may argue, given the large profits generated over the years. There has been, for example, work in the vineyards to improve both the location and the mechanics of the press houses, a more rigorous adoption of ‘viticulture raisonnée’ and even a move, in the name of a carbon foot-print, to reduce the weight of the famously heavy bottles. And those 40 new villages identified to ease the demand problems have only been selected at the end of a rigorous process, and in any event will not be producing viable fruit until 2019.

Champagne, in short, is well regulated and environmentally aware, despite the famously high yields of the vines and a sometimes rather unceremonious rush to the market place, post disgorgement. Programs such as Dispatches, however, tend to inspire in me an almost Pavlovian defence of Champagne’s finer points, of its cultural integrity and of the fundamental quality of its product. But such programs are not without value, in warning, albeit in rather simplistic terms, against commercial cupidity and hubris, both seen by some as inevitable by-products of the privilege and success of the region.

The description of wine is a very personal matter. Some think in terms of cherries, gooseberries and the like (which can be difficult for those of us brought up in cities), others more simply in terms of structure, class, balance. I am in the latter camp: ask me what aroma jumps out at me from Ch. Lynch-Bages, for instance, and I’ll invariably say “Pauillac” as opposed to cassis and cedar.

One way to make the expression of a wine’s quality easier is of course to award it a mark. Robert Parker scores out of 100, Jancis Robinson out of 20 and BBR out of 20 too. This does make sense, particularly when one is marking within a consistent context such as the wines of one vintage from a specific region.

Parker’s scoring system has more structure than many think. A wine gets 50 points for turning up, up to 5 points for colour and appearance, 15 points for aroma and bouquet, up to 20 points for flavour and finish, and finally, up to 10 points for overall quality and potential for further ageing.

Our scores aren’t quite so structured and, unless I’m wrong, nor are Jancis Robinson’s. Where they do excel, though, is that they are almost always the product of collective opinion - what we all think about a wine rather than one person’s opinion. This is vital I think, particularly when tasting young wines and cask samples as there are frequently wines that one simply doesn’t “get”: I almost always leave Ch. Palmer scratching my head whilst my colleagues are raving, for instance.

Ultimately, though, I don’t really like scores. If pushed I’ll give my scores (out of 100, just to confuse things) but the rare 100-pointers aside (1927 Taylor being one of a few Fowler 100s - this wine is sheer perfection) it does seem rather odd that the sheer beauty of something like, say, 2005 Margaux, can be summarised by a number. Parker’s note for this wine is summed up by “98+”. My note finishes “love”: I had ran out of words and a number just wouldn’t do the job.

Dr Bailey Carrodus, much-loved founder of the highly acclaimed Yarra Yering vineyard in Australia’s Victoria wine region, passed away peacefully yet unexpectedly this morning at the Yarra Yering vineyard surrounded by his dedicated team.

In 1969 Bailey founded Yarra Yering after a lengthy search for the perfect vineyard site and chose a deserted but promising territory near Coldstream in the Yarra Valley, Victoria - a wise choice which has resulted in one of Australia’s best made wines.

Bailey was one of the wine industries true individuals, famous for the winemaking philosophy “If it doesn’t work I’ll just tip it out”.  Indeed today his wines command such high demand that the cellar door only opens for two days each year and most of the annual production is sold within the first hour - a great testament to the work of a great man. Dr Bailey Carrodus will be sadly missed by all who were lucky enough to know him.

Martin Hudson has been awarded the wine world’s top honor joining four of his colleagues at Berry Bros. & Rudd and 278 MWs globally, The Institute of Masters of Wine announced on Friday 5th September.

Martin’s achievement brings Berrys’ MW total to five, resulting in the UK’s leading independent wine merchant boasting more Masters of Wine than any other company.

Martin, who works as a Wine Advisor for Berrys’ Factory Outlet in Basingstoke and lecturer for Berrys’ Wine School, says: “This is the culmination of four years of hard work which I didn’t ever expect to result in me becoming an MW. I am delighted and wish to thank Berrys for giving me so much support without which this wouldn’t be possible.”

“This week has seen a double dose of good news - not only did I hear from the Institute, but on Sunday 31st August I won the Belgian 350cc Classic Motorcycle championship,” adds Martin.

A long time avid consumer of wine, Martin passed the WSET Diploma whilst working as a Technical Director designing computer cables. In 2002 he joined Oddbins as a Wine Advisor, becoming a Manager within six months, before leaving in August 2003 to join Berry Bros. & Rudd.

Alun Griffiths MW, Berrys’ Wine Director, adds: “Martin passed both the written and practical papers at the first attempt, a rare achievement, and this year completed his dissertation to achieve the coveted MW recognition. Given that Martin’s available time for study had to be fitted in between his work and race-riding in the upper echelons of competitive motorcycling, his success is all the more commendable.”

Martin will receive his certificate at the Institute’s Annual Reception and Awards Ceremony at Vintner’s Hall in London on November 5th 2008.

Fifteen candidates became MWs this year including Jeannie Cho Lee, Head of The Fine Wine School, in partnership with Berry Bros. & Rudd, in Hong Kong.

In 50 years’ time, Berrys believes wine is unlikely to be sold in glass bottles. Using glass will be unrealistic as retailers and importers try to cut costs, waste, and reduce the environmental impact of wine being shipped around the globe.

The average weight of a wine bottle is 500g, but there have been recent moves to produce more lightweight bottles.

Berrys believes the cost and environmental impact of shipping pre-bottled wine around the world means, in the future, we’re likely to see ‘wine tankers’ crossing our oceans. Bulk shipments of wine could arrive, before being put into plastic or reinforced cardboard containers in a bid to reduce environmental emissions and create a domestic bottling industry.

“I see a far greater range of packaging on the shelves in 2058. Cartons will be the obvious choice for much of the wine and will dominate the shelves for the mass market. Variety will be greater – we’re already seeing 500 ml and 1 litre options. Cartons will mean far more tailoring to consumption and branding opportunities for big brands.”

Ian Williamson, Tetra Pak UK

Closure producers will go head to head today at the London International Wine Fair (LIWF 2008), debating consistency over the lifetime of a closure and whether taint caused by faulty closures is still a problem for the wine trade.

And tomorrow, addressing the international debate that triggered the burning question, will be American author George Taber. His latest work, ‘To Cork or Not to Cork’ has already received Stateside acclaim. Launching the title at the Fair, George will discuss the key arguments for and against different types of closures.

A practical workshop will follow on the subject of ‘post-bottling reduction’ and excessive levels of sulphides - how to spot it, what are the causes and how various closures perform. His talk will be accompanied by an inter-active tasting and discussion which is likely to spark some interesting debate amongst closure producers who have already been discussing the respective merits of their products in a stand-off ahead of the debate.

All closure producers agree that oxygen is beneficial to the evolution of wine in bottle, but research continues into the optimum level of permeability.

To cork or not to cork, have your say!

In my last post:

Parallel Palates from Burgundy to Borough

I promised you exclusive interviews of our Burgundy Buyer Jasper Morris MW with his Burgundian producers. 

Left: Jasper with the Bret Brothers

Now you can re-live my tour of Burgundy and discover the faces behind the wines, with photos, recorded cellar-talk and, of course, the lowdown on their latest vintage - Burgundy 2006.

In addition to re-tasting the 06s, Jasper also discovers how the wines acquire their own, individual personalities.

• Take my virtual wine tour now!

Early in 2007 the celebrated Rhône writer, John Livingstone Learmonth sent me (along with the rest of his address book) a petition to try and prevent what was described as ‘Le Cornas menacé par l’urbanisation’ .

Unbelievably the powers that be (or were) planned to build a 5 storey building slap bang in the middle of this tiny (100 hectares) and wonderful vineyard; for a long time it appeared that the scheme would go ahead. Finally, mercifully, the mayor has bowed to the power of the people and the project has finally been abandoned.

Thank the lord! The only cause for regret is that Robert Michel (left), who has been supplying Berrys for many years, has announced his retirement.

The good news is that along with securing his last vintage (the 2006) which will be available for those who are interested in spring, his famous ‘Geynale’ Vineyard, perched magnificently over the village, has been sold to a syndicate, the members of which include his gifted nephew Vincent Paris, and none other than John Livingstone Learmonth himself.

Their work will be cut out, of course, to scale the heights achieved by Robert; his wines have all the brooding power for which the appellation is famed, with a wonderful concentration and elegance of fruit, perhaps a result of the fact that the vines date from 1911. Few wines are better suited to game or rich wintery dishes…

A few years ago Glengoyne distillery released their Scottish oak finish matured single malt. This was a nice piece of marketing and, critically, the product was very good. It is never likely that there will be swathes of the great Scottish oak forests toppling to keep up with demand as commercially it is rather an expensive process but there is a true ring of Scottish provenance about it. Perhaps I’m having a Braveheart moment!

The Scottish whisky industry is remarkably dynamic in its ability to stimulate drinkers with innovative offerings and particularly the increasing array of wood finished whiskies. I have no problem with these as long as the final product tastes good - and in the main it does. I have, however, tasted some whiskies in recent years that boasted connections to exotic wine or other casks and have found little or nothing relevant in the flavour. Very often a synthetic vein ran through the spirit that did not integrate well.

My main concern is that the procedure, heralded as enhancement, is sometimes being used to dress-up immature or relatively characterless spirit. It is quite simple – put good spirit into good wood for the right length of time and you get good whisky! My preference is for good old fashioned malt whisky that has spent all of its life in a monogamous relationship with one cask. At least you know what you are getting. Does it really have to run off with a younger cask for a six month fling?

My other concern is that often the type of finishing wood used is promoted with seemingly more importance than the actual whisky. Who is the boss in this relationship?

Long live experimentation and diversity but the industry must be careful not to damage a hard-earned reputation for quality with contrived makeovers. 

Speaking to The Times , distinguished UK Wine Writer, Hugh Johnson, recently remarked that innovations created by wine growers to protect their crops from the elements have reduced vintage variations, making any year a good year for wine aficionados. Johnson also noted that vintage-specific demand & wine snobbery were intrinsically linked, sparking a debate within the wine world - are vintages still valid?

In some parts of the world, especially the Southern Hemisphere, it is clearly the case that vintage variation is less pronounced than in the more marginal climates of Northern Europe. Moreover, in the top appellations of Bordeaux and Burgundy, years of success have spawned a scale of investment in technology which has effectively eliminated the incidence of the truly terrible vintages of the past. The days when every decade brought three very good vintages, three shockers and four of average quality seem well past.

Nevertheless I believe that there remain enough variations between vintages, particularly amongst European wines, to ensure that comparison remains a valid and enlightening study. 2003 by Bollinger, encased in packaging which displays the vines under snow (left), is a great example of how vintage variations can produce very different styles from year to year.

I agree with Hugh Johnson that at the very pinnacle of quality, the First Growths of Bordeaux for example, the wines from what are considered the greatest vintages acquire a reputation and value which comes in part from their perception as “trophy wines”, and demand for them spirals as a result.

Slightly lower down the scale, however, I still find it fascinating to discern the different characteristics of vintages which might all be deemed “good” but which are borne out of widely differing climatic conditions. 2003 and 2004 in Bordeaux, for example, present a very interesting comparison, as do 2000 and 2001 in Burgundy, or 2005 and 2006 in the Rhone.

Furthermore, away from the top domaines, where investment in technology is less affordable, one still sees starkly the effect of differing weather conditions on vintages; in everyday Burgundy , for example, the heat of 2003 yielded wines with roasted characteristics, further pushed out of balance by clumsy acidification, followed by the green, herbaceous style of the slightly less ripe 2004s.

If the current global warming trend is permanent, which is far from certain, we may see greater regularity in vintages in European vineyards, but, for now at least, let’s continue to celebrate diversity.