Durbanville W.O.

Last week I was in Durbanville, more specifically, Meerendal Estate in Durbanville, where I, with a small group of colleagues, were at a prequel to the bicentennial celebrations of Durbanville next year.

View from Meerendal of Durbanville and, in the distance, Hottentots Holland mountains

I would be surprised if many think often about this old farm, founded in 1702. When I questioned new winemaker Wade Roger-Lund about where visitors come from, he confirmed they’re mainly local, that’s Durbanville local. Perhaps this is less surprising when the farm can be accessed only via central Durbanville or from a big loop off the N7 via Contermanskloof Road; both converge on Vissershok Road where, after a few hundred metres and a couple of potholes (unusual in the Western Cape!), one arrives at Meerendal’s entrance.

If it’s not the easiest place to find and wants some better signposting, Meerendal deserves wider appreciation. As with so many other wine farms, Covid left Meerendal in uncomfortable straits; thanks to now sole owners, the Coertze family, and the appointment of Wade Roger-Lund, given free rein to re-imagine the wines from these cool-climate vineyards, things are looking a lot more positive.

The old barrel cellar transformed into new tasting room and sales area

Spruced up buildings have created a more modern, attractive look without detracting from the overall heritage character. The manor house, once a restaurant, is now a boutique hotel; the old barrel cellar, now an airy, attractive sales area with two of the restaurants conveniently adjacent.

The vineyards, mainly young, are being converted to organic; the aim is Ecocert certified 100% organic by 2028. If today’s vines are mainly young, vines have been grown on Meerendal since its founding in 1702; it’s recorded there were then 60 000, with cattle and sheep also farmed. Even in the 18^th century, it was recognised as excellent wine growing country.

To the wines. Wade was well-schooled for several years working with JD Pretorius at Steenberg and Gary Jordan at his family winery: time well-spent, lessons well-absorbed. The early vintages of Wade’s Meerendal wines have less extraction, are fresher, more reflective of their origin and in a style generally younger wine lovers prefer.

A glass of Wade’s first Sauvignon Blanc sparkling wine welcomed us to the range. His love of bubbly, no doubt encouraged by JD Pretorius during his time at Steenberg, saw Wade taking Diner’s Club Young Winemaker of the Year award with the first Cap Classique Blanc de Blancs he made for Jordan. Although it is bottle-fermented, this sauvignon can’t be called Cap Classique, as it spent only seven months on the lees (a year is now the minimum). Wade wanted fruit but also a more interesting dimension, which that short lees ageing has imparted. With its fruity profile and lively bubble, it’s an enjoyable, refreshing style.

I believe the method of bottle-fermented sparkling wine (I’m not 100% sure of the wording) is going through the process by SAWIS of becoming an official designation.

More sauvignon and new to the range is the barrel-fermented The Chapel Blanc Fumé, its restrained tropical fruit balanced by freshness and a beneficial hint of oak spice. Reds too are fresher with less extraction. Meerendal Estate Shiraz 2023 weighs in just under 13% alcohol with juicy red berry, clean leather and dark spice flavours backed by frisky, fresh tannin. Just 10% spent a year in oak. Light chilling on a hot day would not go amiss, neither would the R152 price tag, which offers excellent value.

Undoubtedly, the pièce de resistance Wade poured for us was a 2023 barrel sample of the famous Heritage Block Pinotage; it blew us all away with its glorious perfume, more reminiscent of pinot. Planted as bush vines in 1955, this was Professor Perold’s original pinotage, one he viewed as more pinot-like. Cuttings from selected vines established new vineyards nearly ten years ago; by 2025 more will be available of what is officially the Meerendal clone.

Beyond its beguiling perfume, there’s cool-climate purity, freshness and fine but particular tannins, leaving no doubt as to its varietal origin, but one that should appeal to those who dislike the denser, bigger versions or the grape per se. It is entirely worthy of its special status.

Consider what makes this special status and the wine its distinction. The history of the vineyard (the back label confirms it’s the only remaining original pinotage in Durbanville), its venerable age earning it the Certified Heritage Vineyards label. As Meerendal is registered to produce estate wine, it ensures this wine is grown, made and bottled on the farm, thus confirming its authenticity.

It is a wine of integrity but for one factor, it is certified Wine of Origin Cape Town. I’ve never been in favour of this WO, which also encompasses Cape Point, but especially on this wine, which may and should more rightly be certified Wine of Origin Durbanville.

One of the reasons I’ve been told Wine of Origin Cape Town was mooted, is that it is better known than Durbanville, (remember, nearly 200 years old) and apparently confusing to foreigners. Apart from recognition of South Africa itself, Stellenbosch is probably the only region with any recognition factor, but where does that leave Swartland, Robertson or Hemel-en-Aarde for example? It leaves them with enough pride to believe in and promote their own region.

So, Durbanville wine producers, you believe Wine of Origin Cape Town is less confusing for your international and some local customers. What, then do you imagine their reaction is to your regional sauvignon blend, unambiguously labelled Wine of Origin Durbanville Sauvignon Blanc.

Blend of sauvignons from Durbanville producers, highlighting their flagship variety and available from the wineries

Marketing of South African wine here and internationally still wants much work.

Another life

How many have a clear idea of their career path after school?  A career that’s going to carry and grow them through life. While many remain resolute and are lucky enough to have chosen the right career, there are others who vacillate, starting one course or job, only to find it wasn’t for them after all.

It’s my experience one shouldn’t fret over a wrong path early in life, it will have been a good learning experience and with a bit more maturity, it’s possible to start afresh successfully. I can attest to that, after my delayed involvement with wine.

A WhatsApp discussion on this topic with wine friends made it clear this isn’t such an uncommon occurrence among winemakers; both Fanie Geyser and Colmant’s Paul Gerber revealed they had taught maths prior to winemaking. This triggered the idea for an exploration of what winemakers did do before wine came into their lives.

Ginny Povall owner of Botanica Wines, Edmund Terblanche winemaker at La Motte, Luca and Ingrid Bein of the eponymous winery, Fanie Geyser of Landskroon and Gyles Webb, founder of Thelema, all had other careers before finding another life in wine. They are not alone.

Those first jobs, what triggered the change to wine, did they then have doubts and difficulties and, most important, what has being involved with wine given them?

Each has an interesting story to tell in response to these questions.

American, Ginny Povall, took the biggest leap, literally, when she moved to the Cape after a career spanning 32 years in an Employee Benefit Consulting firm in New York City. Sale of the firm allowed her to think about a change and the resources to buy a farm, a decision made after visiting South Africa. Courses on vineyard management, marketing and winemaking at UC Davis laid the groundwork for what has become a successful second career. It’s not been without doubts along the way. Persuading the 38 people on the farm that the houses she built for them were theirs at no cost posed one difficulty. In the end, Ginny believes the great people in the industry are always willing to help, which makes it all worthwhile.

Luca and Ingrid Bein’s arrival in the Cape from Switzerland coincided with their honeymoon. An internship in their 20-year profession as vets was followed by three months travelling around the whole country. ‘It was wonderful!’ So wonderful, that a few visits later this wine-loving couple bought land on the Polkadraai Hills with the intention of building a holiday home, surrounded by their own 2.5ha vineyard.

Luca and Ingrid Bein. Animals as well as wine still play an important part of life

The Beins recall the house worked wonderfully, the vineyard not at all. ‘Thanks to the ‘Mandela effect’ in the 1990s, the industry boomed and no one had time for our vineyard.’ Decisions had to be made.

Fortunately wine won; South Africa became their permanent home in 1999. Bravely – they were close to 50 at the time – they enrolled at Stellenbosch University, graduating in 2002 with a BSc in Viticulture and Oenology ‘and a bunch of new friends!’ Until 2005, when they built their own cellar, space was rented.

Merlot has been their sole focus; six, including a Cap Classique make up the range. A good 20 years have passed since then; ‘We are still living happily on our small wine farm in Stellenbosch.’

Edmund Terblanche admits his original intention was to become a winemaker but the offer of a bursary to study Parks and Recreation Management with a commitment to work, persuaded him to change courses at Stellenbosch University. His job as Assistant Head of Parks at Benoni City Council proved temporary. ‘I didn’t like the job and missed the Cape but I had to get the funds to study again; performing part-time as a one-man band helped!’

Edmund finished his studies at Elsenberg, where his main worry was the academic challenge to be among the ten students in the final year. Success left him ‘feeling 10 years younger with less money but more freedom!’ This year, Edmund celebrates 24 years as La Motte’s winemaker. ‘Making and enjoying wine is a full-time hobby, it’s allowed me to see much of the world and to meet great people.’

Fanie Geyser’s journey in wine has been more of a stop-start affair. He loved maths at school, subsequently securing a Cape Educational Department bursary to do a B.Sc majoring in Mathematics and Psychology. It was in residence he met Boela Gerber, former Groot Constantia winemaker, Jan Momberg of Middelvlei and Johan Linde of Botha Cellar.

The winemaker influence took time to infiltrate. A year in the USA was followed by a teaching post in the Eastern Cape. Many visits to Boela, then at Stellenzicht, saw the wine bug bite. Still, a post in the Northern Free State came before Fanie applied for and secured a bursary to study Viticulture and Oenology at Stellenbosch. He was happy to see he wasn’t the only mature student; the Beins were there at the same time. ‘The main difficulty was getting the grey matter to work again!’

A few years at Landskroon were followed by farming in the Klein Karoo, where he was also a director of Calitzdorp Cellar. The realisation that he really missed being actively involved in making wine came when the cellar’s winemaker left and he took over.

Fanie’s return to Landskroon arrived by chance when he saw an advert for a post; his application was successful. ‘Exactly 19 years after my first day at Landskroon, I again had the privilege to be their winemaker.’ The innovative, creative thinking it involves accounts for his ongoing enjoyment in wine.

What is it about winemakers and figures? Thank goodness wine rather than accountancy won for Gyles Webb, founder of Thelema Mountain Vineyards.

A joke and laughter are never far from Gyles Webb

A B.Comm at Natal University in the 1970s led to a qualification as a Chartered Accountant, something he admits didn’t particularly interest him; an introduction to white Burgundy immediately did and he lost no time in signing up for a B.Sc in Oenology and Viticulture at Stellenbosch University. Not the easiest of times, as he and Barbara had one child with Thomas on the way.

Work experience was gained with Duimpie Bayly at Stellenbosch Farmers Winery, four months at Heitz Cellars in Napa and Neethlingshof before the search for their own place began.

Thelema, ‘A run-down fruit farm with poor housing’ was purchased in 1983 with help from Barbara’s family. It was unknown whether the majority of the property was suitable for vines; neighbours thought the Webbs were crazy to think of vineyards in a recognised plum area (I can confirm those plums were delicious!) and good vineyard material was difficult to source. So many difficulties but, as Gyles says, ‘We got by.’

The first vines were planted in 1984, the first wines made in their own cellar in 1988. Today, there are 50 ha of vines on Thelema and 43 ha on their Sutherland, Elgin property, purchased in 2002.

This is no small achievement given the early uncertainties. Forty years on,  Gyles is delighted to confirm; ‘We have absolutely no regrets about getting into the wine business; we’ve met wonderful people both here and abroad and we’re very happy to be part of the international wine fraternity.’

What other careers have lost, South African wine has surely gained.

A wineymoon

Covid has much to answer for, sometimes and surprisingly with a positive outcome.

Fred Loffler taught the guitar, an instrument he’d studied for matric and which served to express his great love of music. Playing the guitar featured prominently in his future dreams. Then Covid struck; Fred was stuck at home, like so many others. Fortunately, once the stricter rules around movement had been lifted, he could visit his uncle and aunt, Daryl and Sharna Balfour, who lived nearby.  During these regular visits, Fred would enjoy a few glasses of wine with them.

Daryl is not only a world-renowned wildlife photographer, but is recognised as one of the best-informed wine enthusiasts in South Africa, keeping a large and enviably comprehensive wine cellar. He was more than happy to share his wine and enthusiasm with Fred, for whom these visits sparked real interest in wine.

Fred and his fiancé, Marise, who also enjoys wine, had planned their wedding for April 2022, the ceremony taking place on the beach in Pearly Bay. To encourage their interest in wine, the Balfours offered to give the couple a tour of the Cape winelands for their honeymoon. The idea of the wineymoon, as the holiday became known, appealed to them; little did they know it would cause a major change in their lives.

Fred Loffler drawing a sample of 2023 sauvignon blanc for owners of the Stanford vineyard

This first visit to the Cape, after a life in Nelspruit and the stressful period of Covid, had the same effect as it does on many others; Fred and Marise decided to pack their belongings and move down south.  By now, wine was entrenched in Fred’s blood, he wanted to get more involved. Fortuitously, Jeremy Borg, co-owner of Painted Wolf Wines and a good friend of the Balfours, was looking for an assistant in his cellar. Fred got the job and was thrown in the deep end with the start of 2023 harvest around the corner. As a diligent and hard worker, Fred immersed himself into this new world, doing everything from visiting supplier vineyards and taking grape samples to regular winemaking tasks in the cellar.

Jeremy expresses his delight at the difference Fred has made to his life; ‘He has responded enthusiastically to my hands-off management style. He is super keen and diligent and is learning quickly. It is wonderful to have someone to implement the processes I want for our wine, something I’ve struggled to get on top of.’  

As I sat with Fred, tasting many of the Painted Wolf wines, he admitted teaching in the same classroom week after week had bothered him; he’s much happier now with a variety of tasks which take him all over the winelands as well as the cellar. ‘I’ve done many different jobs,’ he tells me; ‘Working in a restaurant, as an auto-electrician on cars are just two, but winemaking is something different. I find wine fascinating and I love cooking, the two go so well together. Working with wine has taught me not to procrastinate but do things now and to be a good winemaker requires much hard work.’

Officially, he’s Assistant Winemaker, but he also runs the cellar, which is now for the first time in a single place in the Simondium Guild, just outside Paarl; this is also the location of their attractive tasting room, where the walls of the former concrete vats visibly show the building’s origin as a cellar (at one time it housed the former Drakenstein Co-operative).

Another responsibility Fred has taken on is presenting tastings; I was suitably impressed with the confident manner in which he talked me through the wines (of course, there was plenty of comment from me as well!)

The mainstays of the range are natural ferment in both amphorae and older oak, either 300 or 500 litre. They all enjoy much more than simple fruit; 2022 Sauvignon Blanc ex Walker Bay has a cool, purity in its intriguing dried grass character, layered texture and saline finish. Yet it lacks nothing of the variety’s bright acidity. A perfect style for non-sauvignon lovers. Delicious. As is Viognier 2023 ex an elevated Breedekloof vineyard; be beguiled by its honeysuckle fragrance, swirling viscosity and electric acidity. Charming and not at all blowsy. Roussanne 2023, from Voor Paardeberg, the first he was in charge of, smells of lemon blossom with a hint of wild herb; it has the textural breadth and weight associated with the variety, balancing acid and a satisfying pithy finish. Fred is proud to note it received a 4.5* rating in the latest Platter guide. We also tried the 2018 but, a 2014 Jeremy gave me a few months back, illustrated how well these age.

Of the reds, I enjoyed the blueberry and savoury flavours in Lycaon Pinotage 2021 from Breedekloof; its tannins seamlessly matched with the creamy texture. Lycaon Grenache 2021 ex Wellington, with its quiet aromas and red fruit offset with freshness and lively grip, was a good reflection of a range which has confidence in its own understated style. An ageworthy style too. My favourite, Pictus 2009 a shiraz, mourvèdre, grenache blend; maturity had brought about development of subtle gaminess with a tasty savoury core; fresh, lighter grenache gave the wine energy and life – of which there’s plenty left!

There’s an element of American oak (all older) in some reds, which I feel doesn’t sit happily with such understatement, a small niggle in a range otherwise satisfyingly tuned to site and variety.

So, Fred, what would you choose to make for your own wine (something Jeremy has agreed to)? ‘I love both viognier and cinsaut but whatever I do make will have to be at the fine-wine end of the scale. But that will have to wait until 2025.’

It’s difficult to believe how much this young man, untrained and completely new to winemaking, has achieved in just a year. He surely has a bright future ahead, a Young Gun in the making, in no small part thanks to Covid.

Forty

Forty years ago this month I started my professional involvement in wine. As manager of the Cape Wine Centre, a venture by Drop Inn group, headed by Sam and Joey Berk, I had carte blanche to organise events that would encourage consumers to enjoy and learn about wine, with the obvious commercial benefit of generating sales. There were no cracks in the transition from amateur, as I knew many winemakers after organising many tastings in the past. It was a wonderful, fulfilling two years, winelovers new and seasoned, responding with enthusiasm to my sometimes crazy ideas.

After two years, I was ready to take an even bigger leap – into freelancing.  This new direction offered several opportunities: writing, I already had commissions from Wynboer (now Wineland) and the Cape Times, plus some one-offs but not wishing to leave all my eggs in one basket, I diversified into PR, where, inter alia, I much enjoyed running a treasure hunt for the Stellenbosch Wine Route. When John and Erica Platter knew my plans, they immediately invited me on board the guide. Writing thus turned out to be the better financial option and with independence obligatory, further thoughts of pursuing PR were squashed.

Would it be a surprise that as an independent writer and judge, I don’t consider myself part of the wine industry?  I see my role as a conduit between wine producers and consumers, informing the latter with knowledge but without any conflicting ties to the former.

Outside the bubble of these early years, the cloud that still hung over us all was apartheid, with, at the time, no light at the end of the tunnel; power in the wine industry still vested in the KWV, which held both player and regulator reins, the quota system persisted, as did the ethos of quantity over quality (the KWV would mop up any excess), quality anyway hindered by rampant leafroll virus. Independent wineries were still few and far between; well-known Kanonkop, Meerlust, Overgaauw and Rustenberg were estates and therefore grew their own grapes and made their own wine. Producing wholesalers, including Stellenbosch Farmers’ Winery, KWV and Douglas Green had a hold on securing fruit from grape growers or wine from the co-operatives. It was then, and still is, at its core, an industry of two parts, something the new South Africa Wine is trying to integrate though it’s as yet unclear how the smaller producers are going to benefit as much as the larger companies have.

 After the unbanning of the ANC and release of Mandela, the international market beckoned. That first post-Mandela release show in London in June 1991, was memorable; a lot of very nervous South African winemakers, plenty of buyers and UK media. Not all, some refused to attend or cover our wine until after the first, democratic elections. Jancis Robinson did attend and I do remember talking to her about pinotage!

In their naivety and enthusiasm to export, producers initially made unfortunate mistakes appointing importers. Isolation had many consequences, not least our rather old-fashioned wines. If this was an eye-opener, the 1995 SAA Shield clearly illustrated where we stood, the intention of organiser, Michael Fridjhon. The event pitted our wines against Australia in a blind tasting judged by recognised tasters from both countries and a team of independents; as part of the Associate team, I could vouch for the results. South Africa wasn’t whitewashed but the overall result, including the highest scoring SA wine, a (magnificent) 1954 KWV Jerepigo, drew fury from the industry and, sadly, put a stop to further Shield tests.

Similar rage was aroused after a 1996 radio broadcast by respected UK journalist, Andrew Jefford, in which John and Erica Platter as well as Fridjhon spoke of the historical prison and slave labour on farms, including wine farms. Such was the anger in the farming community, copies of the Platter guide were burned! I, and a few others supported them; it was an unhappy time, dividing otherwise friends and colleagues.

SAA Shield Associate judges. (l-r) Oz Clarke, Tony Mossop, AL, Jeremy Oliver, Vanya Cullen, Jabulani Ntshangase, Max Allen

The Shield results did awaken among winemakers the need to explore and work in the larger wine world, a benefit where the ripple effect is still felt. My own wine travels to Australia, New Zealand, California as well as classic European countries, broadened my own palate and outlook.

Thanks to Michael, it was my privilege and pleasure to judge on the SAA wine List Awards and Trophy Wine Show for many years, learning from the many notable international wine people invited to judge. In this way I could relate to what I wrote to what I tasted, hopefully giving it more credibility.

The rest of the 1990s saw major shifts in realignment of the industry: dropping of the quota system, the KWV becoming a company, the establishment of SAWIS, but, for me, the major change was the birth of a new wave of wines, a trickle then, now, an unstoppable tsunami. My lightbulb wine was Marc Kent’s first Boekenhoutskloof Syrah 1997, which heralded a seismic change in winemaking, outlook and generations. It’s still my desert island wine, the more valuable as it was a once-off, the Somerset West vineyard being uprooted to make way for a business park.

The new-wave gathered momentum when a young Eben Sadie made the first Spice Route wines; his maiden 1998s causing an immediate stir. Here, as well as Boekenhoutskloof, were wines of finesse, personality and sheer quality, made by winemakers who understood quality and who explored wine beyond South African borders. Sadie Family Wines was established in 1999; Cape Point 2000, The Foundry 2001, both Crystallum and Savage in 2006, Mullineux 2007, Alheit 2011. If no longer young guns themselves, they and others are still creating waves alongside today’s young guns.

Adapt or die was the message carried to longer-established wineries as the industry opened up. I’ve always admired Thelema, Fairview and Villiera for doing just that. But where were the producers with sufficient resources to create a volume brand to bring South Africa to the world’s attention; one similar to Penfolds in Australia? For whatever reason, it never happened. Nederburg, part of the company now known as Heineken, has made some great wines but it’s frustrating to think how much more it could have done for South African wine on a larger scale if it were run as an independent entity with a sharp quality and business focus. I’ve always wondered whether these larger companies have much real interest in wine.

Smaller, independent producers and many others have been the main generators of excitement. The open space they have worked in has inspired many of the innovative techniques and styles receiving praise in and outside South Africa. Those producers and winemakers are today both white and black, male and female, many young aspiring black winemakers coming through the Cape Winemakers’ Guild Protegé programme with others employed in the industry often being drawn from the Pinotage Youth Development Academy. Transformation is far from complete but at least it’s heading in the right direction. Thanks to Rosa Kruger and André Morgenthal with support from Johann Rupert, the wonderful Old Vine Project has added so much to the value of these wines and the image of South Africa as an innovator.

Has it all been a sunshine journey? Of course not; being of independent mind is a sure way of upsetting some people; there have been crooks and cowards along the way; none have dimmed my enthusiasm.

Chill

Just when you think there can be no more wine competitions, the Australians come along with one for chilled reds. That’s not such a stupid idea and if the Aussies see there’s a gap in the market, then it’s worth pursuing.

Serving temperature of any wine is a topic that stirs vigorous debate and adamant points of view, particularly in restaurants and especially red wine. Whites are potentially less problematic; they’re usually served chilled, often too chilled for some styles, but it’s an easier way of reaching a comfortable temperature than sticking them in an ice bucket at the last moment.

Reds are a different matter. Few restaurants or wine lovers have sufficient cellaring conditions for reds to be served at the optimum temperature – forget room temperature; it’s a vague term, as the wine could be too warm in summer and too cold in winter. While winter is thought of as red wine season, that’s an increasingly skewed view of today’s reds, so we return to the Aussies’ competition for chilled reds.

The trend for lighter and fresher reds, those with less oak and tannin, has been growing in momentum, no doubt encouraged by varieties like cinsaut, grenache, gamay and others suited to such a style.  Just which wines work and, how chilled for best results, called for some practical research.

Thanks to suggestions from friends, my own ideas and Samantha Siddons’ kind donation of her Vine Venom Satellites NV, a 2021 Syrah, 2022 touring nacional, grenache noir and cinsaut blend, which advises ‘Best served chilled’ on the back label, I had five wines to test. The others; Paul Cluver Village Pinot Noir 2020, Radford Dale Vinum Gamay 2022, Craven Wines Cinsaut 2021 with Warwick Trilogy 2019, 48% cabernet franc, 38% cabernet sauvignon, 14% merlot), aged in French oak, 34% new, hopefully setting an example of what shouldn’t be stuck in the fridge for any longer than a brief chill and only if necessary.

After a night in the fridge, these five came out around 9C, when I had my first taste, followed by two further ones at half-hour intervals. A final try came later in the day, at around 18/19C, which was also the comfortable and consistent temperature in my south-facing office, despite a hot 31C outside; only the wines’ temperature changed.

Such a low initial temperature didn’t do the wines any favour. If some grudgingly offered a little aroma, the overwhelming downside was a bitter finish, particularly in the pinot, gamay and Warwick, something Jean-Vincent Ridon had warned of; ‘The colder the wine, the more your palate will perceive the acidity. And the acidity is boosting any perception of bitterness, such as the wine tannins. So I’ll cool down a carbonique maceration wine with low tannins more than longer extraction, or full bunch maceration, eg a Beaujolais nouveau more than a Morgon.’ Both the cinsaut and Satellites are low on tannin, so avoided bitterness and had a little flavour.

Once around 13C, there was more noticeable freshness rather than acidity, more energy and brighter fruit in the pinot, cinsaut and Satellites. The gamay remained a little sullen, lacking energy but smooth, with rounded tannins.  A good temperature, if one is going to chill this wine but pay attention to J-V’s comment about different Beaujolais styles; Vinum Gamay is not made in the carbonic maceration method.  Personally, I really enjoyed the Craven’s cinsaut and Samantha’s Satellites with this level of chill, which cut through Satellites’ 14% alc, a result of both syrah and grenache made like a red wine, while touriga nacional and cinsaut are wholebunch pressed.

After 90 minutes, the wines were close to my cellar temperature of 16C, the bottles still pleasantly chilled; while Samantha’s blend seemed better balanced when slightly cooler, cinsaut’s sprightly, fresh and flavoursome, spicy red fruit and 12% alcohol, were at their best. With 15-20 minutes out of the cellar, Warwick Trilogy had regained its equilibrium.

Sadly this particular Cluver pinot vintage didn’t perform as Jean-Vincent says it usually does.

Another opinion from Johannesburg-based Miguel Chan, Group Sommelier for Southern Sun Hotels; ‘12C is kind of the sweet spot for chilled red wines; there’s better fruit definition, brighter freshness, crunchier tannins; overall a much more pleasurable glass of red wine.’ He noted, after tasting outside where the temperature was 29C, that as the wine’s temperature rose, it developed more nuances. Miguel also confirmed; ‘This summer, we will be serving all red wines, even by the glass, chilled. Ultimately, the consumer will have the final say.’

Many other chillable reds were mentioned by friends; Greg Sherwood MW suggests De Toren’s Délicate a merlot, cabernet and malbec blend, described on their website as; ‘elegant red blend that combines red’s seductiveness with the undeniable drinkability of white.’ Christo le Riche chips in with their Le Riche Richesse, a five-way cabernet blend, including juicy merlot and cinsaut and Spider Pig’s cinsaut-cabernet blend, The Black Pig. Frequent English visitor, Lisa Harlow has enjoyed a chilled Great Heart Red blend, mainly syrah and cinsaut. Rascallion’s Ross Sleet was inspired to create his Rhône-style blend after living in Tanzania, where the heat and humidity required red wines to be chilled. For something really different, Wine Menu’s Corlien Morris urged me not to forget Pilgrim Wines Bastardo do Castello (aka Trousseau).

I’m sure there are others – please suggest any you’ve enjoyed in the comments – but I hope even talk of chilling reds, will inspire experimentation from wine lovers and restaurateurs alike.

Tasting memories

Tasting a wine from the first to the latest release is about more than assessing vintages, it’s an experience of memories. So thanks to Mike Ratcliffe, now sole owner of Vilafonté, but a partner from the early days, for generously giving a generous number of winemakers and media the opportunity to taste a vertical of Vilafonté Series C.

Looking back over the 21 vintages was particularly poignant. Americans, Phil Freese, viticulturist with his winemaker wife, Zelma Long were the founders of Vilafonté, their enthusiasm for South Africa and the huge potential for its wines, stemming from a first visit in 1990. I had met them before they came here and in California; they kindly invited me from the early days to visit the vineyards and, with Tim James, on several occasions to taste the early wines, before blending and after bottling. What valuable insights both Phil and Zelma gave me to viticulture and winemaking.

A bit of context will clarify the importance of our interaction. The vineyard was established in 1997, a year I consider significant; it was when the New Wave recorded the first little ripple of the surf-size swells to come. Fast forward to 2003 and Vilafonté’s maiden vintage; with 2009, it was considered one of the best in the noughties. Zelma too was very happy, remarking at the time that it was the best wine she’d ever made. I believe there was a crop in 2002, but who would have wanted to launch a new brand in that, the most difficult of vintages? A reminder at that time there was no Mullineux, Newton Johnson, Donovan Rall and many more who have since become household names. Even Eben Sadie, Boekenhoutskloof, Cape Point Vineyards (and Duncan Savage) were in their infancy.

A tasting with Zelma on 5 May 2013

Quite by chance, I found an article of a vertical of C and M which I’d tasted with Zelma and Phil in February 2008; 2003 to 2007 made up the vertical. It was both interesting and humbling to compare my comments then and now.

Then 2003: ‘Fresh cab cassis, herbs and spice aromas…. Cab structure, grippy tannin, solid dry finish. Has fruit richness, possibly insufficient for structure and power. It has time to go but possibly not as long as the best from this year.’

And now: Strong, fresh cab aromas, oak spice complexity. Well fleshed, more merlot on palate, firm core. Tannins integrated but firm. Big alc but in balance. Sound. Will go further. Drink, keep.

How wrong I was back then about its ageability. A delightful surprise to start the tasting.

So to 2004. Then: Advanced appearance as compared with 2003. Broad quite evolved aromas with a ripe, meaty quality. Very firm, structured entry, richness, breadth and juicy tannins developing later and providing a lengthy finish. And now: More developed colour than 2003. More complex nose, meaty, merlot influenced on nose & palate. Less intensity, length. Tannins starting to dry. Drink soonish.

Then: 2005 Youthful and brilliant. Seductively fragrant oak spice, sweet blackberries and much else yet to be revealed. Striking cabernet tannins, but matched by real concentration and fresh core, which gives the wine precision. Firm and dry with great savoury length. Exemplifies power with elegance.

And now: Still strong deep ruby. Good fruit, cab/merlot. Firm structure, rich fruit, oak enhanced. Fine tannins, balanced. Savoury length. Drink, can keep.

Then 2006: Toasty oak still obvious with savoury coffee rather than berry sweetness. Despite an elegant, lighter feel, there’s plenty of fruit richness and insistent tannins, all of which have yet to fully knit.  Exciting potential here. And now: Developed garnet ruby. Good cab fruit, balanced structure, less intensity. Drying tannins. Drink soonish.

Bottle variation or perhaps it peaked a while ago?

2007 was still in oak, but I did note that ‘C in particular promises to be a stunner.’ Maybe it was, or again maybe bottle variation caused my note: Developed garnet ruby. Funky nose at first, some oxidation, decent flesh, sweet fruit not so complex. Savoury finish.

These are big wines both in structure and alcohol, yet only once (2008) did I note an afterglow. Otherwise, balance and freshness keeps things under control.

If acknowledged excellent vintages stood out – 2009, 2015, 2017, 2020 and, especially the soon-to-be released 2021, there were also surprises from lesser vintages: 2011, a notoriously difficult vintage, is still youthful, showing complexity with fleshy sweet fruit, freshness and ripe, firm tannins. 2018 the drought year, was cleverly blended by winemaker, Chris de Vries, thanks to nearly equal support from merlot, malbec and cab franc, adding sweet flesh to cabernet sauvignon’s stern structure. One to keep.

Chris, who joined in 2016, is the third winemaker to have worked with Zelma; now, since Zelma retired in 2020, the cellar is under his charge.

Vilafonté vineyards taken early 2000s

There has only ever been one vineyard manager, the genial Edward Pietersen; I was interested to hear how much closer they are working together, Chris taking time to go into the vineyards more often to taste the grapes and monitor progress.  

The words refined, freshness, brightness and purity appear more often in my notes over the last few vintages (the 2022 was presented as an estimated blend with 2023 still in its component parts). This is partly due to new, young vineyards of better clones and vine material starting to bear (that first 2003 was also from young vines, something that is recognised these days).

A tasting like this which tracked wines from shortly after the vineyard was established, and under a renowned winemaker who had not made wine in South Africa, is vulnerable to exposing the good, the bad and the ugly. There were many good, some excellent, one or two less good but none bad or ugly.

It was a tasting of memories but also an exceptionally memorable tasting.

Talking of pinotage

That’s a positive start; too often it’s an argument about pinotage. This was a very civilised and informative discussion between Abrie Beeslaar, with his own hat on, and Bernhard Bredell of Scions of Sinai. The menu feature ofd the future of pinotage, the variety in a global context, challenges pinotage winemakers face and which pinotages to try. Ex Animo’s David Clarke, who channels much energy and innovation into promoting wine, organised the event; he’s also the third member of Roussouw, Gouws and Clarke who have their own pinotage, designed to show off the more ‘fragrant, graceful and refined characteristics’ of a variety David describes as much maligned.

Abrie took up the challenge of pinotage after experience with shiraz, which he found; ‘too straightforward’. A real challenge; he lists the difficulties it presents; ‘it has high everything: pH, malic acid, ripens at higher sugar levels, and can be unstable.’ There was always pinotage on the Bredell farm but what really piqued Bernhard’s interest was a Burgundy poured blind; it reminded him of something to do with pinotage. For him; ‘Pinotage also has lovely aromatics.’

The vineyard and cellar are tipping points.  Pinotage prefers poor soils, especially granite and shale, where it’s is reflective of site. As an early ripener, phenolic ripeness is key; pick too early on clay, the grapes will be unripe; pick too late on sand, the wine will be jammy; Soil, too, will dictate wine style but the grape’s unique tannin is a winemaking issue (David Clarke’s descriptive term is ‘Campari bite’), where punch downs during early part of ferment only extract neither too much nor too little.  Oak? Yes, but it follows today’s trend of less new.

Both Beeslaar and Scions of Sanai are modern pinotages of sound reputation.

Two unanswered questions; one, what does pinotage taste like (we’re still experimenting,’ Abrie) and will these modern pinotages age? Many from the 1960s and 70s, presented to international and local judges at the Old Wine tasting prior to the Trophy Wine Show, used to draw wonder, both that they had aged so well but were in a much lighter, less-extracted and –oaked style and drier than the bigger versions in recent years. These have been put to the test at the Absa Pinotage Excellence Awards, open to those over ten years old. Thanks to Winemag , I see 14 of the 30 entries were awarded. From experience, I know ripeness and generous oak well represented. A trend that pertains in the Absa Top Ten. I  have no idea whether any less hefty, more pinot-like styles are entered – the Top 20 only are announced – but I can imagine there’s caution that they would be knocked over. Let me hasten to acknowledge the many quality bigger pinotages, my main concern is that there’s little stylistic diversity among awards even beyond Absa. This raises the question of consumer perceptions. Old style pinotages – and they are still around – is seen negatively. As Abrie urges structure and finesse are needed.

I’d add quality with drinkability and freshness. Not every pinotage needs ageing; a friend who prefers to keep them for 10 to 20 years, couldn’t resist opening Danie Steytler’s Kaapzicht Skraalhans 2021 and was glad he didn’t. Earlier this year on the farm, this wine was on the lunch table with the more serious Rooiland Pinotage and was the first bottle finished. Older oak, lower alcohol and crunchy, juicy fruit sealed the deal for all of us there.

Warwick First Lady Pinotage 2022; The Giant Periwinkel Sun Spider Pinotage 2020; False Bay Vineyards Last of the First 2021 and Frankenstein Pinotage 2021 would be some I’d recommend to any who have yet to be convinced.

What does the future of pinotage look like? I hope with much more discussion and divers

The power of ten

There are winemakers who seem to have been around for ever; it’s difficult to imagine a time when they weren’t an established part of South African wine. It struck me this week that John and Tasha Seccombe with their Thorne and Daughters range fall into this category. It was something of a surprise to learn at the launch of their 2022s that this past harvest was their tenth.

John Seccombe (R) with distributor, David Clarke of Ex Animo Wine Co

After studying viticulture and oenology in the UK and working harvests around the world, John, Tasha and their daughters returned to South Africa and, as John puts it ‘jumped off a cliff’ with the decision to make his own wines for the first time. Their philosophy was and remains to reflect South Africa’s present defining spirit in the wines from parcels of old vines, vinifying the grapes in as simple a way as possible with a modern touch of refinement, the ultimate goal being to reflect the vineyards as honestly as possible. Nothing too different from any quality producer these days.

If John doesn’t own vineyards, neither does he own a cellar. The first year, Chris Alheit offered him cellar space. Since then he’s become a ‘groupie’ in the Gabrielskloof cellar with Peter-Allan Finlayson, where Peter-Allan produces both Gabrielskloof and his own Crystallum wines. Marelise Niemann, one-time third member of the group, has moved to Anysbos, where she makes those and her Momento wines.

It was a good while since I last tasted through all Thorne and Daughters’ wines; what impressed is while quality is common throughout the range, each wine is distinctly individual with its own personality reflective of the variety. John admitted in the early years, the wines were a little rustic; now they are far more refined.

Rocking Horse was one of two wines in 2013, the maiden vintage and remains the sole white blend. Chenin-led with semillon, chardonnay, roussanne and clairette, it’s one of few without a drop of viognier, an attraction for me. Despite winemakers having mastered freshness and subtlety, even a small drop in a blend can stick its head out with time. The Rocking Horse team play well together offering a bright persona, layers of flavour, a few herby notes there, and texture, both supple and firm. And the team continue in harmony with age. Clairette might be the smallest component, but John contends; ‘If its left out, the wine’s not the same, even though as a varietal wine it doesn’t have much to say.’

Rocking Horse is probably the best-known member of the septet (Wanderer’s Heart is being held back for a year) and today accounts for 50% of production.

The other wine in the inaugural range was Tin Soldier Semillon. The children’s toys names add their own personality, but wine lovers should be thankful variety or style are also included on the label. The original bottling was from a Franschhoek vineyard where, as is common, there was a mix of semillon blanc and its gris mutation. Fruit is now from Franzsika Wickens’ Paardeberg farm, a vineyard specifically planted to semillon gris from cuttings selected in the vineyard and source of Paper Kite semillon blanc grapes. So, a pair of non-identical twins!

A portion of Tin Soldier’s fruit spends a week to 10 days on the skins, evident in the bright gold colour and finishing nudge of tannin; the balance is wholebunch pressed. This is a white wine reflecting character of a red wine. Rich and viscous, honeyed and ginger spice savoury flavours make for an ideal food partner. Paper Kite from the original semillon vineyard, planted in 1963, captures more expressive fruit – yellow and orange citrus – and perhaps more familiar appeal. Older oak gives a little structure.

These two are true to semillon’s textural density and weight, both enlivened by natural acidity and freshening grip.  

A 1979-planted chenin blanc vineyard on Paardeberg granite produces Cat’s Cardle, the Seccombe’s take on the ubiquitous variety. In the early days John sought impact, now it’s understatement; from old vines, the impact comes from concentration and depth. Competition and choice in the chenin field is immense; this is up with a large, high quality contingent and likely to be the focus of general Thorne and Daughters fans. For those who can get hold of any; 70% is exported.

Judging by the other wines, if John made a sauvignon blanc, it wouldn’t be like any other; in fact Snakes and Ladders is somewhat left field, the grapes from Skurfberg of all places. The hot, dry conditions are hardly conducive to express sauvignon’s bright fruit and agile zest. Yet bright acidity and freshness it has to combat the intensity of full-bodied ripeness. For me it has more texture than fruit; others disagreed!

Copper Pot Pinot Noir was John’s first dip into red wine; made at the request of his parents-in-law who have a guest house in KwaZulu Natal. Pinot noir from Elgin, Bottelary and a vineyard just beyond Hemel-en-Aarde Ridge on the way to Caledon has a darker fruit profile of spicy cherries. If my memory is correct, it has become more serious over the years, if not to the extent it needs long ageing. Pinot offering drinking satisfaction at a value price (this should retail +-R200) is worth seeking out.

I did ask John if he could plant a vineyard anywhere, where and what would it be. He barely hesitated: ‘Pinot and chardonnay in the Shaw’s Mountain area above Hemel-en-Aarde Ridge.’ Well, pinot he’s onto; more chardonnay is coming under the Menagerie label – so that leaves the plot to be purchased. Watch this space!

Stellenbosch on show

Few things are more satisfying than observing a brand grow from its inception to the stage where everything comes together; in the vineyards, cellar and bottle, with a range of uniform consistency and quality. Wine being a journey rather than a destination, any growth in quality is gradual, but Mick and Jeanine Craven are justly happy with their newest releases from 2022, their 10^th vintage.

Mick and Jeanine Craven with their new 2022 range

When they took in their first harvest, Jeanine was winemaker at Dornier, Mick worked with Adam Mason at Mulderbosch; it was here the Craven’s wines were then made. They have been wedded to Stellenbosch, partly thanks to Jeanine’s family (she was a Faure) who had vineyards in that area. Pinot noir, the first, in 2013 was from there; only a few vintages were made, the same fate befell Faure Syrah (all the wines, bar cabernet, now carry a name reflecting the vineyard source) when the Faures sold up.

There were two wines that put the Cravens on the map. Clairette Blanche, in two forms, joined the range in 2014; one, a blend of half skin-fermented, the rest wholebunch pressed and fermented in old oak; the second, fermented on the skins for 10 days. The former was the pair’s preferred style; I noted it as ‘A partnership with tannin grip, a variety of textures and vinosity, all a brilliant answer for a grape not well-endowed with obvious fruit.’  Various factors led to it being part of the range for only a few, short years. More’s the pity

Is it a rosé? Is it a red? No! It’s Craven Pinot Gris. If the Cravens are associated with any wine it is their pinot gris. For me, 2017 was ‘… more red than rosé thanks to flavour and breadth, but with the refreshment of a white.’ Success comes from quality and the unusual style, but not without a struggle during the certification process.

All the Craven’s wines are spontaneously fermented, unfined and unfiltered. If it wasn’t deemed faulty by the Wine and Spirit Board Evaluation panel, due to haze, then oxidation to which the variety is prone, was the problem. It’s now classified as an Alternative Red. Whatever, it remains a popular favourite

About three years ago, the Cravens found and completed their first harvest in their own cellar, a large, convenient space in Stellenbosch Agri Park. At last-week’s launch of their latest 2022 range, Mick noted some improvements made since then, cooling being a major one. From 2023, oak is giving way to ferment and ageing in five ton concrete squares; in the current range, both Blue Gum Grove Chardonnay and The Firs Syrah saw 500L old oak. This never imposes itself on the wine, but the Cravens believe greater purity and expression of the vineyard is achieved without it. Purity and concentration are emphasised through each wine being bone dry. This is especially so in Karibib Chenin Blanc, where the fullness of fruit is invigorated by a steely core.

Of the 2022s, my favourites are: Newlands Pinot Gris, which melds red fruit within a soft, fleshy texture, secured by a sound structure. Skin contact does not affect the wine’s immediate drinkability; with age, Mick says it becomes like pinot noir.

The other, Faure Cinsault, vinified in those five ton concrete squares, is a charmer. Perfumed and pure with ripe raspberry tones and sweet, ripe flavours, intensified by the wine’s unstoppable energy. It’s far too easy to drink now, as it will be for several years.

The same is true of the other reds, traditionally bigger syrah and cabernet sauvignon. After much time dedicated to working out the ripening period, Mick and Jeanine are satisfied goal achieved with The Firs Syrah, both precise and complex. Wholebunch ferment enhances its youthful primary bright fruit, red berries with slight gamey undertones and backed by spicy, herby zest. Classy wine.

The first cabernet was to prove a point; that Stellenbosch cabs don’t have to be big and powerful to be true to cabernet or Stellenbosch. It did cause some wagging tongues but, like the rest of the range, has found its own niche. Proper, beautifully integrated cab tannins, support the tide of mint-edged cassis, offset with the usual liveliness and digestibly dry finish.

These wines are much appreciated internationally; around 90% is exported. For wine lovers who enjoy wines with lower alcohols (11%-12.5%) but with no loss of ripe, fresh flavours, all these wines, with their evocative labels, aree worth seeking out.

Underground wine

When I last visited Klein Amoskuil, it was the home cellar of Spice Route, established in 1997; that must’ve been a long time ago, as, in the meantime the Spice Route brand has become so closely associated with and confused by Fairview – both properties are owned by Charles Back – that Charles now has made Klein Amoskuil a stand-alone brand, with its own dedicated cellar.

Charles Back

The farm, covering 400ha of rugged Swartland, currently has 100ha under vine, including South Africa’s oldest sauvignon blanc vineyard, planted in 1965. Other varieties are more traditional to the area: cinsaut, grenache, mourvèdre, carignan and shiraz; durif, tannat and pinotage make up the complement. Conversion to organic was completed and certified by Ecocert in 2022. On soil unsuitable for vines, Swartland’s other major crop, wheat, is grown and turned into bread on Fairview.

Winemaker, Charl du Plessis, enjoys a welcome, long tenure, having taken over from Eben Sadie in 2001. One of the quieter people in wine, Charl’s talents are perhaps less recognised than they deserve; the new Klein Amoskuil wines should correct that perception.

It must’ve been five years ago when Charles was inspired to make a qvevri wine, then in a barrel at Fairview, rather than the proper clay pots buried in the ground (Avondale was the first to use those). The idea must’ve grown roots, for Klein Amoskuil now has its own, dedicated qvevri cellar, the pointy clay pots made in Georgia, arrayed around and buried into the cement floor of a refurbished-for-purpose old barn.  Thorough research went into the project with Charl visiting Georgia to learn how these fermentation vessels are made and the winemaking technique.

The Amos Block Sauvignon Blanc 2022, from that single, old vineyard, is vinified separately from the qvevri. As well as there not being space, inoculation is involved, whereas the qvevri wine all undergoes spontaneous fermentation.

‘My idea was to move away from the usual fruity style of sauvignon,’ Charl outlines his approach. Several methods, including in tank and older oak; natural and inoculated fermentation as well as cold and warm ferments; a portion also underwent skin contact. Such a jumble has produced a sauvignon of purity, restraint, an interesting depth of texture and a squeeze of grip. It certainly is different if clearly sauvignon but likely to appeal to those who normally avoid sauvignon.

Especially in the early days of skin-contact whites, some of the results were less than satisfactory; the tannins wild, high levels of volatile acidity, generally not an enjoyable drinking experience. I defy even the most wine-conservative person not to enjoy at least one or two of the four qvevri wines. Balance and refinement characterises each.

Obscura White 2021, an eight-weeks skin contact blend of sauvignon, semillon, viognier, chenin and a splash of petit manseng for acidity, is as good as any of our prized white blends. The kaleidoscope of flavour, greengage in there, is brought to life by fine, energetic tannins, which ably add the necessary freshness.

Grenache blanc from Darling, fills the role in Obscura Orange 2022. Again, it underwent eight weeks on the skins, which has produced an attractive pale orange hue, but its main attraction is its floral, ripe peach skin fragrance, perfectly matched by a silky body and, as Pierre Lurton used to describe them, ‘cashmere tannins’.

Grenache blanc as well as its noir sibling make a gentle, sunset coppery pink Obscura Rosé 2022. Co-fermentation must have required some dexterity on Charl’s part to achieve the desired rosé tone. Two days of punch-downs, followed by four weeks’ skin contact and there’s not only eye-appeal, but flavours of ginger spice, fynbos both confident and concentrated to match the agreeably assertive tannin. As far from a wimp as a rosé can be, though like its cellar mates, alcohol hovers around a moderate 11.5%-12.5%.

Shiraz, grenache noir and mourvèdre are the three red varieties with Swartland written all over them. Not many, if any, as a blend are unoaked, as is the qvevri Obscura Red 2021. Nor does it require oak to offer distinction or satisfaction. The mix of destemmed whole berries, some crushed with a few stalks re-introduced, spent three months on the skins. Purity and freshness with no-nonsense tannins share the spotlight with a variety of spices, fynbos and gamey notes.

Petit manseng post-pressing in qvevri

Something I hadn’t considered was how to keep the qvevri full once the wine had been pressed. Charl explained it takes two qvevri to fill one, this then covered with a sealed sheet of glass. The number of bottles depends on the wine, somewhere between 500 and 3000 bottles.

Eddie Haumann, designer of many of South Africa’s best wine labels, is responsible for Klein Amoskuil’s. The Obscura reflects the action of the pin-hole camera, the Obscura which dates back to the fifth century BC, according to Chinese records. On the label, the qvevri cellar is depicted with light shining through a small window focusing on the qvevri; both a play on how the Obscura works and the cellar itself.

Much attention has been paid to detail and quality. I can recommend any of these wines, their style better suited with food and priced between R225 – R300 to encourage the curious or unsure.

Oldest Sauvignon Blanc vineyard planted 1965