Robert Dentice
Robert Dentice
Look forward to trying them. Thanks for the update.
The Beaujolais TN thread
- Thread starter BJ
- Start date
Look forward to trying them. Thanks for the update.
Pavel Tchichikov
Pavel Tchichikov
who needs global warming when you have nyquil nose
2016 Dutraive (Grand Coeur) Fleurie — what a trip! Certainly the most unique expression of Gamay (discounting the thermovinified and bananafied Beaujopiffle of DuBoeuf) I’ve ever had. Very light in color and body, with a nose of smoke, subtle meatiness and resinous red fruit, it reminded me of Poulsard from the Arbois more than a Fleurie. With all that, it was both appealing and entrancing. There was acidity aplenty, perhaps a touch of petillance, and a solid core of red fruits. Although it was cloudy, there was no volatility or any off flavors (in stark contrast to my last encounter with this producers wines).
Mark Lipton
Mark Lipton
Well the Moon Matters, but that's a shorter-term cycle. Brezeme was telling us this summer how he can see the wines in barrel evolve throughout the seasons. But not sure that would apply the same way to bottled wines in our houses.
I had some tasty wines this weekend, so not all was shot...
I had some tasty wines this weekend, so not all was shot...
2013 JP Brun Morgon One of a an apparent run of early 20teen dense Beaujolais years...yet this one pretty fun, on the rustic side, a little cedary and cinnamon-y perhaps, dense fruits, yet some space between them, savory...we'll see how this evolves...slight bricking is winning me over.
It helps to listen to some JJ Johnson with this - some of his early albums are great. The new phono preamp helps.
It helps to listen to some JJ Johnson with this - some of his early albums are great. The new phono preamp helps.
2017 Roilette non Tardive
Dusty, Christmas spice, leathery, nutmeg nose. Continues in mouth with a classic Roilette plumminess that is calming pretty quickly, black cherries. Tell-tale Roilette iron in the finish, which has sneaky length.
Note in first half hour.
Seemed appropriate for Thanksgiving prep.
Dusty, Christmas spice, leathery, nutmeg nose. Continues in mouth with a classic Roilette plumminess that is calming pretty quickly, black cherries. Tell-tale Roilette iron in the finish, which has sneaky length.
Note in first half hour.
Seemed appropriate for Thanksgiving prep.
2018 Roilette Tardive
One of a mix of many Thanksgiving wines (Mme's cousins and families - big crew). This was altogether more complete and hefty than the '17 nonT, but poised and balanced. It had more complexity than I was able to appreciate in the moment - looking forward to revisiting. Feels like it's entered a period of open interest - my memory is this was closed previously.
One of a mix of many Thanksgiving wines (Mme's cousins and families - big crew). This was altogether more complete and hefty than the '17 nonT, but poised and balanced. It had more complexity than I was able to appreciate in the moment - looking forward to revisiting. Feels like it's entered a period of open interest - my memory is this was closed previously.
2018 Chermette Saint-Amour Les Champs-Grillés was open and giving, perfumed and, though somewhat dark-fruited, showed no heaviness or overripeness. It had plenty of Gamay character with a touch of back-end astringency that promises a few years of further development.
Mark Lipton
Mark Lipton
What to do when the weather is so cold that the central heating is incapable of reaching 70 F? Defrost a frozen rabbit, of course, and make lapin a la moutarde and open a good bottle of Gamay to accompany it. In this case that was a bottle of 2021 Dom. De la Terres Dorees Beaujolais L’Ancien which on this night was in spectacular form: highly perfumed with floral and mineral notes, gorgeous ripe purple fruit in a silken, medium-weight package and a slightly bitter finish. Jean was smitten with it’s voluptuous charm and we discussed the relative merits of Burgundian vs semi-carbonic vinification. With the rabbit and a roaring fire, we were transported to a cozy bistrot in Dijon where the weather was more inclement and the Beaujolais in endless supply.
Mark Lipton
Mark Lipton
Eden Mylunsch
Eden Mylunsch
2019 Pascal & Jean-Philippe Granger Beaujolais-Villages "Le Bouteau" has been unexpectedly enjoyable over the past few days. A little closed and tannic at first, it blossomed and developed more fruit and volume, but despite its Julienas origins, I don't think it transcended its Beaujolais-Villages place in the regional hierarchy. That initial angularity gave way to a pleasant fruitiness that's hung on for a few days and I think that the old(ish) vines add to the complexity. Not much discernable benefit in cellaring it for much longer, but for the $5.99 I paid for it at Grocery Outlet, I'm not complaining. I've found it a very worthwhile habit to peep at the importer strip on the bottles at GO.
I get it. Me, I have been on a Serge Chaloff kick over the past few weeks and the similarities between him and JJ are kind of interesting. The baritone sax is in the same register as the trombone ('cello too). Johnson and Chaloff were born in the late 1920s and came up in the big band scene, not the Squaresville Glenn Miller and Sammy Kaye bands, but more like Count Basie and Woody Herman. Both were junkies, but Johnson never sank to the depths that Chaloff reached and subsequentlylived about 40 years longer and made a hell of a lot more records than Serge. Although Chaloff (like Johnson) kicked heroin, a year or so later he died of cancer. I find it interesting that he was so much better on his instrument (baritone sax)than anyone else back then (except for maybe Harry Carney) that I wonder how much more he might have accomplished had he had a longer career. Gerry Mulligan is thought of as the father of putting the bari sax up front of the band, and he was a few years younger than Chaloff, and Serge was THE bebop bari guy while Mulligan was working more with the California Sound, which wasn't as big-band dependent. Both played with Charlie Parker, both Chaloff and Mulligan were addicts, but Mulligan cleaned up in 1953 and went on to greater renown on the instrument to the point where if you ask someone who their favorite baritone saxophonist is, they're probably going to say "Gerry Mulligan" because he's the only one they've heard of. One might say he's the Mouton-Rothschild or Caymus of the baritone sax world (I think Ronnie Cuber was the guy who pulled it all together but the world wasn't looking for an alternative to Mulligan). I'm not sure if any of these guys drank Beaujolais though.
BTW, Which phono preamp did you get? I recently upgraded to a Primare (from a Rega Fono) and it's made a huge difference. 'Tis SUCH a slippery slope, y'know?
-Eden (I used to double on baritone saxophone and oboe in high school. Talk about a f'd-up embouchure!!)(which is why I switched to bass guitar)
I get it. Me, I have been on a Serge Chaloff kick over the past few weeks and the similarities between him and JJ are kind of interesting. The baritone sax is in the same register as the trombone ('cello too). Johnson and Chaloff were born in the late 1920s and came up in the big band scene, not the Squaresville Glenn Miller and Sammy Kaye bands, but more like Count Basie and Woody Herman. Both were junkies, but Johnson never sank to the depths that Chaloff reached and subsequentlylived about 40 years longer and made a hell of a lot more records than Serge. Although Chaloff (like Johnson) kicked heroin, a year or so later he died of cancer. I find it interesting that he was so much better on his instrument (baritone sax)than anyone else back then (except for maybe Harry Carney) that I wonder how much more he might have accomplished had he had a longer career. Gerry Mulligan is thought of as the father of putting the bari sax up front of the band, and he was a few years younger than Chaloff, and Serge was THE bebop bari guy while Mulligan was working more with the California Sound, which wasn't as big-band dependent. Both played with Charlie Parker, both Chaloff and Mulligan were addicts, but Mulligan cleaned up in 1953 and went on to greater renown on the instrument to the point where if you ask someone who their favorite baritone saxophonist is, they're probably going to say "Gerry Mulligan" because he's the only one they've heard of. One might say he's the Mouton-Rothschild or Caymus of the baritone sax world (I think Ronnie Cuber was the guy who pulled it all together but the world wasn't looking for an alternative to Mulligan). I'm not sure if any of these guys drank Beaujolais though.
BTW, Which phono preamp did you get? I recently upgraded to a Primare (from a Rega Fono) and it's made a huge difference. 'Tis SUCH a slippery slope, y'know?
-Eden (I used to double on baritone saxophone and oboe in high school. Talk about a f'd-up embouchure!!)(which is why I switched to bass guitar)
Winedisorder, the only website in the universe with single threads dedicated to Beaujolais, insulation, and phono preamps - heaven!
Eden, I DO know...truly.
My opinion is that phono preamps are THE most underestimated audio component out there. Considering the absolutely tiny signal generated by the phono cartridge, it makes sense that the thing that amplifies that signal is important.
After a lot of consideration, I bought a Whest PS30.RDT SE. It wasn't cheap, but it was absolutely worth it - as big an upgrade as I've gotten over the years. I bought a pair of Spendor A7's at the same time so we're experience a definite surge around here. It does continue to surprise me the amount of discernable improvement we experience even as we continue to move up the audio food chain.
The Whest is fantastic. It creates a lot of transparency around the recording - more true to the source. I was concerned it would make less good recordings harder to listen to, but haven't found that to be the case. But definitely, one of those vinyl improvements that has felt like we have a whole new record collection and that we are hearing it for the first time.
What kind of deck are you running? Thinking maybe a Rega if you started with a Rega Fono.
Eden, I DO know...truly.
My opinion is that phono preamps are THE most underestimated audio component out there. Considering the absolutely tiny signal generated by the phono cartridge, it makes sense that the thing that amplifies that signal is important.
After a lot of consideration, I bought a Whest PS30.RDT SE. It wasn't cheap, but it was absolutely worth it - as big an upgrade as I've gotten over the years. I bought a pair of Spendor A7's at the same time so we're experience a definite surge around here. It does continue to surprise me the amount of discernable improvement we experience even as we continue to move up the audio food chain.
The Whest is fantastic. It creates a lot of transparency around the recording - more true to the source. I was concerned it would make less good recordings harder to listen to, but haven't found that to be the case. But definitely, one of those vinyl improvements that has felt like we have a whole new record collection and that we are hearing it for the first time.
What kind of deck are you running? Thinking maybe a Rega if you started with a Rega Fono.