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Mouthing Off

By the Editors of Food & Wine Magazine

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Restaurants

Drinks at Drink

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I finally made it to Boston this weekend so that I could grab a stool at Barbara Lynch's newest spots, Sportello and Drink. The dishes at bright, modern Sportello was the sort of homey, upscale comfort food found at all of Lynch's restaurants. A simple salad of thinly shaved fennel and batons of celery was fresh and crisp and all of the pastas were expertly cooked-the highlight of which was the rich, sweet pantacce (a wide, short noodle) with pork cheeks, parsnips and quince.

But the real standout for me was a wine that we had. Our server steered us towards the 1998 Martilde Ghiro d'Inverno Bonarda from northwestern Italy's Lombardia region, and I'm glad we followed her lead. Its black fruit had mellowed nicely thanks to its age, but what was particularly striking was its distinct earthiness—flavors ranging anywhere from soil to mushrooms—which also made it perfect match to a bowl of pasta made with toasty chestnut flour with whole roasted chestnuts strewn throughout.

After dinner, we headed downstairs to Lynch's enormous—and packed—bar, Drink. It was rather astounding to watch three bartenders expeditiously serving excellent cocktails to 90-some thirsty guests. For our part, we probably enjoyed a few too many of the cocktails, but we ended the night off with a liqueur glass of and exceptionally intriguing Chartreuse Milk Punch called Vert Poinçon de Lait, developed by Drink bartender Scott Marshall. Marshall was inspired by a recipe he found in a cocktail book published in 1827 for "Oxford Nightcaps." The original recipe calls for rum and cognac, but Marshall traded those for viscose Batavia-Arrack and spicy green and yellow Chartreuse. Since the drink's complicated to make—and the recipe makes a gallon at a time—it's worth a detour at Drink to try it. It's a terrific digestif, or, as a nightcap, will ensure sweet or possibly surreal dreams.

Pairings

Red Wine & Fish, or Why I Love Science!

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So it seems that researchers in Japan have determined the cause of that horrible metallic super-fishy taste that occurs when some red wines are paired with fish. It's iron. Specifically, the amount of ferrous ion present in the wine. You can read all about this discovery here in the Journal of Agricultural and Food Chemistry.

Admittedly, you'll have to be willing to plow through sentences like "Metal ions were analyzed by a postcolumn reaction with 4-(2-pyridylazo)resorcinol reagent combined with spectrophotometric detection," and "Total phenolics of wines were estimated according to the Folin-Ciocalteu method expressed as gallic acid equivalents," but what the heck, it's Wednesday afternoon and you're probably bored at work anyway, right?

If you do manage to wade through the article, you'll hit the payoff which is that tannins—long the scapegoat of bad fish-and-red-wine pairings—are entirely innocent. Yes, tannins are the Dreyfus in this whole fishy affair; blame not the tannins, friends. Instead, stick the onus on iron. Of course, there is one small hitch. As Mssrs. Tamura, Taniguchi, Suzuki, Okubo, Takata and Konno put it with appealing delicacy, "In daily life, it is difficult to predict the iron content in a bottled wine without opening it."

And, one might add, without subjecting it to a postcolumn reaction combined with spectrophotometric detection—but then, who doesn't do that sort of thing, these days?

Wines Above $40

NYC Wine & Food Festival: Beaucastel Tasting

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Over the weekend I had the good fortune to introduce (and then sit on a panel with) Marc Perrin of Château Beaucastel, as eighty or so equally fortunate people got to taste through a vertical of Château Beaucastel going back to 1988. The wines showed gorgeously and reaffirmed—not that there's much doubt about it—Beaucastel's place in the top ranks of the Châteauneuf-du-Pape heirarchy.

Perrin was adamant about the benefits of organic viticulture, though in an effortlessly charming way: "When my grandfather decided to use organic viticulture in 1950, people thought he was crazy. But we think it is absolutely the only way to go to make wines that express a sense of place," he stated, adding later, "Industrial yeasts are good for industrial wine. But when you are talking about the identity of a terroir, natural yeast is the only option." 

Beaucastel bottles

Of the vintages we tasted through ('07, '06, '98, '94, '90, '89, & '88), these were my highlights:

2007 Chateau de Beaucastel, a powerful wine with creamy black raspberry and licorice notes, hints of toast and berry skin, and lots of fine-grained but substantial tannins—though still extremely young, it promises to be fantastic over time. This hasn't been released yet, but will be soon; it would be an outstanding cellar purchase.

2000 Château de Beaucastel, which had shifted toward more secondary characteristics of earth and loam under its dark cherry fruit, with a touch of tobacco on the end and a velvety texture. Perrin said it reminded him of "when you go into a forest after it rains," which struck me as just right.

1990 Château de Beaucastel, an extraordinary CdP with lots of life left in it; the aroma was all exotic spice, a hint of bandaid box (i.e. brett, which Beaucastel was known for in the past, & which did not come up during discussion) and dried herbs; the fruit suggested kirsch and raspberry liqueur. Stunning wine. Wish I had a case of it, rather than just a memory.

There was plenty of debate—as there has been over time—about the '89 vs. the '90. Both were terrific—or somewhere beyond terrific, actually. Perrin preferred the '89 this time, which was rounder and more generous, with more dark chocolate than spice notes. I went for the '90.

He also said this about Grenache in general: "For me a great Grenache wine, a big part of the experience, is the texture. It's like eating a cherry—that juicy, fleshy character of a ripe cherry."

Thirsty now?

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