Everyone knows Pinot Noir. Most folks know Pinot Gris, aka Grigio. Pinot Blanc has a few die-hard fans even among the general public. But Pinot Meunier seems to remain the province of wine geeks alone. In this episode, the gang tackles the challenge, when we compare the 2017 Pinot Meunier from Teutonic Wine Company (sourced from Borgo Pass Vineyard in the Willamette Valley AVA of Oregon), with the 2015 Darting Pinot Meunier from Pfalz, Germany. In this episode, we also talk about wine-making techniques and compare the Old-World style of Winemaking, to the New World style, and touch again upon the subject of Natural Wine. I REALLY need to do an episode just focusing on Natural Wine at some point. This also reminds me, I need to reach out to the folks at the fine Natural Disasters for a collaboration on the subject… I digress.
A word about tonight’s (today’s?) grape of the episode: Pinot Meunier. Also known variously as Meunier, Schwarzriesling, Müllerrebe, and Miller’s Burgundy, this grape gets its name (and most of its synonyms) from the flour-like dusty white down which is found on the underside of the leaves; like the result of grinding wheat. First mentioned by name in the 16th century, Pinot Meunier is what is known in the plant world as a Chimeric Mutation, where different plant genes are expressed in different places. In the case of this varietal, the inner cell layers are composed of a Pinot genotype which is close to (if not identical to) Pinot noir, but the outer, epidermal, layer is a mutant, distinctive, genotype. I have no idea how this happens, but it is my understanding that the genetics of most Pinot varietals are about as stable as my average mood, and therefore the plant can mutate simply if you look at it in a funny way.
Of note: Pinot Meunier is apparently almost one-third of all the grapes planted in Champagne, but the French don’t like to talk about this fact and prefer to emphasize the use of Pinot Noir and Chardonnay… though I will say the best Champagne I’ve ever had was a Grower’s Champagne (the Vallée de la Marne Rive Gauche Extra Brut from Bereche & Fils) made of 100% Pinot Meunier, so, uh, take that, popular kids! Or something?
I acquired this bottle of the 2o17 Teutonic Pinot Meunier directly from their tasting room in Portland, Oregon, while visiting there last September; the German example was acquired from Lloyd’s Liquors, in Prescott, AZ.
It’s pretty freaking cold everywhere you go east of the Rocky Mountains in the United States and Canada right now, so it seemed like as good a time as any to talk about Ice wine. Our main wine focus of this episode is the 2017 Creekbend Vidal Blanc Ice Wine from Oliver Vineyards in Bloomington, Indiana, though we drank this alongside the 2009 Golden Icewine Valley from Changyu in Liaoning, China, and the 2017 Late Harvest Vidal Blanc from Arizona Stronghold Vineyard, sourced from Bruzzi Vineyard in Young, Arizona. The latter, of course, isn’t an Ice wine but is still a varietal Vidal Blanc.
As it turns out, over half of the ice wine vintages made throughout the world are made from Vidal Blanc, because of just how hardy this grape is. Vidal Blanc (also known simply as Vidal), is a complex hybrid cross between Trebbiano (also known as Ugni Blanc) and Rayon d’Or. Vidal is very winter-hardy and produces surprisingly high sugar levels in cold climates. This aspect, combined with the natural tendency of Vidal Blanc to have moderate to high acidity, makes this varietal a favorite in harsh climates across the Northern Hemisphere, even being grown as far north as Sweden and Norway. Since these climates are prone to freezes, it makes perfect sense that the Icewine tradition would tend to find a home wherever Vidal Blanc is grown.
The secret of Ice wine is that it is produced from grapes that have frozen while still on the vine. The sugars and other dissolved solids in grapes will not freeze, but the water within the grapes does. This means an incredibly concentrated grape juice results; the must is pressed from these frozen grapes, which results in a smaller amount of more concentrated, very sweet wine. Only healthy grapes kept in good shape are used for this wine; none of them may be infected with noble rot. Furthermore, time is of the essence, since re-thawing the grapes will cause them to spoil quickly since ice crystals destroy cell walls. Thus the harvest must be completed within a few hours on the first morning that is cold enough. The result of all this hard work is a wine with refreshing sweetness, balanced by high acidity.
Ice wine production is risky for several reasons: the frost may not come at all before the grapes rot, or are otherwise lost, for one. The production also requires the availability of a large enough labor force to pick the whole crop of grapes within a few hours, at a moment’s notice, on the first morning that is cold enough, often before sunrise. This results in rather small amounts of ice wine being made worldwide, making ice wines generally expensive. The bottles used for ice wines are generally small, holding only 375 mL of wine, as befitting this small production. The increased production of ice wine has been dramatically assisted technological inventions in the form of electric lighting, driven by portable generators, remotely-controlled temperature alarms, and the invention of the pneumatic bladder press.
While there are some indications in the writings of the world’s first wine critic, Pliny the Elder, along with the poet Martial, that the Romans were making vintages in this style on occasion (probably in Northern Italy), the first ice wine that we definitely know about was made in Germany in 1794. The story goes that the winter had been harsh, and some wine growers had the idea to leave grapes hanging on the vine to use as fodder for their animals; when the growers noticed that these grapes after being frozen yielded a very sweet must, they were pressed anyway, and a wine revolution slowly began. Only six 19th century vintages with Eiswein harvests have been documented, and there seems to have been little effort to systematically produce these wines. Over time, with the technological developments listed above, ice wine production became more common… but at the same time, growers in Germany, the region where this wine style was invented in the modern era, have noticed that in the last few decades, good ice wine vintages have been less common. Many vintners have cited climate change as the cause of this decline.
The first ice wine produced in the United States was made in the Finger Lakes region of New York in 1981 by Great Western Winery. Today, Michigan leads the charge in creating ice wine in America; as an example in 2002, six Michigan wineries alone produced over 13,000 half-bottles of ice wine. The US law for ice wines specifies that grapes must be naturally frozen; the TTB declares that “Wine made from grapes frozen after harvest may not be labeled with the term ‘ice wine’ or any variation thereof, and if the wine is labeled to suggest it was made from frozen grapes, the label must be qualified to show that the grapes were frozen post-harvest.”
I get asked somewhat often, “What are tasting notes, really?” Or rather, to be honest, I get asked: “What am I supposed to be tasting, anyway?”
Well, when you get down to it, you taste what you taste. Sure, I can help, but really, wine is such a subjective thing that I generally hate to push what I think I’m tasting or smelling onto the drinker I’m with. This can also make tasting notes (and notes on the aromatic profiles of wine) seem somewhat arbitrary to the beginner. And that’s okay!
Basically, tasting notes refer to a wine taster’s (or, in some cases, a coffee taster’s!) testimony about the aroma, taste identification, acidity, structure, texture, and the balance of a wine, designed to allow the reader to get an idea of what the experience of imbibing that particular vintage is like. They can get as creative as you like, or as simple as you like. Often-times, such notes may seem like gibberish, but this Sommelier-speak has a code that isn’t as difficult to translate as beginners think. In short, what you taste, is what you taste.
These notes are NOT related to what is in the wine or how it was made, usually; these flavors are not added. The winemakers for this wine didn’t pour in pickle juice during fermentation, for example. In many cases, they aren’t even the same molecule, but they hit the receptors in the olfactory lobes of the brain in the same way as those flavors in food, drink, or spices do. Wine Folly has a great article on how to approach writing your own tasting notes which can be found here.
For this podcast discussing Tasting notes, Elizabeth Krecker and I decided to drink the 2014 Sémillon from Dirty and Rowdy Family Winery, based out of Napa Valley, though they source grapes from multiple vineyards across the state of California. This wine is a complex blend of two different styles of fermentation; one on the skins (a.k.a., Amber Wine) and another aged in concrete. Elizabeth and I loved the tasting notes that they used to describe their wines and thought it would be fun to explore what we tasted in this wine versus what the winemakers tasted. They’ve got a lot of fun wines, and I highly recommend them.
Welcome to the first episode of Season 2! This was originally going to be an additional bonus episode for Season One, but harvest, crush, and a new tasting room job meant I didn’t get much time to get this ready, so we’re going to open Season 2 with this episode instead! Future episodes will continue at roughly every 10 days, as with season one.
In this episode, Megan (alias VeniVidiDrinki), James, our friend Ruben, and I drink a Henri Marchant Cold Duck that dates back at least to the early 1970s. Why? Because it was there. More seriously, VeniVidi found this bottle at an estate sale somewhere in Illinois, and had it sitting around… and so we decided to drink it. For myself, this is probably the second or third oldest bottle I’ve had in my life, but for the others, it was their oldest bottle; in fact, this bottle was older than every one of us excepting possibly James. Old wine is fascinating, often lauded, but sometimes misses the mark. But we decided to try this one anyway and record it for shiggles.
What is Cold Duck, anyway? Well, it so happens that Cold Duck is pretty much a uniquely American innovation in the wine world. The wine style was invented by one Harold Borgman, the owner of Pontchartrain Wine Cellars in Detroit, Michigan in 1937. This inaugural Cold Duck vintage was made at the Ponchartrain Wine Cellars by simultaneously pouring Champagne and sparkling burgundy into a hollow stem wine glass. However, this recipe was based on a German legend that involved Prince Clemens Wenceslaus of Saxony ordering the mixing of all the dregs of unfinished wine bottles in his cellar with Champagne. The wine produced by Borgman was at first given the name Kaltes Ende (“cold end” in German) until it was altered to the similar-sounding term Kalte Ente meaning “cold duck”.
It was this translation of the second name that took root for this particular wine style, and many other American wineries, particularly in California and New York, followed in the wake of Pontchartrain. Today, you can still find bottles of Cold Duck in most grocery stores, as a “low-end” wine (see: Frasier, Season 4, Episode 9), but for the time it was a revolution that allowed most Americans who would never have been able to afford high-end sparkling wines from France to get their first experience with bubbly.
Of note: we dated this bottle based on a particularly awkwardly hilarious commercial we found on YouTube; the audio of which is featured in the podcast, but the video is below:
¡Bienvenidos amigos, al episodio cincuenta y dos del podcast Make America Grape Again! ¡En este episodio, volvemos a hacer uva de México con el Rosado 2017 de Casa Madero, la bodega más antigua del Nuevo Mundo!
Okay, sorry for my horrible Spanish there. Welcome to Episode 52 of the Make America Grape Again podcast, where we’re going to sneak across the border and explore the 2017 Rosado from Casa Madero, which happens to be the oldest winery in the New World! Founded in 1597 as Hacienda San Lorenzo, Casa Madero has been producing wines intermittently in the Parras Valley of Coahuila over the course of the last 422 years. There have been times when the vineyard was left fallow, but the winery is currently producing again. I wanted to do at least one Mexico bonus episode, so I was stoked to stumble across this bottle randomly at Total Wine in Phoenix.
The 2017 Rosado is made from 100% Cabernet Sauvignon, and for more information on production, we do a ceremonial reading of the tech sheet in this episode. (I should also note that I will have at least one more Mexico episode in the future… probably.)
Mexico is a wild frontier for winemaking, with only about 7,700 acres under vine. As I mentioned above, the history of Mexican wine begins with this winery. Winemaking here, and in other vineyards in New Spain produced such fantastic vintages that King Charles II decided to prohibit the production of wine in Spain’s colonies, except for the making of wine for the Church in 1699. This prohibition stayed in force until Mexico achieved independence from Spain in 1821. Naturally, this meant that from the end of the 18th century to the middle of the 19th, most wine production was done by clergy. The Santo Tomás Mission, founded in Baja California in 1791 by the Jesuits, reactivated larger-scale production of wine in Mexico. In 1843, Dominican priests began growing grapes at the nearby Nuestra Señora de Guadalupe del Norte mission, located in what is now called the Valle de Guadalupe.
Today, the Valle de Guadalupe is largely touted as the premium wine-producing area of Mexico. No longer just a gag in Frasier, vintages of wine from this are, along with the neighboring San Vicente and Santo Tomás Valleys produce 90 percent of all Mexican Wines. The region has become famous for wines made from Nebbiolo, Mission, and Zinfandel. Part of the reason for this region’s popularity is the ease of travel to this area from tourist ports and towns in Baja Californa, such as Ensenada. In addition to the wine regions in Baja, wines are also being made in Durango, the aforementioned Parras Valley in Coahuila, Aguascalientes in Zacatecas, and Queretaro in Central Mexico. Wine Folly does have a brief intro guide and overview of Mexican wine on their website. In short, Mexico is producing some good wines, and those vintages are well worth exploring.
We’re not quite done with season one yet! Sorry for the late post; it’s the height of crush and harvest here in Arizona, and I’ve been working myself raw. Our last non-bonus episode for the season is focused on Washington D.C. In this episode, Michelle Petree (a friend of mine who dates all the way back to freaking Grade School) and I drink the 2017 Cuvée Noir, from District Winery; which is so far the District’s only urban winery and tasting room. This wine, a blend of Grenache and Petit Sirah, is their house take on Rhone-style blends, sourced from vineyards in California. (I affectionately referred to this wine repeatedly as a GPS, because boy howdy do I love puns.) In this episode, Michelle and I tackle some of the “darker” sides of the wine industry: wine additives and the grape trade. It turns out that we feel one of these is much darker than the other.
That being said, let me be emphatic right here: the trade of grapes and bulk wines from California is NOT necessarily a bad thing. It’s all in what you do with what you get. I, for one, really enjoyed my experience at District Winery so much that I actually sent them my resume. They’re doing good stuff. It’s not their fault that nobody grows grapes in Washington D.C. anymore! They are also wonderfully open both on their website and in the tasting room how things are done. And frankly, there’s no getting around the fact that sometimes, you absolutely have to source grapes from elsewhere because of market demand, a bad harvest, or because the grapes you want to work with don’t grow anywhere near where your winery is. It is really hard, after all, to make a Barbera in, say, Maine. Also, let me be clear: the only “additive” in the wines from District is the Sulfites which are pretty much standard in everything; they’re not using Mega-Purple (which, dibs on that name for my future wine-themed metal band by the way) or anything else, but our conversation just went that way. (This reminds me: I need to do an episode about why Sulfites Are Not Evil at some point.)
Now that the disclaimers are out of the way: once upon a time, as I alluded to above, there were vineyards and wineries in Washington D.C. It is, as far as I could find out in my research, unknown what varietals were grown in the area. Space was limited, of course, and after Prohibition hit, these vineyards were torn out, and the land where these vineyards once grew was urbanized. Today, there simply just isn’t the space to grow vineyards in Washington D.C. itself. However, this aspect didn’t stop the founder and winemaker of District Winery, Conor McCormack, from opening the first winery in the area since Prohibition in 2018. As I alluded to above, many of the grapes being made into wine here are sourced from vineyards across California, but he is also sourcing grapes from vineyards in New York and nearby Virginia. (In fact, the amazing amber wine made of Virginia-grown Petit Manseng was the bottle that I took home for “research” and shared with some local Arizona wine folks. Frankly, it was really hard to choose just what to drink for this podcast.)
Anyway, stay tuned for the next two bonus episodes… then a short break before Season Two begins!
While more famous for being the heartland of country music, Tennessee actually has a thriving wine industry. The Volunteer State is home to one of the largest wine industries in the American Southeast, with just shy of 50 vineyards and tasting rooms. Our wine focus for the state is the White Zinthiana Blush from Amber Falls Winery, located in Hampshire, Tennessee. This wine is made from 100% Zinthiana, which is a cross between the Cynthiana clone of Norton, and Zinfandel, recently released from UC Davis.
This wine, as you may also have guessed from the name, is a Southeastern take on the whole “White Zinfandel” phenomenon of semi-sweet pink wines known as blushes. (A general rule of thumb: pink wines with under 1% residual sugar are labeled as rosé; anything over that tends to get labeled as a blush). Zinthiana is a varietal that I had never even heard of, and it is always fun to meet a new grape; I’m kind of boggled at how to classify it, because while it is technically a hybrid cross, it’s not quite like some of the other hybrid varietals we’ve looked at over the course of this podcast, like those in our previous Iowa episode for example.
The state of Tennessee was home to a reportedly vibrant wine industry in the 19th century that was greatly impacted when that old bugaboo and nemesis, the Volstead Act, was introduced in the early 20th century. However, unlike in much of the Southeast, amateur winemaking and grape growing continued to thrive in the region, which allowed for a renaissance to begin starting in 1980 with both Highland Manor Winery and Tiegs Winery opening in that year. In 1985, the state legislature passed the Tennessee Viticultural Policy act, which greatly assured the stable development of the industry; perhaps this state support is why Tennessee has so many more wineries than most of its neighbors. Like elsewhere in the American South, humidity and associated grapevine diseases are the major challenges associated with viticulture in the region, so many of the varietals grown here are growing French hybrid and native grape varietals, but the state does have some Vinifera varietals grown in higher elevations. So far the only AVA in Tennessee is the small portion of the Mississippi Delta AVA that extends into the southwestern part of the state.
I acquired this bottle from the winery website, myself, for this podcast. We actually acquired two bottles: one for Gary and one for me. If you like this podcast, Gary and I would greatly appreciate it if you rated us on iTunes or whatever podcast app you use, and please do remember that we have a Patreon which can be found at https://www.patreon.com/TheMakeAmericaGrapeAgainPodcast. (I know that I haven’t been terribly good at putting things on Patreon, but I promise I will try harder for season two. Speaking of, while we have indeed completed fifty states, there are still three more episodes coming to wrap up season one, so we are not done yet!)
Welcome to Episode 49 of the Make America Grape Again Podcast, where we explore The Palmetto State, South Carolina. Our wine focus for this episode is the Lowcountry Red from Deep Water Vineyard, located on Wadmalaw Island. The Lowcountry Red is made from 100% Ison grapes; a red muscadinevarietal, grown in Charleston County, South Carolina. In this episode, featuring Peter and Sophia Gardner, we focus not only on the history of wine in South Carolina, but upon the use and theology of wine within the Eastern Orthodox Church which the three of us have in common. You see, Ison–the grape varietal used in this vintage–shares the same name as a major feature of Byzantine Chant… We also talk about synesthesia and wine tasting, which is a fascinating examination of just how subjective wine description can be-complete with how this wine tastes in song form.
The modern wine industry of South Carolina begins in 1953, with the establishment of Tenner Brothers, which focused on muscadine varietals. Next to open was Truluck vineyards in 1978. The owner, Jim Truluck, was instrumental in getting a farm winery bill passed in 1980, which allowed tastings and sales of wine on estate premises. Despite this, he closed his winery in December of 1990. Most ambitious was the attempt made by Oakview Plantation in Woodruff; to make a 600,000-gallon winery. Sadly, as this was prior to the farm winery bill, wholesalers opposed the winery. Montmorenci vineyards opened in Aiken in July 1990, and as of the writing of Wines of Eastern North America, by Hudson Cattell, was the oldest still-operating winery in the state. Deep Water Vineyard, formerly Irvin-House Vineyard, opened in 2012, and is situated on 48 acres of muscadine varietals.
Wine in South Carolina, like most of the deep south, is a difficult proposition. Hot and humid summers require growers to adapt their forms of canopy management so as to minimize direct sunlight on the grapes, Furthermore, these grapes are often harvested earlier in the summer, to avoid possible risk from Hurricanes which can strike later in the season. This humid climate in the lowlands of South Carolina means that most grapes grown in the state are muscadine varietals (such as in this particular case). There are also many fruit wines being made in the state. A few vineyards located in the mountains are growing vinifera varietals. Currently, the state has approximately 21 wineries, and there are no American Viticultural Areas in South Carolina.
This bottle was kindly donated for use in the podcast by Deep Water Vineyard themselves after I reached out to them. Thank you for providing this fantastic vintage!
Iowa may be a state that is associated in pop culture with endless waves of corn and soybeans, but the Hawkeye State has a vibrant wine culture too! Our first wine from this state that we will be looking at is the Iowa Candleglow White, from Tassel Ridge Winery, located in Leighton. The Candleglow White is a non-vintage dry white blend of La Crescent, Brianna, and Edelweiss grapes grown in Mahaska County, Iowa.
We have met La Crescent before during our exploration of the Tectonic from Iapetus Winery, but Edelweiss and Brianna are new varietals to the Make America Grape Again podcast. Like La Crescent, both Edelweiss and Brianna are complex, cold-hardy, French-American hybrid varietals. Both of these varietals came into being as a result of Elmer Swenson, and the University of Minnesota’s cold-hearty grape breeding program. Indeed, the genetic history of these grapes is pretty tangled, as seen in the diagram below.
Growing wine in Iowa is filled with challenges. Warm summer days can create conditions conducive to promote fungal vine diseases, while the extreme cold nights of winter can kill many other grape vines; this is why there are relatively few plantings of Vitis vinifera in Iowa, versus complex hybrids and native American varietals.
There was some viticulture in Iowa prior to prohibition, but records are spotty at best. Prior to 2000, there were only thirteen wineries in the state, and eleven of them were in the Amana colonies, which was a religious communal society which had originated in Germany and settled in Iowa in the 1850s. These wineries benefited by a native wine law which passed after Repeal, which allowed them to sell wines to anyone. It was in the year 2000 when the Iowa Grape Growers Association was formed, and this group wasted no time in creating an action plan for the growth of the wine industry in the state.
The group decided that the three main things which were needed were favorable legislation and basic education relating to viticulture. Within a year, the team had gained the involvement of the Iowa Department of Education involved, along with some basic assistance from Iowa State University. A year later, funding for viticultural research and promotion became a reality with a five percent tax on wine. In 2003, the team created a ten-year plan, with the aid of interested parties, and within a mere four years, 62 wineries had emerged in Iowa.
Today, despite the challenges of growing in the harsh conditions of the high plains, the state of Iowa contains 100 commercial wineries, with more than 300 vineyards that cover approximately 1,200 acres. There are no American Viticultural Areas that are solely in Iowa, but Northeastern Iowa is included within the area covered by the Upper Mississippi Valley AVA.
This bottle was kindly provided to the podcast by Greg Gonnerman of Laramita Cellars, who also guest-starred in this episode. He acquired it from the Tasting Room directly.
Welcome to Episode 47, focusing on a state that I think has one of the best flags in the country: Maryland. In this episode, we will be focusing on the 2017 Vin Doux Naturel from Old Westminster Winery, located in Westminster, MD. This particular bottle was one of three chosen by the winery as part of a #Winestudio event for the month of June. Mind you, all three of the wines involved in the series were fantastic; especially the Cabernet Franc. I’ve also been to their tasting room before and have picked up bottles and cans from this winery specifically for this podcast… which may well still appear in future episodes, or I may just drink them on my own without sharing.
All that being said, the opportunity to review a dessert wine and talk on the podcast about the intricacies of making dessert wines along with the various styles thereof was too good a chance to resist. And so, here we have the 2017 Vin Doux Naturel, a dessert wine made of 100% estate-grown Valvin Muscat (a cross between Muscat Ottonel and the hybrid Muscat du Moulin, for the record) which was fermented with wild yeasts and fortified during fermentation using neutral grape spirits distilled from estate grapes. This particular vintage is made in a way reminiscent of wines coming from the Muscat de Beaumes de Venise AOC in France.
Here, as with the Valvin Muscat from Old Westminster, fermentation is stopped by the slow addition of up to 10% of a 190 proof (95%) grape spirit. This additional alcohol basically slowly kills off the yeast, as most yeasts cannot stand an overly high concentration of alcohol. Port, as well as other similar fortified wines, are also made in this fashion. (Madeira is, too, but is then literally baked in hot steam rooms, or historically on the decks of ships; sweeter sherries are made this way also, but then develop a living coat of yeast known as flor while aging in barrel. I really should find American vintages made in both styles, as they are really fascinating wines to talk about and drink, but I digress.)
One can also create a sweet wine that isn’t fortified by halting the fermentation before completion through chilling the wine to the temperature where yeast goes into stasis, and then sterile filtering. A second way of creating a sweet, desert-style wine is by adding sulfites to the wine at a high enough level where the yeast cannot survive, and then sterile filtering. Sterile filtering is important for the production of sweet wines of this sort, because, without filtering, any yeasts that survive will feed on the residual sugar. This will either make the wine ferment to dry in the tank, or worse: if bottled, the CO2 created by the yeast as a result of fermentation can cause corks to pop or bottles to explode from the pressure.
A final way of making a sweet wine that could qualify as a dessert wine is to back-sweeten the wine after it has finished fermenting to dry with a sugar solution or honey. The TTB classifies a dessert wine as any grape wine containing over 14% but not more than 24% alcohol by volume. Citrus, fruit, and agricultural dessert wines must be further identified as to the fruit that was used.
I’ve rambled a lot about dessert wines here, and how to make them, so I’ll have to be brief about the history of the wine industry in Maryland here. The oldest continuously operating winery in the state is Boordy Vineyards, located in the rural region of Hydes, Maryland. This winery was bonded in the 1940’s by Philip & Jocelyn Wagner. Philip Wagner is one of the most important figures in the history of American wines that you’ve probably never heard of, as he quite literally wrote the first major book on the subject: American Wines and How to Make Them. The book was revised and republished as Grapes Into Wine, and it became the definitive book on winemaking in America for decades.
Old Westminster Winery is much newer in comparison (planted first in 2011, and is rapidly expanding with the acquisition of Burnt Hill), but is part of the rapidly expanding industry in Maryland which now contributes an estimated $50 million dollars annually to the local economy. Today, Maryland has over 40 wineries, and three AVAs thus far: the Catoctin AVA (named for an Algonquin word meaning “speckled rocks”) is located in Frederick and Washington Counties, while the Linganore AVA, part of the Piedmont Plateau, includes parts of Frederic and Carroll Counties. Lastly, the Cumberland Valley AVA we met in passing extends from Pennsylvania into Washington County in west-central Maryland.
As mentioned above, this wine was provided by Old Westminster Winery for the #Winestudio event. As far as I’m aware, this wine is not available to be purchased by the general public yet, but I plan on acquiring another bottle when it does become available.