The 2018 Slow Wine Guide to the Wines of California featured 70 producers. Next year’s edition will include twice that number.

As coverage of Californian wine expands, the editorial team is growing as well: I couldn’t be more thrilled to share the news that California wine writer and educator Deborah Parker Wong has been named Senior Editor for the 2019 guide.

About Deborah:

Veteran wine writer Deborah Parker Wong is Global Wine Editor for SOMM Journal, Tasting Panel and Clever Root magazines where she reports on the wine and spirits industries with an emphasis on trends. As a Wine & Spirit Education Trust Approved Program Provider she offers Level 2 and Level 3 WSET certifications to students in the United States and she teaches as an adjunct professor in the Wine Studies department at Santa Rosa Junior College. She is the co-author of 1000 Great Everyday Wines (Dorling Kindersley 2011). In addition to writing and speaking about wine, Deborah judges wine competitions and scores wine for Planet Grape Wine Review.

Related: Slow Wine: Michael Alberty named senior editor for new Oregon guide (2019).

Above: the West Sonoma Coast is one of California’s youngest wine regions. Growers are petitioning to create a new Americana Viticultural Area designation there. The Pacific Ocean lies just a stone’s throw to the west of the vineyard in the photo.

Much has been written about the impact of newly legalized recreational cannabis on the California wine industry. The fear among some trade observers is that consumers will spend less on wine as their spending on pot grows.

But weed is affecting the California wine trade in unexpected ways, even just four months into legalization (which took effect in January of this year).

One of the most interesting elements to emerge from a touring tasting organized by West Sonoma Coasts Vintners last week was the winemakers’ concern that the lucrative cannabis business is attracting current vineyard and farm workers.

“It’s a lot nicer to be using tweezers in a greenhouse” to pare cannabis flower “than it is to be working in a vineyard,” noted one winemaker. Evidently, according to the growers, it also pays better.

Making matters even more challenging for wineries is the fact the the Sonoma, Napa, and Paso Robles fires last fall have drastically reduced the availability of affordable housing. This, combined with the current White House hard-line on immigration, has also made the industry less attractive to the migrant and seasonal workforce.

Another issue faced by wineries, said the vintners, is the decreased availability of storage and industrial space. The cannabis business is so lucrative that the new wave of pot growers is willing to pay higher rent for coveted warehouse and industrial park rentals. Winemakers need those spaces to store and age their wines.

The West Sonoma Coast is just one of the many wine growing areas affected by the nascent recreational cannabis business. But as a relative newcomer, in one of California’s more remote locations, it seems — at least anecdotally — to have been more acutely affected.

There is no doubt that cannabis is already reshaping the California’s agricultural landscape. It remains to be seen how its viticultural industry will react in the face of mounting challenges.

From the department of “my other son, the wine writer”…

It’s not the first time that my fingers glide across my computer keyboard and deliver the following mea culpa to the screen: “California wine, I was wrong about you. And I’m sorry.”

My role as the coordinating editor of the 2018 Slow Wine Guide to the Wines of California has been an eye-opening and humbling experience for me (you can read our winery profiles for the 2018 guide, soon to be published in print, as they come online — free access — on the Slow Wine guide blog).

When Slow Wine editor-in-chief Giancarlo Gariglio first contacted me about joining the project, I asked him, “are you sure you have the right man?”

When he pressed on, I wondered out loud, “will we even find enough wineries to fill the pages of the guide?”

But I finally succumbed to his insistence, despite my skepticism and reluctance.

Man, was I wrong!

In early June I began visiting wineries in southern and northern California, tasting and talking with grape growers and wine makers. In late June, I joined my fellow editors — Giancarlo, senior editors Elaine Brown and David Lynch, and field editor
Elisabeth Fiorello-Sievers — for a tasting of more than 200 wines we had requested.

Over the summer, we traded notes, I wrote and I edited our contributors’ profiles, and we decided on the top wines and wineries that would be awarded the guide prizes.

I was simply blown away by how much great wine we tasted. And I was also impressed by how many wineries in California employ sustainable farming practices. In many cases, I learned, the sustainable legacy stretched back at least one or even two generations.

Although it didn’t win awards in this year’s guide, one of my favorite wines was the 2013 Moon Mountain Zinfandel by Winery Sixteen 600, made with fruit grown by biodynamic pioneer Phil Coturri. Named after the family’s address “on the mountain” (one of Sonoma’s most famous and storied houses, with ties — and tie dyes — to the Grateful Dead), the winery and tasting room is managed by one of Phil’s sons, Sam (whom you might recognize from yesterday’s post).

Not only was this lithe and fresh yet meaty wine utterly delicious, with buoyant red fruit and tasty minerality, but it reminded me of the Louis Martini Zinfandel from the 1970s that Darrell Corti (the renowned Sacramento retailer) once poured for me in his home.

When I shared that red thread with Sam, he smiled broadly and revealed that the cuttings for this wine actually came from the same vineyard where Louis Martini farmed its wines back in the day — before the overwrought, highly alcoholic and concentrated style of Zinfandel emerged as the new hegemony in the 1980s.

For years, the Coturri family has advocated for the Moon Mountain District and I believe Phil had a hand in lobbying for and creating the Moon Mountain AVA (in 2013). Not a lot of California wine lovers are aware of this newish appellation. But I believe it’s one of California’s most exciting wine growing regions, where more and more marquee-name wineries are looking to source higher-altitude, volcanic-soil fruit.

The Winery Sixteen 600 2013 Moon Mountain Zinfandel isn’t cheap. But it’s one of the purest and most elegant expressions of California’s antonomastic grapes. I loved it and highly recommend it.

Check out the 2018 Slow Wine Guide to the Wines of California here. Thanks for reading and buon weekend a tutti… have a great weekend, everyone!

Beyond the myriad hand-painted posters thanking first responders for their efforts during the October wildfires, there weren’t a lot of signs that Sonoma wine country had been devastated by a natural disaster when I visited last month.

But when winemaker Sam Coturri invited me to jump into one of his company’s off-road trucks and we headed “up the mountain,” it didn’t take long for us to come upon blackened areas and “killer trees,” like the one above.

State recovery crews, he told me, remove some of the most dangerous burned-out trees. But many property owners are left to clear out the precarious “snags” as they are known in wildfire terminology. The government team marks them for you. But you have to remove them yourself.

Burned out trees and acre upon acre marred by damaged fences and cattle guards were just some of the issues that Sam was dealing with the day we visited in early December.

“Fuel… all I see is fuel, all around us,” he kept saying as we toured his family’s property and the farm where he grew up. He pointed to the dry brush that could instantaneously turn into kindling. The Coturris nearly lost their estate and beloved home in the October fires.

Word of the southern California wildfires had just begun to hit social media as he and I met up that morning. And it was abundantly clear that he, his colleagues, and his family were freaked out by the news they were receiving via text and private messages.

“Up here they call the Santa Ana winds the Diablo Winds,” he explained, referring to the notoriously hot dry air that arrives from the east this time of year.

The weather conditions that day were eerily similar to the day the Tubbs Fire first broke out.

At a certain point, Sam’s wife called him while we were in the car together. You could hear the fear in her trembling voice as Sam helped to soothe her nerves with loving words.

It’s going to be a long road to recovery for the California wine trade — financially and emotionally. As Sam pointed out that day, winemakers won’t know whether or not their 2017 vintage will be affected by smoke taint for many months to come. They have to let the wine age before they can properly test it.

There are also many other challenges they are facing, including a drop in tourist dollars and a housing shortage, just to name a few.

I’ll be catching up with Sam for updates to post here in coming weeks.

In the meantime, please check out the Slow Wine Guide blog where we have begun to post producer profiles nearly every day (many of the profiles online have been written by Elaine Brown, David Lynch, or myself). Some of the featured wineries will be joining us for the Slow Wine U.S. Tour in late February and early March.

There’s no better way to help in their recovery than by buying and drinking California wine.

Last week, Slow Wine editor-in-chief Giancarlo Gariglio and I began publishing the first winery profiles from the 2018 Slow Wine guide to the wines of California on the Slow Wine blog.

Click here for the blog.

Even though we will be publishing a hardcopy version of the guide (slated for release in early 2018), each one of the profiles of the 70 wineries featured in the book will be published online. In keeping with the spirit of Slow Wine, the guide and its editorial mission, the idea is to make the book an open source of information about the estates, the wines, and the evolving California wine trade. As with the Italian and Slovenian sections of the guide, the entire California guide will ultimately be available online.

We plan to publish nearly one a day, four-to-five every week.

In other news, the New York public relations firm who handles logistics for the Slow Wine U.S. tour, Colangelo, has launched a website devoted to the annual tasting itinerary. This year, the tour will be visiting Atlanta, New York, Houston, and San Francisco. I’m so glad that Giancarlo decided to include Houston for 2018: our city is a major hub for fine wine in general and a great destination for Italian wine in particular. I’m also glad that Colangelo has agreed to publish the site and update it regularly. It’s an important resource for info that’s bound to come in handy.

That’s a photo I shot earlier this year at Hirsch Vineyards in Sonoma (Sonoma Coast). You can see the sloped growing site; the proximity to the Pacific Ocean (and the resulting maritime influence); you can see the naturally occurring grass and plants growing between the rows. What you can’t see is the ancient-seabed subsoil, ideal for growing Pinot Noir and Chardonnay. The presence of ancient seabed there is owed to the nearby San Andreas site.

I’ve written here before that I was wrong about California wine. At another time in my life, in the early years of my career as a wine writer, I wrote-off California wine as being too jammy, too oaky, overly concentrated, too hot (alcoholic), and lacking balance.

My experience this year as the coordinating editor of the guide and one of its contributors has really reshaped my thoughts and impressions of the California wine industry.

And California wine country needs us all — you and me — more than ever before. Tomorrow, I’ll be heading to northern California to survey the damage and recovery in the aftermath of this year’s terrible wildfires.

Stay tuned: I’ll be posting about the trip here and on the Slow Wine blog as well.

Thanks for reading and thanks for drinking California wine.

Please see my post, from earlier this year, California wine, I was wrong about you. I’m sorry…