Wow! Thank you all for the warm reception and informative answers so far!
I love Spain, have Spanish colleagues and, as is typical with musicians, quite a few of them are wine lovers. I keep a list with their suggestions, though I take it with a grain of salt, since we have rather different palates. On my last trip to Spain - San Sebastián to be more precise - I got a bottle of Rioja and later found to my dismay it was a fruity new oak bomb (then later found out I should have expected this). Ribera del Duero is likely to taste familiar: Tempranillo is equally widespread in Portugal, under the names Tinta Roriz (Douro, Dão) and Aragonês (Alentejo). I’m all for potent reds provided they’ve got balanced acidity… so I guess what I need to do is take their suggestions and read what critics have said about them. Sadly, I wasn’t able to travel to Madrid this April as I had planned, given the current events. I would have certainly tried to explore the local wine scene.
I really like this warehouse, since it caters to my taste, and as far as that goes I’m very happy to keep exploring their stock. However it’s made me think of whether there might actually be a contradiction between my desire to get a better overview on things and my desire to drink what I like. This warehouse has dozens of producers from Burgundy and the Loire, yet only three each from Bordeaux and Roussillon. From a business that sells from small producers with a philosophy for less technological/interventive wines, and with a taste profile which is the polar opposite of the so called ‘international style’, this is probably not surprising.
Is it true, then - and this is debated in the first topic that Howard posted here - that generally speaking Bordeaux is not really defined by terroir, and nowadays works more like a brand and a geographical concentration of modern wine making skill en masse? And in the case of its true traditional chatêaus, are their second/third/fourth labels worth getting?
They’re called Os Goliardos, and yes, Beaujolais is fairly well represented in their stock. You’re dead right when it comes to musicians: other than my dad and his associates, I’ve learned the most from my wine loving colleagues.
These are great tips and a great summary. Thank you! I’ve gone to quite a few verticals, but in Portugal they deal with domestic wines much more commonly than foreign ones (that Riesling tasting was an exception, and it was led by a Brazilian sommelier with long experience as an importer).
I wouldn’t cal us poor sods, but our minimum wage is 600€. A young doctor in a public hospital makes little more than the French minimum wage. This has a lot of reflex on the lower end of the price spectrum - you can get genuinely good wines for under 10€ with relative ease - but those are made by the same producers who churn out the expensive stuff, which seems to me to contrast with France’s classification system. There’s no budget Lafite that I’m aware of! What I mean is (with the exception of Barca Velha and Pêra Manca) a direct comparison between wines of similar categories, or similar ambitions, between Portugal and other regions will place the Portuguese wines at lower prices, generally speaking.
Indeed, and that’s why I’ve been lurking this forum so long. There is a learning barrier, however, when you’re not engaging with the same pre-existing knowledge, and that’s what prompted this post. I find it easier to take notes for myself when I find topics with tasting notes, rather than topics which, for instance, debate the latest vintage of a certain producer vis a vis their previous ones. I’m not familiar with the producer and what is expected from them, or the environment they’re working on. I’m hoping I will some day.
If my background in music is any help, I’ll probably feel like I’m just getting started regardless of my point in the journey.