THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 21, 20/12/00
No music this week, but a happy and safe Christmas to all subscribers.
Subject: Organising a work Christmas function can be complicated!
FROM: Patty Lewis, Human Resources Director TO: All Employees DATE: December 1
RE: Christmas Party I'm happy to inform you that the company Christmas Party will take place on December
23, starting at noon in the private function room at the Grill House. There will be a cash bar but plenty of
Oupa's mampoer! We'll have a small band playing traditional carols...feel free to sing along. And don't be
surprised if our CEO shows up dressed as Santa Claus! A Christmas tree will be lit at 1:00pm. Exchange of
gifts among employees can be done at that time, however, no gift should be over $10 to make the giving of
gifts easy for everyone's pockets. This gathering is only for employees! A special announcement will be made
by our CEO at that time! Merry Christmas to you and your family. Patty
FROM: Patty Lewis, Human Resources Director TO: All Employees DATE: December 2 RE: Holiday Party
In no way was yesterday's memo intended to exclude our Jewish employees. We recognize that Chanukah is
an important holiday which often coincides with Christmas, though unfortunately not this year. However, from
now on we're calling it our "Holiday Party." The same policy applies to any other employees who are not
Christians or those still celebrating Reconciliation Day. There will be no Christmas tree present. No Christmas
carols will be sung. We will have other types of music for your enjoyment. Happy now? Happy Holidays to
you and your family. Patty
FROM: Patty Lewis, Human Resources Director TO: All Employees DATE: December 3 RE: Holiday Party
Regarding the note I received from a member of Alcoholics Anonymous requesting a non-drinking table ...
you didn't sign your name. I'm happy to accommodate this request, but if I put a sign on a table that reads "AA
Only", you wouldn't be anonymous anymore. How am I supposed to handle this? Somebody? Forget about the
gifts exchange, no gifts exchange are allowed since the union members feel that $10 is too much money and
executives believe $10 is very little for a gift. NO GIFTS EXCHANGE WILL BE ALLOWED
FROM: Patty Lewis, Human Resources Director TO: All Employees DATE: December 7 RE: Holiday Party
What a diverse group we are! I had no idea that December 20 begins the Muslim holy month of Ramadan,
which forbids eating and drinking during daylight hours. There goes the party! Seriously, we can appreciate
how a luncheon at this time of year does not accommodate our Muslim employees' beliefs. Perhaps the Grill
House can hold off on serving your meal until the end of the party - or else package everything for you to take
it home in little foil "doggy bags". Will that work? Meanwhile, I've arranged for members of Weight Watchers
to sit farthest from the dessert buffet and pregnant women will get the table closest to the restrooms. Gays are
allowed to sit with each other. Lesbians do not have to sit with gay men - each will have their own table. Yes,
there will be a flower arrangement for the Gay men's table. To the person asking permission to cross dress, no
cross dressing allowed though. We will have booster seats for short people. Low fat food will be available for
those on a diet. We cannot control the salt used in the food - we suggest for those people with high blood
pressure to taste first. There will be fresh fruits as dessert for Diabetics, but the restaurant cannot supply "No
Sugar" desserts. Sorry! Did I miss anything?!?!? Patty
FROM: Patty Lewis, Human Resources Director TO: All Employees DATE: December 8 RE: Holiday Party
So December 22 marks the Summer Solstice. What do you expect me to do? A tap-dance on your heads? Fire
regulations at the Grill House prohibit the burning of sage by our "earth-based Goddess-worshipping"
employees, but we'll try to accommodate your shaman drumming circle during the band's breaks. Okay???
Patty
FROM: Patty Lewis, Human Resources Director TO: All Employees DATE: December 9 RE: Holiday Party
People, people, nothing sinister was intended by having our CEO dress up like Santa Claus! Even if the
anagram of "Santa" does happen to be "Satan," there is no evil connotation to our own "little man in a red
suit." It's a tradition, folks, like boerewors at braais or broken hearts on Valentine's Day. Could we lighten up?
Please????????? Also the company has changed its mind in making a special announcement at the gathering.
You will get a notification by e-mail and in your pay slip after we have discussed it with the Unions.
FROM: Patty Lewis, Human Resources Director TO: All #%&$ing Employees DATE: December 10 RE: The
%#*&^%@*%^ Holiday Party
I have no #%&*ing idea what the announcement is all about. What the #&^!@ do I care? I KNOW WHAT I
AM GOING TO GET!!!!!!!!!!!! You change your e-mail address now and you're dead!!!!!!!!!!!! No more
changes of address will be allowed in my office. Try to come in and change your address, and I will have you
hung from the ceiling in the warehouse!!!!!!!!!!! Vegetarians!?!?!? I've had it with you people!!! We're going
to keep this party at the Grill House whether you like it or not, so you can sit quietly at the table furthest from
the "grill of death," as you so quaintly put it, and you'll get your #$%^&*! salad bar, including hydroponic
tomatoes. But you know, they have feelings, too. Tomatoes scream when you slice them. I've heard them
scream. I'm hearing them scream right now! HA! I hope you all have a rotten holiday! Drive drunk and die,
you hear me!?!?!?!?!?!?!!!!! The Bitch from HELL!!!!!!!!
FROM: Joan Bishop, Acting Human Resources Director DATE: December 14 RE: Patty Lewis and Holiday
Party
I'm sure I speak for all of us in wishing Patty Lewis a speedy recovery from her stress-related illness and I'll
continue to forward your cards to her at the sanatorium. In the meantime, management has decided to cancel
our Holiday Party and give everyone the afternoon of the 23rd off with full pay. Happy Holidays!
CRAIGLEE SHIRAZ 1980 – 2000 TASTING. Monday 18 December, 6-9pm, at the Sir William Angliss
Centre, Latrobe Street.
Craiglee is one of the great historic wineries of the nineteenth century, established in 1864 by JS Johnston at
Sunbury. It was Johnston who produced the 1872 Craiglee Sunbury Hermitage, bottles of which were still
kicking around during the 1980s. The present day custodian of Craiglee, Pat Carmody presented twenty one
vintages at the Divine Magazine tasting on Monday night, every vintage from 1980 to 2000. Whoa! It is said
that stretching before exercise is a wise means of avoiding injury, and Pat had our best interests at heart by
providing a lazy 7 vintages of Craiglea Chardonnay (from 1985 – 1999) as a warm-up. A terrific tasting – well
organised – and some useful information from Pat about each wine. The wines up to the mid eighties had
pretty much lost their fruit, and several had wine faults that Pat ascribed to beginner winemaker syndrome.
From 1987 onwards they were uniformly delicious despite a clear difference between those of cool years
(1987, 1989, 1990, 1993, 1995, 1996, 1999) and the warmer years (1988, 1991, 1992, 1994,1997, 1998, 2000).
In the cooler years the wines were a little shy and tightly structured, with leather and tar evident in the
bouquet, whilst the warmer years provided lightly perfumed noses and with abundant sweet berryish fruit
coming to the fore. They all age well, and I’d suggest around 8-12 years as the opportune window for drinking
Craiglee shiraz.
UPCOMING TONIGHT: Wednesday 20 December The Night Cat - 141 Johnson Street, Fitzroy.
TIM NEAL'S ORGAN BIG BAND with Tim Neal, Jordan Murray, Ben Gillespie, Eugene Ball, Greg Spence,
Alisha Brooks, Paul Williamson, Jim Glasson, Ian Whitehurst, Bruce Sandell, Lennie Ramoskis, Elvis Aljus
and Andy Baylor.
Also DECOY with Ian Chaplin, Philip Rex, Javier Freddes & Murray Jamieson.
Halliday’s Top 100 for 2000 (cont’d)
SPARKLING
Domaine Chandon Brut 1997 Rating: 92 Included because it offers a stark contrast in style, being powerful,
rich and concentrated. Bronze-tinged (though not as deeply as the 1996) the bouquet is complex and bready,
with touches of spice and straw, the palate with abundant, rounded mouthfeel and flavour, all reflecting the
concentration of the 1997 vintage....
Hardys Arras 1995 Rating: 96 Pinot Chardonnay. Confusingly, this is not the same wine as the 1995 Arras
released last year, which was chardonnay-dominant. Nonetheless, has a similar show record with five trophies
and 16 gold medals. Spotlessly clean and with quite brilliant intensity, I would never pick the high percentage
of pinot noir (79 per cent) in the lingering, citrus-tinged but ripe palate.... Vintage Cellars Price $48.47 (per
bottle in dozens)
Hardys Omni 0 Rating: 85 What seemed to have a strange name and packaging has proved an enduring bestselling, tank-fermented sparkler, thanks in no small measure to winemaker Ed Carr's blending skills.
Abundant, ripe peachy fruit on both bouquet and palate is balanced by quite good acidity and appropriate
dosage sweetness. Easy and appealing....
Pipers Brook Pirie Cuvee 1996 Rating: 95 The first release (1995) was an outstanding success, and this carries
on the same style. Very elegant, the offsets to the naturally high Tasmanian acidity are a high percentage of
pinot noir and barrel aging of a portion of the base wines. Intense, with some bready autolysis, it has great mid
palate flavour and persistence....
Seppelt M2 Chardonnay Pinot Noir 1995 Rating: 95 A special Cuvee made for (and lost in?) the Millennium
celebrations from 100 per cent Drumborg base wines which spent four years on yeast lees. Intense citrus and
stonefruit interwoven with fine bready yeast autolysis on the bouquet lead into a gloriously fresh and lively
citrus/melon-accented palate finishing with delectable acidity....
Seppelt Fleur de Lys Methode Champenoise 1994 Rating: 89 A multiple gold and silver medal winner. I'm
glad I don't have to calculate the cost of selling a six-year-old vintage bottle-fermented sparkling wine at this
price; Pinot Noir and Chardonnay, too, are the base wines. Has a great combination of lees and cork age giving
complexity, but the lively palate is still fresh, with bright acidity.... Vintage Cellars Price $14.09 (per bottle in
dozens)
Seppelt Salinger Methode Champenoise 1994 Rating: 94 This is a truly ludicrous price for what, on any view,
once was and still should be a market leader. Clean, supremely elegant and stylish, it has a gently
bready/creamy/yeasty bouquet; the palate is equally elegant and harmonious, with fruit and yeast autolysis,
still fine, and fresh as a daisy. Great aperitif.... Vintage Cellars Price $22.28 (per bottle in dozens)
Seppelt Original Sparkling Shiraz 1995 Rating: 89 Sure, the 1990 Seppelt Show Reserve ($60) and the 1993
M2 ($38) are better sparkling shirazs, but this wine comes at an irresistible price. Fruit-driven, with leather and
spice aromas untrammeled by oak, it has abundant licorice, leather, spice and berry fruit flavour, and an
appropriately dry finish. Savoury and food-friendly.... Vintage Cellars Price $13.99 (per bottle in dozens)
Yalumba D 1996 Rating: 93 Like Salinger, arguably suffers from being too elegant and fine, and hence not
festooned with gold medals. Yet it is undeniably complex, with a mix of spicy, creamy and red berry
components on the bouquet flowing through to the fine, spicy/bready/creamy palate, with added touches of
nectarine and strawberry.... Vintage Cellars Price $29.03 (per bottle in dozens)
Yarrabank Brut Cuvee 1997 Rating: 94 Sourced from the Yarra Valley and Mornington Peninsula, but a polar
opposite to the Domaine Chandon, an aperitif as opposed to food style. As usual, the aromas are fine, elegant
and restrained, yet quite intense, exactly mirrored by the minerally/citrussy flavours of the palate, which has a
sustained, lingering, and crystal-fresh finish....
Billecart-Salmon Elisabeth Rose Vintage 1995 Rating: 96 I regularly buy the Billecart NV Rose, and aspire to
buy this superb Rose, most of which goes (on allocation) to the United States. Fifty eight per cent pinot noir
and 42 per cent chardonnay, its fragrant, fresh, spicy strawberry tinged aromas foreshadow a palate as fresh as
a cloudless spring day, and a finish which lasts forever....
Billecart-Salmon Brut 0 Rating: 95 Cold fermentation at strictly controlled temperatures, small batch
management, and repression of the malolactic fermentation in the 35 per cent pinot meunier component all
contribute to the sparkling clarity and freshness of this wine. As ever, intense, crisp and lively ripe apple,
melon and citrus flavours run through the long finish and cleansing aftertaste....
Bollinger Special Cuvee 0 Rating: 94 Fermentation in oak, the incorporation of some old (up to 15 years)
reserve wines, and 60 per cent pinot noir all contribute to the exceptional power and complexity of this wine,
which is at the opposite end of the spectrum to Billecart. Intense toast, mineral and herb aromas and flavours
are at the heart of its powerful grip and length.... Vintage Cellars Price $70.28 (per bottle in dozens)
Charles Heidsieck Blanc de Millenaires 1990 Rating: 96 An infrequently produced but stunning 100 per cent
chardonnay from a very great vintage (the last two releases were 1982 and 1985) produces the goods. Glowing
light green gold, a gloriously pure but intense celebration of ripe citrus and apple chardonnay, with fantastic
length and depth of flavour....
Krug Grande Cuvee 0 Rating: 97 Towers above all the other non-vintage champagnes, but then it's not really
comparable. Up to 50 different base wines, and up to 50 per cent reserve wines up to 10 years old give this
wine a structure and depth unequalled by any other champagne. Rich, sweet and bready, but free of any
aldehydes, this is a super charged wine, yet not at all coarse. ... Vintage Cellars Price $194.93 (per bottle in
dozens)
Piper Heidsieck 0 Rating: 94 A blend of 55 per cent pinot noir, 30 per cent pinot meuniere and 15 per cent
chardonnay, almost certainly benefitting from a generous slice of 1996 vintage base material. A very bright,
firm and fresh palate has a mix of lemon, citrus, spiced bread and mineral; stylish, well-balanced and long in
the mouth.... Vintage Cellars Price $45.35 (per bottle in dozens)
Pol Roger Brut Reserve 0 Rating: 94 An equal blend of the three champagne varieties, and a household name
in Australia in much the same way as Bollinger. Spotlessly clean, with ripe stonefruit and spicy meuniere
aromatics, the palate has that vivacity and fruit freshness which always makes this wine a sheer, unalloyed
pleasure to drink.... Vintage Cellars Price $55.79 (per bottle in dozens)
Pol Roger Vintage 1993 Rating: 95 Tom Stevenson, the ultimate champagne authority, writes "No other House
has a better record for producing vintage Champagne of great quality and exceptional longevity." A complex
bouquet has bready yeast over the gently ripe fruit, with the strawberry of 60 per cent pinot noir evident here
and on the immaculately structured palate....
Louis Roederer Cristal 1994 Rating: 95 The ability to ruthlessly select the very best grapes from Roederer's
vast estate vineyards means Cristal is made in many vintages not declared by others without compromising its
quality. Vibrant melon spice citrus and bready yeast underpin its unique mix of delicacy and intensity, its long,
bone-dry finish.... Vintage Cellars Price $213.90 (per bottle in dozens)
Veuve Clicquot Brut 0 Rating: 95 All agree that Veuve Clicquot has gone from strength to strength in recent
years, and this is a top class NV. It has a powerful mix of biscuity/bready/spicy characters together with
stonefruit and ripe apple on both its bouquet and its wonderfully harmonious palate. Flavour and style
coalesce.... Vintage Cellars Price $53.99 (per bottle in dozens)
??
Charles Heidsieck Blanc de Millenaires 1990 Rating: 96 An infrequently produced but stunning 100 per cent
chardonnay from a very great vintage (the last two releases were 1982 and 1985) produces the goods. Glowing
light green gold, a gloriously pure but intense celebration of ripe citrus and apple chardonnay, with fantastic
length and depth of flavour....
Billecart-Salmon Brut 0 Rating: 95 Cold fermentation at strictly controlled temperatures, small batch
management, and repression of the malolactic fermentation in the 35 per cent pinot meunier component all
contribute to the sparkling clarity and freshness of this wine. As ever, intense, crisp and lively ripe apple,
melon and citrus flavours run through the long finish and cleansing aftertaste....
Pol Roger Brut Reserve 0 Rating: 94 An equal blend of the three champagne varieties, and a household name
in Australia in much the same way as Bollinger. Spotlessly clean, with ripe stonefruit and spicy meuniere
aromatics, the palate has that vivacity and fruit freshness which always makes this wine a sheer, unalloyed
pleasure to drink.... Vintage Cellars Price $55.79 (per bottle in dozens)
Piper Heidsieck 0 Rating: 94 A blend of 55 per cent pinot noir, 30 per cent pinot meuniere and 15 per cent
chardonnay, almost certainly benefitting from a generous slice of 1996 vintage base material. A very bright,
firm and fresh palate has a mix of lemon, citrus, spiced bread and mineral; stylish, well-balanced and long in
the mouth.... Vintage Cellars Price $45.35 (per bottle in dozens)
Pipers Brook Pirie Cuvee 1995 Rating: 93 Bright, light green-yellow with fine mousse; the bouquet is
extremely complex, with tangy, slightly herbal fruit intermingling with a hint of aldehyde. The powerful palate
has intense, tangy citrus and herb flavours, finishing with high acidity. Looks as if it will benefit from further
time on cork.... Vintage Cellars Price $49.85 (per bottle in dozens)
Billecart-Salmon Rose 0 Rating: 95 Exotica such as Dom Perignon or Krug to one side, this is my favourite
Rose, to be opened and enjoyed at any time of day or night. Pale salmon, the bright, fresh and lively bouquet
has hints of mineral/stone, the palate almost feather-like, juicy yet fine and perfectly balanced. ... Vintage
Cellars Price $90.72 (per bottle in dozens)
Dom Perignon 1992 Rating: 97 I have to declare that Dom Perignon is my desert island Champagne; it is so
flawless and yet complex. Light green-yellow and fine mousse are followed by a spotlessly clean, intense
citrus blossom bouquet; the palate has a marvellous, caressing, feathery nectarine fruit sweetness which lingers
for a preposterous time. ... Vintage Cellars Price $197.09 (per bottle in dozens)
Louis Roederer Brut Millesime 1993 Rating: 95 The exceptional quality of the Roederer wines is due in no
small measure to the disproportionately large estate vineyards of 190 hectares. The complex bouquet of spice
and ripe apple has a mineral backbone which runs through to the spotlessly clean, intense and lively palate and
finish of diamond clarity. ...
Moet et Chandon Reserve Imperial 0 Rating: 94 I guess this is sometimes called Brut Premier Cru, although
the Australian label is very similar to the much cheaper Brut Imperial. One third each of Chardonnay, Pinot
Noir and Meunier, it has powerful, complex bready aromas and a quite excellent palate, creamy, seamless and
long, with a perfectly balanced finish. ...
Bollinger Grande Annee 1990 Rating: 95 The Bollinger style is all on its own, with a level and type of
complexity found nowhere else. The powerful, intense, complex, bready/yeast/toasty bouquet, with an
undercurrent of aldehyde, flows into an exceptionally powerful and intense palate which easily carries the
strong winemaking inputs. One of the great vintages. ... Vintage Cellars Price $107.87 (per bottle in dozens)
Louis Roederer Cristal 1993 Rating: 97 A blend of 55% Pinot Noir and 45% Chardonnay and, in terms of
style, the only challenger to Dom Perignon. Pale straw-green, it has pronounced bready/yeasty autolysis
aspects to the apple cake bouquet; it is the beautifully balanced palate and very special mouthfeel of the finish
which make it so great. ...
Seppelt Salinger Methode Champenoise 1993 Rating: 93 Light green-yellow; the bouquet is firm, with a
complex amalgam of tangy fruit and more bready characters emanating from the time the wine spent on lees. It
has a wonderful palate, with gently sweet fruit on the mid-palate; delicate, yet long and lingering, with a dry
finish....
Petaluma Croser 1997 Rating: 93 Has abundant fine mousse; the bouquet is restrained, with obvious Pinot
Noir influence in its bready/minerally profile. Delicacy is the key word for a super-refined, perfectly balanced
palate and a dry, but lingering, finish....
Clover Hill 1996 Rating: 91 Light, bright green-yellow; it has complex citrus and bread aromas followed by
attractive citrus-accented flavours which run evenly along the palate, with crisp but not excessive acidity....
Domaine Chandon Blanc de Noirs 1995 Rating: 93 Pale salmon, it has distinctive raisin bread aromas; very
fine strawberry flavours, distinctively Pinot Noir, run through a well-balanced palate without any harshness or
hardness.... Vintage Cellars Price $32.63 (per bottle in dozens)
Yarrabank Brut Cuvee 1995 Rating: 94 Light straw-yellow; a fine, delicate, crisply elegant bouquet is
followed by a palate as fine and elegant as the bouquet promises. A feature of the wine is the way the
components of aroma, flavour and texture are seamlessly welded together. Long carry and finish; be patient....
Vintage Cellars Price $32.99 (per bottle in dozens)
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 20, 12/12/00
And so it shall be, that the myriad of would-be musician-kind will succumb to the trials and tribulations
leading to that final plateau of being a musician - a professional. And let the essence of the musician
blossom to fruition with practice and study. And, let not the necessary technicalities rein over the
promised land of a musician. Rather let it be the soul that guides the executant to produce beauty - and
the sonorities will ring, producing the music of the Universe. - Viewpoint by Richard V. Duffy
If you take an Oriental person and spin him around several times, does he become disoriented?
If people from Poland are called "Poles," why aren't people from Holland called "Holes?"
Why do we say something is out of whack? What is a whack?
Do infants enjoy infancy as much as adults enjoy adultery?
If a pig loses its voice, is it disgruntled?
Why do women wear evening gowns to nightclubs? Shouldn't they be wearing night gowns?
If love is blind, why is lingerie so popular?
Why is the man who invests all your money called a broker?
Why do croutons come in airtight packages? It's just stale bread to begin with.
When cheese gets it's picture taken, what does it say?
Why is a person who plays the piano called a pianist, but a person who drives a race car not called a
racist?
Why are a wise man and a wise guy opposites?
Why do overlook and oversee mean opposite things?
If horrific means to make horrible, does terrific mean to make terrible?
Why isn't 11 pronounced onety one?
"I am " is reportedly the shortest sentence in the English language. Could it be that "I do " is the
longest sentence?
If lawyers are disbarred and clergymen defrocked, doesn't it follow that electricians can be delighted,
musicians denoted, cowboys deranged, models deposed, tree surgeons debarked and dry cleaners
depressed?
Do Roman paramedics refer to IV's as "4's"?
Why is it that if someone tells you that there are 1 billion stars in the universe you will believe them, but
if they tell you a wall has wet paint you will have to touch it to be sure?
BENNETTS LANE SUNDAY DEC 10
The final event of the 4th Melbourne Women’s Jazz Festival 2000 showcased The Festival Sextet. It was
a pick-up group of female musician/composers, performing an original repertoire with contributions
from all members of the ensemble. The line-up comprised Fiona Burnett (soprano sax), ? Bartz (alto
sax), Sandy Evans (tenor sax), Andrea Keller (piano), Tamara Murphy (acoustic bass), and Sonja
Horbelt (drums).
This project involved a group of musicians, who had not before played as a unit, producing a set of
original numbers to which all but one member contributed, performed after just one afternoon’s
rehearsal. Simple really! To add to the degree of difficulty, all the charts were written with quite
complex ensemble harmony parts for the surfeit of saxes forming the front line. The choice of soprano,
alto and tenor allowed for a pleasing range of tones, and most tunes made effective use of the harmony
feature at the beginning and end at least, and sometimes between solos also. It was an interesting device
providing a coherence to the overall performance despite markedly different styles in the various tunes
themselves. I wondered whether the same person produced these charts – they provided additional
interest and sometimes beauty – rather more so than is achieved by simple unison playing. One would
think however that it would require quite some time and rehearsal to master the effect for each number.
Apparently not, as the band gave the appearance in their playing as being old friends with these charts.
Not all the front line combined playing was written as harmony however, occasionally a most satisfying
old-style jamming concluded a tune – the soprano emulating the traditional clarinet weaving around the
melody whilst the alto and tenor enacted the trumpet/trombone interplay. Joyous and rousing stuff.
Of the 11 tunes selected pianist Andrea Keller wrote three (Slim Jim, That Day, The Suss One), tenor
player Sandy Evans three (The Invisible Man, Caviar Food?, One for Harry), Soprano Fiona Burnett
two (Soulfire, Lazy So&So), two from drummer Sonja Horbelt (Doug and Tragedy, Follow), and one
from bassist Tamara Murphy (Desert Air). The alto player whose Christian name I missed, but whose
surname sounded like Bartz (not Gary) was a late inclusion apparently, as Joanne Wroe was expected to
perform the alto role.
The playing was uniformly tight and assured, the mix of tempos from Samba to contemplative to dizzy
and impassioned bebop provided opportunities for some terrific solos. Andrea’s solo piano opened That
Day, and was marvelously evocative and poignant. Sandy Evans, whose back problems lead her to use a
stand for her tenor, has a most assured style, her tone is always definite and her ideas while improvising
are always interesting and often hold a surprise. Her extended solo on Soulfire was a triumph of
construction and production. As for surprise, the whimsical Sandy number, One for Harry, provided
plenty of those including umpire’s whistles, cacophony, numerous time changes, grinding halts followed
by lurching recommencements, and a general merriment from the band members.
Fiona provided the most incandescent solos. She can be really fierce in her bebop solos, and when her
frenetic fingering suddenly pauses with a plaintive, despairing squeal, it is as if of car brakes. Such was
the effect in her own tune, Lazy So and So, and in Sandy’s The Invisible Man. Other highlights were
Tamara’s lovely bass intro and solo on Caviar Food, and the melody of Sonja’s contemplative Follow.
A fine couple of sets from a class act and a privilege to hear. Recorded by an ABC sound truck –
perhaps to appear on Jim McLeods Jazz track?
WHAT ABOUT THE MELBOURNE INTERNATIONAL JAZZ FESTIVAL 19-28 JAN 2001?
Headliners are: Branford Marsalis Quartet (USA), Niels-Henning Orsted Pedersen Trio (Denmark),
Matt Wilson Quartet (USA), Australian Art Orchestra with Deborah Conway, The Necks, Bernie
McGann
MelbourneConcert Hall events
Branford Marsalis Quartet (USA) Friday 26 8pm $69 / $55 con.
The premier saxophone player of his generation, Branford Marsalis (tenor, soprano sax) leads his stellar
Quartet for the first time in Australia ; with Joey Calderazzo (piano) Eric Revis (bass) Jeff 'Tain' Watts
(drums).
...a player finally willing to take his place in the highest echelon of jazz tenor saxophonists….a first-rate
jazz imagination at work. L.A. Times
Opening set Allan Browne's New Rascals Traditional jazz with contemporary vitality.
Niels-Henning Orsted Pedersen Trio (Denmark) Saturday 27 Melbourne Concert Hall 8pm
A Reserve $60/54 B Reserve $52/46 C Reserve $44/38
A legend of the European jazz scene, Danish bass virtuoso Niels-Henning Orsted Pedersen, leads his
acclaimed Trio, featuring Swedish guitarist Ulf Wakenius(Ray Brown Trio) & drummer Jonas
Johansen (Danish Radio Jazz Orchestra). Pedersen has long been able to make the impossible look
easy…..his dexterity and eloquence can only be described as exceptional. The Age
Opening set Bob Sedergreen & Tony Gould Two great pianists whose duets are packed with wit and
spontaneity.
Australian Art Orchestra with Deborah Conway Saturday 28 Melbourne Concert Hall 8pm $45 / 30
con. Australia's leading jazz/contemporary music large ensemble, the Australian Art Orchestra,
presents a diverse program of works by Duke Ellington, Gil Evans, Kurt Weill, plus singer-songwriter
Deborah Conway, who will join the AAO for the second half of the concert
...an ensemble rich in power, subtlety, tonal colours and solo strength unmatched by any other group in
the country. The Australian
Athenaeum
188 Collins St (near Town Hall), City
Peter Gaudion's Salute To Satchmo Sat 19 8-10.30pm $29 / $19 con.
Peter Gaudion (trumpet, vocals) celebrates the legacy of the great Louis Armstrong, from the Hot Five
classics of the 1920s, through to the All Stars hits of the 1960s. With the Society Syncopators and guests
including Julie O'Hara (vocals), Stephen Grant & Don Stewart (trumpets). (Two sets).
The Necks Sat 20 8-10.30pm $29 / $19 con. Athenaeum
A rare concert performance from The Necks : pianist Chris Abrahams, bassist Lloyd Swanton and
drummer Tony Buck. Experience their unique blend of mesmerising, minimalist improvisations and
deep grooves. (Two sets).
Matt Wilson Quartet (USA) Sun 21 8-11.00pm $35 / $25 con. Athenaeum
One of the rising stars of the New York jazz/improv scene, drummer-composer Matt Wilson has worked
with greats like Dewy Redman and Lee Konitz. His own music is quirky, risky, daring and fun. With
Jeff Lederer (tenor & soprano sax), Andrew D'Angelo (alto sax, bass clarinet), Yosuke Inoue (bass). One
concert only ! 9.00pm
Fiona Burnett: Soaring@Dawn Fiona Burnett (soprano sax), Ben Robertson (bass) and David Jones
(drums) combine with a String Quartet to perform Fiona's suite, Soaring@Dawn. 8.00pm
Bernie McGann Trio Mon 22 8-11.00pm $29 / $19 con. Athenaeum
One of the great originals of Australian jazz, alto saxophonist Bernie McGann, leads his internationallyacclaimed Trio, with Lloyd Swanton (bass) & John Pochee (drums). 9.30pm
Paul Grabowsky Trio Renowned pianist-composer Paul Grabowsky leads his outstanding Trio, with
Gary Costello (bass) & Niko Schauble (drums). 8.00pm
Bennetts Lane Jazz Lab
25 Bennetts Lane (off Lt. Lonsdale St, between Russell & Exhibition Sts), City
Friday 19 $30 / 20 con. Andrew Speight (USA) with guest David Rex 9.30 - 11.30
ARIA-winning alto saxophonist Andrew Speight (now based in San Francisco) plays hard-swinging,
bebop-based jazz ; with Mark Fitzgibbon (piano), Matt Clohesy (bass). Andrew Gander (drums); plus
special guest in the second set, David Rex (alto)
Matt Wilson Quartet (USA)# 11.45 - 1.30 One of the rising stars of the New York jazz/improv scene,
drummer-composer Matt Wilson has leads an adventurous quartet with Jeff Lederer (tenor & soprano
sax), Andrew D'Angelo (alto sax, bass clarinet), Yosuke Inoue (bass).
Saturday 20 $17 / 12con. Bennetts Lane Anton Delecca Quartet 9.30 - 11.30
Saxophonist Anton Delecca (tenor, soprano sax) performs original compositions, with Mark Fitzgibbon
(piano), Matt Clohessy (bass) & Dave Beck (drums)
Michael Pigneguy Sextet 11.45 - 1.30 Hard driving post-bop sextet from Perth, led by drummercomposer, Michael Pigneguy.
Sunday 21 $17 / 12con. Bennetts Lane
Michael Pigneguy Sextet 9.30 - 10.45
An encore from the Michael Pigneguy Sextet, featuring the frontline of Matthew Jodrell (trumpet),
Matthew Lees (trombone) & Carl Mackey (saxes).
The Space Cadets 11.00 - 1.00 Veteran drummer John Pochee lends his experience to some of the hottest
young talents on the Sydney scene : Simon Sweeney (trumpet), Matthew Ottignon (tenor sax), Aron
Ottignon (piano) & David Symes (bass).
Monday 22 $15 / 10con. Bennetts Lane Allan Browne Trio 9.30 - 10.15
Drummer Allan Browne leads one of his celebrated trios, with Andrea Keller (piano) & Nick Haywood
(bass)
c.l. bob (NZ) 10.45 - 1.00 Wellington's leading jazz/improv ensemble with Nils Olsen (sexes, clarinets,
flute), Toby Laing (trumpet), Simon Bowden & Chris Williamson (guitar, banjo), Tim Jaray (bass) &
Steve Cournane (drums, voice).
Tuesday 23 $15 / 10con. Bennetts Lane The Space Cadets 9.30 - 11.15
Last chance to see this quintet, one of the most talked about bands on the Sydney scene, led by drummer
Jon Pochee.
Adam's Fault 11.45 - 1.00 Direct from gigs at the 55 Bar in New York, this band combines Melbourne
exiles Monique Di Mattina (keyboards), Toby Mak (trumpet), Craig Fermanis (guitar) & Andrew
Swann (drums), plus Matt Clohesy (bass)
Wednesday 24 $15 / 10con. Bennetts Lane Tim O'Dwyer Trio 9.30 - 10.30
Adventurous improviser Tim O'Dwyer (alto sax, bass clarinet) combines with two colleagues now based
in Amsterdam, American cellist Alex Waterman and ex-Melbourne percussionist Steve Heather
Willow Neilson Quartet* 11.00 - 1.00 One of the most impressive young bands on the Sydney scene,
combining the talents of Willow Neilson (tenor sax) with Gerard Masters (piano), Brendan Clarke
(bass) & Craig Simon (drums)
Thursday 25 $17 / 12 con. Bennetts Lane Luke Howard Trio 9.30 - 10.30
Outstanding young pianist Luke Howard, with Tamara Murphy (bass) & Dave Beck (drums)
Sam Keevers plays Mickey Tucker 10.45 - 1.00 Pianist Sam Keevers presents the compositions and
arrangements of celebrated US jazzman Mickey Tucker (now living in Melbourne, but no longer
performing); with an all-start lineup including including Jamie Oehlers (tenor sax), James Sherlock
(guitar) & Jordan Murray (trombone).
Friday 26 $17 / 12 con. Bennetts Lane Bluezone 9.30 - 11.15 One of Perth's hottest modern bands,
featuring Fred Grigson (guitar), with James Sandon (saxes), Grant Windsor (keyboards), Paul Pooley
(bass) & Chris Tarr (drums)
Aleksi Tuomarila Quartet (Finland/Belgium) 11.45 - 1.30 Formed in Brussels in 1999, this exciting
quartet, led by Finnish pianist Aleksi Tuomarila, has won prizes for best band and best soloist at
Belgium's major jazz festival.
Saturday 27 $20 / 15 con. Bennetts Lane Sanctus tr30 (NZ) 9.30 - 11.15
Vibraphonist John Bell, a New Zealander now based here, performs with his Wellington band Sanctus - with Patrick Bleakley (bass) and Chris O'Connor (drums) -- plus Melbourne colleague, Ronny Ferella
(drums)
Aleksi Tuomarila Quartet (Finland/Belgium) 11.45 - 1.30 Last chance to catch exciting Finnish pianist
Aleksi Tuomarila with Belgians Nicolas Kummert (tenor sax), Christophe Devisscher (bass) and Tean
Verbruggen (drums)
Sunday 28 $17 / 12 con. Bennetts Lane Gordon Brisker Quintet 9.30 - 11.15
Now teaching in Sydney, Gordon Brisker is a respected tenor saxophonist on the US scene ; he will
perform original compositions from his Naxos Jazz CDs, with Eugene Ball (trumpet), Colin Hopkins
(piano), Frank Di Sario (bass) & Tony Floyd (drums).
Three Tenors 11.40 - 1.00 Gordon Brisker compares notes with guests, Ian Whitehurst and Jamie
Oehlers
Ninth Ward
Downstairs, 298 Flinders Lane (near Elizabeth St), City
Monday 22 $15 / 10 con. the 9th Ward Muller-Gander-Clohesy 10.00 - 12.00
Dazzling musicianship and split-second interplay between James Muller (guitar), Andrew Gander
(drums) & Matt Clohesy (bass).
Rufus Stone 8.00 - 9.30 Guitarist Dan Nilsson (back home after a decade in New York) performs jazzrock with an edge ; with Adrian Shaw (trumpet), Luke Howard (keyboard), Chris Hale (bass guitar) &
Adam King (drums).
Tuesday 23 $15 / 10 con. the 9th Ward bucketrider big band : Meditations 10.00-11.00
Punk improv band bucketrider and friends revisit a landmark work of the 'free jazz' era, John
Coltrane's Meditations.
The League Of String Mongers (convenor, David Tolley) 8.00-9.30 Seven of Melbourne's leading
improvisers create spontaneous compositions on stringed/bowed acoustic instruments.
Wednesday 24 $15 / 10 con. the 9th Ward Nine Lives 10.00-12.00
Bass guitarist Steve Hunter leads nine of Sydney's hottest players (including trumpeter Phil Slater &
keyboardist Matt McMahon) through a range of moods and grooves.
c.l. bob (NZ) 8.00-9.30 Wellington's resident "jazz terrorists", c.l. bob are a sextet whose music has been
described as a "rollercoaster ride that takes you from Hendrix to Sun Ra to dixieland in a minute"
Thursday 25 $15 / 10 con. the 9th Ward Nine Lives 9.30-12.00
Sydney bassist Steve Hunter's powerful large ensemble, with soloists including Ken James & Paul
Cutlan (saxes) & James Muller (guitar).
Troika 8.00-9.00 Adventurous electric jazz from Dan West (guitar), Chris Hale (bass guitar) & Ronny
Ferella (drums). 8.00pm
Sofitel
188 Collins St (near Town Hall), City
Music from 6.00-8.00pm. Free admission one drink minimum order applies.
Friday 19 Sofi's Anita Wardell & Colin Hopkins
Just back from several months in Europe, singer Anita Wardell will be accompanied by pianist Colin
Hopkins.
Monday 22 Sofi's Nina Ferro & Joe Chindamo
Singer Nina Ferro and pianist Joe Chindamo preview songs from their keenly-awaited duo recording
Tuesday 23 Sofi's Matilda White & Stephen Sedergreen
A new star on the local jazz scene, singer Matilda White, will perform standards, with Stephen
Sedergreen at the piano
Wednesday 24 Sofi's Janet Seidel Trio
Popular Sydney singer-pianist Janet Seidel sings in French and English from her new album, Comme
Ci, Comme Ca ; with David Seidel (bass) & Billy Ross (drums)
Thursday 25 Sofi's Janet Seidel Trio
Songs from Janet's ARIA-nominated CD, The Art Of Lounge
Friday 26 Sofi's Janet Seidel Trio
Songs from Janet's ARIA-nominated CD, The Way You Wear Your Hat.
Southgate Free Music Outdoor stage from 6.00pm
Saturday 20 Southgate Frock 8.00-9.30
An original repertoire and a fresh sound, combining Craig Beard (vibraphone) and Anthony Schulz
(accordion) with Simon Starr (guitar), Adam Starr (bass) & Dave Beck (drums)
Michelle Nicolle Quartet 6.00-7.30
The vocal artistry of Michelle Nicolle is complemented by Geoff Hughes (guitar), Howard Cairns (bass)
& Ronny Ferella (drums)
Sunday 21 Southgate World Rhythm Band 8.00-9.30
Keyboardist Jeff Pressing explores a variety of rhythmic patterns and other compositional structures,
with Lachlan Davidson (saxes), Evripides Evripidou (bass guitar), Peter Blick (drums) & Michael
Kontochristo (percussion)
The Outfit 6.00-7.30
Saxophonist Julien Wilson sets an adventurous lead for Jordan Murray (trombone), Jeremy Alsop (bass
guitar) & Will Guthrie (drums)
Friday 26 Southgate Dodge 6.00-8.00
Rob Burke (tenor, soprano sax) & James Black (organ, guitar) trade solos over the meaty grooves laid
down by Nick Haywood (bass) & Tony Floyd (drums).
Saturday 27 Southgate James Sherlock Quintet 8.00-9.30
Hard swinging guitarist James Sherlock mines some irresistible grooves, with Mark Spencer (baritone
sax), Ben Grayson (organ), Howard Cairns (bass) & Tony Floyd (drums)
Bluezone 6.00-7.30 Perth quintet, featuring Fred Grigson (guitar) & James Sandon (tenor sax)
Sunday 28 Southgate Virus 8.00-9.30
Clarinetist Chris Tanner (Hoodangers, New Rascals) leads his own band, with Don Stewart (trombone,
trumpet), John Scurry (guitar), Andy Ross (bass) and Lynn Walls (drums), playing songs from the
classic New Orleans repertoire
Logic 6.00-7.30 Rising stars, Tim Wilson (tenor, alto sax) & Glenn Cannon (guitar), combine with Craig
Newman (bass guitar) & Darryn Farrugia (drums) in this brilliant jazz-rock ensemble
More Jazz Looks Cool Sounds Hot St Kilda Road Foyer Gallery Victorian Arts Centre
Dec 1 - Feb 25 Open 7 days a week Jazz In Melbourne - The First 50 Years The Victorian Jazz Archive
& the Performing Arts Museum present a fascinating exhibition of photos, posters, instruments,
recordings and films celebrating Melbourne's rich history as a centre of jazz activity, and recognising
the contributions of such jazz greats as Graeme Bell, Ade Monsbourgh and Brian Brown
PBS FM Live Broadcast Southgate Forecourt Free
Saturday 20 9.00am-1.00pm Outdoor broadcast of Jazz on Saturday and Bitches Brew from PBS FM.
Live bands and interviews and give-aways
Jazz Youth Showcase Trades Hall Sunday 21 1.00pm-5.00pm $12 / $5 Hear some jazz stars of the
future, in Jazz CAT 2 (a new teenage ensemble directed by pianist Steve Sedergreen); The Chosen Ones
(McKinnon Secondary College Band, with guest Steve Sedergreen); and the Victorian Youth Jazz
Orchestra (directed by Melissa Farrugia)
Jazz Mass with the Angels of Soul St Paul's Cathedral Sunday 21 5.00-6.00pm Free Feel the spirit,
through the voices of Margie Lou Dyer, Judy Jacques, Margot Barett & Jacq Gawler
Classic Jazz Party Whitehorse Club Sunday 28 11.30am-6.00pm $20 / 15 book on: 03 8531 1173 The
Victorian Jazz Club presents six of Victoria's leading traditional bands: Steve Waddell's Creole Bells;
Fireworks Jazz Band; Barry Wratten's New Orleans Pelicans; Mainstem; New Orleans Wonder Dogs;
Des Camm's Jazz Band
Jazz Youth Showcase Trades Hall Sunday 21 1.00pm-5.00pm $12 / $5 Hear teenage ensemble, the Jazz
CAT, plus the Princes Hill Secondary College Big Band (with guest Michelle Nicolle) and the
Woolyaltexwhalers (Melbourne High School, directed by Tony Paye)
Hallidays Top 100 (continued)
Reds over $25
Annie's Lane Copper Trail Shiraz 1996 Rating: 96 The winner of six trophies at the 2000 Royal Adelaide
Wine Show, including Best Red Wine of Show. Combines complexity with elegance at the start of bottle
development; spicy berry fruit aromas lead into a long, harmonious and balanced palate with sweet berry, mint
and licorice flavours, soft tannins and nice French oak....
Annie's Lane Shiraz Grenache Mouvedre 1998 Rating: 93 A blend of one-third each of the three varieties, all
from dry-grown vines at least sixty years old. The bouquet has quite intense savoury/blackberry/spicy/gamey
aromas, leading into a succulent and supple palate with complex flavours in a ripe Rhone Valley style. Very
nice mouthfeel....
Ashton Hills Pinot Noir 1999 Rating: 95 A worthy successor to the superb 1997 Reserve from Ashton Hills.
The aromas swirl from the glass, establishing the immediate presence of intense savoury/spicy/plummy fruit
which runs through to the lingering palate, with its mix of foresty/savoury and sweet plum fruit supported by
leathery, fine tannins....
Bannockburn Shiraz 1998 Rating: 97 I hope this is a never-to-be-repeated wine, made from grapes grown
throughout Victoria and South Australia in the aftermath of hail devastation of the estate vineyards.
Wonderfully aromatic and fragrant, with a seamless flow of cherry plum and spice through the bouquet and the
supple palate. Impeccable....
Brokenwood Graveyard Shiraz 1998 Rating: 96 A very low yielding 30-year-old estate vineyard and
exemplary winemaking are producing a truly classic wine. Strong purple-red, it has pristine dark cherry
varietal fruit, exemplary oak, and a hint of regional smoke on the bouquet. The palate has equal proportions of
power, finesse and length; just be patient....
Cullen Cabernet Merlot 1998 Rating: 97 For some years has been my pick as the best Australian cabernet
merlot blend, and this vintage does nothing to change my mind. Densely coloured, the bouquet is crammed
with rich cassis fruit and oak, as is the imperious palate, with layer upon layer of fruit woven through with
powerful but ripe tannins....
Elsewhere Vineyard Pinot Noir 1998 Rating: 95 One of the top performers from a great Tasmanian pinot noir
vintage; try the vineyard on (03) 6295 1228. Has excellent colour, and an exceptionally complex and intense
bouquet with spice, game, forest and plum aromas; a touch of charry oak adds to the intense, sappy fruit of the
palate....
Grosset Gaia 1998 Rating: 96 Three Grosset wines selected, but no riesling; oh, well. A blend of 75 per cent
cabernet, the remainder franc and merlot. The promise of the vivid colour is reflected in the spotlessly clean,
ripe cassis and blackberry bouquet and the concentrated and luscious palate, backed by persistent tannins; an
extra dimension of elegance and intensity....
Haan Merlot Prestige 1998 Rating: 94 Packaged in one of the aggravatingly tall bottles, but never mind, it has
excellent bloodlines and, better still, pronounced varietal character. Earthy overtones to the fruit and a nice
touch of oak on the bouquet are followed by an intense, slippery palate with a core of sweet berry fruit; fine
tannins....
Hamilton Centurion 100 year Old Vines Shiraz 1998 Rating: 95 The vines were planted in 1892, hence the
name. Particularly by the standards of McLaren Vale, a stylish, albeit powerful, example of old vine Shiraz.
Concentrated dark plum, blackberry and earth fruit on the bouquet is replicated by the concentrated
savoury/black-fruited palate, finishing with fine but persistent tannins....
Reds over $25
Henschke Hill Of Grace 1996 Rating: 97 Sits on the right hand of Grange, equally deified, and now
challenging its (Grange's) price; for a vintage such as 1996 no one is likely to complain. Deep red-purple; the
bouquet is exceptionally rich and ripe (for the often reserved style) with lusciously sweet blackcurrant,
blackberry and mint fruit cascading through to the palate....
Henschke Johann's Garden Grenache Shiraz Mourvedre 1999 Rating: 94 Garden was a Barossa Deutsch name
for the vineyard, Johann (born 1803) the man who founded Henschke. A bargain for Henschke devotees, the
bouquet is as redolent as any garden with luscious, juicy plum, prune, berry and licorice fruit, the palate oozing
sweet yet not jammy, fruit and has structure....
Mount Langi Ghiran Shiraz 1998 Rating: 95 There is a special conjunction of climate and soil - the French call
it terroir - which gives this wine such special character. Lively berry/spice/earth/black cherry aromas introduce
a soft, sweet and supple palate with cherry, berry, plum and spice and an elegant end-palate and finish....
Nepenthe Vineyards The Fugue 1998 Rating: 94 A blend of cabernet sauvignon and merlot that topped its
class of 63 wines at the 2000 Royal Adelaide Wine Show. Bright purple-red, its fragrant, spotlessly clean,
fruit-driven bouquet has glorious cassis aromas, the palate likewise. Fine tannins and gentle oak; a true claret
style, like a junior Grosset Gaia....
Orlando Jacob's Creek Limited Release Shiraz Cabernet 1996 Rating: 95 Six trophies and innumerable gold
medals do do this wine justice without flattering it. Sophisticated winemaking provides a stylish and complex
bouquet with sweet berry fruit matched by positive oak, but it is the outstanding texture and structure of the
palate which is the feature of the wine, with long, fine-grained tannins....
Penfolds St Henri Cabernet Shiraz 1996 Rating: 95 I am singularly unconvinced that St Henri should be one
sixth of the price of Grange, particularly with a classic vintage such as this. Piquantly ripe and fragrant, it is
fruit-driven from start to finish (still matured in large, old oak vats), with a smooth and supple fresh berry
palate and plush tannins. ...
Penfolds Grange 1995 Rating: 95 In the manner of all great stayers, has picked up pace markedly over the past
year. Deeply coloured, ripe cherry, spice, vanilla and a hint of licorice rumble through the bouquet; the palate
is powerful and sustained by sweet tannins, the plum and black cherry fruit providing the core for the future....
Vintage Cellars Price $312.70 (per bottle in dozens)
Petaluma Coonawarra 1998 Rating: 97 Even the Socratic Brian Croser, ever-dissatisfied, must be quietly
ecstatic over this wine, surely the best Petaluma yet. The epitome of elegance, with gently sweet cassis berry
fruit inextricably woven through cedary oak, the palate silky smooth and supple, with perfectly ripened fruit
and equally ripe, fine tannins....
Ravenswood Lane Reunion Shiraz 1998 Rating: 95 This is cool-climate Shiraz, a far cry from the traditional
Barossa/South Australian flavour profile. A highly perfumed, intense bouquet with black cherry, anise and
licorice in classic Rhone Valley style is matched by a palate with spectacular fruit complemented by oak and
fine, silky tannins....
Seppelt Dorrien Vineyard Cabernet Sauvignon 1996 Rating: 96 I had purchased this wine prior to the Top 100
tasting: its two trophies and five gold medals do it scant justice. The bouquet is wonderfully fragrant, and
starting to develop that mix of cedar and earth common to mature Bordeauxs, the palate with similar breed and
elegance; seduction, not rape....
Turkey Flat Shiraz 1998 Rating: 94 One of the South Australian icons, to be sure, and fulfils the promise of the
1998 vintage. A marvellously elegant example of very old vine (up to 150 years) shiraz, fragrant and scented
aromas of berry earth and spice with a mere veneer of oak, and an effortlessly powerful palate in the same
flavour spectrum....
Wirra Wirra The Angelus Cabernet Sauvignon 1998 Rating: 95 The trophy for Best Cabernet Sauvignon in a
class of 163 wines at the 2000 Royal Adelaide Wine Show was justice for this pristine, powerful example of
the variety. Potent savoury earthy berry fruit marks both the bouquet and the great length of the palate,
sustained by fine-grained but persistent tannins....
Wirra Wirra Allawah Vineyard Barossa Valley Grenache 1997 Rating: 95 One of a series of singularly
impressive small batch (250 dozen) wines from Wirra Wirra. Grenache doesn't come much better than this,
with gently ripe, juicy but not jammy berry aromas, and a quite lovely palate, supple, round and smooth, the
sweet, spicy fruit encapsulated in excellent oak....
Sparkling
Domaine Chandon Brut 1997 Rating: 92 Included because it offers a stark contrast in style, being powerful,
rich and concentrated. Bronze-tinged (though not as deeply as the 1996) the bouquet is complex and bready,
with touches of spice and straw, the palate with abundant, rounded mouthfeel and flavour, all reflecting the
concentration of the 1997 vintage....
Hardys Arras 1995 Rating: 96 Pinot Chardonnay. Confusingly, this is not the same wine as the 1995 Arras
released last year, which was chardonnay-dominant. Nonetheless, has a similar show record with five trophies
and 16 gold medals. Spotlessly clean and with quite brilliant intensity, I would never pick the high percentage
of pinot noir (79 per cent) in the lingering, citrus-tinged but ripe palate.... Vintage Cellars Price $48.47 (per
bottle in dozens)
Hardys Omni 0 Rating: 85 What seemed to have a strange name and packaging has proved an enduring bestselling, tank-fermented sparkler, thanks in no small measure to winemaker Ed Carr's blending skills.
Abundant, ripe peachy fruit on both bouquet and palate is balanced by quite good acidity and appropriate
dosage sweetness. Easy and appealing....
Pipers Brook Pirie Cuvee 1996 Rating: 95 The first release (1995) was an outstanding success, and this carries
on the same style. Very elegant, the offsets to the naturally high Tasmanian acidity are a high percentage of
pinot noir and barrel aging of a portion of the base wines. Intense, with some bready autolysis, it has great mid
palate flavour and persistence....
Seppelt M2 Chardonnay Pinot Noir 1995 Rating: 95 A special Cuvee made for (and lost in?) the Millennium
celebrations from 100 per cent Drumborg base wines which spent four years on yeast lees. Intense citrus and
stonefruit interwoven with fine bready yeast autolysis on the bouquet lead into a gloriously fresh and lively
citrus/melon-accented palate finishing with delectable acidity....
Seppelt Fleur de Lys Methode Champenoise 1994 Rating: 89 A multiple gold and silver medal winner. I'm
glad I don't have to calculate the cost of selling a six-year-old vintage bottle-fermented sparkling wine at this
price; Pinot Noir and Chardonnay, too, are the base wines. Has a great combination of lees and cork age giving
complexity, but the lively palate is still fresh, with bright acidity.... Vintage Cellars Price $14.09 (per bottle in
dozens)
Seppelt Salinger Methode Champenoise 1994 Rating: 94 This is a truly ludicrous price for what, on any view,
once was and still should be a market leader. Clean, supremely elegant and stylish, it has a gently
bready/creamy/yeasty bouquet; the palate is equally elegant and harmonious, with fruit and yeast autolysis,
still fine, and fresh as a daisy. Great aperitif.... Vintage Cellars Price $22.28 (per bottle in dozens)
Seppelt Original Sparkling Shiraz 1995 Rating: 89 Sure, the 1990 Seppelt Show Reserve ($60) and the 1993
M2 ($38) are better sparkling shirazs, but this wine comes at an irresistible price. Fruit-driven, with leather and
spice aromas untrammeled by oak, it has abundant licorice, leather, spice and berry fruit flavour, and an
appropriately dry finish. Savoury and food-friendly.... Vintage Cellars Price $13.99 (per bottle in dozens)
Yalumba D 1996 Rating: 93 Like Salinger, arguably suffers from being too elegant and fine, and hence not
festooned with gold medals. Yet it is undeniably complex, with a mix of spicy, creamy and red berry
components on the bouquet flowing through to the fine, spicy/bready/creamy palate, with added touches of
nectarine and strawberry.... Vintage Cellars Price $29.03 (per bottle in dozens)
Yarrabank Brut Cuvee 1997 Rating: 94 Sourced from the Yarra Valley and Mornington Peninsula, but a polar
opposite to the Domaine Chandon, an aperitif as opposed to food style. As usual, the aromas are fine, elegant
and restrained, yet quite intense, exactly mirrored by the minerally/citrussy flavours of the palate, which has a
sustained, lingering, and crystal-fresh finish....
Billecart-Salmon Elisabeth Rose Vintage 1995 Rating: 96 I regularly buy the Billecart NV Rose, and aspire to
buy this superb Rose, most of which goes (on allocation) to the United States. Fifty eight per cent pinot noir
and 42 per cent chardonnay, its fragrant, fresh, spicy strawberry tinged aromas foreshadow a palate as fresh as
a cloudless spring day, and a finish which lasts forever....
Billecart-Salmon Brut 0 Rating: 95 Cold fermentation at strictly controlled temperatures, small batch
management, and repression of the malolactic fermentation in the 35 per cent pinot meunier component all
contribute to the sparkling clarity and freshness of this wine. As ever, intense, crisp and lively ripe apple,
melon and citrus flavours run through the long finish and cleansing aftertaste....
Bollinger Special Cuvee 0 Rating: 94 Fermentation in oak, the incorporation of some old (up to 15 years)
reserve wines, and 60 per cent pinot noir all contribute to the exceptional power and complexity of this wine,
which is at the opposite end of the spectrum to Billecart. Intense toast, mineral and herb aromas and flavours
are at the heart of its powerful grip and length.... Vintage Cellars Price $70.28 (per bottle in dozens)
Charles Heidsieck Blanc de Millenaires 1990 Rating: 96 An infrequently produced but stunning 100 per cent
chardonnay from a very great vintage (the last two releases were 1982 and 1985) produces the goods. Glowing
light green gold, a gloriously pure but intense celebration of ripe citrus and apple chardonnay, with fantastic
length and depth of flavour....
Krug Grande Cuvee 0 Rating: 97 Towers above all the other non-vintage champagnes, but then it's not really
comparable. Up to 50 different base wines, and up to 50 per cent reserve wines up to 10 years old give this
wine a structure and depth unequalled by any other champagne. Rich, sweet and bready, but free of any
aldehydes, this is a super charged wine, yet not at all coarse. ... Vintage Cellars Price $194.93 (per bottle in
dozens)
Piper Heidsieck 0 Rating: 94 A blend of 55 per cent pinot noir, 30 per cent pinot meuniere and 15 per cent
chardonnay, almost certainly benefitting from a generous slice of 1996 vintage base material. A very bright,
firm and fresh palate has a mix of lemon, citrus, spiced bread and mineral; stylish, well-balanced and long in
the mouth.... Vintage Cellars Price $45.35 (per bottle in dozens)
Pol Roger Brut Reserve 0 Rating: 94 An equal blend of the three champagne varieties, and a household name
in Australia in much the same way as Bollinger. Spotlessly clean, with ripe stonefruit and spicy meuniere
aromatics, the palate has that vivacity and fruit freshness which always makes this wine a sheer, unalloyed
pleasure to drink.... Vintage Cellars Price $55.79 (per bottle in dozens)
Pol Roger Vintage 1993 Rating: 95 Tom Stevenson, the ultimate champagne authority, writes "No other House
has a better record for producing vintage Champagne of great quality and exceptional longevity." A complex
bouquet has bready yeast over the gently ripe fruit, with the strawberry of 60 per cent pinot noir evident here
and on the immaculately structured palate....
Louis Roederer Cristal 1994 Rating: 95 The ability to ruthlessly select the very best grapes from Roederer's
vast estate vineyards means Cristal is made in many vintages not declared by others without compromising its
quality. Vibrant melon spice citrus and bready yeast underpin its unique mix of delicacy and intensity, its long,
bone-dry finish.... Vintage Cellars Price $213.90 (per bottle in dozens)
Veuve Clicquot Brut 0 Rating: 95 All agree that Veuve Clicquot has gone from strength to strength in recent
years, and this is a top class NV. It has a powerful mix of biscuity/bready/spicy characters together with
stonefruit and ripe apple on both its bouquet and its wonderfully harmonious palate. Flavour and style
coalesce.... Vintage Cellars Price $53.99 (per bottle in dozens)
Charles Heidsieck Blanc de Millenaires 1990 Rating: 96 An infrequently produced but stunning 100 per cent
chardonnay from a very great vintage (the last two releases were 1982 and 1985) produces the goods. Glowing
light green gold, a gloriously pure but intense celebration of ripe citrus and apple chardonnay, with fantastic
length and depth of flavour....
Billecart-Salmon Brut 0 Rating: 95 Cold fermentation at strictly controlled temperatures, small batch
management, and repression of the malolactic fermentation in the 35 per cent pinot meunier component all
contribute to the sparkling clarity and freshness of this wine. As ever, intense, crisp and lively ripe apple,
melon and citrus flavours run through the long finish and cleansing aftertaste....
Pol Roger Brut Reserve 0 Rating: 94 An equal blend of the three champagne varieties, and a household name
in Australia in much the same way as Bollinger. Spotlessly clean, with ripe stonefruit and spicy meuniere
aromatics, the palate has that vivacity and fruit freshness which always makes this wine a sheer, unalloyed
pleasure to drink.... Vintage Cellars Price $55.79 (per bottle in dozens)
Piper Heidsieck 0 Rating: 94 A blend of 55 per cent pinot noir, 30 per cent pinot meuniere and 15 per cent
chardonnay, almost certainly benefitting from a generous slice of 1996 vintage base material. A very bright,
firm and fresh palate has a mix of lemon, citrus, spiced bread and mineral; stylish, well-balanced and long in
the mouth.... Vintage Cellars Price $45.35 (per bottle in dozens)
Pipers Brook Pirie Cuvee 1995 Rating: 93 Bright, light green-yellow with fine mousse; the bouquet is
extremely complex, with tangy, slightly herbal fruit intermingling with a hint of aldehyde. The powerful palate
has intense, tangy citrus and herb flavours, finishing with high acidity. Looks as if it will benefit from further
time on cork.... Vintage Cellars Price $49.85 (per bottle in dozens)
Billecart-Salmon Rose 0 Rating: 95 Exotica such as Dom Perignon or Krug to one side, this is my favourite
Rose, to be opened and enjoyed at any time of day or night. Pale salmon, the bright, fresh and lively bouquet
has hints of mineral/stone, the palate almost feather-like, juicy yet fine and perfectly balanced. ... Vintage
Cellars Price $90.72 (per bottle in dozens)
Dom Perignon 1992 Rating: 97 I have to declare that Dom Perignon is my desert island Champagne; it is so
flawless and yet complex. Light green-yellow and fine mousse are followed by a spotlessly clean, intense
citrus blossom bouquet; the palate has a marvellous, caressing, feathery nectarine fruit sweetness which lingers
for a preposterous time. ... Vintage Cellars Price $197.09 (per bottle in dozens)
Louis Roederer Brut Millesime 1993 Rating: 95 The exceptional quality of the Roederer wines is due in no
small measure to the disproportionately large estate vineyards of 190 hectares. The complex bouquet of spice
and ripe apple has a mineral backbone which runs through to the spotlessly clean, intense and lively palate and
finish of diamond clarity. ...
Moet et Chandon Reserve Imperial 0 Rating: 94 I guess this is sometimes called Brut Premier Cru, although
the Australian label is very similar to the much cheaper Brut Imperial. One third each of Chardonnay, Pinot
Noir and Meunier, it has powerful, complex bready aromas and a quite excellent palate, creamy, seamless and
long, with a perfectly balanced finish. ...
Bollinger Grande Annee 1990 Rating: 95 The Bollinger style is all on its own, with a level and type of
complexity found nowhere else. The powerful, intense, complex, bready/yeast/toasty bouquet, with an
undercurrent of aldehyde, flows into an exceptionally powerful and intense palate which easily carries the
strong winemaking inputs. One of the great vintages. ... Vintage Cellars Price $107.87 (per bottle in dozens)
Louis Roederer Cristal 1993 Rating: 97 A blend of 55% Pinot Noir and 45% Chardonnay and, in terms of
style, the only challenger to Dom Perignon. Pale straw-green, it has pronounced bready/yeasty autolysis
aspects to the apple cake bouquet; it is the beautifully balanced palate and very special mouthfeel of the finish
which make it so great. ...
Seppelt Salinger Methode Champenoise 1993 Rating: 93 Light green-yellow; the bouquet is firm, with a
complex amalgam of tangy fruit and more bready characters emanating from the time the wine spent on lees. It
has a wonderful palate, with gently sweet fruit on the mid-palate; delicate, yet long and lingering, with a dry
finish....
Petaluma Croser 1997 Rating: 93 Has abundant fine mousse; the bouquet is restrained, with obvious Pinot
Noir influence in its bready/minerally profile. Delicacy is the key word for a super-refined, perfectly balanced
palate and a dry, but lingering, finish....
Clover Hill 1996 Rating: 91 Light, bright green-yellow; it has complex citrus and bread aromas followed by
attractive citrus-accented flavours which run evenly along the palate, with crisp but not excessive acidity....
Domaine Chandon Blanc de Noirs 1995 Rating: 93 Pale salmon, it has distinctive raisin bread aromas; very
fine strawberry flavours, distinctively Pinot Noir, run through a well-balanced palate without any harshness or
hardness.... Vintage Cellars Price $32.63 (per bottle in dozens)
Yarrabank Brut Cuvee 1995 Rating: 94 Light straw-yellow; a fine, delicate, crisply elegant bouquet is
followed by a palate as fine and elegant as the bouquet promises. A feature of the wine is the way the
components of aroma, flavour and texture are seamlessly welded together. Long carry and finish; be patient....
Vintage Cellars Price $32.99 (per bottle in dozens)
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 19, 7/12/00
Some wisdom from the next leader of the free world
"If we don't succeed, we run the risk of failure."
George W. Bush, Jr.
"Republicans understand the importance of bondage between a mother and child."
Governor George W. Bush, Jr.
"Welcome to Mrs. Bush, and my fellow astronauts."
Governor George W. Bush, Jr.
"Mars is essentially in the same orbit...Mars is somewhat the same distance from the Sun, which is very
important. We have seen pictures where there are canals, we believe, and water. If there is water, that means
there is oxygen. If oxygen, that means we can breathe."
Governor George W. Bush, Jr., 8/11/94
"The Holocaust was an obscene period in our nation's history. I mean in this century's history. But we all lived
in this century. I didn't live in this century."
Governor George W. Bush, Jr., 9/15/95
"I believe we are on an irreversible trend toward more freedom and democracy - but that could change."
Governor George W. Bush, Jr., 5/22/98
"One word sums up probably the responsibility of any Governor, and that one word is 'to be prepared'."
Governor George W. Bush, Jr., 12/6/93
"Verbosity leads to unclear, inarticulate things."
Governor George W. Bush, Jr., 11/30/96
"I have made good judgments in the past. I have made good judgments in the future."
Governor George W. Bush, Jr.
"The future will be better tomorrow."
Governor George W. Bush, Jr.
"We're going to have the best educated American people in the world."
Governor George W. Bush, Jr., 9/21/97
"People that are really very weird can get into sensitive positions and have a tremendous impact on history."
Governor George W. Bush, Jr.
"I stand by all the misstatements that I've made."
Governor George W. Bush, Jr.
The Fiona Burnett Quartet (Bennetts Lane 29/11) has been now been performing for a couple of years
in Melbourne. Fiona developed a reputation as a seriously talented soprano sax exponent while
establishing (in 1992) and playing with Morgana, an all female band that emphasised original tunes. In
1998, her Quartet recorded for Jim Mcleod's Jazztrack on ABC FM. The resultant CD was released as
Venus Rising (on Newmarket), and was nominated for an ARIA in the category of Best Jazz Album for
1999. Fiona former is a former VCA students, as are Darryn Farrugia (drums) and Matt Clohesy (bass).
Pianist Mark Fitzgibbon, of course, was born into a jazz college – the Fitzgibbon family.
Together they produced a most satisfying couple of sets – the majority of which comprised Fiona
originals. She attacks her instrument in a bebop style suggesting that John Coltrane is a probable
influence, but she also imbues her playing with Middle Eastern nuances that are exotic and intriguing.
The soprano sax readily lends itself to such culture shifts, and this international texture is made more
emphatic by the manner in which she intentionally slides off some of the notes. Images of snake
charmers, mosques and muezzin may be evoked yet the music remains true to a jazz structure. Fiona’s
numbers included Chant, Reflections, Shine, 9.30am Is Too Early Blues, Racer, Bernadine, Very Fast
Train (‘Trane?). This very fine rhythm section could be expected to ably support Fiona, as indeed they
did. Mark (as always) was a pleasure to hear whether soloing with that rollicking yet infuriatingly
relaxed right hand, or head cocked to the side listening and comping with taste and economy. I was
especially impressed with Matt’s playing – he’s always reliable and sympathetic but a couple of his solos
were delights. Both on 9.30am Is Too Early Blues and on Bolivia – he produced rhythmical, melodic well
constructed solos.
Among enjoyable others were the Cedar Walton Latin number – Bolivia. Bolivia didn’t visit Mecca
(mercifully remaining determinedly Latin), though Caravan (Ellington and Tizol, 1937) certainly was an
aptly flavoured selection. Caravan is usually played either in a slow and exotic manner or fast and
swinging. Duke Ellington's own recordings are faithful to the original spirit of the song, with a loose
marching kind of beat, like camels slogging dutifully through the sand. Fiona unsurprisingly
emphasised the Middle Eastern flavour with a nod to tradition – allowing the trademark drum intro
from Darryn Farrugia. Some of the less mellifluous squarks from Fiona were reminiscent of Roland
Kirk, who apart from tenor sax also used to produce some alarming sounds from the stritch, manzello,
flute, nose flute, siren – often employing several simultaneously. The Fiona Burnett version was a gem
from beginning to end – each member contributing towards a perfectly balanced tune.
Do you need to know who else recorded Caravan? Tough! Here is the list:
First recording: Duke Ellington, Master Records single 131
Winifred Atwell, The Magic Fingers of Winifred Atwell, Vol. 1, London LL 1246
The Don Baker Trio, Cocktail Hammond, Capitol T-1099
Vinnie Bell, Big Sixteen Guitar Favorites, Musicor MS3047
Vincent Bell, The Best of Vinnie Bell, Musicor MS3192 (reissue of MS3047)
Stanley Black, Exotic Percussion, London Phase 4 SP 44004
Art Blakey & The Jazz Messengers, Caravan, Riverside 9438
Noel Boggs, Magic Steel Guitar, Shasta SH-LP-601
Al Bollington, Presenting Al Bollington at the Conn Organ, Decca DL 74223
Kenny Burrell, Ellington is Forever, vol. 1, Fantasy 79005
John Buzon Trio, Inferno!, Liberty LRP-3108
Billy Byers, Impressions of Duke Ellington, Mercury/Wing SRW 16397
Al Caiola and Don Arnone, Great Pickin', Chancellor CHLS-5008
Candido, Candido in Indigo, ABC-Paramount ABC-236
Eddie Cano Sextet, Duke Ellington, Cole Porter, and Me, BMG Tropical 3459
Erdogan Capli, Exciting Rhythms of Piano Pasha, Time S/2074
David Carroll, Percussion Orientale, Mercury PPS 2002
Brothers Castro, Recorded Live at Harrah's Tahoe, Capitol T 2015
George Cates, Take Five, Dot DLP 25400
Chaquito and his orchestra, Hot Cha-Cha-Cha, Columbia CL 1293
Roy Clark, The Roy Clark guitar spectacular!, Capitol T-2425
Buddy Cole, Pipes, Pedals and Fidelity, Columbia CS 8065
Buddy Cole, Ingenuity in Sound, Ingenuity In Sound, Warner Brothers WBS 1442
Ray Conniff, You Make Me Feel So Young, Columbia CL 2116
Jack Costanzo, Jack Costanzo and His Afro Cuban Band, Crescendo GNP-19
Irv Cottler, Around The World in Percussion, Somerset P-13900
Lenny Dee, Dee-Lirious, Decca DLP 8165
Lenny Dee, The Lenny Dee Show, Decca DLP 8913
Martin Denny, Exotica Vol. 3, Liberty LST-7116
Glenn Derringer, Plays Great American Music People, Ovation OV 1707
Ismael Diaz and his Orchestra, Honeymoon in Acapulco, Forum F9036
Bill Doggett, A Salute to Ellington, King 533
Tommy Dorsey Orchestra with Warren Covington, The Swingin' Era, Decca DL 8914
Kenny Drew Trio, Kenny Drew Trio, Riverside 224
Johnny Dupont, All Stops Out!, Columbia CS 9350
Kurt Edelhagen, Jazz from Germany, Decca DLP 8231
El Coco, Caravan, American Variety AVI 1040
Les and Larry Elgart, The New Elgart Touch, Columbia CS 9101
Duke Ellington, Duke Ellington Vol. 3, Everest Records FS 266
Duke Ellington/Max Roach/Charles Mingus, Money Jungle, Blue Note 46398
John Elliott and his Diatonic 4, Organ Rhythms, Promenade QX1
John Evans, Exotic Percussion and Brilliant Brass, Directional Sound DS 500
Fabulous Jokers, The Fabulous Jokers, Monument SLP 18059
Johnny Farina, Pure Steel, Vol. 1, Aniraf Inc. JF-17
Ferrante and Teicher, Hi-Fireworks, Columbia CL 573
Ella Fitzgerald, The Duke Ellington Songbook, Verve VE2-2535
Tommy Flanagan, The Tokyo Recital, Pablo 2310-724
Erroll Garner, Erroll Garner, Columbia CL 535
Marty Gold, Skin Tight, RCA Victor LPM-2230
Morton Gould, Jungle Drums, RCA Victor LM-1994
Earl Grant, Yes Sirree!, Decca DL 74405
Bill Haley & His Comets, Mr. Rock & Roll, Charly CDCD 1080
Chico Hamilton Quintet, The Chico Hamilton Quintet in Stereo, World Pacific S-1005
Alfred Hause, Hausball, Polydor 237 129
Al Hirt, Al Hirt at Dan's Pier 600, Audio Fidelity AFSD5877
Hollywood Pops Orchestra, Stereo Motion in Percussion, Marble Arch MALS 775
Freddie Hubbard, The Artistry of Freddie Hubbard, Impulse LP
Dick Hyman, A Zillion Strings, Everest ELP 1074
Milt Jackson/Ray Brown/Joe Pass, The Duke Ellington Album, Pablo 2312-117
Milt Jackson, Mostly Duke, Palbo 2310-944
Illinois Jacquet, The King!, Prestige 7597
Harry James, Still Harry After All These Years, Sheffield Labs CD-11
Gordon Jenkins, Blue Preludes, Sunset SUS 5149
Jackie Jocko, Like Wow, Strand SLS-1053
Sir Julian, The Thirteen Fingers of Sir Julian, RCA Victor LSP-2372
Bert Kaempfert, Love That Bert Kaempfert, Decca DL 74986
Phil Kraus/Bob Rosengarden, Like Bongos, Time S/2025
Eddie Layton, Caravan, Mercury SR 60098
Don Lee, Crazy Rhythm, Jubilee JGM-1067
Enoch Light, Future Sound Shock, Project 3 PR5077SD
Enoch Light, Persuasive Percussion 1966, Command RS 895 SD
Living Guitars, Guitar Man, RCA Camden CAS-2245
Los Admiradores, Bongos/Flutes/Guitars, Command RS 812 SD
Robert Lowden, Motion in Percussion, Somerset LP
Arthur Lyman, Taboo, HiFi Record R806
Kurt Maier, Plays Encores of Harlem, Allegro 1673
Herbie Mann, Flautista, Verve V-8336
Robert Maxwell, The very best of Robert Maxwell, MGM E-4246
Ralph Marterie, Big Band Themes with 88 Strings and a Golden Horn, United Artists UAS 6177
Buddy Merrill, The Guitar Sounds of Buddy Merrill, Accent AC 5010 SLP
Buddy Merrill, Guitars on Fire, Accent SQBO 91997
The Mighty Accordion Band, They Said It Couldn't Be Done, Capitol T1212
The Mills Brothers, Swing Is the Thing, Decca MOR 535
Thelonious Monk, Plays Duke Ellington, Riverside 201
Hugo Montenegro, Ellington Fantasy, Vik LX-1106
Hugo Montenegro, Others By Brothers, RCA APL1-0784
Wes Montgomery, Movin' Wes, Verve 810 045-1
Art Mooney, Cha-Cha-Cha, Spinorama MK 3079
Hal Mooney/Gene Lowell Singers, Voices in Song and Percussion, Time S/2008
Sandy Nelson, Drums Are My Beat, Imperial LP-12083
Sandy Nelson, Manhattan Spiritual, Imperial LP-12439
101 Strings, 101 Strings Plus Dynamic Percussion, Alshire S-5145
David Parker, Balalaika, World-Pacific Records ST1824
Joe Pass, Portraits of Duke Ellington, Pablo 2310-716
Les Paul, Les Paul NOW!, London Phase 4 SP44101
Les Paul, The Genius of Les Paul: Multi-Trackin', London LC 50016 (reissue of London Phase 4
LP)
Perez Prado, Our Man in Latin America, RCA Victor LSP-2610
Pucho and the Latin Soul Brothers, Tough!, Prestige 24138
Tito Puente, Tito Puente and Friend, Tropical TRLP 5138
Gene Rains Group, Far Across the Sea, Decca DL 74164
Rhythm Rockers, Soul Surfin', Challenge CH 617
Jerome Richardson, Midnight Oil, New Jazz 8205
The River Boat Five, From Natchez to Mobile, Mercury-Wing MGW-12251-W
David Rose, 21 Channel Sound, MGM SE4004
Santo & Johnny, Santo & Johnny, Canadian-American SCALP-1001
Buddy Sarkissian & his Mecca Four, Soul of the East, Cameo C-1023
Heinz Schachtner, Trumpet in Gold Vol. 3, Polydor 543.008
Lalo Schifrin, Piano Espanol, Tico LP-1070
Dick Schory, Music to Break Any Mood, RCA Victor LSP-2125
George Shearing, Shearing on Stage!, Capitol T-1187
The Sheik's Men, The Belly Dancer, Reprise R-6056
Tak Shindo, Brass and Bamboo, Capitol T-1345
Felix Slatkin, Fantastic Percussion!, Liberty LST 7150
Axel Stordahl, Jasmine Jade, Dot DLP 3282
Art Tatum, The Best of Art Tatum, Pablo 2405-418
Jimi Tenor, Intervision, Warp Records (UK) WARP CD48
The Three Suns, Movin' 'n' Groovin', RCA Victor Stereo Action LSA-2532
Tom and Jerry, Guitar's Greatest Hits, Mercury MG-20626
Shay Torrent, Shay Torrent at the Hammond organ, Mercury MG-20415
John Scott Trotter, Escape to the Magic Mediterranean, Warner Bros WS 1266
The Ventures, Walk--Don't Run, Dolton BST-8003
Ventures, Live In Japan '65, EMI 7243 8 32820 2 9
Ventures, Live on Stage, Dolton BST 8035
Wal-Berg and his Orchestra, Exotic Music from the Far East, Mercury SR 60601
Walter Wanderley, Perpetual Motion Love, GNP Crescendo GNPS 2142
Dinah Washington, The Swingin' Miss D, Emarcy 6336 714
Ben Webster, At the Renaissance, Contemporary 7646
Frances Wayne, The Warm Sound, Atlantic 1263
Roger Williams, It's a Big, Wide Wonderful World, Kapp KL-1008
George Wright, The Wright Touch, Dot DLP 3447
Si Zentner, Si Zenter and His Orchestra Play Desafinado, Liberty LST-7273
Phew! I promise not to do that again.
Bennetts Lane (6/12)
Mark Spencer is a well known and respected young tenor player around Melbourne, often seen with the
James Sherlock Quintet and the Peter Knight Quintet. On this evening (as in October when he fronted
his own group) he was to be centre stage, with a goodly sized crowd of VCA friends and staff there to
cheer him on. Mark is completing his music Masters degree, and a formal recital forms part of that
achievement. Well, formal is probably not quite accurate when you’re in a familiar bar with a cheery
bunch of friends ready to play your favourite music. Still the nerves must have been humming as a table
full of judges (as opposed to a table of full judges) attempted to project appropriate gravitas.
Supported by Peter Knight (trumpet and flugelhorn), Tony Floyd (drums), James Sherlock (guitar), and
Nick Haywood (bass), Mark commenced rather courageously with a slow and poignant solo
introduction to Rodgers and Hart’s Bewitched, Bothered and Bewildered. The result was impressive –
redolent with those sustained fragile and breathily wavering notes much associated with Ben Webster.
Thus established it seemed as though the result was never in doubt – I wonder whether it was the plan to
program the toughest and most searching playing first. Mark chose an ensemble theme for his recital,
perhaps an unusual decision – he even eschewed a solo on one number. It wasn’t that he wished to avoid
too much limelight, I suspect, but rather that he considered that the balance of a tune should determine
its flow rather than the players imposing their own needs on its construction. He was pointing to the
context of his performance as being important, not solely his technical prowess.
The first set (on which he was to be judged) was varied in the choice of tunes – some Bebop, Latin,
ballad, and African rhythms: Knight’s Waltz No.2, Spencer’s Inside the Tele, Keeble’s African
Homecoming, Haenschen-O’Keefe’s La Rosita, and Spencer’s The Quickening.
The wide variety in the chosen tunes also tested the superimposed bands’ flexibility and cohesion. As it
eventuated, there was a satisfying smoothness in the way in which the members of the two bands were
able to gell, and at the same time that sense of heightened listening among capable musicians when some
exploration is occurring. Whilst on the topic of exploration, Peter Knight’s recent acquisition of a
flugelhorn threw open some additional possibilities – and his use of it on several numbers added some
contrast, some warmth to those tunes.
The second (unadjudicated) set had an air of post-exam revelry about it, as Mark pulled out the big one
- the bass sax. What a monster! He maintained the exploratory theme by making use of the instrument’s
full range. It’s exhausting even watching it being played, and it moves so much air that the back door
slammed shut from the vacuum. James Sherlock was his typical quirky self – wringing unusual chords
from his guitar, with a Monkish sense of musical mischief – he is a most consistently listenable player.
Tony continues to impress the more I see of his work. He too is capable of creating interest - never
merely timekeeping. His soloing tends to the understated and it relies for its effect on thoughtful
construction rather than histrionics. Nick too was generally unobtrusive apart from a couple of tuneful
and one even humour-filled (was it James’ tune Ballinar?) solos
But the night was not over, for next door in Jazz Lab was the Jenny Game Quartet with Peter Neville.
This from Jazz Victoria: “ Joining is a jazz sonata, a collaborative project by saxophonist/composer
Jenny Game (tenor & soprano) to feature percussionist Peter Neville (marimba) with her quartet. They
will have benefitted from their recent premiere performance in concert at Dizzy's Jazz Club. Game, who
toured nationally in 1998 with her quartet (including appearances at the Manly and Armidale jazz
festivals) via a Playing Australia grant, produced her debut CD Seven Seas (on NewMarket) in 1996.
She also appeared at both the 1999 Wangaratta and M.W.J. festivals with Sydney pianist Jann
Rutherford. Her current quartet features younger players in pianist Rachael Milsom (piano), Andrew
O'Grady (acoustic bass) and Paul Grage (drums).
I caught a few tunes from this group that suggested a diverse variety of influences, including African
(Dollar Brand), Nordic (Jan Garbarek), and Eastern Europe (sort of folkish). Jenny capably played
both tenor and soprano and worked well with the glorious sounds of the marimba (the wooden
xylophone). Rachel’s contemplative solo on Eastern Europe was most attractive in its chord structure –
a solo missed by half the audience who walked out just as Jenny announced the tune. I presume it was
coincidental, but I imagine she’ll have a nervous moment when next announcing the same tune. A group
worth pursuing.
The Women’s Jazz festival continues this week until Sunday at Bennetts. The star for me is tenor sax
star, Sandy Evans, and she appears on both Saturday and Sunday evenings.
James Halliday: Top 100 for 2000 (continued):
Reds under $25
Andrew Garrett Bold Shiraz 1998 Rating: 88 An odd name, to be sure, and with an unlikely history, but this is
a reliably good wine made in unequivocal drink-me style. Clean, cherry and plum fruit on the bouquet is
followed by a smooth, medium-bodied palate with just enough oak and tannin support to provide structure....
Barwang Shiraz 1998 Rating: 94 The best Barwang for years, if not ever, a big claim for a wine with such a
good track record. Excellent red purple; the concentrated and rich bouquet offers a mix of sweet plum, small
dark berry fruit and a touch of chocolate, the palate flooded with more of the same. Great mouthfeel, too....
Brand's of Coonawarra Cabernet Sauvignon 1998 Rating: 95 I was so enamoured of this wine i rushed off to
buy a case for myself, even though i had to pay more than $19.95 a bottle. Good when first released, it has
literally blossomed, with voluminous blackberry and cassis fruit, the palate with great structure, class and
elegance....
Charles Melton Rose Of Virginia 2000 Rating: 93 If I was a dictator, I would punish those who don't buy this
lovely wine by making them drink that ghastly Californian Blush. Vivid fuschia-purple, an aromatic mix of
cherry and strawberry on the bouquet is followed by a lively palate with sweet, fresh red cherry-accented fruit
before moving into a crisp, cleansing dry finish....
d'Arenberg The High Trellis Cabernet Sauvignon 1998 Rating: 91 A gold medal winner in the under $15
Cabernet Sauvignon class at the 2000 Royal Adelaide Wine Show: price elastic, it seems. Whatever, this is an
emphatic example of cabernet varietal aroma and flavour with a potent mix of cassis and more earthy fruit, a
long palate and persistent, lingering tannins....
De Bortoli Deen De Bortoli Shiraz 1999 Rating: 90 This wine eloquently attests to the transformation over
recent years of the quality of red wines from the irrigation areas. A decidedly complex and rich bouquet with a
touch of licorice and attractive oak introduces a palate with richness and texture to the dark berry, licorice and
spice flavours; good tannins, too....
Diamond Valley Yarra Valley Pinot Noir 1999 Rating: 94 The trophy winner for Best Pinot Noir at the 2000
Royal Adelaide Wine Show and Rutherglen Wine Show in the same week. A lighter style, but with vibrant
varietal character; spicy nutmeg, sappy/tangy cherry fruit aromas are mirrored on the lively, tangy palate with
that hallmark length and aftertaste of high quality pinot....
Garry Crittenden i Sangiovese 1999 Rating: 91 Garry Crittenden has been the champion of the Italian cause in
Australia for a number of years with his striking i range. This is the most convincing yet, with lots of dark
berry/spicy/woodsy aromas and flavour; there is depth and texture to the structure, and good length on the
palate.... Vintage Cellars Price $16.69 (per bottle in dozens)
Houghton Cabernet Shiraz Merlot 1999 Rating: 90 1999 was a pretty snappy vintage for much of the west, and
it shows in this wine. Good colour; ripe, blackberry/blackcurrant fruit on the bouquet is followed by an ample,
fruit-driven palate with abundant fruit flavour and extract, finishing with nicely rounded tannins.... Vintage
Cellars Price $9.89 (per bottle in dozens)
Jim Barry Cabernet Sauvignon Shiraz 1999 Rating: 89 A consolation prize for Jim Barry, whose top wines
(from 1998) arrived without the required commercial labels. Very ripe fruit on the bouquet runs from plum
into prune, but the generously endowed palate doesn't go over the top: good depth and structure with ripe
plum/blackberry/prune fruit, sweet oak and soft tannins.... Vintage Cellars Price $14.09 (per bottle in dozens)
Orlando Trilogy Cabernet Sauvignon Franc Merlot 1998 Rating: 92 The only wine to appear in consecutive
Top 100s, its top gold medal at the 2000 Adelaide Wine Show confirming it is even better this year than last.
The ripe sweet blackcurrant, blackberry and dark chocolate fruit is there in abundance on both bouquet and
palate, finishing with supple tannins.... Vintage Cellars Price $13.10 (per bottle in dozens)
Orlando Gramp's Cabernet Merlot 1998 Rating: 91 Australian cabernet-merlot blends can be contrary beasts,
with nasty green compost characters, but Orlando has got the formula right with this wine. Strong bright colour
and sweet blackberry/blackcurrant run through the bouquet, followed by a ripe, luscious palate with ample
depth of fruit and spot-on oak....
Orlando Jacob's Creek Reserve Shiraz 1998 Rating: 90 A toss-up between this wine and its equally impressive
brother, the Reserve Cabernet Sauvignon; both are most impressive newcomers. There is an attractive spicy
edge to the earthy/berry fruit of the bouquet, complexed by positive oak; the medium to full-bodied black
cherry and chocolate palate likewise enjoys good oak
Penfolds Koonunga Hill Shiraz Cabernet Sauvignon 1998 Rating: 89 Penfolds has zealously protected the
quality of Koonunga Hill since its birth, though production has increased tenfold. The bouquet is complex,
with blackberry, chocolate and subtle vanilla oak from genuine barrel maturation; the palate has the texture
and mouthfeel lacking in many wines at this price point, rich and flavoursome....
Richmond Grove Barossa Shiraz 1998 Rating: 91 On a flavour-per-dollar measure, one of the highest scorers
in the Top 100. Densely coloured, it exudes striking, luscious, rich and ripe dark plum and berry fruit aromas,
the palate similarly flooded with luscious rich fruit. All in all, will be better still once it has shed its puppy
fat....
Rosemount Estate Diamond Label Shiraz 1999 Rating: 85 A merely excellent price/quality ration after the
explosive start of the first two red wines, and shouldn't be ignored. Clean, fresh, moderately intense dark
cherry fruit and subtle oak aromas; then a palate with considerable substance, with dark cherry fruit and nicely
worked and integrated tannins and oak.... Vintage Cellars Price $13.12 (per bottle in dozens)
Saltram Mamre Brook Cabernet Sauvignon 1998 Rating: 93 Quite simply, the best Mamre Brook for decades,
a celebration of the great 1998 Vintage. The bouquet has a mix of gently sweet cassis and mulberry fruit which
easily carries the positive oak input; there is more of the same on the seductively rich and smooth palate.
Delicious....
Seppelt Chalambar Shiraz 1998 Rating: 95 So impressed was I with this I bought two cases. Another gold
medal winner, and another wine to flower in bottle since release. The fragrant, intense and stylish bouquet is
full of black cherry, spice and leather fruit, the oak subtle, the palate supple, with lovely texture and
mouthfeel.... Vintage Cellars Price $20.60 (per bottle in dozens)
Tatachilla McLaren Vale Merlot 1999 Rating: 92 The Tatachilla style is akin to merlot on steroids, and is a
consistent gold medal winner thanks more to its generosity of flavour than varietal definition. Thus rich and
ripe spicy plum aroma and solid, ripe and rich dark berry fruit flavours, soft tannins and sweet oak are the
drivers of the wine....
Tatachilla Keystone Grenache Shiraz 1999 Rating: 88 Another perennial favourite and a regular in the Top
100 with previous vintages. Fresh, spice/earth/cherry/plum fruit aromas and a soft touch of oak are followed
by a succulently rich palate, with spice and licorice highlights, the same well-handled oak and soft tannins to
close.... Vintage Cellars Price $12.99 (per bottle in dozens)
Tollana Cabernet Sauvignon Bin TR222 1998 Rating: 91 Tasted on several occasions throughout the year,
scoring well, and came up again in the Top 100 tasting, reverting to its best. The complex bouquet has
blackberry, olive and dark chocolate aromas, an interplay which ripples through the excellent structure of the
quite powerful palate, supported by sweet tannins and attractive oak....
Tyrrell's Rufus Stone McLaren Vale Shiraz 1998 Rating: 93 McLaren Vale. A multiple gold medal winner,
and it's not hard to see why. Strong, dense purple red in colour, the bouquet is ripe and clean, with full, rich
plum and cherry fruit. The mouthfilling palate is in archetypal McLaren Vale style, flooded with spice,
licorice, chocolate and berry fruit; soft tannins to close....
Zema Estate Cabernet Sauvignon 1998 Rating: 95 If you hand-prune and hand-pick Coonawarra cabernet
sauvignon, and don't seek to embellish it in the winery with masses of oak, this is what you get. Rich,
complex, dark berry spice and chocolate, tinged with more savoury aromas lead into a concentrated, tonguecoating blackberry-flavoured palate and great tannins....
Blass Adelaide Hills Cabernet Merlot 1998 Rating: 93 Caroline Dunn has an excellent palate, and is a talented
winemaker: this is sophisticated winemaking, every component precisely calibrated. A nicely ripened red berry
fruit bouquet is set within high quality, well integrated French oak, and the attractive palate offers the same
polished balance of red berry fruit and oak....
Reds over $25
Annie's Lane Copper Trail Shiraz 1996 Rating: 96 The winner of six trophies at the 2000 Royal Adelaide
Wine Show, including Best Red Wine of Show. Combines complexity with elegance at the start of bottle
development; spicy berry fruit aromas lead into a long, harmonious and balanced palate with sweet berry, mint
and licorice flavours, soft tannins and nice French oak....
Annie's Lane Shiraz Grenache Mouvedre 1998 Rating: 93 A blend of one-third each of the three varieties, all
from dry-grown vines at least sixty years old. The bouquet has quite intense savoury/blackberry/spicy/gamey
aromas, leading into a succulent and supple palate with complex flavours in a ripe Rhone Valley style. Very
nice mouthfeel....
Ashton Hills Pinot Noir 1999 Rating: 95 A worthy successor to the superb 1997 Reserve from Ashton Hills.
The aromas swirl from the glass, establishing the immediate presence of intense savoury/spicy/plummy fruit
which runs through to the lingering palate, with its mix of foresty/savoury and sweet plum fruit supported by
leathery, fine tannins....
Bannockburn Shiraz 1998 Rating: 97 I hope this is a never-to-be-repeated wine, made from grapes grown
throughout Victoria and South Australia in the aftermath of hail devastation of the estate vineyards.
Wonderfully aromatic and fragrant, with a seamless flow of cherry plum and spice through the bouquet and the
supple palate. Impeccable....
Brokenwood Graveyard Shiraz 1998 Rating: 96 A very low yielding 30-year-old estate vineyard and
exemplary winemaking are producing a truly classic wine. Strong purple-red, it has pristine dark cherry
varietal fruit, exemplary oak, and a hint of regional smoke on the bouquet. The palate has equal proportions of
power, finesse and length; just be patient....
Cullen Cabernet Merlot 1998 Rating: 97 For some years has been my pick as the best Australian cabernet
merlot blend, and this vintage does nothing to change my mind. Densely coloured, the bouquet is crammed
with rich cassis fruit and oak, as is the imperious palate, with layer upon layer of fruit woven through with
powerful but ripe tannins....
Elsewhere Vineyard Pinot Noir 1998 Rating: 95 One of the top performers from a great Tasmanian pinot noir
vintage; try the vineyard on (03) 6295 1228. Has excellent colour, and an exceptionally complex and intense
bouquet with spice, game, forest and plum aromas; a touch of charry oak adds to the intense, sappy fruit of the
palate....
Grosset Gaia 1998 Rating: 96 Three Grosset wines selected, but no riesling; oh, well. A blend of 75 per cent
cabernet, the remainder franc and merlot. The promise of the vivid colour is reflected in the spotlessly clean,
ripe cassis and blackberry bouquet and the concentrated and luscious palate, backed by persistent tannins; an
extra dimension of elegance and intensity....
Haan Merlot Prestige 1998 Rating: 94 Packaged in one of the aggravatingly tall bottles, but never mind, it has
excellent bloodlines and, better still, pronounced varietal character. Earthy overtones to the fruit and a nice
touch of oak on the bouquet are followed by an intense, slippery palate with a core of sweet berry fruit; fine
tannins....
Hamilton Centurion 100 year Old Vines Shiraz 1998 Rating: 95 The vines were planted in 1892, hence the
name. Particularly by the standards of McLaren Vale, a stylish, albeit powerful, example of old vine Shiraz.
Concentrated dark plum, blackberry and earth fruit on the bouquet is replicated by the concentrated
savoury/black-fruited palate, finishing with fine but persistent tannins....
Henschke Hill Of Grace 1996 Rating: 97 Sits on the right hand of Grange, equally deified, and now
challenging its (Grange's) price; for a vintage such as 1996 no one is likely to complain. Deep red-purple; the
bouquet is exceptionally rich and ripe (for the often reserved style) with lusciously sweet blackcurrant,
blackberry and mint fruit cascading through to the palate....
Henschke Johann's Garden Grenache Shiraz Mourvedre 1999 Rating: 94 Garden was a Barossa Deutsch name
for the vineyard, Johann (born 1803) the man who founded Henschke. A bargain for Henschke devotees, the
bouquet is as redolent as any garden with luscious, juicy plum, prune, berry and licorice fruit, the palate oozing
sweet yet not jammy, fruit and has structure....
Mount Langi Ghiran Shiraz 1998 Rating: 95 There is a special conjunction of climate and soil - the French call
it terroir - which gives this wine such special character. Lively berry/spice/earth/black cherry aromas introduce
a soft, sweet and supple palate with cherry, berry, plum and spice and an elegant end-palate and finish....
Nepenthe Vineyards The Fugue 1998 Rating: 94 A blend of cabernet sauvignon and merlot that topped its
class of 63 wines at the 2000 Royal Adelaide Wine Show. Bright purple-red, its fragrant, spotlessly clean,
fruit-driven bouquet has glorious cassis aromas, the palate likewise. Fine tannins and gentle oak; a true claret
style, like a junior Grosset Gaia....
Orlando Jacob's Creek Limited Release Shiraz Cabernet 1996 Rating: 95 Six trophies and innumerable gold
medals do do this wine justice without flattering it. Sophisticated winemaking provides a stylish and complex
bouquet with sweet berry fruit matched by positive oak, but it is the outstanding texture and structure of the
palate which is the feature of the wine, with long, fine-grained tannins....
Penfolds St Henri Cabernet Shiraz 1996 Rating: 95 I am singularly unconvinced that St Henri should be one
sixth of the price of Grange, particularly with a classic vintage such as this. Piquantly ripe and fragrant, it is
fruit-driven from start to finish (still matured in large, old oak vats), with a smooth and supple fresh berry
palate and plush tannins. ...
Penfolds Grange 1995 Rating: 95 In the manner of all great stayers, has picked up pace markedly over the past
year. Deeply coloured, ripe cherry, spice, vanilla and a hint of licorice rumble through the bouquet; the palate
is powerful and sustained by sweet tannins, the plum and black cherry fruit providing the core for the future....
Vintage Cellars Price $312.70 (per bottle in dozens)
Petaluma Coonawarra 1998 Rating: 97 Even the Socratic Brian Croser, ever-dissatisfied, must be quietly
ecstatic over this wine, surely the best Petaluma yet. The epitome of elegance, with gently sweet cassis berry
fruit inextricably woven through cedary oak, the palate silky smooth and supple, with perfectly ripened fruit
and equally ripe, fine tannins....
Ravenswood Lane Reunion Shiraz 1998 Rating: 95 This is cool-climate Shiraz, a far cry from the traditional
Barossa/South Australian flavour profile. A highly perfumed, intense bouquet with black cherry, anise and
licorice in classic Rhone Valley style is matched by a palate with spectacular fruit complemented by oak and
fine, silky tannins....
Seppelt Dorrien Vineyard Cabernet Sauvignon 1996 Rating: 96 I had purchased this wine prior to the Top 100
tasting: its two trophies and five gold medals do it scant justice. The bouquet is wonderfully fragrant, and
starting to develop that mix of cedar and earth common to mature Bordeauxs, the palate with similar breed and
elegance; seduction, not rape....
Turkey Flat Shiraz 1998 Rating: 94 One of the South Australian icons, to be sure, and fulfils the promise of the
1998 vintage. A marvellously elegant example of very old vine (up to 150 years) shiraz, fragrant and scented
aromas of berry earth and spice with a mere veneer of oak, and an effortlessly powerful palate in the same
flavour spectrum....
Wirra Wirra The Angelus Cabernet Sauvignon 1998 Rating: 95 The trophy for Best Cabernet Sauvignon in a
class of 163 wines at the 2000 Royal Adelaide Wine Show was justice for this pristine, powerful example of
the variety. Potent savoury earthy berry fruit marks both the bouquet and the great length of the palate,
sustained by fine-grained but persistent tannins....
Wirra Wirra Allawah Vineyard Barossa Valley Grenache 1997 Rating: 95 One of a series of singularly
impressive small batch (250 dozen) wines from Wirra Wirra. Grenache doesn't come much better than this,
with gently ripe, juicy but not jammy berry aromas, and a quite lovely palate, supple, round and smooth, the
sweet, spicy fruit encapsulated in excellent oak....
Sparkling
Domaine Chandon Brut 1997 Rating: 92 Included because it offers a stark contrast in style, being powerful,
rich and concentrated. Bronze-tinged (though not as deeply as the 1996) the bouquet is complex and bready,
with touches of spice and straw, the palate with abundant, rounded mouthfeel and flavour, all reflecting the
concentration of the 1997 vintage....
Hardys Arras 1995 Rating: 96 Pinot Chardonnay. Confusingly, this is not the same wine as the 1995 Arras
released last year, which was chardonnay-dominant. Nonetheless, has a similar show record with five trophies
and 16 gold medals. Spotlessly clean and with quite brilliant intensity, I would never pick the high percentage
of pinot noir (79 per cent) in the lingering, citrus-tinged but ripe palate.... Vintage Cellars Price $48.47 (per
bottle in dozens)
Hardys Omni 0 Rating: 85 What seemed to have a strange name and packaging has proved an enduring bestselling, tank-fermented sparkler, thanks in no small measure to winemaker Ed Carr's blending skills.
Abundant, ripe peachy fruit on both bouquet and palate is balanced by quite good acidity and appropriate
dosage sweetness. Easy and appealing....
Pipers Brook Pirie Cuvee 1996 Rating: 95 The first release (1995) was an outstanding success, and this carries
on the same style. Very elegant, the offsets to the naturally high Tasmanian acidity are a high percentage of
pinot noir and barrel aging of a portion of the base wines. Intense, with some bready autolysis, it has great mid
palate flavour and persistence....
Seppelt M2 Chardonnay Pinot Noir 1995 Rating: 95 A special Cuvee made for (and lost in?) the Millennium
celebrations from 100 per cent Drumborg base wines which spent four years on yeast lees. Intense citrus and
stonefruit interwoven with fine bready yeast autolysis on the bouquet lead into a gloriously fresh and lively
citrus/melon-accented palate finishing with delectable acidity....
Seppelt Fleur de Lys Methode Champenoise 1994 Rating: 89 A multiple gold and silver medal winner. I'm
glad I don't have to calculate the cost of selling a six-year-old vintage bottle-fermented sparkling wine at this
price; Pinot Noir and Chardonnay, too, are the base wines. Has a great combination of lees and cork age giving
complexity, but the lively palate is still fresh, with bright acidity.... Vintage Cellars Price $14.09 (per bottle in
dozens)
Seppelt Salinger Methode Champenoise 1994 Rating: 94 This is a truly ludicrous price for what, on any view,
once was and still should be a market leader. Clean, supremely elegant and stylish, it has a gently
bready/creamy/yeasty bouquet; the palate is equally elegant and harmonious, with fruit and yeast autolysis,
still fine, and fresh as a daisy. Great aperitif.... Vintage Cellars Price $22.28 (per bottle in dozens)
Seppelt Original Sparkling Shiraz 1995 Rating: 89 Sure, the 1990 Seppelt Show Reserve ($60) and the 1993
M2 ($38) are better sparkling shirazs, but this wine comes at an irresistible price. Fruit-driven, with leather and
spice aromas untrammeled by oak, it has abundant licorice, leather, spice and berry fruit flavour, and an
appropriately dry finish. Savoury and food-friendly.... Vintage Cellars Price $13.99 (per bottle in dozens)
Yalumba D 1996 Rating: 93 Like Salinger, arguably suffers from being too elegant and fine, and hence not
festooned with gold medals. Yet it is undeniably complex, with a mix of spicy, creamy and red berry
components on the bouquet flowing through to the fine, spicy/bready/creamy palate, with added touches of
nectarine and strawberry.... Vintage Cellars Price $29.03 (per bottle in dozens)
Yarrabank Brut Cuvee 1997 Rating: 94 Sourced from the Yarra Valley and Mornington Peninsula, but a polar
opposite to the Domaine Chandon, an aperitif as opposed to food style. As usual, the aromas are fine, elegant
and restrained, yet quite intense, exactly mirrored by the minerally/citrussy flavours of the palate, which has a
sustained, lingering, and crystal-fresh finish....
Billecart-Salmon Elisabeth Rose Vintage 1995 Rating: 96 I regularly buy the Billecart NV Rose, and aspire to
buy this superb Rose, most of which goes (on allocation) to the United States. Fifty eight per cent pinot noir
and 42 per cent chardonnay, its fragrant, fresh, spicy strawberry tinged aromas foreshadow a palate as fresh as
a cloudless spring day, and a finish which lasts forever....
Billecart-Salmon Brut 0 Rating: 95 Cold fermentation at strictly controlled temperatures, small batch
management, and repression of the malolactic fermentation in the 35 per cent pinot meunier component all
contribute to the sparkling clarity and freshness of this wine. As ever, intense, crisp and lively ripe apple,
melon and citrus flavours run through the long finish and cleansing aftertaste....
Bollinger Special Cuvee 0 Rating: 94 Fermentation in oak, the incorporation of some old (up to 15 years)
reserve wines, and 60 per cent pinot noir all contribute to the exceptional power and complexity of this wine,
which is at the opposite end of the spectrum to Billecart. Intense toast, mineral and herb aromas and flavours
are at the heart of its powerful grip and length.... Vintage Cellars Price $70.28 (per bottle in dozens)
Charles Heidsieck Blanc de Millenaires 1990 Rating: 96 An infrequently produced but stunning 100 per cent
chardonnay from a very great vintage (the last two releases were 1982 and 1985) produces the goods. Glowing
light green gold, a gloriously pure but intense celebration of ripe citrus and apple chardonnay, with fantastic
length and depth of flavour....
Krug Grande Cuvee 0 Rating: 97 Towers above all the other non-vintage champagnes, but then it's not really
comparable. Up to 50 different base wines, and up to 50 per cent reserve wines up to 10 years old give this
wine a structure and depth unequalled by any other champagne. Rich, sweet and bready, but free of any
aldehydes, this is a super charged wine, yet not at all coarse. ... Vintage Cellars Price $194.93 (per bottle in
dozens)
Piper Heidsieck 0 Rating: 94 A blend of 55 per cent pinot noir, 30 per cent pinot meuniere and 15 per cent
chardonnay, almost certainly benefitting from a generous slice of 1996 vintage base material. A very bright,
firm and fresh palate has a mix of lemon, citrus, spiced bread and mineral; stylish, well-balanced and long in
the mouth.... Vintage Cellars Price $45.35 (per bottle in dozens)
Pol Roger Brut Reserve 0 Rating: 94 An equal blend of the three champagne varieties, and a household name
in Australia in much the same way as Bollinger. Spotlessly clean, with ripe stonefruit and spicy meuniere
aromatics, the palate has that vivacity and fruit freshness which always makes this wine a sheer, unalloyed
pleasure to drink.... Vintage Cellars Price $55.79 (per bottle in dozens)
Pol Roger Vintage 1993 Rating: 95 Tom Stevenson, the ultimate champagne authority, writes "No other House
has a better record for producing vintage Champagne of great quality and exceptional longevity." A complex
bouquet has bready yeast over the gently ripe fruit, with the strawberry of 60 per cent pinot noir evident here
and on the immaculately structured palate....
Louis Roederer Cristal 1994 Rating: 95 The ability to ruthlessly select the very best grapes from Roederer's
vast estate vineyards means Cristal is made in many vintages not declared by others without compromising its
quality. Vibrant melon spice citrus and bready yeast underpin its unique mix of delicacy and intensity, its long,
bone-dry finish.... Vintage Cellars Price $213.90 (per bottle in dozens)
Veuve Clicquot Brut 0 Rating: 95 All agree that Veuve Clicquot has gone from strength to strength in recent
years, and this is a top class NV. It has a powerful mix of biscuity/bready/spicy characters together with
stonefruit and ripe apple on both its bouquet and its wonderfully harmonious palate. Flavour and style
coalesce.... Vintage Cellars Price $53.99 (per bottle in dozens)
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 18, 28/11/00
Some reasons why the English language is hard to learn
1) The bandage was wound around the wound.
2) The farm was used to produce produce.
3) The dump was so full that it had to refuse more refuse.
4) We must polish the Polish furniture.
5) He could lead if he would get the lead out.
6) The soldier decided to desert his dessert in the desert.
7) Since there is no time like the present, he thought it was time to present the present.
8) A bass was painted on the head of the bass drum.
9) When shot at, the dove dove into the bushes.
10) I did not object to the object.
11) The insurance was invalid for the invalid.
12) There was a row among the oarsmen about how to row.
13) They were too close to the door to close it.
14) The buck does funny things when the does are present.
15) A seamstress and a sewer fell down into a sewer line.
16) To help with planting, the farmer taught his sow to sow.
17) The wind was too strong to wind the sail.
18) After a number of injections my jaw got number.
19) Upon seeing the tear in the painting I shed a tear.
20) I had to subject the subject to a series of tests.
21) How can I intimate this to my most intimate friend?
22) The student read the paragraph when the teacher asked her to read it. And my personal peeve: "ough" can
be pronounced in too many different ways: Dough, Rough, Bough, Through, and Cough. It is no wonder
writing and speaking English, is so difficult.
What a #%&@# stunner! On Monday night (27/11), Paul Williamson’s Hammond Combo celebrated 9 years
of Monday nights at the Rainbow Hotel, Fitzroy - a cool 445 performances. Featuring Paul Williamson (tenor
and baritone saxophones & vocals), Tim Neal (Hammond B3organ), and Michael Jordan (drums), and as
always some special guests. Three sets of the sort of eclectic mix of rootsy jazz styles that have maintained the
attention of an enthusiastic and loyal group of regular attendees, were further elevated by the invitation to three
of Melbourne’s finest guitarists: Doug Devries, Matt Kirsch, and Andy Baylor.
The addition of a guest each week has always kept the band alert, preventing them from the slow descent into
predictability that can plague bands with such longevity. So too, a further lift and challenge arising from a
noticeable increase in the rate of introduction of new tunes over the last year or so. As if to provide a
counterpoint to the decline-with-age expectation, the band produced one of the finest of the many evenings
I’ve spent there during their residency. A varied selection of numbers ensued - from slow blues-soaked pieces
like Hampton’s Prayer for the Blues, Mayfield’s River’s Invitation, and Cold, Cold Feeling, to Joabim’s Bossa
Nova style Portrait of Black and White, a New Orleans shuffle Cry to Me, up-tempo numbers such as Chu
Berry’s The Maelstrom, Runnin Round, and a Paul original Welshsmertz, the wryly acerbic Mose Allison’s
Cry Mercy, and the almost hymnal, Precious Love.
In the first set, with Doug Devries effortlessly caressed his large Guild hollow body semi-acoustic guitar. He
recently returned from a jazz-free 6 months in Brazil, further studying the intricacies of Brazilian folk guitar.
This music is rather more complex rhythmically than the Bossa Nova style that was popular in the Seventies -
there are similarities to some Cuban and Spanish music, and even some French influences - but it has a texture
of its own, a very romantic feel. In Brazil, Doug probably spent a considerable time playing a 7-string
Brazilian guitar called a viola de sita cordas, the seventh string providing a lower-end C note.
Here however, it was the warm, big sound of the Guild with its wonderfully resonant bass tones, and
beautifully enunciated high-end notes. Doug usually effects a sort of distant expression when he plays, as for
that matter does Andy Baylor. Actually, Andy’s expression often looks downright bored, but I learned to
detect his true boredom rating when I spied his demeanour as a guitar strumming member of a walking trad
jazz group at the recently discussed Wine Australia exhibition. He looked so pained that I desisted from saying
hello lest he be embarrassed at being spotted at such a gig.
Doug slotted effortlessly into the group, producing sympathetic and occasionally “head-lifting”
accompaniment to other soloists. I don’t know the technicalities of it but it’s a sort of “Katies” thing. You
know “This goes with that” – a felicitous chord or sequence that so complements or harmonises with the
soloist, that you imagine it couldn’t have been better had it been painstakingly planned. His solo on Praying
for the Blues explored the full instrumental range with a deliciously evocative blues feel, especially with the
bass lines. His fingering is so assured, and his ideas have an agility to match. On Runnin Around, he played a
lovely game of “chasey” with the sax – the guitar repeating the high velocity sax lines flawlessly – all from a
chart he’d not before seen.
Matt Kirsch took his place in the second set, and he too displayed great agility, along with a tendency to push
the sound and energy levels of the band. This was very successful on Welsh?, as he took off on a long solo
flight that became louder the further it went. This galvanised Mike into one of the most sustained high octane
solos I’ve seen from him. Despite the frenetic arm and leg actions in producing such extended and enervating
drum solos, he always has a balance about his playing, a control indicative of a drum solo plan, rather than a
time filling sequence of unrelated licks. Paul too was caught up in this high-energy vibe, with an impassioned
solo full of squeaks, shrieks and peaks. Not to be outdone by these glorious excesses, Tim cranked up the
Hammond with a withering attack and some lovely swells and troughs as the Leslie speakers did their vibrato
thing. The tune concluded in a flurry, with all instruments at full bore.
The sound quality is really very good at The Rainbow – it was especially tested during this number, but all
instruments remained evident and clearly delineated across the sound stage. Matt produced another delectable
solo during Cry Mercy, a solo truncated by Paul, perhaps as a payback for Matt’s grabbing extra time during
the previous number.
Additional guests Ben Gillespie (trombone) and Eugene Ball (trumpet) provided added interest in a couple of
numbers, and added a couple of fine solos. In the third set, Andy Baylor appeared, along with his trusty old
Fender Jaguar, providing a nice bluesy contrast to the previous jazzy semi-acoustic styles of Doug and Matt.
Andy produced some tasty and attractive guitar work on Cold, Cold Feeling, Got a Good Love, Cry to Me, and
Precious Love. Ex-“Things of Stone and Wood” mouthharpist Justin Brady contributed a harmonica solo on
Precious Love”.An alto player, I think Jim Garson, appeared during Professor Longhair’s Cry to Me, but
appeared a little under-prepared, playing through the time change at one point, and struggling to contribute in
the baritone-alto “call-and-response”. It can get hairy onstage for young hopefuls.
It can get hairy for old stagers too, as Paul found when he berated a couple of rowdy audience members for
talking too loudly while they stood near the bandstand. He was within his rights, as their behaviour was
insulting to the musicians, annoying to those nearby, and sufficiently alcohol-fuelled for them to remain
insensitive to their own behaviour. While one (the small one) apologised with the sort of earnestness only the
drunken can muster, the other (built like 2 brick outhouses) became belligerent, threatening Paul with being
“taken out”. Being unused to such street talk, I presumed the Neanderthal meant “taken out on a date”, and I
was hoping Paul would agree to this unusual request for his own health (well … short term health anyway). As
it eventuated he was thinking (if that describes his cranial activity) of relieving Paul of the necessity for any
further sax solos – it being messy when your lips and nose are occupying the exact same geography.
Fortunately, the crisis fizzled out and two protagonists left peaceably. It was the first time I’ve seen such street
theatre at The Rainbow, and I wondered if this episode was a practical joke on Paul played by publican, Chick
to celebrate the birthday. Such excitement was unnecessary, as despite 9 years of performing together, this
band can still cut it like no other of their genre.
James Halliday: Top 100 for 2000:
This week: The Whites
Whites under $15
Tahbilk Viognier 2000 Rating: 88 A gold medal at Melbourne followed by a silver medal in Adelaide is a
remarkable debut for a first-up vintage. Clean and quite rich, with honey, honeysuckle, spice, it has genuine
varietal style and mouthfeel; great promise for the future....
Houghton White Burgundy 2000 Rating: 87 Arguably an article of faith to include this wine (yet again), for it
is more to do with five years time than today. Most will never know, happy to enjoy the gentle, passionfruit
and tropical fruit aroma and flavour of today and eschew the rich, honeyed complexity of maturity....
McWilliam's Hanwood Chardonnay 1999 Rating: 88 Three gold medals suggest my points are stingy, and
there is some surprisingly sophisticated winemaking here (including partial barrel fermentation) given the
modest price point. Lively and attractive melon nectarine fruit combines with a touch of smoky oak, rounded
off with good acidity. Ageing nicely into the bargain.... Vintage Cellars Price $7.99 (per bottle in dozens)
Orlando Jacob's Creek Chardonnay 2000 Rating: 86 Why is Jacob's Creek a major world brand? Why does the
Australian export juggernaut keep rolling along? This wine is one answer, with clean, fresh, melon and citrus
fruit, a subliminal hint of oak, and surprising length and balance. Year-in, year-out, a model of consistency....
Pewsey Vale Riesling 2000 Rating: 92 A gold medal in the 2000 Royal Adelaide Wine Show underlines the
fact that this is the best Pewsey Vale in many years. It is decidedly aromatic and spicy, with bright, fresh,
passionfruit, green apple and lime fruit, augmented by steely/slatey acidity and grip to the finish.... Vintage
Cellars Price $14.71 (per bottle in dozens)
Primo Estate La Biondina Colombard 2000 Rating: 90 Winemaker/proprietor Joe Grilli has a magic wand that
he waves over his colombard every year, achieving unparalled results. As ever, a Sauvignon Blanc look-alike,
with a fresh, crisp, zingy bouquet, and a palate to match, with excellent flavour, mouthfeel and length;
cleansing acid to close....
Tyrrell's Old Winery Semillon 1999 Rating: 93 The recently departed Murray Tyrrell was adamant the Hunter
Valley was better suited to semillon than chardonnay, Vat 47 notwithstanding. This is ultra-correct Semillon
from a very good vintage, with a powerful grass/mineral bouquet, and length, life and zesty lemony flavours to
the palate. Excellent finish....
Wynns Coonawarra Estate Riesling 2000 Rating: 89 One might wonder why waste precious Coonawarra
terroir on riesling, or, more to the point, on an $11 wine. A gift horse, to be sure. Crisp apple, mineral, herb
and lime aromas announce a powerful mineral/slate/herb palate with a clean, dry finish and heaps of
development potential. ... Vintage Cellars Price $8.99 (per bottle in dozens)
Whites over $15
Alkoomi Sauvignon Blanc 2000 Rating: 93 2000 may have been a difficult vintage for sauvignon blanc
elsewhere, but not in the Great Southern. This is a gloriously fragrant wine, bursting with gooseberry and
passionfruit aromas, the palate no less flavoursome and lively, with a touch of wild herb on the crisp finish....
Ashton Hills Chardonnay 1997 Rating: 95 Has evolved beautifully since first tasted almost two years ago,
when it rated 90 points. The concentration of the vintage is reflected in the intensity and structure of the wine,
with its mix of nectarine and grapefruit woven through with fine, French oak and life-sustaining acidity....
Brokenwood Semillon 2000 Rating: 93 From a truly great (read dry) vintage, and tailor-made to give great
enjoyment when young. Has developed nicely, if briskly, since July, starting to build an overlay of honey and
toast on the herb/grass/lemon flavours of youth; plenty of mouthfeel and substance, balanced by lemony
acidity on the finish....
Cape Mentelle Chardonnay 1999 Rating: 94 Although in the same sub-region as Leeuwin Estate and Devil's
Lair, the style of this wine is distinctively different, with melon and stone fruit aromas and flavours rather than
citrus. The sophisticated use of smoky/charry barrel ferment oak inputs, together with controlled malolactic
fermentation, results in subtle yet powerful wine.... Vintage Cellars Price $33.39 (per bottle in dozens)
Crawford River Riesling 2000 Rating: 94 Less fashionable than the Clare Valley Riesling icons, perhaps, but
every bit as consistently outstanding year in, year out. A fragrant and very pure mix of lime and a dash of
passionfruit fills the bouquet, followed by a palate of piercing delicacy, with apple added to the mix....
Cullen Chardonnay 1999 Rating: 96 Estate-grown on 30-year-old vines and hand-crafted by Vanya Cullen,
who is equally at home with Montrachet. A mix of melon, fig and stone fruit combines with subtle, gently
smoky oak on the bouquet; the palate has some similarities to the Cape Mentelle, but the fruit is even more
vibrant....
De Bortoli Yarra Valley Chardonnay 1999 Rating: 93 A trophy and multi gold medal winner from what is
euphemistically called a difficult vintage. Glowing yellow-green, the complex bouquet offers perfectly
balanced and integrated oak with ripe melon fruit, the seamless and equally well balanced palate sustained by
natural acidity running through the long finish....
Geoff Weaver Lenswood Chardonnay 1998 Rating: 94 The unflappable Geoff Weaver makes white wines for
the long haul, a considerable talent. Clean, moderately tangy nectarine and citrus fruit is supported by a
judicious touch of oak on the bouquet; very fine, perfectly balanced and harmonious fruit, oak and acidity run
through to a clean, lingering finish....
Grosset Piccadilly Chardonnay 1999 Rating: 96 Another demonstration of Jeffrey Grosset's virtuosity as a
winemaker, and of his unrelenting attention to detail. The bouquet is rich and scented, with ripe stonefruit and
ripe pear aromas, the palate offering abundant fruit flavour in the same vein, yet retaining delicacy. And yes,
there is French oak in the background....
Grosset Semillon Sauvignon Blanc 2000 Rating: 94 Why ignore Jeffrey Grossett's other white wines just
because his two rieslings are so good, particularly when this wine is the epitome of the unwooded style. Crisp,
clean and lively lemon, grass and herb aromas are followed by an intense, high flavoured, lively palate with
great length and persistence....
Hardys Padthaway Unwooded Chardonnay 2000 Rating: 90 I am no friend of unwooded chardonnay in
general; most is bland, neither fish nor fowl, and likely considered not worth putting in oak. This wine has a
tangy presence and personality, with fresh, fragrant grapefruit and nectarine fruit in a highly fragrant and
flavoursome mould; refreshing, and inviting the second glass....
Leeuwin Estate Art Series Chardonnay 1997 Rating: 97 Back to its best, reminiscent of the great 1987, and
produced from microscopic yields. Vibrant yellow green, it has a complex array of melon, cashew, cream and
fig aromas followed by a multi-layered and textured palate with seamless integration of fruit and oak.
Developing slowly....
McWilliam's Mount Pleasant Elizabeth 1996 Rating: 92 The price is down from last year's $18.95 (for the
1995), likely the vagaries of 'most likely' retail crystal-balling. The quality is unchanged: a rich and smooth
bouquet with a mix of lemon, citrus and honey aromas, the palate particularly fresh with a touch of CO2 still
evident, and less developed.... Vintage Cellars Price $13.99 (per bottle in dozens)
Metier Wines Schoolhouse Chardonnay 1998 Rating: 95 Freelance winemaker Martin Williams produced a
real sleeper with this wine, which has emerged (in my view, at least) as the best Yarra chardonnay of the
vintage. Ultra-complex and intense, it has a core of elegant citrus, melon and nectarine fruit surrounded by a
web of fine oak and excellent acidity....
Penfolds Yattarna Chardonnay 1997 Rating: 97 Without question, this has already developed into the best of
the three vintages so far released, and has its best years in front of it. Fragrant, tangy fruit and oak coalesce
throughout both bouquet and palate; the strength of the wine comes from its structure, balance and persistence
of flavour and aftertaste....
Petaluma Viognier 1999 Rating: 94 The second vintage (and the best) from a vineyard on the western
escarpment of the Adelaide Hills specifically chosen for this variety. A more aromatic wine than the Yalumba
Virgilius, with tropical fruit and dried flower scents, and lost of mouthfilling flavour. Good acidity
counterbalances the inevitable alcohol....
Petaluma Riesling 2000 Rating: 92 Wow, has Petaluma taken a sharp knife to the pricing of this wine, putting
it firmly into the 'must-buy' category. The bouquet is quite powerful, ranging through spice, apple,
passionfruit, mineral and even a hint of toast starting to appear, the crisp, long palate more disciplined, its best
before it.... Vintage Cellars Price $20.38 (per bottle in dozens)
Pipers Brook Vineyard Estate Chardonnay 1999 Rating: 95 The second of three consecutive outstanding
vintages for Tasmania, coupled with the impact of fully mature vines, has helped build a great wine. Fresh,
elegant citrus and melon fruit, a hint of cashew and subtle oak are the preamble; the palate is stylish and long,
and not overly acidic....
Pipers Brook Vineyard Estate Riesling 2000 Rating: 93 Brand managers take note: a label revamp which is so
subtle you would barely know it has taken place, as stylish as the wine. Pristine, spotless passionfruit and lime
fruit runs through a delicate but intense and long palate, with fine minerally acidity. Great Tasmanian vintage,
great wine....
Shaw & Smith Reserve Chardonnay 1998 Rating: 94 Michael Hill-Smith and Martin Shaw work tirelessly
promoting the idea of 'cerebral chardonnay', and it must have pierced my dumb brain. The gently complex
bouquet integrates barrel and malolactic fermentation characters with melon and fig fruit, the seductive palate
flavoursome but very smooth and elegant.... Vintage Cellars Price $29.38 (per bottle in dozens)
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Shaw & Smith Sauvignon Blanc 2000 Rating: 93 The first wine made in their splendid new winery, and the
result of rigorous fruit selection and declassification of lesser wine. Has the aromatics missing from the
majority of eastern states wines, running through gooseberry and tropical notes, including passionfruit. The
flavoursome palate precisely tracks the bouquet.... Vintage Cellars Price $18.95 (per bottle in dozens)
Tyrrell's Vat 1 Semillon 1995 Rating: 96 Another wine to have gone from strength to strength over the past 12
months. It has exceptional complexity, yet the bouquet is a wonderfully smooth amalgam of honey, lemon and
buttered toast. The palate, too, is smooth and round, suggesting oak when there is none; simply tangy yet sweet
semillon fruit....
Wolf Blass Gold Label Riesling 2000 Rating: 90 Less exhilarating than normal, perhaps, but still an irresistible
bargain, with thoroughbred bloodlines which distil the essence of riesling. Fresh, clean and fragrant lime juice
and passionfruit aromas lead into an equally fresh and quite tight palate with its mix of lime and more
minerally flavours....
Richmond Grove Watervale Riesling 2000 Rating: 90 Made by Australia's doyen of riesling craftsmen, John
Vickery, also in the vanguard of the renaissance of the Stelvin screw-cap closure (used with this wine). The
moderately intense bouquet has attractive, sweet lime aromas; the wine flows evenly across the palate with
gentle lime and equally gentle acidity. ...
Mitchelton Blackwood Park Riesling 2000 Rating: 91 An enduring classic, delicious when young but with an
enviable show record as it moves into maturity at five years age or more. Fragrance and delicacy are the
hallmarks of the aroma now, the palate lively and crisp, with excellent balance and structure; passionfruit,
lime/citrus and herbs are all there.... Vintage Cellars Price $12.51 (per bottle in dozens)
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 17, 2411/00
NOTICE OF REVOCATION OF INDEPENDENCE
To the citizens of the United States of America, In the light of your failure to elect a President of the
USA and thus to govern yourselves, we hereby give notice of the revocation of your independence,
effective today. Her Sovereign Majesty Queen Elizabeth II will resume monarchical duties over all
states, commonwealths and other territories. Except Utah, which she does not fancy.
Your new Prime Minister (The Rt. Hon. Tony Blair, MP for the 97.85% of you who have until now been
unaware that there is a world outside your borders) will appoint a minister for America without the
need for further elections. Congress and the Senate will be disbanded. A questionnaire will be circulated
next year to determine whether any of you noticed.
To aid in the transition to a British Crown Dependency, the following rules are introduced with
immediate effect:
1. You should look up "revocation" in the Oxford English Dictionary. Then look up "aluminium".
Check the pronunciation guide. You will be amazed at just how wrongly you have been pronouncing it.
Generally, you should raise your vocabulary to acceptable levels. Look up "vocabulary". Using the
same twenty seven words interspersed with filler noises such as "like" and "you know" is an
unacceptable and inefficient form of communication. Look up "interspersed".
2. There is no such thing as "US English". We will let Microsoft know on your behalf.
3. You should learn to distinguish the English and Australian accents. It really isn't that hard.
4. Hollywood will be required occasionally to cast English actors as the good guys.
5. You should relearn your original national anthem, "God Save The Queen", but only after fully
carrying out task 1. We would not want you to get confused and give up half way through.
6. You should stop playing American "football". There is only one kind of football. What you refer to as
American "football" is not a very good game. The 2.15% of you who are aware that there is a world
outside your borders may have noticed that no one else plays "American" football. You will no longer
be allowed to play it, and should instead play proper football. Initially, it would be best if you played
with the girls. It is a difficult game. Those of you brave enough will, in time, be allowed to play rugby
(which is similar to American "football", but does not involve stopping for a rest every twenty seconds
or wearing full kevlar body armour like nancies). We are hoping to get together at least a US rugby
sevens side by 2005.
7. You should declare war on Quebec and France, using nuclear weapons if they give you any merde.
The 98.85% of you who were not aware that there is a world outside your borders should count
yourselves lucky. The Russians have never been the bad guys. "Merde" is French for "shit".
8. July 4th is no longer a public holiday. November 8th will be a new national holiday, but only in
England. It will be called "Indecisive Day".
9. All American cars are hereby banned. They are crap and it is for your own good. When we show you
German cars, you will understand what we mean.
10. Please tell us who killed JFK. It's been driving us crazy.
Ozcat upstairs at Retro Cafe Thursday, November 23rd. It’s a very long rectangular room, all hard floors and
brick walls. The sound is very bright, though not evenly distributed. The room could use some sound
absorbent materials and baffles, and a PA system to augment and balance the sound supplied by the musicians’
instruments.
Bob Sedergreen (keyboards) and his pick-up group included guitarist Steve Magnusson (joint winner of the
2000 Wangaratta Performance Award). This was Steve's last gig in Melbourne before returning to Switzerland.
Malcom Sedergreen (alto/tenor sax), Gary Costello (bass), Carlos Ferreira (drums/percussion) filled out the
group to produce two sets of originals and standards in a relaxed and enjoyable fashion, despite the absence of
rehearsal. Home James; Softly in a Morning Sunrise; Don’t Stop the Carnival; Intersection; Once I Loved;
Footprints; and Uncle Bubba were some of the tunes.
Steve’s guitar playing is challenging even when he’s being laid back – with quirky lines and changing sound
textures. Bob is … Bob! Enthusiastic, a musician who listens, and always looks to inject something humorous
or challenging in his piano work. Carlos, I’ve not heard play before – and the manner in which he combines
traditional drumming with percussive devices is unusual and effective. At one point, he employed what he
called tambourine beaters on the drums. A beater has a handle with three protruding stiff plasticky tubes rather
like drinking straws, and they make an unusual sound as they strike the drums.
This musical event was preceded for us by a 4 hour session of disciplined tasting at Wine Australia 2000
(November 23-28). There are 470 exhibitors representing 43 regions across Australia offering around 8000
wines. Victoria and South Australia each had around 110 wineries, NSW 75, WA 53, Tasmania 20. Thirty of
the larger wine companies had their own corporate stands, and there were also a multitude of stands
representing businesses associated with the wine industry; from retailers to magazines - leisure and lifestyle
properties to glass and cork manufacturers.
I entered the vast space at Jeff’s Shed with a “plan” – as that’s the only way to cope with the Herculean task
confronting the new arrival. There is a veritable wine lake spread out before the entrant, and without steely
resolve it’s likely that “child in a lolly shop” mentality will eventuate. It is also de rigueur to spit out this
debilitating stuff lest your palate give up the ghost or your legs go rubbery. Being Constructivist in nature, I
decided that spitting can be replaced by merely visualising the act of spitting. Since there is no objective reality
- we simply construct our own, and mine is as valid as anyone else’s, I felt safe that my technique was
legitimate. I was very focussed, and managed to maintain the non-spitting regimen for the entire evening.
One of the most satisfying features of this exhibition is that the companies don’t hide their super-premium
wines (the ones we can’t afford). So three delectable and available bubblies - Pipers Brook “Pirie”, Hardy’s
“Arras”, and a new Seppelts 2000 were each around the $50-70 mark. At the Winepros stand, they briefly
served up some Krug Grand Cuvee (about $200) and a Roederer Kristal (a mere $175). I had been loitering
there for some time and came away flushed with my glorious glasses of nectar. To return my palate to earth, I
addressed the “Demelza” from Delatite – a fruit-driven Oz style with style. A few whites of interest were new
Viogniers from Croser, and from Tahbilk, a Tasmanian East Arm Riesling, Delatite Riesling and Traminer,
Pierro, Narkoojee and Murrindindi Chardonnays.
It may have been the rush arising from the ingesting of such quality stuff, but planning went pretty much out
the door from that time. I do remember being tantalised by Italian red varieties – Nebbiolo, Dolcetto, Barbera,
Marzimomo, Sangiovese from the King Valley. I flirted with sparkling reds from Cascadel, Majella, Paringa,
Auldstone, Peter Lehmann, Great Western, Hickinbotham, Karl Seppelt. I leapt upon shiraz from Tintara,
Blackjack, Chais Clarendon, Langi Ghiran, Paringa, Turramurra, Dalwhinnie, Mooroduc, and others I’m sure.
Cabernets from Zema, Majella, Parker First Growth, and Bowens simply materialised in my glass as I sidled
past their stands.
Time was beginning to slow in my inner clock, but reality intruded and we were all too soon shown the door. I
remember asking the security man if the door was French or American oak. I don’t recall his response.
2000 Hyatt National Riesling Challenge
Nov 07, 2000| Author: Winepros
According to event organiser, Ken Helm, the inaugural 2000 Hyatt Hotel National Riesling was a huge
success. Wineries submitted Rieslings from regions as far as the Great Southern (WA) and the Clare Valley
(SA), to Canberra (ACT) and Orange (NSW) in the east, and south to Tasmania.
'Everyone's ready for Riesling', says Ken Helm, organiser of the inaugural National Riesling Challenge 2000.
With retail prices for Riesling on the rise, and demand for wines such as Grosset Polish Hill Riesling (and
Watervale, for that matter) far exceeding supply, there seems to be some truth in Helm's remark.
And the increasing popularity of Riesling makes sense, especially considering Australia's love affair with
Asian-inspired cuisine - the tight crisp fruit in Riesling, I find, accentuates the lemongrass, coriander and chilli
flavours in Thai and the pure, delicate flavours in Japanese.
McWilliam's Eden Valley Rhine Riesling 1996 was dubbed the Best Riesling in Australia. The runners-up
were Orlando Steingarten 1998 and Annie's Lane Riesling 2000. But with a stable boasting such stars as
Crawford River, Alkoomi, Pipers Brook, Stefano Lubiana, Freycinet and Henschke Julius, it was certainly no
walk-over.
Show results
2000 Riesling Dry, class 1 Quelltaler Estate Annie's Lane Riesling 2000, Wolf Blass Riesling 2000
1998 and 1999 vintages, Dry, class 3 Orlando Steingarten Riesling 1998
Museum Class 97 and prior, Dry, class 6 Richmond Grove Wines Richmond Grove Barossa Riesling 1996
McWilliam's Eden Valley Rhine Riesling 1996
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 16, 16/11/00
If lawyers are disbarred and clergymen defrocked, doesn't it follow that electricians can be delighted,
musicians denoted, cowboys deranged, models deposed and dry cleaners depressed? Laundry workers could
decrease, eventually becoming depressed and depleted! Even more: bedmakers will be debunked, baseball
players will be debased, landscapers will be deflowered, bulldozer operators will be degraded, organ donors
will be delivered, software engineers will be detested, the BVD company will be debriefed, and even musical
composers will eventually decompose. On a more positive note though, perhaps we can hope politicians will
be devoted.
“Sunday, 12th. KEEVERS-HURST-BARKER-FREDES (Melbourne/Sydney) Pianist/composer Sam Keevers
has developed and matured impressively over the last few years, mainly through his work with his own trio
and his popular Salsa band, Un Grupo Carbones (as well as his stint as Musical Director for Vince Jones).
However, his latest special project joins him with long-time collaborators from the Vince Jones band, the
exciting Sydney rhythm team of bassist Brett Hurst and drummer Simon Barker, as well as his regular
Melbourne percussionist Jarvier Fredes. Their debut in Sydney earlier this year was regarded a particularly
exciting gig in the SIMA program. Keevers impresses as a composer, but his work at the keyboard is equally
strong. He never runs short of ideas, but doesn't shove them down the listener's throat, instead leaving plenty
of breathing space in his cleanly articulated lines (Adrian Jackson, CD Review in The Green Guide, The Age,
21/12/95)”. From JazzVic: http://www.jazzvic.org/mjc/ajazz02.htm
This review sounded pretty good, especially having enjoyed Sam's larger Latin group (Un Grupo Carbones)
last year at a jazz in the vineyards (Eyton-on-Yarra) night. So, off to Bennetts Lane, where an initially smallish
crowd gathered for some Latin instruction. The small stage was pretty crowded with Jarvier's various
percussion implements squeezed between piano and drums, in front of the bass. He used 3 congas primarily,
and occasionally a Tam Tam (sic) - a Brazilian drum held under the arm, that one spanks on its bottom and its
sides to produce contrasting sounds. He also rattled an amalgam of metal thingies like mussel shells tied
together with string, and they provided a … well … a rattling sound. Also among his armoury were a couple of
triangles and cowbells, a plastic wood-block (ah, progress), and a Guiro - a plastic tube with concentric ridges
that one scrapes, and it sounds like a rattlesnake. Well, a plastic rattlesnake, anyway - you know, one that has a
feeling for Latin music. It originated in the Dominican Republic, and being hollow could have been a very
useful container for all sorts of stuff on the trip over.
The first number (El Egua) is a Cuban folk tune, and provided an arresting melody and an interesting series of
time changes, regularly reverting to the opening chorus even during the bass solo. In fact, there were three time
changes during Brett's enjoyable and crisply produced effort, something I've not often experienced before.
Wayne Shorter's Anna Maria highlighted Sam's playing style - one in which he uses left and right hand chords
more than most pianists I see. It enables him to produce the sense of space that was described in the CD review
above. He will often pause (not unlike the puncuation of a sentence), presumably to consider where else to
travel in his improvisational journey, and it creates a sense of him being a thoughtful player. While he does
allow his left hand to roam free at times, he is never too far from the next chord. He also tends to restrict his
playing to the instrument's mid range, rarely straying to the extremes of bass or treble. Sam is an intriguing
player, one I've enjoyed listening to in a range of settings. He always appears to be pursuing the unexpected,
and often succeeds. Simon Barker proved to be a busy drummer, who obviously enjoys his playing, though, to
me, he often played too loudly for the confines of Bennetts Lane. When employing brushes he proved to be
adept, as too he was in his solos. Less flamboyance and more careful listening from him would have rendered
the music more accessible and listenable for me.
You and the Night and the Music may be a standard, but the tempo chosen made it anything but. This time
without Jarvier's percussion, a furious pace and a fine driving energetic solo from Simon ensued. The energy
and excitement it produced guaranteed the following number would produce a change of pace. A Sam original,
An Angel Fell from the Sky, it was a contemplative piece with a lovely melody and most sensitively played by
all. A real gem to finish the first set.
This group has only performed together once, and I presume in order for the drummer and percussionist to do
some bonding, Sam provided them the opportunity "to do something together". What a mistake! It required 20
minutes of drum/percussion exploration before the two of them felt able to conclude. Relief arrived eventually
with a tune. A new number from Sam (completed only that day and as yet untitled) provided a beautiful,
simple melody in a quiet samba tempo that displayed the band's calibre and potential.
The final two numbers (Mon Pas, Mon Po and El Egua reprised) again showcased the percussion/drum
collaboration, with Sam largely restricted to providing long choruses of repetitive rhythmic chords. I guess I
simply prefer the melody to the excitement.
Upcoming events.
Brazjaz Special 9th Anniversary Concert Thursday, November 16th 8:00 PM Retro Cafe - $10 Level 2, 413
Brunswick St, Fitzroy (03) 9419-1299 Two great musicians have been specially invited to play sax and bass:
Paul Williamson & Belinda Moody, respectively. We also have a reserved a little surprise for the end of the
concert. Paul Williamson - Sax/Flute David Allardice- Piano Belinda Moody - Bass Carlos Ferreira Drums/Percussion.
Bob Sedergreen & Friends Thursday, November 23rd 9:30 Pm Retro Cafe - $10 Level 2, 413 Brunswick St,
Fitzroy (03) 9419-1299 Unique opportunity to hear piano virtuoso Bob Sedergreen with his special line-up for
OZCAT featuring exceptional guitarist Steve Magnusson (Winner of the 2000 Wangaratta Performance
Award). This will be Steve's last gig in Melbourne before he returns to Switzerland. Bob Sedergreen
(Keyboards) Steve Magnusson (Guitar) Malcom Sedergreen (Sax) Gary Costello (Bass) Carlos Ferreira
(Drums/Percussion)
Doug De Vries "Welcome Home" Special Concert Thursday, December 7th 9:30 Pm Retro Cafe - $12 Level 2,
413 Brunswick St, Fitzroy (03) 9419-1299 Talented guitarist Doug De Vries has arrived in Melbourne last
week from his 6-month Brazilian tour.... He has played with great Brazilian musicians and I'm sure he has lots
of stories to tell ... We will be organising a special gig for him & Diana at OZCAT at the RETRO, to welcome
both of them back to Cosmopolitan Melbourne... Line-up comprising: Doug De Vries (Guitar) Diana Clark
(Vocals) Anthony Schulz (Accordion) Shannon Birchall (Bass) Javier Fredes (Percussion) Denis Close
(Percussion)
Some forthcoming events at Bennetts Lane. From: http://www.jazzvic.org/mjc/gigs.htm
Sunday, 19th. BLOW This is a reunion band comprising some of the more distinguished past members from
the long history of Musiikki Oy. Trumpeter Ian Dixon (who has been in London for seven years with Ute) and
woodwind-player Peter Harper (who has been in Zurich for two years) return from Europe, while electric
bassist Thierry Fossemale (ex-The Whitlams) is now based in Byron Bay. Guitarist Roy Voogd, an Oy
associate, has also been based in Zurich with Harper, and will join current Oy members Ted Vining (drums)
and Adrian Sheriff (bass trombone) for some exploratory and high-energy blowing.
Sunday, 26th. BRIAN BROWN'S FLIGHT (feat. David Jones) Following his early retirement from the V.C.A.
last year, highly experienced woodwind soloist/composer Brown (alto flute, soprano sax, panpipes) has been
able to again focus on his musical development, with recent travel to New York. Having released a solo
project CD earlier this year, Last Day On Earth, he is again playing a wind synthesiser (the WX-5), with a new
group line-up featuring David Jones (drums), with Michael Conolon (cello) and Scott Dunbabbin (SD-1
acoustic bass). Jones made his recording debut in 1979 on Bells Make Me Sing as part of Brown's quintet.
Tuesday, 21st. DAVID JONES TRIO Having relocated back to Melbourne, master drummer/percussionist
Jones premiered his new Melbourne trio as part of the MJC series last year. Featuring young virtuosic electric
bassist Evripides Evripidou (bass and effects) and an old colleague, keyboardist Bob Sedergreen, they
recorded Intuition, a double CD album of free improvisations that were a creative fusion of new music, World
Music, classical styles and improvisation. This might cross genres, but this is up there with the best jazz. As
for Jones, it is not just the complicated shifts in feel and constant cross-rhythms but the sheer musicality an
interaction. and any performance with Sedergreen comes loaded with wit and fire (CD Review, Leon Gettler,
THE AGE )
Tuesday, 28th. THE GREAT UNWASHED - Debut After spending much of the last few years involved in
other people's projects, exciting multi-reed player/composer Phil Bywater has just emerged with an all-new
band blending his tunes with those of tenor sax legends Pharoah Sanders and Rahsaan Roland Kirk, plus
African, hip hop and even Middle Eastern grooves. The Great Unwashed (as they are humbly known), has Phil
crossing swords with double bassist Anita Hustas (a tenor/double bass frontline!), guitarist Elliott Folvig,
electric bassist Damian Evans and drummer Phil Collings.
2000 Victorian Wine Show Author: Winepros
Established in 1981, the Victorian Wine Show this year attracted over 1200 wines, a considerable increase
from the 120-odd wines entered nearly 20 years ago. One of the trophies awarded, 'Vineyard of the Year',
recognises the crucial role that vineyard managers play in producing high quality grapes as the basis of quality
wine. Organisers of the show believe that it is the only such award in Australia. As with the other Victorian
Wine Show awards, the entry must satisfy the proximity requirement, namely, the vineyard must be located in
Victoria or the wines be made and grown in Victoria. This year the award was won by Cobboboonee
Vineyard, a grape supplier for Southcorp.
Judging the event this year were Phillip John (Chairman), John Glaetzer, David O'Leary, John Quarisa,
Stephen Webber, Chris Killeen and Randall Pollard.
Most Successful Exhibitor (openclasses) Brown Brothers
Vineyard of the Year - Cobboboonee Vineyard
Best Shiraz - Summerfield Reserve Shiraz 1999
Best Fortified Dessert Wine - Morris Wines Muscat Blend
Best Sweet White Table Wine - Brown Brothers Milawa Vineyard Riesling 1999
Best Table Wine (White) - B Seppelt & Sons Chardonnay 1998
Best Table Wine (Red) - Brown Brothers Milawa Vineyard Cabernet Sauvignon 1998
Best Non Wood Matured Table Wine (White) - Dal Zotto Riesling 2000
Best Sparkling Wine - Coldstream Hills Pinot Noir 1998
Best Pinot Noir - Paringa Estate Pinot Noir 1999
Best Wood Matured Table White Wine - B Seppelt & Sons Chardonnay 1998
Best Cabernet Sauvignon - Brown Brothers Milawa Vineyard Cabernet Sauvignon 1998
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 15, 13/11/00
The Washington Post 's Invitational asked readers to take any word from the dictionary, alter it by adding,
subtracting or changing one letter, and supply a new definition. Here are some of the winners:
Reintarnation: Coming back to life as a hillbilly.
Foreploy: Any misrepresentation about yourself for the purpose of seduction.
Giraffiti: Vandalism spray-painted very high up on walls.
Sarchasm: The gulf between the author of sarcastic wit, and the recipient who doesn't get it.
Inoculatte: To take your coffee intravenously when you are in (or require) a rush.
Hipatitis: Terminal coolness.
Osteopornosis: A degenerate disease.
Karmageddon: It's like, when everybody is sending off all these really bad vibes, right? And then, like, the
Earth explodes and it's, like, a serious bummer, man.
Glibido: All talk and no action.
Dopeler effect: The tendency of stupid ideas to seem smarter when they come at you rapidly.
Intaxication: Euphoria at getting a tax refund, which lasts only until you realize it was your money to start
with.
Ignoranus: A person who's both stupid and an asshole.
The Anton Delecca Quartet 8/11 Bennetts Lane.
Anton is a tenor player with an uncompromising love of John Coltrane’s music. Upon arrival, he requests the
discontinuation of the PA’s currently playing music in favour of that of one of his great heroes. Nor do his
partners in music seem to mind the strong emphasis on bebop during the two sets they shared. Perhaps the
extended stay overseas for Anton has his band eager to renew musical acquaintanceships, and maintaining the
familiar is the best way to ease back into the groove of performing together.
What a quality rhythm section do Mark Fitzgibbon (piano), Dave Beck (drums), and Matt Clohessy (bass)
comprise. Despite the absence of performing with Anton for quite some time, they maintained a tight
formation from the first lead-in to the end of the ten or so numbers performed. Most of the numbers I’ve heard
before - from the Anton originals (The Drowned and the Saved, No Boundary Condition, Look How Round
He Is) to ballads (Easy to Love, Every Time We Say Goodbye) to great bebop tunes like Coltrane’s Effy’s
Blues. I understand that some new numbers are in the offing, though the group was able to explore fresh paths
even in these tunes with which I’m relatively familiar.
Anton is an accomplished player across the jazz styles. His tenor valves are probably equally worn as he
investigates the full range of his instrument, from growls to squeaks and all the frequencies between. Though
his concentration is readily evident, Anton’s delivery gives the appearance of effortlessness, and plenty of
ideas flow in his often long-phrased solos. He provides plenty of space for his partners, and Mark relishing the
freedom provided numerous piano solos in which his left hand was almost as busy as his right, first building
then releasing tension in his roller-coaster style. Dave’s drumming becomes more and more complex, whilst
paradoxically his playing seems increasingly understated. He is very effective whether in support or soloing.
Some nicely-layered and thoughtfully constructed solo work enhanced the Latiny "Operator" and "Effy’s
Blues".
Matt’s major moment in the limelight began with a lovely bass intro to the evening’s penultimate piece.
However, as if aware of the old musicians’ insult about withholding conversation until the bass solo
commences, about half the audience simultaneously chose that point to up and leave, much to the band’s
chagrin. Still it was their loss, as Ben Gillespie added his trombone to the fray as a special guest. As relatively
little is happening with The Hoodangers and The Band Who Knew Too Much currently, Ben has been seen in
this supporting role in modern jazz settings quite frequently, and always adds a welcome sense of edge and
passion. Despite his professed insecurities about playing in the modern jazz style, his punctuated (often
staccato) attack combined with a fine sense of melody and harmony produce a most distinctive genre-crossing
signature. He managed to add novel texture and excitement to the band’s sound in his two contributions and
especially on the last tune (Look How Round He Is) a couple of choruses of mellifluous counterpoint between
the two horns represented a highlight for me.
The band may be seen on Thursdays in November at Bennetts Lane.
BRAZJAZ THURSDAY, NOVEMBER 16th 8:00 PM RETRO CAFE, Level 2, 413 Brunswick St, Fitzroy
(03) 9419-9103 ADMISSION: $10.
This special BRAZJAZ (Brazilian Jazz) line-up will feature two great musicians: Paul Williamson (Sax/Flute)
and Belinda Moody (Bass). I'm very excited to playing with them plus David Allardice (Piano) on what is
promising to be a very vibrant gig. I've also invited some very special guests to play with us towards the end of
the gig.... Carlos Ferreira
Bennetts Lane NOVEMBER 2000 Playlist
Sunday 12th Keevers - Fredes, Hurst - Barker
Monday 13th Browne, Costello, Grant Trio
Tuesday 14th Cam McAlister Quintet
Wednesday 15th Fiona Burnett Quartet
Thursday 16th Anton Delecca Quartet
Friday 17th Nichaud Fitzgibbon Quartet 12am - David Rex Quartet
Saturday 18th 9pm - Nerida Mason Quartet 12am - DONUT
Sunday 19th Blow (ex-Musiikki Oy)
Monday 20th Browne, Haywood, Ball Trio
Tuesday 21st David Jones Trio
Wednesday 22nd Fiona Burnett Quartet - CD Launch
Thursday 23rd Anton Delecca Quartet
Friday 24th 9pm - Nichaud Fitzgibbon Quartet 12am - David Rex Quartet
Saturday 25th 9pm - Nerida Mason Quartet 12am - DONUT
Sunday 26th Brian Brown's 'Flight'
Monday 27th Browne, Haywood, Keller Trio
Tuesday 28th The Great Unwashed
Wednesday 29th Fiona Burnett Quartet
Thursday 30th Anton Delecca Quartet
Wine Planet found 10 Best Sellers for sale
Deakin Estate Alfred Shiraz 1998Holy tannins, they've named a wine after Batman's butler! Here's a great
value shiraz with good varietal definition. Plums, cherry fruit and a touch of earthy, savoury spice on the nose
reflect its warm climate origins. These flavours carry onto the well-rounded, soft palate, which has good
persistence. Drink now till 2003 with basil-topped lamb. Store Price: $15.50 Our Price: $10.99
Metala Shiraz Cabernet 1998 This has had a slight label change, with the dropping of the famous Stonyfell
name. It hasn’t changed the quality though and the excellent vintage conditions show with delicious blackberry
and red berry aromas lifted by typical regional minty smells. It’s generous and juicy in the mouth, with soft
tannins and very good length of flavour. Will improve with a few years in the cellar but is equally delicious
now with roast red meats. Store Price: $17.99 Our Price: $13.99
Annie's Lane Clare Valley Shiraz 1998Bright, tight, youthful wine, impeccably made, with violet, youthful
purple fruit and dusty, firm oak to finish. Drink now with a barbie or stash away for a couple of summers.
Store Price: $19.50 Our Price: $16.50
Seppelt Terrain Series Cabernet Sauvignon 1998This wine demonstrates Seppelt’s success in blending
premium quality grapes from diverse vineyard regions. The result is great consistency of quality and style.
Smooth and medium bodied, it is rich and flavoursome with the capacity to develop further with some
cellaring. Store Price: $12.99 Our Price: $8.99
Cottlers Bridge Shiraz 1999 This is a fabulous value shiraz, that easy on both the palate and the pocket. The
nose shows straightforward cherry and plum fruit, with a touch of savoury spice. The palate is round, with
generous fruit and good balance. Theres no need to cellar, as it is drinking really well now, great with lamb
chops.MD. Store Price: $10.99 Our Price: $8.99
Montana Marlborough Sauvignon Blanc 1999A most consistent wine with the nose dominated by ripe
capsicum and gooseberry and hints of passion fruit. Typically fresh on the palate with the green tropical
flavours lifted by vibrant acidity. Ageing potential: Drink over the next 18 months. Food Suggestion: Fresh
seafood. Winemaker:Nigel Fraser Store Price: $15.99 Our Price: $11.99
De Bortoli Sacred Hill Semillon Chardonnay 1999 De Bortoli | Riverina Brilliant lemon green, this wine
exhibits a stylish nose of elegant, lemony Semillon and the light complexing buttery notes of malolactic
fermentation. The palate shows an abundance of citrus and melon flavours coupled with light spicy wood and
creamy lees aging characters. A wine suited to current drinking or for short term cellaring. Strongly flavoured
seafood dishes, smoked fish, antipasto, chicken, salads and most white meat dishes. Store Price: $6.99 Our
Price: $5.50 Order Qty: If you like this wine you'll also like these
Wolf Blass Yellow Label Shiraz Cabernet 1997The wine has a deep, rich red colour with a bouquet showing
integrated aromas of oak, mint and fruit characters. It is soft and round, with a lingering finish. Would be a
good match for richly flavoured pasta. Store Price: $16.99 Our Price: $14.99
Wolf Blass Eaglehawk Cabernet Sauvignon 1998Store Price: $13.99 Our Price: $11.99 Order Qty: If you like
this wine you'll also like these Seaview McLaren Vale Chardonnay 1998Store Price: $10.50 Our Price: $7.90
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 14, 8/11/00
Following is a sampling of test answers and essays submitted to science and health teachers by junior
high, high school and college students around the world;
1. Water is composed of two gins, Oxygin and Hydrogin. Oxygin is pure gin. Hydrogin is gin and
water.
2. Artificial insemination is when the farmer does it to the cow instead of the bull.
3. The body consists of three parts-- the brainium, the borax and the abominable cavity. The brainium
contains the brain, the borax contains the heart and lungs, and the abominable cavity contains the
bowels, of which there are five - a, e, i, o, and u.
4. To prevent contraception: wear a condominium.
5. For drowning: Climb on top of the person and move up and down to make artificial perspiration.
6. Before giving a blood transfusion, find out if the blood is affirmative or negative.
A busy couple of weeks. Visits to The Rainbow on consecutive Monday eves allowed the pleasure of hearing
guests Steve Sedergreen (piano) and the following week Will Galison (harmonica) with the Paul Williamson
Hammond Combo. Steve managed to coax some technically pleasing solos from an electric piano that sounded
as offensive as any I’ve heard. If you can imagine punching holes in your speaker cones, then turning up the
amplifier to ensure distortion of the highest order – that’s how the upper range of the instrument sounded out
front. Despite this limitation, he fitted in well - especially later when the beast’s volume (and distortion) was
reduced.
A feature of these Monday nights remains the unpredictable eclecticism arising as additional guests (some
expected some not) rock up to have their turn. At times, it reminds me of Jimmy Sharman's old time boxing
tents at The Melbourne Show when well primed members of the crowd were conned into taking on the quite
sober boxing pros. In contrast to those affairs, embarrassment on the stage rarely happens as most of the
interlopers are very accomplished, and the leader (Paul) is also experienced at drawing even an out-of-control
solo to a respectable conclusion. Ben Gillespie (trombone) is of course one such professional, though others
appear out of the blue and walk unannounced to assume their playing stance. A Cuban pocket-trumpet player
(yes, it’s a miniature trumpet, though a legitimate instrument) headed straight to the mike and poured into it
from point blank range as searing a sound as most ears could take acoustically, without the added effects of
amplification. Mercifully, he disappeared after a few minutes of elephantine blowing.
A different kettle of fish arrived in the form of a home-made beaten-steel drum. Amazingly, the pattern of
beating in various parts of this ex-beer barrel enabled its sounding rather like a xylophone. It produced about 8
different carefully tuned notes, and a most pleasing sound. The player was also adept at matching the musical
key of the numbers in which he featured – quite a feat.
The following week, Wil Gallison appeared as guest, a chromatic-harmonica player from New York who
includes sessions with Sting and Chaka Khan in his CV. Although it was with a little trepidation that I fronted
for this gig, concern soon evaporated as he proved himself a very musical and swinging exponent. He knew
exactly what he was doing whether soloing or comping behind a solo - a very tasteful and expressive musician.
He employed some signal processing, though in a restrained fashion adding mainly a little echo and thankfully
the instrument always sounded like a harmonica.
At the Continental, Little Charlie and the Nightcats were back for their fourth tour of Australia – mainly for
their Wangaratta appearance. Hailing from Los Angeles, Little Charlie & The Nightcats are recognised as one
of the world's premier blues bands, combining the brilliant guitar work of 'Little Charlie' Baty with the
irresistible vocals and harmonica of Rick Estrin. They are best known for their self-penned jump-blues style of
music, and always provide a mixture of self-deprecating humorous lyrics with very tight musicianship.
Unfortunately, the sound quality was a shocker - blurred vocals, muddy bass, and attenuated guitar from the
highly directional and signal-separated two-speaker system.
Support band, The Redliners suffered a similar sonic fate, but even had the sound been pristine I don’t think
they would have cut the rug with me. The message if booking a table: Don’t let them sit you under one of the
speakers – demand front and centre! The food quality seems to have deteriorated since the change of
ownership, and the entrée has disappeared. Given that the food part of the $68 cost would be about $35-40 per
head, it was very poor value. The other major advantage of a table is the guaranteed seat and, in the past,
surety that the quality of the sound would be exemplary. The argument for paying big money and booking a
table (rather than standing) is now looking decidedly less compelling. At least when standing, it is possible to
move around to find a good listening spot, even if it is at the cost of a clear view.
Friday night at Bennetts Lane, I caught the tail-end of the Nichaud Fitzgibbon Quartet with Nichaud’s fine
voice, brother Andy on drums, Joe Chindamo (piano) and Phillip Rex (bass). Very tasty. For the late session,
the Julien Wilson Quartet came out firing with some uncompromisingly hard playing (as demanded late on
Friday nights by owner Michael). Ably supported by drummer (Sergio Beresovsky) and Phillip Rex (bass),
Julien on tenor and trombonist Ben Gillespie displayed a fine ability to produce successive sequences of linked
ideas. Towards the evening’s conclusion, they were joined by clarinetist, Chris Tanner for some beautiful
frontline blowing, including a marvellous jam reminiscent of the Hoodangers at their anarchic best. Surrealism
made an entrance around 2.30 am (as it does) when Phillip began producing incomprehensible operatic vocal
asides during a solo. This seemed a suitable way to conclude the band’s performance, and it did.
Every week Wine Planet (www.wineplanet.com.au) staff wade through pages of newsprint to discover which
wines have tickled the critics' fancy. And then they list them.
Sunday Magazine, Tony Hitchin, 9 July 2000
Shaw and Smith Reserve Chardonnay 1998 ($28.70) One of Australia's finest chardonnays, a product of some
10 years' effort by cousins Martin Shaw (the main winemaker) and Michael Hill Smith (wine-show judge and
consultant). Almost from the start, they've happily put their reserve chardonnays on the table against the
world's best. They don't claim to be better - that honour remains with France's finest - but merely want to show
how well our best measure up, even though we're still learning. A rich, viscous, almost smoky wine, yet with a
clean crisp finish, it's an already complex white that will improve over a year of two. Worth every cent. And it
has been voted Best New World White in London.
Good Weekend, Huon Hooke, 8 July 2000
Wetherall Shiraz 1998 ($21.50) This family has been growing grapes in Coonawarra for 36 years and Michael
Wetherall is making small quantities of wine. The '98 cabernet and shiraz are sensational.
Good Living, Huon Hooke, 11 July 2000
Jindalee Merlot 1999 ($12.30) A new label from the Murray Valley, offering good flavour and appeal for the
price. The nose reveals unusual tea-leafy, stalky herbal aromas and the palate is light and soft with pleasant - if
straightforward - easy-drinking flavour and structure. A well turned-out red which goes well with pasta. Don't
keep.
Avignonesi Rosso di Toscana 1997 ($23.60) This is the everyday red from a great Tuscan winery. A blend of
merlot, sangiovese and cabernet, it's simply delicious in an up-front, deliberate drink-now style. Pristine berry,
plum flavours are bright and clean with a dangerously drinkable smoothness and balance. Top value and beaut
with game birds.
Life, Mike Frost, 8 July 2000
Hardys Domaine de la Baume Viognier 1999 ($13.80) It's interesting to taste an example of this comparatively
rare grape from its country of origin. This one shows lifted peach and nectarine fruit on the nose, with the
addition of some spice on the palate and a crisp finish. Try it with pan-fried fresh fish, salads and oysters, or
cellar short-term.
Lindemans Bin 99 Pinot Noir 1999 ($9.20) Pinots with some character under $20 are becoming a scarce breed
- to find one for less than $10 is rare indeed. This shows sweet cherry and strawberry fruit on the nose and
palate with a touch of gamey, savoury character. Enjoy it now with grilled rack of lamb, rare grilled tuna, veal
or duck.
Epicure Wine, Ralph Kyte-Powell, 11 July 2000
Rothbury Estate Cowra Chardonnay 1999 ($12.30) A ripe, tropical fruit salad of a chardonnay, which has
herbal and citrus touches to give it a lift. A hint of toasty oak adds interest. The palate is fruity and soft without
great complexity. Very much in typical up-front Cowra style. Ageing? Drink over two years. Food: pasta alla
carbonara; pan-fried blue-eye.
Beresford St Yvette Chardonnay 1999 ($11.30) Yvette's real identity is lost in the mists of time, but in the
1890s she may have been a paramour of Beresford's original winemaker, a Mr Bosanquet. This is great value
in a budget chardonnay. It has smooth melony chardonnay personality with some depth and richness. Oak is
subtle and it tastes smoothly of peaches and nuts. It finishes clean and tasty. Ageing? Not necessary. Food:
grilled fish fillets; almond chicken.
Crofters Cabernet Merlot 1998 ($19.50) The Crofters reds have carved a quality niche for themselves in less
than a decade. Made from grapes grown in Western Australia's south, this is an attractively smooth red with
blackberry and blackcurrant aromas of real intensity, along with a fine touch of good oak. The palate is fine
and long with lovely supple fruit and ripe tannins. A little less powerful than the '97, but still very fine.
Ageing? Yes, two to eight years. Food: rack of lamb.
Shaw and Smith Reserve Chardonnay 1998 ($28.70) With a new winery and a gradually expanding portfolio
of wines, Shaw and Smith are going places. They still make Adelaide Hills chardonnay at its subtle best. This
has peach, citrus and melon fruit aromas mated to fragrant nutty, toasty oak in lovely harmony. It's creamy and
smooth in the mouth with good acidity and real length. Ageing? Yes, one to four years. Food: Balmain bugs;
snapper.
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 13, 31/10/00
Defender of Justice (True Story)
An elderly lady did her shopping and, upon returning to her car, found four males in the act of leaving
with her vehicle. She dropped her shopping bags and drew her handgun, proceeding to scream at them
at the top of her voice, "I have a gun and I know how to use it! Get out of the car you scum bags!"
The four men didn't wait for a second invitation but got out and ran like mad, where upon the lady,
somewhat shaken, proceeded to load her shopping bags into the back of the car and get into the driver's
seat. She was so shaken that she could not get her key into the ignition. She tried and tried and then it
dawned on her why. A few minutes later she found her own car parked four or five spaces farther down.
She loaded her bags into her car and drove to the police station. The sergeant to whom she told the story
nearly tore himself in two with laughter and pointed to the other end of the counter, where four pale
white males were reporting a car jacking by a mad elderly woman described as white, less than 5' tall,
glasses, and curly white hair carrying a large handgun. No charges were filed. Ah, senior moments!
Bennett’s Lane 29/10/00 Kerry Hempenstall.
"Oh they're just a bunch of old music teachers" murmured a voice beside me from the darkness of Bennett’s
Lane. And so they were, though not so old that they'd lost any spark, and besides, at Adelaide University they
probably deserve grander titles than that just bestowed on them. They were the Ted Nettelbeck Quartet with
former member Andy Sugg (now a Melburnian) assisting on tenor in place of their usual Schmoe & Co tenor
player, Sylvan Elhay. The Ted Nettelbeck trio was formed in 1994 and released a CD "Reflections in a Birdbath" in December 1995, followed by an appearance at the 1996 Wangaratta Festival of Jazz. "an
exceptionally cohesive and dynamic unit capable of generating considerable swing .... In Nettelbeck's playing
.... a great deal is implied as well as stated; there is a delicacy but no room for filigree." Peter Jordan, Sydney
Morning Herald. " one of the best-kept secrets in Australian jazz ... (Nettelbeck is) a very original pianist
whose style embraces influences as diverse as Thelonius Monk and Bill Evans." Adrian Jackson, The Age.
Apart from veteran Ted Nettelbeck on grand piano, Laurie Kennedy (drums) and Les Millar, acoustic bass
ably provided the rhythm support. What a delight! A band with cohesion so entrenched over years of playing
together that they probably engage in group-think. It certainly seemed that way as they worked their way
through an array of original tunes written by each of Andy, Les, and Ted, with the addition of a couple of
leavening standards. Not that the originals were heavy going - they were tunes of interest and ready
accessibility. The standards such as Kern's “The Song is You” were quickly relieved of their standard status,
interpreted in a respectful but innovative manner. There is more than a touch of the quirky about Ted's playing
and writing. I suppose that's what the above reference to Monk is about. His piano often seems to diverge
from melody in a manner at once unpredictable and pleasing, tangents that capture the imagination and
attention of the listener.
Andy's tenor playing is assured - a penchant for bebop evident, even in funky numbers such as K Ms K. I
particularly enjoyed his feeling-drenched solos on the bluesy “Now That You've Gone” (Dusty Cox) and one
of Les' tunes, “Road to Malawi” - a number also memorable for Les' bass solo with its accompanying vocal
murmurings. Though it has been a while since he regularly played with this group, Andy's 5 years with them
allowed him to slot seamlessly and effortlessly back into their playing style.
Les is a very musical bass player. Not only does he play in tune, but his command of the instrument's
dynamics enables him to blend smoothly into the rhythm section, while enabling his bass to articulate clearly
during solos - the dynamic range requiring no artificial signal processing. The clarity of reproduction during a
lovely solo on his own tune, “Ray's Bass”, was something of a revelation. At first glance, Les in suit and tie
looked decidedly 50's retro-conservative, but his playing reminded me that appearances can be deceiving in
music as in other life spheres. Drummer, Laurie Kennedy, also had the appearance of a member of a musical
veteran's reunion concert, but his playing was also a pleasure. From delicacy on brushes to driving rhythms he
had it all down pat. An understated player, his solos were exercises in variety and even whimsy, while his
rhythm support at no time detracted from the soloists.
Other enjoyable original numbers included “The Harry Song”, “Morgan St.”, “I Wish I'd Sent You a
Valentine”, “This Is Your Song”, and “Cuban Carol for Carlene”. Just a bunch of old music teachers, indeed.
Wine Planet recommendations
Max Allen
Andrew Garrett Bold Shiraz 1998 ($14.30) Precisely what it says it is: BOLD, baby, BOLD. Black in colour,
dense in licoricey, purple plum fruit flavours, big in the oak department and pretty tannic and rich to finish.
Peter Lehmann Shiraz 1998 ($15.20) A similarly rich, oaky wine with sweet vanilla toastiness backing up
some lovely regional earthy, berry flavours. A wine that I reckon could do with putting away and forgetting
about for six months, to mellow a little.
Elderton Shiraz 1998 ($21.50) Also from the Barossa, this is a gorgeous, seductive red wine with spicy,
leathery perfume. It has sweet, concentrated, shirazy berry fruit and silky, supple tannins - a lot more fun, in
my opinion, than the rather oaky, heavy-handed Elderton Command Shiraz 1996 (and I don't care how many
trophies it's won).
Mount Langi Ghiran Shiraz 1998 ($47.10) Fans of Trevor Mast's brilliant Mount Langi Ghiran shiraz from
Western Victoria will not be disappointed by the 1998. Unlike the 1997, which was unusually rich, big and
full, this is much more a return to the typical Langi style: supremely elegant, fine, perfumed and peppery, with
great intensity and tongue-hugging satisfaction, but all wrapped up in an essentially medium-bodied wine.
Brilliant - and worth stashing away for at least five years.
Marisa Bridger
Montana Patutahi Estate Gewurztraminer 1998 $23.60 Lychees and feijoa with pronounced sweet spice on the
nose. Great concentration of wonderful varietal characteristics alongside lashings of floral notes. Ripe fruit and
dried apricots dominate the palate. This wine finishes with a delicate apricot perfume in the mouth.
Tim Adams 'The Fergus' Grenache 1998 $16.40 This delicious grenache is made by the skilful Tim Adams in
Clare. Pepper and ripe raspberry aromas with medium weight and good palate balance. There is a slight
leanness of fruit on the palate, which has acquiesced to some wonderful savoury flavours. An excellent food
wine for cosy winter nights at home.
Unison Merlot Blend 1998 $45.60 Many local winemakers and wine lovers have dubbed 1998 as the best
Hawke's Bay vintage on record. And this merlot-dominant wine proves that point in every possible way, from
its inky, deep crimson-purple colour to its leathery, slightly savoury nose with an abundance of lifted ripe red
berry aromas. Rich, luxurious red plums on the palate complement confident yet elegant tannins in this
absolute stunner. Unison may be a relative newcomer to the New Zealand wine scene but this is multi-layered,
wonderfully structured, sexy wine that shows the potential of Bordeaux varieties in Hawke's Bay. Definitely
one to cellar!
Brendan Hilferty
Best's Great Western Bin 0 Shiraz 1997 ($33.30) With plenty of oaky blockbuster reds on the tasting circuit at
the moment it was refreshing to see something leaner and more savoury for a change. This is made from fruit
of vines planted in the 1960s and was matured in older oak puncheons. There are spicy and dusty earth aromas
along with some sweet blackberry fruit, and it's wrapped up by long, firm tannins. The sort of wine that is at its
best with food; char-grilled beef or lamb would do the trick, but if you are patient, it will still be drinking well
in 2010.
Leasingham Classic Clare Cabernet Sauvignon 1997 ($34.80) Another 1997 that's showing a lot more oak, but
with the fruit to back it up. This has won three gold medals already and is bound to grab a couple more with its
pungent sweet blackcurrant fruit and mint aromas leaping out of the glass. It's big and bold in the mouth with
sweet, almost jammy blackberry fruit and plenty of ripe, chewy tannins. While approachable now it really
deserves to spend another five years in the cellar. If you have to crack one, drink it with venison or kangaroo
Hardys Domaine de la Baume Viognier 1999 ($13.80) The trendy new variety of the moment is viognier
(pronounced vee - ohn - YAY), an aromatic variety akin to a cross between chardonnay and riesling. Its home
is in the vineyards of southern France and, while there have been plantings here for over 20 years and a
number of new Australian labels cropping up, it seems that the French have got the lead on us. While the top
drops can be fiendishly expensive, this one is the perfect introduction. It smells of apricot blossoms and
peaches and is deliciously easy to drink. Don't bother with food: it's one to quaff on its own.
Don Hogg
Blass Clare Valley Riesling 1999 ($18.40) This is an absolute blinder, with everything you'd expect from a
top-shelf Clare Valley riesling. Bags of citrus and floral notes for the nose and a deep, lean palate of bright
riesling fruit. Young riesling doesn't come much better than this, and what's more it's going to keep developing
for at least 15 years. A potential classic of its style.
Saddler's Creek Watermark Chardonnay 1999 ($10.20) An easy-drinking style and, given its quality, quite
remarkable value. There are subtle oak notes for the nose, full tastes of ripe melons and a hint of butterscotch.
A nice dry finish completes an attractive picture, and it won't send anyone broke.
Edwards and Chaffey McLaren Vale Cabernet Sauvignon 1998 ($12.70) They used to call this Seaview, but
now it appears in smart new livery and aficionados know it as 'E and C'. Edwards' first name was Friend and
this is indeed a friendly cabernet, with the generosity of fruit we've come to expect from the region. And the
price is right, and that's real friendliness! It's hard to imagine more wine for the money.
Matt Edwards
Brown Brothers Everton 1998 ($12.30) This really is a 'bitsa' - bitsa cabernet sauvignon, shiraz, merlot,
malbec, cabernet franc as well as ruby cabernet. And like a bitsa dog, all these components make for a lovable
wine, soft and approachable without too much of that tannin stuff. The fact that I drank it at a BBQ while
watching the Wallabies whop the Springboks may have also enhanced the flavour.
Yellowglen Y Sparkling Burgundy NV ($20.50) 'Fizzy Ribena' is what people call this almost forgotten style
(or is it just not trendy enough?), and with a deep purple colour and blueberry aromas to match you could be
forgiven for thinking that. However, with a dryish finish this wine is luscious without being sweet, and is a
great alternative to all the acid-filled sparkling whites that are getting around.
St Hallett Poacher's Blend 1999 ($9.60) It's not actually stated on the bottle what's in this white blend, but I'm
sure one of the wine team could swirl it around their mouth a couple of times and tell me. From the first
mouthful to the last the fresh lively characters really helped the flavours of a baked fish and lemon dish my
fiancée cooked, and she needs all the help she can get (just joking, my love!).
Banrock Station Cave Cliff Merlot 1999 ($11.30) I was lucky enough to be invited to a tasting with the wine
team (don't worry, I won't cross to the other side) and came across this merlot. With ripe plum aromas on the
nose it lived up to its promise in the mouth and, at this price, it's a steal considering the price of some of the
other merlots tasted. Only one problem, they only gave me half a tiny tasting glassful - wouldn't happen at my
place!
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 12, 23/10/00
Music is a strange thing. I would almost say it is a miracle. For it stands halfway between thought and
phenomenon, between spirit and matter. Heinrich Heine
OK, so I’ve not sent anything for a while! Well, I lost interest in writing, though certainly not listening. I don’t
know if it was a coincidence, but my last missive, back in May, was about a classical Musica Viva concert.
Anyway, here’s the first letter.
A magazine recently ran a contest to collect great real life examples of communication from managers to
employees. Here is a selection:
My sister passed away and her funeral was scheduled for Monday. When I told my Boss, he said she died so
that I would have to miss work on the busiest day of the year. He then asked if we could change her burial to
Friday. He said, "That would be better for me." (Shipping executive, FTD Florists)
"We know that communication is a problem, but the company is not going to discuss it with the employees."
(Switching supervisor, AT&T Long Lines Division)
We recently received a memo from senior management saying: "This is to inform you that a memo will be
issued today regarding the subject mentioned above." (Microsoft, Legal Affairs Division)
One day my Boss asked me to submit a status report to him concerning a project I was working on. I asked
him if tomorrow would be soon enough. He said "If I wanted it tomorrow, I would have waited until tomorrow
to ask for it!" (New business manager, Hallmark Greeting Cards.)
Speaking the Same Language: As director of communications I was asked to prepare a memo reviewing our
company's training programs and materials. In the body of the memo one of the sentences mentioned the
"pedagogical approach" used by one of the training manuals. The day after I routed the memo to the executive
committee, I was called into the HR director's office, and told that the executive vice president wanted me out
of the building by lunch. When I asked why, I was told that she wouldn't stand for "perverts" (paedophilia?)
working in her company. Finally he showed me her copy of the memo, with her demand that I be fired -- and
the word "pedagogical" circled in red. The HR manager was fairly reasonable, and once he looked the word up
in his dictionary, and made a copy of the definition to send back to her, he told me not to worry. He would take
care of it. Two days later a memo to the entire staff came out-- directing us that no words which could not be
found in the local Sunday newspaper could be used in company memos. A month later, I resigned. In
accordance with company policy, I created my resignation memo by pasting words together from the Sunday
paper. (Taco Bell Corporation)
This gem is the closing paragraph of a nationally-circulated memo from a large communications company:
"(Company name) is endeavorily determined to promote constant attention on current procedures of
transacting business focusing emphasis on innovative ways to better, if not supersede, the expectations of
quality!" (Lucent Technologies)
BENNETTS LANE FRI, 20/10
When’s the last time you heard a jazz combo with accordion, vibes and marimba comprising the front line?
Well, even visiting US vibes/marimba luminary, Dave Samuels had to admit it was beyond his experience
(though he did remember playing once with accordionist Art Van Damm during the 1970’s). Nevertheless, just
13 hours after his arrival, that is what he confronted at Bennetts Lane’s Jazz Lab on Friday evening. Dave has
played with some famous names, such as Frank Zappa, Pat Metheny, and Stan Getz, and this night it was with
a Melbourne group with an unusual name and structure.
“Frock” has established itself as an inventive group, not shackled to bebop, with varied influences and themes
evident in their many original tunes. The European folk music meets modern jazz sort of thing. Anthony
Schultz on piano and piano accordion, Craig Beard (vibes), Simon Starr (bass), Dave Beck (drums), and Adam
Starr (guitar) have developed a style unlike any other group in Melbourne. The decision by Dave Samuels to
choose “Frock” to accompany him may be partly because the band is familiar with supporting a vibes player
without submerging the instrument beneath the rhythm section. Additionally however, it represented a vote of
confidence that the band was capable of learning his original tunes with just one afternoon rehearsal.
The stage at Jazz Lab looked very impressive with the two gleaming Yamaha instruments; a superb rosewood
marimba and the more frequently seen, vibraphone. The difference in tone was marked - the marimba being
more muted and with less resonance than the vibes. The timbre of the timber was most attractive, and well
suited to more introspective playing, but also to Latin influenced numbers, of which there were several. On
about half of the numbers both Craig and Dave played, and it was fascinating to hear their solos, their comping
during the other’s solo, and their different attack upon their instruments. Craig’s approach the vibes was rather
bear-like, surveying it menacingly as if to subdue it. In contrast, Dave was more catlike, light on his feet
(despite the jetlag) and at times skittering from vibes to the marimba to continue an idea that was more
appropriate on the other. They also played melody together at times, feeding off each other’s ideas in what was
clearly an enjoyable collaboration. Craig’s playing was by no means put into shadow, and was especially
impressive in his own tune, Gone.
Dave’s playing was very musical, tasty, and with an obvious love of groove. Despite his wonderful dexterity
with the mallets, he is not a flashy player. He can really swing, never more obviously than on one of his
originals, 5/4 Blues, which also featured some superbly supportive drumming from Dave Beck. Anthony
Schultz’ accordion was heard on several numbers, and apart from some inventive solos, he provided a
fascinating horn-like support to the vibes/marimba/guitar solos. For the most part, Anthony played piano feeling comfortable enough with the pieces he’d learned only that day to produce extended solos of interesting
construction. Adam Starr on guitar had fewer opportunities to solo, but accompanied capably, and his style and
distortion effects indicated a more than passing admiration for John Scofield. Bassist, Simon Starr, was
unusually prominent in his positioning on the stage, and his sound was also louder than that heard in most jazz
settings. It was perhaps a magnetic pickup that produced a strong sound not dissimilar to that of an electric
bass. On several tunes, this was very effective, as he set up a short repeating theme that provided a strong
foundation from which his colleagues could launch a front-line solo. Dave Beck produced a couple of
delectable and devious drum solos, but it was his superbly stable rhythms that anchored and drove the frontline, without ever being overpowering.
The audience were most enthusiastic, and all seemed to know each other, an occurrence that was baffling until
it became evident that most were attending the International Percussion Festival at Melbourne University.
Among other percussionists from around the world, Dave was to present a vibes workshop the next day. On
the strength of the appreciation shown the by local percussionists for Dave Samuels’ performance at Jazz Lab,
his workshop would surely be well subscribed.
Wine Australia 2000 Melbourne, November 23-28, 2000
Wine Australia 2000 is fast approaching and here are the facts as they stand today - now take a deep breath as
there's plenty going on. There are 470 confirmed exhibitors representing 43 regions across Australia. Victoria
and South Australia each have around 110 confirmed wineries, NSW 75, WA 53. There will be 20 exhibitors
from Tasmania. Thirty of the larger wine companies will have their own corporate stands There will be a
multitude of stands representing businesses associated with the wine industry. From retailers to magazines leisure and lifestyle properties to glass manufacturers.
THE HIGHLIGHTS
Opening night. Thursday November 23, 5pm-9pm. Reduced admission price of $16.50 compared to $27.50 for
the remaining public days. Highlights include:
6pm - Launch of the winepros "Spit like a winepro" competition at the central "Park" area right in the middle
of Wine Australia. Activities will continue at the "Park" throughout the event and include celebrity wine
options. Free after admission
"Meet David "Stumpy" Boon at the Tasmania area all night and find out if he knows as much about their great
wines as he does about . . . fielding at short leg. Free after admission.
6.30pm. Len Evans to host a wine options competition at the NSW area. Free after admission
Friday November 24
11am. Official opening of Wine Australia 2000 by the Honourable John Brumby MP, Treasurer and Minister
for State and Regional Development. Invitation Only.
Ongoing activities
Brown Brothers Celebration of Wine and Food sessions at the Brown Brothers Seminar Room in the Victorian
area featuring guest chefs: Greg Malouf (O'Connells) Guy Grossi (Grossi Florentino) Leigh Hall (Brown
Brothers Epicurean Centre) and others. These classes will be repeated throughout the weekend.- Ticket
bookings on 1800 666868.
Masterclasses in the NSW area moderated by Peter Forrestal, Jeremy Oliver, Huon Hooke, Paddy Kendler and
Lyndey Milan. Topics focus on varietal/regional mixes from across the state of NSW and feature well-known
winemakers including: Iain Riggs, Bruce Tyrrell, Brian McGuigan, Patrick Auld and Darren De Bortoli. On
Saturday evening at 6.30pm a debate on the age-old topic of "Is Wine Better Than Sex" will be conducted
between the University of Melbourne debating team and a select crew of wine "personalities". Tickets to all
events are available at the NSW area. Free after admission
All the South Australian regions will be offering plenty for the visitor including great prizes, while Western
Australia will feature their classic wine styles.
Wine education classes hosted by the Australian Society of Wine Education in the Wolf Blass Foundation
Theatre. Duration 45 minutes. These classes will focus on classic Australian wine styles, how to judge wine
and what the words on the label mean. Each class will be conducted by an accredited member of the ASWE.
Free after admission
More focussed masterclasses will be undertaken in the Colin Richardson Theatre. These will feature wellknown winemakers and personalities focussing on their area of expertise - the wines often will be drawn from
reserve stocks and cellar museums. Tickets for these sessions can be bought at www.ticketmaster7.com. $25
after admission.
Food will be great right across the exhibition. Not only will we see the MECC's own food service facilities at
their best but six of Melbourne's leading providores will also cater for the event. Mercers Restaurant will be
serving shucked oysters with garlic mayonnaise and venison sausage in a sourdough roll with pineapple
chutney. Butterfields will be serving cheese platters, Choi's catering will be offering a range of Asian dishes
such as Dim Sum, Spring rolls and Peking Duck. Individual plates of sushi from Jimmy's Sushi, Salmon bagels
from Aquatas Salmon and a range of pastries and ice-cream from Laurent Patisserie.
The Cellarmasters Wine Tunnel will be co-hosted with Channel Ten this year and will continue to provide a
fun, interactive learning environment for all-comers. By experiencing the Wine Tunnel and entering details
into one of the computer terminals visitors can go into the draw to win $10,000 worth of wine courtesy of
Cellarmasters. This super prize entails 17 classic cases of Australian wine including: Penfolds Grange,
Tyrrell's Vat 1 Semillon, Katnook Prodigy Shiraz 1997 Penfolds Yattarna Chardonnay, Heemskerk Pinot Noir,
Moet & Chandon Brut Imperial, Maglieri Shark Block Shiraz, Grosset Polish Hill Riesling, De Bortoli Noble
One Botrytis Semillon, Mum's Block Shiraz and many more. Free after admission.
Celebrity foodies Gabriel Gate, Ian Parmenter and Will Studd will be running demonstrations and tastings,
12.30 - 1.30 pm and 5.30 - 6.30 pm Friday, Saturday and Sunday at the Orlando Wyndham stand. Free after
admission
Amorim Australia is conducting cork seminars for the trade on Monday and Tuesday. They will also be
hosting the public lounge area "The Meeting Place" where winemakers and members of the public will find
respite from the hard work of wine tasting.
Vintage Cellars will have a store that will be the only facility selling bottled wine to take home from the show.
They will also host a number of great events including Len Evans leading a benchmark chardonnay tasting, a
tasting of Jimmy Watson winners through the years and their very own mystery wine competition.
The Australian Wine and Brandy Corporation are sponsoring the Billion Dollar Bite which is highlighting the
food styles in the countries where Australian wine has grown so popular. Dishes will be prepared by chefs
native to the UK, USA, Germany, Japan, NZ Ireland, Canada, China and Thailand and tasted alongside
Australian wines. The theatre seats 100 people and classes will be presented by the inimitable Betty Hinchliffe.
The Great Australian Bite, a classic Aussie BBQ will be the feature on opening night. Free after admission
THE DETAILS Wine Australia 2000 will be held at the Melbourne Exhibition Centre, 2 Clarendon Street,
Southbank, Victoria 3006.
EXHIBITION HOURS - GENERAL VISITORS Thursday 23 November 5.00 pm - 9.00 pm Friday 24
November 12.30 pm - 9.00 pm Official Opening (Invitation Only) Friday 24 November 11 am Saturday 25
November 12.30 pm - 9.00 pm Sunday 26 November 12.30 pm - 6.30 pm Entrance fees: Thursday night
$16.50 (GST Incl.), Friday-Sunday $27.50 (GST Incl.)
TRADE ONLY - EXHIBITION HOURS Monday 27 November 11.00 am - 7.30 pm Tuesday 28 November
11.00 am - 4.00 pm To qualify for Trade ID Status admission on Trade Only days, applicants should be
owners, directors, senior managers or full time employees involved in the production, wholesale, purchase,
retail or service of wines, or in wine tourism or professional wine educators. Travel Packages The Congress
Travel Office with the support of Wine Australia and event sponsor Qantas has developed a range of travel
packages and day tours to suit trade and leisure visitors. For all travel enquiries please contact the Travel
Office consultants on 1-300-300-756. An initiative of the Australia wine industry, Wine Australia 2000 is
proudly sponsored by the Victorian Government.
For further information on Wine Australia including all trade and media registration please visit our website at
www.wineaustralia2000.com <http://www.wineaustralia2000.com> .
The following concerns a question in a physics degree exam at the University of Copenhagen:
"Describe how to determine the height of a skyscraper with a barometer."
One student replied:
"You tie a long piece of string to the neck of the barometer, then lower the barometer from the roof of the
skyscraper to the ground. The length of the string plus the length of the barometer will equal the height of the
building."
This highly original answer so incensed the examiner that the student was failed immediately. He appealed on
the grounds that his answer was indisputably correct, and the university appointed an independent arbiter to
decide the case. The arbiter judged that the answer was indeed correct, but did not display any noticeable
knowledge of physics.
To resolve the problem it was decided to call the student in and allow him six minutes in which to provide a
verbal answer, which showed at least a minimal familiarity with the basic principles of physics. For five
minutes the student sat in silence, forehead creased in thought. The arbiter reminded him that time was running
out, to which the student replied that he had several extremely relevant answers, but couldn't make up his mind
which to use.
On being advised to hurry up the student replied as follows:
"Firstly, you could take the barometer up to the roof of the skyscraper, drop it over the edge, and measure the
time it takes to reach the ground. The height of the building can then be worked out from the formula
H=0.5g x t squared. But bad luck on the barometer.
"Or if the sun is shining you could measure the height of the barometer, then set it on end and measure the
length of its shadow. Then you measure the length of the skyscraper's shadow, and thereafter it is a simple
matter of proportional arithmetic to work out the height of the skyscraper.
"But if you wanted to be highly scientific about it, you could tie a short piece of string to the barometer and
swing it like a pendulum, first at ground level and then on the roof of the skyscraper. The height is worked out
by the difference in the gravitational restoring force T = 2 pi square root (l / g).
"Or if the skyscraper has an outside emergency staircase, it would be easier to walk up it and mark off the
height of the skyscraper in barometer lengths, then add them up.
"If you merely wanted to be boring and orthodox about it, of course, you could use the barometer to measure
the air pressure on the roof of the skyscraper and on the ground, and convert the difference in millibars into
feet to give the height of the building.
"But since we are constantly being exhorted to exercise independence of mind and apply scientific methods,
undoubtedly the best way would be to knock on the janitor's door and say to him 'If you would like a nice new
barometer, I will give you this one if you tell me the height of this skyscraper'."
The student was Niels Bohr, the only Dane to win the Nobel Prize for Physics.
The Make It Up Club
Live Improvised Music Every Tuesday from 9:30pm Upstairs @ The Planet Cafe 386-388 Brunswick St
Fitzroy, Melbourne INFO: Tim O'Dwyer 9481-7786 Tom Fryer 9486-2314 EMAIL: pop@netspace.net.au
MAX'S PICK OF THE RED WINES UNDER $15 (FROM WINEPLANET)
With 1998 being such ripper of a vintage, there's plenty to choose from in this range. The best budget red
chosen was the Deakin Estate Alfred Shiraz 1998 ($10.99)
And we also love the trophy-winning Cottlers Bridge Shiraz 1999 ($8.99), Barossa Valley Estate Spires Shiraz
Cabernet 1998 ($9.99), The Penfolds Koonunga Hill Shiraz Cabernet 1998 ($9.99) And the Miranda High
Country Cabernet Sauvignon 1998 ($10.90).
HALLIDAY’S PICK (FROM WINEPROS)
1999 Barossa Valley Estate Spires Shiraz Cabernet and 1999 Penfolds Rawsons.
The 1999 Barossa Valley Estate Spires Shiraz Cabernet ($9.95, 83 points) and 1999 Penfolds Rawsons Retreat
($9, 84 points) are two of the best under-$10 red wines going around. The Spires is not up to the marvellous
98, but that is no more or less than a reflection of the vintage. Both wines have more complexity than you
might expect at this price range, the Spires with plenty of richness and weight on the palate, the Rawsons
Retreat medium-bodied, but very clean, showing sweet fruit on the mid palate, together with attractive touches
of mint and leather. These are user-friendly wines that will slide down with any meat dish, pasta or pizza.
MAX'S PICK OF THE $15-$25 REDS (FROM WINEPLANET)
Pizzini Sangiovese 1998 ($15.99), for example, from Victoria's King Valley - a bright, varietal, dark cherryscented wine with good grip and a refreshingly moderate 12.5 per cent alcohol.
Or the Maglieri Shiraz 1998 ($18.50), a purple, glowing liquid crammed with flavours of black berries and
sweet licorice oak, plums and creamy, supple chocolate.
Or the Kingston Estate Zinfandel 1998 ($16.50), made from grapes grown in the cool Victorian Alps (not the
Riverland). This is varietally spicy and musk-berry perfumed, grippy and savoury in the mouth.
Or the vibrant, lively, spicy Wynns Coonawarra Shiraz 1998 ($11.99), which still gets my vote for best-value
shiraz of the year.
.
The St Huberts Cabernet Sauvignon 1998 ($18.99). I have some of this enticingly dark purple wine in a glass
in front of me as I write this, and it's an absolute cracker: really ripe, almost plush mulberry and blackcurrant
flavours flood the mouth, wrapped in a firm but soft blanket of savoury oak. Sensational wine and sensational
value.
RED WINES OVER $25 (FROM WINEPLANET)
Of the stock available we're big fans of the Lenswood Pinot Noir 1998 ($37.99)
And the Seppelt Drumborg Vineyard Pinot Noir 1998 ($35.99).
For something a little heavier, there's the elegant Penfolds St Henri Shiraz 1996 ($44.99)
While the Petaluma Coonawarra 1998 ($42.99) is looking better than ever; we also still have some stock of the
Hardy's Thomas Hardy Cabernet Sauvignon 1995 ($48.99).
WHITE WINES UNDER $15 (FROM WINEPLANET)
Not as exciting a selection as the reds, but the best budget white was the consistently excellent Wynns
Coonawarra Riesling 1999 ($7.99),
While the Jim Barry Watervale Riesling 1999 ($12.99)
And the Seaview Verdelho 1999 ($7.99) are also excellent quaffers.
WHITE WINES $15-$25 (FROM WINEPLANET)
A few more Planet favourites here with the zesty Grove Mill Sauvignon Blanc 1999 ($15.50),
The Tyrrell's Lost Block Semillon 1999 ($15.99)
And the deliciously complex Logan Reserve Chardonnay 1998 ($19.99).
WHITE WINES OVER $25 (FROM WINEPLANET)
Again, many rarities and cellar-worthy wines here. We're still holding on to a little Leeuwin Estate Art Series
Chardonnay 1997 ($69.99)
And Rosemount Roxburgh Chardonnay 1997 ($46.99).
SWEET AND FORTIFIED WINES
The best budget sweetie is the lightly effervescent Brown Brothers Moscato 1999 ($10.99),
But for something a little stickier we can't go past the Cranswick Estate Autumn Gold Botrytis Semillon 375ml
1996 ($16.50).
With the winter starting to draw in a little, thoughts also turn to something a little warming. We think there's
terrific value in the Wynns Samuel Port Series # 24 ($9.99),
The McWilliams Hanwood 10 Year Old Tawny Port ($15.99)
And theCampbells Wines Rutherglen Tokay 375ml ($15.99).
Luke at liquorlink-list@liquorlink.com.au writes:
We tried 4 well known and well loved (highly acclaimed) Chardonnays.
1998 Shaw and Smith Reserve Chardonnay A big wine but more together or tighter than the Mondavi. Barrel
ferment and whole fruit pressing. The wine showed good length. The fruit here was what stood out - just
excellent fruit. A snip at $28.
1998 Giaconda Chardonnay (no you can't buy this wine) - but it'd be $50+ if you could. A delight, subdued
and complex. Hint of honey, balance and structure with a finish that just kept going (I wrote "extreme length"
in my notes but that sounds a bit like bungee jumping over an active volcano.). This is Australia's best
Chardonnay.
1998 Tyrrell's Vat 47 Chardonnay. As I remember it a good wine (but a hard act to follow) with those smoky
flavours of barrel ferment.
1996 Leeuwin Estate Art Series Chardonnay Bigger nose, certainly not subdued but still complex, very
"obvious" and large flavours. Hard not to love this wine but I would always choose the Giaconda first.
Michael Hill-Smith went on to discuss how such dramatic variation could be achieved. Obviously this starts
with Terroir - that French term that describes "the site" and how everything from the amount of direct sunlight
to humidity and wind strength and direction (not to mention precipitation, temperature, and the soil!) impact
on the way the vines grow and the grapes taste.
From there he discussed things like: cropping levels, exposure of fruit to sunlight, handpicking, cultured
yeasts, skincontact, oxidationfree juice handling [as opposed to some makers who deliberately encourage a
certain amount of pre-fermentation oxidation to encourage a range of flavours other than the primary fruit
flavours], barrel fermentation vs stainless steel fermentation, Malolactic fermentation, Yeast contact in Barrel
(to stir or not to stir?), oak ageing and barrel ageing and lots more.
You can start to see how many variables are in play and why thousands upon thousands of styles emerge from
the same grape variety.
His point was proven - how could you ever find Chardonnay boring with such quality wines and diversity? Of
course the cynics would state that this is all very good if you've got $40 or more in your pocket but with $10
the variation is much less interesting let alone inspiring. Never let it be said that I felt Chardonnay was a
"thing of the past"! The final word goes to Jancis Robinson who so succinctly put her finger on it when she
said "When at its best Chardonnay is the only great white wine that is truly dry and savoury." Amen
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 11, 2/5/00
"When choosing between two evils,
I always like to try the one I've never tried before"
Mae West (1892-1980
After last week’s good news about the benefits of getting on the grog, here is the downside of all that
healthiness.
Warnings For Alcohol Drinkers !!!!
Due to increasing products liability litigation, alcohol producers have accepted the suggestion that the
following warning labels be placed immediately on all beer containers:
WARNING: The consumption of alcohol may make you think you are whispering when you are not.
WARNING: The consumption of alcohol is a major factor in dancing like an asshole.
WARNING: The consumption of alcohol may cause you to tell the same boring story over and over again until
your friends want to beat you to a pulp!!!
WARNING: The consumption of alcohol may cause you to thay shings like thish.
WARNING: The consumption of alcohol may lead you to believe that ex-lovers are really dying for you to
telephone them at four in the morning.
WARNING: The consumption of alcohol may leave you wondering what the hell happened to your pants.
WARNING: The consumption of alcohol may make you think you can logically converse with other members
of the opposite sex without spitting.
WARNING: The consumption of alcohol may make you think you have mystical Kung Fu powers, resulting in
you getting your ass kicked.
WARNING: The consumption of alcohol may cause you to roll over in the morning and see something really
scary (whose species and or name you can't remember).
WARNING: The consumption of alcohol is the leading cause of inexplicable rug burns on the forehead.
WARNING: The consumption of alcohol may create for you the illusion that you are tougher, smarter and
more handsome than some really, really big guy named FRITZ.
WARNING: The consumption of alcohol may lead you to believe you are invisible.
WARNING: The consumption of alcohol may lead you to think people are laughing WITH you.
Speaking of matters alcoholic, a freeby invitation to a recital/dinner at Yarra Valley’s Domaine Chandon was
too good an offer to refuse, even though the Musica Viva classical music society is not on my must-see list.
The pre-dinner concert was held in the huge champagne Riddling Hall, a hall normally replete with racks of
champagne bottles turned daily by “riddlers” to shift the secondary fermentation products gradually to each
bottle’s neck. The room is about 200 feet by 40 feet, in the design of a Nissen hut, and the musicians were
sited at the middle facing a long wall, and with chairs in a semi-circle around them – about a hundred people I
guess.
An interesting venue for a concert and, perhaps surprisingly, the acoustics are superb. However, not only is
every nuance of the music clearly distinguishable, so too is the industrial sound-soup of the air conditioning
system – surely it could be silenced for the period of a concert – I wonder how the 3-MBS technicians who
recorded the session will filter it out. Besides the delicate melange of the Fujitsu system, we also heard the
Goldner String Quartet (Dene Olding, violin, Dimity Hall, violin, Irina Morozova, viola, Julian Smiles, cello)
playing Fratres by Arvo Part, and also String Quartet no 2 in F sharp minor by Schoenberg (supplemented by
the soprano, Merlyn Quaife).
The Schoenberg piece, written about 100 years ago, was described as atonal in the introduction, and as
discordant by a listener. Either way, it was certainly not sweetly harmonious, and I thought there were parallels
with some of the playing of jazz iconoclasts, Cecil Taylor, and Ornette Coleman - hard going but interesting
and challenging.
Also on the playlist was a cello soloist, David Pereira, working his way through Bach’s Suite no 1 in G major
for solo cello. Amazing to hear a bass solo (well, sort of) and nobody began talking!
All the playing was beautiful, though I thought that the string quartet would have been improved by the
addition of sax, bass and drums. What do you do with your feet when there’s no clear rhythm to tap out?
Dinner was a Peter Rowlands affair, OK food with Domaine bubbly and Eyton on Yarra Chardonnay and CabMerlot.
Healesville Wine Club this month, 18/4/2000, had the theme “Who said I’m a label-drinker?” – wines chosen
because of their attractive label design.
Seppelts Drumborg Riesling 1997
Nautilus Marlborough Sauvignon Blanc 1999
Giesen Marlborough Sauvignon Blanc 1999
Yarra Ridge Yarra Valley Reserve Pinot Noir 1996
Tarrawarra Yarra Valley Pinot Noir 1996
Coldstream Hills Yarra Valley Reserve Pinot Noir 1996
Grampians Estate Shiraz 1998
Tempus Two Mudgee Merlot 1998
It was to my acute embarrassment that the members’ favourites were the Coldstream Hills Pinot and the Yarra
Ridge Pinot – this despite the presence of serious reds, such as the shiraz and merlot!
An interesting new comprehensive web site for wine combines the talents of Len Evans and James Halliday.
See at: http://www.winepros.com.au/1,5502,0,00.html
Tasmanian Wines Show 1999 Trophy Winners
Winners: Bream Creek Pinot Noir 1997, Stefano Lubiana Vintage Brut 1995, Sterling Heights Chardonnay
1997, Wellington Riesling 1996, East Arm Vineyard Riesling 1998, Freycinet Cabernet Sauvignon 1994,
Bream Creek Pinot Noir 1997
(Progressive Corks Trophy for Best Pinot Noir), (Arthur Busby Trophy for Best Wine of Show) Rating: 95
Best drinking:1999–2003 Drink with: Braised duck Background Bream Creek has two vineyards, one
established many years ago on the east coast of Tasmania, the other more recently in the Tamar Valley. This
wine comes entirely from the often temperamental East Coast vineyard. Tasting note Strong red-purple; a
veritable cascade of aromas on the bouquet, powerful and complex, running through spice, briar, berry and
dark plum. The palate does not disappoint, with rich and powerful fruit (rather than oak) doing the work. The
intensity and complexity of the fruit is reminiscent of the best Paringa Estate wines from the Mornington
Peninsula. Availability Commercially available in Tasmania at around $17 per bottle, mainland purchasers can
mail order at $204 per case plus freight. (GPO Box 2020, Hobart, Tas 7001, telephone (03) 6231 4646, fax
(03) 6231 4646, email peacock@mpx.com.au).
Stefano Lubiana Vintage Brut 1995
(Lallemand Yeast Trophy for Best Sparkling Wine Methode Champenoise) Rating: 94 Best drinking:1999–
2000 Drink with: Shellfish Background Produced from estate-grown chardonnay and pinot noir, and given
appropriately long (at least three years) time on lees prior to disgorgement. A wine which shows why Stefano
Lubiana has such a large sparkling wine contract-making business for other Tasmanian producers. Tasting note
Light straw-gold; the bouquet is complex and tangy, with notes of bread and brioche attesting to the prolonged
time on lees. The palate is exceptionally harmonious and rich, with perfectly balanced acidity on a long, clean,
lingering finish. Gold medal and trophy 1999 Tasmanian Wines Show. Availability Available from selected
retailers for approximately $40 per bottle (9/11 Group, Larters Cellars, Sisco's on the Pier and Syrup in
Tasmania; Caffe Grossi, Devino Cellars and Terminus Hotel in Melbourne; John Coppins, La Vigna and
Tamword in Perth; Ascot Cellars, Smithfield Tavern, The Gap Tavern and River Canteen in Brisbane) or
contact the winery, telephone (03) 6263 7457, fax (03) 6263 7430, email lubiana@bigpond.com
Sterling Heights Chardonnay 1997
(9/11 St Ives Trophy for Best Chardonnay) Best drinking:1999–2003 Drink with: Sweetbreads Background
The wine is made in tiny quantities by the enormously talented Alain Rousseau of Moorilla Estate. It is barrelfermented, but, interestingly, is not taken through malolactic fermentation, which is no doubt part of the reason
why the wine has such intense fruit flavour. The 1997 vintage won the trophy for Best Chardonnay at the 1999
Tasmanian Wines Show. Unusually for Tasmania, the vineyard is established on relatively poor sandy soils,
similar to those of Elsewhere Vineyard. Tasting note Medium yellow-green; the complexity and power of the
wine are immediately evident on the bouquet, with tangy stone fruit and citrus aromas supported by subtle
barrel ferment oak. The palate is likewise rich, complex and concentrated, with ripe stone fruit flavours and
subtle oak playing a pure support role. Availablity Tiny quantities of the wine were still available for sale at
the time of the Wine Show, telephone/fax Geoff Wells on (03) 6396 3214. $185 per case plus freight.
Wellington Riesling 1996
(TNT Express/Kwikasair Trophy for Best Aromatic White, The Examiner Trophy and Chairman of Judges
Selection) Rating: 94 Best drinking: 1999–2004 Drink with: Sautéed prawns Background Another wine from
the Wellington stable to repay cellaring, and, as with the other wines, immaculately made. Sourced not from
southern Tasmania, but from a vineyard at Relbia, on the outskirts of Launceston. The 1996 was held back in
the cellar for further aging and released after the 97, a strategy which resulted not only in a gold medal but
three trophies at the 1999 Tasmanian Wines Show. Tasting note Bright green-yellow; the influence of botrytis
is evident on both the bouquet and palate, but is very much to the advantage of the wine, rather than to its
disadvantage. The high-toned fruit aromas of the bouquet are followed by a remarkably intense palate, with
sweet lime juice flavours rippling through from the very start to the very finish. Availability Available by mail
order from Wellington Wines, Cnr Richmond and Denholms Roads, Cambridge, Tas 7170, telephone (03)
6248 5844, fax (03) 6243 0226. $210 per case plus freight.
East Arm Vineyard Riesling 1998
(Top gold medal 1998 Riesling Class) Rating: 94 Best drinking: 2000–2008 Drink with: Scallops Background
Produced from a small estate planting of around two-thirds of a hectare of riesling established in 1993. Tiny
amounts of wine were made in 1996 and 1997, with the first commercial vintage coming in 1998. Voted the
Best Tasmanian Riesling of 1998 at the Tasmanian Wine Centre in November 1998, and on its second
showing, was the top gold medal in the very strong 1998 Riesling class at the 1999 Tasmanian Wines Show.
Tasting note Pale straw-green; the wine has a piercing bouquet with aromas of lemon, lime, stone fruit and
some quite spicy lift. The palate is uncompromising, with the flavours of the bouquet supported and reinforced
by lingering, potent acidity. A wine which begs to be cellared. Availability Available from cellar door at
Dalyrmple Vineyards (Dalrymple winemaker Burt or Bert Sundstrup was the maker, telephone (03) 6331
3179, fax (03) 6331 3179), or by mail order (James Wettenall Wines, PO Box 1932, Launceston, Tas 7250. It
is also available from David Johnstone, Wine Merchant, 201 Collins St, Hobart at around $16
Freycinet Cabernet Sauvignon 1994
(Abel labels Trophy for Best Cabernet Sauvignon) Rating: 94 Best drinking: 1999–2010 Drink with: Doublethick lamb loin chops Background Estate-grown, and a testament to the exceptional qualities of the
amphitheatre-shaped Freycinet vineyard which is a sun and heat trap, well protected from the least desirable
winds. Tasting note Full red-purple; a very complex bouquet with hints of mint, which quickly move into rich
dark chocolate and blackberry flavours on the palate. The wine has excellent texture, and ripe tannins.
Availability Available from cellar door or mail order at $28 per bottle, telephone (03) 6257 8384, fax (03)
6257 8454, Tasman Highway via Bicheno (PO Box 35, Bicheno), Tas 7215.
The Didn’t Quite Make the A List Wines
In addition to the wines for which full tasting notes are provided, I inevitably taste a large number of additional
wines which are either not of the same quality or of the same interest. For the sake of completeness, I list these
(and publish the points) under the heading 'Also tasted'. Typically, these will be wines which receive 80 points
or less, but there is no hard and fast rule about this. Lower-pointed wines that are inexpensive may well get
reviewed; conversely, more expensive wines that just scrape past 80 points may not be reviewed.
Vintage Wine and its rating/100
1998 Alkoomi Mount Frankland Classic Red 80
1998 Andrew Garrett Vineyard Estates Martindale Hall Sauvignon Blanc 78
1998 Andrew Garrett Vineyard Estates McLarens on the Lake Colombard Semillon Chardonnay 77
1999 Andrew Garrett Vineyard Estates McLarens on the Lake Chardonnay 80
1998 Andrew Garrett Vineyard Estates Martindale Hall Chardonnay 78
1998 Andrew Garrett Vineyard Estates Springwood Park Pinot Noir 79
1998 Andrew Garrett Vineyard Estates McLarens on the Lake Cabernet Shiraz 77
1997 Andrew Harris Vineyards Premium Cabernet Sauvignon 80
1999 Annie's Lane Chardonnay 80
1996 Bannockburn Vineyards Cabernet Sauvignon Merlot 79 NV Banrock Station Semillon Chardonnay 79
1999 Banrock Station Napper's Verdelho 78
1999 Banrock Station Wigley Reach Unwooded Chardonnay 80 NV Banrock Station Chardonnay 77
1997 Barossa Valley Estate Moculta Semillon 77
1998 Barossa Valley Estate Spires Chardonnay Semillon 75
1997 Barossa Valley Estate Moculta Chardonnay 79
1997 Barossa Valley Estate Moculta Cabernet Merlot 78
1998 Basedow Barossa Valley Semillon 79
1997 Basedow Bush Vine Grenache 79
1998 Brand’s of Coonawarra Chardonnay 80
1997 Brown Brothers Milawa Estate Shiraz 77 1996 Brown Brothers Graciano 79
1997 Brown Brothers Merlot 80
1997 Brown Brothers Limited Release Cabernet Sauvignon 79
1996 Capel Vale Howecroft Cabernet Merlot 79
1999 Chapel Hill Unwooded Chardonnay 79
1997 Charles Sturt University Winery Hilltops/Orange Cabernet Sauvignon 77
1998 Chateau Tahbilk Chardonnay 79
1999 Cranswick Estate Vignette Semillon 80
1997 Cranswick Estate Semillon of the Riverina 79
1999 Cranswick Estate Vignette Chardonnay 79
1999 d’Arenberg The Dry Dam Riesling 79
1999 d’Arenberg The Broken Fish Plate Sauvignon Blanc 79
1998 d’Arenberg White Ochre 77
1998 d’Arenberg The Olive Grove Chardonnay 76
1999 Dalfarras Sauvignon Blanc 78
1998 Dalfarras Chardonnay 79
1997 Dalfarras Cabernet Sauvignon 80
1998 De Bortoli (Victoria) Windy Peak Cabernet Shiraz Merlot 79
1998 Diamond Valley Vineyards Blue Label Chardonnay 77
1999 Evans & Tate Gnangara Chardonnay 77
1999 Four Sisters Sauvignon Blanc Semillon 80
1998 Four Sisters Shiraz 79
1997 Frankland Estate Isolation Ridge Shiraz 79
1999 Geoff Merrill Sauvignon Blanc 78
1993 Geoff Merrill Reserve Chardonnay 80
1996 Geoff Merrill Bush Vine Grenache 76
1998 Goundrey Chenin Semillon 70
1998 Goundrey Chenin Blanc 70
1998 Goundrey Fox River Shiraz Cabernet Sauvignon 79
1996 Grant Burge The Holy Trinity Grenache Shiraz Mourvedre 79
1997 Grant Burge Cameron Vale Cabernet Sauvignon 79
1999 Half Mile Creek Hunter Valley Verdelho 79
1998 Half Mile Creek Mudgee Cabernet Merlot 79
1999 Hamilton Slate Quarry Riesling 80
1998 Hamilton Synergy Dry White 79
1998 Hamilton Chenin Blanc 79
1999 Hamilton Synergy Pinot Noir 76
1999 Hanging Rock Winery Rock Riesling 77
1998 Hanging Rock Winery Rock Chardonnay Colombard 76
1998 Hanging Rock Winery Victorian Shiraz 79
1998 Hanging Rock Winery Rock Shiraz Grenache Pinot Noir 77
1998 Hardys Insignia Chardonnay Sauvignon Blanc 80
1999 Hardys Insignia Chardonnay 78
1997 Hardys Nottage Hill Shiraz 78
1998 Hardys Nottage Hill Cabernet Shiraz 79
1997 Hardys Insignia Cabernet Shiraz 79
1998 Hardys (Padthaway) Unwooded Chardonnay 76
1997 Hardys (Padthaway) Stonehaven Premium Shiraz 77
1997 Hardys (Padthaway) Stonehave Premium Cabernet Merlot 79
1998 Haselgrove McLaren Vale Chardonnay 80
1998 Haselgrove Reserve 'H' Botrytis 79
1997 Haselgrove McLaren Vale Cabernet Merlot 79
1998 Heathcote Winery Seventh Horse Chardonnay 80
1999 Houghton Chardonnay Verdelho 78
1997 Hunter Ridge Semillon 79
1997 Hunter Ridge Verdelho 74
1997 Hunter Ridge Chardonnay 76
1997 Hunter Ridge Cabernet Merlot 80
1995 Huntington Estate Bin FB30 Special Reserve Cabernet Sauvignon 80
1998 Ingoldby Sauvignon Blanc 79
1999 Ingoldby Chardonnay 79
1998 Katnook Estate Riddoch Sauvignon Blanc 79
1997 Katnook Estate Riddoch Shiraz 79
1997 Katnook Estate Riddoch Cabernet Shiraz 79
1997 Leasingham Bin 37 Chardonnay 80
1996 Leeuwin Estate Art Series Cabernet Sauvignon 79
1999 Lenswood Vineyards Sauvignon Blanc 79
1997 Lillydale Vineyards Cabernet Merlot 80
1998 Marienberg Sauvignon Blanc Semillon 76
1999 Marienberg Unwooded Chardonnay 78
1997 Marienberg Cabernet Mourvedre Grenache 75
1998 Maxwell Wines Chardonnay 80
1999 McWilliam’s Hanwood Verdelho 78
1998 McWilliam’s Hanwood Chardonnay 80
1998 Mitchell Growers Grenache 79 NV Moondah Brook Maritime White 77
1998 Moondah Brook Chardonnay 75 NV Moondah Brook Maritime Red 78
1998 Morris Semillon 79
1997 Morris Shiraz 79
1997 Morris Cabernet Sauvignon 80
1998 Mountadam David Wynn Chardonnay 79
1999 Orlando Jacobs Creek Semillon Chardonnay 79
1998 Paracombe Wines Chardonnay 79
1999 Penfolds Barossa Valley Semillon Chardonnay 80
1999 Penfolds Rawsons Retreat Semillon Chardonnay 79
1999 Peter Lehmann Eden Valley Riesling 78
1998 Peter Lehmann Barossa Semillon 79
1999 Peter Lehmann Clancy's Classic Dry White 80
1997 Pewsey Vale Cabernet Sauvignon 79
1998 Plantagenet Breakaway Fine White 75
1998 Plantagenet Omrah Shiraz 78
1998 Plantagenet Breakaway Fine Red 80
1997 Redman Shiraz 79
1997 Redman Cabernet Sauvignon 78
1998 Salisbury Estate Cabernet Sauvignon 77
1997 Seppelt Terrain Shiraz 79
1999 Tatachilla Growers Chenin Blanc Semillon Sauvignon Blanc 78
1999 Tatachilla McLaren Vale Chardonnay 78
1999 Trio Station Three Steps Riesling Dry 79
1997 Trio Station Reserve Cabernet Merlot 77
1998 Wolf Blass Bilyara Chardonnay Semillon 78
1998 Wolf Blass Classic Dry White 79
1999 Wolf Blass Chardonnay 80
1997 Woodstock McLaren Vale Riesling 78
1999 Woodstock Limestone Coast Verdelho 79
1997 Wyndham Estate Bin 555 Shiraz 81
1997 Wyndham Estate Bin 444 Cabernet Sauvignon 80
1997 Xanadu Wines Cabernet Sauvignon 77
1999 Yalumba Oxford Landing Sauvignon Blanc 80
1999 Yalumba Unwooded Chardonnay 79
1998 Yalumba Oxford Landing Limited Release Merlot 80
1998 Yalumba Growers Bush Vine Grenache 80
NV Yellowglen Y Sparkling Burgundy 79
1998 Yering Station Barak's Bridge Shiraz 80
Copyright ©1999 Winepros / James Halliday
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 10, 25/4/00
Next time you think you're having a bad day read these!
The average cost of rehabilitating a seal after the Exxon Valdez oil spill in Alaska was $80,000. At a special
ceremony, two of the most expensively-saved animals were released back into the wild amid cheers and
applause from onlookers. A minute later they were both eaten by a killer whale.
A psychology student in New York rented out her spare-room to a carpenter in order to nag him constantly and
study his reactions for a research paper she was writing. After weeks of experimental needling, he snapped and
beat her repeatedly with an axe leaving her permanently brain-damaged.
In 1992, Frank Perkins of Los Angeles made an attempt on the world flagpole-sitting record. Suffering from
the flu he came down eight hours short of the 400 day record, his sponsor had gone bust, his girlfriend had left
him, and his phone and electricity had been cut off.
A woman came home to find her husband in the kitchen, shaking frantically with what looked like a wire
running from his waist towards the electric kettle. Intending to jolt him away from the deadly current she
whacked him with a handy plank of wood lying by the back door - breaking his arm in two places. Till that
moment he had been happily listening to his Walkman.
Two animal rights protesters were protesting at the cruelty of sending pigs to a slaughterhouse in Bonn.
Suddenly the pigs, all two thousand of them, escaped through a broken fence and stampeded, trampling the
two hapless protesters to death.
And the capper.......
Iraqi terrorist, Khay Rahnajet, didn't pay enough postage on a letter bomb. It came back with "Return to
Sender" stamped on it. Forgetting it was the bomb, he opened it and was himself disassembled.
The Band Who Knew Too Much (Rainbow Hotel, 20/4) produced a couple of fine sets on Holy Thursday eve,
though exuberant irreverence rather than religious contemplation better described the prevailing atmosphere.
One of the more interesting features of music over the past ten years or so has been the tendency towards
hybridisation of musical forms rather than the search for excellence within a rigid set of thematic boundaries.
Thus, one may hear a variety of styles from one band, and sometimes the intermingling produces surprisingly
satisfying results.
So with TBWKTM one may detect traditional jazz, Eastern European, Swing, and Bluegrass influences
presented within a self-effacingly humorous framework. Critical ingredients required for this amalgam to
work, of course, are individual musical ability and the group’s capacity to meld. There is talent aplenty, and
together they perform the musical conjurers’ trick of making it all appear effortless and simple. The band’s
long history as street performers (they played Sat mornings at the Vic Market for 5 years) provides them with
well oiled routines and a good sense of theatre. Employing four markedly different voices throughout their
work enables variety, harmony, call-and-response, and unison effects. The instrumentation of accordion,
trombone, electric guitar, acoustic bass, clarinet, and drums is unusual, and some of the combinations together
produce unexpected, novel though always musical, effects. The tunes are relatively simple ditties for the most
part, and it is the musicianship that lifts them.
About half of the tunes on the band’s first CD are written by the band members compared with nine of the
twelve on the second CD. The tunes written by the band members are a delight, whilst their covers of Squirrel
Nut Zippers and others offer worthwhile and unusual interpretations. Among the numbers chosen for this
session were: Sandman, Lonesome Road, I Thought About You, The Panic Is On, Poor Man, I’ve Spent The
Rent, I Found A New Baby, The Swimming Song, Blue Light Of Day, Bad Business Man, Dasfidanya, Sweet
Lotus Blossom, Put The Lid On It. In place of Craig Fermanis on guitar was an original member, Shane Ryall,
on his big, warm, valve-sound Epiphone. Despite his unfamiliarity with some of the numbers, he adapted
quickly and seems to be able to produce the right riff for any occasion. Those warm tones from his semiacoustic guitar seemed to me more suited to the band’s sound than the solid-body electric guitar. Bassist,
Shannon Birchall was also absent, replaced capably by someone-whose-name-I-should-remember. The other
musicians are: Dave Evans (piano accordion, train whistle, vocals), Andy Reid (clarinet, washboard, vocals),
Matt Earl (drums, percussion, vocals), and Ben Gillespie (trombone, ukelele, vocals).
Speaking of Ben Gillespie, the Paul Williamson Hammond Combo recently released a new CD with the
ubiquitous Ben in attendance alongside his Hoodanger mate, Eugene Ball, on trumpet. Recorded live at the
Rainbow Hotel, it provides a fine and representative collection of the style of music we’ve come to expect at
The Rainbow over the last 8 or so years. Straight ahead jazz, or jazz with a touch of R’n’B or funk, or straightout blues – often the mix dependent upon the guest player(s) for the evening. So it was on Monday (24/4),
when the Combo was joined by spectacular and soon to be departed (to GB) blues guitarist, Geoff Achison,
and also by veteran blues singer-guitarist, Paul Wookey. Just as the Over The Rainbow CD was recorded live
in one session, so too this evening was to be recorded.
A large crowd assembled in the tight confines of The Rainbow, but surprisingly, they were relatively staid,
with few of the whoops and hollers expected on such an occasion. Nevertheless, a professional performance
was produced, though to me it seemed to have a little less spark than I’d anticipated – at least for the first set
(the only one I was able to stay for). Hammond player, Tim Neal’s Leslie speaker was sporting an sibling, and
it was intriguing to hear what difference having two of these unusual rotating horn speakers in place of the
usual single box would do. Apart from an augmented bass, it was difficult to detect any other difference in the
fairly noisy surrounds of the pub, though the visual effect is certainly imposing. The first set comprised Gene
Ammons’ You Talk That Talk, Hard Times, Jimmy Rushing’s How Long, Howard North’s Hidden Charms,
Percy Mayfield’s River’s Invitation, and Night Train. I look forward to the resultant CD’s release.
March / April 2000
The Wine Doctor : Red wine vs white – any difference in health benefit
By Dr Philip Norrie, MBBS, MSc, MSoc Sc(Hons), FPA cert, FIBA
Alcohol in moderation reduces the bad cholesterol level, raises the good cholesterol (HDL) level and acts as an
anti-coagulant (blood clotting preventer).
Ever since Professor Serge Renaud’s ‘French Paradox’ paper1 was published in the Lancet in 1991, wine
consumers have had a mindset that only red wine and not white is good for them. But it doesn’t matter whether
a wine is red or white - as long as it is consumed in moderation on a regular daily basis, then you will gain
significant health benefits.
It has been well documented that consuming wine in moderation can reduce death from all causes by up to 50
per cent mainly due to reducing our society’s biggest killer, vascular disease, by up to 50 per cent and cancer
by up to 24 per cent, It is also good for relieving society’s other big disease group - the stress-related diseases.
Vascular disease occurs when bad cholesterol (LDL) is deposited in artery walls and swells up, eventually
rupturing, causing a clot to form which blocks off the artery, thus denying the tissue supplied by that artery of
blood and hence it dies.
Alcohol in moderation reduces the bad cholesterol level, raises the good cholesterol (HDL) level and acts as an
anti-coagulant (blood clotting preventer). Good cholesterol clears away bad cholesterol from antheromatous
plaques in artery walls and takes it back to the liver for re-metabolism. Wine contains substances called
antioxidants that inhibit bad cholesterol from being incorporated in the artery wall and damage caused by the
body’s free radicals, toxic waste products which help cause degenerative diseases in the body such as cancer,
Alzheimer’s disease, Parkinson’s disease and ageing.
The standard for antioxidants are vitamins C and E but wine contains the strongest antioxidants in nature
called resveratrol, quercitin and epicatechin, which are five times stronger than vitamin E. Franke has shown
that no matter how much vitamin E you take its antioxidant activity plateaus at 20 per cent whereas wine’s
antioxidants will plateau at 100 per cent after a couple of glasses. It should also be noted here that the
fermentation process of converting grapes into wine enhances the antioxidant level many times and also
produces alcohol, so that is why wine is by far more superior for your health than taking concentrated grape
extract as has been advised by some misguided anti-alcohol health freaks.
Getting back to Professor Renaud’s ‘French Paradox’. The French Paradox is the observation that the French,
despite eating a vascular disease predisposing disaster diet rich in cholesterol, have significantly less coronary
heart disease than other similarly advanced countries. The reason for this, according to Professor Renaud, is
because the French are high consumers of wine. Professor Renaud advocates especially red wine but his paper
only mentioned alcohol and wine, not specifying red or white.
Dr Frankel’s research has shown that red wine contains more antioxidants than white wine with the amount
varying according to the grape variety, region, vintage climate (summer rainfall increases resveratrol levels
because grapes produce more resveratrol in their skins to protect themselves from fungus due to increases in
atmospheric moisture), soil, storage in oak (oaked wines have more antioxidants than unoaked wines) and
filtration techniques. (Professor Geoff Skurray at the University of Western Sydney6 has shown that the fining
agent polyclar removed 92 per cent of resveratrol, casein, egg white and alginate also removed some
resveratrol, while gelatin had relatively little effect.)
But the only relevance for the average wine drinker comes out when one looks at studies which compare red
and white wine consumption and mortality out in the real world and not theoretically in a laboratory. There
have been several studies which show that it doesn’t matter. In 1995 Vinson and Hontz from the Department
of Chemistry at the University of Scranton published a paper titled ‘Phenol Antioxidant Index: Comparative
Antioxidant Effectiveness of Red and White Wines’. What this study showed was that even though red wines
had a higher phenol content than white wines, “The white wines had a significantly lower 1C50 (the
concentration for 50 per cent inhibition of low-density lipoprotein or bad cholesterol) and thus were better
antioxidants than red wine.” The take-home message here is that it does not matter what the total anitoxidant
potential is, ie, total antioxidant or phenol level - but how effective are these antioxidants at doing their job - in
this case inhibiting bad cholesterol.
Dr Karl Jung and Associates at the University of Mainz published a research paper in 1999, ‘Moderate red and
white wine consumption and the risk of Cardiovascular Disease’. The paper’s summary stated, “White and red
wine improved the antioxidative capacity in the blood. The sum of the changes in cardiovascular protective
blood values, the ‘protective wine score’, which includes all parameters, showed a clear improvement in both
wine groups. The scores for moderate wine consumption were higher than for water, and white wine scored
higher than red wine. Systolic blood pressure reduced significantly in the white wine group, and the distolic
blood pressure reduced in both wine groups.
“This study shows that moderate regular wine consumption reduces the risk of cardiovascular diseases. The
effects of both German wines, red and white, were comparable; in some parameters white wine delivered even
better results than red wine.”
Across the Atlantic research in the United States by the Jordan Heart Research Foundation9 found that free
radicals were reduced by 15 per cent in red wine drinkers and 34 per cent by white wine drinkers, while red
wine drinkers experienced a deduction in the blood’s clotting ability of 10 per cent and white wine drinkers 20
per cent.
So why are the antioxidant molecules in white wine apparently more effective than those found in red wine,
even though they may be in greater number in red wine? The answer lies in research by Dr Gordon Troup, a
physicist at Monash University in Melbourne. Dr Troup used an electron spin resonance spectroscope to
examine the actual size of the various antioxidant molecules in wine and showed that those in white wine are
smaller and thus more effective because they can get further our into the tissues to do their job. A biochemical
analogy would be like comparing the smaller, more effective immunoglobulin IgG molecule which gets to all
the body’s tissues to provide antibody coverage versus the larger immunoglobulin IgM which is restricted to
just the vascular system for its area of operation.
In a letter to the editor of the International Journal of Food Science and Technology titled ‘Free radical
scavenging abilities of beverages’10 Dr Troup et al points out that “…if the health-promoting properties of
wines are related to their superoxide-scavenging abilities, then white wine is at least as effective as red”.
Thus it can be seen that it does not matter which colour wine one drinks because both red and white wine
contain alcohol and enough antioxidants, and once you get up to 100 per cent antioxidant activity in your
body’s tissues, anything extra is redundant anyway. What does matter is that one marries the right wine to the
right food. Thus the correct combination of wine and food is the most important criteria by which one chooses
a wine - not just because it is a red!
Copyright © 2000 Winestate. All rights reserved.
Vince's Vine Value Whites
**Chardonnays**
I read with interest a blast delivered by Winewise at the quality of Australian Chardonnay. Is it justified? Can
we do better? Well I beg to differ - I don't know what the expectation is but I do wonder if it isn't a tad high. I
also wonder if they aren't actually thinking about what they like to drink and thinking of the great
Chardonnay's they have had over the years. They will not find them in the sub $10 bracket at their local
bottle-o. But the wines offered at that price point are what is selling and selling by the ship load around the
world. This grape variety is what has underpinned our success overseas and given local winemakers the
capital, cash flow and ability to do better with other wines. Wading through a tasting of lower priced
Chardonnay will never be a treat - but if you keep it in context, you can see why the average woman or man in
the street readily buys a bottle and loves it to death! Take heart you winemakers out there - CortonCharlemagne or Chevalier- Montrachet it may not or never be - but a good wine for the price and therefore
popular, it will remain.
So what did we love and what did we hate? In no specific order let's look at these winners and losers.
The 1999 Angoves Classic C.R. was OK. Melons and stonefruit on the nose. Rich and creamy full flavoured
Chardonnay - may well have been the oakiest of the flight, good acid and length. Still a little broad - but in
context a nice wine. At least one of the panel preferred it over the other offerings.
The 1998 Hanwood from McWilliams had a lovely nose of perfume and lychees, even mangoes! Lighter in
style, with an oily cloying mouthfeel, fat rich longish are all comments I had written down - again a preferred
choice by at least one of the panel.
The 1999 Oxford Landing is certainly a cheap Chardonnay. Altogether a simpler wine. Singular nose, short
limey/citrusy simple wine. If this is all you can afford - reach deeper into your pocket for a whole lot better
wine elsewhere. In previous years I have felt more excited by this wine.
The 1999 Queen Adelaide was a little un-giving on the nose early- on. Some sulphur one thought while
another got some stewed peaches. Better fruit acid balance with a refreshing finish (but to show you how
subjective this became one member thought it better than the others while another worse). I'd suggest this was
certainly not the least of the wines.
The 1999 Hardys Nottage Hill was again in the peaches on the nose mould, rich-creamy good wood and a
good finish but just too sweet for me - "too much wood" said one of the panel. It was the favoured wine of the
flight for at least one taster - so be aware that it may be a "style-preference-thing" that might work for you!
1999 Cranswick Vignette A nose dominated by honey and mead - some lemon/lime. Honey again in the
mouth with good [sweet] fruit. A strange fawn color? Better balance and attractive [for an unoaked
Chardonnay!]
The 1998 Ingoldby was fat with a capital "F". Buttery, alcoholic (it was 13%), not well balanced - strong and
rich though and quite oak driven.
The 1999 Saltram Classic was flat on the nose (not corked more subdued). Better in the moth (followed the
Ingoldby..), rich lemon/lime sweet fruit. A good wine.
The 1998 Jindalee from the Murray/Darling region had a lifted nose and was favoured by a number of the
panel. In the mouth it was soft and fruity. Better balance, peaches mangoes and lemon again. I was
particularly taken by this wine.
1998 Tyrrells Old Winery is a blend of hunter and McLaren Vale fruit. Jamacian fruit cake on the nose and
something else less pleasant {Mortein?}. There was some question as to whether this was a blend having
other varieties (?), nothing on the label suggested as much. Lets take a look at 4 comments from 4 different
tasters "far too sweet", "unoaked", "short", "no thank you". Do I need to say much more? (I think the Hunter
is out for a nice Easter winery tour though)
1998 Westend (Riverland) - not a well liked wine. Green fruit, restrained [about the kindest comment],
slightly oaked. Buy something else.
1999 Miranda "Somerton" Minerally nose and slightly harsh [almost chemical edge]. Unoaked. Intense
lemon on the palate. Good acid. Long but sweet, forgettable.
1998 Cockatoo Ridge Nice nose with a hint of pollard or bran. Good fruit/lemon in the mouth, acid backbone
and decent length. I liked it but others didn't.
Bright Golden Color in the 1997 Miranda Mirrool Creek. Poor wine really - not in balance. Less said the
better.
1999 Penfolds Koonunga Hill I went against others with this wine that I felt was of a different style being
leaner and more austere but still very good. Another honey/mead nose with bread and yeast too. Minerally
palate.
1998 Normans Foundation. Lychee on the nose. Sweet fruit and some oak, more lychees here, good length - a
handy wine that I would happily buy and drink with pleasure.
1998 Lindemans Limestone Coast. Another in the lean/elegant style. Intense lingering palate. Sweet fruit but
good overall balance. Again the same people who were looking for bigger styles previously, felt this too bland
as well. Don't listen to them(!) go out and try some - I liked it.
1998 Seaview. More from the Massive Southcorp stable. Good oak, creamy malolactic characteristics, richer,
nice fruit and well balanced. Nothing wrong here!
1999 (I think I got the right vintage) Lindemans Bin 65. Lifted perfumed nose. Lots of oak [too much one
person thought?], again the type of thing that has made this wine famous - Good fruit, good structure, good
acid, mouthfeel and length. Real flavour and [for me] great balance. I love it.
1999 Sandalford "Element" kathump [that's the sound of me coming back to Earth in a hurry]. Some
comments on the nose "rose water", "eau de toilette", "powder compact", "unpleasant - passion fruit". Despite
this mixed bag it was OK in the mouth, tart acid but bright. Not enough for a number of the panel who wanted
to live life without it.
1998 Salisbury [Alambie] rich nose and a mouth-filling taste sensation to follow. Good oak/fruit balance (and
there was lots of fruit). Yet another good wine.
1998 Hill-Smith Eden Valley. I'm not sure how this one snuck in, as it probably doesn't make the price
criteria. It is a good wine though and stood out in the line up. Beautiful balance, melon fruit, elegant and
subtle. It was a shame another wine had to come after it as this was the best of the wines tasted at this sitting.
But the 1999 de Bortolli Windy Peak did. More oak in this wine. Sugar sweetness, good fruit and Ok balance.
A wine (and label) that continues to deliver wines of better quality than the price asked (i.e. good value)
Plenty to choose from there - again the overall impressions were very good. Some wines were less impressive
than they had been at other tastings too. My respect for Aussie Chardonnay makers continues.
Cheers Vince <mailto:vince@liquorlink.com.au>
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 9, 17/4/00
HUMOUR: Men and women and the English language
Women's English:
Yes = No
No = Yes
Maybe = No
I'm sorry = You'll be sorry
We need = I want
It's your decision = The correct decision should be obvious by now
Do what you want = You'll pay for this later
We need to talk = I need to complain
Sure go ahead = I don't want you to
I'm not upset = Of course I'm upset, you moron!
You're so manly = You need a shave and you sweat a lot
Be romantic, turn out the lights = I have flabby thighs
This kitchen is so inconvenient = I want a new house
I want new curtains = and carpeting, and furniture, and wallpaper
I heard a noise = I noticed you were almost asleep
Do you love me? = I'm going to ask for something expensive
How much do you love me? = I did something today you're going to hate
I'll be ready in a minute = Kick off your shoes and find a good game on TV
You have to learn to communicate = Just agree with me
Are you listening to me!? = [Too late, you're dead]
Men's English:
I'm hungry = I'm hungry
I'm sleepy = I'm sleepy
I'm tired = I'm tired
Do you want to go to a movie? = I'd eventually like to have sex with you
Can I take you out to dinner? = I'd eventually like to have sex with you
Can I call you sometime? = I'd eventually like to have sex with you
May I have this dance? = I'd eventually like to have sex with you
Nice dress! = Nice cleavage!
You look tense, let me give you a massage = I want to fondle you
What's wrong? = What stupid self-inflicted psychological trauma is it now?
What's wrong? = I guess sex tonight is out of the question
I'm bored = Do you want to have sex?
I love you = Let's have sex now
I love you, too = Okay, I said it. Now can we have sex.
Yes, I like the way you cut your hair = I liked it better before
Let's talk = I'll impress you by showing you I am a deep then maybe sex?
Will you marry me? = I want to make it illegal for you to have sex with anybody else
The Christophe Genoux Quartet are playing Wednesday evenings at Bennetts Lane during April, and I caught
up with them on the 12th. Don’t you hate it when people say “Wow, you should have been here last week”.
Well, it seems that some members of Harry Connick’s band turned up, and sat in with the quartet for part of
the evening. I guess that would have produced some interesting moments; however, Christophe’s group
managed to hold my attention without any pan Pacific assistance. An impressive and experienced line-up, it
contains Christophe on tenor, Ben Robertson (double bass), Dave Beck (drums) and Sam Keevers (piano). All
the numbers were Christophe originals, and quite a varied selection, some being introspective ballad-like
tunes, some bebop, even an R’n’B.
Christophe was born in France, and didn’t take up the sax until quite late, and it is for this latter reason that he
tends to play mostly in the middle and lower registers of the tenor. Though he is quite adept at the many-notesfor-your-dollar bebop style of blowing, he seems to favour a more lyrical style - one that has been compared to
the rich, warm tones of Dexter Gordon. Though Dexter was, I think, an expat American in Paris for many
years, Christophe did not know of him in France, and he was not a critical influence on his development as a
musician. Joe Henderson he cites as a musician he admires at least as strongly.
On Sahel Dance, a pensive number, the rich tones were to the fore and a very tasty call-and-response from
Christophe and Sam was appreciated. The Spirit of the Bouche provided an atmospheric dirge-like opening
employing didgeridoo sounds from the sax, slowly bowed bass, and some serious digital interference with the
grand piano strings - all to create a bush soundscape. The motif quickly converted to urban, as most of us do
when confronted by the bush, and the contrast was stark. Ben’s bass solo was nimble and thoughtful, while
Dave produced a drum solo that rose and fell like a sine curve. Sam, too, was on song - the notation on his
music charts seemingly translating into emotion as readily as into music forms. Les Enfants Qui Souffrent
provided another vehicle for some evocative sax and piano soloing, with a touch of humour evident when Sam
threw in a morsel of Cuban rhythms.
The Bennetts Lane culture of respecting the musicians sufficiently to listen rather than converse during their
playing is for the most part maintained without fuss - a quiet word here or there from staff usually silences the
unaware and the boisterous. When a group of four arrived noisily at the table right under Christophe’s nose, it
was enough to provoke a frisson of Gallic discontent. The party, having been publicly (though politely)
shooshed by the bandleader, elected to withdraw their custom - much to the amusement and some applause
from the audience.
The second set was a more upbeat affair. Sornet and then the whimsical Altona were the opening tunes. Altona
contained some intriguing time changes and offbeat duets within the tunes. A bebop drum-sax start allowed for
the later entry of the bass, with a walking bass rhythm from Ben underpinning Sam’s fine piano solo. The tune
rolled into a bluesy conclusion spiced by some honking tenor sounds and an attractive set of sax-bass rounds.
Having commenced as a drum-bass duet, Corazon produced a terrific, rather majestic and long sax solo from
Christophe. Interest was maintained by the quality of the playing, and by the non-linearity of the piece’s
construction. A feature of Christophe’s writing seems to be a concern with the structure of his tunes, there are
often little surprises embedded in them - perhaps he is expressing a rather impish sense of humour.
The finale, Elle Visse (impish, non?) provoked a rousing gospelly piano solo from Sam, and settled into a
driving R’n’B framework, allowing before its conclusion a particularly satisfying drum solo from Dave.
Great night, a band worth catching - and for francophiles another gig from Christophe at Chapel Off Chapel
should evoke sufficient tears to dilute the Pinot Noir. The French Connection play Mon 24 April - everything
from Quadrilles to pops. Joining Christophe are Caroline Schwerkolt (vibes), Hope Csutoros (Violin), Anita
Hustas (bass), Bob Sedergreen (piano), Alan Smith (drums).
Matters Vinous
James Halliday's latest tasting notes... This week's wines:
Value special Scarpantoni Estate Block 3 Shiraz 1997
Up to you Scotchmans Hill Chardonnay 1997
Worth having Cranswick Estate Autumn Gold Botrytis Semillon (375 ml) 1996
Off the beaten track Vin Alto Retico 1996 Simply the best Penfolds Bin 707 Cabernet Sauvignon 1996
Value special
Scarpantoni Estate Block 3 Shiraz 1997 Rating: 91 Best drinking: 2001–2010 Price: $17 Drink with: Seared
kangaroo fillet Background Yet another McLaren Vale Shiraz of high quality made from old McLaren Vale
vines. Tasting note Dense, impenetrable purple-red; complex oak, chocolate, earth and berry aromas on the
bouquet are followed by a ripe, rich palate with luscious, sweet berry and chocolate flavours.
Up to you
Scotchmans Hill Chardonnay 1997 Rating: 86 Best drinking: 1999–2003 Price: $25 Drink with: sweet and
sour pork Background Estate-grown and produced. The usual barrel ferment and lees contact techniques are
used. Tasting note Medium yellow-green; the bouquet offers a curious mix of malt and hessian overtones to
the quite sweet fruit. The palate is soft, with a mix of peach, honey and fig fruit flavours.
Worth having
Cranswick Estate Autumn Gold Botrytis Semillon (375 ml) 1996 Rating: 87 Best drinking: 1999–2003 Price:
$20 Drink with: Orange cake and King Island cream Background One hundred per cent Botrytis Semillon
sourced from a single grower (Pat Zirilli) in Griffith, and given 12 months maturation in oak. Prior vintages
have been prolific show medal winners; a style which the Riverina seems to achieve with almost effortless
ease. Tasting note Deep golden yellow; complex cumquat and lime fruit aromas swell into a cumquat, apricot
and lime-flavoured palate, rescued from fatness by balanced acidity and subtle oak.
Off the beaten track
Vin Alto Retico 1996 Rating: 90 Best drinking: 2000–2010 Price: $89 Drink with: Italian-style calf's liver
Background A mix of the Italian and French varieties grown at Vin Alto (including nebbiolo, corvina, merlot
and cabernet franc) are picked at normal maturity and then placed in racks and baskets in a drying shed. Here
they are left for around two months, losing as much as 40 per cent of their water content as they progressively
dry out. In Valpolicello, botrytis-infection is considered desirable; whether it occurs at Vin Alto, I do not
know. The grapes are then crushed and fermented, and partway through the fermentation, the free-run juice is
taken to barrel where it completes fermentation and is matured. The tale from this point is taken up with
Ritorno. Tasting note Medium to full red, with just a hint of brick on the rim. The bouquet is clean and ripe,
with prune, earth and cigar box aromas. The flavours run through cigar, chocolate, earth, cherry and vanilla,
surrounded by soft, fine tannins. This is in every way a more than credible attempt at an Amarone-style wine.
Simply the best
Penfolds Bin 707 Cabernet Sauvignon 1996 Rating: 97 Best drinking: 2003–2016 Price: $80 Drink with: Rare
scotch fillet Background First made in 1964, with a hiatus between 1969 and 1976 as scarce supplies of
Cabernet Sauvignon were diverted to Bin 389. Now made from a blend of Coonawarra, Barossa and Eden
Valley grapes, vinified in a fashion similar to Grange, with the fermentation finished in American oak barrels.
The 94 vintage won three trophies at the 1997 Sydney Wine Show, including the Dr Gilbert Phillips Trophy
for Best Red Wine of the Show. Not made in 1995. The 96 is destined for greatness even in the ranks of Bin
707. Tasting note Full red-purple; concentrated, ripe, cassis and blackberry fruit leaps from the glass, with oak
present but trailing behind. The palate is as rich, ripe, succulent and concentrated as the bouquet suggests,
redolent with cassis, and long, lingering tannins.
Hot wines for an Australian summer - James Halliday
Someone once observed "It is the first duty of a wine to be red". I suspect it was an English wine writer, or not
someone used to an Australian summer on an Australian surf beach. For if the truth be known, the choice of
wine type and style — red or white, light-bodied or full-bodied — ought to be more influenced by where and
how the wine is to be consumed than the accompanying food. Just think for a moment about the difference
between standing on a patio at 11 am on a brilliant summer day and sitting by the fire on a cold, rainy winter's
night. Now it is true that one could argue the cause of sparkling wine for both situations, but not the same
style.
Lightly chilled Bollinger RD or Krug served in a fine, slender flute would be great by the fire, but over the top
on the summer's morning unless you are trying to make or score a point. No, what is needed is a fully chilled,
relatively young Australian sparkling wine, possibly — though not necessarily — a Blanc de Blancs style
made from Chardonnay.
The Domaine Chandon Blanc de Blancs is nigh on perfect, but even this may be a little too serious. After all,
wine should be fun, and the last thing you want is someone prattling on about the wonderful creamy, autolysed
yeast characters and arguing the merits of Croser, Jansz or whatever.
So the answer may well be Seaview Chardonnay Blanc de Blancs, a good wine which doesn't cost an arm and
a leg, or the even better Seaview Pinot Chardonnay, a little more structured and serious. The great virtue of
such wines is that they are dry, crisp and wholly refreshing: the flavour doesn't build up, and while they can
happily accompany food (of many kinds) they certainly don't demand it.
Much the same can be said of Riesling, which is my favourite summer table wine. By the time you read these
words, the majority of the vintage Rieslings will have made their way onto the market; four of the best have
already passed my lips: Petaluma, Grosset Polish Hill, Plantagenet and Howard Park, with more on the way,
judging by the evidence of those wines. It is no coincidence they happen to come from two regions — Western
Australia's Great Southern (sometimes called Mount Barker) and South Australia's Clare Valley, for these two
districts are Australia's best for this much under-rated variety. In its youth, Riesling bursts at the seams with
flowery, fragrant citrus (lime) and passionfruit aromas touched by a hint of spice; as it ages over a decade or
more (and heads more towards that winter fireplace) it softens and becomes progressively more toasty as the
acidity appears to diminish (it doesn't; it's an illusion, for acid levels remain constant).
But if you are beside the sea, or even more, beside seafood, it is difficult to go past Sauvignon Blanc. Here,
too, the emphasis should be on current vintage wines, and preferably unwooded. Here McLaren Vale is the
region to watch for, Shaw & Smith and Wirra Wirra being two of the most reliable names, and both of which
made delicious wines in. Good Sauvignon Blanc walks a finely balanced line between herbal (grassy)
characters on the one extreme, gooseberry in the middle, and tropical (passionfruit, pineapple) at the other
extreme. Veer too much to the left, and the impression is of acidic cats pee; veer too much to the right, and the
wine suffocates you with its cloying richness. In these surroundings, veer left rather than right. Semillon is the
third choice, once again unoaked by preference. Sauvignon Blanc cannot be surpassed as a match for shellfish
and crustacea, but what about fish and chips?
One standout answer is McWilliam's Elizabeth, a wine which I would be happy to drink anywhere, any time.
Another excellent drive-in bottle shop wine in a similar vein (although usually much younger) is Houghton
White Burgundy. They don't know how to miss with this wine. In every case, keep the wine as cool as
possible, and cooler than you would at the dining table. It may seem heretical, but I wouldn't hesitate to drop in
an ice block. On the subject of heresy, there is always the white wine cask and the bottle of soda water or
sparkling mineral water. Old fashioned heresy, perhaps, but spritzers (you can vary the proportions of wine
and water to suit) taste far better than you would imagine, are seriously thirst quenching, and leave you fit for
battle with the surf, a tennis ball or the wheel of a car. Which leaves the barbecued sausages without a friend.
The solution is not Pinot Noir (great summer wine though it is, it needs a more sympathetic surrounding) but
the new craze, Grenache. This produces voluptuously fruity, generous wine which has all the flavour you
could wish for, but which is very soft and low in tannin. You can gulp it down, but do watch out for the
alcohol — it can be lethal. Mitchell The Growers Grenache, Yalumba Bush Vine Grenache, d'Arenberg The
Custodian Grenache have all stood out in recent tastings, but there are more coming onto the market every day.
Yes, I have not mentioned Chardonnay. I don't subscribe to the view that it is passé; its just that you don't have
to have it three times a day, every day.
In addition to the wines for which full tasting notes are provided, I inevitably taste a large number of additional
wines which are either not of the same quality or of the same interest. For the sake of completeness, I list these
(and publish the points) under the heading 'Also tasted'. Typically, these will be wines which receive 80 points
or less, but there is no hard and fast rule about this. Lower-pointed wines that are inexpensive may well get
reviewed; conversely, more expensive wines that just scrape past 80 points may not be reviewed.
Vintage-Wine-Rating/100: James Halliday
1999 Blues Point Shiraz Cabernet 78
Allandale Verdelho
NV Banrock Station Semillon Chardonnay 76
Banrock Station Nappers Verdelho 79
Blue Pyrenees Estate Fiddlers Creek Semillon C
Blue Pyrenees Estate Chardonnay 81
Blue Pyrenees Estate Fiddlers Creek Shiraz Cabernet 79
Blue Pyrenees Estate CS Shir Mer CF 81
Coolangatta Estate Semillon C
1998 Cowra Estate Unwooded Chardonnay 79
1998 Cowra Estate Chardonnay 80
1997 Evans & Tate Redbrook Semillon 80
1998 Eyton-on-Yarra Chardonnay 80
1998 Hardys Nottage Hill Riesling 75
1999 Hardys Nottage Hill Chardonnay 70
1998 Hardys Nottage Hill Cabernet Shiraz 70
1996 Hardys (Padthaway) Stonehaven Limestone Coast Shiraz 80
1997 Hardys (Padthaway) Stonehaven Cabernet Merlot 82
1995 Houghton Show Reserve Semillon 79
1998 Lindemans (Karadoc) Bin 1999 Pinot Noir 81
1998 Little’s Winery Gewurztraminer 82
1998 Little’s Winery Reserve Semillon 78
1998 Little’s Winery Reserve Chardonnay 79
1998 Little’s Winery Reserve Shiraz 81
1999 Meadowbank Wines Sauvignon Blanc 82
1999 Meerea Park Sauvignon Blanc Semillon 80
1999 Meerea Park Lindsay Hill Verdelho 82
1998 Meerea Park Cabernet Merlot 83
1996 Redman Cabernet Merlot C
1997 Redman Cabernet Sauvignon 68
1999 Sandhurst Ridge Wood Matured Sauvignon Blanc 74
1999 Sandhurst Ridge Chardonnay 75
1998 Sandhurst Ridge Shiraz 79
1997 Sandhurst Ridge Cabernet Sauvignon 78
1996 Sandhurst Ridge Cabernet Sauvignon 76
1999 Tatachilla Adelaide Hills Sauvignon Blanc 79
1998 Tollana Eden Valley Chardonnay C
1998 Yandoit Hill Arneis 81
1998 Yarra Ridge Mt Tanglefoot King Valley Riesling 77
1998 Yarra Ridge Mt Tanglefoot Vic Mountain Country Pinot Noir 77
Please note: All wines are rated out of 100 points, corked wines are marked accordingly and have not been
rated. Copyright © 1999 HarperCollinsPublishers /
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 8, 12/4/00
Continued from last issue: A magazine recently ran a contest to collect great real life examples of
communication from managers to employees.
6. My sister passed away and her funeral was scheduled for Monday. When I told my Boss, he said she died so
that I would have to miss work on the busiest day of the year. He then asked if we could change her burial to
Friday. He said, "That would be better for me." (Shipping executive, FTD Florists)
7. "We know that communication is a problem, but the company is not going to discuss it with the employees."
(Switching supervisor, AT&T Long Lines Division)
8. We recently received a memo from senior management saying: "This is to inform you that a memo will be
issued today regarding the subject mentioned above." (Microsoft, Legal Affairs Division)
9. One day my Boss asked me to submit a status report to him concerning a project I was working on. I asked
him if tomorrow would be soon enough. He said "If I wanted it tomorrow, I would have waited until tomorrow
to ask for it!" (New business manager, Hallmark Greeting Cards.)
10. Speaking the Same Language: As director of communications I was asked to prepare a memo reviewing
our company's training programs and materials. In the body of the memo one of the sentences mentioned the
"pedagogical approach" used by one of the training manuals. The day after I routed the memo to the executive
committee, I was called into the HR director's office, and told that the executive vice president wanted me out
of the building by lunch. When I asked why, I was told that she wouldn't stand for "perverts" (paedophilia?)
working in her company. Finally he showed me her copy of the memo, with her demand that I be fired -- and
the word "pedagogical" circled in red. The HR manager was fairly reasonable, and once he looked the word up
in his dictionary, and made a copy of the definition to send back to her, he told me not to worry. He would take
care of it. Two days later a memo to the entire staff came out-- directing us that no words which could not be
found in the local Sunday newspaper could be used in company memos. A month later, I resigned. In
accordance with company policy, I created my resignation memo by pasting words together from the Sunday
paper. (Taco Bell Corporation)
11. This gem is the closing paragraph of a nationally-circulated memo from a large communications company:
"(Company name) is endeavorily determined to promote constant attention on current procedures of
transacting business focusing emphasis on innovative ways to better, if not supersede, the expectations of
quality!" (Lucent Technologies)
MUSIC:
The Jazz Cat (Bennetts Lane, Minor 6/4) was more Trojan Horse than feline; contracted for one performance
only in the smaller room, they packed the place out, and are likely to be invited for a season (maybe they
deserve a go in the larger room, especially given the group number). They are a very young 9 piece band, and
have played for a little time at Dizzy’s. The Jazz Cat was established partly through the efforts of Steve
Sedergreen, a part owner of Dizzy’s. Either they are a most sociable group of musos with many friends or else
they have impressed a good number of people in their earlier gigs. No matter that it was packed, the young
crowd were very appreciative of their performance, and it all felt pretty good. As was the case last week with
the VCA derived group NQR, perhaps their support was strongly represented by music students. In this case, it
was mainly from Collingwood TAFE rather than VCA. The lineup comprised Felix Riebl (percussion), Will
Hull-Brown (drums), Ryan Munroe (double bass), Ben Edgar (guitar), Ollie McGill (piano), Tarko Sibbel
(alto), Lachlan McLean (alto), Ross Irwin (trumpet), Eric Budd (valve and slide trombones).
A mixture of well known and original tunes were handled with aplomb. On Work Song, Ben played fusionstyle guitar, employing a Digitech processor with some restraint, and fortunately, without being too obtrusive
in tampering with the foot controls. Ross’ solo on Caravan was assured and spirited, in fact he impressed me
the most as a rising talent. There were originals from several members of the band, “Elmo” and “Gangsters”
being the only titles I was able to hear – but the tunes stood up well as vehicles for the band. With nine pieces
and a seemingly democratic approach to solos, there was plenty of variation. Interestingly, given the Steve
Sedergreen connection, they performed a couple of Sedergreen numbers – The New One (from Steve), and
Intersection (from Bob). Also apparent was a predilection for ensemble beginnings and endings in the manner
of Mal and Steve Sedergreen’s band Mistaken Identity.
The pianist Ollie seemed to mainly pursue the block chord style of playing for the most part – the piano
becoming a percussive rhythm support rather than a melodic contributor. The two altoists provided interesting
comparisons of style, and solos of varying complexity. It is unusual to have a percussionist as a band leader,
and to have the instruments in the frontline. It was a novelty that worked for the most part, apart from a couple
of excursions across the time that were made more obvious because of the full frontal location of the congas
and marimbas.
The band displayed a liking for African and funk rhythms, as do many these days even when playing numbers
not written in that style. I suppose jazz has always been a scavenger art, entangling this with that. It was a case
for me that the total effect was most enjoyable, one in which the whole was greater than the sum of the parts.
Not all the solos or comping or percussion were outstanding, yet sufficiently attractive to warrant optimism
about their future and a desire to catch them again.
l
BENNETTS LANE JAZZ CLUB APRIL 2000 PLAYLIST
** denotes Jazz Lab venue
Saturday 1st
9pm Michelle Nicole Quartet
12am Joe Chindamo Trio
$12 / $10
** Saturday 1st
Lily Dior Quartet
$15
Sunday 2nd
John Bell Quartet
$8 / $6
Monday 3rd
Allan Browne Band
$8 / $6
Tuesday 4th
Fiona Burnett Quartet
$8 / $6
Wednesday 5th
Christophe Genoux Quartet
$8 / $6
Thursday 6th
JazzCat
$8 / $6
** Thursday 6th
Christine Sullivan Project Band
$15
Friday 7th
9pm Martin Breeze Quartet
12pm Jex Saarelaht
$12 / $10
Saturday 8th
9pm Michelle Nicole Quartet
12am Joe Chindamo Trio
$12 / $10
Sunday 9th
Joe Chindamo Trio
$8 / $6
Monday 10th
Allan Browne Band
$8 / $6
Tuesday 11th
Tom Vincent Trio
$8 / $6
Wednesday 12th
Christophe Genoux Quartet
$8 / $6
Thursday 13th
Kadoonka
$8 / $6
** Thursday 13th
Katrine Madsen
$20
Friday 14th
9pm Martin Breeze Quartet
12pm Jex Saarelaht
$12 / $10
After 12
** Friday 14th
Katrine Madsen
$20 / $15
Saturday 15th
9pm Yvette Johanson Quartet
12am Joe Chindamo Trio
$12 / $10
** Saturday 15th
Doug DevRies 'Gypsy Swing
Quartet'
$15
Sunday 16th
Lisa Parrot Quartet (USA)
$8 / $6
Monday 17th
Allan Browne Band
$8 / $6
Tuesday 18th
Snuff Puppetts Big Band - Debut
$8 / $6
Wednesday 19th
Christophe Genoux Quartet
$8 / $6
Thursday 20th
Anton Delecca Quartet
$8 / $6
** Thursday 20th
Christine Sullivan Project Band
$15
Friday 21st
9pm Martin Breeze Quartet
12pm Jex Saarelaht
$12 / $10
Saturday 22nd
9pm Michelle Nicole Quartet
12pm Joe Chindamo Trio
$12 / $10
Sunday 23rd
Danny Fischer Quartet - Premiere
$8 / $6
Monday 24th
Allan Browne Band
$8 / $6
Tuesday 25th
Tony Hicks Quartet
$8 / $6
Wednesday 26th
Christophe Genoux Quartet
$8 / $6
Thursday 27th
Anton Delecca Quartet
$8 / $6
** Thursday 27th
Christine Sullivan Project Band
$15
Friday 28th
9pm Martin Breeze Quartet
12pm Jex Saarelaht
$12 / $10
After 12
** Friday 28th
Renee Geyer with Paul Grabowsky
Trio
$20
Saturday 29th
9pm Michelle Nicole Quartet
12am Joe Chindamo Trio
$12 / $10
** Saturday 29th
Renee Geyer with Paul Grabowsky
Trio
$20
Sunday 30th
Ted Vining Trio
$8 / $6
In Courtyard
** Denotes Jazz Lab Gig
Denotes Melbourne Jazz Co-op Gigs
OZCAT’s Guide
FRIDAY - APRIL 14th 9:00 PM: SWEET BASIL: City venue Moylans 384 Flinders Lane
My modern jazz band Sweet Basil is back with an exciting new line-up performing compositions by Coltrane,
Johnny Griffin, Benny Golson, Yussef Lateef, Antonio Carlos Jobim and others as well as originals. I have
selected a repertoire of amazing compositions, most of them you probably never heard before. These are the
songs I like the most and I'm sure you'll too. I've been buying jazz records since I was 12 years old (many
moons ago, believe me) and the songs from those LP's are really special to me... "My Girl Shirl", "Oscarlipso"
(Oscar Pettiford's great song), Benny Golson's "Step Lightly" and "Whisper Not", Yussef Lateef's "Yussef's
Mood", Walter Bolden's "Deep in the Hat" and many others ... We'll be also playing some Brazilian tunes and
a variety of rhythms which will make this concert a very special one !!
I've invited three outstanding jazz players to interpret those great compositions for you: David Rex (Sax) Steve
Sedergreen (Keyboards) Frank Di Sario (Bass).They are exceptional musicians who give all their heart & soul
to the music. And if you haven't heard these cats before, you don't know what you're missing.
SUNDAY
- APRIL 16th, 5:00 PM Jazz at the Front Bar (Parkview Hotel)
Jeff Hughes (Guitar) frank Di Sario (Bass) Carlos Ferreira (Drums) Admission Free
FRIDAY - April 28th 9:00 PM
DOUG DE VRIES FAREWELL CONCERT: City venue
As you probably know, talented guitarist Doug De Vries is travelling to Brazil in May, where he will study
Brazilian music with great masters, including Egberto Gismonti. OZCAT has organised
a special farewell concert for Doug !! He has invited several friends (Paul Williamson, Ruby Carter, Rodney
Waterman, Carlos Ferreira, Denis Close, AKASA and many more !!!) for a great night of World Music !!
Glow in the Dark Bubbly
<http://www.winestate.com.au//newsletter/images/glowing.jpg> If you haven't heard of bioluminescent bubbly
before, you will soon. Apparently, a Pennsylvanian company proposes to make a glow-in-the-dark fizz, just
what the doctor ordered for midnight feasts.
The chemistry relies on luminous genes and the reaction of two chemicals luciferin and luciferase. Both occur naturally in glow-worms and fireflies, compounds that can apparently be
genetically engineered, then cultivated on bacterial media.
Transfer to such useful everyday items as hair gel, cake icing – and beverages - is apparently easy.
More importantly, the technique is said to be useful to surgeons to highlight cancer cells, or to military
strategists to detect nerve gas. If only the widow Clicquot could get in on the act - we'd all be drinking orange
Champagne.
Excerpt taken from Mentelle Notes Newsletter. Further information can be found on
www.capementelle.com.au <http://www.capementelle.com.au>
or www.cloudybay.com.au <http://www.cloudybay.com.au> .
CLASSIC COONAWARRA'S!
1998 WETHERALL COONAWARRA CABERNET SAUVIGNON Region: Coonawarra, South Australia.
Wetherall is one of Coonawarra's best kept secrets - The family
have been growing grapes on Terra Rossa blocks in the heart of
Coonawarra for over 30 years. Winemaker, Michael Wetherall
oversees the viticulture of the family vineyards as well as
managing the vineyards for Penley Estate. The grapes are
mechanically spur pruned and harvested from dry land
vineyards yielding a low 3.5 tonnes per acre, thus creating
wines of great concentration of flavour.
This wine is an outstanding result for Wetherall after
having missed the beat with their 1997 Cabernet Sauvignon.
Deep crimson mauve colour. Aromas of cigar box, cedar,
blackcurrants and violets with a hint of vanilla oak at
the end. A very impressive start! The palate structure
is superb with great depth, length and complexity. Mouthfilling
flavours of plum, spice, liquorice and blackcurrants with
a definitive black pepper end palate. Perfect balance,
fine grained tannins with very long chocolate, plum and
liquorice aftertaste.
Cellar 8-10 years. $19.99 each or $234.00 per dozen
1997 WYNNS COONAWARRA ESTATE CABERNET SAUVIGNON Region: Coonawarra, South
Australia. This wine is produced from only the top 25 per cent of
Cabernet Sauvignon grapes harvested by Wynns and was
matured in a combination of new and used French and
American oak for 14 months. This is a classic Coonawarra
Cabernet and has become the contender for the crown
jewels of Wynns. Some commentators say it's even better
than John Riddoch and Michael. This is a curly debate
and one that will no doubt go on for years to come.
Winemaker Sue Hodder displays a refreshing degree of
modesty and maintains that the superb quality of her
wines are in fact attributed to the vineyard and the
growing season. The lady is right, but we might add she
has also a terrific wine making style, which has become
very much a part of the Wynns Coonawarra red range. Former
Wynns winemaker John Wade, just happened to call in during
the tasting session of these wines and firmly maintained
that the 1997 Black Label Cabernet was his top choice from
the current Wynns releases. The debate has well and truly
started and the only way you will come close to an answer
is to taste the wines for yourself... Opaque crimson colour. The nose is delightful but has a
trace of leafiness lurking in the background that the John
Riddoch does not have. This leafy character is well restrained
and not likely to over power the fruit; and from that
perspective we will give top points to the John Riddoch,
however, what follows through is indeed superlative. Aroma of
blackcurrant, cedar and spice with a hint of leafiness at the
very end. Superb palate structure, classic Wynns Cabernet
Sauvignon. Flavours of blackcurrant, chocolate and spice elegant, yet forceful. Near perfect balance with careful
use of toasted oak. Fine grained, yet firmish tannins, followed
by very long aftertaste. A REMARKABLE BUY AT THIS PRICE.
Cellar 10-12 years. $19.99 each or $239.88 per dozen
1998 WYNNS COONAWARRA ESTATE SHIRAZ Region: Coonawarra, South Australia. Australia is
indeed the lucky country - to produce wines
of this calibre and for so little dollars is indeed a
blessing. Deep crimson mauve colour. Aroma of spice, plum
and stewed fruit with a hint of blackberry and blackpepper. The
plum flavours which emerge on the palate are followed by
very distinctive spice and blackpepper flavours with the
blackpeppers being particularly accentuated on the back palate.
Fine grained tannins, followed by a blackpepper, plum and
spice aftertaste. Cellar 5-8 years. $12.99 each or $155.88 per dozen
1998 WATER WHEEL SHIRAZ - LAST CHANCE!
1998 WATER WHEEL SHIRAZ Region:
Bendigo, Victoria. Peter Cummings has religiously stuck to his pricing policy and
has yet again released an outstanding Central Victorian Shiraz
that is grossly undervalued when compared with similar quality
wines on the market.
$18-$25 per bottle seems to be the norm for reds with this
quality and flavour. Reds of this quality under $15 and particularly
from small Victorian winemakers, are increasingly hard to find.
The 1998 Water Wheel Shiraz is true to style and its release will
be eagerly awaited by many.
Fantastic opaque crimson purple colour.
Superb nose - Classic Water Wheel!
A wonderful kaleidoscope of
aromas that make this wine so appealing in its youth.
Aromas of
spice, vanilla, plum, blackpepper, liquorice and blackberry
herald a mouthfilling flavour experience.
Flavour plus - and
with perfect balance.
Liquorice, blackberry, plum and spice
flavours are present in great abundance.
Full bodied velvet
smooth texture - fine soft tannin structure and very long
liquorice blackpepper and spice aftertaste.
Cellar 5-8 years.
$14.99 each or $174.00 per dozen
PREMIUM RED WINES
1997 CHARLES CIMICKY SIGNATURE SHIRAZ Region: Barossa Valley, South
Australia. An outstanding full bodied Classic Barossa shiraz. Opaque
crimson purple colour. Delightful wood with lifted spice,
vanilla, liquorice, new leather and plum aromas with a
subtle mint endnote. Monumental mouthwatering palate
flavour. Rich with an abundance of ripe fruit flavours
that totally encase the mouth. Strong flavours of spice,
black pepper, plum, blackberry and liquorice, which runs
on well into the aftertaste. Fine grained, well balanced
tannin structure well supported by the fruit, with warm
back palate finish. Cellar 8 to 10 years. $32.99 each or $384.00 per dozen
1997 HENSCHKE KEYNETON ESTATE SHIRAZ CABERNET MALBEC Region: Eden Valley and
Barossa Valley, South Australia. An excellent example of the blend, which consists of 65%
Shiraz, 25% Cabernet and 10% Malbec. Deep brick red colour
with crimson overtones.
The nose is quite delightful with
an almost floral quality, producing aromas of blackcurrants,
spice, violets and a final earthy note. Medium body weight
with excellent palate structure for 5-8 years cellaring.
Flavours of plum, liquorice and spice followed by a peppery
back palate which is quite pronounced.
Long, lingering dry
tannin structure, excellent balance and finishing with a long
plum and blackpepper aftertaste.
$29.99 each or $348.00 per dozen
1998 CORIOLE SHIRAZ Region: McLaren Vale, South Australia. The 1998 McLaren vintage has been
compared to the great 1996
vintage and if this wine is an early indication of the quality
then 1998 will certainly be a contender for vintage of the decade! This is a classic McLaren Vale Shiraz with
at least a decade
of cellaring in front of it.
Magnificent opaque crimson
purple colour.
Delightful layered nose with aromas of
blackpepper, plum, spice, liquorice and crushed blackberry.
Big palate flavours. Solid construction.
Powerful long
lived flavour of blackpepper, plum and liquorice.
Very generous. Fine grained, quite firm, yet balanced
tannins which last into the aftertaste.
Long blackpepper,
plum and spice aftertaste. $22.99 each or $264.00 per dozen
1998 SALTRAM MAMRE BROOK CABERNET SAUVIGNON Region: Barossa Valley, South Australia.
Barossa and Shiraz are synonymous - and if you started to
believe that Cabernet was losing the flavour weight race,
this wine might just change your mind.
This wine has been
fermented in traditional 8 tonne open fermenters and matured
in new French oak for 12 months.
Opaque purple crimson colour - the sort of colour that brings
joy to the heart.
Impressive nose, with aroma of spice,
liquorice, blood plum and a chocolate end note.
Mouthfilling
firm dry tannin grip but in balance with the ripe plum, spice
and vanilla fruit.
Excellent balance followed by dark chocolate,
plum, spice and liquorice after taste.
Cellar for 10-12 years. $17.99 each or $213.00 per dozen.
1998 METALA SHIRAZ CABERNET Region: Langhorne Creek, South Australia. A very impressive wine
made from a blend of 75% Shiraz and
25% Cabernet which has been matured in French and American oak.
Opaque crimson purple colour.
Lifted nose with superb
aroma of spice, black pepper, crushed blackberries and
liquorice.
Solid palate - mouthfilling flavours of
liquorice, blackberry, black pepper and stewed fruits,
excellent depth and length of flavour, supported by
fine grained, perfectly balanced tannins and very long
liquorice, spice and plum aftertaste.
Cellar 8-10 years. $13.99 each or $167.88 per dozen
1997 PENFOLDS REDS RELEASED The 1997 Penfolds Reds as a group offer some very
consistent quality and value.
The wines remain true to
the Penfolds style with generous proportions of new American
and French oak.
Structurally, the wines are tighter than
the 1996's with finer, firmer and drier tannins and without
the voluptuous fruit palate flavours that were evident in
the 1996 wines. The wines will develop well over the medium
term, and offer excellent value.
1997 PENFOLDS BIN 389 CABERNET SHIRAZ Region:
Barossa Valley, Bordertown, Padthaway, Coonawarra
and McLaren Vale, South Australia. Made from a blend of 51% Cabernet Sauvignon and 49% Shiraz,
this wine was matured in a combination of new (24%) and
used (76%) American oak for 13 months. Very deep crimson colour, almost opaque. Classic Bin
389 nose, combining the elements of vanilla, oak, blackcurrant
and spice into a lifted, almost perfumed nose. On the palate,
the structure is tight, generous but not monumental. Flavours
of ripe plums and blackcurrant are interwoven with liquorice,
spring oak and reinforced by some fine tannins which tend to
linger very long into the aftertaste. Sweet plums, vanilla,
liquorice aftertaste. Cellar 8 to 10 years. $22.99 each or $275.88 per dozen
1997 PENFOLDS BIN 28 KALIMNA SHIRAZ Region: Barossa Valley & McLaren Vale, South Australia.
The wine was matured for twelve months in used American oak.
Deep crimson colour with mauve edges.
Excellent nose, a delightful
sniff, with aromas of vanillan oak, plum and spice. The palate
has good weight and depth of flavour, but not quite as
voluptuous as the 1996.
Spice, plum, liquorice and a
strong blackpepper flavour are well integrated and supported
by very persistent dry tannins which linger on.
Slightly
warm finish, with very long spice and blackpepper after
flavour.
Cellar 5-8 years. $16.99 each or $198.00 per dozen
1997 PENFOLDS BIN 128 COONAWARRA SHIRAZ Region: Coonawarra, South Australia. Made from
100% Coonawarra Shiraz the wine was matured for
12 months in a combination of new (22%) and used (78%)
French oak. Medium weight, lighter than the 1996 with
crimson brick red colour.
Aromas of vanilla, cedar,
spice and plum with an earthy end note.
The palate displays
the classic Bin 128 elegance with subtle oak integration
over plum, spice and mixed berry flavours.
Fine grained
firmish tannins, well balanced, followed by long cedar,
plum and spice aftertaste.
The dry tannin influences
persist. Cellar 5-8 years. $16.99 each or $198.00 per dozen
1997 PENFOLDS BIN 407 CABERNET SAUVIGNON
Region: Multi District South Australian Blend. The Penfolds Bin 407 is made in the mould of the Bin 707,
but in greater volume and at a more affordable price. The
wine was matured in a combination of American & French oak
hogsheads for a period of 13 months. Opaque brick red colour.
The nose displays some dusty
Cabernet aroma followed by notes of blackcurrant, confectionary
and vanilla.
The nose is relatively subtle compared with
the classic Bin 28 and 389 noses, but quite delightful
in its nuances.
As with the 1996 Bin 407, the tannins are
quite firm on this wine, and are a little dominant at this
stage, persisting long into the aftertaste.
On the palate
flavours of ripe plum and blackcurrant are evident and well
integrated with vanillin oak.
Warm slightly peppery finish.
Cellar 8-10 years. $18.99 each or $225.00 per dozen
1996 PENFOLDS ST. HENRI SHIRAZ Region: South Australia. St Henri is made in a style that is in distinct
contrast to
Grange and other Penfolds reds. It is matured in large 2000
litre oak casks which significantly reduces the impact of oak
flavour and emphasises the fruit. The fruit for this wine was
sourced predominantly from the Barossa Valley, McLaren Vale and
the Adelaide Hills regions. 1996 was an outstanding vintage and
this St. Henri is destined to become a classic. Deep crimson colour, with mauve edges.
Delightful earthy
plum spice aroma with overtones of confectionary.
The palate is restrained, elegant if you like, subtle fruit flavours
are woven together, plum, liquorice and leather.
Fine dry
tannins which tend to linger on finishing with a plum,
vanilla aftertaste.
Cellar 8-10 years. $39.99 each or $474.00 per dozen
1997 PENFOLDS OLD VINE SHIRAZ GRENACHE MOURVEDRE Region:
Barossa Valley, South Australia. Made from a blend of 36% Shiraz, 34% Grenache and 30% Mourvedre,
the wine was matured in used American and French oak for 15 months. Deep crimson, brick red colour.
Delightful nose,
almost perfumed with aromas of violets, vanilla,
raspberry and spice. Mouthfilling palate flavour with
liquorice, plum, spice and blackberry dominant, and a touch
of earthiness appearing on the back palate.
Fine grained
tannin, well balanced with warm spice, plum and vanilla
finish. An excellent blend, which can be enjoyed now or
cellared for 5-8 years. $17.99 each or $213.00 per dozen
TO ORDER ANY OF THE ABOVE WINES: - WEB SITE: http://www.nicks.com.au/
- EMAIL: nwm@mpx.com.au
- TOLL FREE PHONE: 1800 069 295 - FAX: 61 3 9848 4422
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 7, 3/4/00
MANAGERS
A magazine recently ran a contest to collect great real life examples of communication from managers to
employees.
1. As of tomorrow, employees will only be able to access the building using individual security cards. Pictures
will be taken next Wednesday and employees will receive their cards in two weeks. (This was the winning
quote from Fred Dales at Microsoft Corporation in Redmond, Washington.)
2. What I need is a list of specific unknown problems we will encounter. (Lykes Lines Shipping)
3. This project is so important we can't let things that are more important interfere with it.
(Advertising/Marketing manager, United Parcel Service)
4. My Boss spent the entire weekend retyping a 25-page proposal that only needed corrections. She claims the
disk I gave her was damaged and she couldn't edit it. The disk I gave her was write-protected. (CIO of Dell
Computers)
5. Quote from the Boss: "Teamwork is a lot of people doing what 'I' say." (Marketing executive, Citrix
Corporation)
The World of Live Music
The Apollo Bay Music Festival (24-26 March) - What a blast! 13 undercover venues all close together ranging from halls to pubs, huge tents, churches to cafes - hosted a fabulous musical smorgasbord of more than
250 performers in a wide range of categories. They were jazz/swing, folk, world, rock, country,
contemporary/acoustic, opera & theatre, reggae/groove/funk/soul, children's. Terrific organisation, glorious
weather, venues very close to the beach front, excellent sound systems, friendly crowds, and great music.
Since I didn't see you there, who did you miss?
R&B/BLUES/GOSPEL: Jeff Lang, Redliners, Shake Sugaree, Bert's Blues and Boogie Band, Steve Boyd and
the Preachers, " Miss Suzannah Espie and Big Boy Lemonade, Kerri Simpson
JAZZ / SWING
Fireworks Jazz Band, The Jet Big Band, James Sherlock Trio, Jasupa, Sarah-Jane and Phil Parvenue Duo, Paul
Williamson Hammond Combo, The Band Who Knew Too Much, Donut
FOLK
Seamus Begley & Jim Murray, Mongolian Fishmongers, Tiddas, Robin's Nest, The New Otway Ramblers,
Bushwazee, Cammomile Acoustic Music, The Ploughboys, Trouble In The Kitchen
WORLD
Warako Musica, Invention In Time, Adana, Funky Mamas, The Xylouris Ensemble, Vladimir Kocibelli And
Band, Fourplay, Howlin' Wind, Brunswick Women's Choir.
ROCK
Eddie Would Go, Surge, Whitewater and the Skeg Pistols, Deep Sea plaza, Salmon Guts, Litany.
COUNTRY
Andrew Clermont's Bluegrass Meltdown, Cyndi Boste, Bill & Audrey, Paul Wookey
CONTEMPORARY/ ACOUSTIC.
Neil Murray, Dan And Al, James Butt, Dave Steel, Tiffany Eckhardt, Stephen Cummings
OPERA & THEATRE
Co-Opera, Wolfgang Theatre Company, Song For A Siren, Wanders & Dreamers, T:Cartsba, Miwako Abe's
String Trio, Trio Grande, Nougat.
REGGAE/GROOVE/ FUNK/SOUL.
Polyester, DubbleDub, Dianna Kiss. Honky Trash
STREET/COMEDY
Festivfactory, Circus Monoxide, Mic Conway's National Junk Band
CHILDREN'S
The Magic Pirate, Purely Puppetry, Paul Williams And His Elastic Band, kidds for Kids,
And who did we see? Details were taken from the program guide, with personal reactions at the conclusion of
each description.
REDLINERS. This band is dedicated to original works influenced by the emergence of electric blues and R&B
of the 50's and 60's. Whilst their debut CD is steeped in the spontaneous sounds of "live" upbeat R&B, their
second release will find them tuned to a bluesy simplified sound. Musicians: Rod Paine (vocals/harmonica)
David Birtwell (guitars)
Tony Harwood (double bass)
Shane Antonie (drums).
To me they sounded like a fairly typical Aussie pub-blues band - leaning towards the rock end of the spectrum.
SHAKE SUGAREE. Specialists in early ragtime and country blues from the 20's, 30's and 40's, this toetapping, foot-stomping blues and blue-grass trio will enthrall you with their banjos, resonator guitar, fiddles
and "Huon Valley Humour". Hailing from that beautiful valley in Tasmania - they play "Buttongrass" music: a
distinctly Tasmanian musical genre. Musicians: Peter Hicks (vocal, guitar) Chris John (fiddle) Steve Gadd
(banjo, guitar). Only heard them from a distance, but sounded pretty authentic.
STEVE BOYD AND THE PREACHERS "A rare and magical combination of professional musicianship,
passionate emotions, profound lyrics and music to match" (Rhythms magazine). Led by acclaimed
singer/songwriter Steve Boyd, this band is soulful and rootsy, combining the raw musical elements of Blues,
Soul, and Country in their own unique blend. Musicians: Steve Boyd (vocals, guitar), Rory Boast (vocals,
bass), Garret Costigan (vocals, pedal, steel), Scotty Martin (vocals, drums), Glenn Goldsmith (vocals, lead
guitar), Paul Williamson (sax), Ben Gillespie (trombone).
Big production, big sound, some nice rhythms - the emphasis on soul wore a little thin for me, but the crowd
was very appreciative.
MISS SUZANNAH ESPIE and BIG BOY LEMONADE. They're young but already they're singing the blues.
Be uplifted by the best of juke joint cabaret with Miss Suzannah Espie singing and Big Boy Lemonade
slipping and sliding on the piano. Musicians: Suzannah Espie (vocals) Andrew Ogburn (piano).
Wonderfully entertaining duo - terrific rapport between the two. Honky-tonk and blues piano played with
pizazz - plenty of delicious solos. Suzannah has great charm and a wide ranging voice that is at times
reminiscent of Bonnie Raitt. Their class belies their youth and lack of experience.
KERRI SIMPSON smokey-voiced blues & gospel diva, Kerri Simpson is one of Australia's most respected
and versatile singers. With a 1999 Aria Award nomination and the release of her acclaimed album "Confessin'
The Blues", Kerri is firmly established as one of Melbourne's' blues treasures. Musicians: Kerri Simpson
(vocals) Dean Addison (double bass) Ron Tabuteau (guitars) Mark Giandeu (drums).
Former drummer Andy Swann took on piano duties, and played some rousing stuff in the great set Kerri
produced during the Sunday morning Gospel session. I've not before been impressed by Kerri, but her sheer
exuberance and fine band produced a very impressive performance - one that required some encores.
JAZZ / SWING
FIREWORKS JAZZ BAND. One of the most exciting classic jazz bands in the world today, the Fireworks
Jazz Band has performed overseas to critical acclaim on many occasions from Vanuatu to Sacremento, Europe,
Scandinavia and Japan. They play many different styles of jazz from Lu Watters to Benny Goodman, Charlie
Parker and even Louis Prima. Fronted by reed player Jo Stevenson, the band displays the highest level of
energy, integrity and musicianship. Musicians: Jo Stevenson (leader, clarinet, sax) Ian Smith (trumpet, vocals,
drums, washboard) Don Stewart (trumpet, trombone) Graham Coyle (piano) Mark Elton (bass, tuba) John
Withers (banjo, guitar) Andrew Swann (drums, vocals).
Andrew Fitzgibbon played as drummer, and the band sounded OK, although the replacement trumpeter, exdrummer Ian Smith, seemed to me rather ragged in his contributions.
THE JET BIG BAND. Big!! This 18-piece contemporary swing band was established in the early 70's.
Providing a taste of Kenton, Basie and Ellington, their style encompasses jazz, latin and rock with the rich
timbre and harmonies unique to the Big Band sound.
Terrific arrangements, and a huge, warm sound emanated from 4 trumpets, 4 trombones, 4 saxes.
Unfortunately, our position near the speaker tower ensured the electric bass muddied the sound rather
dramatically. Remember to get there earlier
JAMES SHERLOCK TRIO. Jazz guitar trio, led by James Sherlock, winner of the 1997 Ike Isaacs
International Jazz Guitar Award, present "a thrilling and restlessly inventive jazz vision". They have turned
heads at Wangaratta and Melbourne International Jazz Festivals, have released two CD's, and their magnificent
musicality can often be experienced at Bennetts Lane in Melbourne. Musicians: James Sherlock (guitar)
Howard Cairns (double bass) Tony Floyd (drums).
I've enjoyed James' tasty and somewhat quirky guitar style on several occasions, and this performance should
have made him some new admirers.
PAUL WILLIAMSON HAMMOND COMBO. Playing hard-swinging jazz with R&B fervour, this band takes
its lead from the Hammond organ combos popular in America in the 50's and 60's. They feature the organ as
the foundation stone, providing solid bass and accompaniment to the drums, guitar and saxophone. Laden with
groove! Musicians: Paul Williamson (saxophone, vocals) Tim Neal (Hammond Organ) Mike Jordan (drums).
Didn't get to hear the band because of the Sat night blackout.
THE BAND WHO KNEW TOO MUCH. Six acoustic instruments swing loosely over a frantic variety of
grooves. Ready to enjoy anywhere, anytime! Add a heap of local lyric to enrich the feast and you have a hit
menu that tends to boil over when heated with applause!! Great songs, great fun. You'll love them! Musicians:
Dave Evans (piano accordion, train whistle, vocals) Andy Reid (clarinet, washboard, vocals) Matt Earl (drums,
percussion, vocals) Ben Gillespie (trombone, ukelele, vocals) Shannon Birchall (double bass, violin, vocals)
Craig Fermanis (guitar, banjo, vocals).
Terrific manic and maniacal performance completely wowed the crowd with a range of numbers from within,
and by The Squirrel Nut Zippers, and Louden Wainwright. Talented and irreverent, studiously casual - there is
much of The Hoodangers in this group, including two of its members. Wonderful bluesy accordion helps
provide the group with a signature sound.
DONUT. Since its inception three years ago, Donut has taken the essence of the classic 60's post bop sextet
and shaped it into a sound that belongs clearly to the present day. Performing regularly over the last two years
at Bennetts Lane has allowed Donut to evolve into one of Melbourne's most exciting and respected young
ensembles; balancing a repertoire of intensity and subtlety in classic and original material. Musicians: Eugene
Ball (trumpet) Jordon Murray (trombone) Ian Whitehurst (tenor, saxophone), Colin Hopkins (piano) Matt
Clohesy (double bass) Dave Beck (drums).
Very classy performance - the ensemble work was polished without being staid or predictable, while the solos
gave plenty of room for exploration. I particularly enjoyed Colin Hopkins' piano work.
FOLK
FUNKY MAMAS. These five vibrant women won Apollo Bay Music Festival's 1999 busking award. They
play original rhythms inspired by African and Middle Eastern music - percussion both ambient and passionate.
Using everything from djembes to bongos to rainsticks, Funky Mamas' flow and positive energy will get you
moving!! Musicians: Robyn Rowland Maree Watson Jenny King Sally Westbury Kim Holyoake.
And get me moving they did - right out of the place.
I may have been the only audience member wearing a deodorant, and the rhythms failed to excite me - though
the New Agers seemed to find it suitably spiritual.
VLADIMIR KOCIBELLI and BAND. A sensational hit at last year's Apollo Bay Festival with many standing
ovations, violinist Vladimir and his quartet return by popular demand. Tight and compelling band dynamics
combined with intoxicating Gypsy rhythms and melodies from Hungary, Romania and Albania make
Vladimir's music something very special and not to be missed.
I only heard this from outside, but it sounded terrific. Maybe next year?
BRUNSWICK WOMEN'S CHOIR. A feisty bunch of women from Melbourne's inner Brunswick perform an
inspiring collection of songs which reflect women's experience, local cultural diversity, and world music.
A'capella from Greece, Italy, the Middle East, Russia, Turkey, Scotland, North America, Finland *Joy!!
I heard only a couple of numbers during the Gospel session, but the arrangements were interesting and they
produced some attractive harmonies.
NOUGAT. Having performed as a classical guitar and mandolin duo since 1997, Nougat specialise in
delivering music with Spanish/ South American flavours. Their repertoire ranges from lively, exciting songs to
lyrical, moving melodies - all sweet and a little unusual! Musicians: Bernado O. Soler (guitar) Ruth Roshan
(mandolin).
The first band we sampled on Friday night - intricate playing - but we sought a more exciting sound to begin
the festival. I should have had another listen on Sunday - the day for reflection.
REGGAE/GROOVE/ FUNK/SOUL.
POLYESTER. Funky! Polyester is a 10-piece originals band whose sound melds jazz harmony, syncopated
rhythms and infectious grooves. By combining this with virtuostic improvised solos, a brass section and the
soulful voice of Kylie Auldist, Polyester have created a unique dynamic sound on the Melbourne music scene.
Musicians: Kylie Auldist (vocals) Simon Grey (keyboards) Jordan Murray (trombone) Greg Spence (trumpet)
Christian Silva (percussion) Lance Ferguson (guitar) Gavin Pearce (bass) Marcus Ryan (drums) Damon Grant
(saxophone) Tracey Kingman (vocals).
A few minutes of Polyester and it was time for the Kleenex - not because of emotional overload, but the mix
was offensively bass emphasised. This time we were not near a speaker tower, but the sound was cranked up
so loud that another 50 metres was needed for comfortable listening. I found such a spot - on the beach where
the surf sound added immeasurably to Polyester's funk-soul offerings.
DUBBLE DUB are a jazz, pop, reggae hybrid. All original songs - debut CD out early next year. Musicians:
Jeff Raglus (vocals, elec guitar, trumpet) James Sherlock (amplified acoustic guitar) Andy Price (bass) Nicky
Bomba (vocals, drums).
This band sure got the hordes up and dancing. A quirky blend of numbers with a strong emphasis on
irresistible rhythms. Most enjoyable, and James casual killer guitar solos created appreciative Whoo Whoo's
from the audience.
DIANNA KISS. A band comprising some of Australia's finest contemporary instrumentalists - largely from
the jazz field, Dianna Kiss have a continuing 11 year residency at St. Kilda's Espy Hotel playing their unique
blend of reggae, groove, country and blues. All members are involved in other projects but love and respect
each others' unique abilities so much that they just keep on playing together! Don't miss these alchemists in
action. Musicians: Ross Hannaford (vocals, guitar) Jex Saaralaht (hammond organ, backing vocals) Russell
Smith (clarinet, keyboard, trombone, cornet, vocals) Stuart Speed (bass, vocals) Peter Jones (drums, vocals)
Ray Periera (percussion).
Unfortunately we didn't get to see them this time, but must go again soon to Mayfields on a Tuesday night.
HONKY TRASH*play an uplifting mix of joyous dance tunes from around the world, vibrant high energy
music that will lift your soul and move your feet. The Honkies are mobile, infectious and totally funky - music
that's alive, energised and street wise. Musicians: David Joseph (snake drum) T.V. Jones (bass drum, vocals)
Martha Baartz (alto sax) Kynan Robinson (trombone) David Kelly (baritone sax).
Enthusiastic and talented street band with an engaging manner and unusual structure. The music is varied some Eastern European themes - sort of klezmer meets funk. Great fun!
MIC CONWAY'S NATIONAL JUNK BAND*contemporary junk band music with attitude. Their songs are
full of humour and a sense of the bizarre! Juggling, tap dancing, fire eating and mad-cap sounds and
performance with everything even the kitchen sink. Musicians: Mic Conway (vocals, magic, fire, illusion, tap
dancing, juggling, ukulele, guitar, silly noise) Jeremy Cook (garbage bin, kitchen sink, percussion) Cazzbo
Johns (marching tuba, scusaphone (jug), elec bass) and sheer delight: see them!
Phil Donnison (national steel guitar, hawaiian guitars, ukulele)
Marcus Holden (fiddle, phonofiddle, mandulin) Ruth Roberts (tapdancing).
Mad Mic, a throwback from an earlier generation, a Vaudevillean perhaps? Enormous fun to watch their crazy
performance. Behind the antics, however, there is a solid foundation of musicianship.
Final Evaluation? Book now for next year - get a motel or house within walking distance. A wonderful
weekend, despite the Saturday night power failure apparently caused by some disgruntled loggers chainsawing
some power poles. See you there in 2001, BYO generator..
After writing in the last issue about my being mightily impressed by David Jones' drumming, I came across a
group of comments from others about him.
"It is rare in the percussion industry to meet someone whose personality and artistic talent are equaled ... at the
highest standard. David is entertaining, powerful, articulate, creative, positive, dedicated, humorous, humble,
explosive, sensitive, serene. He contributes highly to Art and Humanity. Musically, always expect the
unexpected! All this embodied in the person and artist of David Jones." Dom Famularo, USA/International
Drum Clinician and Education Director, 1997
"David Jones ... is an object lesson for all. He plays with amazing facility from a totally relaxed attitude of
mind and body. Australia has never produced a finer musician in my opinion." Don Burrows, (Australia's jazz
luminary) - the First 50 Years Album, 1995
"David Jones is unique and marvellous." Jim Chapin, author of "Advanced Techniques for the Modern
Drummer". 1997
"At Montreux, David Jones displayed all the qualities one associates with Humair and Favre: total control, wit
and humour, full dynamic range from heavy and loud to gentle and subtle, swing, showmanship, drive and
power - and a few other things derived from his rock background which Humair and Favre do not possess.
With sharply attentive ears, Jones was alive to every new situation as it arose. Always smiling ... David Jones
was without doubt one of the most interesting drummers to be found in Europe this summer." Niranjan
Jhaveri, Montreux Concert Review, Spring 83
"... we have the makings of one of the greatest drummers the world is ever going to see. David Jones ... is
possibly the finest drummer I've ever heard." Will Dower, Modern Drummer, August 1984
"... innovative, borderless ... progressive music in its most thoroughly organic state, an aural vacation you will
never forget." Anil Prasad, i/e Magazine, June 94
"I think he is taking drumming to another level. What he has done with his concept of time and being able to
feel perfectly ... five over two or this over that ... it's not just check out this polyrhythm, it's the music is written
with polyrhythms in mind. He was astounding today." [Koblenz Drummers Meeting, March 96] Rod
Morgenstein, USA drum legend, Drum Scene, April 96
"A performance by Jones is as remarkable visually as aurally. He looks as natural, as right, playing the drums,
as Miles Davis did playing his horn, or as Luciano Pavarotti does singing. The sticks move in fluid circular
motions, striking glancing blows on cymbals and drums, drawing out the warmest resonances." John Shand,
Australasian Jazz and Blues Magazine, March 95
"David Jones is one of those technically exceptional drummers." David Lands, Jazz Journal, UK Feb 95
"... a prodigious wall of sound embracing an uncanny sense of space and time." Joya Jensen, Soundscapes,
March 94
[Dom Famularo's performance]"... included a duet with David Jones that was one of those once-in-a-lifetime
magic moments." Paul Matcott, Drum Scene, July 96
"The level of virtuosity ... lies in that layer of the stratosphere called 'unbelievable'." Gail Brennan, Sydney
Morning Herald, July 92
"... extended drum solo was another tour de force of musicality, clowning and full-frontal virtuosity. His
staggering facility was also employed to subtle and beautiful effect on the gentle numbers, showing that
implying ideas is as much a part of his armoury as beating them into submission." John Shand, Sydney
Morning Herald, July 96
"... the supreme percussionist in ideas and execution." Jim McLeod, 24 Hours Magazine, April 97
Back to Melbourne, and a serendipitous event at Bennetts Lane, 29/3. I had wondered for a couple of weeks
who were the Wed night band, NQR, and what did the acronym mean? There are relatively few acronymic
bands in jazz, though plenty in rock music. The MJQ spring to mind though that was a latet contraction of
Modern Jazz Quartet rather than the band's original title. "Not Quite Right" is a rather self-effacing title for a
group of young VCA musicians. Perhaps they plan the title to evolve - soon to mean "Nearly Quite Right",
then, "Normally Quite Right", and eventually, "Naturally Quite Right". In that case, they are well on the way,
for the group produced a couple of most enjoyable and varied sets. The musicians are: Chris Bieniek (Gibson
semi-acoustic
guitar), Kit Riley (5 string electric bass), Nick Karesevides (drums), Danny Healy (alto and tenor saxes). They
were joined very capably by Luke Howard (piano) and Christin Deralas (vocals) on several numbers.
The sets comprised originals from several of the band - titles such as Mahjong, Solid Ground, and BusStealing Speed Freak, and tunes by others Blue Green (Miles Davis), an unnamed but John Scofield-type
number, the standard You Don't Know What Love Is, and several more whose names were either unannounced
or unheard when announced during the applause. They even tackled a Bach fugue (Minor Key?) with skill and
sensitivity. I read that there is a renewed interest in Bach among the musical community - was it really thirty
years ago that a number of jazz musos purloined his music for a while?
A good crowd was in, many of them from the VCA, and they supported their colleagues enthusiastically. And
well deserved the applause was too. After a relatively low-key beginning they warmed to their task, and I
thought they were terrific - the guitarist was particularly comfortable and competent, often matching for speed
the sax runs during ensemble playing. I don't recall him playing one chord for the evening which surprised me,
but he seemed a pretty complete picker and his comping support was excellent.
The bassist tended to use his instrument as if it were a baritone guitar, some very dexterous guitar-like solos
adding interest to his rhythm-keeping role. I thought initially that Danny was more comfortable on alto, but as
the evening progressed he produced some lovely tenor solos. On Blue Green, a most impassioned solo evoked
the audience's admiration, and a shimmering, breathy Ben Webster-like conclusion was much appreciated.
Luke sat in and added a new dimension to the band. I've seen him before, only briefly, with Christine
Sullivan's Project Band, and he impressed as a supportive and expressive (both visually and musically) player.
The singer, Christin, surprised me with her confidence, her sureness of tempo and pitch, and her command of
phrasing on "You Don't Know What Love Is". I can see her doing very well in the jazz singing scene in
Melbourne.
Overall, a most satisfying performance - a credit to the young players and also to the VCA. Don't miss them
when next they find a spot.
UPCOMING EVENTS AT OZCAT:
SATURDAY April 1st 9:00pm - The Vocals Series
PENNY DYER QUARTET - Penny Dyer - Vocals, Colin Hopkins - Keyboards, Craig Newman - Bass, Jerry
Pantazis - Drums. Moylans, 384 Flinders Lane, Melbourne. Bookings: 9629 1030
SUNDAY APRIL 2nd - 9:00pm
LILY DIOR QUARTET (From Sydney) - The Vocals Series. Lily Dior (Sydney) - Vocals, Gerard Masters
(Sydney) - Keyboards, Phillip Rex - Bass, Nick McBride (Sydney) - Drums. OZCAT at The Parkview, Cnr.
Scotchmer St. & St. Georges Rd., Nth Fitzroy, Bookings: 9489 8811
Next FRIDAY (APRIL 7TH) - 9:00 PM
Rodney Waterman - Recorder, Doug De Vries - Guitar & Cavaquinho
Moylans, 384 Flinders Lane, Melbourne. Bookings: 9629 1030
DAVID REX QUARTET Talented saxophonist David Rex will perform with his new quartet on Thursdays,
9:00 PM starting on April 20th. Moylans, 384 Flinders Lane, Melbourne. Bookings: 9629 1030
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 6, 24/3/00
QQ WHO LACKS INTELLIGENCE AT&T fired President John Walter after nine months saying he lacked
intellectual leadership. He received a $26 million severance package. Perhaps it's not Walter who's lacking
intelligence.
---------------------------------------------------WITH A LITTLE HELP FROM OUR FRIENDS! Police in Oakland, California spent two hours attempting to
subdue a gunman who had barricaded himself inside his home. After firing ten tear-gas canisters, officers
discovered that the man was standing beside them, shouting out "give yourself up."
---------------------------------------------------WHAT WAS PLAN B??? An Illinois man, pretending to have a gun, kidnapped a motorist and forced him to
drive to two different automated teller machines. The kidnapper then proceeded to withdraw money from his
own bank account.
---------------------------------------------------SOME DAYS, IT JUST DOESN'T PAY! Fire investigators on Maui have determined the cause of a blaze that
destroyed a $127,000 home last month- a short in the homeowner's newly installed fire prevention alarm
system. "This is even worse than last year," said the distraught homeowner, "when someone broke in and stole
my new security system..."
---------------------------------------------------DO-IT-YOURSELF BRAIN SURGERY?? In Ohio, an unidentified man in his late twenties walked into a
police station with a 9-inch wire protruding from his forehead and calmly asked officers to give him an X-ray
to help him find his brain, which he claimed had been stolen. Police were shocked to learn that the man had
drilled a 6-inch deep hole in his skull with a Black & Decker power drill and had stuck the wire in to try and
find the missing brain
. --------------------------------------------------DID I SAY THAT??? Police in Los Angeles had good luck with a robbery suspect who just couldn't control
himself during a lineup. When detectives asked each man in the lineup to repeat the words, "Give me all your
money or I'll shoot", the man shouted, "That's not what I said!"
--------------------------------------------------ARE WE COMMUNICATING?? A man spoke frantically into the phone, "My wife is pregnant and her
contractions are only two minutes apart!" "Is this her first child?" The doctor asked. "No, you idiot!" The man
shouted, "This is her husband!"
At Bennetts Minor (21/3), a large crowd (worthy of re-siting the gig to the larger room) Tree (David
Jones, drums; Kevin Hunt, synthesiser, grand piano, Yamaha DX7 keyboards; Steven Hunter, electric
bass) made one of their infrequent forays from Sydney. They have been a unit for some years and are
known for their individual expertise and for their preparedness to explore the outer regions of jazz. I
tend to go a bit twitchy when I hear the term free jazz (denoting the casting aside of convention, perhaps
eschewing melody entirely) as I’ve sat through some pretty turgid stuff under that description from time
to time. I’ve always been impressed by expat NZ pianist, Mike Nock’s comments – “Freedom is bullshit,
discipline is the thing that teaches you how to grow. It’s learning how to be free within very strongly
defined limits” (The Age, 30/8/1995).
Given the reputations of these musicians, however, I felt reasonably comfortable venturing beyond the
bebop playpen. As it eventuated my concerns were unnecessary – this group is quite eclectic in their
choice of musical styles – their mostly original sets including salsa, bebop, free improvisation, and even a
ballad. All members contributed to the writing, and the enjoyment they felt at playing together was
readily evident. I suppose when a band regularly and intentionally wanders off without a predetermined
musical direction (and the band continues to remain together), then a strong trust and respect for each
other must eventuate.
David Jones is a simply extraordinary drummer – a mild mannered Clark Kent who plays like
Kryptonite does not exist. His cherubic and continuous smile belies the brilliance and, at times, ferocity
of his attack. Blindingly fast and breathtakingly inventive, he dominated the sound in the small room.
His kit is probably unsuited to such a small venue, being very powerful in its sound – the bass drum, for
example, has a huge volume and thus the effect of its thud is palpable. It is, however, a beautiful
sounding kit, with a wide array of cymbals and some bells, implements that are not placed there for
visual effect. So entrancing is his playing that it is tempting to focus all attention on his performance, as
though he were providing melody rather than rhythm. Still, was it John Lee Hooker who said “He who
controls rhythm, controls”? David is capable of delicacy with brushes, and also of sustained power
drumming, often at multiples of the other members’ tempo – yet he doesn’t sweat, the smile merely
widens as if it is all without effort. I was only one of the many audience members shaking their heads in
wonder, with mouths agape.
David’s cohorts are also superb, but can be overlooked in the wash-up. Steven Hunter set out some
terrific bass riffs, and his solos reminded me of Stanley Clarke in their guitar-like melodies-in-rhythm.
The combination of the drums and amplified bass overshadowed the various keyboards in the first set,
though in the second, Kevin intermixed the instruments to good (and more balanced) effect.
Overall, I thought it an inspirational performance, yet at the same time felt that the sheer weight of
talent overwhelmed the music to some extent. Either way, I’ll be there when they next tour.
OZCAT is a relatively new jazz club with two venues. Information about them is at:
http://www.ozemail.com.au/~melsamba/ozcat.htm from which the following was extracted.
OZCAT at Moylans, 384 Flinders Lane, Melbourne Phone: 9629 1030
OZCAT at The Parkview,
Cnr. Scotchmer St. & St. Georges Rd.
Nth Fitzroy
Bookings: 9489 8811 General Seating Allocation: $12
Parkview Combo: $35 Dinner & show (Bookings Essential)
THURSDAY
- MARCH 23rd, 9:00 PM
DAVID JONES' "TREE" - OZCAT at The Parkview
FRIDAY
- MARCH 24th, 9:00 PM
RUFUS STONE - OZCAT at The Parkview
SATURDAY - MARCH 25th, 9:00 PM - OZCAT AT MOYLANS
JULIE O'HARA, BOB SEDERGREEN & FRIENDS - The Vocals Series
SUNDAY
- MARCH 19th, 5:00 PM
Jazz at the Front Bar (Parkview Hotel)ANDREA KELLER (Keyboards), NICK HAYWOOD (Bass),
CARLOS FERREIRA (Drums)
THURSDAY March 23th 9:00pm ********* "TREE" **********
DAVID JONES – Drums (James Morrisson, John Williams,etc...), STEVE HUNTER (Sydney) - Electric Bass
(Chick Corea, Billy Cobham, Mark Isham, DIG), KEVIN HUNT (Sydney) – Keyboards (99' Jazz Performer of
the Year (Mo Award), Don Burrows, JS bach Trio, Monica Trapaga)
"No one uses the term "supergroup" these days, but it suits Sydney trio TREE."
Australian Financial Review
"This is brilliant" Rolling Stone Magazine
See David Jones' bio at: http://www.ozemail.com.au/~melsamba/biodavidj.htm
FRIDAY March 24th 9:00pm RUFUS STONE
Rufus Stone is a new band in Melbourne led by guitarist and composer Dan Nilsson. A native of Melbourne
and graduate of the VCA jazz program, Nilsson lived in New York from 1992-1999 where he led his own
groups, recorded three albums of original music and performed at venues such as The Knitting Factory, The
Jazz Standard and the 55 Bar. He has also performed his music at festivals in the USA, Canada and Australia.
While abroad, Dan studied with jazz greats John Abercrombie, Kenny Werner, Billy Hart and others.
Rufus Stone plays instrumental music, which draws on the jazz tradition. Nilsson’s songs typically feature
singable melodies, lush harmonies and driving rhythms. The songs in turn create a framework for improvised
solos highlighting the talents of each band member. The other members of Rufus Stone are among
Melbourne’s finest young improvising musicians - Luke Howard
(piano/synthesiser), Chris Hale (electric bass) and Adam King (drums).
SATURDAY March 25th 9:00pm - The Vocals Series JULIE O'HARA, BOB SEDERGREEN & FRIENDS
Julie O’Hara, one of Melbourne’s finest jazz singers,performs with honesty and originality, using her voice
as another instrument. Julie has performed locally and internationally for over ten years. Although from a
jazz background, Julie has performed music from various styles including Brazilian, R&B, Blues, Gospel and
contemporary. Her tone is warm, husky and playful as she invites the audience to have as good a time
as she is having!! Julie will be accompanied by BOB SEDERGREEN, one of Australia's finest pianist. BOB is
a great musician with a great sense of humor and fantastic personality. See Bob's bio
at:http://www.ozemail.com.au/~melsamba/biobobs.htm
The other two friends are German bassist Herman Schwaiger and American drummer Edward York.
a) CHRISTINE SULLIVAN's performance was just awesome. And what great musicians she had on her
band!!!
b) The lighting changes I did at Moylans's main room really worked. The room is now even more intimate and
comfy... It's just a great room for music appreciation...
c) The 5-star food and service at Moylans made the night out atOZCAT a fantastic experience ... In other
words: Moylans proved to be the right venue for the OZCAT concept, with its confortable rooms where music
lovers can enjoy fine dining in a relaxed atmosphere in the surrounds of period furniture and Melbourne
memorabilia. What a great venue!!!
We mentioned fashion a few weeks ago, the other white variety that is a “fashion statement plus” right now is
Pinot Gris.
Pinot Gris is the French grape variety that is also known as Pinot Grigio in Italy.
In Italy it is often picked early and produces wines of high acidity and low aroma.
In Germany and Austria it can be called a range of names of which the most common is Rulander.
Further East it can be seen too but it’s home is in Alasce.
Still planted in lower volumes than Riesling and Gewurtztraminer, here the wine produced from it is called
Tokay.
These Tokay’s are in my experience great food wines.
Pinot Gris impact in Australia has been minimal.
That said, it is a popular wine variety now and more Pinot Gris is being planted.
Some Australian wines are labelled Pinot Gris and some are labelled Pinot Grigio, although confusingly this
does not mean the wines are more Alsatian or Italian in style.
The best Antipoaedean Pinot Gris I have come across is from New Zealand rather than Australia.
The Nevis Bluff from the central South Island region of Otago.
With an intense nose of a whole orchard of fruit, it is a wine that is very striking!
The intensity carries through to the palate with flavours that are anything but subtle; citrus and passionfruit.
Excellent clean crisp acid finish.
An excellent wine.
If you’d like some let Luke at Liquorlink know as soon as possible as we are limited in the amount we can
bring in from New Zealand and will be attempting to get some of the 1999 across soon.
While not having figures to support this claim, I feel New Zealand is producing more wine from this variety
and at least more quality wine.
The Australian offerings are all over the place.
Some are good or even great – others are average – I fear none are producing wines consistently but most of
these wines are still too new to have “track records” anyway. Maybe the marginal cool climates these wines
are grown is has something to do with this consistency or it might be just the young vines.
The only exception to that rule must be the idiosyncratic T’Gallant.
Kathleen Quealy has a passion for this variety and seems set to remain the varieties champion through her (and
her husband Kevin McCarthy) wonderful Mornington Peninsula wines.
Here the Pinot Grigio is [true to name] more Italian in style – bone dry with flinty mineral notes.
These are not light little wines.
With a searing intensity they come out of the glass at you.
The alcohol weighs I at a solid 14 – 14.5%. The intense and fragrant nose is followed by a palate of great
power and length.
I have found three versions from the most recent vintage but realistically there are regular changes in labels
and names.
Look for the Triumph, Tribute (both labelled Pinot Gris) and their Pinot Grigio.
They also have a blended wine (Pinot Gris with Chardonnay) that I am not as excited about.
Where else do you look for a good wine from this variety?
Try the Tasmanian Iron Pot Bay Pinot Grigio – much more subdued than the T’Gallants but a good wine none
the less.
Or the Mount Langhi Ghiran Pinot Grigio – great fruit weight and a lovely nose.
More widely available will be wines like the Seppelts Drumborg pinot Gris or Seppelts Mornington Peninsula
Pinot Gris – both with cool climate spice and minerally hints, aromatic citrus nose and high acidity that makes
them excellent food wines.
Of course it is possible to get good Alsatian Tokay [Pinot Gris grapes] at reasonable prices in Australia.
Buy some French wine to contrast with the local wines and see how well we are doing.
Cheers Vince <mailto:vince@liquorlink.com.au>
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 5, 17/3/00
The Jamie Oehlers Quartet (Bennetts Minor, Thur 9/2) comprises tenor player - Jamie, pianist – Mark
Fitzgibbon, bassist – Matt Clohessy, and drummer, Danny Fischer. Jamie has only recently arrived from Perth,
and has been a busy boy - having also assembled a septet (adding trumpet, trombone and alto sax) –only he
and Mark appearing in both settings. Very comfortable with bebop numbers, Jamie was a pleasure to hear. His
explorations are not cliched and his solos not repetitive. He obviously enjoys including time changes to keep
everyone on their toes, and the classy rhythm section he has adopted show the sort of smooth anticipation and
teamwork one has come to expect of them. Despite the Quartet’s thus far relatively brief liaison, there was a
seamlessness to the music emanating from them that augurs well as they become even more attuned to each
other’s style and technique. I have long been a fan of Mark’s awesome, yet casual – almost insouciant, manner
at the piano. His solos invariably display many ideas, and he switches from one idea to another so smoothly
and easily that he achieves that criterion of true artistry – the capacity to make the complex appear simple.
As he has increasingly shown over the last year or two, Danny is keen to develop in many areas as a drummer.
While capable of sustained pyrotechniques - displays of power and speed, he is now likely to be noticed for
delicacy of touch and rhythms that support or provoke the band’s direction. While I particularly enjoy his
brushwork, Danny varies the choice of drumming implements frequently during a number, and with good
purpose. Matt, too, is a listener and a reliable time chartist. He captures and enhances the mood of the
numbers, and his solos make it difficult to know when to head for the toilet (sorry, bass joke). The numbers
chosen reflect the bebop interest – John Coltrane’s Mr Day, Wise One; Joe Henderson’s Inner Urge, Y Todaya
La Quiro; Wayne Shorter’s Deluge, Yes and No; Thelonious Monk’s Mysterioso. An original of Jamie’s Saturday Night in Central Park was also a number I enjoyed - a terrific vehicle for some articulate tenor solos
and some of Mark’s skittering fingerwork on piano.
The Peter Petrucci Trio (Tony Floyd, drums, Nick Hayward, bass) at Manchester Lane (16/3) provided a
welcome wind-down after the stress of watching the Bombers cream the Tigers at the G. I’ve not before seen
Peter, though Tony is in demand in various groups as a thoughtful touch player. Nick is best known for his
estimable and enduring liaison as part of the Browne, Haywood, Stevens Trio who have dominated Mondays
at Bennetts Lane for quite some time. Peter played an old 1980 Ibanez semi-acoustic guitar with some signal
processing effects, mild reverb being the most evident, to fill out the sound. This processing was not extreme
and the tone he produced was refined and pleasing. Peter’s playing was very tasteful and composed, on the
cool side –mostly using a pick. He played relatively few chords, mainly single notes in attractive runs across
themes derived from standards in most cases. There was plenty of room to stretch out for the band, and some
neatly supportive rhythm work from Nick and Tony was supplemented by well constructed solos. I haven’t
seen Nick very often but have always thought of him as a very musical bassist, rather than as solely a
rhythmicist – and I enjoyed his playing this time too. Room enough to stretch out for the audience of me and
some other guy I didn’t know. Despite our unfamiliarity, we tried to clap in unison to fool the band into
thinking there was a decent audience to play to. I think we got away with it.
Some of Geoff Achison’s gigs.
MAR 18. Kingston Festival, Mordialloc...2PM...95814730 (W/Dave Steel & Matt Fagan)
MAR 24. Theatre Royal, Castlemaine...9PM...5472 1196 (W/Souldiggers)
APR 8. Kyneton Blues Festival...2PM-11PM...5422 1970...(Souldiggers, Oozin' Blues, Skatterkat + more)
APR 13. Wild Thyme Cafe, Warburton...New venue!...5966 5050 (Solo)
APR 20. Continental, Prahran...7:30 Dinner/9:30 Standing...9510 2788 (W/Souldiggers)
Souldiggers return to St Andrews Hotel Friday nights in April.
New Website of interest – Wine Robot: Go to http://www.winerobot.com/cgi-bin/wine_search.cgi if you want
to find a site that tells you which of the online wine stores has the wine you want at the cheapest price. It
details the stores and the wine prices and can take you directly to the wine store for your online purchase.
Sparkling Red
Vince's Vine (from Liquorlink)
Winemakers if no one else, like Sparkling Red wine. I came to this assumption on seeing an increasing number
of Sparkling Red wines come onto the market in recent years. More than most wine styles; Sparkling Red does
seem to polarise opinion. I’m yet to see people who are ambivalent about Sparkling Red; they either love it
with a passion or see it as a great hoax. I’m firmly in the former camp.
At the top end we have the longest established name in this field, Seppelts. The Seppelts Show Sparkling
Shiraz is an exceptional wine. The Seppelt story takes us back to Silesia from where Joseph Ernst Seppelt
migrated to the Barossa with his family in 1849. It was his son Benno who took over the family company after
his fathers sudden death in 1868 while the winery was still under construction (the first wines were made 1852
in the family dairy!). In the same year but in Victoria, Joseph Best put unemployed gold miners to work at his
Great Western Vineyard to excavate the labyrinth of tunnels now known as the Great Western Drives.
Nine years later Joseph Best died and Hans Irvine buys his business. In 1892 the first Sparkling Red (Sparkling
Burgundy as they were known in those days) was made at Great Western. {I mention this to show you that
Sparkling Red is hardly a “new” fad}. A decade later, in 1902, Hans Irvine and Benno Seppelt become good
friends and on Irvine's retirement in 1918, Benno takes over the Great Western operation.
Interestingly the early [Hans Irvine] Great Western Sparkling Reds were made from Pinot Noir and it wasn’t
until the 1920’s that Seppelts made one from Shiraz. Back in the 1890’s the first Sparkling Shiraz was made at
Romalo Cellars (Adelaide) [later owned by Wynns] by Edmund Mazure.
Now Edmund wished to make a Sparkling Red due to the 90’s booming popularity of this wine style. All the
Sparkling Reds were made from Pinot Noir, but he couldn’t get access to any Pinot Noir fruit, so made it from
Shiraz instead, starting a great and very Australian wine style.
The Seppelts Show Sparkling Shiraz is made from fruit sourced from old vines adjacent to the winery. Aged
for a year or more in big oak (the current 1987 release spent 16 months there) it is then left on lees for a further
8, 9 or 10 years after tiraging. Released for sale as a wonderfully matured wine, the truth is it is still but a babe
and has a long and glorious future in front of it! If you see some ’87 in shops, buy it. There was no ‘88 or ’89
and I doubt the ’90 will be released until later this year at the earliest [and to some fanfare no doubt]. The ’87
is gorgeous. A very lifted spicy nose with abundant, rich, sweet fruit. Soft, sweet and mellow (just like me).
Smooth, mature, fresh but obviously aged (in a good sense); a wine with as good a finish as it’s start.
Experience has taught us these wines will keep for up to 30 odd years [even longer]. The bubbles diminish
(even disappear) but the wine does not. There is no better Sparkling Red in Australia (the wines made by Colin
Preece are among the Crown Jewel “Classic Wines” of Australia [good name for a book?].
On a quality rung below this extraordinary wine we have some other gorgeous wines. My favourites are three
different but similar wines. The Joseph Sparkling from Joe Grilli’s Primo winery is not Cabernet Merlot like
his “still” Joseph. Rather this is a straight Shiraz. In it’s tall sexy bottle it dominates a meal (both in a aesthetic
and vinous sense). The shiraz is said to be blended with some older wine from 20 or 30 years ago and after
disgorgement the bottles are topped with a sweet vintage port from the mid 70’s. I don’t know how accurate
this all is, but it sounds fantastic and the aged characteristics are apparent in the wine. Rich leathery, savoury
characteristics and quite complex on the nose and palate; an ideal food wine. The wine is not as “sweet” as the
Seppelts and I love the lingering finish .
The Rockford Black Shiraz is pretty damn good too. Another sexy bottle, more matronly this time. The wine is
exciting but normally requires a little time to settle [actually “develop”], at least it doesn’t come with the builtin “aged” characteristics I love. Alas, much hype, means this wine is all but unprocurable… I’ll talk little more
about it lest I should annoy you.
A man who knows plenty about how to make Sparkling Red is Howard Anderson. He “did his time” (14 years
to be precise) at Great Western and obviously learnt his trade well! He made (through to getting the wine in
bottle {tirage}) the excellent 1981 Seppelts Show Sparkling Burgundy. Nowadays, Howard makes Sparkling
Red at his Rutherglen winery in North Eastern Victoria. Of course prior to the late 60’s, Seppelts were
regularly using fruit from this region in their Sparkling Burgundy. Normally the fruit was sourced evenly from
three regions; Rutherglen, Great Western and Barossa and with the 1963 [Bin 80B] it was two third’s
Rutherglen fruit due to no Barossa fruit being used. His current release 1996 Anderson Sparkling Shiraz is
very like the ’81 Seppelts. An excellent wine and a must for all Sparkling red lovers!
There are a many cheaper and more affordable Sparkling Reds, here are my four suggestions for you to buy:
Killawarra Sparkling All plum and cheery both on the nose and on the palate. Rich and firm in a slightly drier
style. Like the not-so-red bubblies from this label, great value. If I saw this at a BBQ, even though it is sub
$15, I’d know I was in for a great time OR had a host with some real taste/class! [$13.99]
http://www.liquorlink.com.au/search_results.phtml?product=kwsp
D’Arenberg Sparkling Chambourcin I didn’t know quite what to make of this when I first tried it. Fresh as a
January Easterly breeze around sunset. What else do you do with Chambourcin? Name me your other 5
favourite wines that are made with Chambourcin? Well it’s a slightly leaner wine (not the round
plummy/cherry fruit of the others in this bracket) but that said I think it was at it’s best the next day after the
bubbles had died down and it took on a more porty style to it. A wine I liked no doubt. I’d match it with a duck
risotto or maybe even some Spanish food (“Tapas”?). I’ll experiment over coming weeks but would like some
feedback on how you go with food matches for this one please. [$16.99]
http://www.liquorlink.com.au/search_results.phtml?product=z_darsc
Seppelts 1994 Sparkling Shiraz The greatest bargain Sparkling Red in Australia (quality for the dollar). Like
the Show Shiraz but without the time on lees… Ohh, that’s a bit harsh on the Show wine but accurately
portrays how good the value is with this stunner. Unlike the 100% Great Western fruit of the Show wine, this
is all South Australian fruit [various regions] and only gets left on lees for a year or two rather than 8 or 9.
Another wine I will happily punt on improving with time in the bottle, already it’s hard to resist the temptation
to drink some though [I bought two cases a while back with the idea to give at least 18 bottles some significant
time in my cellar. I’ve now decided to try to keep the final 6 bottles…]. [14.99]
http://www.liquorlink.com.au/search_results.phtml?product=sss
The final wine is from another maker with a strong sparkling track record, Andrew Garrett. I think this wine’s
origins hark back to the days when Warren Randall reigned supreme here (long gone, but another graduate of
Seppelts Great Western!). “Simple” undersells it a little but it is uncomplicated and precisely what I’m often
looking for in a Sparkling Red on occasions. Rich sweet fruit, great mouthfeel and structure. Great with
smoked food like a Poachers Pantry smoked lamb loin chop, with a little home made tomato relish or pesto.
Hmmmm. [$13.99] http://www.liquorlink.com.au/search_results.phtml?product=agnvsb
So when someone offers to put a little sparkle in your life (or glass), go a shade darker and insist on a red,
don’t waste another day of your life without being introduced to some handsome Sparkling Reds. When you
do, raise your glass to Edmund Mazure, without whom we may not be enjoying this wine today.
Halliday’s 1999 Top 100 Wines
Whites under $15
Wynns Coonawarra Estate Chardonnay 1998
Primo Estate La Biondina Colombard
Annie's Lane Riesling 1999
Richmond Grove Watervale Riesling 1999
Wynns Coonawarra Estate Riesling 1999
Ashbrook Estate Gold Label Riesling 1999
Mitchell Growers Semillon 1998
Houghton White Burgundy 1999
Yalumba Christobels Classic Dry White 1999
Geoff Merrill Chardonnay 1996
Orlando Jacobs Creek Chardonnay 1999
Whites $15 and over
Voyager Estate Chardonnay 1997
Bannockburn Vineyards Chardonnay 1997
Wolf Blass Riesling 1999
Cape Mentelle Chardonnay 1998
Cullen Wines Chardonnay 1998
McWilliam's Mount Pleasant Elizabeth Semillon 1995
McWilliam's Mount Pleasant Museum Elizabeth Semillon 1990
Alkoomi Frankland River Chardonnay 1998
De Bortoli Noble One 375 ml 1997
Howard Park Riesling 1999
Pipers Brook Vineyard Riesling 1999
Hardys Eileen Hardy Chardonnay 1997
Tyrrell's Vat 1 Semillon 1994
Rosemount Estate Roxburgh Chardonnay 1997
Clare Essentials Polish Hill River Vineyard Riesling 1999
Shaw & Smith Sauvignon Blanc 1999
Heggies Vineyard Chardonnay 1997
Penfolds Reserve Bin 95A Chardonnay 1995
Grosset Polish Hill Riesling 1999
Pipers Brook Vineyard Summit Chardonnay 1998
Lake's Folly Chardonnay 1997
Leeuwin Estate Art Series Chardonnay 1996
Redgate Sauvignon Blanc Semillon 1999
Reds $25 and under
McWilliam's Mount Pleasant OP & OH Shiraz 1996
Seppelt Chalambar Shiraz 1997
Tatachilla Keystone Grenache Shiraz 1998
Starvedog Lane Shiraz 1997
Geoff Merrill Shiraz 1997
Barossa Valley Estate Spires Shiraz Cabernet 1998
Orlando Trilogy Cab Sauv Cab Franc Merlot 1998
Wolf Blass Shiraz Grenache 1998
Rosemount Estate (Hunter Valley) Grenache Shiraz 1999
Seaview E&C Cabernet Sauvignon 1998
Tyrrell's Old Winery Shiraz 1997
Seaview E&C Shiraz 1998
Orlando Gramps Cabernet Merlot 1997
Penfolds Kalimna Bin 28 Shiraz 1996
Penfolds Bin 407 Cabernet Sauvignon 1996
Knappstein Wines Enterprise Cabernet Sauvignon 1996
Turkey Flat Shiraz 1997
d'Arenberg d'Arry's Original Shiraz Grenache 1998
Phillip Island Vineyard The Nobbies Pinot Noir 1998
Wellington Pinot Noir 1998
Woodstock McLaren Vale Grenache 1998
De Bortoli Gulf Station Cabernet Sauvignon 1998
Penfolds Koonunga Hill Shiraz Cabernet 1997
Turkey Flat Rosé 1999
Deakin Estate Alfred Shiraz 1998
Reds $25 and over
Ashton Hills Reserve Pinot Noir 1997
Best's Wines Thomson Family Shiraz 1997
Penfolds Block 42 Kalimna Cabernet Sauvignon 1996
Crawford River Wines Cabernet Sauvignon 1997
Brand's of Coonawarra Stentiford's Reserve Old Vine Shiraz 1996
Craiglee Shiraz 1997
Haselgrove Reserve 'H' Shiraz 1997
Rosemount Estate Mountain Blue Shiraz Cabernet 1997
Mount Langi Ghiran Vineyards Langi Shiraz 1997
Houghton Jack Mann Cabernet Shiraz 1996
Cullen Wines Cabernet Merlot 1997
Clarendon Hills Winery Sandown Cabernet Sauvignon 1998
Penfolds Grange 1994
Penfolds Bin 389 Cabernet Shiraz 1996
Leasingham Classic Clare Shiraz 1996
Hardys Reynell Shiraz 1996
Hardys Reynell Cabernet Sauvignon 1996
Wirra Wirra The Angelus Cabernet Sauvignon 1997
Yarra Yarra Reserve Cabernet Sauvignon 1997
Yering Station Reserve Pinot Noir 1997
Diamond Valley Vineyards Estate Pinot Noir 1998
Sparkling wines
Petaluma Croser 1997
Salinger 1993
Domaine Chandon Blanc de Noirs 1995
Seaview Gull Rock Sparkling NV
Charles Heidsieck Blanc des Millenaires 1990
Krug Grande Cuvee NV
Billecart-Salmon Brut 2000 NV
Billecart-Salmon Brut Rosé NV
Pol Roger NV
Piper Heidsieck Cuvee Brut NV
Yarrabank Cuvée 1995
Pipers Brook Vineyard Pirie Vintage Sparkling 1995
Hardys Arras 1995
Clover Hill Sparkling 1996
Dom Perignon Vintage 1992
Louis Roederer Cristal 1993
Pol Roger Rosé Brut 1990
Louis Roederer Brut Millésimé 1993
Bollinger Grand Année 1990
Moet & Chandon Reserve Imperial NV
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 4, 10/3/00
24/2 After a decidedly upmarket Chinese at Chine-on-Paramount (Mmmm, those Tasmanian oysters in XO
sauce) it was off to catch a set of The James Sherlock Trio at Bennetts Lane (the Minor). Accompanying
James' Gibson 175 hollow body guitar were Howard Cairns on bass and Tony Floyd on drums. Having just
watched one of the ABC Jazz Heroes series on the famous Wes Montgomery, I was especially interested in
paying attention to examples of Wes' trademark octave chords. In this style, two strings producing two notes
separated by an octave are strummed, with the intention of producing a fuller, more complex, tone than when
only one note is picked. Sure enough, as soon as one is sensitised to a feature, it bobs up all over the place just like when you purchase a car and begin to see many more like it on the road. Not unexpectedly the octave
chord playing was particularly evident in the Montgomery tune, Mr Walker.
James is musician who seeks variety in his playing, and maintains listener interest in this way. In the final bars
of several numbers he concluded with some delicate folklorico playing - at odds with the original melody, but
very satisfying as a conclusion. The tunes were sourced variously - some standards (Pick Yourself Up), some
by James (such as Bill's Castle, and Clear), and a terrific number by Howard, humorously entitled Ow! Hard!,
in which Tony produced a fine drum solo set against an insistent Cairns' repeating bass riff.
The Rainbow Hotel air-conditioned? Surely not! But yes, gone is the anonymity that impenetrable cighaze
allows - no more will my trousers remind me for days that I spent Monday night at The Rainbow. I guess with
an increasing number of venues becoming smoke-free, proprietor Chick thought that this would stall the
dreadful day when The Rainbow would have to conform. I was there on Monday (28/2) because I had failed to
book sufficiently early to catch tenor player Joshua Redman at The Continental, and because of a need for a
hefty dose of tenor sax to assuage my disappointment.
Paul Williamson's Hammond Quartet were supplemented by blues guitarist, Geoff Achison, who provided
one of those scintillating displays of electric guitar wizardry for which he is well known. On this night, I was
also impressed with his ability to match it with the band across the range of jazz, blues, funk, and rhythm and
blues numbers typical of their Rainbow evening. On the opening number, Night Train, he hit top speed very
quickly with his solo but also contributed satisfyingly supportive comping during the other solos, adding
further interest to their solo contributions. In the main, during his solos Geoff has tended to turn tunes into
blues-like numbers, but on Strayhorn's Johnny Come Lately he produced a solo with a decidedly jazz
feel. This was the first time I'd noticed such a development, on former similar occasions he tended to use a sort
of atonal percussive guitar style. It is perhaps indicative of his strong and continued desire to master formats
beyond the blues, a feature also evident in his Classically Blue collaboration with classical musicians.
I don't know how many times I've heard this group, and despite having heard most of the numbers on other
occasions, they continue to sound fresh and full of energy. A fair proportion of this drive, of course, emanates
from the drums - from which position Mike Jordan flashes his cat-got-the-cream grin and cranks the band up a
notch to elevate the musical tension. His drumming on The Yodel provided a terrifically interesting rhythmic
edifice on which to construct a musical piece. On Ronnie Cuber's Humacho his time-and-a-third drum tempo
added a special edgy tension to the piece. Do you get paid time and a third for that piece, Mike?
As always, Paul's blowing on tenor and baritone is expressive, substantial, and impassioned. Tim Neal
(Hammond organ)for much of the evening provides an aural undercurrent, but also some counterpoint that
invariably fits the theme nicely. His solos are always of interest, with a welcome touch of the quirky or the
whimsical about them sometimes. I have often had the feeling that he tends to pull back from exploring his
solos too deeply. Perhaps this arises because the style of the band doesn't demand extended soloing, but
occasionally it would be exciting to hear where his muse takes him.
Some of the other numbers I enjoyed were: The Honey Dripper, It All Went Down The Drain, The Voice
Within, Sick and Tired, 4 Brothers. For the third set, the band were joined by Hoodanger trombonist, Ben
Gillespie, who provided some added interest through his trombonic interplay with Paul's sax. On one number,
Love Is Like A Faucet, the band was expanded further with the introduction of singer Patrick X and violinist
Nick Lyon.
You will have the opportunity to see this band among many many others if you join me at Apollo Bay Festival,
Mar 24-26.
The Band Who Knew Too Much (Rainbow 2/3) are a fun band to watch and hear. Their musical style pays
some homage to the Twenties and Thirties, whether through reviving originals from that period, or through
writing their own pieces in that style (Hand Written Letter
- Shannon, Spinning Round and Round - Dave), or playing modern pieces others have produced in the same
style, for example, a couple of tunes from The Squirrel Nut Zippers (Little Something New, Business Man).
Others, like Nat Adderley's Work Song, and Louden Wainwright's Swimming Song are not of the period style,
nevertheless they work well when given the treatment.
Though fairly simple melodies form the basis, the quality of the musicians provides for plenty of substance in
improvisation. In a mostly upbeat set of tunes, this band provides both a worthwhile listen and a joyous time.
And good fun is evident among the members, too - comprising Ben Gillespie (trombone, ukelele, vocals),
Dave Evans (accordion), Andy Reid (clarinet, washboard), Matt Earl (drums), Craig Fermanis (guitar), and
Shannon Birchall (bass, vocals). Apart from comparisons with The Squirrel Nut Zippers, other bands that
come to mind are Captain Matchbox and its latter-day incarnation - Mick Conway's Junk Band, and a French
group named La Bottine Souriante. Well worthwhile seeing. During the break a group of mature age
gentlemen calling themselves the Bluegrass Souls played a rousing number. Employing two ukeleles, two
guitars, bass, banjo and kazoos, they sounded great - produced a full sound and obviously had a great time
during their short period in the limelight.
Sunday night (7/3) at the Concert Hall
Norwegian saxophone maestro, Jan Garbarek has had a long and prolific career, making his first album,
African Pepperbird, in 1970.
He has released 22 albums as a group leader, and performed on about 30 others, with such jazz luminaries as
Keith Jarrett, Miroslav Vitous, Bill Frisell, Ralph Towner, John Abercrombie, Bill Connors, and Kenny
Wheeler. Additionally he has made albums with a range of musicians from outside the jazz field, such as with
the classical Hilliard Ensemble, and with Scandinavian, Hindustani, Arabic, Brazilian, and African players.
His present group - Jan Garbarek (soprano & tenor sax), Rainer Bruninghaus (grand piano, Kawai
HP8000keyboard), Marilyn Mazur (drums, percussion), Eberhard Weber (bass) has had a stable line-up for
some time - Eberhard having been with him for twenty years, Rainer for 12 years, and Marilyn for 8 years.
Hence Jan's recital at The Concert Hall (Sunday 5/3) was greeted with some excitement by those who enjoy
his unique style of music.
Describing the music is not easy, though it is instantly recognisable - especially Jan's sax "voice" and
Eberhard's bass tones. He uses some sort of hybrid acoustic/electric bass of a type I've not before encountered.
At the top, the tuning knob section looks like the neck of a traditional acoustic bass, but the large-volume body
of the typical acoustic bass is missing, supplanted by a small hollow wooden resonance section that is thinner
and rather like a flying V guitar body. To bring this instrument up to playing height, it sits upon a spike about
400mm high. Its warm tone is somewhere between that of an acoustic bass and a bass guitar. Allowed ample
room to stretch out musically with solos he performed almost as a front line player rather than purely as a
rhythmist. An extended solo in three parts was a joy to follow. In the latter stage of the first part he sampled
the concluding rhythm and it became the repeating underlying rhythm for the next phase, which was a bowed
solo. Similarly, he sampled the final stage of that second segment, employing it as the underlying repeating
rhythm for the third part of the solo. His playing was wonderfully inventive and often as a counterpoint to the
sax or piano voicings.
In fact, counterpoint was a detectable theme for this outstanding performance. The three males dressed in
muted colours and were relatively immobile; whereas, Marilyn chose bright orange and was exceptionally
active as she darted around her remarkable collection of things to shake, twirl and hit. Jan's playing has an
ethereal beauty - a stark, unadorned purity whilst, in contrast, the effervescent Marylin creates a barrage of
different and busy tones and rhythms. Jan's music has been termed "cold" by some jazz critics, and for many it
evokes images of the icy fiords of Norway. Certainly, the continuous use of echo in his playing, whether on
curved soprano sax or on tenor, does lend a quality to the sound that might promote such an interpretation.
Incidentally, Jan denies that as interpretation is accurate - his having lived most of his 53 years in cities, and
having rarely seen a fiord.
Marylin's drumming and percussion effects were remarkable, as was her endurance during the two hour nonstop recital. Apart from the core drum kit, she made regular use of a range of tuned bells and a variety of
cymbals, large and small, attached to a drum post which was so crowded it resembled a heavily barnacled
anchor chain. She sat only when she needed to make use of the bass drum, otherwise crouching and slinking
about in order to clobber the item she wanted. While all this percussion activity tended to draw one's attention,
it was invariably tuneful and tasteful playing that seemed just right, adding further interest to the number. She
also demonstrated that even with all the sophisticated and delicate percussion tricks employed, she is still a
drummer and capable of matching sustained power drumming with the best of them.
The sound quality at the Concert Hall was glorious - every note, nuance, tone, harmonic was clearly detectable
and in wonderful balance across the musicians. Having recently purchased the newest of Jan's CDs, the
immaculately recorded "Relics", it sounded to me as though long-time ECM Records producer, Manfred
Eicher, must have toured as the sound engineer. Quite a large proportion of the numbers chosen for the night
were from this great recording, which also features on the soundtrack of a current film, The Insider.
I f you have surmised that I was enraptured by this group's performance, and didn't begrudge the fifty
something dollars it required then you're right. It must have been a great night to for Henk van Leeuwen, the
busy promoter of Scandanavian-Australian jazz connections. He has brought some terrific music to Oz in the
past, such as Trio Toykeat, the Houdinis, Niels-Henning Orsted Pedersen, and Perko Pyysalo Poppoo, but
surely this is his crowning achievement. I should mention my part in Jan's visit - the following is an excerpt
from my scribblings in 1996:
"I also enjoyed the piano work, and had a good chat with Colin Hopkins whose name, but not playing, I have
heard before. He has been overseas for a couple of years in Europe, and we got to talking about European jazz,
and mutual heroes such as Jan Garbarek, whom he saw play recently. There are rumours that Jan may come to
Melbourne. That would be the highlight of the year for me if it eventuates, though I cannot say whether it will
happen as it was I who started the rumour." Who can say
posiyively that my rumour did not act as the butterfly's wings?
I also enjoyed this review from Jessica Nicholas in The Age
"I wonder what it's like for an artist to stand on stage in front of a roaring crowd? The audience for Jan
Garbarek's Melbourne concert on Sunday night sat in hushed silence for most of the evening, hesitant to
applaud even the most exquisite of solos by Garbarek or his fellow musicians. It seemed inappropriate,
somehow, to disturb the beauty of the moment with something as prosaic as clapping.
But at the concert's conclusion, the audience erupted. Garbarek kept packing his saxophones away after each
bow, and kept having to take them out again as the ecstatic crowd demanded encore after encore. And it wasn't
just Garbarek they were applauding. This was not a concert by a star saxophonist and his backing band; it was
an experience shared by one extraordinarily generous bandleader, three equally talented colleagues and several
thousand entranced audience members.
There was a remarkable sense of journey about the occasion that made it feel more like mythic storytelling
than musical presentation. There were no intervals, and very few breaks within the performance. One piece
segued seamlessly into the next, creating a dynamic ebb and flow that shifted the emphasis from individual
musicianship to ensemble sound.
Garbarek is an artist at the peak of his profession, demonstrating immaculate control of his instruments and an
innate understanding of their timbral and emotional qualities. He can coax inordinately high notes from his
tenor and unusually rich, deep tones from his soprano, but technique is never an end in itself There is nothing
gratuitous about his playing; every note is filled with meaning.
Likewise, Eberhard Weber on his upright electric bass produced sounds I have never heard from this
instrument but they were used as textures rather than egotistical exclamation marks. At one point he used a
delay pedal to create subtle rhythmic loops, which he then overlaid with beguiling bowed lines or ethereal,
wind-like harmonics.
At the keyboards (piano and synthesiser), Rainer Bruninghaus built up effortless rhapsodic crescendos that
spilled across the stage, creating rich harmonic echoes of Garbarek's stark single-note lines. Meanwhile,
percussionist Marilyn Mazur darted from chimes to cymbals, from talking drum to Chinese gong, and from
delicate, shimmering polyrhythms to thundering bass drum rolls.
Of course, part of every special journey is the bittersweet acknowledgement that the journey must end. The
audience delayed the inevitable, luring Garbarek back again and again for a final, keening note or deftly
percussive phrase. After all, they had been waiting a long time to see this man. At 53, he is one of the giants of
the European jazz scene - yet this was his first visit to Australia. Let's hope he doesn't wait another 50 years to
return."
The New Zealand Wine Festival at Le Meridien (24/2) provided the opportunity to taste a range of wines
not readily available in Melbourne. About 40 vineyards were represented, often by their winemakers presenting 225 wines. Chatting to some of them revealed that there was nothing sheepish about their
salesmanship, and in their firm belief in the preeminence of their wines. The tasting was a delight, although too
many potentially interesting wines went untasted because of the sense of propriety of your correspondent.
The wines of NZ have gained deserved renown for their sauvignon blanc, chardonnay, and pinot noir, but there
were also some interesting rieslings, sparklings and pinot gris for sampling. The major wine growing regions
of NZ are considered cool climate, particularly the Marlborough region at the top of the South Island. This
means that the more robust reds such as shiraz, cabernet, and merlot can carry a leafy character that is s result
of under-ripe grapes. In a warm year such as 1998, these wines ripen enough to be quite attractive.
Of the sparklings, there were several of note: Cloudy Bay's Pelorus Non Vintage and Vintage 1995 were
delicious, as was the Montana Deutz Blanc de Blanc 1996. They are each fairly well known, but the one that
stood out for its complexity was the Huia 1996 Sparkling Marlborough - bringing forth memories of John
Ellis' mammoth Macedon Sparkling. Huia wines have been seen around Melbourne on wine lists, especially
the sav blanc, but we also enjoyed their riesling.
A quick and sycophantic chat with wine writer and judge extraordinaire, James Halliday, pointed us in a
couple of fortuitous directions. The Craggy Range wines were new to me, but each that we tasted (sav blanc,
riesling, chardonnay, pinot noir) was of very high quality (not cheap, but! Mostly above $30). In a similar
league were the Isabel Estate wines - deliciously clean crisp flavoursome wines. Of the others, Te Kairaga's
Pinot was impressive, as was Selaks' 1999 Ice Wine (riesling/traminer).
Look out for this event next year.
BENNETTS LANE MARCH 2000 PLAYLIST
Hours:
Sunday - Thursday 9PM - 1AM Friday & Saturday 9PM - 3AM
** denotes The Jazz Lab venue
Wednesday 1st NQR Quartet $8 / $6
Thursday 2nd Tim Wilson Trio $8 / $6
** Thursday 2nd Christine Sullivan Project Band $15
Friday 3rd 9pm Monique Dimattina Quartet 12am Monique Dimattina Quartet with Guest Nina Ferro $12 /
$10
Saturday 4th 9pm Peter Knight's Super 400 & 12am DONUT $12 / $10
Sunday 5th Browne, Haywood, Stevens Trio Farewell $8 / $6
Monday 6th Browne, Haywood, Stevens Trio $8 / $6
Tuesday 7th Jamie Oehlers Septet (Perth) $8 / $6
Wednesday 8th NQR Quartet $8 / $6
Thursday 9th Jamie Oehlers Quartet $8 / $6
** Thursday 9th Christine Sullivan Project Band $15
Friday 10th 9pm Monique Dimattina Quartet 12am Monique Dimattina Quratet with Guest Nina Ferro $12 /
$10
Saturday 11th 9pm Peter Knight's Super 400 & 12am DONUT $12 / $10
Sunday 12th Sean Wayland (Back from New York) $8 / $6
Monday 13th Sean Wayland (Back from New York) $8 / $6
Tuesday 14th Fiona Burnett Trio feat. David Jones
$8 / $6
Wednesday 15th NQR Quartet $8 / $6
Thursday 16th Jamie Oehlers Quartet $8 / $6
** Thursday 16th Christine Sullivan Project Band $15
Friday 17th 9pm Monique Dimattina Quartet 12am Monique Dimattina Quratet with Guest Nina Ferro $12 /
$10
Saturday 18th Lisa Young Quartet & DONUT $12 / $10 After Midnight
Sunday 19th Cor Fuhler Trio (Holland) $8 / $6
Monday 20th Browne, Haywood, Stevens Trio $8 / $6
Tuesday 21st Tree (Sydney) $8 / $6
Wednesday 22nd NQR Quartet $8 / $6
Thursday 23rd Tim Wilson Trio $8 / $6
** Thursday 23rd Christine Sullivan Project Band $15
Friday 24th 9pm Monique Dimattina Quartet 12am Monique Dimattina Quratet with Guest Nina Ferro $12 /
$10
Saturday 25th 9pm Martin Breeze Quartet & 12am DONUT $12 / $10
** Saturday 25th Doug DeVries 'Beleza Tropical' $15
Sunday 26th Skeeter Camera Sextet - Premiere $8 / $6
Monday 27th Browne, Haywood, Stevens Trio $8 / $6
Tuesday 28th Frock $8 / $6
Wednesday 29th NQR Quartet $8 / $6
Thursday 30th Tim Wilson Trio $8 / $6
** Thursday 30th Christine Sullivan Project Band $15
Friday 31st 9pm Monique Dimattina Quartet 12am Monique Dimattina Quartet with Guest Nina Ferro $12 /
$10
** Friday 31st Lily Dior Quartet $15
The Wine Planet team will be in Melbourne on Sunday 19 March and Monday 20 March, pouring, tasting,
chatting and drinking at the huge VicItaly exhibition. This showcase of Italian - and Italian-inspired - wine
and food will be a fantastic opportunity to taste some of Italy's finest wines alongside Australian wines made
using Italian varieties. You can also try some of the best food both countries have to offer. Wine Planet will
have a large stand at the exhibition and Max Allen and the Planeteers will be there to answer your questions
and have a yarn over a glass of vino (or two). But the best thing of all is that entry is cheaper for Wine Planet
subscribers: tell them you're a subscriber at the registration desk and they'll take $5 off the entry price.
VicItaly 2-7pm,19-20 March, St Kilda Town Hall, Cnr Carlisle St and Brighton Rd, St Kilda
Special Wine Planet subscriber entry fee: $20 (entry normally $25)
For more info, email Michael Trembath or Gerry Taggert at vicitaly@yahoo.com
MELBOURNE FOOD AND WINE FESTIVAL 2000
Following are a few highlights from this year's festival on Tuesday 14 March, Wednesday 15 March, Thursday
16 March. Some of Melbourne's finest food and wine experts take to the road for three days leading up to
Festival 2000, presenting a series of food and wine culinary classes and seminars in Benalla, Bendigo and
Ballarat. Presenters include: Max Allen, StephanieAlexander, Gail Donovan, Kevin Donovan, Nick Haddow,
MicheleCurtis and Allan Campion. Cost is $110 for a full-day workshop;hospitality students $55.
Friday 17 March, Saturday 18 March, Sunday 19 March - Attend the 3rd Annual Food and Wine Writer's
Forum, to be held at Sheraton Towers Southgate, for sessions on "So you still want to be a food/wine writer?"
and "Doing a nice line in decay". Guest speakers include Lonely Planet's Richard Sterling, as well as Max
Allen, Maggie Beer, John Newton, Cherry Ripe and Maeve O'Meara. Each session costs $10.
Saturday 25 March, Sunday 26 March The Age Epicure Master Class 2000 considers the evolution of food and
wine: the appreciation and importance of whole and 'ethical' foods, the development of culinary language and
the modern interpretation of traditional foods. International guests include Norman Van Aken, John Ash,
Robin Weir and Aubert de Villaine from Domaine de la Romane-Conti. Australian presenters include Max
Allen Stephanie Alexander, Max Allen, Gary Cooper, Greg Brown, Kurma Dasa, Jonathan Gianfreda, Greg
Malouf, David Thompson and Michael Hill Smith. Cost is $245 to attend one day (either Saturday or Sunday)
and$440 to attend both days (surcharge payable for Domaine de la Romane Conti sessions).
To book any of the courses or for more information contact theMelbourne Food & Wine Festival, phone (03)
9412 4220, email bookingsbookings@foodfest.com.au
From Winestate November / December 1999
Champagne -the art of blending - By Andrew Corrigan MW
'Champagne is the sparkling wine from the French region of that name, to the north-east of Paris. The term
'champagne' is being phased out on wine that is not from the region itself, as are the terms 'champagne method'
or 'methode champenoise'. The allowable term for top quality sparkling wine is 'traditional method' or
'methode traditionelle'.
There are French sparkling wines from regions other than Champagne. A popular wine in Australia is Grandin
($10) which is from the Loire Valley in north-west-France. Freixenet Cordon Negro ($9), another popular
wine comes from northern Spain where the sparkling wines are called 'cava' (pronounced 'car-var'). Freixenet
is pronounced 'fresh Annette'.
The key differences between premium sparkling wines (such as champagne and premium Australian) and the
lesser-priced examples (such as Grandin, Freixenet and high-volume Australian wines) are that the cheaper
wines are made from a simple base wine blend and spend a short time only under maturation. In contrast, top
quality wines are made from many wine components and a range of vineyards from the premium varieties of
chardonnay, pinot noir and pinot meunier. And the wine is matured for some time - often a year or two or more
- with the left-over dead yeasts, called lees. The result is a dry taste but with a creamy flavour and exotic
complex aromas.
Champagne has strict rules about production. Certain grape varieties and yields must be used; and the wine
must spend a certain time of maturation in bottle before release. There were some 'quality scares' in
Champagne in the early 1990s and a tightening of production rules resulted. The changes regulate the press
houses (the grape-processing centres scattered around the vineyard areas) and reduce the volume of juice that
can be pressed from a given weight of grapes. This results in champagne with a rich creamy taste and fresh
acidity. This style is the aim of most other producers, and premium Australian producers (as well as those in
the USA, NZ and South Africa) are close to their goal.
At the budget level, wines such as Angas Brut, Carrington and Seaview Brut deliver a fresh dry simple style at
good value for money. But jump up a little in price to the $11 to $15 range and the quality shoots up quickly.
Wines such as Seaview Pinot Chardonnay, Sir James, Killawarra Brut, Brown Brothers Pinot Chardonnay,
Trilogy and others have richer flavours and are especially good value.
The better Aussie wines can be judged by the same criteria as champagne - use of quality grapes, lots of
blending complexity and length of time of maturation on lees. Australian producers are using premium fruit,
but most of the wines don't have the complex blending of champagne, and therefore are generally simpler.
There are some great new wines emerging with many blending components - the higher-priced wines from
Australia (and NZ) range from about $25 to $55. Excellent wines, they sit comfortably alongside champagne.
They include Domaine Chandon ($25), the new Domaine Chandon Cuvee 2000 ($33), Hanging Rock
Macedon ($35), Brown Brothers Vintage ($30), Yellowglen Cuvee Victoria ($28), Wolf Blass Vintage ($27),
and Pirie ($45), the new super-sparkler from Pipers Brook. BRL Hardy has a new super-blend too, called
Arras ($50).
Most sparkling wines are dry. This occurs because the fermentation process that creates the fizz is hard to stop
once it gets started and it continues naturally until the yeast has consumed all the sweetness in the wine. At
Asti in north-west Italy, the exception to the rule is the slightly sweet sparkling wine called spumante. The
juice from the muscat grapes is filtered thoroughly before fermentation and the yeasts weaken quickly because
they can't find enough nutrients to feed upon. Asti tends to have an alcoholic content of about eight per cent.
Soon after fermentation (which occurs in sealed tanks) the wine is bottled and sent on its way for early
consumption as a fresh, fruity wine.
The first step in making the wine is to have naturally light acidic grapes - hence sparkling regions are in cold
climates. In Champagne the grapes are mainly chardonnay and pinot noir with some pinot meunier. Both of
these pinot grapes have black skins (though the juice is pale), and one of the great factors in the taste of
champagne is the richness obtained from the black grapes. The skins are removed quickly after crushing so the
juice doesn't pick up any colour. The grapes are gently pressed so that colour and harsh flavours aren't
extracted, and this results in the 'cuvee'.
From an early stage champagne production was characterised by quality and sophisticated production
processes. The 17th-century monk Dom Perignon is credited with developing much of this quality control. As
well as careful grape handling he developed the art of blending. Champagne starts as a base wine that is still,
not fizzy. Various base wines from many different vineyards reflect the grape variety and region within
Champagne. Also, multi vintages are blended. The final blend receives a second fermentation in the bottle.
Carbon dioxide gas is produced as a by-product of fermentation - in a tank or cask this gas escapes. This
second fermentation in the bottle ceases when the sugar is gone and the yeasts die off. Hence Champagne is
dry and is known by the French term 'brut'.
In Champagne, this lees-ageing period must not be less than two years. After this maturation, the lees must be
removed or the wine would be cloudy. The bottles are tipped up at an angle and regularly shaken so that the
lees rests against the cork, in a process called 'riddling'. The neck of the bottle is dunked in ice to freeze some
wine and trap the lees. The cap is removed, the frozen plug of wine and lees flies out (called 'disgorging'), and
the bottle is topped up with more wine with liqueur agent dissolved in it. At this point, a little sweetening is
possible. The bottle is then corked and despatched.
Champagne houses have different recipes, which produce different flavours. Some use more chardonnay to
achieve a fresher lighter style (Perrier-Jouet, Piper-Heidsieck and Taittinger are known for their elegant fresh
fruit style). A wines made solely from chardonnay is called Blanc de Blanc (ie, 'white', referring to the colour
of the grape skin). More pinot noir in the blend gives more body (Mumm is an example). A wine solely from
pinot noir is called Blanc de Noir. Some houses mature the base wine longer to achieve a creamier rich style Bollinger is a good example. Some allow the conversion of malic acid in the wine so that a richer softer style
results (Pommery); others prevent it and achieve a vibrant fresh flavour (Lanson). Some houses place huge
importance on grape quality and achieve great balance and elegance (Pol Roger, Charles Heidsieck, Krug).
A small component of production in good years is kept separate and released as a vintage wine; most
champagne is blended from multiple years and is known as 'NV', or non-vintage. The key factors in quality are
low yield from a good vineyard and length of time on lees - a minimum of two years but many houses take
longer, disgorging the wine just before its release.
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 3, 16/2/00
Great music is that which penetrates the ear with ease, and leaves the memory with difficulty. Magical music
never leaves the memory.
Sir Thomas Beecham.
The Melbourne Jazz Festival appears to have been exceptionally well supported judging by the satisfied
comments of those I spoke to who made it to more than the measly one event I actually attended.
My one paltry excursion was a night that began with disappointment, but was resurrected by a serendipitous
second choice. Initially planning to hear the Blue Note (jazz record label) Tribute at 9th Ward, I was unable to
gain admittance assuming incorrectly that booking would be unnecessary. Bad mistake.
The fall-back option was to the newly opened Bennetts Major - more precisely known as Jazz Lab. After some
anxious moments in a long and chaotic queue, I managed to gain entry into a packed house. The new room,
situated beside the original, Bennetts Minor, is about three times the area and its human capacity is in a similar
ratio. The space is cleverly utilised with different pockets of viewing arrangements - varying from standard
tables and chairs, stepped seating at the back, a little conversation pit (where conversation is naturally frowned
upon), bar stools, and along one wall - telephone seat/tables - one of which became my perch. There is also a
dance floor, though on this night it became the horizontal option for many viewers unable to find another
seating arrangement. Like its older brother, Jazz Lab is dim, though the lighting here is predominantly blue
with contrasting red fixtures.
Intimacy too is maintained - in fact inevitable this night with at least 300 keen and quietly enthusiastic listeners
vying for space. Having found the last remaining seat, the clever but under-padded phone seat - I was loathe to
leave it lest it be grabbed by unscrupulous neophytes, unaware of the conventions that hold true for the rest of
the year at Bennetts. In addition, this wall was about as far away from the bar as it was possible to be - perhaps
that’s why it remained unattended until my arrival. The prospect of clambering over the floor-prone, or the
rapidly bonding groups at close-packed tables was sufficient to dissuade me from attempting the journey. This
entailed for me the consequence of listening to the Matt McMahon Trio sans alcohol, a unique and bracing
experience.
Compounding this sorry circumstance, I had lost my pen and thus was unable to record the other band
members’ names or the tunes they played. Despite this, I did enjoy their playing very much, befitting the talent
of the 1999 Wangaratta National Jazz Award winners. They were followed later by another Sydney band I had
seen and enjoyed in recent months (Theaktet), Matt being the pianist for that group also. The sound quality
was exemplary, each instrument clearly delineated, and the sound was well balanced. The new Kawai piano, in
particular, had a wonderful sound. Jazz Lab is a great addition to the Jazz scene, and I envisage many
contented experiences here. Its great advantage of course is that larger bands can be accommodated on the
goodly sized stage, and the listing of more expensive groups can be contemplated.
A week earlier (18/1) I was fortunate to hear a pick-up group (Benebig, Simmons, Baker) that included visiting
organist Michel Benebig (from New Caledonia), saxophonist, Adam Simmons who employed soprano, alto,
tenor, and bass saxes; and Anthony Baker (drums). Michel, using Tim Neal’s Hammond B3, was a revelation.
His foot-powered bass playing was exceptionally adept - even to the point of producing an interesting bass
solo with his nimble tootsies.
His fine foot skills allowed him to eschew the usual left hand bass lines on the Hammond to concentrate on
chord playing to add complexity to the right hand melody lines. The group played an eclectic range of pieces some from Michel’s pen (Florida Blues, Something Like That, Little Known, and others with titles that I
missed). Jimmy Smith’s Mellow Mood, Petruciano’s I Wrote You a Song, and several by Adam (Parlez Vous
Frangais, Cheers Big Ears, Waltz for George) filling out two terrific sets.
Adam’s playing was adventurous and assured across the range of saxes, but most fascinating was to hear the
little used bass sax in action. Borrowed from a music store - I was told the price is a cool $18,000 - on it Adam
produced some wonderfully resonant tones in the ultra-low register. The range from this monster, that requires
a serious harness to support, was surprisingly wide - everything from an elephantine roar to the squeal of a
mouse it just stomped upon. Anthony’s drumming was unobtrusive for the most part, but very solidly in
support of the sax and organ. Not until the final number did he allow a solo, and it was both succinct and
interesting. A most satisfying night’s music.
Adam Simmons turned up again at Bennetts Minor (8/2) with the Kynan Robinson “En Rusk” Quintet. A
youngish group of mainly fairly recent VCA graduates, the group is led by trombonist, Kynan, who wrote all
the numbers. Erik Griswold, an expatriate American pianist, Mark Shepherd, bass, and Danny Fisher, drums,
fleshed out the group. I forgot to enquire about the meaning of En Rusk, but the band produced some complex
and adventurous interpretations of Kynan’s varied tunes. They were: Peace On One Another, Noisy
Introspection, Feeling Neverland, Farewell Spondooli, HBY Action, That’s Enough of That, Calcutta,
Norwich from Outer Space, and two others I didn’t catch.
The front line tended to begin and end tunes in ensemble harmony showing careful rehearsal, though this style
was not maintained to the extent of becoming too predictable. Erik’s comping was a feature of his longfingered playing. He is obviously an excellent listener, playing nice counterpoint to Adam’s solo, and often
commencing his comping from the last phrase of the previous soloist - some of his playing was also
attractively quirky. Adam was in fine fettle on tenor and alto, a seemingly inexhaustible range of ideas, and he
gives the appearance of constantly seeking sounds beyond the keys.
In Noisy Introspection it was surprising to hear a drum solo immediately following the ensemble beginning. It
however was a very worthwhile solo - its quiet exploration being partly due to the Heath Robinson sticks
Danny used. Resembling Hot Rods, the sticks were each 4 wooden barbecue skewers taped together and the
sound they produced was unusually understated, and satisfyingly in concert with the tune’s demeanour. Danny
had more tricks up his sleeve on the next number, too. On Feeling Neverland, he produced an old splash
cymbal which he held in one hand and repeatedly pressed into the snare. When struck it produced a variety of
cymbal/snare sounds depending upon which part of the snare was compressed by the cymbal. Intriguing.
One number I especially enjoyed commenced with a beautiful slow bass solo, then was joined by the
trombone, then piano, and finally drums. The subsequent extended trombone solo was reminiscent of a New
Orleans funeral march - so I was surprised that the tune was entitled Calcutta. Oh, well.
Bennetts Major 13/2: A rare visit from Sydney by The catholics (a reference to their taste rather than religion)
was eagerly anticipated. Last seen in Melbourne at the late lamented Jazz Lane a few years ago, this is a supergroup (if that is not a crass term). Each player belongs to one or other groups, and it is not often that their
schedules allow them to play together, much less embark upon a tour such as this to Melbourne.
The catholics are bassist Lloyd Swanton’s project, and they emit such class and joy that one cannot help but
become enveloped by their playing. Sandy Evans is a consumate tenor and soprano sax player, and James
Greening a potent and inventive trombonist (and latterly pocket trumpet). Dave Brewer is a tasty, unflappable
guitarist with an unerring sense of rhythm and taste; joined tonight by another guitarist, Jonathon Pease in
place of the usual lap steel guitar player, Bruce Reid (no, not him - he’s not that tall). Fabian Hevia provides
some wonderful percussive rhythms on congas and various and sundry devices to scrape, shake or hit. Hamish
Stuart is an exciting drummer, shining in this setting as he revels in the rhythm interplay with Fabian. As for
Lloyd, well what can you say, he’s a gem - full of ideas, displaying a mastery of rhythm, and a writer of
seemingly simple tunes that expand in complexity in the playing.
The obvious feature of this music is the irresistible rhythm laid down - a context in which the skilled
improvisers run amuck. Another noticeable characteristic involves the clever manner in which musical tension
is created by repeating themes (a concept taken much further by Lloyd in another group, The Necks), and then
breaking the tension with a cascading time change. There is much humour here - artists who revel in each
other’s playing, frequent smiles are of appreciation or simply from having a good time together, and are
evident in both the band and in the audience.
Numbers from the new CD (Barefoot) and from the earlier releases (The catholics, Simple, Life On Earth)
were Wild Life, High Times, Me, Me, Me, Betty’s Beat, Brothers and Sisters, Twenty Seven, Barefoot, In
Love, Uncle Bob’s Your Uncle, and a Thelonius Monk tune, Buyer?
A comfortable crowd at Bennetts Major this time, and again the sound quality was superb. I even managed a
drink or two as well. I can’t wait for next time.
Domaine Chandon — Jazz in the Vines
On Saturday February 19 Domaine Chandon will hold its Jazz in the Vines festival commencing at 11 am and
running to 6 pm. Seven hours of jazz will be provided by Don Burrows, Vince Jones, Joe Camilleri and the
Jazzheads, Mistaken Identity, Tom Baker, Lily Dior and the Society Syncopators among many others. Food,
wine, soft drink, tea and coffee will be available throughout the day; there is no BYO alcohol, of course.
Panorama Coaches are running buses from Melbourne, picking up at Box Hill and Ringwood, and also from
Frankston and Dandenong. $42 is the return fare, contact
Dreamtime Tours on (03) 9408 7937 for bookings.
Two unmissable Jazz events;
Feb 28 at The Continental, the visit of stellar saxophonist Dewey Redman
Mar 5 at the Concert Hall, another stellar sax player, Jan Garbarek
Bennetts Lane February 2000 Playlist
Tuesday 1st
Diabolias Musica - Debut $8 / $6
Wednesday 2nd
Starr - Floyd Trio $8 / $6
Thursday 3rd
James Sherlock Trio $8 / $6
Friday 4th
9pm Dave Rex Quartet &
12am Nichaud Fitzgibbon Quartet
$12 / $10
Saturday 5th
9pm Yvette Johansson Quartet &
12am Christophe Genoux Quintet
$12 / $10
Sunday 6th
New Blood - CD Launch $8 / $6
Monday 7th
Browne, Haywood, Stevens Trio $8 / $6
Tuesday 8th
Kynan Robinson "En Rusk" Quintet
$8/ $6
Wednesday 9th
Starr - Floyd Trio $8 / $6
Thursday 10th
James Sherlock Trio $8 / $6
Friday 11th
9pm Dave Rex Quartet &
12am Nichaud Fitzgibbon Quartet
$12 / $10
Saturday 12th
9pm Yvette Johansson Quartet &
12am Christophe Genoux Quintet
$12 / $10
** Saturday 12th
The Catholics (Sydney) - CD
Launch
$15
** Sunday 13th
The Catholics (Sydney) - CD
Launch
$15
Monday 14th
Browne, Haywood, Stevens Trio $8 / $6
Tuesday 15th
Monique Di Mattina Quintet $8 / $6
Wednesday 16th
Starr - Floyd Trio $8 / $6
Thursday 17th
James Sherlock Trio $8 / $6
Friday 18th
9pm Dave Rex Quartet &
12am Nichaud Fitzgibbon Quartet
$12 / $10
Saturday 19th
9pm Yvette Johansson Quartet &
12am Christophe Genoux Quintet
$12 / $10
** Saturday 19th
Joe Chindamo Trio In Concert
(Return from Paris)
$15
Sunday 20th
Tony Buchanan Ensamble $8 / $6
Monday 21st
Browne, Haywood, Stevens Trio $8 / $6
Tuesday 22nd
Mark Fitzgibbon Trio $8 / $6
Yes
Wednesday 23rd
Starr - Floyd Trio $8 / $6
Thursday 24th
James Sherlock Trio $8 / $6
Friday 25th
9pm Dave Rex Quartet &
12am Nichaud Fitzgibbon Quartet
$12 / $10
Saturday 26th
9pm Yvette Johansson Quartet &
12am Christophe Genoux Quintet
$12 / $10 Sunday 27th
Gianni Marinucci Quartet $8 / $6
Monday 28th
Browne, Haywood, Stevens Trio $8 / $6
Tuesday 29th
Hughes, Stevens Duo &
Ball, Stevens, Robertson, Floyd $8 / $6
** Denotes Jazz Lab Gig
Denotes Melbourne Jazz Co-op Gigs
The wine news for January 31, 2000, brought to you by James Halliday.
Winemakers looking for closure on sure thing
Rumours about the development of a revolutionary new closure for wine bottles have been circulating for
some time. Now it is official: sureOvin has come out of the closet and will become available to the industry
from June 1 this year.
It has been developed by ACI Glass Packaging in conjunction with Southcorp Wines, and has nothing
whatsoever to do with the ill-fated Aegis synthetic cork which is seemingly lost in development limbo after its
premature launch by Southcorp Packaging several years ago.
The new producit goes back to the technology developed by ACI in the 1970s which led to the release of the
Stelvin cap. To the continuing mortification of the majority of Australian winemakers, the Stelvin cap was a
failure. It failed not for technical reasons, but largely because it was before its time: the wine-drinking public
was then far less sensitive about problems with cork taint and saw no reason to change.
This reluctance was compounded by the fact the Stelvin looked like any other screw cap, and, once removed,
the bottle had the telltale circular rings associated with everything and anything other than quality wine.
A few brave souls tried to convince people otherwise. Pewsey Vale Riesling came out with a Stelvin; so
emphatic was the public rejection that Yalumba was forced to put a cork in the bottle before applying the
Stelvin.
Others, including Hungerford Hill, also tried the Stelvin in the same time frame, and I was part of a group of
tasters that gathered in Sydney each year to taste a group of wines that had been bottled with Stelvins and
conventional corks. (This was long before synthetic corks.)
The tastings were three-way blind, a technical term used where the taster knows there is an odd man out but
not which it is: in other words, there could be two Stelvins and one conventionally cork-finished wine, or vice
versa.
Over the years the trials continued, I never failed to correctly identify the wines. Those with Stelvins were
fresher and brighter, and as each year went by, the difference became even more obvious. I have several dozen
rieslings from that period made by Hungerford Hill and a few by Pewsey Vale, and every one I have opened
recently has been perfect.
It is ironic that sureOvin should be released just as the Stelvin is making a tentative comeback via the
Richmond Grove Rieslings sold through Vintage Cellars, but I would imagine that sureOvin will quickly take
over that particular market.
I can hear you crying out: "What the hell is sureOvin?" It is a small aluminium cap that utilises an identical
layered wad (now called Supervin) to that used in Stelvins, a wad that now has a taint-free track record of
more than 20 years behind it.
The cap is sealed by being pulled down over two very small glass lugs in a single rim running around the
bottle neck. It is covered by a conventional plastic foil capsule, so when the cap is removed (simply by a single
twist) the bottom section of the foil remains in place.
True, there is that small glass rim — but it looks like yet another designer bottle. Both before and after being
opened, the bottle looks like a conventional cork-finished bottle.
ACI is now sitting back awaiting the response of the public: regardless of the outcome, it will not sell a single
extra bottle. It is simply giving its customers the option of a taint-free, high performance closure.
Published in The Weekend Australian — 29–30 January 2000.
Show Trophy winners from Wine Planet at
http://www.wineplanet.com.au/
Seppelt Salinger 1993
Won the Yarden Trophy for Best Bottle Fermented Sparkling Wine at the 1999 International Wine and Spirit
Competition
Seppelt DP 90 Show Tawny Port 500ml
Winner of 11 Trophies at '97 Royal National Wine Show + 41 Gold Medals at Australian Wine Shows
Champagne Lanson Vintage 1990 Champagne
Best Sparkling Wine - Sydney International Wine Competition 1999
Cranswick Estate Autumn Gold Botrytis Semillon 375ml 1996 Riverina
Trophy for Best Sweet White Japan International Wine Challenge 1998 Winner of six Gold Medals at
Australian Wine Shows
Leasingham Classic Clare Sparkling Shiraz 1992
Won the 'Lofty Connections Trophy' at the 1999 Melbourne Wine Show
Lindemans Padthaway Sauvignon Blanc 1999 Padthaway
Winner of Trophy at '97 Brisbane Wine Show + 1 Gold Medal at Australian Wine Shows
Lindemans Hunter Valley Semillon 1998 Hunter River
Won the Ed Jouault Memorial Trophy for the best 1998 Hunter Valley White Wine at the 1999 Hunter Valley
Wine Show.
Little's Winery Hunter Valley Semillon Chardonnay 1998 Lower Hunter Valley
Won the Liquorland Trophy and a Gold in Class 28 at the 1999 Griffith Wine Show.
McWilliams Centenary Vintage Port 375ml 1977 Riverina
Winner of 5 Trophies & 14 Gold medals at Australian Wine Shows
Meerea Park Sauvignon Blanc Semillon 1999
Trophy for Best Blended White - 1999 Boutique Wines of Australia
Mitchelton Chardonnay 1997 Goulburn Valley
Trophy for Best Chardonnay in the Premium Class - 1998 National WIne Show, Canberra
Montrose Cabernet Sauvignon 1996 Mudgee
Winner of 1 Trophy + 1 Gold Medal at Australian Wine
Orlando St Hugo Cabernet Sauvignon 1996 Coonawarra
Heinrich Cooperage Trophy for Best Dry Red, Cabernet Sauvignon Class 7 - 1999 Barossa Wine Show
Grandfather Fine Old Liqueur Port
Winner of Trophy at '96 Barossa Wine Show + 11 Gold Medals at Australian Wine Shows
Winestate Wine of the year Awards 1999
Cabernet Winner:
Vasse Felix Heytesbury 1997
Region: Margaret River, Western Australia
Variety: Cabernet Sauvignon, Cabernet Franc,
Merlot
Alcohol: 14.6%
Total Acidity: 6.5 g/L
pH: 3 .08
Winemakers: Clive Otto / Will Shields
Oak Maturation: 18 months in new French &
American barriques
Vineyard/winemaking notes:
The Heytesbury is the winemakers' 'best of vintage' selection. The '97 is the third made and reflects the lowyielding vintage with cassis, spice, coffee and dark chocolate in abundance. The 1997 vintage was a typical
Margaret River vintage, cool and dry. Strong winds reduced the potential yields on all varieties and there was
little bird pressure. A cool, slow ripening vintage.
Show Awards:
****1/2 Winestate September/October 1999
1999 Perth Royal Show Trophy for the Best WA Red
Gold Medal 1999 Sheraton Brisbane Awards
Gold Medal 1999 International Wine Challenge
Gold Medal 1999 Expovin - Switzerland
Gold Medal 1999 Royal Melbourne Show
Runner-up:Penfolds Bin 707 Cabernet Sauvignon
1996
Region: Coonawarra, Kalimna (Barossa Valley), Padthaway, McLaren Vale. Variety: Cabernet Sauvignon
Alcohol: 13.5% Acidity: 7.2 g/L pH: 3.42. Winemaker: Fiona Donald
Vineyard/winemaking notes: After the drought conditions in 1995, much needed rains replenished the soils
during the winter across most of South Australia. The first half of the growing season was dry and cool,
allowing the fruit to set and mature slowly. The last two months of the season warmed to bring in physically
mature, ripe and complex fruit.
Show Awards:
***** Winestate September/October 1999
Gold Medal - Hobart Wine Show 1998.
Gold Medal - Brisbane Wine Show 1998.
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 2,19/1/00
There is a road from the eye to the heart that does not go through the intellect. G. K. Chesterton (1874-1936)
Note that the previous volumes of The Wine And Jazz Appreciation Society News can be accessed from
my webpage given in the signature at the end of this missive.
The Fermanis-DiMattina Quartet (Bennetts Lane 11/1) sounded interesting, given the differing settings in
which I’ve seen Monique and colleagues in recent times. It was additionally enticing because of an apparent
blind spot I have about electric guitar-piano combinations. I recall being aurally discomfited by the Doug
DeVries/Tony Gould pairing at Manchester Lane last year. There was to me something not quite harmonious,
almost jarring about the combined sound, despite the enjoyment I obtain from hearing either instrument played
well in other settings The whole appeared less than the sum of the parts, despite the obvious and well
recognised talents of the two musicians.
Craig Fermanis plays a Gibson electric guitar adding to Monique’s piano, Belinda Moody’s bass and Dave
Beck’s (full kit this time) drums. As on recent occasions the selection of tunes was dominated by Cedar
Walton (Clockwise, Cedar’s Blues, Bolivia), Wayne Shorter (Yes & No, Wildflower, Black Nile), and Horace
Silver (Jodi Gro, Echaro). I missed hearing the writer of Infinite Eyes because of a Coopers-induced brief
absence. It was my favourite of the evening too, especially for the superbly peaceful and evocative piano
introduction on the new Kawai grand piano.
As noted in past performances, the understanding between the pianist-bassist-drummer was a highlight. There
is a feeling of easy familiarity between the three, coupled with an appreciation of each other’s playing. I
suppose that could lead to a predictability in their music, but it doesn’t do so – rather, they use the comfortable
foundation as a basis for exploration. Belinda is intriguing to watch, being the only bassist I’ve seen who sits
down on the job, legacy of back problems. Despite her unconventional posture she seems to be able to reach
all the frets without difficulty, and I especially enjoyed her intro and solo on Clockwise, and its lovely bowed
conclusion.
I was unsure what to make of Craig’s contribution on guitar. He is clearly an adept player, yet I felt that he was
very much apart from the others. This was made evident by his moving off the stage for all but his
contributions, and for his playing no supportive comping role. Perhaps he has not played enough with the
group to feel comfortable in that role, but it tended to marginalise him. It sounded like a piano trio with
occasional and defined cameos from the guitar. I suppose this did not trouble me unduly, as similarly to the
previously mentioned occasion, I didn’t think the guitar/piano mix was an auspicious one. Apart from Craig’s
terrific uncomped solo on Cedar’s Blues, once again the sounds from piano strings and guitar strings struck the
wrong chord with me. I also found the guitar a little loud for the intimate Bennetts Lane setting, and the jazzrock style of some of Craig’s solos unsympathetic to the band’s style.
Speaking of Bennetts Lane, a new addition known as Jazz Lab has opened next door. It is about three times the
size, enabling better viewing conditions and the ability to support more expensive acts, and larger bands. Let’s
hope it does not lose the intimacy that is a wonderful characteristic of Bennetts Lane. During the Melbourne
Jazz Festival, the new room will host numerous events with some very fine performers. In the future,
presumably one or other venue will open depending on the projected audience size.
Other venues:
There was a veritable explosion of new venues with music in 1999
Yet another new venue 9th Ward (9620 2686) at the Elizabeth St and Flinders Lane corner has opened Wed to
Sun, 4pm-3am with jazz, comedy, cabaret as the themes.
At Crown, a new jazz and blues spot is Next Blue opened Dec 20th
Dizzies, 90 Swan St Richmond, 9428 1233
Manchester Lane, cnr Flinders Lane and Manchester Lane, City 9663 0630
The Troubadour at Katcouta, 400 Sydney Rd Brunswick
The Purple Emerald, 191 Flinders Lane. 9650 7753
The Rosti Bar, 230 Flinders Lane
The Toucan Club, St Georges Rd, N. Fitzroy
The Yak Bar, 160 Hoddle St Abbottsford 9486 9900
The Cotton Lounge, 26 Toorak Rd S. Yarra
OzCat at Parkview, Cnr St Georges Rd & Scotchmer St, N. Fitzroy 9489 8811
Mayfields, 103 Smith St, 9417 0666
The Front Bar, Cnr Scotchmer St & St Georges Rd, N Fitzroy, 9489 8811
Rainbow Hotel, 27 St David St, Fitzroy, 9419 4193
Chapel off Chapel, 12 Little Chapel St, Prahran 9522 3382
The Continental, 134 Greville St, Prahran, 9510 2788
Twilight Jazz At The Zoo 6.30-9pm ph 190 224 0653
21/01 Kiss Me Mambo
23/01 Yvette Johanssen Summer Samba
26/01 Afternoon Australia Day Concert
28/01 Nina Ferro Septet
16/01 - 04/02 Fireworks Band With Nina Ferro and Yvette Johanssen
06/02 Swing Sensation
11/02 Powerhouse Band
02/01 - 12/02 Moovin 'N' Groovin
13/02 Army Band
20/01 - 18/02 Steve Sedergreen's Fire Signs With Julie O'Hara
01/01 - 19/02 Ted White Big Band
20/02 Navy Band
03/01 - 25/02 Kings Of Swing
26/02 So Nice
27/02 Andrew Swann Orchestra
03/03 Main Stem
29/01 - 04/03 RAAF Band
27/01 - 05/03 Society Syncopators
03/04 - 05/04 Melbourne Food & Wine Festival: Walk, Talk And Eat With The Animals
Try any top wines at Christmas or New Year?
Here’s my list, with the most enjoyable being the Pol Roger, the old Balgownie and Petaluma (sensational),
the Passing Clouds, the Winchelsea riesling
93 Henschke Eden Valley Riesling
93 Grossett Polish Hill Riesling
93 Winchelsea Estate Riesling
93 Salinger bubbly
88 Pol Roger Champagne
88 Tarrawarra Yarra Valley Chardonnay
79 Petaluma Coonawarra Cabernet
92 Passing Clouds Shiraz
89 Cathcart Ridge Cabernet/Shiraz
92 Bianchet Verduzzo
77 Balgownie Cabernet
87 Mitchelton Print Series Cabernet
85 Zema Estate Coonawarra Shiraz
88 Garden Gully Great Western Shiraz
89 Montara Ararat Shiraz
90 St Hugo Cabernet
90 Rosemount Giants Creek Noble Semillon
96 De Bortoli Noble One
87 Browns Noble Riesling
90 Rockford Barossa Shiraz
BRL Hardy, incidentally, went close to stealing the whole event at the 1999 National Wine Show. Trophies
went to
1997 Sir James Vintage,
1994 Thomas Hardy Cabernet Sauvignon,
1996 Thomas Hardy Cabernet Sauvignon,
1997 Yarra Burn Bastard Hill Pinot Noir,
1998 Moondah Brook Cabernet Sauvignon.
1997 Leasingham Classic Clare Shiraz,
1997 Chateau Reynella 1997 Basket Pressed Cabernet Sauvignon,
1994 Leasingham Classic Clare Sparkling Shiraz,
Lauriston Show Port and Hardy's XO Brandy.
THE WINE AND JAZZ APPRECIATION SOCIETY NEWS, VOL 6, NO 1, 11/1/00
"Remember, Information is not knowledge; Knowledge is not Wisdom; Wisdom is not truth; Truth is not
beauty; Beauty is not love; Love is not music; Music is the best." - Frank Zappa
Punctuation – who needs it? Read on, carefully!
Illuminatory Story 1:
A teacher of English wrote the words "woman without her man is a savage" on the blackboard and directed his
students to capitalize and punctuate them correctly.
Almost all the women wrote:
"Woman: without her, man is a savage."
Almost all the men wrote:
"Woman, without her man, is a savage."
One woman, who had a job writing descriptions of films for TV GUIDE, wrote:
"WOMAN WITHOUT: Her man is a savage"
One man, whose name was Herman, wrote:
"Woman, without Herman, is a savage."
Illuminatory Story 2
One letter, same words, different meanings.
Dear John:
I want a man who knows what love is all about.
You are generous, kind, thoughtful.
People who are not like you admit to being useless and inferior.
You have ruined me for other men.
I yearn for you.
I have no feelings whatsoever when we're apart.
I can be forever happy - will you let me be yours?
Gloria
Dear John:
I want a man who knows what love is.
All about you are generous, kind, thoughtful people who are not like you.
Admit to being useless and inferior.
You have ruined me.
For other men, I yearn.
For you, I have no feelings whatsoever.
When we're apart, I can be forever happy. Will you let me be?
Yours, Gloria
23/12 Manchester Lane Trio (Monique, piano; Dave Beck, drums; Belinda Moody, bass).
Diatribe! What a fine word – it sounds as malevolent as its meaning. And it’s fully intended to be in this case.
What began as an opportunity to hear Monique in trio format ended with the group being unceremoniously
evicted in the middle of their second set, so that a Christmas party, having dined in the separate restaurant
section, could take over the venue to perform their Kris Kringle gift-giving ceremony. “Off you go, musos,
there’s money to be made with this Kringle lot”. Outrage!
Bemused, I remained for a short time – wondering if this was only temporary insanity. Being an outsider at a
workplace Kris Kringle is a novel experience though somewhat voyeuristic, and my discomfort finally caused
my exit, pausing only to commiserate with the band members at the bar. Leaving aside the insult to the
listening patrons – what manner of treatment of the musicians is this? This is an establishment portraying itself
as a jazz venue, and in fact employs classy bands. Is the management inept, gauche, or solely bottom-line
oriented? Blacklist the bastards, I say!
Phew, that’s better! The music? A delight (if unnecessarily brief, see above), with several Cedar Walton tunes
(Cedar’s Blues, Short Stuff), Wayne Shorter’s Wildflower, and Horace Silver’s Soulful. Monique was in
fine form, and looking forward to her study in USA this year, courtesy of her $36,000 AUD Fullbright
Scholarship. There was plenty of room to stretch out with some delicate playing from Dave on his minimalist
(Leon Parker style) drum kit, and attractive extended solos from bassist, Belinda.
Having escaped from the alcohol-fueled bonhomie of Manchester Lane, where else to conclude the evening
but Bennetts Lane, where Christmas parties are unlikely to intrude on a listener’s enjoyment? Sure enough,
friends to recognise, uninterrupted music, and the feeling of humbug soon dissolves. Mistaken Identity again,
and new tunes, no less! Great stuff.
4/1 Bennetts Lane: Steve Magnusson Trio (Steve, guitar; Mike Jordan, drums, Gary Costello, bass, guest
Eugene Ball, trumpet).
Steve despite his apparent youth has been around for a few years (here and overseas) and has changed his style
dramatically in the last year or two. I first heard him with the Bluesbusters, Bob Sedergreen’s fine band of the
early-mid nineties. He also played with Julien Wilson in Festa and more recently in Snag; and with Paul
Williamson on his group’s first album Red Hot Go. He, perhaps influenced by the European experience, has
developed something of the ECM label “sound”, employing multiple electronic effects rather like Terje Rypdal
did with Jan Garbarek in the 1970’s. In some respects, Steve has followed in the manner of Ren Walters –
seeking a freer-form music, and producing a range of sounds not normally associated with the guitar. In
general the effects are atmospheric rather than melodic, the sound having no discernible initial attack (rather
like words without consonants, smooth but less well defined).
I found the guitar sound interesting initially, but it appeared to me to be without direction. A real irritation was
caused by his need to frequently fiddle with dials and pedals to extract the sound he desired. The seemed to
compromise the music, as only short lines could be played during this tinkering. An additional effect was to
divorce the player from his audience, made more so by Steve’s facing the bass player rather than the front.
Further, his attention to technical matters separated him from the band, and led to the impression that they
were incidental to his playing. I guess I don’t like signal processors, and I was hoping the Y2K bug would
strike. It was a pity, because I’ve enjoyed Steve’s talented playing in the past, and did so again on the couple
of tunes that allowed a more conventional jazz guitar style.
The first tune was Wes Montgomery’s funky TrickBag, with a nice trumpet-guitar unison playing, reminiscent
of Dave Douglas. The second tune was extended and controversial (You Don’t Know What Love Is), played in
a very slow and loose 4/4 time (a rhythm so slow you could drive a truck through it, Mike Jordan commented).
It meandered along for a while without much substance, and a few people, deciding this was not their bag,
headed for the door. Steve’s Hey, Guess What was a welcome change (up) of tempo with some attractive time
changes. Another tune of Steve’s was PM, played in trio format with some delightful acoustic-like guitar
playing, and, as always, tasty bass from Gary Costello. Mike Jordan’s contribution was the humorously titled
Unlucky For Some, played in the intriguing time signature of 13/4 (6 beats, 7 beats). Unlucky for the musician
who can’t maintain the tricky rhythm. No such problem for Mike, however; he could play Greenwich Mean
Time. His brushwork on Victor Young’s Beautiful Love was a joy, and a reminder of his class as a jazz
drummer. Oh, for a snare drum that doesn’t require loosening to prevent its resonating to other instruments.
Bennetts Lane January 2000 playlist
Wednesday 5th
Steve Magnusson Trio
Thursday 6th
Anton Delecca Quartet
Friday 7th
Nichaud Fitzgibbon Quartet & Mark Fitzgibbon Trio
Saturday 8th
Martin Breeze Quartet & Kadoonka
Sunday 9th Barry Duggan Quartet
Monday 10th
Browne, Stevens, Haywood Trio
Tuesday 11th
Fermanis, DiMattina Quartet
Wednesday 12th
Steve Magnusson Trio
Thursday 13th
Anton Delecca Quartet
Friday 14th
Nichaud Fitzgibbon Quartet & Mark Fitzgibbon Trio
Saturday 15th Martin Breeze Quartet & Kadoonka
Sunday 16th 5PM – Atmasphere 9PM - Gould, Pertucci Duo
Monday 17th Browne, Stevens, Haywood Trio
Tuesday 18th Benebig, Simmons, Baker Trio
Wednesday 19th Steve Magnusson Trio
Thursday 20th Anton Delecca Quartet
MELBOURNE INTERNATIONAL JAZZ FESTIVAL STARTS
Friday 21st David Jones Trio & Elliot Dalgleish Quintet
Saturday 22nd Winkelman, Murphy, Collings & James Muller Quartet
Sunday 23rd Judy Jaques Band & Travelling The Gospel Highway
Monday 24th Franklyn Ajaye and Eric Ajaye & Browne, Stevens, Haywood Trio
Tuesday 25th Matt McMahon Trio & Theaktet
Wednesday 26th Keith Hounslow Trio & Jamie Oehlers Quintet
Thursday 27th Kadoonka & Yuri Honig Trio (Holland)
Friday 28th Ricky Ford Quartet feat. Paul Grabowsky & Tim Wilson Trio
Saturday 29th 3PM - Youth Jazz Showcase 9PM - Ricky Ford (USA) Quartet &
Cam McAlister Quintet
Sunday 30th Dave Panichi Quintet
How are all your bottles of Grange doing? Halliday presents his findings.
Penfolds Grange Rewards of Patience tasting September 1999
Inevitably, the 30 vintages of Grange will attract the most interest when the Fourth Edition of The Rewards of
Patience is published in May next year. As the price of the old Granges continues to spiral into the
stratosphere, less and less of these treasures will actually be tasted. Even the young vintages are increasingly
bought as blue chip investments, which saddens fossils such as myself who believe wine should be drunk. So
reading this may be as close as many come to experiencing the vinous magic of Grange.
The tasting included every vintage from 1995 back to 1970, and then picked up what are generally regarded as
the four greatest vintages between then and 1953: the 1966, 1963, 1955 and 1953.
Obviously, some of the wines stood out as exceptionally good, but on the other side, there were no poor wines,
no failures. This reflects the flexibility of the selection process of the grapes (and the batches of wine) for
Grange, itself a legacy of Max Schubert's first experimental wines.
If you read the label carefully, there is no regional claim other than product of Australia. It can include grapes
grown anywhere in the country, even if the reality is that most comes from the three key areas around
Adelaide: The Barossa and Clare Valleys and McLaren Vale. Depending on the vintage, up to 15 per cent
Cabernet Sauvignon may be included, most probably from Coonawarra.
All of the leading wine writers in the English-speaking world have sung the praises of Grange, virtually all
ranking it on a par with the greatest wines of Bordeaux, Burgundy and the Rhone Valley. The most succinct,
as ever, is Hugh Johnson, who wrote "It is the one, true First Growth of the southern hemisphere".
It is a wine of ultimate complexity; in John Duval's words "the keys are dimension, proportion and texture
rather than simple fruit flavour". It spends between 18 and 24 months in new American oak hogsheads in
which it finished the last stages of its primary fermentation. It is then bottle matured for another three years
before its release as a five-year-old wine.
It is here that some of its magic first appears. It is so smooth and sensuous that drinking it there and then could
not be considered a vinous crime. But you absolutely know — this isn't a matter of opinion — that the wine
will continue to become more complex, yet retain its core of sweet fruit, for another 15 to 20 years.
Thereafter opinion, or personal preference, does enter into the equation, as does the particular vintage. But no
one with more than a modicum of wine knowledge could fail to be enraptured by the 53 as it presented itself in
this tasting. It has amazing colour, still predominantly red (rather than brick red); sweet berry and more spicy,
savoury aromas lead into a palate with sweet, lingering, cherry berry and chocolate flavours, then a fantastic
finish and aftertaste.
Alexander Dumas wrote that one should drink Le Montrachet with head bared; he surely would have said the
same of this wine — and, for that matter, the 1963, 1966 and 1971, all with years in front of them!
1953
5 stars
Amazing colour, still with predominantly red hues; in perfect condition, with sweet berry and more
spicy/savoury notes giving great complexity to the bouquet. The palate is crammed full of supple, sweet,
lingering cherry, blackberry and chocolate fruit, with a fantastic finish and aftertaste. The tannins are gone, but
it doesn't matter a scrap. Consistent tasting notes over 25 years; utterly unique.
1955
4 stars
Bright brick red; there are quite marked charry/earthy notes on the bouquet, with sweet fruit underneath. As
always, a powerful wine in terms of its fruit; simply not a good bottle. Significant variation is emerging here;
at its best, still a supremely great wine, but both the bottle tasted at the Josephson tasting in November 1994
and this bottle were disappointing.
1963
5 stars
Medium to full brick-red; a rich and complex bouquet with gloriously sweet plum, cherry, spice and cedar
aromas. An amazingly rich and voluptuous palate, crammed with glistening plum and chocolate fruit flavours,
finishing with soft, supple tannins.
1966
5 stars
Medium to full brick-red; a very fresh and firm bouquet, almost with Cabernet notes, ranging through dark
berry and mint; a touch of volatility does not detract from the wine. The palate precisely tracks the bouquet,
sweetness building all the while, again somewhat reminiscent of Cabernet Sauvignon and, in this limited
sense, not typical of previous tastings. Still, that hardly matters.
1970
4 stars
Medium brick-red; sweet, soft berry, honey, raisin, spice and earth aromas are followed by more sweet, raisiny
berry fruit on the palate. Out of the mainstream, but nice nonetheless, particularly if drunk soon.
1971
5stars
Medium brick-red; an intensely complex bouquet with that controversial whisk of volatile acidity, sweet earth
and truffle. The palate is equally complex, with flavours of plum, prune and truffle; the extremely long finish
is due in part to that touch of volatile acidity.
1972
41/2 stars
Medium brick-red; potent, powerful mint and dark berry fruit aromas are lifted to a degree by some volatile
acidity. The palate is powerful, concentrated with briary/savoury fruit flavours; not quite up to the form which
showed at the Josephson tasting, but not far short of it. A wine which has always suffered from some bottle
variation; a bargain when you find a good one.
1973
4 stars
Medium brick-red; continues the theme of some volatile acidity, lifting chocolate, berry and fruit aromas. The
palate is markedly sweet with slightly jammy berry fruit; there are hints of fruit pickle contributed, doubtless,
by the element of volatile acidity.
1974
3 stars
Brick red; some sweet earth aromas, but almost inevitably lacks fruit intensity. The tannins take over fairly
abruptly on the palate, but this apart, not bad for a perfectly dreadful vintage decimated by mildew.
1975
4 stars
A marked colour change to dark red; some slightly vegetal canopy characters are somewhat unexpected on the
bouquet; the palate is powerful, with flavours of leaf, berry and mint, again in that quasi Cabernet spectrum.
Definitely out of the mainstream.
1976
5 stars
Strong red-purple, a wonderful array of liquorice, berry and chocolate aromas foreshadow a powerful and
wonderfully complex wine on the palate, with rich, chocolate and berry flavours. Should be very long lived;
lovely tannin balance.
1977
3 stars
Excellent colour; a clean, quite intense berry/briar/earth bouquet with nicely balanced oak is followed by a
palate on which some slightly assertive green tinges manifest themselves. Not a great Grange, but a far better
bottle than that at the Josephson tasting.
1978
4 stars
Lighter colour but still bright and predominantly red. There are sweet, earthy Shiraz aromas, much lighter than
most in the line-up. On the palate, smoky/earthy Shiraz flavours appear, quite reminiscent of an aged Hunter
red. Overall, soft easy drinking; soft tannins.
1979
41/2 stars
Medium red-purple; the bouquet opens attractively with soft fruit, but then volatile acidity manifests itself, a
characteristic which follows through onto the palate. Chocolate and cherry flavours are matched by fairly
aggressive tannins; seems to me in a rebellious mood, and probably best left alone for the time being. Was
more attractive when younger, and will likely be more attractive in the years ahead.
1980
31/2 stars
Medium to full red-purple; the bouquet is particularly attractive and welcoming, with a mix of chocolate,
cherry, cassis and vanilla, all very sweet. A potent, long, lingering palate with glossy plum, cherry and
chocolate flavours.
1981
41/2 stars
Medium to full red-purple; the aromas are complex, running through briar, earth, cedar and dark berry. The
palate offers all of the same flavours in a complex matrix; the tannins, previously threatening, are now in
balance.
1982
4 stars
Light to medium red, with just a hint of purple. The bouquet is lighter, with slightly hessiany/green canopy
characters giving it some Bordeaux-like characters. The palate has soft, caramel, creme brulee notes before
finishing with soft tannins. An odd wine from an odd red wine vintage for Penfolds.
1983
5 stars
Strong red-purple; lusciously ripe cherry plum fruit on the bouquet, rich and welcoming. Dense, ultra-ripe but
not jammy mint and morello cherry flavours are surrounded and supported by smooth, rippling tannins.
Decades to go.
1984
5 stars
Medium to full red-purple; quite fragrant, with sweet cherry, plum and mint aromas. The palate has wonderful
mouthfeel, soft and silky, with strong chocolate flavours making their appearance. An elegant, seductive wine
which seems even younger than when previously tasted, but still has the 'drink me now' tag around its neck.
1985
4 stars
Medium to full red-purple; the bouquet is firm, and with some of the slightly green, minty aromas which run
through many of the 1985 Penfolds reds. The palate is of medium weight, with a mix of thyme, mint, herb,
mint and berry, finishing with soft tannins.
1986
5 stars
Medium to full purple-red; the bouquet is absolute perfection, with smooth, sweet, plum/cherry fruit which has
soaked up the new oak; you know the oak is there, but it is largely hidden. A perfectly constructed wine,
seamless in every respect; all the flavour you could ever wish for. Really deserves a sixth star.
1987
41/2 stars
Medium to full purple-red; the bouquet is powerful yet firm and still remarkably closed, releasing liquorice,
earth and berry only after prolonged coaxing. The palate doesn't really show the cool vintage, with nice
cherry/berry fruit and soft, slightly dusty tannins.
1988
5 stars
Medium to full red-purple; fragrant, scented and lifted raspberry, cherry and mint aromas; the lift is coming
from the fruit, not volatile acidity. A totally delicious wine on the palate, very elegant, smooth and satiny; not
showy.
1989
4 stars
Medium to full red-purple; those ripe, raisiny characters of the vintage come rocketing through the ultravoluptuous bouquet. The palate offers plum and prune flavours, akin to overripe Grenache; a strange one, but
far from unattractive.
1990
5 stars
Medium to full red-purple; there is not hair out of place on the sweet, elegant and fragrant bouquet. The palate
has an abundance of soft redcurrant, cherry and mocha chocolate fruit (and oak), finishing with very fine,
persistent tannins.
1991
5 stars
Medium to full red-purple; a voluptuous and potent bouquet with cherry and plum fruit which is ripe but not
jammy, much in the mould of the 83. The palate is showing much more than the 90 vintage, ripe, and with
bold cherry and plum fruit, touches of liquorice and soft but persistent tannins.
1992
41/2 stars
Medium to full purple-red; the bouquet is redolent of liquorice, leather and minty berry fruit, and the palate has
that bright, breezy raspberry and liquorice fruit of the vintage, finishing with soft, fine tannins.
1993
4 stars
Medium to full red-purple; certainly has abundant character on the bouquet with rich, ripe, faintly jammy fruit.
The palate, likewise, has big, ripe plum and prune fruit; overall looks a trifle gauche in this line-up.
1994
5 stars
Medium to full purple-red; excellent concentration and balance of dark plum and cassis fruit interwoven with
oak on the bouquet; the palate has powerful, dense dark berry plum and liquorice fruit, strong tannins and
hallmark vanilla oak.
1995
41/2 stars
Strong purple-red; rich, ripe red and black cherry fruit, sweet as it can be, matched with good oak on the
bouquet. There is plenty of power and ripeness to the palate, with no sign of a lesser vintage; good tannins and
length.
Copyright © 1999 Winepros / James Halliday