Year: 2004

  • Spring Forward

    I have never been a big fan of Chenin Blanc. If grapes were people, this variety would be your alcoholic uncle, all hail-fellow-well-met as he comes through the door, but a bit bland, short on attention span and interesting conversation, and liable to leave behind him a sensation somewhat different from the initial affable salute.

    A memorable 1961 Vouvray comes to mind, the pride of the cellar at a place where I used to work (such was the state of the academic job market in the Reagan-Thatcher years that I was in six establishments in seven years before the U of M snapped me up). Vouvray is always one hundred percent Chenin Blanc. It is a pale yellow wine from near Tours in the Loire valley, south of Paris, and is known for its keeping qualities. 1961 was a year with a fine reputation. Those in the know spoke in subdued tones of this treasure—it amounted to several dozen bottles. Quite enough, thought some, for one to be tested. The experiment was a revelation. Over the two decades these bottles had sat in the cellar, the contents had developed a flavor which combined the vapid nastiness of a Macintosh apple with the heady aroma of dry-cleaning fluid.

    The solution adopted to the problem of their disposal was not particularly kind. It followed the gospel principle that “every man at the beginning doth set forth good wine; and when men have well drunk, then that which is worse” (John 2:10). Some people at that particular staff farewell party may have been surprised at the lavish provision of liquids, but there were no complaints, which goes to show that even thinking people do not always think when they drink.

    Imagine then the pleasure of finding recently not one but two Vouvrays tasting as good as their mellifluous name (thrill to the delicious labiodental fricatives). Both are from the 2002 vintage, a year with a long sunny autumn—important if grapes are to ripen and become sweet in an area which is both inland and quite far north. Both may be had locally for about $10.

    The drier of the two is from the well-known domaine of Sauvion. It is a clear pale yellow. Its initial sweetness is followed by bright acid, but what lingers long after you have swallowed each mouthful is a delicious bitterness, like that of fresh grapefruit. I detected one note in it which would pick up the taste of gouda cheese. This would go down very nicely before dinner on a sunny evening, a pleasant variation from fashionable Sauvignon Blanc. Nor is it any dispraise to say that it would be an ideal wine to drink with potato salad, or one of those cold amalgams people put together for graduation parties that involve multicolored rigatoni, turmeric, and yogurt (or is it cottage cheese or mayonnaise—surely not Miracle Whip). It went well with a pasta sauce I make out of eggplants, browned onions, ricotta, and tinned tomatoes. It is surely no mistake that it comes from the region where the 16th-century French queen Catherine de Medicis had several chateaux, for it is she who is said to have introduced white sauce into French cooking from her native Italy—an Italy whose cuisine had in her day not yet integrated the tomato, a New World vegetable (or fruit—I am not getting into that one).

    Our other Vouvray is a similar pleasing pale yellow, but tastes somewhat sweeter. It is from the caves of Jean-Paul Poussin; caves not only in the French sense of “cellars” but also in the English sense, for M. Poussin’s bottles age in grottos cut out of the creamy local tufa limestone, caves which in the Middle Ages were used for disposing of bodies in times of plague. The wine gives the mouth a sense of fullness, in much the same way that champagne does (though this wine is not in the least fizzy).

    These are jolly good value, if you ask me, fine and fresh for spring. This is what wine might have tasted like in Eden, before the accumulated misdeeds of mankind made us sad and bland and boring. Drink them young.

  • Parmesan!

    Don’t let the imposters win. You are encouraging their success when you order a rum and Coke and settle for Shasta. When you allow people to offer a cup of java, then serve up Folgers crystals. The worst offense is to say “pass the Parmesan” as you’re looking at a rotund shaker of a fluffy white substance like artificial snow. These substances are not so much fake as they are shadows of a truer form. The cheese in that shaker at the pizza joint or in the green cylinder jar at the supermarket has almost nothing to do with the cheese it purports to be. Unfortunately, the phony version has more fame, not unlike a certain leggy, blonde Law & Order actress with the same name as a certain short, sassy, rakish food writer. But if the masses knew the flavorful and amazing truth about the original, they’d shun the green jar and grab their graters.

    “Parmesan” has unfortunately become a general term for Italian-style grated cheese. Parmigiano-Reggiano is the true name for the cheese you think you shake so well. Like Champagne or Bourbon, Parmigiano-Reggiano is named for the area in which it is produced, in the River Po River valley in Italy’s Emilia-Romagna province. The same cheese produced outside this region is called Grana Padano. The art of the cheesemaker has remained the same for more than eight hundred years, and it all began in a place called Parma.

    A story from Boccaccio’s Decameron, written around 1350, tells of a city by a mountain made of cheese. The good people of the mountain did nothing but make macaroni and ravioli, rolling the gifts down the peak to the hungry below. Ah, Parma. History is littered with instances of the appreciation of Parmigiano, in Italy and abroad. Taillevent, one of the first French cookbook authors, uses the cheese abundantly. Some accounts of Molière’s death witness him asking for a slice of the heavenly cheese on his deathbed.

    In 1400, the humanist Platina observed that Italy’s most renowned cheese, Parmigiano, was also called maggengo because it was produced in the month of May. By his time, the process had already been perfected for some two hundred years, and it is the identical process that is used today.

    Today’s artisans could be tempted by mechanization, but most still use milk, heat, and tradition to turn a good cheese.
    High-quality milk is one of the secrets to parm. The cows eat well, munching young grasses, herbs, and flowers in the spring and robust grasses and straw come autumn. Cheeses produced with spring milk have a lower butterfat content and may be drier and lighter than winter’s, but will also have a more delicate flavor. Milk’s butterfat is highest in the fall, lending the cheeses of October and November a deeper color and more intense flavor.

    The weather in Emilia-Romagna is another deciding factor. The humidity and variations of temperature help activate enzymes in the cheese that are responsible for creating its unique characteristics of flavor, color, aroma, and granular texture. Patience is another virtue of true Parmigiano, which takes from twelve to thirty-six months to mature. The standard chunk you buy will likely have basted in Italian breezes for eighteen to twenty-four months. Kraft proudly ages the stuff in its green jars for six months.

    The final factor is love. It’s the love of a process that requires myriad subtle and delicate operations in which a tiny variance could affect quality and value. Rigorous testing by the Consorzio del Parmigiano-Reggiano, a group that’s quite serious about cheese, decides whether the labor of love is a worthy one. If a one-year sampling of cheese fails the standard testing, it is stripped of its rind and not allowed export.

    Parmagiano-Reggiano is born as a seventy- to eighty-pound wheel whose rind is iron-branded with the Consorzio-approved stamp, the farm code and the date of production. By law, every piece cut from the wheel should have some marking on it (make sure you can see the rind on any piece you buy, or see the wheel from which it was cut). Then the cheese will fall into one of three categories. “Prima Stagionatura” identifies a cheese with a minor defect, but one still good enough for market; its rind is marked with parallel lines. “Extra” gets an oval stamp certifying at least eighteen months of ageing. “Export” is stamped as such and signifies first-grade quality after eighteen months.

    While most think of Parmigiano in its grated form, let’s please think outside the shaker. This cheese is wonderful shaved into thin slices and eaten with fresh fruit—pears and Granny Smith apples are ideal. There is nothing better than a beef carpaccio with capers and thin, blond shavings of Parm, which, at Arezzo Ristorante, is something they do fairly well. I recently watched (and later dreamt of) my chef-husband tossing warm fettuccini in the belly of a carved-out wheel of Parmigiano, the cheese melting slightly and coating the pasta.
    Want your own wheel? It can cost $800 to $1,200, without shipping. Scott Pikovsky of Great Ciao imports all sorts of crazy goodness from the Mediterranean area. Otherwise, for a slice here and there try some of the local Italian shops like Delmonico’s or Buon Giorno Italia. Even Lunds and Byerly’s have stepped up with good cheese. If you think grating your own is a bother, and you’re tempted to grab the “domestic Parmesan,” you may want to recall a colorful proverb from your childhood: Mr. Yuk is mean, Mr. Yuk is green.

  • Louie the Wine Guy

    April 20, 2004

    This week’s edition must begin with a report from last Friday night’s gala Napa Spring Wine Fling, presented by The Rake and sponsored by Excelsior Vintage. The party, held in the lovely atrium of the Doubletree Park Place Hotel, was attended by about 60, and featured almost 70 wines from Napa Valley. Those from the local wine industry remarked that there had never been as varied and fine assembly of Napa wines here in the Twin Cities. Those accolades this might be eclipsed by the Napa Valley Vintner’s Association tasting, coming up on May 6—we’ll have to see.

    The wines shown last Friday night included certain labels available here in Minnesota, names like Jarvis and Vine Cliff (this chardonnay was stunning!), Chateau Montelena and Shafer. But most of the excitement arose around one particular table, which showcased some special wines not yet distributed in Minnesota. Standouts in this group included: Luddite ’01 Carignane, L’Ecosse ’96 Cabernet Franc, Atalon ’98 Merlot, Atlas Peak ’97 Cabernet, Prager ’97 Cabernet, and a few stunning meritage wines like Barlow ’01 Red, Elodian (Tom Eddy) ’00 Napa Cuvee, Beaucanon ’00 “Trifecta”, High Rocks ’01 “Wrangler Rouge”, Delectus ’00 Argentum, & Orin Swift’s amazing ’02 “The Prisoner.”

    It should be noted that all those wines not yet available here in the “Paris on the Prairie”—wines that wowed industry palates as well as those of the general public—sell for under $30 a bottle. “The Prisoner” quite an impact, as well it was expected to. Dan Dawson, owner of Back Room Wines in Napa, offered this tasting note: “Orin Swift owner/winemaker Dave Phinney brought me a barrel sample of this ’02 “The Prisoner” last summer, and for those familiar with the ’01, it’s all that and more. The recipe is about the same: just over half zinfandel, and about a fifth each cabernet, sirah, and charbono. Perhaps the best compliment I can give it is that Dave is accomplishing his goal of consistency. He wants the same sweet, spicy, jammy, exceptionally smooth, faintly toasty, hedonistically delicious red wine every year. …It is off the charts on the Yummy scale. It is unique as a wine itself, for I have heard over and over again since the 2001 disappeared, “This is good, but it’s no Prisoner.”

    The great thing is that you, dear reader, can pick up the telephone, call Dan at his shop (707-226-3560), and have him put together a mixed case of wines like “The Prisoner.” Whether he has any of this gem remaining I cannot predict, but I do know someone else in Napa who had six cases when I was visiting (three weeks ago). And this was my main excitement Friday night, to witness Greg Varner, owner of Excelsior Vintage, Andre Peters of Surdyks, and Mikael Thollander, of The Wine Doctor, gush about these remarkable wines.

    The point is this: For every great wine you encounter on a retail shelf here in town, there are ten more just as good at perhaps half the price gathering dust in California. There truly is a glut of great wines available to us; we simply have to learn the ropes when it comes to acquiring them. Delectus is a label, for example, that I deeply want to expose around town. Its owner/winemaker, Gerhard, makes amazing wines (his “Argentum” was Mikael Thollander’s top pick, and it sells at the winery for $20 a bottle, less 20% if you are a “friend of Louie’s.” Pick up the phone and give Gerhard a call(707-255-1252).

    Remember that every penny you spend on shipping, you save by not paying sales tax (nine percent here in Minnesota). I was concerned about shipping at first, until I saw the Styrofoam shipping containers Dan Dawson uses. He has never had a case of wine not reach its destination safely.

    My deepest wish is to educate wine lovers and expose them to these “insider secrets,” so that they can fully enjoy the incredible quality that comes out of Napa Valley and other west coast wine regions —without spending a small fortune. Remember the May 6 tasting event. It will cost you $75, but in the end it could save you hundreds.

    Louie the Wine Guy will next be offering a few of the above-mentioned gems at a benefit tasting for the Twin West Chamber of Commerce, Thursday April 29, at the Colonnade Building in Golden Valley. (952-540-0234 for reservations)

    Also coming up: my “Introduction to the World of Wine” seminar series, with the focus on the first of three sessions being California, Oregon, & Washington. This seminar takes place Wednesday May 5, 6-9pm, at the Doubletree Park Place Hotel. ($40/$35 club members, includes light dinner. 763-476-0699 for reservations, which are required).

    As for other newsworthy events about town, Haskell’s and Byerly’s & Lunds continue their big sales through the end of April. Most of the outlets have a variety of free tastings in conjunction with the sales. France 44, for example, offers customers a tasting each week, Saturdays from 2-5pm, with five to eight wines available. Call store for details: 612-925-3252). South Lyndale Liquors, one of my favorite shops, offers the Grapevine
    Wine Club tasting series. Go to: http://www.southlyndaleliquors.com/grapevine_main.htm for details.

  • Amsterdam Bistro

    Here’s a bistro that’s just what it should be, though we would have liked bigger crab cakes for eleven bucks. The spanking new Amsterdam, with its brick-and-wood interior, tin ceiling and little corner-shaped bar looking out onto the Third Street terminus, seems destined to become a favorite jumping-off spot for a night on the town. One could finish up here, too, given the good sized wine selection and great entrees like maple-bourbon glazed salmon, not to mention the best French onion soup around. The homemade gelato merits a separate blessing.

  • Will Durst

    Will Durst, to paraphrase the old country radio music billboard, was doing political satire before it was hip, and he’s still going strong. Part of the San Francisco contingent of comics who didn’t sell out to Hollywood for sitcoms and potato chip commercials, Durst displays the thoughtfulness of Mort Sahl without Sahl’s patina of Ward Cleaver weeniedom; he also summons the righteous anger of Lenny Bruce before he was driven cuckoo. If you don’t attribute when you rip off his insights, quoting Durst will make you sound very smart around the water cooler the next day.
    708 N. 1st St., Minneapolis; (612) 338-6393; www.acmecomedycompany.com

  • The Vanek Trilogy

    You’ve seen him hobnobbing with Bill Clinton, partying (and attending IMF meetings) with Bono, and doing other cool and prestigious things that world-class playwrights-cum-presidents do. But have you actually seen a play by Vaclav Havel? (We won’t ask about the political essays.) Now’s your chance. Known as Havel’s most “successful” (read: accessible) work, the three autobiographical one-acts comprising The Vanek Trilogy were written in the late ’60s after the Soviet clampdown in Czechoslovakia. Don’t let the idea of Eastern European absurdism put you off: The Ministry of Cultural Warfare likes serious drama, but that doesn’t mean they take it—or themselves—too seriously.
    810 W. Lake St., Minneapolis; (612) 825-3737; blb.ciceron.com

  • The Exonerated

    A simple but powerfully chilling idea ripe with dramatic possibility: What would you do if you were sentenced to die for a crime you didn’t commit? Husband-and-wife writing team Jessica Blank and Erik Jensen (a 1988 Apple Valley High School grad) interviewed forty wrongfully convicted death-row prisoners and boiled their stories down to six. Exonerated’s pared-down approach—a script, a music stand, an actor wearing reading glasses—has netted enthusiastic praise in New York theater circles. This touring production, directed by Gosford Park actor Bob Balaban, includes Lynn Redgrave and Brian Dennehy, the latter of whom, perhaps ironically, is pro-death penalty. But then the point of the play isn’t to convince you of a point so much as simply to make you think. 805 Hennepin Ave., Minneapolis; (612) 339-7007; www.hennepintheatredistrict.com

  • Historical Marker: Photographs Along the Lewis and Clark Trail

    Photographer Justin Newhall takes on the myths of the American West, tracing their subtle but inescapable residue in contemporary junkscapes of parking lots, stores, parks, monuments, and suburban tracts. He picks out the sculptural abstractions in a lakeside picnic area in South Dakota, and documents a shaggy heap of invasive Russian olive trees sprawling dumbly along an Oregon highway. The results are poignant, pungent, and absurd, sometimes all at once. An image of a display window in Idaho, where family shoes commingle with plastic eggs, could be an oblique allusion to countless westward marches by folks who followed Lewis and Clark in search of something better. Fans of Robert Adams, Joel Sternfeld, and William Eggleston will recognize a keen affinity here. 711 W. Lake St., Minneapolis; (612) 824-5500; www.mncp.org

  • Light Bound: Photographers Regard the Book

    Remember when you could snuggle up with the newspaper rather than read it online? When you could get your information from the phone book rather than from Google? Those were the days. A group of 50 photographers and one installation artist remind us of our love for the tangible as they turn their camera lenses on the printed word. Whether using the book as a medium for their art, capturing its simple beauty, or documenting the reader’s relationship with it, these photographers keep our attention cover to cover. 2400 3rd Ave. S., Minneapolis; (612) 870-3131; www.artsmia.org

  • Mary Beach: Paris Working

    In France, Mary Beach has a place in the pantheon of major living Surrealists, and frequently collaborated with the likes of Allen Ginsberg and Robert Mapplethorpe. However, she’s not so well known here, in the land of her birth; in fact, Speedboat’s putting on her first-ever Twin Cities show. Her fascinating life includes a stint in a Nazi prison camp, a glass-ceiling breakthrough in the 1950s art world, and later still, prime spots in the beatnik scenes surrounding City Lights and the Chelsea Hotel. Paris Working collects sixty-four of her latest collages—at eighty-five, she’s still producing vibrant work. 566 N. Snelling Ave., St. Paul; (651) 641-0538; www.thespeedboatgallery.com