Showing posts with label port. Show all posts
Showing posts with label port. Show all posts

Thursday, July 9, 2015

Deliciously wrong (port in summer)

It's been open for months. I don't know what it "should have" tasted like.

It's the wrong season for port -- we want November afternoon sleet and a cozy couch, not a cool July night and a kitchen table. The New York Philharmonic is playing The Nutcracker. Alec Baldwin always sounds so pleasant and rational while narrating Thursday night's concerts. One can hardly believe he occasionally berates paparazzi, or throws telephones.

All, all deliciously wrong. Yet, one thanks God the open bottle did not burst its stopper and spill all over the interior of the car on the way home from work, just when one turned the corner and the bag holding this, plus the other three bottles, jostled just enough to fling it, neck down, behind the passenger seat. Yes.

One thanks God. (And one remembers the rebuke about port from Brideshead Revisited: "Sebastian, don't be an ass. You've had quite enough.")

Barao de Vilar, Porto Reserve. Sip in a little cylindrical glass, alongside crackers and cheese. When the New York Philharmonic is finished, listen to "Baroque and Before." Sometimes, WFMT gets it.

One loves porto.



Thursday, December 18, 2014

New cocktail: MAILER-DAEMON failure notice: "Mailbox full"

Why on earth anybody responds to a famous author's writings is beyond me. I guess we all think we're going to give the great man pause in some superb way, or we're going to be discovered, too. All we get is a ding in our inboxes, encouraging us to subscribe to whatever online magazine the famous author writes for; or we get a MAILER DAEMON failure notice. This time it was "mailbox full," which I gather is unusual in these post-floppy-disk days. Oh well. Here's what I wrote him. His groupies, know him as VDH.  

Dear Mr. Victor Davis Hanson,

Every once in a while, I think your editors ask you to write something optimistic, and the "Still Dazzling" article seems to me to be the latest. Right on schedule too, around Christmastime. They always seem to follow a more heartfelt (and depressing) piece chronicling the disintegration of life in rural CA. Anyway thank you for the dose of good cheer.

You're right, it's all about ordinary people carrying on, the trouble is it's also the ordinary people who foot the bills, and I sometimes think authentic crisis will come when ordinary people figure out they have no voice left except tax revolt. Then we may see what the government is willing to do to get their hands on the money.

I also agree with something Dennis Prager said years ago, that liberalism is a religion. Using politics to fight it does not work. Eighteenth century political cycles, i.e. voting every two years, move too slowly to keep up with 21st century, left-wing compassion tyranny. Or royal edicts, for that matter. I sometimes think a true opposition leader, when he comes, will be a religious figure -- not even necessarily a pastor or Bible-thumper, but someone with some kind of inner core that will be impervious to the weapons of the entrenched media/academic elite. I look forward to the first president who does not have a White House press corps, and sends no representatives to "the Sunday morning shows." I think maybe he'll choose to live in Detroit, or Branson, or maybe even (if he has a lot of imagination) Mexico City. Why not? 

You said the ordinary American keeps on working, taking care of his family, ignoring pop culture, and doing what he excels at. Good for you, yes, I think you're right. Years ago when I still read the Chicago Tribune I read an article of yours in which you wrote that what distinguishes today's America from earlier, declining empires was the presence in our midst of an elite which loathed the country and fought hard for its worldwide contempt and collapse. Even the Romans, you said, did not have that. I've always thought that was the best thing you have ever written and the thing historians will remember you for. 

Thanks again for the dose of Christmas cheer. Looking forward to next year's version.

Best




Drown your frustrations with a little something from a very pre-floppy-disk era. We're going to resurrect and re-christen the Calvert Party Encyclopedia's [1961] "Princeton cocktail," a delight not only from 1961 but from the early 1900s. Paul Clarke at Serious Eats records that the Princeton was created by "New York barman George Kappeler, who mixed it [ca. 1900] along with other Ivy League-named drinks at the Holland House bar." It must be true, since our Encyclopedia lists the recipe for the Yale on the very next page. The Princeton is simpler. It requires two of our favorites, gin and port, plus orange bitters.

Specifically it requires Old Tom gin, a style sweeter than today's usual gins. Mr. Clarke says that if you can't find new makers of Old Tom, the flavor can be approximated with a mix of regular gin and a bit of simple syrup. I suggest regular gin and -- why not? -- a bit of apple cider, or possibly even apple cider liqueur. Let's try Journeyman Distillery O.C.G. (Old Country Goodness) apple cider.

Therefore, our new cocktail becomes --

The MAILER-DAEMON
1 jigger (1 and 1/2 ounces) gin
generous dash -- say, 1/4 teaspoon -- apple cider liqueur, such as Journeyman
1/2 ounce -- a little less than half a jigger -- port
2 dashes orange bitters
Stir all ingredients in a mixing glass with 4 ice cubes. Strain into a cocktail glass. The usual garnish is a twist of lemon peel, which seems to me a jarring note. Port and lemon? No. A little cube of apple with peel seems better. Mr. Clarke by the way says the gin and bitters only should be mixed together with ice; after they are strained into the cocktail glass, the port is poured carefully down the side of the glass, so that it  may settle prettily at the bottom. Kind of like voters.  

Wednesday, January 29, 2014

Port, part 1


(Note: for help in understanding port, I am indebted to Jason Brandt Lewis' article on The Wine Lovers' Page.)

Port conjures up images of English country homes, autumn, roaring fireplaces, and gentlemen in evening clothes relaxing over a polished dinner table while the ladies wait in the drawing room, and rain pelts the mullioned windows. In fact it was the polite custom, for many years, for ladies to get up from the table after dinner and "leave the gentlemen to their port." The hostess had the privilege of deciding when she and her friends enacted the ritual; in one of his perfect Mapp and Lucia novels, E. F. Benson writes of a hostess "collecting ladies' eyes" and shepherding them out. The almost equally delightful history To Marry an English Lord tells of the young, American-born Duchess of Marlborough almost having this privilege snatched from her by her husband's aunt, who had been the female head of the household and resented the new bride's intrusion into her domain. When Auntie "gave the signal" for the ladies to get up, an outraged masculine guest barked "Sit down! Never have I seen anything so rude" and the young Duchess firmly followed up with a velvety query as to whether Auntie felt ill -- "There surely was no other excuse for your hasty exit." (That silenced Auntie.) The gentlemen, for their part, were expected to relish their manly solitude for only about half an hour. Then it was their duty to join the ladies and carry on the amusements of the evening together, whether bridge, or music, or conversation. All of this made the scene in the movie Titanic, in which the gentlemen leave the table and the ladies stay behind, mildly funny and mildly painful. If only the director had done his research into social customs, circa 1912. What were the men leaving the women to? Their cigars and port?

Anyway. Port: it is a sweet, fortified dessert wine made from a number of obscure, naturally very sweet grape varieties like the Touriga, Bastardo (both red), or the Rabigato or Malvasia (white). It has been made in Portugal's Douro Valley since the 15th century. After harvest, the grapes are crushed and allowed to ferment up to a point. Then, the wine is drawn off its sediment of skins and yeast cells, and is mixed with high-alcohol grape brandy. This stops any further fermentation -- since high alcohol levels kill any remaining yeasts that would have made more alcohol -- and leaves a wine that is both sweet and powerful in the "proof" department.

True port, from Portugal, must say "Oporto" on the label. The wine comes in two broad categories, vintage port and wood port. Only 2 percent of all port sold is vintage, and it must say Vintage Port in large letters on the label, with nothing between the words. Vintage port is usually made from grapes sourced from a variety of vineyards, but all harvested in the same year. The wine is fermented and aged only for a short time in wood barrels, and is bottled no more than two years after the harvest. After that, the wine is meant to age in the bottle, in your cellar, for years.

This ability to age in the bottle is the definition of class for any wine. Great Burgundies, Bordeaux, Napa Valley Cabernet Sauvignons, Champagnes, and Vintage Ports are all examples of wines that began with such fine grapes, wines that the winemaker has paid such attention to and crafted with such care, that every individual bottle can serve as its own fermenting tank, and can be relied upon -- assuming proper storage -- to produce perfection when that "tank" is opened in ten or twenty or fifty years.

And who can afford a vintage port? Anyone who wants to spend from $100 and up on a bottle of wine, and then not drink it for many years. It's really a question of discipline, and an understanding of what this is for, than a whining about expense. I recall reading once that well heeled English families used to buy a case of vintage port to celebrate the birth of a child. When the child reached adulthood, "his" wine would be ready for him.  It's like that.

Port, part 2


Once again, for information on port I have consulted Jason Brandt Lewis' article at The Wine Lover's Page.


Ninety-eight percent of all port made is "wood" port, as opposed to "vintage" Port. Wood port is so called because the wine, after having been pressed off the grapes, allowed to ferment briefly, and then fortified with high alcohol grape brandy to stop any further fermentation and remain sweet, is then put into wooden barrels for aging. It is not vintage because what goes into the barrels is a mix of more than one year's (one vintage's) product. In fact what goes into the barrels is a mix not only of several years' product, but a mix of several vineyards' product. (A vintage port is usually a mix of several vineyards' wines, too, but all of a single year. Only a "Quinta" vintage port is from one vineyard and one year.)


The youngest and sweetest example of a wood port is a type called Ruby. The bottle you buy may not say "ruby port" on the label -- true port, from Portugal, must say Oporto, and quite possibly the makers of the genuine article assume they need not bother to put a generally understood descriptor (in English) beside it as well. The one ruby port that I have tasted does not explain itself as such. What is also missing from the label, and what therefore alerts you that this is ruby, is the number, 10-, 20-, 30-, or 40-, followed by "year."


When one of these numbers is present, you have a Tawny port. These will be older and drier than the (painful to admit this, but -- almost cough-syrup sweet) rubies. A 10- or 20-year old port will be a wine mixed and aged in a barrel full of doses of wines which may have been technically anywhere in the neighborhood of 9 or 12, or 19 or 21, years old at the time the whole contents of the barrel were bottled. It's important to remember, therefore, that the label announcing 20 year port is not announcing vintage port. If it were, there would be a single year -- 1931, just like the Quinta do Noval served at David Peppercorn's party -- standing proudly on the label.


There are several other types of wood port, beyond the simple ruby/tawny distinction. Actually, the remaining types are still subcategories of tawny, but they are wines which are essentially classy and flavorful enough to spend less time in a wood barrel, or wines that are not great enough to bottle-age completely, like a vintage port, but that have come from a single vintage anyway. These subcategories are Vintage Character port (a blend of wines having the character of a single great year), Late Bottled Vintage (one year's wine, aged 4 to 6 years in wood), Crusted port (several years' worth of wine, aged 4 to 6 years in wood), and Colheita port (another single vintage, but aged at least 7 years in wood). There is also White Port, made from the pale grape port varieties, and Young Tawny, made from a mixture of Ruby and White ports.


As with all wood ports, these last half dozen or so subcategories of the tawnies do not benefit from any further bottle aging after you buy them, with the exception of the Late Bottled Vintage ports, which appear to be wines just a hair's breadth away from great, capital letter, Vintage Port status.


The wood ports are ready to drink now. Ports in general were the classic finish to a fine meal, especially for men. (I wonder if its usually accompanying cigars is the reason why, to this day, a sommelier must know cigars as well as wine.) According to authors Gail MacColl and Carol McD. Wallace of the charming To Marry an English Lord, there were strict rules about port consumption, even after the ladies had left the table: port was passed around the table counterclockwise, and a gentleman who let the decanter pass him by could not change his mind and grab it back; he waited until it made the circuit of the table around to him again. The decanter was slid along the tablecloth, never lifted. This sounds bizarre and Druidical, but was no doubt practical. That vintage port in the decanter -- and the gentlemen at a fine party could no doubt afford vintage -- would have been throwing sediment as it aged in the bottle, which was why it was decanted in the first place. Sliding the decanter would ensure that any further sediment would stay at the bottom, and not pour into the gentlemen's glasses.


I started my journey into real ports with a $20 bottle of ruby, which I made sure to last probably longer than I should have. The tawnies will cost you twice that, at least. And as for vintage, well, until we all hit the jackpot, we can least look at them, virtually.

Friday, January 24, 2014

Strawberries in port



It's a simple recipe, from Jean Anderson's The Food of Portugal. Steep fresh sliced strawberries in sugar -- a few teaspoons, or to taste -- and one quarter cup of ruby port. Eat. Mrs. Beeton essentially agrees, in her book written more than a hundred years before, but her recipe calls for sherry or madeira, and she means you to preserve the strawberries by the quart "in perfectly dry glass bottles." Preserve, for how long? She doesn't say. Perhaps her readers understood, one preserved them until the following winter.

Strawberries are a strange fruit. People rave about how good they are, and snap them up when they are on sale at the grocery store this time of year, oh how wonderful, such a harbinger of spring -- I snap them up too, two quarts for $5 -- and yet they are so confoundedly sour. Madeleine Kamman in The New Making of Cook says sternly, "Unless you grow your own, you have absolutely no idea what a truly delicious strawberry tastes like." Mass production of varieties sturdy enough to withstand shipping and to look good and red right now has resulted in berries which are "nothing more than bundles of colored fibers with almost no taste whatsoever." She suggests starting your own strawberry patch from heirloom seeds. As fragaria are prolific, "you will soon find yourself" overrun with strawberries.

She may be right about that. My own experiments with strawberry plants in pots on the porch steps was not a success, but the confinement to pots may have been my mistake. No sooner would a small white berry begin to blush the remotest shade of pink, than overnight some hungry creature with a brain to think with would eat it. Bird, rabbit, squirrel, who knows what. I gave up, just as I have given up with poppies, which have also failed to survive predators here. But, if you give your strawberry plants more room, you may find, as Madeleine claims and as the first settlers in Virginia discovered, that before too long you are tripping over all that deliciousness, tripping over the "heart seed berry," wuttahimneash, as the Indians are supposed to have called them. In his book Food Waverley Root describes the strawberry patch on his own farm exactly answering to the account of the fruit given by "one of the first Englishmen to reach Maryland: 'wee can not sett downe foote but tred on strawberries.' "

He, too, says the wildly growing kind are delicious beyond expression, but too small and fragile even to be picked and brought into the house. They must be consumed on the spot, in the fields or woods. And yet, throughout his long article on this, "one of the most popular fruits in the world," he also records both old opinions that the cultivated strawberry was not much of an improvement on the wild kind, and old recipes matching the strawberry with something which would, do we dare say, improve its flavor. Circa 1540 sugar, cream, and wine all were called upon (wine for men, cream for women). Circa 1860 Mrs. Beeton agrees with this too, and includes among her strawberry recipes one for a pint of berries dressed with 2 ounces of sugar and some Devonshire cream. "Most delicious," she says.

It's a quibble, but I wonder: if cultivated strawberries are not an improvement on the wild kind, then how good really are the wild kind? (Define "not an improvement." Does that mean just literally what it says, or does it also mean "much worse"?) And why all the sugar and cream in centuries past, when presumably everybody's strawberries were much closer to their delectable woodsy origins? Have they perhaps always been confoundedly sour, and we just don't want to admit it because they look so good? Waverley Root writes that strawberry seeds are the "scarcest finds" of any berry seeds at Stone Age sites. For whatever reason, even primitive man apparently didn't eat them much, when they were at their wildest. Tiny, fragile, hard to find, impossible to preserve and alogether too much trouble for the hungry caveman's reward, Root suggests. Though he doesn't mention sourness.

I do still snap them up during the spring time sales. They are thirst quenching and pretty, and when we dip them in sugar they taste good. The cynic in me thinks that what they actually do is lend a pleasant red tartness to the sugar. And they reassure me that at least with this, the kids are Eating Some Fruit. If Waverley Root's information circa 1980 is still correct, and it seems to be, what we are eating and what most people eat around the world -- sugared, creamed, port-ed, madeira-ed, or not -- is Fragaria ananassa, a hybrid of two varieties, Fragaria chiloensis and Fragaria virginiana. The two were mated, so to speak, by accident in the 1740s in gardens along the coast of Brittany when old F. chiloensis plants, imported from Chile by a French scientist and mysteriously barren for years, suddenly received new plant-y neighbors in the form of F. virginiana. At long last, the female version of one strawberry had met the male version of another, and F. ananassa was born.

Whether the offspring is a credit to its parents is another quibble. But never mind. Have some port -- hunt for the gourmet's delight, fraises de bois -- hunt for the seeds of F. vesca or F. moschata, both ancient, wild and the only types to grow true from seed, and both, strangely, "disliked by birds."

Thursday, January 23, 2014

A not-port


Adriano, 2005, from the port maker Ramos Pinto, in Portugal's Douro Valley; it brings back memories of a similar wine called Altano. Made of the four grapes that make port: touriga francesca, tinta roriz, tinta barroca, and touriga nacional.



Image from Maisons Marques & Domaines (the importer)

My first impressions were of meatiness, and faintly, of cinnamon; which in turn brings back memories of customers and sundry nice people shaking their heads and marveling that they can't taste "all the things you're supposed to taste" in wine. It's okay, I'm not necessarily tasting meat and cinnamon even the next night, myself. Now I'm sensing more the "freshness" and "lively tannins" that Ramos Pinto's website tells me I'll sense. Perhaps now is a good time not only to remember the best wine writers' admissions that suggestibility plays a huge role even in their professional perceptions, but also to remember author Lawrence Osborne's contention that modern wine tasting's rigid, fruit-and-flowers metaphors are only about as old as the 1970s, and reflect the newly enophilic, comfortable middle classes' familiarity with the supermarket, as opposed to the wine buying upper classes' old familiarity with things -- and old wine descriptors -- like "breeding" or "commonness."

But the wine. It's juicy, shrinks the mouth first with its tannins and then fills it up again with the reaction to its acidity. (Why is saliva such an ugly word? from the Latin salix, derived from willow; it seems there is a glucoside extracted from the barks of willows and poplars, and for heaven's sake why shouldn't there be? -- and it's got something to do with the helpful digestive juices in our mouths.)

Suggested retail, $13. For the wine, not your juices.

Friday, January 17, 2014

Warre's Otima 10 tawny port


Honey, oranges, and cloves ...

...very nice with that slice of pumpkin pie topped with whipped cream. Has it really been a week since Thanksgiving?

And nice to look forward to, on an otherwise dolorous-looking early winter day. Otima goes especially well with a Lord Peter Wimsey mystery novel (The Five Red Herrings) on a quiet Saturday afternoon, the novel being all Scottish mists, a half dozen fire-eating Scottish suspects, the occasional prim mysterious woman, and lots of painstakingly collated train schedules. Will the murderer turn out to be Ferguson, or Strachan, or Farren, or Waters, or none of the above? You want to savor it all with your port.

The character I like best is Lord Peter's man, Bunter. He seems to be Wodehouse's Jeeves, before there was Jeeves -- or perhaps that is all wrong, and Jeeves came first. Or perhaps the English gentleman's personal gentleman was, in real life, such a complete human type that there was no way for any novelist to make of him anything different from what Jeeves and Bunter were.

All this savoring and sipping, and busy rustling of train schedules and eyeing of prim women, has caused us, all unthinkingly, to make inroads upon our port (no pun intended). You see how the bottle, admittedly only 500 ml, is approaching empty.

Retail, about $20.

Tuesday, January 14, 2014

Cockburn's Special Reserve porto

Rather more delicate than other ports of my acquaintance (possibly it's the "fine dry finish"), but still so very good.



I only regret having wasted a jigger of it -- 1 and 1/2 ounces -- in a cocktail that had always intrigued me, besides seeming a virtuous way of using up the egg yolks left from Healthy Person's morning's egg white omelettes, -- but that turned out to be dreadful and purple. Try it at your own risk.

Porto flip
1 egg yolk
1 barspoon powdered sugar
3/4 ounce (half a jigger) cream
1 and 1/2 ounce (a jigger) ruby port
1/4 ounce brandy
nutmeg
Shake all the ingredients except nutmeg with ice in a cocktail shaker. Strain into a cocktail glass. Sprinkle with nutmeg.

Throw out. 

Cockburn Special Reserve porto, retail, about $17.00


Escape hatch

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