A brief word about my last bottle of ’95 Beringer Private Reserve Cabernet Sauvignon

Recently, we were on our way to celebrate a family birthday at Chez Melange, the celebrant’s restaurant of choice. As we were about to leave the house, I peeked into our “wine cellar” to grab a wine for the evening — specifically, a cabernet sauvignon, since we all seemed to be in a beef & lamb mood. After a quick look through the possibilities, I noticed that there was one lonely bottle of ’95 Beringer Private Reserve left.

The 1995 vintage of Napa Valley cabernet sauvignon was a legendary one, and when it was released, I stocked up on as much Beringer, Caymus, Groth, Robert Craig, Paradigm, et al that I could afford.  Over the years, we slowly worked our way through the collection, and this was the last chance to enjoy a great example from it.  On top of that, conventional wisdom says that the vintage is past is prime, so I figured there was no reason to sit on this bottle any longer.

So . . . was it a little long in the tooth?  Yeah, it was.  The front end was noticeably softer than I remember, and overall it was a subdued version of what it had been just a few years previous.

That said, comparing this wine today to how it was five years ago isn’t exactly fair.  Most wines currently in their prime wished they had the depth and complexity of flavor that this nearly 20 year-old wine had.  You could still taste the fruit — perhaps not as bold as it was, but very much still there.  Considering that Beringer Private Reserve has never been the fruit bomb that some boutique Napa Cabs are, plus the somewhat lower alcohol level in the ’95 versus current vintages, this was still impressively elegant.

Glad that my last experience with this excellent vintage was as good as it was.  Now to make my way through the ’97s before that vintage starts to go down hill. . . .

—————

Photo credit:  CK Dexter Haven

Starting the new year off with a bang: Grubinger, Eschenbach, and LA Phil dazzle with Tan Dun’s new percussion concerto

Martin Grubinger (photo by Felix Broede)

A new composition for a new year.  Seems rather poetic, doesn’t it?  Often such gestures work better in concept than in practice, but thanks to Martin Grubinger‘s virtuoso performance of The Tears of Nature, Tan Dun’s new percussion concerto receiving its U.S. Premiere last Friday night care of the Los Angeles Philharmonic, this one worked wonderfully.

Mr. Tan creates an eclectic yet accessible soundscape that ranges from melodic to clangorous and everything in between.  It begins simply enough:   Mr. Grubinger led the orchestral percussionists in ensemble, clicking together semi-tuned pairs of stones; muted harp played in the background.  As the soloist walked from the front of the stage to the back where a battery of seven timpani were set up, the score began to expand and grow increasingly complex.  The soloist’s pitch-bending timpani cadenza served as the high-point of the movement.

The second movement had a similar developmental arc:  a quiet, dreamy opening section, with atmospherics care of the orchestral percussionists bowing Tibetan singing bowls; later, an aggressive ending featured Mr. Grubinger with some amazingly fast fortississimo (yes, “fff”) four-mallet work on marimba.  The energetically cheery finale featured variations on a recurring 8-note melodic theme that made its way through the orchestra, not to mention being featured in another cadenza played by Mr. Grubinger, this time working on every part of the large array of tuned and non-tuned instruments set up at the front of the stage.

Read more of this post

Tonight’s Hollywood Bowl wines

image

For tonight’s concert of incidental music from A Midsummer Night’s Dream by Mendelssohn and Orff’s Carmina Burana, I decided to bring along a couple of 2004 wines: a Late Disgorged Brut from Domaine Carneros and a Ridge Lytton Springs.

Both are drinking damn well. No matter how many times I drink “older” Lytton Springs, I am always surprised at how well it holds up. I think few other zins do as well (Turley comes to mind, but that’s about it).

The Domaine Carneros is less of a surprise, but just as enjoyable — crisp, tangy, and nicely balanced.

And the concert? Quite good so far. More in a couple of days.

Wine to go with Tchaikovsky

For last Thursday’s all Tchaikovsky concert at the Hollywood Bowl,  I had the pleasure of sitting next to Hadley and Tatiana of Grub Street Los Angeles.  They’re wonderful people — I say this for a great variety of reasons, only one of which is their willingness to share with me some of their wine:  a bottle of 2009 House Claret from Christ Church, Oxford.

If you try to search for this wine on Google, you won’t find much helpful information, so I am glad to pass on some of the basics of its story as Hadley told it to me (mind you, a few glasses of wine had been consumed prior to the telling and hearing of this story, so if I mess any of this up, I trust someone will correct me).

Read more of this post

There’s still time left to celebrate National Scotch Day

Happy Friday.  More importantly, Happy National Scotch Day.

No, seriously, it’s National Scotch Day — for real.

If you didn’t know that, you’ve admittedly lost a good chunk of your opportunity to celebrate on the actual day of honour (see what I did there by putting a “u” in, just like the Scots do?).  Good thing I told you while there were still some hours in the day to raise a dram and do the day up right.

Not a fan of scotch whisky, but still want to partake? Are you scared by some past experience you may have had or by what another person may have told you?  Have no fear, and allow me to recommend something for you, the rookie:

Read more of this post

Farewell for now, foie gras — and many thanks to Michael Cimarusti, José Andrés, et al, over the years

I don’t remember the first time I had foie gras, but I definitely know when and where I fell in love with it:  it was at Water Grill in Downtown LA, right before the turn of the New Millenium.  Michael Cimarusti had taken over the kitchen from Allyson Thurber a year or two before.

On this particular night’s five-course tasting menu, the chef offered up an appetizer of “foie gras au torchon” that was poached or somehow otherwise infused with cognac.

It was insanely good.  ”Decadent,” was the actual word that immediately came to mind after I put that first bite of foie gras yumminess smeared onto a brioche toast point into my mouth.  I was hooked, and fortunately for me, the portion size was extremely generous — almost too much of a good thing.  Almost.

So it is poetic and more than a tad melancholy that the last time I’m likely to have foie gras in California (for the foreseeable future, at least) was at the hand of Michael Cimarusti, now chef and owner of Providence on Melrose Avenue. A few days ago, Mrs. CKDH and I sat down for a 15-course chef’s tasting menu*, where his joint seafood and foie gras brilliance was manifest in two of the dishes:
Read more of this post

Happy Birthday, “All is Yar”

Exactly one year ago today, All is Yar was born.

Many heartfelt thanks to the musicians, writers, composers, music fans, wine drinkers, mixology enthusiasts, and all of you who have read and continue to read my reviews and musings.  In the past year, this blog has grown bigger and faster than I would have imagined.  It’s been a great ride so far, and I’m looking forward to many more years of reviewing, writing, and blogging.

A special tip of the cap to my fellow bloggers who got the word out early about this blog’s existence, and especially those of you that offered support and encouragement along the way.

BTW:  In case you were wondering, the post that has been read more than all the others over the course of the past year has been THIS ONE.  Nearly a year after it was written, it still gets multiple hits every day.  Seems like juxtaposing audition results involving a very popular trumpeter with a story about a surprise encounter with a Playboy Playmate (at a place that *sigh* sadly no longer exists) is a winning combination.

So, you might ask, how do I plan to celebrate?  For starters:  a visit to the beach (let’s hope this June gloom burns off).  It’ll end, appropriately enough, with a concert:  the Los Angeles Master Chorale’s season ending tribute to Henryk Górecki.  In between, I’m sure there’ll be an interesting beverage or two.  Hope you come back in a day or two to see what I thought about it all.

Again, many thanks!

Is “The Gospel According to the Other Mary” mis-named?

I’m killing time before this evening’s Los Angeles Philharmonic concert by drinking an old fashioned — a really good one, BTW, care of the bartender at the Omni Hotel near Walt Disney Concert Hall.

Anyways, I started thinking about tonight’s world premiere of The Gospel According to the Other Mary, a modern bit of social commentary-cum-oratorio by John Adams told from the point of view of Mary Magdalene.  So I’m guessing “the other Mary” is a reference to the protagonist, identifying her as a different Mary than the mother of Jesus.

Now I’m no bible scholar, but I’ve spent some quality time in church on Sundays, not to mention spending a few formative years of my youth being taught by nuns (God bless the Daughters of Mary Help of Christians). And one thing I know is that despite all the confusion about the various women named Mary in the bible (a confusion which, according to the program notes, the libretto allegedly avoids), there actually is a woman referred to as “the other Mary” — and she is NOT Mary Magdalene.

Kinda reminds me of the issue some people (like me) had with the title of  The Da Vinci Code and how it would have been more proper if it were called The Leonardo Code. Yeah, I also get annoyed when people say “very unique.”

Of course, there is one other thing that John Adams’ musical piece and Dan Brown’s book share: they are works that start with Christian-related subject matter, but in actuality are entirely non-Christian . . . or perhaps extra-Christian.

As long as we all know this going in and treat it as such, we’ve put it in the right context.

I’m out of bourbon-based refreshment and should really get over to WDCH instead of getting another round.  Feel free to discuss more amongst yourselves.

Review of tonight’s concert coming in a day or so.

Classical music marketing: Norm Lebrecht needs a beer or two (updated)

Back in 2007, long before All is Yar was a mere Fig Newton of my imagination, Victoria Bitter (VB) beer company teamed with the Melbourne Symphony and Orchestra Victoria — playing together as the “Victoria Bitter Orchestra” — to create a unique commercial:  it featured the combined orchestras playing VB’s jingle using variations on a theme of VB bottles in lieu of their regular instruments.  They posted the commercial and a behind-the-scenes video on YouTube, to the thanks and amusement of us all.

After I created this fine blog, I posted the two videos as well as some commentary and suggestions on other potential partnerships (click HERE to see the videos & suggestions).

It turns out that one of the men behind the creation of this commercial was Matthew VanBesien, formerly of the Melbourne Symphony and, as of January 2012, the soon-to-be Executive Director of the New York Philharmonic.

Read more of this post

“Sun Also Rises” at MB Post

"Sun Also Rises" at MB Post

Any drink with Blood Orange can't be too bad: Sun Also Rises

I cannot eat often enough at Manhattan Beach Post.  In less than a year, it has gone from South Bay newcomer to So Cal institution. The most recent of their many noteworthy accolades was the announcement that Chef David LeFevre and his very popular “social house” are up for two 2012 James Beard Awards (“Best Chef, Pacific” and “Best New Restaurant”). Unlike at one of their newer neighbors with an ocean view, the food at MB Post is the center of attention, and rightfully so.

That said, the drinks are a a worthy compliment to chef David’s consistently kick-ass cuisine. GM Jerry Garbus has put together a lengthy, eclectic wine list, with an extra 30 labels available by the glass as 3- or 6-oz pours. There’s a strong beer selection too.  In addition, the folks behind the bar (Beau du Bois, Greg Westcott, and Sais Roses have been the mixologists) offer a constantly changing array of “hand-crafted cocktails” (their description) that invariably involve them putting their own spin on classic drinks. For example, there is “Virgil’s ascent:” negroni w/ hendricks, aperol, pomegranate seed, clove (it was good, not great).

For the most part, I’ve found their cocktails to be somewhere between pretty good and very good, though none of them have depth of flavor that the best ones can have.  I will give them credit for going well with the food, and if the objective was specifically to create drinks that would pair with Chef David’s food without overpowering it, then mission accomplished. The one cocktail I’ve had there that could stand on its own was the “Manhattan Avenue” — a Manhattan w/ Sazerac rye, vanilla, caramel, and bacon dust — now that was good stuff.

The first time I ever ordered a drink at Milk & Honey in NY, I asked for something scotch-based and they brought me a Blood and Sand.  I’ve had a soft spot in my heart (and liver) for it ever since, so last night, I decided to try the “Sun Also Rises” — a riff on a Blood and Sand with Compass Box “Oak Cross” scotch, rhubarb, and blood orange. Compass Box seemed like an extravagant, if tasty, choice as the base. In the end, the whole concoction was enjoyable, if a bit one-note. The rhubarb and blood orange matched up together nicely, but I would have preferred a little more scotch flavor coming through.

I’ve also tried having them make a Penicillin for me once, but  it wasn’t quite right.  I wondered whether or not they had actually used any Islay scotch because there was no hint of peat or smoke whatsoever.  Moreover, the honey and ginger flavors were a bit cloying and out of balance.

Next time I’m there, I’ll probably go back to drinking wine or beer — at least until they change the cocktail menu again.

Related Post:

—————

Photo credit:  CK Dexter Haven

Mardi Gras wine: 2009 Melville Estate Pinot Noir – Sta. Rita Hills

imageMrs. CKDH had asked for some Pinot Noir to go with the Mardi Gras meal she was preparing, so I poked around the wine “cellar” (read as “dedicated closet for wine in our garage”) to see what I could find.  I was surprised to find a bottle of 2005 Cambria “Julia’s Vineyard” in amongst the various ’07, ’08, and ’09 Pinots.  Cambria “Julia’s” is one of our everyday favorites — reliably tasty, smooth, and relatively inexpensive — but it’s not one I like to keep around for very long because it doesn’t hold up for very long.  Sure enough, I pulled the cork, tasted it, and, well . . . not so much.  I let it sit in the glass for another 20 minutes to see if that would help, and it didn’t, so I sadly poured all of it down the drain.

Having gotten burned on an older bottle, I went in the other direction and pulled a bottle from the most recent purchase I had made:  2009 Melville Estate Pinot Noir – Sta. Rita Hills (winemaker’s notes HERE).   We had picked up two bottles of it, plus two more of ’09 Melville “Carrie’s” Pinot; since I really want to give the “Carrie’s” some time to develop, I decided to open one of the regular “Estate” bottles.

In short — it’s yummy, but it’s still young.  Quite tight in the nose and on the palate.  Definitely fruity, and definitely Sta. Rita Hills, but very short finish.  I’m gonna wait until next year before I try the second bottle since I’m sure it’ll develop more back-end with a little more time lying down.

That’s okay, it’ll be worth the wait.  Besides, I have some ’07 Rochioli that is begging to be opened, and I can’t risk waiting too long and having to pour THAT down the kitchen sink.

Visiting the speakeasies of New York: Death and Company

The name might scare you, but don’t let it.  There is nothing frightening here, especially if you want a grown-up place to get a good drink and hang out.

Strictly speaking, Death and Company is not a speakeasy since it isn’t hidden from view, it’s location is public, and it even has a guy out front manning the door even on a weeknight.  It also has some magnificent drinks, a vibe that feels contemporary without being hipster, and a staff that is refreshingly cordial and friendly.  I like to think of it as Milk & Honey without the mystery or, alternately, Milk & Honey gone to grad school.

Read more of this post

Visiting the speakeasies of New York: Please Don’t Tell (PDT)

The legendary entrance to PDT. . . . Seriously, it is.

At first blush, Please Don’t Tell (or “PDT” as it is often called) takes the nouveau speakeasy concept of Milk & Honey — nondescript entrance leading to bar with limited seating manned by a mixologist — up a notch or two.  Despite those similarities, a visit to the two venues feels completely different:  where Milk & Honey is a hideaway where the focus is on the beverages, PDT seems like more of a gimmick destination that luckily happens to have some very good drinks.

The most famous thing (dare I say, the best thing) PDT has going for it is its kitschy entrance:

  1. You first have to go into Crif Dogs hot dogs, easily identifiable by the large hot dog shaped sign hanging over the sidewalk with “Eat Me” scrawled across it in faux mustard.
  2. Once inside, you will find an unmarked phone booth (BTW:  have any twentysomethings ever used a real working phone booth before in their lives?).
  3. Once inside said phone booth, you pick up the phone, follow the instructions in front of you, and voila! — the “wall” of the phone booth opens to reveal a person who asks if you have a reservation.

Read more of this post

Visiting the speakeasies of New York: Milk & Honey

Penicillin. Will cure any ailment. Maybe.

For me, Milk & Honey is kinda like the music you listened to in high school:  regardless of how much your everyday tastes may have changed or your repertoire has diversified, you’ll always have a soft spot for it and return to it often.

It may be tough to say who reignited the speakeasy and mixology movements, but a case could probably be made for Sasha Petraske, Sam Ross, and the other folks associated with this SoHo watering hole.  What began as a small, unassuming neighborhood place on an unlikely street near Chinatown is now a legend.  Some things have changed over the years, but its primary appeal remains constant:  it is a great spot for you and a few friends to enjoy truly amazing drink concoctions while actually being able to carry on a conversation without having to shout.

If you only go to one New York speakeasy in your whole lifetime, make it this one.

Read more of this post

Visiting the speakeasies of New York: A prologue

For about ten years, I used to travel to New York regularly for business — as often as once every other month. Work took up most of my time, but I usually had opportunities to take in the local scene, both high-brow (Lincoln Center, Carnegie Hall, 92nd Street Y, Broadway, among others) and low-brow (Broadway, Meat Packing district, insert various lounge/club/dive here). Then the economy started to slump, priorities changed at The Day Job, and before I realized it, it had been two years since I had visited Manhattan. Even though I am decidedly NOT a NY apologist, I actually found myself missing my visits there.

My recent and upcoming trips to the city have given me cause to revisit old haunts and find some new ones, especially since some of the folks accompanying me have only done touristy New York. As the work schedule unfortunately conflicts with any hope I may have of seeing a concert, opera, or other such thing, I decided to concentrate my off-duty time (and that of my associates tagging along) on exploring the burgeoning speakeasy scene in Manhattan.

This is not exactly a new trend, and New York certainly does not have a monopoly on the concept. I remember the first visit I took many years ago to an unmarked grey box on Melrose that went by the name Smalls K.O. where you had an equal chance to be drinking next to Pasadena preppies, local bikers, and/or Anthony Kiedis and Flea; Smalls would morph into Kane, and eventually became the legendary Forty Deuce, itself an homage to the raunchier past of 42nd Street in NY. In the 90′s, countless Trents, Mikes, and other hipsters would head to the corner of Vine and Santa Monica and search for the “Bargain Clown Mart” sign, the marker for the nondescript building below it which housed Three of Clubs (or “Three Clubs” as it is now called).

All that said, there are two important differences between such local places and the New York spots that I began to frequent in the new millennium:

  1. The rise of “mixology” and the return to hand-crafted fancy drinks using fresh ingredients, non-generic alchohol, and a little imagination. These were cocktails that a guy could drink without fear of sullying his coolness; there wasn’t a single pink umbrella in sight.
  2. Some of the locations were actually real-life speakeasies back in the days when the 18th Amendment and Volstead Act were the laws of the land. And even if they weren’t, there was some inherent New York grittiness (the dank smell on the sidewalk and piles of trash in front of the unmarked door) that added to the authentic feel.

Of course, being able to walk — er, um, stumble — from place to place, or take a $10 cab ride if needed, makes the idea of going to a strange location to try out multiple stiff drinks a bit more tolerable than, say, having to convince one of your friends to be a designated driver as you jaunt from Downtown to Hollywood to the Westside exploring the L.A. scene.

So that’s what I’ve been doing lately in my spare time away from home. It’s been an interesting exploration so far. Details are forthcoming.

—————

Photo credits:

  • “Speakeasy:”  University of Southern California
  • Bargain Clown Mart sign:  Three Clubs
%d bloggers like this: