What makes old Malbec vines planted in the 1920s so rare and valuable today? Why would a Canadian winemaker head to Mendoza, Argentina, to start a winery? What’s one of the biggest challenges holding back Canadian wine and how can consumers change that?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Ann Sperling & Peter Gamble.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Highlights

What makes Devotion different from other On Seven wines?

What inspired Peter to look beyond Canada to Argentina for winemaking?

How did he decide on the particular vineyard to purchase?

What is massal selection in viticulture?

How did Versado end up with such old vines, and how does this show up in the wine?

Are there aspects of Malbec that are similar to Pinot?

How have Ann and Peter revitalized the Leily Winery?

What are the differences and similarities between Leily and On Seven Chardonnays?

What would Ann and Peter like their legacies to be in the Canadian wine industry?

What are the greatest threats to the Canadian wine industry?

Which three figures in the wine industry would Peter invite to a dream dinner party?

Key Takeaways

In the 1905 to 1925 period in Argentina, winemakers at the time planted the greatest genetic diversity amongst the Malbec vines, because they were still learning about it. Their Versado vineyard reflects that time when genetic diversity was appreciated.

We visited a lot of wine regions in the world for the meetings, both fun and a necessity, and one of them was Mendoza and loved the climate - a really interesting climate from the point of view of creating flavors and grapes, and really liked the lifestyle as well. We essentially decided it'd be interesting to do something small there that also gives us a second harvest during New Year's. So we can practice twice as often. That was the driver, the potential quality there.

They’ve been talking about this for probably the 40 years that they've been making wine and and they want to figure out how to have lasting consumer engagement. They have a lot of devoted buyers, but they also know kind of the monopoly culture is that, well, if the wine you were looking for today isn't on the shelf, you can buy something else. Promoting the message of buying directly from the wineries, and if you want to try that wine that's made in Nova Scotia or BC, that you actually can order it and have it shipped to your home province. Those interprovincial trade barriers aren't real. There's lots of wine shipping that's taking place already. Just get on your computer like you do with so many other products that you buy and buy online.

About Ann Sperling & Peter Gamble

Often referred to as the “power couple” of the Canadian wine industry, Peter Gamble and Ann Sperling have long pursued the pinnacles of wine quality in Canadian vineyards and wineries. Following her upbringing on her family’s Okanagan Valley vineyard, Ann turned to the soil for the character and complexity of her wines. Acknowledged as a Canadian pioneer of organic and biodynamic viticulture, ‘terroir’ was at the centre of her philosophy and she is renowned for her head winemaking roles at Malivoire, Southbrook, and Sperling Vineyards. Peter, a lifetime wine industry professional, has worked alongside Canada’s most passionate winemakers to achieve greater heights with our finest appellation wines. Since 2000, Peter has provided expertise in ultra-premium winemaking operations, including: Stratus, Ravine, Benjamin Bridge and Lightfoot & Wolfville. With the purchase of a top-flight ancient Malbec planting in Mendoza, Argentina, in 2008, Ann and Peter broadened their winemaking activities, but Niagara remains their cherished home base. Current focus is on these Niagara projects: On Seven, Lailey and Stonebridge Vineyards and Dobbin Estate.

To learn more, visit https://www.nataliemaclean.com/343.

What were the key challenges and breakthroughs that shaped the BC and Ontario wine industries in the 1980s and 90s? What makes or breaks a new wine project, and why is finding the right vineyard often the most time-consuming step? What made Peter believe that Niagara-on-the-Lake could produce exceptional Chardonnay?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Ann Sperling & Peter Gamble.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Highlights

What was Ann’s best memory from growing up on the farm?

When did Ann and Peter know that they wanted to work in the wine industry?

How did Ann and Peter meet?

What was the first bottle of wine Ann and Peter shared?

How do Ann and Peter navigate their interwoven personal and professional lives?

How do they negotiate professional disagreements, and who chooses the wine for dinner?

What were the major challenges and opportunities in the BC and Ontario wine industry in the 1980s and 90s?

In the early days, how did Peter envision the future of Ontario wines?

What are some of the reasons certain vintages almost didn't make it into the bottle?

What do you look for when considering a new project?

What makes Ann and Peter different from the stereotypical flying winemakers?

What were the signs that Niagara-on-the-Lake could produce exceptional Chardonnay?

How has working on a small, focused vineyard impacted Ann and Peter’s winemaking choices?

Why must you suffer to make top-notch wines?

Key Takeaways

It was in the early 80s in BC and maybe slightly before that in Ontario, that estate wineries became a thing. Prior to that, that meant there were a few really large wineries, not really making estate or single vineyards. Vineyards were a source of bulk wine for the most part.

The hunt for the vineyard became a very important one. We looked at over 230 vineyards before we found one. I think everyone there was on the verge of giving up on this, thinking “Well, they're not really going to buy anything.” Because we'd get it to a certain stage, then we do soil analysis, and we weren't quite happy, or we talked to people who had made wine from the vineyard or something would come up, and we just wouldn't quite be where we wanted to be with the quality of the vineyard.

I often work on the basis of paradigms, where I'll take a look at a wine sold throughout the world and say, you know, I think this could be done really well in this area. You know what it is you might be able to accomplish within the parameters that you have - the obvious things, the terroir, the exposures to soils, the temperatures in general.

About Ann Sperling & Peter Gamble

Often referred to as the “power couple” of the Canadian wine industry, Peter Gamble and Ann Sperling have long pursued the pinnacles of wine quality in Canadian vineyards and wineries. Following her upbringing on her family’s Okanagan Valley vineyard, Ann turned to the soil for the character and complexity of her wines. Acknowledged as a Canadian pioneer of organic and biodynamic viticulture, ‘terroir’ was at the centre of her philosophy and she is renowned for her head winemaking roles at Malivoire, Southbrook, and Sperling Vineyards. Peter, a lifetime wine industry professional, has worked alongside Canada’s most passionate winemakers to achieve greater heights with our finest appellation wines. Since 2000, Peter has provided expertise in ultra-premium winemaking operations, including: Stratus, Ravine, Benjamin Bridge and Lightfoot & Wolfville. With the purchase of a top-flight ancient Malbec planting in Mendoza, Argentina, in 2008, Ann and Peter broadened their winemaking activities, but Niagara remains their cherished home base. Current focus is on these Niagara projects: On Seven, Lailey and Stonebridge Vineyards and Dobbin Estate.

To learn more, visit https://www.nataliemaclean.com/342.

Is a $400 wine really ten times better than a $40 one? Does the right glass really improve your wine and is it worth it when the size makes you look ridiculous? Why do wine labels matter and should the label’s look be part of every wine review?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Charles Jennings and Paul Keers, co-authors of the hilarious book I Bought It So I’ll Drink It.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Giveaway

Three of you are going to win a copy of their terrific book,, I Bought It So I’ll Drink It. To qualify, all you have to do is email me at natalie@nataliemaclean.com and let me know that you’ve posted a review of the podcast. I’ll choose three people randomly from those who contact me. Good luck!

You can find the wines we discussed here.

Highlights

Why do we feel guilty about window shopping when it comes to wine?

What's the worst wine gadget or gimmick Paul and Charles have encountered?

How did a 1947 Sauterne create a bond between Paul and a French wine seller?

What was their most triumphant wine deal discovery?

Are there elements that expensive wine delivers, that bargain wines can't?

Why are Charles and Paul suspicious of mixed cases of wine?

Has the quality and perception of box wines changed?

What's the strangest vessel Paul and Charles have drunk wine from?

What was it like drinking wine at 10 Downing Street and Lambeth Palace?

What was Queen Victoria's tipple like?

Why does Charles love drinking on his own?

Which current wine trends will we look back on as ridiculous?

Which wines would Charles and Paul now pair with their favourite childhood foods?

Who would Paul and Charles love to share a bottle of wine with?

Why should wine critics write about wine labels in their reviews?

Key Takeaways

Charles and Paul believe there is a greater experience to be gained from drinking better wine, but that the return for your money plateaus quickly. If you go up from a £10 wine to a £30 wine, you will really notice the difference and have a tremendously greater experience. But then if you multiply that by 10 and go from £40 to £400, the difference in quality isn't that great.

If I've got people around for dinner and I sit at the end of the table and everybody else has got normal wine glasses, I look like a complete plonker. And I'd love to sit there, “Oh, it's magnificent.” And they're going to think, what an idiot. So unfortunately, it doesn't get much use. It does enhance the taste of the Bordeaux, there's no doubt about it, but I'm so embarrassed sitting there drinking out of this thing the size of a melon that it really doesn't get much use.

Charles and Paul mention wine labels because they think that they are ignored by most wine writers, and they're terribly important for two reasons. Firstly, because they're about the only marketing that most bottles of wine have, because we go into shops and that's all we can see, the labels. And second, if you're setting a table for dinner, you've invested in the table, in the dishware, the cutlery, the glasses to set up this beautiful thing. Why would you put a bottle of wine on the table - however it tastes - if it looks terrible? Wine critics should always say what the label looks like and whether it would look good on the table.

About Charles Jennings & Paul Keers

Charles Jennings and Paul Keers are award-winning writers based in London, England. Charles and Paul co-authored the wine blog Sediment, described by New Statesman writer and Guardian literary critic Nick Lezard as “the finest wine blog available to humanity.” The blog became the basis for their book, I Bought It So I’ll Drink It. Book-Prize-winning novelist Julian Barnes called it “The funniest wine-book I’ve read in a long time. Not just laugh-aloud funny but snortingly, choke-on-your-cornflakes funny – up there with Kingsley Amis and Jay McInerney.” Their book won the prestigious André Simon Award.

To learn more, visit https://www.nataliemaclean.com/341.