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    True Taste: The Seven Essential Wine Words
    True Taste: The Seven Essential Wine Words
    True Taste: The Seven Essential Wine Words
    Ebook92 pages1 hour

    True Taste: The Seven Essential Wine Words

    By Matt Kramer

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    About this ebook

    There's a world of words to describe wine, but only seven you need to know to understand it.

    Wine is one of the most written about beverages in our history, with dictionaries dedicated solely to the words and phrases used to describe it in the ever-expanding world of self-professed wine connoisseurs. Inside this informative guide, you will discover:

    • New paradigms to better understand the wine world
    • A brief history of wine and famous winemarker from all over
    • Specific words you can use to understand and describe wine

    Now, the "great demystifier of wine" (Booklist), highly acclaimed wine expert Matt Kramer explains in a lucid, accessible and conversational style that there are only seven words that you really need to remember to enjoy wine with anyone.

    LanguageEnglish
    PublisherThomas Nelson
    Release dateAug 4, 2015
    ISBN9781604335699
    True Taste: The Seven Essential Wine Words
    Author

    Matt Kramer

    Matt Kramer is one of the world's most distinguished and insightful writers on wine and writer of the classic book Making Sense of Wine. The multi-published author is also a regular contributor to Wine Spectator.

    Read more from Matt Kramer

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      Book preview

      True Taste - Matt Kramer

      PREFACE

      I dream of lost vocabularies that might express some of what we no longer can.

      — Jack Gilbert

      The Great Fires: Poems 1982—1992

      This is a book about judgment. I emphasize this point because to talk about wine today is to assume an analytical, almost forensic stance, which is pervasively seen in the now-ubiquitous tasting note: a string of flavor descriptors punctuated by a point score. The only element of actual judgment too often is only the score itself.

      Tasting-note flavor descriptors have become so elaborate—maraschino cherry, graphite, road dust—as to beg credulity and invite derision. Sure, it can be seen as simply comical. But apart from that and perhaps a certain amount of pretension, what’s the harm? Little really, except for one not-so-small element that has changed the landscape of wine appreciation: The universal use of flavor descriptors, not just in wine writing but in wine education as well, powerfully suggests that taste acuity, i.e., the ability to distinguish an ever-longer list of scents, odors, aromas and flavors, is tantamount to judging the quality of a wine. It is nothing of the sort.

      How and why flavor descriptors have become the prevailing—and limiting—vocabulary of wine appreciation merits its own discussion. (See page 13, The Myths of Modern Wine Tasting.)

      The language of wine has always been a central feature of wine appreciation. Language shapes thought.1 How we talk about wine informs and colors not just our appreciation of it, but reveals which particular attributes persuade us to conclude that one wine is better than another.

      True Taste: The Seven Essential Wine Words is not, of course, about a mere seven words. Instead, it’s about those values that involve actual judgment, about the markers that help us navigate toward recognizing and understanding what makes one wine better than another, as well as assessing those writers or tasters who purport to do it for us.

      In a democratic and populist culture, the idea that anything as subjective as wine—or any other sensory pleasure—can be declared better rubs against the grain. If I like it, it’s good is the popular mantra. This is tasting as reactive emotion. It’s a low bar, a minimal threshold. The fact is—and it is a fact—that good and less good exist independently of our personal preferences. There are scientific reasons involving human physiology and neurology that explain this more fully. More about that later in the book.

      True Taste is about tasting wine with discernment rather than a game of I Spy flavor description. What may strike you as odd is that it’s not about how to taste wine per se. This is because—this might surprise you—wine tasting really isn’t very difficult. Almost anyone who’s willing to pay attention and has just a modicum of experience can identify a better-quality wine from a lesser one. Really, it’s no big deal.

      Instead, the real challenge is putting words to wine. This is where many people—most, even—stumble. The vocabulary of wine is what’s really daunting. The purpose of this book is to offer what the author believes is a more rewarding, more refreshing way to talk about wine through words that both identify and express the beauty we find in the glass.

      CHAPTER 1

      THE MYTHS OF MODERN WINE TASTING

      I should regard the critic as one of those beggars who sift the sand out of rivers to seek a few grains of gold.

      —Denis Diderot

      Écrits sur l’Art et l’Artiste

      Wine tasting has evolved in recent years into something never previously seen in all the millennia that wines of quality have been drunk and discussed, which means at least as far back as the ancient Romans. (Pliny the Elder, writing in his Natural History about 1 A.D. goes into considerable, even geeky, detail about the fine wines of his time.)

      Our moment is different. And you can date the origins of the change not to wine lovers, but to university professors—especially, but not exclusively, in the United States—in the field of wine science or enology.

      Scientists of all sorts like to present themselves as disinterested observers. But their reality, like everyone else’s, is that they necessarily must hustle and jostle in a professional and (academic) political context. It was no different in the academic discipline of enology, especially starting in the 1950s.

      What happened can be expressed in two words: food processing. Of course, food processing has been going on for centuries. But it was only in the second half of the 20th century that food processing scaled-up to a deeply penetrating, mass market level. What was once localized to small companies that served their cities or regions became the province of national, and then international, corporations that researched, developed and released processed food products in vast quantities.

      Of course, to achieve that sort of scale, as well as a vital reliability and consistency, requires the sort of iron-grip control that scientific methods alone can achieve. Artisanal is not a term of admiration in such an environment.

      Now, while food scientists at agricultural colleges across the nation were engaged in increasingly respected—and lucrative, in terms of research funding—scientific experiments in service to the ever-larger food processors, their colleagues in the emergent field of wine science had no such respect and even fewer monetary opportunities.

      The reason, of course, was that wine in the United States was still embryonic after the devastation of Prohibition, which lasted from 1920 to 1933. The wine science professors at the University of California, Davis wanted to take their rightful place among their professional colleagues as scientists of equal standing and esteem.

      At the same time, what was needed—and able to be funded—in California wine was the mass market needs of bulk wine producers, epitomized by Gallo. Indeed, more than any of the other bulk wine producers at the time (and there were many more in the 1950s and ’60s than exist today), Gallo was singularly aware of the uses of

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