Xiao-Li Meng, professore di Statistica Whipple V. N. Jones a Harvard e fondatore e direttore responsabile di Harvard Data Science Review, si è lasciato ispirare da uno studente per combinare vino e statistica — ottenendo intuizioni ben oltre quanto entrambi si aspettassero.

From wine tastings to data science, Xiao-Li Meng explores how statistics reveals simplicity in complexity – one glass, experiment, and insight at a time.

Wine, statistics & serendipity: A Harvard journey

Semplicità nelle statistiche, complessità nel vino, il resto nei biscotti della fortuna.

A vintage earned the hard way The growing season: Pressure without pause The wines: Classical, transparent, terroir-driven Producers who rose to the challenge Positioning Burgundy 2024 A vintage to buy thoughtfully and early A vintage earned the hard way Burgundy 2024 will be remembered as one of the most testing growing seasons of the last decade. Relentless spring rain, unyielding mildew pressure, episodes of localised hail and deeply uneven flowering pushed growers to their limits. Yields collapsed across large parts of the Côte, often by 50–80%, with some domaines barely reaching 10 hl/ha. In villages such as Vosne-Romanée, Nuits-Saint-Georges, Chambolle-Musigny, Gevrey-Chambertin and Savigny-lès-Beaune, the losses were devastating. And yet, against all expectations, the wines themselves tell a different story. 2024 is not a vintage of excess or easy charm. It is a classical year, one defined by purity, freshness and an almost stubborn transparency of terroir. Many vignerons, reflecting on the wines in barrel, have drawn comparisons to 2010, 2012, 2014 and even 2016, not because the conditions were similar, but because the results are finely structured, saline, precise wines, shaped by restraint and experience rather than power. This is Burgundy at its most honest. The growing season: Pressure without pause The difficulties began early. From April through June, rainfall was almost continuous, creating ideal conditions for mildew. Even the most diligent growers were pushed to extremes. Treatment schedules doubled or even tripled: 17 passes at Georges Lignier, 22 at Charles Audoin (against a norm of 12), 17 at Pavelot, 17 again at Faiveley. Organic viticulture, in particular, was placed under immense strain. Some domaines made the painful decision to abandon organic certification mid-season in order to preserve what fruit remained. Others refused. Audoin persisted with organic practices despite catastrophic losses, sacrificing yield in favour of principle. At Domaine Lamarche, Nicole Lamarche chose to stop treatments altogether once the damage was done, preferring to let the vines recover naturally rather than force a compromised crop – a decision that may yet prove prescient for future vintages. Flowering was irregular and prolonged, leading to widespread coulure and millerandage. Localised hail compounded the damage: Audoin’s Clos du Roy in Marsannay was effectively wiped out. By early summer, it was clear that 2024 would be a year of scarcity. Then, finally, the season turned. From August onwards, conditions stabilised. Nights remained cool, days were warm but not excessive, and crucially the weather stayed dry. Harvests began between the 14th and 21st of September, slightly later for whites and Aligoté. Thanks to rigorous sorting, sanitary conditions were generally good, and what little fruit remained ripened cleanly. Alcohols settled modestly, typically between 12% and 13%. Many domaines opted for small chaptalisations to bring balance rather than richness. Acidity remained healthy, pH levels often between 3.2 and 3.6, though some, like Lignier, intervened gently to avoid excessively high pH. It was, in every sense, a vintage that had to be earned. The wines: Classical, transparent, terroir-driven Reds: Precision over power Across both the Côte de Nuits and Côte de Beaune, the reds of 2024 speak quietly but clearly. Red fruit dominates: cherry, raspberry, wild strawberry, framed by saline notes and fine, linear tannins. There is freshness rather than weight, definition rather than density. Alcohol levels rarely exceed 13%, and the balance between fruit, acidity and structure is striking. Several producers have likened the vintage to 2012 for its texture, to 2010 for its precision, or to 2016 for its harmony, though with a distinctly modern clarity. Despite the concentration imposed by low yields, these are not massive wines. Many will drink earlier than expected, yet the underlying structure suggests graceful ageing, particularly from well-sited Premier and Grand Cru vineyards. Whites: One of the vintage’s great successes If there is a consensus emerging, it is this: white Burgundy lovers should pay close attention to 2024. With pH levels often between 3.2 and 3.35 and alcohols in the 12–13% range, the whites are taut, mineral and saline, with a cut reminiscent of 2014. There is energy here, wines that feel built for the cellar rather than the tasting bench. For collectors who prize tension, definition and longevity over richness, 2024 will be a compelling proposition. Producers who rose to the challenge The defining characteristic of 2024 is not uniformity, but differentiation. This is a vintage that rewards decisiveness, experience and clarity of philosophy. At Georges Lignier in Morey-St-Denis, repeated rainfall washed away organic treatments, forcing the domaine into laborious hand-spraying. A decisive early intervention ultimately preserved yields of 24 hl/ha, dramatically higher than neighbouring vineyards at 8 hl/ha. The Clos de la Roche stands out for its generosity and classical breadth. Charles Audoin endured one of the hardest seasons in Marsannay, remaining organic through 22 treatments and losing Clos du Roy entirely to hail. The wines evoke 2010 in their purity and structure, with Les Favières emerging as a highlight. Louis Jadot, facing heavy losses and a demanding season, spoke of “fighting to keep Burgundy affordable” yet produced precise, harmonious wines – including St Aubin En Remilly, one of our favourite plots and a FINE+RARE exclusive which we are proud to secure each year, bottled only in magnum. At Hudelot-Noëllat and Fourrier, volumes are heartbreakingly small but the wines are clear, fragrant and unmistakably from their place. Paul Pernot’s whites show vibrant freshness and deep acidity, with Puligny-Montrachet Les Folatières standing out for its tension and grace.  The 2024s from Alvina Pernot combine the freshness of 2017 with the accessibility of 2021, yet offer greater depth and poise.  At A-F Gros, frost proved more damaging than mildew, reducing yields by 70%. The increasing use of Clayver amphora (now close to 50%) has brought a vivid, electric quality to the wines, particularly the Richebourg. Olivier Bernstein produced just two to four barrels per cuvée, yet the wines combine the charm of 2016 with the lift of 2017. Bonnes-Mares is especially compelling, and the domaine remains focused on deepening consumer understanding through tastings and back-vintage context. In the Côte de Beaune, Guillaume Lafon marks his first vintage fully at the helm. With almost no new oak and a preference for demi-muids, the wines prioritise purity and line. The Bourgogne Blanc is a standout, carrying a clear Lafon signature. At Domaine des Lambrays, Jacques Devauges described 2024 as “a difficult vintage with a happy end.” Yields fell sharply (16 hl/ha for Clos des Lambrays) yet the wines, made with 80% whole bunch, possess remarkable poise. His claim that “2024 Lambrays will age 100 years” may sound bold, but the structure supports the ambition. Meanwhile, Nicole Lamarche endured losses of up to 90%, producing just one barrel of Vosne Village and four of Échézeaux. As ever, the wines are spiritual and precise, and her decision to step back in the vineyard may well strengthen future vintages. Across Marsannay, Savigny and Gevrey, domaines such as Bouvier, Pavelot, Chézeaux and Hérestzyn-Mazzini all delivered wines of striking purity, often from minuscule quantities, proof that old vines, careful sorting and restraint paid dividends. Positioning Burgundy 2024 This is not a vintage built for hype. It does not trade on power or immediate seduction. Instead, its strength lies in substance. Scarcity is real, many domaines report their smallest crops in decades, but speculation misses the point. The true narrative of 2024 is integrity: who stayed the course, who adapted intelligently, and who resisted the temptation to force a result. Collectors will recognise this instinctively. The wines speak a language that Burgundy lovers understand: freshness, salinity, site expression and balance. Whites, in particular, will attract those who cherish the great classical years. Above all, 2024 stands out as a perfectly transitional vintage. While waiting for more structured years such as 2020, 2022 and 2023 to open, 2024, like 2021, offers wines that are approachable in their youth. Following the generosity of 2017, the now fully open 2019 and the fruit-forward 2021, it takes its place among vintages defined by immediate pleasure, allowing richer years the time to settle in the cellar. A vintage to buy thoughtfully and early Burgundy 2024 is a year where experience mattered more than weather, and philosophy mattered more than yield. Production is painfully low, but quality is consistent among serious growers. For collectors, the focus should be clear: Domaines with rigorous viticulture and judgement under pressure Producers refining and clarifying their stylistic identity Grand Crus from houses that embraced restraint High-performing villages such as Marsannay, Savigny and Santenay, where value remains This is a vintage whose story deserves to be told with clarity and conviction, an instructive vintage for newcomers and new buyers fortunate enough to secure a bottle, but also one that offers immediate pleasure for collectors. Read more or browse all available Burgundy 2024 en primeur. 

There are vintages that arrive fully formed, almost generously so. And then there are vintages like 2024 – years that must be wrestled from the elements, where judgement, discipline and philosophy matter as much as sunshine.

There are vintages that arrive fully formed, almost generously so. And then there are vintages like 2024. 

Burgundy 2024: vintage overview

Bodegas Roda has always strived to be a modern force in Rioja – not dictated by tradition and the region’s strict requirements when it comes to ageing. The estate was founded as recently as 1987, by Mario Rotllánt Solá and Carmen Daurella de Aguilera, who enlisted the help of Rioja expert Agustín Santolaya. Since then it has quickly risen up the ranks and is today regarded as one of the region’s top producers.  From the start, their philosophy has been centred around sourcing the finest clones of Tempranillo. It has proven to be remarkably successful in producing very pure expressions of Rioja, not dominated by oak, but that also age beautifully. These wines are some of Spain’s most exciting, sitting amongst a cohort of producers dedicated to finding the true potential of the country’s indigenous grapes, with old vines and top terroirs. Only made in the best vintages, Cirsion is Bodegas Roda’s top wine – a wine that defies the notion that the best wines should see the longest oak maturation. On the contrary, Roda’s Cirsion sees the shortest time in oak of all its cuvées – just six to eight months, depending on the vintage. The wine was first made as an experiment in 1997, with just 3,000 bottles. The aim was to celebrate Tempranillo’s character by using fruit from only the oldest vines and best clones. Each vine would be individually assessed and picked at optimum ripeness. The result is a wine with seamless tannins and exceptional fruit purity. Cirsion’s appearance on the wine scene challenged the idea that highly concentrated Tempranillo required significant oak ageing to tame its astringent tannins. Roda proved that if the grapes are good enough, the fruit could shine without a cloaking of oak. Despite the shorter time in barrel, tasting through older vintages proves the wines’ ageability. Winemaker Agustín Santolaya remembers at the release of their first vintage that the critics found it so accessible they thought it wouldn’t age well. Tasting the 2004 today is proof they were wrong. The wine is still maturing, full of life and all the more complex for it, as the tertiary notes mingle with beautifully fresh fruit and fragrant heather notes. At the heart of the wine is a core of pristine fruit, something that is retained even with age. It is a wine of great purity and elegance. Tasting through older vintages of Cirsion shows how the balance and quality of fruit in a wine is essential, and sometimes more important than oak ageing, when it comes to producing red wines that will age effortlessly. Bodegas Roda wines 2004 Cirsion There is a real brightness to the 2004 and today it sits firmly in its drinking window, although the overall balance and concentration will see it hold here for some years yet. It has a really inviting nose of red aniseed and dark spice alongside more tertiary moss and forest floor notes. The fruit is on the darker black berry spectrum with vibrant acidity making it feel so lively on the palate. There is lovely volume and weight to the wine, the tannins now fully resolved and melded with the fruit. (100% Tempranillo, 14.5% alcohol) 2009 Cirsion A key principle of Cirsion’s philosophy is to show the imprint of the vintage, the wine made entirely from that vintage – not such a common practice in Rioja. This is abundantly clear when tasting the 2009 and 2010 side by side. As Santolaya admitted, the ‘09 is a lot more tannic and less resolved than both the ’10 and ’04 – likely, he believes, the result of water stress in what was a very warm and dry (Mediterranean) vintage. The ’09 is texturally layered with lots of lovely ripe fruit and still silken, but with a bitter twist on the finish. It is a less typical vintage for Cirsion and, versus the exceptional 2010, a little more ordinary, but still very good. (100% Tempranillo, 14.5% alcohol) 2010 Cirsion The 2010 today is still very youthful – but the balance is fantastic – the tannins are plentiful but silken, the wine full of energy, with mouth-watering acidity and a dense, coiled-spring-like tension to the palate. At 11 years of age, the tertiary flavours are only just beginning to show. It has years ahead of it and will be wonderful to taste with another five years in bottle. The 2010 really captures the Cirsion philosophy of fruit purity above all else. The 2010 has proved to be a great vintage for Roda all round. (100% Tempranillo, 14.5% alcohol) 2018 Cirsion The 2018 is the latest release and while its tannins are nicely ripe and resolute, tasting alongside the 2010, you feel Cirsion (despite its youthful approachability) really benefits from at least five to 10 years in bottle. Its puppy fat stage is still quite oak laden, but again, the refined tannins are impressive and rare to find in Tempranillo of this concentration and richness. It will no doubt blossom with more time in bottle. (90% Tempranillo and 10% Graciano, 14.5% alcohol) Browse all Roda listings or read more Editorial

Bodegas Roda has always done things a bit differently in Rioja. Their prestige cuvée Cirsion is a perfect example, proving the top wines of the region don’t have to be dominated by oak

Exploring how top Rioja doesn't always have to be dominated by oak, with Bodegas Roda and the perfect example of their prestige cuvée Cirsion 

Finding Tempranillo’s true potential

“It’s difficult when you don’t have vines, a winery, any equipment or money,” Stéphane Dief – co-owner and winemaker at Clos Manou – tells me. “You say you want to be a winemaker, but it is complicated. Our advantage, however, was being able to do exactly what we wanted.” Over the last 25 years, he and his wife Françoise have slowly grown their tiny estate in the northern reaches of the Médoc, beyond Saint-Estèphe, where they make wine that offers some of the best value in the region.  Saint-Christoly-Médoc – the miniscule village that is home to their domaine – is where Stéphane grew up, while Françoise is from less than 15km away. Although Françoise’s family had vines, neither she nor Stéphane were working in the production side of the business, but they fell in love with wine. Via his brothers-in-law – who worked at Ch. Mouton Rothschild and Ch. Rauzan-Sègla – Stéphane started tasting some special wines, buying older vintages at auction – and was soon determined to give it a go himself.  Together, the couple bought a mere 12 ares and produced their first vintage in 1998, 600 bottles that they labelled as Clos Manou – “Clos” because they felt it wasn’t grand enough to use “Château”, and “Manou”, Stéphane’s nickname. It was such a success that their hobby rapidly became a full-time gig and the duo left their day jobs in 2000.  In some ways it doesn’t sound like they were doing anything remarkable. They wanted to make attractive wines that reflected their site, and to do so with precision and care. Their ambitions were modest. And yet, for Bordeaux, their small-scale, hand-crafted approach was – and is – atypical.  They sought out specific parcels of old vines, those planted before clonal material became commonplace, favouring the natural complexity of massal selection. They chose to work only with high-density vineyards – around 10,000 vines per hectare, a point at which Stéphane feels the vines self-regulate, meaning there’s no need to green harvest and often less de-leafing required.  In principle, they are close to organic – however, in a bid to avoid dependency on copper, they use bio-controls that aren’t permitted under organics, specifically phosphonic acid. They don’t use any herbicides, insecticides or chemicals – but believe that copper, as a heavy metal that kills soil’s microbiome, is best used minimally, and they prefer to use something that doesn’t leave trace levels in the final wine.   Almost everything is done by hand, with 12 full-time employees working on the estate. There are no protocols or routines. “We do things by watching, observing our vines and drawing conclusions and echoing those conclusions the following year,” Stéphane says.  The 2003 vintage was a turning point. Robert Parker gave the wine 93 points – an incredible score for such a modest Médoc, writing that it was “better than many of the vintage’s ‘big’ names”, “drop-dead-gorgeous” and a “prodigious effort”. Given the critic was at his peak, his influence was significant – and suddenly Clos Manou was in enormous demand.  “C’est notre métier, mais notre passion aussi," Stéphane says – “It’s our profession, but it’s our passion too." That explains perhaps why, for 11 years, he didn’t take a day off. “My wife wasn’t very happy with me,” Stéphane tells me, laughing cheekily.   Today they have 18.5 hectares of vines, scattered between Saint-Christoly-Médoc and Couquèques, all within a three-kilometre radius. They sit across three different soil types – gravel over clay, limestone-clay and sand, with some sitting very close to the estuary itself. Stéphane thinks of them as three children – one of which, the gravel over clay, is naturally gifted. But just because the other two need a bit more work, doesn’t mean they are any lesser. There is, he says, no such thing as “un petit terroir”. One special parcel dates back to 1850. Planted before phylloxera swept through the region, it’s managed to survive thanks to its sandy soils. In certain vintages they make a special “Cuvée 1850” from the block.  Despite the vines averaging 45 years in age, the yields are generally good – sitting at around 50hl/ha. Stéphane emphasises that low yields don’t equate to better quality, necessarily – the balance of your vines is what matters most.  It’s undeniable that climate change has been a benefit here, beyond Saint-Estèphe, where once it was a struggle to ripen fruit. In 2018, Clos Manou had 15% alcohol – but, thanks to their clay soils, the pH was a vibrant 3.52, bringing great freshness to balance the wine. He’s still thinking about the long-term impact of the rising mercury, however, and experimenting with small portions of whole-bunch, inspired by the likes of Guillaume Pouthier at Les Carmes Haut-Brion. Stéphane feels that it can add tension and make the wines feel more dynamic, even on just 5% of the blend. “On est des vrais vignerons – comme il y a en Bourgogne," Stéphane tells me ("We are true vignerons – as there are in Burgundy"). Unlike larger properties where there are various directors who influence decisions – it’s just them deciding what to do. Despite looking further afield for their inspiration, he and Françoise don’t want to go against the grain of the region. “We want to be a bit unorthodox, but we are nevertheless Bordelais,” he says.  Clos Manou is, in essence, a family business. There’s nothing remarkable about their modest ways, but their freedom to start with a blank page has allowed them to create something that is no longer the norm. Inspired by the Bordeaux of yesteryear, everything is low-tech yet done with great precision. The wines are fresh and pure, yet distinctly savoury and earthy – with a natural intensity that points to their old vines. You can see the addition of larger oak and amphorae in more recent vintages, bringing more vibrancy. They are somehow rustic yet fine. Little has changed here since 1998; let’s hope that that remains the case, and the Dief family continue to craft humble expressions of Bordeaux that are very much extraordinary.  Browse all listings of Clos Manou or read more about Bordeaux 

At first glance, Clos Manou might seem run-of-the-mill. But this small estate in the Médoc is far from it. We sat down with Stéphane Dief to talk about how a hobby became his life, the freedom of a fresh start, and why his family’s wines are worth seeking out

We talk to Stephane Dief about his family estate in the Medoc, Clos Manou – one of Bordeaux’s best-value wines and best-kept secrets

Why Clos Manou is anything but ordinary

Anything but ordinary: Clos Manou

Think of a cocktail. Is vermouth in it? If you’re thinking of a classic cocktail, there’s every chance it is. The Martini, Negroni, Manhattan – I could go on. And on. For whatever reason, vermouth has not always received the recognition it deserves for propping up so many exquisite mixed drinks. In fact, I’d hazard that a fair amount of cocktail lovers don’t know vermouth is in their glass at all, or, if they do, their knowledge of the liquid might be a little patchy. When it comes to vermouth, there are a few things you need to know. Vermouth is an aromatised wine which hails from Torino, Italy. It is generally accepted that vermouth – as we know it, not the kind prescribed by Hippocrates in 400BC for ailments – was invented in the 16th century. In 2019, a Geographical Indication was introduced to protect the style and quality of vermouth from its birthplace, Turin. Under these regulations, vermouth must be made with at least one Italian wine, wormwood must be the predominant flavour and the wormwood used must be grown in Piedmont. The final liquid must also be between 16% and 22% alcohol in order for it to be labelled “Vermouth di Torino”. The two most common styles of vermouth are sweet and dry. The former is red in colour and as such is often called Rosso. This is the style used in your Manhattan and Negroni. Dry vermouth is white (Bianco) in colour and will be used in your classic Martini. Four classic Vermouth-based cocktails The Negroni It might be hard to believe given the Negroni’s current notoriety, but this simple serve of equal parts vermouth, Campari and gin was incredibly slow to catch on. As is often true in cocktail lore, there are a couple of people credited with its invention. The most widely accepted is a Count named Camillo Negroni who asked a bartender at Caffè Casoni in Florence to make his Americano cocktail a touch stronger. They duly obliged and switched the soda water for gin. This is believed to have taken place in 1919. A smaller camp credits a man named General Pascal Oliver Comte de Negroni with the invention of the cocktail in Senegal between 1855 and 1865. Setting aside the inventor for the moment, the Negroni, unrefutably, became de rigueur in the early 20th century – requested across Europe and favoured for its bitterness and alcoholic strength. Orson Welles was a very high-profile fan, famously quoted in 1947 for saying: “The bitters are excellent for your liver, the gin is bad for you. They balance each other.” In the years that followed, the Negroni’s popularity waned when appetites became more saccharine in nature. In the early 2000s, things shifted again as the Negroni began to appear on cocktail menus at some of the best bars in the world. It wasn’t long before the recipe featured in cocktail books and drinks sections of influential titles, such as The New York Times. Fast forward to today and the Negroni is regularly named the most popular cocktail by patrons and bartenders alike. There are countless riffs on the original recipe and an entire week is dedicated to celebrating it. How to make a Negroni 30ml sweet vermouth 30ml Campari 30ml gin Ice Slice of orange (garnish) Pour all ingredients into a glass with ice and stir well. Add garnish. The Manhattan The Manhattan has assumed many guises over the years, making its exact origin a hotly contested subject. Some believe Sir Winston Churchill’s mother was served the first Manhattan cocktail at the eponymous club in New York in the early 1880s. Others question the validity of this claim as she was likely in the UK, pregnant with the future Prime Minister, around this time. Some believe a New York bartender by the name of Black invented the recipe at the Hoffman House. The earliest known record of the Manhattan, in which this name and the recognised recipe, appear is in The Sunday Morning Herald in September 1882. Unhelpfully, some referred to a very similar recipe as a Jockey Club or Turf Club Cocktail. The classic recipe consists of Rye or Bourbon, sweet vermouth and bitters. During Prohibition, it was not uncommon for people to use a different whiskey as the base ingredient. If you substitute American whiskey for Scotch whisky, you have a Rob Roy cocktail. How to make a Manhattan 50ml Bourbon 25ml vermouth 3 dashes of orange bitters Cocktail cherry (garnish) Add all ingredients into a glass filled with ice and stir. Strain into coupe or Martini glass and garnish. The Americano The Americano recipe was invented at Gaspare Campari's bar in Milan in the 1860s. The cocktail of equal parts Campari, vermouth and soda water, was originally named “Milano-Torino” after the principle ingredients’ home towns of Milan and Torino respectively. The simple serve was renamed in honour of its growing fanbase: American tourists. The Negroni recipe was based on the Americano and contains two of the three main ingredients – with the soda water switched for gin. While many associate James Bond with the Vesper cocktail or a Martini – shaken, not stirred – the first cocktail associated with 007 in Ian Fleming’s work was actually an Americano in Casino Royale. It is later written, in A View To Kill, “Bond always had the same thing – an Americano”. How to make an Americano 30ml sweet vermouth 30ml Campari Soda water Slice of orange (garnish) Fill glass with ice, add Campari and sweet vermouth. Top with soda water and stir gently. Garnish. The Adonis A slightly less well-known vermouth-based cocktail, the Adonis was invented in honour of its Broadway musical namesake. The musical, based on William Gill’s novel, first opened in Chicago in 1884 and went on to become the longest-running show of its era. As the name suggests, the story follows a beautiful male statue who comes to life and ultimately opts to return to stone. The first reference to the Adonis cocktail was written in 1887. How to make an Adonis 60ml Oloroso Sherry 30ml sweet vermouth 2 dashes of orange bitters Stir all ingredients with ice. Strain into chilled glass. Browse all spirits or read more Editorial 

No drinks trolley is complete without a bottle of vermouth. It’s required in countless classic cocktails and is a remarkable drink in its own right. We chart vermouth’s rise to prominence and explore the history of four of the most famous vermouth-based cocktails.

Alll about vermouth’s rise to prominence and explores the history of 4 of the most famous vermouth-based cocktails - The Negroni, The Manhattan, The Americano

How four vermouth-based cocktails became classics

The history of vermouth in cocktails: shaken not stirred 

Waterford founder Mark Reynier speaks to Gavin Lucas about his obsession with terroir, traceability and transparency – and how his radical approach is driving unprecedented scientific research into the flavours derived from barley grown on different soil types

Waterford founder, Mark Reynier, discusses his obsession with terroir, traceability and transparency – and how his approach is driving pioneering research 

FONDATA: The Waterford Revolution

The Waterford Revolution

The Pacific Northwest is the birthplace of some of the greatest innovations of the past 40 years. Microsoft, Amazon and Starbucks are just some of the multi-billion-dollar enterprises to come from the region with its spectacular mountainous ranges and lush forested land.

When it comes to drinks of the alcoholic kind, craft brewing has been the area’s most notable export. In California alone there are more than 900 breweries. Unsurprisingly, craft distilleries have followed a similar trajectory – swelling from 35 to over 2,000 in the past 17 years. What may come as a surprise is that single malt whiskey, rather than Rye or Bourbon, is growing apace and pioneering a truly exciting new flavour frontier with traceability and transparency at its heart. 
“We shouldn’t be growing corn,” Seattle-based Westland Distillery Commercial Director Chris Riesbeck says. “We shouldn’t be making Bourbon. We shouldn’t be making Rye. Making single malt makes an enormous amount of sense when you think about the Pacific Northwest climate and agriculture.”

The Pacific maritime influence, warm, dry summers and cool damp winters in Washington, Oregon and California are optimum two-row malting barley growing conditions. “The conversation you hear from almost every distillery on the planet is that barrels and time make whisk(e)y,” Riesbeck continues. “That is true in the most basic, basic way. But the reality is that it gives no real respect to the raw ingredients. “We would argue that whisk(e)y starts in a field – and if you don’t have an appreciation for the grain that you are using and an interest in how you can develop and embrace that flavour, then you’re perhaps not getting the full experience of what whiskey
could be.” It sounds simple enough but, as Riesbeck explains, a seismic shift in global whisk(e)y-making convention needs to occur to produce a varietal-specific single malt that is truly a product of the Pacific Northwest. In Westland’s case, it has been almost a decades’ worth of work. The distillery has partnered with Washington State University’s Bread Lab to find a barley that puts flavour rather than yield first.

“If your goal is to make things cheap, then it’s a race to the bottom and nobody wants to win that race,” Riesbeck says. “But if your goal is to make something that’s lasting and impactful, you have to be willing to support the science.” Westland’s funding of a PhD student is a sign of their long-term investment and it’s the company’s hope that the research produced should benefit the entire industry. But this is just the beginning of the process and many more stages are required to get from grain to glass. Once the barley is chosen, it can take years of testing to balance out things like stripe rust and other diseases before it can be planted in a Skagit Valley field. All this time, money and patience is in the name of one thing: flavour.

Travel 174 miles south and you’ll find Westward on Distillery Row, Portland. Founder and Master Distiller Christian Krogstad has been at the forefront of the craft brewing movement for the best part of 30 years. His role in the spirits sector is not to be sniffed at either – perhaps his biggest achievement is a certain Aviation Gin which was sold to Diageo for $610m in 2020 after actor Ryan Reynolds took on the brand. Brewing informs everything Krogstad does at Westward. “We see ourselves coming out of the beer world,” he says with an enormous smile. “We are much more informed by that than we are by Scottish single malts or traditions.”  In a refreshing juxtaposition to the sometimes-cloak-and-dagger world of whiskey-making, Krogstad is an open book. “We don’t have a lot of secrets and I think that’s something that has gone back to when I was brewing,” he says. “If somebody wanted a recipe for one of the beers I was making, I would give it to them. There’s nothing about the product or the process that is secret.” For the former brewer, imitation is most certainly the sincerest form of flattery. “If somebody wants to try and do what we’re doing then they are welcome to try,” he says. “But just like we’re not trying to copy Scotland, it’s not very interesting for somebody to try and copy us.”    Whether he’s producing a beer, gin or whiskey, Krogstad says his guiding principle is to create a flavourful and balanced liquid that isn’t palate-fatiguing. “My ultimate goal is to produce something that when you finish a glass of it, you immediately want another. I don’t ever want something that I make to be referred to as an acquired taste.” Approaching single malt whiskey with a brewers’ mentality means fermentation is king. A nice, cool temperature and long fermentation produces a beer that Krogstad calls delicious and defect-free. This means there is little reflux at distillation and the spirit is very rich and textural. “Our philosophy is not that the stills clean up the beer,” he says. “It’s that they concentrate it.” The largely defect-free, rich spirit is perfect for maturation in new charred oak because it can stand up to the flavours. “Because we’re not distilling it to a high proof, we have a lot of these great fruity esters from the fermentation that really come through,” Krogstad says. “If we aged it differently, we would want to distil it differently.” Perhaps another hangover of the brewing world is innovation with raw materials. The team frequently experiments with different malts and yeasts to develop more flavours and characteristics. One of the more interesting experiments, according to Krogstad, has been a sourdough levain for the fermentation. “It was almost on a lark and it turned out fabulous, so we are making more of that,” he says. Barrel trading is another inexhaustible playground for flavour development. When the team empties their barrels, they give them to neighbouring breweries for maturing their “big, 10%” imperial stouts for a year to 18 months. The will then return them to Westward 
where whiskies will get a final finish for a year. The process is then repeated ad infinitum. Rather than bringing in barrels from Spain or Portugal, Westward opts to work with local wineries, breweries, and tea and coffee companies. When we speak, Krogstad is wandering around a “buddy’s vineyard” for a photoshoot. The indefatigable founder created a Tempranillo-finished whiskey after he was given a warped butt a few years ago that “turned out fantastic” with red fruit, dried cherry and redcurrant flavours. Every experiment is another learning opportunity for the Portland distillery and its founder and Krogstad speaks about all of them with equal excitement. “I didn’t start this because I created some Business School brief. I started the distillery because I was brewing and I loved brewing. And I loved whisk(e)y and I wanted to do something interesting and bring something new to the conversation.” The whiskey conversation has certainly changed since Krogstad founded the distillery in 2004. When he and seven others created the American Single Malt Whiskey Commission five years ago, there were a handful of members. Today, there are 160 – approximately 60 have products on the market and the remaining 100 are all ageing their liquid. A huge number considering the Federal Government has yet to recognise the category. “It is all about transparency and authenticity now,” Westland’s Chris Riesbeck says. “Brands like Westland will win that war because we were designed with that in mind. "From day one, we really wanted to be authentic [and] we wanted to be transparent. People should know what’s in a bottle of whiskey, they should be able to say without any sort of hesitation – when I buy a bottle of Westland, what am I getting? Well, you’re getting 100% malted barley, distilled in a single distillery, bottled no less than 40% ABV and aged in oak casks with no specificity to an age statement.”

When it comes to the future and the 160-plus American single malt producers, Krogstad says saturation in spirits is a long way off. “In brewing, every six or seven years you get a plateau in the market and everyone confuses a plateau with a collapse. This is the fourth or fifth time I have seen people worrying that the brewing industry is saturated, and I don’t know if it is or isn’t, but what I do know is that comparing the spirits industry to the beer industry, spirits is not saturated.”

Westland is days away from launching the realisation of its 10-year varietal-specific project with the latest addition to its Outpost Range – Colere Edition 1. “It is a really important thing for this distillery philosophically and frankly emotionally,” Riesbeck says. “It’s hard not to get a little misty-eyed about it. The idea was that we should create this not simply because we can but we should create something genuine because this region deserves it.” Browse American whiskey or read more Editorial 

For many, the words “American whiskey” conjure up images of Kentucky, Bourbon and Rye. Two equally innovative and candid producers tell Holly Motion why the Pacific Northwest is perfectly primed to create sensational American single malts

Two key Pacific Northwest whisky producers, Westland and Westward, explain how the region is primed to create remarkable American single malts.

Exploring the potential of American single malts

A new flavour frontier

Last year, the great and the good gathered at the ancestral home of the legendary Gordon family (of William Grant & Sons). A hearty dram was poured for the world’s foremost drinks authorities and they were asked to name the liquid within. So far, so normal in the Scotch whisky world. What happened next is quite unusual. Not one of the experts – with decades of experience and dozens of book credits to their name – could so much as hazard a guess.   The answer to the seemingly simple but dastardly question dumfounded them all. The as-yet-unidentified liquid was a single grain Scotch whisky that had slumbered in a lone Sherry butt for 53 years. Now almost jet-black in colour, the single grain had taken on incredible, rich notes of dried fruits, roasted coffee, and muscovado toffee – and it was indistinguishable from a greatly aged single malt.   The Cask Trials, which is the name given to this highly unusual liquid that left some of the finest palates awestruck and not-so-secretly hoping for a bottle in their gift bag, is just one of the panoply of independently bottled House of Hazelwood releases from the Gordon family’s private Scotch whisky archives.   Somewhat surprisingly, you won’t find a single malt among them. These rare whiskies, which have been amassed over the past 100 years by the owners of Glenfiddich and The Balvenie, were released to the public for the first time in 2022 in two, painfully scarce, collections. The Charles Gordon Collection (all priced above £3,000 per bottle and aged for at least 40 years), and the Legacy Collection (priced between £950 and £2,000 a bottle) are all well-aged blended Scotch, blended grain and blended malt whiskies that have been matured in the most novel ways.   “Bringing old, expensive and unusual blended whiskies to the market is slightly counterintuitive,” House of Hazelwood Director Jonathan Gibson – who was instrumental in creating the range – candidly tells me. “It's not overly common within the industry.”  It’s also not overly common within the industry to bottle liquids of this age and provenance with playful names such as "Blended at Birth", "Sunshine on Speyside" and "The Old Confectioner’s", in understated packaging at these price points.  The liquids are undeniably scarce (once they’re gone, there really is no more) and old (few are under 40 years of age, and the oldest tops 50 years), but they are undeniably unusual and at odds with the highly successful formulaic approach others have followed of encasing precious liquids in highly ornate, priceless vessels that weigh more than a small child.    “They're not concept releases,” Gibson explains. “Everything is driven by the whisky. The packaging is quite straightforward. It's a nice bottle and it's classically engraved but we haven’t collaborated with the hottest designer. The idea is really just to give the whisky room, provide a platform, without overshadowing it,” he adds.   “Over the past 10-15 years – and it's no bad thing at all – you can see a lot more old age-statement single malts coming onto the market,” Gibson says, “And typically they're very straightforward in terms of their naming. It's distillery name, plus age statement equals a certain financial value.  “The naming of these releases is slightly playful, but actually if you look at them one by one, they're very straightforward. It's not quite a Ronseal, ‘it does exactly what it says on the tin’ approach, but it's not too far away from that. If you said ‘Blended at Birth’, it could be seen as quite playful but it's also quite descriptive and the same for ‘The First Drop’ and ‘Sunshine on Speyside’,” he explains.   It's clear Gibson, who has been involved in the project since the start, has genuine affection for the whiskies and the stories each one has to tell. He and the team are custodians of historical artefacts that the Gordon family have not parted with for the best part of a century.  “The First Drop”, for example, is named as such because it is the first liquid to run from the stills at the Gordon family’s Girvan grain distillery on Christmas day in 1964. This is the first and last time it can be purchased. “There's a real emotional tie from the family to these whiskies,” Gibson explains. “For the current family members, it's their dad who laid down these whiskies and he's not around anymore.  “I think it's actually quite difficult for the family to let some of these whiskies go, even though there's a begrudging acceptance that they can't drink such quantities and it was time they cut the cord and let these whiskies go out into the world.”  “There's a general principle that we're following where the whisky is ready to go when it's ready,” Gibson explains, “so we're not chasing down a 60-year-old age statement just so that we can put a big 60 on the bottle.”   It has been a pleasant surprise for all those involved to witness the reception the House of Hazelwood whiskies have received from an occasionally prickly and vocal audience.    “Sunshine on Speyside had an amazing response and it's one of the least expensive whiskies within our range,” Gibson says delightedly.   “It was selected because of its character and its flavour, and named because it has this amazing mango/ pineapple popsicle fruit character that transports you to sunshine and the Caribbean. It's one of those ones where everyone instantly agreed that it had to go into the first collection.   “I thought that everyone would be drawn to the oldest whisky at tastings but actually, this whisky captured the imagination of a lot of the writers and the trade.”   It’s hard to emphasise quite how unusual these whiskies are, as most releases – old or new – are described in hyperbolic terms.   “Blended at Birth”, which was released as part of the first collection, is a blend of malt and grain whisky that was married and matured as new-make spirit. Today, it is against the Scotch Whisky Regulations’ technical file to produce a whisky in this way, as you now have to age the malt and grain whisky components for a minimum of three years separately before blending them, so any liquids of this ilk on the market are painfully scarce.   “Unusual” and “esoteric” aren’t always necessarily loaded with positive connotations – you might take a sip of said liquid, politely smile and then return to something slightly less unusual and more palatable – but these whiskies have incredible balance and depth of flavour, in part because they are blends and not single malt whiskies.    “These old grains in particular are just unbelievable in terms of the flavour,” Gibson says with unfettered joy. “At a younger age, grain whisky is quite neutral in character but once you're past 30 years, if it's aged well, grain whisky has a luscious, delicious quality which adds so much to the final profile of the Scotch.    “The variation in style is enormous,” he continues. “I thought I understood old grain whisky but on exploring the inventory further you see these amazing grains that you didn't really know you could get.”   These whiskies wouldn’t have existed if it wasn’t for the foresight of the Gordon family  – and two brothers, in particular, who changed the company’s stars during the mid-20th century. The young Charles and Sandy Gordon brought much-needed vim and vigour to what could be a bit of a staid industry in the late 1950s. The pair famously refused to kowtow to demands from their grain whisky supplier – instead pulling the contract and setting up their own grain distillery, Girvan, in the 1960s. Charles – or Charlie as he was known – even forwent the comfort of his own home and instead lived in a caravan on-site during the build, riding a bicycle to stealthily check on the workers’ progress. His unconventional methods clearly paid off as the sizeable distillery (which still stands today) was built in a record nine-month period.  During their tenure, the duo also interrogated every aspect of whisky-making from distillation to maturation, resulting in the bold decision to employ an on-site coppersmith and cooper – which are still in situ at many of the William Grant distilleries today – to give the family more control. They were a formidable pair and the business arguably wouldn’t have survived some of the challenging periods in Scotch whisky’s history had it not been for their fortitude.     “There's something about family ownership that means you have a bit more luxury to maybe indulge some of your creative whims,” Gibson says with a wry smile. “This independence enabled them to explore ideas that might have been hard for others to justify to their board of shareholders.”  When other producers would have been forced to make very difficult decisions in order to survive those darker years, the larger, independent William Grant would have been slightly more insulated. Out of curiosity alone, they would have been able to hold on to barrels of maturing liquid and see how they developed over time.  These are the barrels that the House of Hazelwood team – and by extension us – now have access to. Each one has an incredible story – and an even better depth of flavour. With eight releases each year as a minimum – and the suggestion of some partnership releases to come as well – there is an audience, who count the great and the good among their numbers, desperate to venture into this unexplored and curious realm of blended Scotch whisky.  Explore all current listings of House of Hazelwood, browse all whisky or read more Editorial 

Few Scotch whisky releases have incited as much fervour and intrigue as the House of Hazelwood’s independent bottlings from the Grant family’s private cask library. We caught up with Jonathan Gibson to discover why this emporium of curiosities is so tantalisingly unusual

Exploring the success of the independent bottlings from the Gordon family’s extraordinary private collection

The story behind the House of Hazelwood

House of Hazelwood: selling the family jewels

Principe Corsini

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