When Jean-Marc Roulot wandered through the family estate’s cellars one, seemingly ordinary day, he happened upon something unexpected. The vigneron had walked the hallowed paths innumerable times during his legendary father Guy’s life and during the 15 years since his sudden passing in 1982. But there, in a long-forgotten corner of the cellars, lay 12 dusty bottles of apricot liqueur. Jean-Marc knew all about his father’s production of pear and apple brandy, and his family tradition of producing marc de Bourgogne and fine de Bourgogne. The still, which he used and remains in operation today, dates back to 1866 and used to be on wheels so the family could move from village to village. So well-known was this distillation heritage, in fact, that Jean-Marc’s mother used to joke that the still paid for their vineyards. What came as a surprise to the actor-cum-winemaker was the existence of L’Abricot. “I had never seen him make this liqueur,” the 65-year-old says. “It was absolutely delicious and I wanted to try to find this recipe.” This discovery in 2008 set Jean-Marc on a mission to reproduce the liqueur from instinct, as no recipe existed, and increase the estate’s staple of brandies, eaux de vie and liqueurs. In some instances, the winemaker was able to follow recipes and meet with fruit producers to reinstate his father’s relationships. For others, he had to forge his own path. “I wanted to reconnect with that [tradition],” he adds. Jean-Marc says he’s always had a passion for distillation, having learned the skill from his father, and feels it has influenced his winemaking. When distilling, Jean-Marc focuses on two things: purity and authenticity. When asked, he says it is of paramount importance that the end product tastes like the fruit. It seems obvious, perhaps, but this is not always the case with overly saccharine fruit-based liqueurs. In order to achieve these two things, Jean-Marc has reduced the sugar levels over time – from 180g/l sugar 10 years ago to 160g/l in the latest iterations. “Sugar is of course a flattering element in a liqueur, but it can also mask the fruit,” he says. “By lowering the sugar levels, I feel like I'm putting the fruit forward.” From more classic pear and raspberry to the most recent addition, lemon liqueur, Jean-Marc says the fruit choices have largely been emotive. “I chose to make a pear alcohol since my father already made this 40 years ago with fruits from the Hautes Côtes de Beaune,” he says. “He was doing the same thing in a much smaller amount with the raspberry than I am doing. For these two fruits in brandies, it is therefore a family tradition.” The pears are sourced from the same site in the Hautes Côtes de Beaune that his father used, while the apricots (previously from the orchards of Chave) come courtesy of Laurent Combier (of Domaine Combier) in the Rhône. While he used to be able to source them locally, raspberries are now hard to find – and these, along with his lemons, come from further afield (Bulgaria and Sicily, respectively). After finding the bottles of apricot liqueur and working with the fruit in that capacity, the idea occurred to Jean-Marc to ferment them to make brandy as well. He’s also turned his hand to lemon liqueur and doesn’t rule out further fruit experimentation, perhaps with grapefruit. When asked about these fruits in relation to terroir, Jean-Marc says he doesn’t think they can reflect their terroir “as well” or “as faithfully” as grapes. “Perhaps this is due to the size of the plant, the density of planting, the attention we pay to the work of the vineyard and all the care we take around the grape when it comes back to the winery,” he adds. “There is generally a ‘signature’ effect in grapes that I do not find in a fruit like pear for example.”  He does, however, think the distillation process has taught him a considerable amount. “As we are mainly winegrowers, we seem to think that our knowledge on this subject has influenced the work on the still, but I sincerely believe that the precision that distillation requires has influenced us in the other direction, towards our work as a winegrower.” One senses Jean-Marc’s discovery of those 12 unassuming bottles all those years ago had a much greater impact on him than merely influencing his production of superlative wines, and now, his fruit brandies, eaux de vie and liqueurs. Find out more about Domaine Roulot or read more Editorial

Meursault-based Domaine Roulot is one of the finest estates in the Côte de Beaune. But it’s not just grapes that cross the threshold at this domaine. Owner and winemaker Jean-Marc tells us about the family’s fruit-based spirits – and how they’ve influenced his winemaking

The famous Meursault vigneron Domaine Roulot on his family’s other project - the family’s fruit-based spirit

Domaine Roulot Meursault fruit-based spirits

A secret still: Domaine Roulot

If my wife and I are lolling around on the sofa, sharing a bottle of wine and listening to jazz, I’ll sometimes ask, in tones combining the genial authority of a quizmaster with the tacit menace of a Stasi interrogator, “Who do you think is playing bass?” Or piano. Or drums. If she doesn’t know, I respond with appalled astonishment because it’s so obvious (you only need to hear a couple of notes) that it’s Charlie Haden. Or McCoy Tyner or Max Roach or whoever. When I was studying jazz in the 1980s (by studying I mean getting as stoned as possible with my friends) we’d play records for each other without revealing the identities of the musicians and, in this way, I built up an instinctive database of who sounded like whom. Of course, that’s not all I was doing, back then. I was also swilling gallons of beer and respectable quantities of wine, both of which I consumed with just as much pleasure as I listened to music. The difference is that with wine, I never paid any attention to what I was drinking, where what I was drinking had come from, or what grapes might have gone into it. Still don’t, actually. So, while my wife sometimes doesn’t know who she’s listening to, I rarely know what I’m drinking. Now, if my enjoyment of jazz is enhanced by knowing who I’m hearing, when an album was recorded, how a given version of a tune compares with other versions by different musicians and so on, does it follow that my enjoyment of wine is correspondingly diminished by ignorance and indifference as to its provenance and ingredients? Am I sitting around liking what I like while unable to tell whether what I’m liking is a bottle of Kenny G or vintage Sonny Rollins? To answer this question and address the larger issue, a bit of history is helpful (isn’t it always?). I grew up in a non-drinking household. We knew that other people drank wine with dinner but this was seen as an exotic, middle-class custom, as removed from our own potential experience as the tribal rites featured in National Geographic. No one we knew drank wine except the homemade kind – blackberry, pear, potato etc – that my parents made, stored in the cupboard under the stairs and offered to thirsty relatives who came to visit. Bearing no relation to wine as usually conceived, this beverage was more akin to a potent species of cider. Ah cider! As was the case for all boys of my generation, cider proved such an effective conduit to getting blind drunk that I’ve not been able to face even a sniff of the stuff since a horribly enjoyable first encounter. Same with Cinzano Bianco, but I’ve never turned my back on beer. As part of the general drift into all matters alcoholic, I drank a bit of Liebfraumilch (yum) but didn’t encounter anything like the notion of a ‘good’ wine until I was at Oxford. (The fact that I had to wait till then is a good indicator of the class status of wine in the UK back in the 1970s.) One day a fellow-student at my college offered to sell some bottles of what he pimped as “excellent red wine.” Three of us forked out for six between us. It was great. Sort of peppery tasting. We glugged the lot in one evening and I was violently sick, from my friend’s window, into the lane outside (a reversal of Charles Ryder’s first encounter, in Brideshead Revisited, with Sebastian Flyte who pukes into his room), but I was on my winey way. Most boozing took place in the pub (beer) but, as I gradually got used to drinking wine at dinners and at art openings, an unreliable and poorly projected map of wine awareness began to take shape.  In my early 30s, there was a Bulgarian Cabernet Sauvignon for which I developed a particular fondness. At three quid a bottle it seemed more appropriate, even then, to cut it down to three syllables: Bulg-Cab-Sauv. Then came the news that the contents of any bottle could be improved by being allowed to breathe. Sometime later, living in Paris, I got wind of a crude truth that you could tell a better wine by how far you could stick your finger in its bottom, in the whatever-it’s-called at the base of the bottle. The further the better was the rule of thumb, so to speak, though why this should be the case I never discovered. These were excellent, easy-to-implement tips but the bigger picture remained blurry. I knew there were regions, different kinds of grape, but I was never sure which was which (Burgundy always sounded like a type of brandy) and I knew enough to know that it wasn’t enough to know that you liked a Merlot, say; you also needed to know what was going on within that species of grape or region, that certain brands and years were better than others. Although a drawing of a château on the label could be a good sign, it was not an infallible one, especially when some high-quality wines began to feature labels that shared an aesthetic with edible marijuana products or t-shirt design. And over all this uncertainty hung a larger cloud of astonishment – a symptom of the world’s fathomless ability to defy logic – generated by the ‘fact’ (I still have trouble accepting it as such) that white wine is not necessarily made from white grapes, nor red from red. Even when we factor in the odd big Tuscan moment in Italy, or Pinot epiphany in New Zealand, my understanding has not advanced significantly in the last 20 years. I know what I like but, as with many things – learning German, for example – I feel I’ve left it too late. Any attempts I make are the equivalent of looking up the occasional word in an online Deutsch-English dictionary. One can often spend one’s way to an enhanced experience, but my natural skinflintery means I prefer my father-in-law’s model, whereby he had knowledged his way to improved enjoyment. He not only serves fantastic wine, without exception, on every occasion; he always serves wine that costs a fraction of how it tastes.  I like this approach but, to borrow the term from London’s taxi drivers, I’ve never done the knowledge. I’m like the new generation of Uber drivers who rely so passively on their phones’ navigation apps that, after years behind the wheel, they still have almost no idea where they’re going. My phone comes in handy too. If I drink a fantastic wine at a friend’s house, I’ll take a picture of the label and, if it’s in stock at a local store, will buy a case. It’s nice being able to repeat a pleasing experience but it’s rarely as nice as I remember it and often not nice in the way that I remembered it. Or, if it’s nice at first, it almost always seems less nice, months later, when I’m down to the last couple of bottles. There are as many moving parts in the world of wine appreciation as there are in and around the mouth.  We have moved, by a combination of association and anatomy, to the potential source of the difficulty, to language. Having failed to acquire home-grown expertise, I am at the mercy of advice from the people who work in wine stores. Overall, I would estimate that this has resulted in a 50% success rate at twice the necessary expenditure. Is this because of shortcomings in their expertise and counsel, or is it due to linguistic failure, to inadequate translations of their knowledge into my preferences? We are told there’s no accounting for taste, which is not true, but it seems there are multiple problems with recounting one’s tastes or satisfying other people’s desires. Compared with sex where you can easily get by with half a dozen verbs and nouns, saying either what you want from a wine – or what it will do for someone else – demands a linguistic dexterity that is almost Joycean. We have all sat entranced as a waiter’s attempts to do justice to the merits of a given wine begin to sound like a libationary remix of Chomsky’s “Colourless green ideas sleep furiously.” But even while allowing for scepticism, incomprehension and constant proximity to parody, I continue to wonder about the extent to which my experience of wine would be enhanced by becoming more articulate in la langue du raisin. ‘Smooth’ is generally considered a good quality (as opposed to ‘rough’) but Kenny G, a purveyor of ‘smooth jazz’, is tacitly at odds with ‘complexity’. I can sort of appreciate complexity in a wine, without any understanding of how that complexity is constituted but – a defining character flaw – am more often conscious of a lack of complexity.  The strange thing is that while wine appreciation is not like a foal’s ability to get up and running straight away, it does find its feet over time. Even if uninformed, un-cultivated and left to fend for itself without any supporting help, it seems one’s tastes in wine not only change; they improve of their own accord. This might be considered a welcome, accidentally ameliorative side-effect of getting older. Or would be were it not for the fact – one I have no trouble accepting – that this improvement manifests itself negatively, as a steadily increasing capacity for dissatisfaction. To put it simply, what might have seemed an excellent wine a few years earlier becomes merely tolerable because of a lack of what may or may not be complexity. The tolerable becomes unacceptable, and the unacceptable becomes vile. My tongue has become more responsive to taste while remaining tied; my discernment is entirely inarticulate. The product, above all else, of laziness, this manifests itself in several unattractive ways. Do women on a date prefer men who take control of the wine menu? (Could this be the civilised residue of what was once a more widespread assumption and acceptance of male domination?) My own dating history leads me to suspect that they might, though the belief that the evening gets off to a bad start – with my saying, “I don’t know anything about wine, you choose” – is more palatable than conceding that it might have more to do with the way it ends (with my saying, “Let’s split the check”) or, come to think of it, with the middle passage (constantly refilling my own glass while droning on, without interruption, about the musical complexity of Ornette Coleman). It’s not just laziness and tightness, there’s also the question of sophistication and refinement. I can eat with chopsticks – I really can! – but have never been able to master the knack of swirling wine round the glass and forensically nosing it. You can do it, I’m sure, but I always feel like I’m engaged in such a blatant affectation that the first flicker of an erotic bond starts to form between my date and the waiter because they can tell that I’m parroting the action without any idea of what I’m attempting to discover, that it’s obvious to anyone watching that my head is entirely filled with a single idea: keep the cost down. In this regard, price, I am pleased to report that limited progress has been made. In my mid-20s, in London, I was sometimes invited to the house of the writer Lisa Appignanesi who was at the centre of London’s intellectual and cultural life. Well-mannered enough not to arrive empty-handed, I’d stop off at the off-licence near her house and pick up the cheapest bottle of discounted plonk on offer. Lisa always accepted this shabby gift graciously (she did everything graciously), while making sure that it never darkened the table. It now seems one of the rudest things one can do, to show up at someone’s house with a crap bottle of wine, though where crapness begins or ends is anyone’s guess. A shitty bottle of wine is always over-priced, is always money wasted. At the opposite end of the scale, my limited experience of drinking very expensive wine has confirmed what I had always expected: that it’s wasted on me. I ooh and ah, naturally and gratefully, but even though I enjoy these $200 bottles I am thinking: well, it’s not 170 bucks better than a 30 dollar bottle. Perhaps from a certain point – $100 upwards? – you have to pay twice that for a tiny percentage improvement in experience. That makes sense. If this were not the case, then a $1,000 bottle would surely bear so little relation to wine that it wouldn’t be wine at all. We now have sufficient linguistic tools available to describe my ideal relationship with wine. When I think of wine, it’s never as a drink or a taste experience but always as part of an occasion, part of a narrative. What I love is going to a dinner at a restaurant with a non-clamorous acoustic (wood and carpet, not metal and concrete) and a limited menu (I hate choosing food), knowing that someone else will take care of ordering the wine which will flow without let or hindrance. The problem at my father-in-law’s is that although the wine is always excellent, there’s never an infinite amount of it. And what I want from wine, above all, is more. That’s the key word in all this. I love talk and the progression of conversation as the wine makes itself felt: the glow of friends’ eyes, the flow of chat. Red wine, reflections of the room and of candlelight in the glasses full of wine. Everything is held together by the wine, even though that wine is less important than the people, the subject, the jokes and laughter. The wonderful remarks become more wonderful as the evening unfolds, until nothing anybody says really makes any sense at all. In the morning I will not remember the details of the wine or the food. What I will remember is the warm glow, the happiness of it all.  This article was originally published in FONDATA, Issue One

Writer and critic Geoff Dyer charts his slow journey towards an ever-increasing appreciation of – and reverence for – well-chosen wine. Photography by Marcus Nilsso.

Writer and critic Geoff Dyer charts his slow journey towards an ever-increasing appreciation of – and reverence for – well-chosen wine.

FONDATA: The Mirth of More

The Mirth of More

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