Issue: 65 / Sunday 14 April, 2019
We get up close and personal with
Peter Dredge a.k.a Dr.Edge
Exclusively represented in the UK by The Vinorium
How did you get into winemaking?
I grew up in Adelaide, went to school here. Played a lot of sport, even made it into the underage team at the local SANFL (Aussie Rules) club Sturt. In my last year at school I sustained a substantial head injury. Wrong place at the wrong time. I was hit in the head with a discus at athletics training, effectively my left ear is permanently deaf, it rings and I have a mild balance indifference. It took me three months to get my walking and coordination back under control. That effectively ended any hopes of me playing amateur or semi-professional sport which had been my goal.
There was no family history in wine. After I matriculated I enrolled at Uni to do science, but took a gap year before I started the degree. Someone suggested I should think about doing harvest at a winery. I was 19 and even though it was long hours and you worked hard, the money looked pretty good. As is the case in Adelaide, my sister was very close with Brian Croser’s daughter Penny, our parents talked and I ended up with a job at Petaluma for harvest.
I got thrown into the lab at Petaluma, and did some cellar work as well. I had planned to do that vintage and travel around Australia. I didn’t end up travelling and stayed on at the winery. By this stage Brian Croser and his colleagues particularly Con Moshos and Anna Martens had got their claws into me. It was 1998, I never really looked back, started the science degree and then switched the degree over to winemaking at Adelaide Uni – (Bach Ag Sci (Oen).
"...the German Rieslings were absolutely stunning. It threw everything I’d learned out the door."
Is there any part of your early career that has most influenced your winemaking style?
After I graduated I worked at Petaluma for quite a while, during my time there I was encouraged to travel. In 2005, I worked a harvest with Dr Loosen in Germany. My passion at the time was very much focussed on Riesling and Sparkling wine.
Working vintage in Europe was a real game changer for me. German Riesling winemaking was effectively the opposite of what we learnt at Adelaide University as far as Australian wine styles being fruit forward and ever fresh, and to me in Germany it was effectively oxidising everything and making it in a bath tub. But the German Rieslings were absolutely stunning. It threw everything I’d learned out the door.
Those wines opened my eyes and got me thinking there’s got to be a reason for it. At the end of the day there is no reason, everyone just has different ideas and they are mostly scientifically proven. I came back with a head full of ideas. I was by then in a senior role at Petaluma and started down another pathway, which led us to the Petaluma ‘Project Company’. We started to delve into those more experimental styles it was all based on some of the methodology I had picked up with Dr Loosen. They were exciting and rewarding times.
What brought you to Tasmania?
I’d been at Petaluma for the best part of 12 years including 4 years full time study and I really felt I needed a change. To be honest I’d still be very happy to be there, and I was very comfortable living in Adelaide. I just didn’t want to die wondering, so I resigned in about November 2009.
I didn’t have a job to go to… My contingency plan at the time was to look for work in cool climate areas. I was looking for work in the Yarra, Geelong, Gippsland or Tasmania. By this time my interest in Pinot Noir had started to build and I figured if nothing panned out I would go and volunteer myself with Stephen George at Ashton Hills. I thought the rite of passage was to then go into Pinot Noir and the mysteries of heavier styles of winemaking, most notably some Italian varieties.
I ended up in Tasmania to cover a maternity position at Bay of Fires. A very good friend of mine, Sue Bell from Coonawarra was friends with Fran Austin at Bay Of Fires who was the one going on maternity leave. Within 6 weeks I was living on site at Bay Of Fires winery and vineyard working as the senior winemaker and site manager.
We are very familiar with Ed Carr and Paul Lapsley, their House of Arras wines and of course Bay of Fires whom you spent your early days in Tasmania working with. How influential have they been to you? Are there any other winemakers that have had an influence on you?
I was introduced to Ed Carr, Paul Lapsley and Tom Newton, guys who have had a really incredible influence on the Tasmanian wine industry, Ed Carr thought Tasmania was the best place to make sparkling in the country bar none. When I started I was to work with 13 growers all across Tasmania and before I knew it, I was in a car with these guys meeting all these growers, looking at clones, soil types and learning about the sub-regions. Ed, Tom and Paul were incredibly influential in their attitude towards making wine, and how technically astute and generous they were with their wine knowledge – the bottles these guys brought to the table: they were amazing.
Brian Croser, Con Moshas and Anna Martens in the early days at Petaluma, Croser was the fundamental professional and a great mentor. If you challenged him and you had a valid scientific argument he would respect that and listen, if you didn’t come prepared he’d tear you apart. Moshos was in the background saying “Dredgey, do not take the industry too seriously” and Anna Martins was a great influence in the way she conducted herself and gave me more chances than you’d normally give an 18 year old “head up your arse” teenager at the time.
Sue Bell in her approach to winemaking and her humility. Being a fellow Hardy’s alumnus and starting on her own thing, she’s a good friend and such a lovely person. Then you’ve got your everyday influences, and I know it’s a bit of a cliché, but I was born with three older sisters and a mother… so I was born to listen.
I would always contribute as best I could but I was also mindful of listening to people – if people are talking and they have something to say you listen and you don’t interrupt. Then of course my lovely wife or fiancée and mother of my child who works in prosthetics. She spends a lot of time helping people less fortunate.
You began in Tasmania working with many white varieties and have said that Pinot Noir was a challenge to you. What is it now that you love about working with this variety?
I decided to focus on Pinot Noir because taking the plunge to make Bay of Fires Pinot Noir and supporting its continued success was a huge challenge for me and one I believe was successful. I believe it can be Tasmania’s most distinctive variety, if it isn’t so far, and I want to be involved in its development.
Could you tell us a bit about the characteristics of each sub-region and vineyard you work with?
I was always just fascinated by people like Ed Carr, Tom Newton and Paul Lapsley blending the subregions, not only Australian but in particular Tasmania. In a funny way, not dissimilar to Max Schubert with Grange. I went through Sydney, Melbourne and Adelaide to conduct some trade tastings and I would say to the people I showed the three single vineyard wines too, “I’m not telling you one is better than the other but the soil type and or micro-climate is the biggest difference between the three wines, you’ve got gravel soils from Joe Holyman’s vineyard, volcanic from the east coast, and mostly sandy from Meadowbank in the Derwent Valley.”
The three Pinots are made exactly the same way, same clone, minimal oak. They are all the one GI, but are the same distance as the Clare Valley is to McLaren Vale. I’m trying to make a wine that’s as close as I can get to expressing that site. You’ve got the individual clones that work really well. I love all these wines, they are a truthful reflection of the vineyard and the grower, with minimal influence from me. Then we have the blend where I use other clones from the same vineyards and employ a few wine making techniques that I believe enhance the fruit on offer. I start to get more involved personally.
How have you seen Tasmania develop as a winemaking region? What do you see for its future?
The early days in Tasmania were of Peter Dawson, Ed Carr and Ray Guerin, roaming around Tasmania in the early 90’s, looking to buy land or purchase fruit for the then Hardy’s and now Bay of Fires/House of Arras. They were approaching farmers asking if they wanted to diversify into growing grapes, these growers were often sheep farmers, or dealt with a range of agricultural products. The cool climate and the notion of quality along with sustainability in the current environment is the attractive quality of Tasmania, and the way the regions wine industry is developing.
Would you like to see a sub-regional classification to highlight Tasmania’s diversity?
The thing that always fascinated me about Tasmania, is its always been considered one GI, one geographical indicator but I figure the distance between the Clare Valley down to McLaren Vale was the same distance is the Tamar Valley down to the Huon Valley in Tasmania. Throughout South Australia we had all this diversity and different GIs and it was similar in Tasmania from the north to the south to the east, incredibly diverse. Tasmania is so diverse and there is so much potential within these small subregions and so much potential across the whole island, there are so many nooks and crannies and little places to get lost in. On the other hand, I like the fact that it is one ‘GI’ and everybody keeps it very close to their heart.
Do you have a personal favourite out of your range?
I went on this roadshow with the wines, I asked everyone I met along the way which wine they preferred, it was really quite interesting from somms to newbies, to winemakers, to whoever was there, it was almost equally split between the four wines. Right now I like the blend because I have had more influence over its style and I’m a narcissist.
"Dr Edge was a nickname given to me by a few people early on at Petaluma in the late 1990’s"
Your label is a favourite of ours. Could you tell us about how it came about?
Dr Edge was a nickname given to me by a few people early on at Petaluma in the late 1990’s, Con Moshos claims it. It was just a nickname for me when I was a cellar hand. I have only ever been known as ‘Dredgy’, never as Peter. When it came around to my own label I had a few ideas for names. Dr Edge was the first nick-name I had in the industry. It is a bit like an alter-ego, almost seems like a different person making these wines after 20 years of following instructions or interpreting a client’s vision of style, but in this case, after all this time….. it’s actually me.
The artwork on the front is based purely on a music album cover. I would consider myself equally as passionate about music. Mostly based around soul, jazz, funk and hip-hop. An album I used to listen to at Petaluma was called ‘Headz,’ it was an experimental instrumental hip-hop album, had all these DJs and artists like The Beastie Boys, DJ Shadow, Nightmares on wax, Massive Attack.
The album had this beautiful and dark artwork cover, it was incredible and I just loved it so much, I used to sit there and daydream thinking if I ever had my own wine that was the label I wanted.
In 2012, I managed to track down the artist. It turned out to be one of the artists from the album. I found a piece similar to the one used on the cover, by the same artist and was available in an Art Gallery in Bristol. I paid a hell of a lot for the original piece and shipped it over to Tassie. I talked to the artist and the gallery and got permission to use the artwork on a label. So now I send a case to the artist in Bristol every year in exchange for being able to use his original artwork on the label, with permission to use some more pieces in the future.
We love your 2017 wines, as do our customers and we look forward to receiving our allocation of the 2018’s. How did you feel about the 2017 vintage? Could you tell us what to expect for the upcoming vintage?
2017 was one of the best harvests I have ever worked with. That and the 2002 Clare Valley Harvest, 2005 in the Mosel and 2012 in Tasmania. It started wet but finished dry with long hang time and was moderately cropped. One of those ‘effortless harvests,’ that we refer to as winemakers where there’s not a lot to do other than let the fruit shine.
2018 was almost as easy. A great vintage for all styles, from sparkling to some of the newly planted Syrah vineyards in Tasmania. It was a little warmer and a little earlier but with no extremes in weather making for an easy path to the winery. The 2018’s are mostly sold out in Australia on pre-order…
on the edge of perfection...
97 Points - James Halliday "MV6, 777 and 115 clones, 60% from the Derwent Valley, 30% East Coast and 10% Tamar Valley. The bouquet is multifaceted, with no single message from the single vineyard group, the palate moving onto another tier, but carries with it the higher-toned red fruits of clone 115 (compared to MV6 last year). It also achieves a lightness of touch without any sacrifice of line or length. This is the serious business of enjoyment, not the science of dissecting small pieces of a large puzzle."
Was £39.95 per bottle
Special Easter Price @ £37.50 per bottle
96+ Points - Gary Walsh (Wine Front) "It’s a Big Day in the North. Woah. Pow pow powerful, yet light too. Dark cherries, damp earth, spice, maybe some cheeky violet, but a brooding kind of ‘minerality’ throughout. Tannin is firm, a long emery rasp through the palate, pure acidity, perfume, earth and grip on a long finish. There’s some meatiness and smoky reductive stuff here, for sure, but the fruit and vineyard shines through. I’m all about this. Wonderful."
£39.95 per bottle
Special Easter Price @ £37.50 per bottle
Only 27 bottles available
96 Points - James Halliday "The Dr Edge Pinots are part of a voyage of discovery, so it is that the East, North and South are all clone 115 (the ‘16s were MV6), and all have identical vinification: half whole-bunch carbonic maceration, half whole berries, once wild fermentation begins, 80% of the bunches are destemmed on top with 20% remaining as whole bunches, matured in French barriques (10% new) for 9 months. Fragrant, with more red fruits, long and silky; reflects the clonal change, driven by the very cool vintage, the tannin sotto voce."
£39.95 per bottle
Special Easter Price @ £37.50 per bottle
Only 33 bottles available
95+ Points - Gary Walsh (Wine Front) "Fine perfume, pretty and floral, strawberries dusted with pepper and spice, smoky autumn leaves and walks in the park. It’s delicate, rose petals over strawberry, cool bell-clear acidity, a playful rasp of tannin, and a spicy strawberry finish of impeccable length. Lacy, delicate wine. Diaphanous and thoroughly charming. Oh yes."
£39.95 per bottle
Special Easter Price @ £37.50 per bottle
Only 30 bottles available
Muddy Water Pinot Noir 2016
96 Points - Magdalena Sienkiewicz "Quality-driven, the Muddy Water maxim is ‘hand-crafted…no compromise’ which is prominent across the range. Everything about their Estate Pinot Noir translates to great quality you often find at a higher price tier. Deep colour, fantastic aromas of ripe blackberries, morello cherry, kirsch and autumn leaves with lingering hints of nutmeg are indeed signs of no compromises here. The cascade of sweet fruit on the palate is followed by expansive, well-rounded textures evolving from the initial sweet fruit to a broad, savoury finish. Full malolactic fermentation gives it a beautifully soft and well-integrated acidity. The wine spent 16 months in barrel before racking, blending and bottling, which aids complexity. Bottled unfiltered in order to retain as much natural flavour as possible." Served in a Zalto Bugundy glass.
97 Points - Peter Robinson "Superb value, the nose is incredibly inviting with aromas of sweet black cherry, damson, red plum, and blackcurrant combined with hints of sweet spice, violet and some background agricultural earthiness. The aromas are extremely succulent, the Zalto Burgundy glass enticing everything out of this wine, concentrating the aromatic complexity into a harmonious whole. The overall balance and texture is quite magnificent, touches of the sweet spice continuing on the palate along with dried cranberry lead into a slightly savoury but almost endless finish. This wine seriously punches above its weight and is incredible for the price." Tasted 12th April 2019
£23.50 per bottle
Our shop and offices close at 5:00pm on Thursday 18th April
and re-open on Tuesday 23rd April at 8:30 am.
All orders received after 3pm on Thursday 18th will be shipped on
Tuesday 23rd April for delivery the following day.
Our next shop Open Saturday is 27th April.
"Mineral qualities can be extremely pleasant to experience in wine, adding lift, elegance and complexity. "
Mineral is a word often used to describe a wine but do many of us actually know what is meant by this? It is not easy to explain. Most often used to describe white wines that are usually dry, light and fresh with crisp acidity, the mineral flavours express themselves as chalk, wet stone, steel, slate or even a salty, saline quality. It is attributed to various soil types that have a particularly stony profile such as slate, flint or the famous limestone soils of Chablis and is most prominent in cooler climates. As to why this happens and what creates minerality remains under debate as the notion that a plant's roots can actually absorb the flavours of the stones and soils and transmit these flavours through the fruit seems somewhat unlikely. The minerals found in the soils are also detected in such low quantities in the final wine that they are very unlikely to affect the flavour.Many winemakers follow the unwavering belief that minerality is a product of the terroir and others believe that it happens in the winery and is a product of fermentation.
Aromas described as positive reduction are proving to be a bit of a wine trend in the new world’s cooler regions.
These aromas are often described as gun barrel or struck match and were of particular note at the New Zealand tasting we visited earlier in the year. The reductive aromas are certainly a product of the winemaking and not the terroir and are an intentional result of limiting oxygen contact throughout the winemaking process. If pushed too far the aromas can become unpleasant but when obtained through skilful winemaking can give the wine an extra dimension of minerality and further complexion, adding a distinct vegetal, agricultural quality that is a highly sought after trend of current new world winemaking.
These mineral qualities can be extremely pleasant to experience in wine, adding lift, elegance and complexity. The best wines with which to experience minerality are cooler climate whites, particularly Chardonnays and Sauvignon Blancs as the fruit profile is lighter and more orchard and citrus focused.
We have selected the very best wines that are rich in abundant minerality.
97 Points - Stuart McCloskey
“Reductive with aromas still very much in development. That said, this impeccably made wine is centred around textural elegance, satiny structure, mid-palate depth and an effortless sense of cohesion. Decanting for a short while is essential as the oxygenation takes it from the ordinary to immensely appealing. Layer upon layer of fruit and white flowers harmonises beautifully with oatmeal and a beautiful vein of minerality. This is more tensile, finer than many, which adds an intellectual quality found with high-quality Burgundy. This is a superb Chardonnay from one of New Zealand's leading producers. I recommend a drinking window from now to 2025 but would not be surprised to this peak beyond 10 years.. Sampled in Zalto Bordeaux glassware and comes highly recommended”.
£22.50 per bottle
97+ Points Stuart McCloskey
"My third bottle and my opinion has not changed. An ineffably complex bouquet which builds and builds with more aeration in the glass. Emphatically, mineral-dominated, which combine perfectly with Amalfi lemon peel and orchard fruits (quince). The palate is full of energy, exhilarating, tightly coiled and perfectly balanced. The wine is chiselled, builds slowly and would benefit from decanting. Richness does not come in the form of fruit. Instead, the wine's fullness comes in the form of texture (phenolic weight) which is undeniably attractive (a nod to the painstaking work carried out in the vineyard). Wet stones wash across my palate but it’s the salinity which I love and sets this New Zealand Chardonnay apart from all the others. There’s a killer line of acidity which will ease with more time in the bottle. Wonderfully alive, memorable and a breathtaking wine. Wow! Served in Zalto Bordeaux glassware." Drink now to 2026
£22.50 per bottle
Watershed Awakening Single Block
Halliday Wine Companion Awards
'The Best of the Best':
Varietal Winners - Best Chardonnay 2019
98 Points - James Halliday
Top 100 2017
"The soaring intensity and precision of the wine obliterates any comment about the oak. It is one of those uncommon chardonnays that demands you give it time, the more the merrier. Grapefruit is the masthead, but it gathers around it a suite of flavours that keep its energy and drive on track."
£33.95 per bottle
97 Points - James Halliday
'The wine lives up to its reputation as one of Australia's greatest chardonnays, and you wonder why it isn't more frequently mentioned in dispatches. The answer is at least partly due to the very small amounts judged by Petaluma to be up to the strict standards set. Grapefruit leads the superb flavours of the palate, white peach in close attendance. The acidity is precise, the oak merely a means to an end."
£24.95 per bottle
97+ Points - Jeb Dunnuck
"The 2015 Chardonnay Estate Vineyard is another steely, concentrated, almost austere wine from the estate that’s going to demand cellaring. Dried herbs, citrus, white flowers, and salty minerality give way to a medium to full-bodied, concentrated, backward Chardonnay that has awesome potential, yet needs another year of bottle age."
£67.50 per bottle
Paul Lato "East of Eden" Pisoni Chardonnay 2016
97+ Points - Jeb Dunnuck
Coming from a terrific site located at the southern end of the Santa Lucia Highlands, the 2016 Chardonnay East of Eden Pisoni Vineyard boasts phenomenal notes of ripe citrus and white peach fruits, white flowers, and freshly crushed rocks. It's clean, incredibly pure, and elegant on the palate, with a level of tension and vibrancy you don't find too often in the vintage. I followed this bottle for two days and it only improved with air. It's a brilliant Chardonnay from Lato that’s going to benefit from a year or two of bottle age and age gracefully for a decade or more. Don’t miss it!
£92.25 per bottle
Dog Point Section 94 Sauvignon Blanc 2015
One of the most complex and fascinating Sauvignons we’ve tasted that stands alone amongst the many tropical fruit style Sauvignon Blanc that Marlborough has become known for. Gun barrel and struck match combine with distinct vegetal aromas of asparagus and raw peas. This is a serious, grown-up Sauvignon that is a shining example of the reductive style of winemaking that many producers attempt but fail.
£21.00 per bottle
Château Blanc de
Doisy Daene 2015
90 Points - Neal Martin
The 2015 Blanc Sec from Doisy Daene has a crisp and vibrant bouquet with citrus fruit, yellow flowers and light granite-like aromas, all very focused and conveying a sense of energy. The palate is well balanced with a touch of rosewater on the entry, quite saline toward the finish with a touch of bitter lemon. This is such a fascinating dry white Sauternes—a superb wine.
£19.95 per bottle
Stolpman Vineyards L'Avion Roussanne 2015
97 Points - Stuart McCloskey
"The 2015 L’Avion (90% Roussanne 10% Chardonnay) is substantial, unctuous and as I have previously commented, I would love to place this alongside Château Beaucastel Roussanne Vieilles Vignes & Sine Qua Non in a blind tasting. Wine destined for L’Avion must go through three cuts. First, only the two older blocks of Roussanne are eligible for L’Avion followed by the best, evenly “Rousse” or sun-tanned clusters which are selected. Finally, only their favourite barrels for L’Avion make it to bottling on the label, which translates to a tiny production of a mere 500 cases. The result being a mesmerising kaleidoscope of honeysuckle, acacia flower, tangerine peel all supported by a fine thread of minerals and piquant acidity. It is simply amazing that a wine of this full-bodied richness can retain perfect definition and refinement. Needless to say, this is a stunning wine and a rare glimpse of something very, very special at this price level."
£44.50 per bottle
97 Points - Stuart McCloskey
“Unlike many Roussanne’s - The palate has a sense of natural balance and everything is played down, not a hair out of place. The palate is captivating with breathtaking purity and clarity. Structurally, think very expensive Burgundy. Buttered toast and lemon curd which I, quite frankly, find irresistible. The weight and quality of the fruit glides across the palate with much flair. The flavour profiles fan out gloriously towards a mineral-rich finish juxtaposed with candied lemon peel. Total inviting now but will undoubtedly be at its pinnacle in 3-5 years. Thrilling, individual and certainly one of my favourite Roussanne’s”.
£24.95 per bottle
House of Arras Grand Vintage 2008
Decanter World Wine Awards: Gold 2017
International Wine & Spirit Competition: Gold 2017
2017 Champagne & Sparkling Wine World Championships: Gold
2018 Royal Melbourne Wine Awards: Trophy Best Sparkling
2018 Sydney Royal Wine Show: Trophy Best Sparkling White
96 points & James Halliday's annual Top 100 wines 2018
17 Points - Julia Harding MW "Fine yeasty/biscuity nose but there’s also a mineral/stony character that comes through. Creamy texture, lemon cream and so much bight freshness with orange zest on the finish. Delicious: complex and still so fresh."
95 Points - Decanter "Nose with citrus fruits and light autolytic character. Refreshing and linear palate with a touch of lees adding savoury complexity. Incredible mousse structure and elegant finish."
The appearance is crystal clear with an ultrafine and persistent bead, medium straw with a golden lustre. The bouquet expresses an enticing aroma of grapefruit, jasmine flowers, sea brine and lychee. The palate has great elegance and poise with complex nuances of exotic spice, truffle, meringue and natural yoghurt. This is a dry style of sparkling wine, which exhibits intense flavour persistence and vibrancy across its seamless structure.
£28.50 per bottle
Our first Aussie 100 Point Wine
Dan Standish "The Schubert Theorem lies within a branch of mathematics known as 'knot theory'. It states that any knot can be uniquely decomposed as the connected sum of prime knots. Aptly named, this wine deconstructs the Schubert family vineyard into its distinct sections, taking the finest elements of each and re-assembling to connect and enhance their strengths."
100 Points - Stuart McCloskey “The colour is quite extraordinary – midnight black with a rim of dark beetroot. The nose is powerful, hedonistic and exotic with aromatic blueberry compote, crème de mure, black raspberry, liquorice and a lovely scent of wild flowers. With more time in the glass dark, roasted coffee, bitter chocolate and warm earth come into play. Given the colour and powerful aromatics, one would expect an explosive palate however, you would be wrong. The fruit is sweet, mouthcoating and thick but the sense of seamlessness and balance is staggering. Black and blue fruits dominate juxtaposed with perfectly framed tannins, which I have to say are softer than the Peruvian Vicuña. I keep coming back to the wine’s silkiness, balance and persistence – Truly remarkable for a wine of such an age. Yes, the wine poses extraordinary density, but Dan’s deft touch is truly breathtaking. The detail in this wine is fascinating and the length is simply off the charts. This is a wine of serious pedigree and one of the greatest, young wines I have ever tasted from Australia (and I have sampled many thousands). The true essence of great Australian Shiraz and my first Aussie 100 pointer. Decant for 4-6 hours and please use Zalto’s Bordeaux glass. Drinking from 2019 to 2040”.
£64.95 per bottle
23 Hours left @ £57.50 per bottle
Pre-Arrival Offer: New 2017 Release
from the Brilliant Dan Standish
Vinorium customers can benefit from a ‘special pre-arrival’ offer on Dan's superb 2017's @ £275.00 IB per case of 6x75cl.
The offer is valid until 9:00am Monday 22 April when the price will revert to £311.50 IB per case
A Supper & Tutored Tasting
We will be hosting Julian and his wife (co-winemaker), Alana during September. Julian (with his Deep Woods hat on) has won just about everything there is to win in Australian wine, from James Halliday’s Winemaker of the Year for the 2019 and the prodigious 2016 Jimmy Watson Memorial Trophy at Royal Melbourne. Most recently Julian’s Deep Woods Reserve Chardonnay has been awarded 98 points by Decanter and his Reserve Cabernet Sauvignon 99 points from James Halliday.
We focus on their exciting ‘solo’ project Nocturne, which we believe will soon become the ‘hottest’ wines to come out of Margaret River.
We are hosting two masterclasses
which Julian & Alana will be leading.
Julian & Alana will be presenting their new releases (an exclusive world unveiling) along with a mini-vertical of Nocturne Chardonnay & Cabernet Sauvignon from the past 3 releases.
Rub shoulders with some of
the UK’s ‘top’ Wine Press
• Tuesday 10th September
• 11:00am to 2:00pm
• Venue: 67 Pall Mall, London
29 Tickets available @ £25.00 each
A Special, 3 Course Dinner &
Tutored Tasting with Julian, Alana & Stu
• Friday 13th September
• 6:00pm start with a finish
around 10:30 / 11:00pm
• Venue: The Marlborough Room,
67 Pall Mall, London
Only 1 ticket available @ £100