MARIANI’S

Virtual Gourmet


  
May  26,   2024                                                                                                            NEWSLETTER

 

 


Founded in 1996 

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Richard K. Jones of California Feeds Japanese children on Okinawa 1945

MEMORIAL DAY

        

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THIS WEEK
MASTER CHEFS:
THE MICHAEL LOMONACO INTERVIEW


By John Mariani

NEW YORK CORNER
BAR BOULUD

By John Mariani


THE MAGDALENE LAUNDRIES
CHAPTER TWENTY-ONE

By John Mariani

NOTES FROM THE WINE CELLAR
QUERCIABELLA OF TUSCANY

By John Mariani



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MASTER CHEFS:
THE MICHAEL LOMONACO INTERVIEW


By John Mariani

 

      On the morning of 9/11 Michael Lomonaco, on his way to the restaurant Windows on the World (below) at the top of the World Trade Center, stopped for a moment to have his eyeglasses fixed. At that moment the first plane hit the north tower.
         Lomonaco escaped but none of his colleagues on the 106th and 107th floors did, and it haunted Lomonaco for well over a year. Yet, he sprang back, opening the grand steakhouse named Porter House Bar and Grill at Columbus Circle (on the fourth floor) overlooking Central Park, which has survived economic downturns and the pandemic to regain and then to surpass its former success.
         Brooklyn-born Lomonaco, 69, had once worked as an actor (he does look a lot like Mark Ruffalo), but he drifted into cooking and worked at some of New York’s finest restaurants, including Le Cirque and ‘21’ Club, before being appointed executive chef/director of Windows on the World in 1997. After September 11, he co-founded the Windows of Hope Family Relief Fund to generate support for the families of all restaurant and food service workers lost in the attacks.
     
With all the peaks and valleys in the restaurant business, problems of hiring good staff, inflation and reduction of expense accounts, Lomonaco has more than most over the last five decades seen it all and never lost faith in the restaurant business or New York City, where I interviewed him recently.



You’ve been through downturns in the economy, the .com crash, the destruction of the WTC and Covid. Did you ever think the restaurant business just could not be sustained?        

The restaurant business has always been  challenging,  and every generation has seen its particular crisis that seems to spell doom. But the resilience of restaurants is part of its very DNA—flexibility, originality, inventive solutions, being able to differentiate your operation—have all been part of the magic of this business and that’s what creates the re-invention of dining. Responding to the needs and desires of the customer is one of the most important skills the modern restaurant operator can have and hone and sharpen.


How is NYC different from any other U.S. city in the restaurant sector?

NYC has been built and created by immigrants from all over the world, which truly creates the most delicious melting pot culture in the world. The density of our population, the closeness to our neighbors whom we live with every day exposes us to so many different cultures and cuisines that our natural curiosity becomes a well-used muscle. The odds are that restaurant owners will find an audience for their cuisine in this tightly packed city full of hungry curiosity seekers. We have the chance to explore the world's cuisines from every corner of the world on every street in this city. This vibrant and exciting world of food acts as an inspiration to the chefs of this city. Most chefs I know are constantly finding ideas and ingredients to incorporate into their own cooking and their kitchens, and the people we work with, our cooks and server teams, also bring us ideas and collaboration. all of which makes for a delicious city to live and work in .


How important are the business expense accounts to your restaurant?

Business dining and entertaining is an important metric to the restaurant, both in the dining room and the private dining room. However, most of our diners are not on expense accounts and are here for a fun and delicious NY steakhouse experience, with conviviality and camaraderie. Porter House (right) borders the Upper West Side and Central Park, with easy access to the Upper East Side, many hotels nearby and subway access is readily available.  We are a destination restaurant with theaters and museums easily accessible as well. The expense account is alive and well wherever you dine in NYC, with so many dining options.   


One hears all the time about cutback in expense accounts. Do you feel that?   

The great ‘cutback’—yes we have heard—more of that cutback since the return to work after the pandemic, but to say that the phenomenon is overstated is an understatement. While people have been getting back to the office at a slower pace than expected the business diner is still entertaining clients, but perhaps less frequently.


How did you handle the post-Covid comeback?

We were closed for most of the period from March 2020 until May 2021. It was horrendous to lay off all our workers without knowing when we would reopen. But when we were ready to open again we reached out to our staff and 75% returned to work. We have many back-of-the-house and front-of-the house staffers who’ve been with us since we opened 17 years ago, many who’ve worked with us for five, ten years. It was heartbreaking to let everyone go and it was exhilarating to welcome them back to work. Our regular guests, many who’ve also been dining with us for years, welcomed us all back with warmth and graciousness  


Isn’t NYC’s steakhouse segment way oversaturated?

The NYC Steakhouse is one of the truly original New York dining experiences. The city was built on and in steakhouses or the variation of the steakhouse in fashion in those bygone days. Today we continue to see steakhouses as one of the most popular dining venues that offer the familiarity and friendly welcome that sets the diner at ease. The great ones add to the fireside myth of the city, so not so good ones don’t last. The more the merrier, as new ideas populate the steakhouse scene we all grow stronger and better.     


Yet it seems that almost every steakhouse in NYC is packed every night, even with very high prices.  How is that possible ?

The steakhouse pleases people in so many different ways, even as hot new restaurants open and trendy dining styles proliferate, the steakhouse model reaches the diner in a human and visceral way and the guest responds. Great Prime  steaks, martinis, wines, friendly and professional service. There is a genuine audience for the steakhouse and new ones are coming from chefs and restaurateurs even as we speak today. 


What distinguishes Porter House Bar and  Grill from other NYC steakhouses?

Our mission remains the same since we opened. Porter House Bar and Grill has been serving the highest grade and quality dry-aged Prime beef for 17 years, with warm and inviting hospitality and service more in line with fine dining than rustic steakhouse setting. Our focus has been on modern American cooking, and we have continued to be a  popular American Grill with a wide array of dishes. The menu is broad enough to please many different tastes. Our guests recognize that our menu and variety of food available, prepared by a team of chefs with the skill to offer a luxurious dining experience, is where our hospitality style exceeds expectations of a steakhouse. 


What distinguishes the single ownership steakhouse from the numerous chains?

There is no substitute for the personal touch of the owner on the premises. The guest values being recognized and their needs attended to in a personal and professional way. Purchasing Prime beef and dry-aged beef requires a solid connection to the source of the beef and ensuring the supply is not interrupted. The daily oversight and continuity of single ownership has intangible value to all the relationships that can make a restaurant successful. 

Why have you not branched out to Miami, Vegas, Japan, etc.?

My partners and I agree that the one-off and singular restaurant experience serves the guest best of all. Expansion was never the intention but creating one successful dining experience would be a triumph, and I agree. 


The supply of USDA Prime beef was once very limited.  Now it seems limitless. How is this possible?

Prime beef is still in tight supply, given the demand of restaurants and home cooks are making on the supply chain. Beef cattle producers have made a small increase in the Prime beef sector to meet demand. And it’s important to remember that the grading of beef has a range of scoring that yields both low- and high-scored Prime beef. The more desirable higher scored beef (only seen on the wholesale markets) is still in short supply.

Even more so, wagyu/Kobe, once only available in minuscule amounts, is now ubiquitous. And much of it is said to come from A5 Prefectures. How is that possible?

You’re so right—this delicious A5 Wagyu is much more widely available now and it seems to be plentiful as well. Bear in mind there is an additional scoring system for the amount of marble from 3-12 BMS—Not all A5 Wagyu is also a grade 12—the market has is selling us A5—but the higher BMS wagyu is still hard to find.


How is your bar and wine service doing vs the food?

Wine and beverage sales are consistently solid and in line with what we expect in a sales ratio of food to beverage sales. Fine dining restaurants like Porter House expect food to beverage to be in the range of 65% sales to 35% beverage sales. This is in keeping with the guest desires in a food and beverage experience. 

Are you worried that food/labor/lease costs will at some point be the straw that breaks the camel’s back?

The basic problems of controlling costs as you laid out have never really changed from time immemorial. We have a great relationship with our landlord. They understand the economics of the business and we bring the highest quality experience to the building where we are located. Managing the day-to-day costs of operation is one of the most constant and consistent job requirements.  Maintaining our high standards of excellence, delivering that high quality to our diners every day, is the best way to ensure our continued success. Something we never take for granted is the patronage of our guests.  







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NEW YORK CORNER


BAR BOULUD
1900 Broadway
212-595-0303


By John Mariani





 

         When Daniel Boulud opened Bar Boulud in 2008 it was unique—and still is—for putting the emphasis on an array of charcuterie unlike at any other restaurant, where you might get a plate of pâté or slices of sausage as a preamble to the main courses. At Bar Boulud the options are far more varied and seasonal and could serve as an  entire meal at lunch or dinner.
         Charcuterie in France depends largely on pork, and every small town has a charcuterie shop, a large town many, each with their regional specialties. The hams and stuffed pig’s trotter are famous in Ardennes, just as Brittany is for its pâtés, rillettes, andouille de Guèrmené, Solgne for potted game and Périgord for its foie gras. Boulud’s own town, Lyon, is well known for its  jambonneau, tȇte de cochon rolled with pistachios and a large sausage called “Jesus.”  
       
Daniel Guzman (left), who started, as many in the industry, as a dishwasher, attended culinary school in Philadelphia and eventually became sous-chef at Boulud’s flagship Restaurant Daniel, is now executive chef at Bar Boulud. 
        
You can order a small board of charcuterie for $32 or a large one for $54, which will include items like pâté de campagne, pâté en croûte, tangy jambon persillé, terrine of venison, velvety chicken liver mousse, saucisson sec,  jambon de Paris and creamy foie gras torchon (also offered à la carte from $15-$24). All come with gherkins, mustard and toasted sourdough. All the charcuterie is made specially for Boulud’s restaurants by Arthur Dehaine.
         The menu also has an appetizer section ranging from a Mediterranean  mezze of spicy Moroccan hummus, babaganoush and taramosalata ($20) and excellent octopus with tri-color beans and a sunflower seed parsley pesto ($21). BB being French, there are, of course, snails in parsley butter ($19).
         The French onion soup ($18) is so rich with sweet onions and melted cheese, it, too, could make a fine lunch with a glass of red wine. The Alsatian flatbread flambé with bacon, cheese and onion ($19) was indeed flat in thickness but also in flavor.
         Among the main courses I most applaud are the juicy black sea bass with morels, leeks and sauce Bercy ($34), and the seared scallops with Adirondack potatoes, chorizo and sauce Maltaise ($29 or $40) were as sweet as any I’ve had this year and perfectly, lightly cooked. Red wine is the base for coq au vin ($34), which is heartier than one made with white wine, slowly braised with bacon lardons, mushrooms and pearl onions that suffuse the bird (right) . It’s also a very good price for a dish like this. Pommes frites, as you’d expect, were  perfected here long ago ($12). Now that it’s warm weather, cassoulet is not on the menu but it’s won awards for the best in New York. You’ll have to wait for fall.
         There is a cheese course offered (three for $18, five for $17), and seven desserts, prepared by Courtney Bratton, who first joined Boulud’s Dinex Group in Palm Beach, and now does pastries for both Bar Boulud and Boulud Sud (his Mediterranean restaurant right next door).
         Her desserts are classics, including the buttery gâteau Basque with almonds, kirshwasser custard and crème anglaise ($15), a kind of French devil’s food cake called gâteau aux mures with blackberry mousse and red wine Chantilly cream ($16) and cheese cake diplomate with raspberry-strawberry compote and strawberry hibiscus sorbet ($16).
         The design of the restaurant, across from Lincoln Center, is a long arched room with booths to one side, a bar and eating counter to the other and a good-looking outdoor shed now in full swing. Because of the shape of the ceiling, sound bounces around and it can get loud, but after nine o’clock it’s much less so and the outdoor tables are quite comfortable for conversation.
      Restaurants like Bar Boulud abound in France, but we in New York are lucky to have this friendly reminder of what French bonhomie means when you sit down to eat—a place as lively and congenial as it is unusually delicious. And now, with spring turning to summer, to dine there outside, looking over at the lights of Lincoln Center, it has the feel of a good bistro on Paris’s Place de l’Opéra.

 



Open for lunch Mon.-Fri., dinner nightly, brunch Sat. & Sun.








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THE MAGDALENE LAUNDRIES
By  John Mariani





CHAPTER TWENTY-ONE


 

      Katie’s contact, Sara Garrison, was apparently one of those “good people” Max Finger said had been researching the Magdalene Laundries on her own, and she came highly recommended by Katie’s Fordham professor.  
        
They met at Trinity College in the Old Library’s Long Room, which housed more than 200,000 of the library’s oldest books. The Room’s vast gallery bookcases rose to a double-vaulted ceiling, and the smell of the leather-bound books, many of them peeling, was intensely pleasing to Katie. Busts of great philosophers and writers were arrayed throughout.
         Katie waited a few minutes at the gallery where Sara Garrison told her to meet, under a bust of Jonathan Swift, who had received his Doctor of Divinity at the school. His cold marble stare seemed to regard all around him with skepticism or perhaps disdain, and Katie turned away from his gaze.
         A few minutes more passed, then a large figure came walking in a rolling gait towards Katie. Sara Garrison introduced herself and plopped a stack of folders on the desk. She appeared to be about fifty, tall and rotund, with a double chin that took up her entire neck. Tortoise shell glasses were perched in her graying hair, which matched the color of her eyes.
         “So, I assume we can use first names, Katie,” said the woman in a low library voice. “I’d have met you for lunch or tea, but it’s better where we’re not likely to be interrupted. Damn few students even come in here.”
         Garrison removed her bulky brown overcoat to reveal an ivory-colored Irish knit sweater over sweat pants.
         “So you want to know all about the Magdalene Laundries for a . . . newspaper article?”
         Katie sensed the condescension and replied, “For a magazine, McClure’s, which specializes in investigative articles.”
         “I don’t know it, don’t read magazines much. But you come highly recommended by Ray Porter. One of the better Jebbies I’ve ever met. Are you here to do a story on the Laundries or the murders? I can’t help you with the latter.”
         “At first the story was going to be about the Laundries,” said Katie, “what happened there, what’s happened since, and then the murders started occurring. I’m here with an ex-police detective who’s helping with my research.”
         “How long have you got to do the story?”
         “It’s open for the time being. The more I find out, the longer my editor will give me.”
         “And they didn’t think to send an Irish-American reporter? Or one based here?”
         Katie was not about to begin listing her journalistic achievements, so she said only, “I like to think my editor believes I’ll do the best job.”
         “Fair enough. Where would you like to begin?”
         Katie ran through, as quickly as possible, what she knew of the Laundries’ history and what she knew of the burials of the bodies.  She also mentioned her contact with Richard Sipe, which caused Sara Garrison to push back in her chair.
         “You’ve spoken to Sipe?”
         Katie wasn’t sure how Garrison meant the question.
         “Yes, I flew out to California to see him.”
         “How is Richard?” said Garrison, seeming to soften.
         “He’s pretty well, still researching and writing.”
         “Richard’s a remarkable man. He has spent his life diggin’ into the darkest corners of human depravity, yet he somehow manages to keep a Christian view of the sinners. I’m afraid I’m not capable of that. Knowin’ what I know, seein’ what I’ve seen, I have nothin’ but bitter hatred for these monsters, both the nuns and the priests. I’d like to see every one of them buried alive.  It’s one thing for them to violate children but to do it through coercion, saying God approves, is unforgivable. Yet the Church always forgives, doesn’t it? Trouble is, so do the fuckin’ Irish police.”
         Katie nodded and said, “That’s pretty much the case in New York and a lot of other places from what I’m told.  I got on this story because of a priest in the Philippines who couldn’t stomach what he saw was going on over there.”
         “Well, I’m hopin’ these murders will jog the Dublin police out of their complacency.  They may actually have to look for the murderers or at least put up a good show.”
         “You mind if I record our conversation?”
         “Go right ahead.”
         “So, without getting into too much history, can you tell me how the Sisters of Charity became involved with the Magdalene Laundries?”
         Sara Garrison said, “I’ve brought you a lot of files about the history, so I’ll just tell you the general outline of what occurred. As you know the Sisters of Charity began in France, specifically to care for, or deal with, prostitutes.”
         “And what duties did they actually perform?” asked Katie.
         “Primarily they worked with what they called ‘women in need,’  counseling troubled teenage girls, day care for children, rehabilitation and nursin' care for the ill and elderly. They also taught in parish schools.
         “As with so many good intentions many of the sisters did fine, devoted work. They didn’t just stay in their locked cloisters and pray their bloody heads off. They were out in the streets and the hospitals and nurseries. The homeless boys went off to the workhouses, like Oliver Twist. But as cities grew, the Church realized they could put these girls and young women to work, doin' laundry for the parishes. They were useful to the Church, free labor, slaves through and through, with no means of escape.
         “For the families with a pregnant daughter, or a girl other people said was a slut, the idea that their daughters would be cared for by the good sisters was appealin’. Get them to do some good hard work.  And if a baby came, the Church could deal with that, too.”
         “You mean put them up for adoption.”
         “As much as possible. Y’know, the Irish have big families and few are happy to have another mouth to feed.”
         “So, you believe some of those babies were murdered?”
         “No question about it.  Sent to heaven early, out of this vale of tears! Of course, the mothers had no choice about it. The babies were taken away as soon as the girls entered the Laundries. Never saw their child again.”
         “Did this happen from the beginning?”
         “The bodies they turned up at Drumcundra, some of them went back a hundred years or more.”
         “So the Laundries were always brutal places for these women?”
         “I’m sure they were never pleasant. Those poor girls weren’t treated like debutantes. Only if the parents demanded their release did they have a chance. Women without any relatives might live their whole lives inside.”
         Katie was feeling herself becoming more and more emotionally involved in the story, her journalistic impartiality sinking away.
         “So, they didn’t start to close the Laundries till well after World War II?” she asked. “Father Porter said that automatic washing machines were one cause of putting them out of business.”
         “I’ve heard that and wouldn’t that be the bitterest of ironies? But their days were numbered anyhow. The time when the Church could keep those places secret was endin’ as Ireland became more progressive after Vatican II.”
         “Didn’t everybody know what was going on?”
         Garrison shook her head, “Sadly, no. I never heard of the Laundries while I was growin’ up. They were just not spoken about, like madhouses. Very few people have any idea what goes on in asylums and don’t want to know. But then the times caught up with the good sisters, and they started to close down the Laundries. There were two here in Dublin.”
         “I visited one of them, the one on Seán MacDermott Street, yesterday with my friend. Pretty grim place.”
         “Ah, there’s nothin’ left to see from the outside. The sisters abandoned it, left everythin’ inside the way it was, and have been tryin’ to sell off the property without luck. After people found out about the Laundries, they began to say the place was haunted.”
         “Was there a reason they put one of the Laundries in that location?”
         “Oh, a very good reason indeed,” said Garrison. “It was once the biggest red light district in Europe.”

 

 



©
John Mariani, 2018



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NOTES FROM THE WINE CELLAR



QUERCIABELLA OF TUSCANY
By John Mariani





 

      In 1974 industrial entrepreneur Giuseppe (Pepito) Castiglioni acquired a small estate in Ruffoli, Chianti. His vision was to upgrade the common image and reputation of Chianti wines and especially the Sangiovese varietal that was just then beginning to be recognized for its potential. Named Querciabella, his estate embraced organic farming in 1988—one of the first in Italy—opting for a 100% plant-based approach to biodynamics as of 2000.
         Today Querciabella’s wines include a Gran Selezione, a unique white wine called Batàr, and Camartina, a Super Tuscan created in 1981 from a blend of Cabernet Sauvignon and Sangiovese.
         Upon Castilgioni’s death in 2003, his son, Sebastiano Cossia Castiglioni, took over, and in 2010, he made a groundbreaking decision to transition all operations to plant-based as part of the winery’s core values of integrity and accountability. Today he is assisted by his sister Mita.  Querciabella’s cellarmaster and winemaker, South Africa-born Manfred Ing  (below), has been at the winery for fourteen years, whom I interviewed when he came to visit New York.

Querciabella is celebrating 50 years in business, which is not a particularly long time in Tuscan viniculture. Giuseppe Castiglioni was an industrial entrepreneur. What did he want to do in tradition-bound Chianti that he saw as innovative?

Giuseppe Castiglioni's vision for oenological excellence at Querciabella perfectly aligned with the changing dynamics of Chianti during the 1970s. At that time, Chianti was undergoing a significant transformation, transitioning from a region primarily known for mass-produced wines to one focused on quality and innovation. Castiglioni recognized this shift and seized the opportunity to pioneer new approaches to winemaking. By embracing innovative practices, such as planting international grape varieties alongside Sangiovese and incorporating French oak barrels for aging, Castiglioni aimed to elevate the quality and reputation of our wines. This forward-thinking approach not only contributed to the birth of Camartina and Batàr, two of our most iconic wines to date, but also solidified Querciabella's position as a leader in the region.

When Q began in 1974, was there much prime vineyard land to be purchased?

In 1974, when Querciabella embarked on its journey, the vineyard landscape in Tuscany, including Chianti, differed significantly from today. While the region boasted a rich viticultural history, the concept of prime vineyard land wasn't as clear-cut as it is now. The decline of the centuries-old mezzadria system [sharecropping whereby farmers worked for a proprietor and kept a proportion of grapes for themselves], coupled with rural depopulation due to industrialization, shaped the rural landscape, leading to the abandonment of vineyards and traditional agricultural activities. This shift created opportunities for individuals and organizations interested in revitalizing viticulture as untended vineyard land became available for purchase or lease, marking a transformative period in the region's agricultural practices.

This was a time when Brunello di Montalcino threw a new light on Tuscan winemaking. Was that to the detriment of Chianti’s image, which included the straw-covered bottles?

The rise of Brunello di Montalcino showcased the remarkable potential of Sangiovese to produce exceptional wines with great aging capabilities, marking a significant milestone in Tuscan winemaking. This newfound recognition not only elevated the status of Sangiovese but also broadened the market for high-end Tuscan reds, opening doors for producers across the region to showcase their premium offerings. While initially setting a high bar, Brunello's success spurred a renaissance in Chianti and beyond, inspiring producers to explore innovative approaches and push boundaries in pursuit of excellence. Alongside the emergence of Super Tuscans, the rise of Brunello di Montalcino played a pivotal role in reshaping the perception of Tuscan wines on the global stage. This dual showcase of excellence propelled Tuscany to the forefront of the international wine scene and solidified its reputation as a premier wine-producing region.

How did Chianti Classico have to change, even though the Italian wine regulations insisted on specific grapes and techniques?

Over the past fifty years, the Consorzio Chianti Classico has demonstrated remarkable proactivity. With the separation from Chianti and the attainment of DOCG status, the Consorzio Chianti Classico embarked on a transformative journey to elevate the region's reputation and wine quality. This pivotal moment in 1996 marked a turning point, granting Chianti Classico independent recognition for its exceptional wines and unique terroir. Subsequent initiatives, including the Chianti Classico 2000 project—a study of agronomic techniques and plant material aimed at obtaining new and valuable insights for the replanting of vineyards—regulatory reforms to introduce the Gran Selezione category, and later on, the UGA classification system, further bolstered the region's standing by ensuring strict adherence to quality standards and promoting the diversity of Chianti Classico's terroirs. These efforts, coupled with investment in research, educational outreach, and strategic marketing, have solidified Chianti Classico's position as a premier wine-producing area, renowned for its heritage, authenticity, and commitment to excellence


How did Chianti Classico achieve the DOCG appellation?

In 1984, Chianti Classico was granted the prestigious DOCG status, which is the highest designation for Italian wines. This recognition symbolized a significant milestone in the region's winemaking history, affirming its exceptional quality and adherence to strict production standards. Unlike wines with DOC status, which have less stringent guidelines, DOCG wines are subject to rigorous criteria that govern grape composition, viticultural practices, aging requirements, and more. These regulations also include stricter limits on harvest yields, and, currently, Chianti Classico has the lowest yield of all Italian DOCG. Additionally, all DOCG wines are distinguished by a numbered government seal around the bottle's neck, serving as a guarantee of authenticity. To ensure quality, all DOCG wines must undergo mandatory technical analysis and tasting by a government committee for approval. However, it was not until 1996 that Chianti Classico was separated from Chianti, further solidifying its unique identity and status as a premier wine-producing region.


The name “Super Tuscan” is in no way official, and anyone who wants to claim to be one can. Do you think that Querciabella’s inclusion among the Super Tuscans is beneficial or does it make Querciabella sound less individualistic?

Querciabella's inclusion among the Super Tuscan producers remains highly significant. Despite the lack of official recognition for the term "Super Tuscan," our association with this esteemed category emphasizes our reputation for innovation, quality, and departure from tradition. Notably, Querciabella is among the founding members of the Historical Super Tuscan Committee, alongside renowned labels like Camartina, Vigorello, Tignanello, and Pergole Torte. This prestigious affiliation highlights our exceptional quality and unique characteristics, ensuring that our wines stand out amidst others in the Tuscan wine landscape. Rather than diminishing Querciabella's individuality, our inclusion among the Super Tuscans reinforces our distinct identity and legacy within the wine world.

 

Tell me about why and how Q went vegan in its use of fertilizers, etc.

We have been certified organic since 2000, so we have not used fertilizers or systemic chemicals for over a decade. In 2010, we shifted towards a plant-based approach, building on our experience. It is a natural progression towards improved sustainability and environmental stewardship. The decision was not limited to eliminating certain products from the vineyard and cellar but also reflects our philosophy of respecting the vine's natural rhythms, promoting biodiversity, and nurturing healthy soil.

Querciabella’s website lists a very large number of personnel, from the President and CEO and Winemaker to the Director of Vineyard Operations, Cellar and Logistics Director, Winemaking Consultant, Agronomist and several more. How do you all interact, especially since you are the winemaker? 

Collaboration is central to Querciabella's ethos. As the winemaker, I work closely with my colleagues to seamlessly integrate all aspects of our operations, from vineyard management to cellar practices and strategic planning. Our teamwork, supported by regular meetings and open communication, drives us toward our common objectives. The majority of our team members have longstanding tenures at Querciabella, further enhancing our synergy and effectiveness. 

Tell me about your white wine Batàr, made from Chardonnay and Pinot Bianco, which is very unusual for Tuscany. 

Indeed, Batàr holds an iconic status within Querciabella's portfolio. Its unique blend of Chardonnay and Pinot Bianco, diverging from traditional Tuscan varietals, sets it apart. The name "Batàr" [“bâtard” in French means ‘bastard”], inspired by the Grand Crus of Burgundy, adds an aura of myth and mystery to the wine. Was it a cheeky nod to Castiglioni’s beloved French wines or a brilliant commercial intuition to craft something distinctive? At a time when Tuscany was primarily associated with reds, Batàr emerged as a trailblazer deserving a spot on the most prestigious wine lists and cellars around the globe. It soon became a sensation in the wine world for its unrivaled textural complexity and longevity. It was once famously described as a “Dream of a white” and often praised by those in the know, who see it as elevating the region's white wine landscape, akin to how Sassicaia elevated red Tuscan wines, drawing comparisons to some of the world's greatest wines.

Your Chianti Classicos are all made with 100% Sangiovese, including Gran Selezione. What are the distinctions? 

They are all qualitative decisions that start during the growing season, continuing through harvest and then maturation. We identify the top parcels of fruit and then follow them closely to bring out the best expressions of the Sangiovese. Our Chianti Classico Annata is a blend of Sangiovese from all our estate vineyards spread across the villages of Greve, Radda and Lamole. Our Riserva is a much smaller blend selected from the absolute best parcels from the different villages with annual production representing less than 10% of the Annata. Our current Gran Selezione is only from our high-altitude vineyards (500+ meters) from the village of Greve in Chianti, with less than 4,000 bottles produced.

Camartina, with an IGT appellation, is a Super Tuscan style made with Cabernet Sauvignon and Sangiovese. What makes that combination special?

You have the best of both worlds with the blend of 70% Cabernet Sauvignon and 30% Sangiovese. The Sangiovese is the life and vibrancy laying the acid backbone of the wine, whereas the Cabernet Sauvignon builds in structure and fruit concentration. Considering the CS is grown at 400-450 meters, it leans towards elegance and finesse, which pairs beautifully with our gorgeous Sangiovese.

You also make a 100% Merlot, Palafreno, which is most unusual in Tuscany, and Turpino from Cabernet Franc, Syrah and Merlot. Have these varietals proven themselves well adapted to Tuscan terroir?

Yes and no. The Merlot for Palafreno, coming from our Chianti Classico estate, thrives in the unique terroir and climatic conditions of the higher altitude, benefiting from diurnal temperature variations during the harvest. Meanwhile, our Cabernet Franc and Syrah, cultivated in the southern Tuscan region of Maremma, flourish in the warmer coastal environment. However, with Merlot being the earliest ripening red grape harvested in the warmest part of the season, achieving perfection becomes increasingly challenging. This challenge is why we don't bottle our Turpino every year. 

How do your wines from the Maremma differ? 

As winemakers, our main goal is to showcase the finest expressions of the fruits we use, highlighting their unique characteristics and sense of place. Therefore, our wines from the Maremma, which is a warmer region compared to Chiantishire, tend to have a more substantial structure and fruit concentration. However, they always maintain the Querciabella signature of energy and liveliness that makes them excellent wines to pair with a wide range of food styles. 

Are you concerned about how global warming will affect the alcohol levels in your wines? What can you do to prevent it? 

Absolutely. The challenges from the extremities of the seasons are forcing many growers to extend the hang time of their fruit to achieve the desired tannin levels. However, this can lead to higher sugar and alcohol levels in the grapes, which is not desirable. To tackle this issue, we have started planting and experimenting with different grape cultivars in the Maremma region. We are having great success with some Rhone varieties, planted in our vineyards about 4 km from the Mediterranean Sea. These varieties allow us to maintain the elegance and drinkability of our wines, regardless of the grape growing conditions.

You have worked in vineyards all over the world. Why did you decide to settle in Tuscany with Q and what does your experience in New Zealand, South Africa, France, California and elsewhere bring to Tuscany?

Right place, right time. I was searching for opportunities to settle back in this part of the world when Querciabella was also looking to improve their game with regard to their micro-vinifications and single vineyard/village wines. With my experience of working with some of the best estates in Napa, Stellenbosch, Central Otago and Barolo, and my knowledge of working with "international" grape varieties and single Cru site-specific winemaking, I was able to contribute to the development of quality and a sense of place in our wines





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PC GONE WILD!
When Claire Ozanne, provost of the University of London’s School of Oriental and African Studies, found herself in the company of a Japanese professor, she began to talk about sushi. Ozanne told Professor Nana Sato-Rossberg that she lived close to a sushi restaurant and her family enjoyed eating there. She ended up in a tribunal hearing, which alleged racism. She was exonerated.










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 Any of John Mariani's books below may be ordered from amazon.com.



   The Hound in Heaven (21st Century Lion Books) is a  novella, and for anyone who loves dogs, Christmas, romance, inspiration, even the supernatural, I hope you'll find this to be a treasured  favorite. The  story concerns how, after a New England teacher, his wife and their two daughters adopt a stray puppy found in their barn in northern Maine, their lives seem full of promise. But when tragedy strikes, their wonderful dog Lazarus and the spirit of Christmas are the only things that may bring his master back from the edge of despair. 

WATCH THE VIDEO!

“What a huge surprise turn this story took! I was completely stunned! I truly enjoyed this book and its message.” – Actress Ali MacGraw

“He had me at Page One. The amount of heart, human insight, soul searching, and deft literary strength that John Mariani pours into this airtight novella is vertigo-inducing. Perhaps ‘wow’ would be the best comment.” – James Dalessandro, author of Bohemian Heart and 1906.


“John Mariani’s Hound in Heaven starts with a well-painted portrayal of an American family, along with the requisite dog. A surprise event flips the action of the novel and captures us for a voyage leading to a hopeful and heart-warming message. A page turning, one sitting read, it’s the perfect antidote for the winter and promotion of holiday celebration.” – Ann Pearlman, author of The Christmas Cookie Club and A Gift for my Sister.

“John Mariani’s concise, achingly beautiful novella pulls a literary rabbit out of a hat – a mash-up of the cosmic and the intimate, the tragic and the heart-warming – a Christmas tale for all ages, and all faiths. Read it to your children, read it to yourself… but read it. Early and often. Highly recommended.” – Jay Bonansinga, New York Times bestselling author of Pinkerton’s War, The Sinking of The Eastland, and The Walking Dead: The Road To Woodbury.

“Amazing things happen when you open your heart to an animal. The Hound in Heaven delivers a powerful story of healing that is forged in the spiritual relationship between a man and his best friend. The book brings a message of hope that can enrich our images of family, love, and loss.” – Dr. Barbara Royal, author of The Royal Treatment.




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The Encyclopedia of American Food and Drink by John F. Mariani (Bloomsbury USA, $35)

Modesty forbids me to praise my own new book, but let me proudly say that it is an extensive revision of the 4th edition that appeared more than a decade ago, before locavores, molecular cuisine, modernist cuisine, the Food Network and so much more, now included. Word origins have been completely updated, as have per capita consumption and production stats. Most important, for the first time since publication in the 1980s, the book includes more than 100 biographies of Americans who have changed the way we cook, eat and drink -- from Fannie Farmer and Julia Child to Robert Mondavi and Thomas Keller.


"This book is amazing! It has entries for everything from `abalone' to `zwieback,' plus more than 500 recipes for classic American dishes and drinks."--Devra First, The Boston Globe.

"Much needed in any kitchen library."--Bon Appetit.




Now in Paperback, too--How Italian Food Conquered the World (Palgrave Macmillan)  has won top prize  from the Gourmand World Cookbook Awards.  It is a rollicking history of the food culture of Italy and its ravenous embrace in the 21st century by the entire world. From ancient Rome to la dolce vita of post-war Italy, from Italian immigrant cooks to celebrity chefs, from pizzerias to high-class ristoranti, this chronicle of a culinary diaspora is as much about the world's changing tastes, prejudices,  and dietary fads as about our obsessions with culinary fashion and style.--John Mariani

"Eating Italian will never be the same after reading John Mariani's entertaining and savory gastronomical history of the cuisine of Italy and how it won over appetites worldwide. . . . This book is such a tasteful narrative that it will literally make you hungry for Italian food and arouse your appetite for gastronomical history."--Don Oldenburg, USA Today. 

"Italian restaurants--some good, some glitzy--far outnumber their French rivals.  Many of these establishments are zestfully described in How Italian Food Conquered the World, an entertaining and fact-filled chronicle by food-and-wine correspondent John F. Mariani."--Aram Bakshian Jr., Wall Street Journal.


"Mariani admirably dishes out the story of Italy’s remarkable global ascent to virtual culinary hegemony....Like a chef gladly divulging a cherished family recipe, Mariani’s book reveals the secret sauce about how Italy’s cuisine put gusto in gusto!"--David Lincoln Ross, thedailybeast.com

"Equal parts history, sociology, gastronomy, and just plain fun, How Italian Food Conquered the World tells the captivating and delicious story of the (let's face it) everybody's favorite cuisine with clarity, verve and more than one surprise."--Colman Andrews, editorial director of The Daily Meal.com.

"A fantastic and fascinating read, covering everything from the influence of Venice's spice trade to the impact of Italian immigrants in America and the evolution of alta cucina. This book will serve as a terrific resource to anyone interested in the real story of Italian food."--Mary Ann Esposito, host of PBS-TV's Ciao Italia.

"John Mariani has written the definitive history of how Italians won their way into our hearts, minds, and stomachs.  It's a story of pleasure over pomp and taste over technique."--Danny Meyer, owner of NYC restaurants Union Square Cafe,  The Modern, and Maialino.

                                                                             








              

MARIANI'S VIRTUAL GOURMET NEWSLETTER is published weekly.  Publisher: John Mariani. Editor: Walter Bagley. Contributing Writers: Christopher Mariani,  Misha Mariani, John A. Curtas, Gerry Dawes, Geoff Kalish. Contributing Photographer: Galina Dargery. Technical Advisor: Gerry McLoughlin.

 

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