02 May 2017
The latter-day service-industry explosion of Paris' 10ème arrondissement is remarkable for its enthusiastically globalized aesthetics. You have Asian fusion bistrots, craft beer pizza joints, fish-n-chips, Parisian burgers, bentos galore, and Syrian take-out: a full-on Soho occurring between rue du Faubourg Montmartre and the boulevard de Strasbourg.
What the 10ème lacks, since Pierre Jancou flipped Vivant and Kevin Blackwell closed his beloved bistrot Autour d'Un Verre, is that most Parisian of commodities : a convincing wine destination.
On bustling rue Paradis, culinary journalist Sebastien Demorand's gleaming new épicerie-bar-à-vin Le Bel Ordinaire, with its airy dimensions, its tall shelves modeled on scaffolding, its pristine rear kitchen, rather resembles another new-fangled London-scaled endeavor. Indeed, it is one. But its charm, for now, lays in how well it fills the neighborhood wine bar void, providing a calm and tasteful apéro spot for the quartier's hurried young professionals.
27 April 2017
|Vignes' opening party, before the terrace seating was installed.|
The great legacy of the cave-à-manger neologism has been to turn most new Paris wine shops into functional bars. You'd have to be either insane or misanthropic to open a wine shop that merely sold wine in Paris these days. The same license permits wine retail and restaurant activities and the line between what constitutes a restaurant and what constitutes a bar (which designation requires a more expensive and regulated Licence IV) is in effect extremely blurry. As often as not, lack of a License IV redounds to a proprietor's benefit, because he or she retains the bulletproof excuse that the kitchen is closed whenever it becomes necessary to decline to serve the visibly drunk or deranged. Inspections are rare, so proprietors are under no obligation to apply the same standards to normal happy drinking humans. Wine shop becomes ostensible restaurant, actual bar, albeit one that tends to close by midnight.
The latest to gainfully skate this line is the former manager of Thierry Bruneau's popular 12ème arrondissement wine bar Le Siffleur de Ballons, Frédéric Malpart, who opened his caviste - bar-à-vin Vignes in Belleville back in March. Like Malpart's former workplace, Vignes boasts a clean, blonde wooden décor, airy white lighting, kind staff bearing simple meat and cheese plates, and an open-minded selection of organic, biodynamic wines.
Unlike Le Siffleur de Ballons, Vignes has a handful of spacious terrace tables, and gives out on the broad boulevard de la Villette. It is instantly the only terraced bar serving a natural wine selection in Belleville*, and a valuable addition to the neighborhood renaissance presently underway.
25 April 2017
The similarities with between the restaurant Sicilian chef Fabrizio Ferrara opened last fall - Osteria Ferrara - and his former restaurant, the beloved Caffe dei Cioppi, are easy to recognize. At the new restaurant, an understated and tasteful redesign of the former bistrot occupant, Au Vieux Chène, one encounters the same unshowy preparations, the same loose risotto, the same divine sbrisolona, the same just-edgy-enough wine list.
It's a more interesting exercise to note what has changed. Paris, for one thing.
In the years since Caffe dei Cioppi closed, Ferrara's contemporaries Giovanni Passerini and Simone Tondo have raised the bar for Parisian Italian cuisine with their own, more expensive namesake restaurants in the same immediate neighborhood. Burrata has become as unavoidable as saucisson sec. The frighteningly-named Big Mamma Group has conquered middlebrow east Paris with a fleet of packed restaurants serving a simplistic, wincingly commercial take on pan-Italian cuisine.
In 2017, Osteria Ferrara impresses most by its quiet sense of maturity. There is ample space between the tables. From the stereo, nary a boom-bap nor a distorted chord. In the culinary hotbed of east Paris - where small-plates of offal are as common as mezcal and wine labels resemble the undersides of skateboards - sophisticated, product-driven dining can sometimes feel like the province of youth alone. Stepping into the calm predictability of Osteria Ferrara feels, in the best way, like dining at the grown-ups' table.
30 March 2017
I harvested a few days with Chiroubles-based natural winemaker Gilles Paris back in 2015. It was a disorienting experience. It was the hottest weekend of a heat-wave year, which did no favors for the ambience inside Paris' windowless white transport vans. I also could rarely discern whose vines we were in. In each new parcel I'd ask, "Are these your vines?" and Paris, shaking his head, would inform me they were those of a neighbor who sold to the cave cooperative, or that they belonged instead to his brother Jérôme, who was absent. Paris, it seemed, led a team he rented out to other growers before harvesting his own parcels. In the end I had to depart before setting foot in Paris' vines.
Over dinner during harvest, and throughout innumerable apéro-hours after, I pestered Paris for a tasting at his cuvage. He kept demurring, citing his workload as then-President of the Beaujolais Interprofession. The fact that he and I continually ran into each other while out drinking proved this to be a rather thin excuse. We grew friendly, even as I withheld forming an opinion on his wines, for simple lack of information on them.
It was only over two years later, touring Paris' new winery in Fleurie this past February, that I finally confirmed where he'd been vinifying, and where Jérome Paris had been all this time. That the details of Paris' unfiltered, low-sulfur cru Beaujolais wines had become mysterious was, of course, entirely inadvertent. In Paris' mind, he's just being a normal Beaujolais débrouillard, an effective operator, keeping his head down till the work is done.
23 March 2017
A few years ago during the Loire tasting salons I had a brief but memorable conversation with a friend who was then in the initial stages of preparing to open a natural wine bar in New York. I had confessed I wasn't very excited by many new Paris restaurants: everything seemed pokey, limited, a little predictable. He replied that, on the contrary, he adored the Paris restaurant scene, precisely because it was so modest, small-scale, and restrained. "You never eat like that in New York," he said. Everything there was comparatively over-the-top.
It's true that there isn't the same pressure in Paris, as there is in New York or London, to achieve a high check average, massive turnover, or both. In Paris the combination of affordable commercial rents, low cost-of-living (compared to other capitals), and abundant small restaurant spaces allows for a level of intimacy in dining that has all but disappeared in other major cities.
Restaurant Le Desnoyez, opened on a shoestring budget by former food blogger Jean-Marc Sinceux in Belleville in autumn of last year, offers a level of intimacy in dining that has all but disappeared even in Paris. The place seats about fourteen. In another capital, such a Lilliputian restaurant might need to enforce a twelve-course tasting menu. Here in Paris, Sinceux proposes an inexpensive bistrot offering, albeit one enlivened by a slim selection of offbeat natural wines and by his surprisingly painterly way with plating.
28 February 2017
Chef Edward Delling-Williams is a key figure in the diaspora of mostly-Anglophone chefs emanating from the kitchen of restaurant Au Passage. It may have been James Henry's masterstroke to try that restaurant's intelligent, informal menu format in the haute-Marais, but it was Delling-Williams, his inviting and upbeat successor, who refined and normalized it, making Au Passage, for years, one of the city's most reliably charming tables. (A position it largely maintains.)
Delling-Williams' long-awaited new project is Le Grand Bain, a bar-restaurant opened in partnership with chef de salle and wine director Edouard Lax and interior designer Alexandre Janssens on the Belleville graffiti haven rue Dénoyez. The restaurant opened quietly last December, after significant delays that saw months of Delling-Williams plying his trade itinerantly around other Paris restaurant kitchens.
Anyone who passed through Au Passage during his tenure probably expected Delling-Williams to make a big splash in the kitchen at Le Grand Bain. Yet for now, with few exceptions, his work at the new venture has been remarkably unshowy. Delling-Williams knows by heart the burgeoning audience that exists for a savvy small-plates restaurant in Paris in 2017. In Le Grand Bain's crisp, brut space, he is playing to that audience with the irresistible panache of a seasoned croupier.
20 February 2017
The Native Companion and I were in Nice for New Year's. Before we returned to Paris I was able to convince her to submit to the rigmarole necessary to assure a lunch table at La Merenda, the city's most storied address for traditional Niçoise cuisine, run since 1996 by chef Dominique Le Stanc.
La Merenda famously has no phone, so one must personally pop by to request a table later in the day. As it happened our agenda that morning consisted of wandering aimlessly around the port, so this fit right into our schedule. The restaurant's popularity far exceeds its tiny space, however, and tables were understandably slow to turn that day. We had to circle back round twice after the appointed time came and went.
I didn't mind. I was enchanted the moment I laid eyes on La Merenda's sparse menu, scrawled on a blackboard posted to its frosted windows. If menu writing is a kind of literature, Le Stanc's menu at La Merenda possesses the hymn-like simplicity of Kafka's shortest works - "The Wish to be a Red Indian," perhaps. In the space of one sentence, Kafka proposes a subject before shearing it away in stages, until nothing remains but a profound absence. All the daily repetition of kitchen work and the generational repetition that has yielded traditional cuisine - all that absence of novelty - is contained on La Merenda's blackboard. The rarity of such a statement - anywhere in the world, let alone breezy, tourist-stricken Nice - gives La Merenda a curious power. At lunch, one can even overlook the dismal wine selection.
10 February 2017
The forecast called for rain, but my friend E and I had passed a perfectly calm, sunny day visiting winemakers around Saint-Amour last July. Among the crus of Beaujolais, Saint-Amour is a curious culture unto itself, a throwback to the era of négoçiant supremacy, an economy kept afloat by the unthinkably dumb people in France and abroad who regularly purchase the wine for Saint Valentine's Day. (I have never met anyone who has done this, but apparently such people exist. Just thinking about them makes me feel better about the invariably inconsequential gestures I muster for the same holiday.)
Not the most ravishing day of tasting, in short. But we had a pleasant makeshift lunch on the picnic tables in the square in Leynes, where later, in a quest to find coffee, we entered a truly strange, deserted bar, overrun with dogs and exotic birds. The owner descended from upstairs before we could scram, so Nespresso it was. We asked to sit on the terrace. The sky had begun to cloud over.
E and I huffed our cigarettes, bolted our bad coffees, and pulled on our helmets. I seem to remember it was a straight shot up a knobbly one-lane road to our last appointment of the day, where, finally, we'd taste some Saint-Amour worth falling for, along with some stunning Pouilly-Fuissés. It felt somehow appropriate, skidding up to the gates of the Château des Rontets at precisely the moment the storm broke.
31 January 2017
I have never quite understood Daniel Rose' conservative streak. I'm too young to remember the initial, bare-bones Spring in the 9eme arrondissement. By the time I met Rose in 2010, he had already moved his restaurant to the 1èr arrondissement and a space that resembles an exec-lounge. The restaurant's service and menu pricing have always felt prematurely elderly for such a dynamic personality. Nor did Rose really switch gears when he took over the weirdo slapstick steakhouse La Bourse ou La Vie last year. He changed the grammatical conjunction, raised prices, improved the cuisine, and sapped the restaurant of its spontaneity.
Rose' recent revamp of the tiny historic 1èr arrondissement bistrot-bar Chez La Vieille is, in its way, more newsworthy than the rave reviews of Le Coucou, his chic New York restaurant début. For, discounting the abortive Buvette below Spring, Chez La Vieille is the first serious move Rose has made towards a more lively style of service.
Spanning two floors joined by a gorgeously warped staircase, Chez La Vieille is a near-complete success, where the humor and verve of its new owner find outlet in a concept as precise and versatile as a Swiss Army knife.
16 January 2017
"It's crazy, how many young winemakers are setting up in Beaujolais," muses southern Beaujolais winemaker Nicolas Dubost, who attained biodynamic certification for his organic domaine in 2015. "But not so much in the south."
Dubost is based in Saint-Germain-sur-l'Arbresle, a hamlet beside the village of Bully in the Pierre Dorées. The general viticultural approach here - industrial, productivist, machine-oriented - does a disservice to the diversity of the largely unknown terroir. The handful of ambitious, quality-oriented winemakers - Dobost included - sell their wines at prices so low as to practically discourage critical reflection.
Indeed, if the details of Beaujolais wine production overall remain under-appreciated, even by wine professionals, it's probably because the stakes are so small. There are strong incentives to master, say, Barbaresco vintages or vineyard exposition in Côte Rôtie, since the clients for these high-value wines tend to pose questions and seek assurance of expertise. Folks buying in the 9-14€ range need less convincing, so most retailers, not to mention critics, are content to leave it at 'sweet juice,' 'glouglou,' or a similar substitute for actual qualitative description. It's a shame, because as Dubost's wines increasingly prove, there are troves of nuance to be discovered, even in such unheralded terroir, at such small stakes.
05 December 2016
The man standing there with the huge elderflower bush in his vines is Romain des Grottes. He's a métayer, or sharecropper, working 8ha vines belonging to the Château de Lacarelle in Saint-Etienne-des-Ouillières. Almost everything about that sentence is misleading, though.
The Château de Lacarelle belongs to des Grottes' grandfather, a peculiar situation that allows des Grottes considerably more creative leeway than most métayers. And his 8ha of vines is effectively 4ha, because since 2003 des Grottes has uprooted half the rows, planting cereals in the remaining spaces. He also works the soil less than many organic winemakers, content with a wilderness of grass cover that would make his elders blanche.
17 November 2016
Fleurie's Yann Bertrand made a Beaujolais Nouveau this year from fruit purchased from Charentay vigneron Romain Jambon. It's stellar - a long, 16-day maceration yielded a sinuous, impossibly bright wine, with vigorous raspberry fruit. The quantity is minuscule, something like 2600 bottles.
What makes the wine groundbreaking is Bertrand's decision not to filter it. He rightly figured that, given the tiny production, his primeur would be drunk in Fleurie, in Lyon, and at furthest, Paris. Little would be risked by avoiding filtration. For good measure, he took the unusual step putting the primeur in demi-muid for two weeks before bottling, so that the wine could clarify itself more quickly than it would have in tank.
Almost no one releases unfiltered Beaujolais Nouveau. Off the top of my head, I can think of only Max Breton* and Romain des Grottes**, both of whose unfiltered primeurs are, incidentally, terrific. (Oh! And Marcel Joubert.)
10 November 2016
|Max Breton's team at the end of day in his old vines at Saint Joseph in Morgon.|
Anything I post on the blog right now will rightfully be drowned out by the post-election din, i.e. the anguished, horrified screams of anyone with even a passing, sentimental attachment to democracy in America.
But with the third week of November approaching fast, I thought I'd dash out some notes on another pressing issue, the year's Beaujolais vintage.
27 October 2016
Négoçiants tend to suffer from an enthusiasm gap among wine drinkers. Compared with the vigneron who grows the grapes he or she turns into wine, the arts of the négoçiant can seem coldly mercantile. Few are more aware of this dynamic than Christophe Pacalet, whose business remains inextricably linked, for many wine drinkers, with that of his late uncle, Morgon vigneron Marcel Lapierre, who helped Pacalet set up his business in 1999.
Pacalet today produces a broad range of wines from purchased grapes, encompassing seven of the ten crus of Beaujolais, along with a Beaujolais Blanc, a primeur, and, from the 2015 vintage, two cuvées of Beaujolais-Villages. The bottles almost all bear similar, slightly anonymizing labels, which, along with Pacalet's formidable market presence in the USA and Japan, bely his business' fundamentally small-scale, artisanal nature. Pacalet harvests all the grapes with his own team, pressing in an old wooden vertical press, vinifying in restored wooden tanks. Most cuvées see aging in old barrels, many sourced from Pacalet's renowned cousin, the Burgundy négoçiant Philippe Pacalet.
On the day I first visited in October 2015, most of that year's wines had already been barreled. Moreso even than the aromas of fermenting gamay, what filled the cellar that afternoon was Christophe's excitement with several of his new fruit sources that year: a Chénas and a Saint Amour. "I just got the analyses back, and the Chénas has finished its sugar," he declared. "So this will be interesting! Let's taste it!"
11 October 2016
I first heard of Blacé-based Beaujolais vigneron Sylvère Trichard while putting together Paris By Mouth's annual "Beaujolais Nouveau in Paris" round-up a few years ago. I remember being surprised that an unknown vigneron had - all of a sudden, it seemed - placed his primeur alongside those of the region's great winemakers at many of Paris' best Beaujolais bistrots.
It took me a while to connect his name with his wine labels, which bear the domaine name Séléné. I learned only much later that Séléné is in fact a joint enterprise between Trichard and his business partner Elodie Bouvard, who runs a small organic vegetable farm at the domaine.
When the intitial Séléné vintages first appeared in Paris, they landed with a splash before, well, sinking. Nowadays Trichard admits that his trial-and-error approach was quite evident in his early vintages, which were often marred by bret. But the same dynamism, devotion, and intelligence that earned Trichard his initial clients in Paris have since seen his winemaking improve by leaps and bounds: the wines are now as charming as their labels. His (bret-free) 2015 old-vine Beaujolais tout court cuvée "Gisou" is a benchmark for the sector, as refined and complex a wine as it is possible to find south of Saint-Etienne-des-Oullières, outside the -Villages appellation.
09 September 2016
|The tiny cellar space that Balmet shared with his father until this year.|
Conventional wisdom of Beaujolais geography places the highest, most dramatic slopes in the granite soil crus clustered in the north of the region, with the landscape becoming gentler as one travels south towards the limestone hillsides of the Pierres Dorées. This is true in a general sense, but it overlooks certain notable high-altitude sites. The picturesque village of Oingt in the south is one. Then, southwest of the Brouilly appellation, there is Vaux-en-Beaujolais, a towering granite hill, the home of promising natural winemaker Jerôme Balmet.
From 2012 - 2015, Balmet shared a tiny cellar space with his dad, making a tiny, untaxable amount of wine from just 1.2ha of vines. Until now there has officially been just one red cuvée, bottled as Vin de France, and a small amount of rosé, plus a few magnums of stellar old-vine press-juice that were never commercially available.
In 2016, Balmet is joining the big(ger) leagues. As of January he took on the lease of 2.5ha of gently sloped vines near Saint-Etienne-des-Oullières, formerly tended by fellow natural winemaker Raphael Champier. He'll also begin vinifying at the facilities of the Château de Lacarelle, which owns the vines. This puts him in good company, alongside like-minded confrères like Romain des Grottes and Stephen Durieu de Lacarelle, who together comprise a fascinating nest of promising young natural winemakers at the château.