Xiao-Li Meng, Whipple V. N. Jones Professor of Statistics at Harvard and Founding Editor-in-Chief of Harvard Data Science Review, was inspired by a student to combine wine and statistics—leading to insights far beyond what they ever expected.

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

Wine, statistics & serendipity: A Harvard journey

Seeking simplicity in statistics, complexity in wine, and everything else in fortune cookies 

Louis XIII has been adored by dignitaries, royalty and the glitterati throughout its near 150-year history. Everything about it, from the grapes to the glass, is of the highest quality. It has been present at some of the most momentous occasions in modern history – served at European royal courts, poured on the maiden voyage of the SS Normandie and Concorde, and quaffed by Agatha Christie on the Orient Express. It has been a favourite of Prime Ministers and dabbed on the wrists of fashion icon Coco Chanel. So what is it about this Cognac that has captured the hearts and minds of so many influential people throughout history? Working from the outside in, Louis XIII is housed in an instantly recognisable Baccarat crystal decanter. Each one is crafted by hand and no two are the same. It comes in a number of formats, from the miniature 5cl to the six-litre Mathusalem. Few bottles look as exquisite or capture the light like the spiked vessel that wouldn’t look out of place in a gallery. The decanter is fashioned after a carafe that was unearthed on a 16th century battleground. Rémy Martin founder Paul-Emile Rémy Martin decided to model his Cognac bottle on the one that was exhumed because he was so taken with the design. This was quite a radical move at the time as Cognac was historically sold by the barrel. The decision paid off as the decanter has since become an international standard for quality and many have attempted to mimic its design. There are numerous nods to history and Louis XIII’s royal namesake on the handblown decanter, including the 20-carat gold neck and handmade fleur-de-lis stopper. It takes a minimum two weeks’ craftmanship to produce a single decanter. This, however, is a mere fraction of the time it takes to produce the remarkable liquid within. Only the finest grapes from the Grande Champagne region are selected to one day become Louis XIII. Each decanter contains approximately 1,200 eaux de vie, distilled on lees, and aged for up to 100 years in traditional Limousin oak casks called tierçons that are over one century old. It’s no exaggeration to say Louis XIII is the work of a Cellar Master’s lifetime. Baptiste Loiseau became only the seventh person to hold the role – and the youngest in the Cognac house’s history – when he took up the mantle in 2014, at just 34 years of age. Despite all the advancements that have occurred throughout Rémy Martin’s history, it is no easier today than it was all those centuries ago for the Cellar Master to know if the decisions he or she makes will affect Louis XIII’s end taste profile. It is Loiseau’s role to ensure these aromas are the same in a century’s time – something that is becoming ever-more difficult in a changing climate with tools that are disappearing before his very eyes. The tierçons, named as such because Rémy Martin’s Cognac used to be transported in barrels of three on a horse-drawn carriage, are crucial to the history and taste profile of Louis XIII. There are tierçons in the depths of the Rémy Martin cellar that date back to 1744 – 20 years after Martin started producing Cognac under his own name. For a long time, the art of coopering these 550-litre tierçons was lost to the ages, as none was produced after 1917. This has become increasingly problematic over the past 20 years as the number of tierçons started to dwindle as one is sacrificed when another needs repairing. In 2012, then Cellar Master Pierrette Trichet made the bold decision to start this age-old tierçon coopering practice again, for fear there might not be any left for generations to come. This project to resurrect the art and safeguard the future of Louis XIII took years to master. The Rémy Martin team enlisted the help of various experts in their field to recreate a tierçon that was faithful to the ones produced in the 18th century. A tierçon must be made from a Limousin oak tree that is up to 180 years old. Once felled, the oak needs to be split and air-dried for a minimum of three years. The new tierçon is then filled with new eaux de vie to mature before it is ready to be filled with the eaux de vie that is one day destined to become Louis XIII. Even after creating countless prototypes, it’s impossible to know exactly how the resulting liquid will taste when it’s ready to bottle in almost a century’s time. From the grapes, to the maturation vessels, and decanter, everything about Louis XIII is rich in history and savoir faire. The world around might change, but there is some comfort in knowing that the "king of Cognacs" in your decanter – or better yet, rocks glass – is as fine as the liquid dabbed on the wrists of Coco Chanel and imbibed by the statesmen and dignitaries of their respective times. Browse all Cognac listings or read more Editorial 

Louis XIII is one of those spirits that almost transcends its own category – and rightly so. It has everything: the history, the provenance and exceptional quality. Holly Motion explores the fascinating history of the "king of Cognacs"

Learn the incredible story of Louis XIII, the king of Cognacs. A liquid of uncompromising quality, adored by dignitaries, royalty and the glitterati.

The history of Louis XIII, the king of Cognacs

Louis XIII: the making of an icon

Each November, the wine world looks to Burgundy for the Hospices de Beaune auction. We dive into the history of this philanthropic institution, the domaine and the wines it produces

Explore the history of Burgundy’s Hotel-Dieu and Hospices de Beaune, its wine estate and the famous annual auction, the Vente des Vins

Your guide to the wines of the Hospices de Beaune

Everything you need to know about the Hospices de Beaune

For the aperitif For Domaine Long-Depaquit’s Matthieu Mangenot it is the energy and power of Champagne Brut Nature Les Marnes Blanches from Jeaunaux-Robin, that makes it his choice at Christmas. “I can't say for sure if it is the 100% Chardonnay selection or the very elegant vinification in Burgundy barrel that is this Champagne’s (hidden) tribute to our region but there is absolutely no ‘make up‘ with this Champagne. With no dosage it is a true expression of Chardonnay and terroir. To me, it is the best sparkling to get you ready for Christmas dinner!”  Klaus-Peter Keller (Weingut Keller) and his family love Champagne Bérèche & Fils or Krug, “but we will definitely enjoy some sparkling wines from Germany too!” he adds. Gianlorenzo di Neri from Montalcino’s Casanova di Neri is also choosing something local, with a 2002 Trentodoc – Giulio Ferrari Riserva del Fondatore, as well as a family favourite, Champagne Egly-Ouriet’s Blanc de Noirs. Saskia de Rothschild (Ch. Lafite-Rothschild) breaks the mould and prefers to drink ice-cold Sauternes as an aperitif rather than sparkling wine. She is still toying on whether to go young or old, deciding between a 2017, an 2007 or 1989 from Ch. Rieussec. The whites White Burgundy seems the overwhelmingly popular choice for the Christmas table. Francisco Baettig (Viña Errázuriz, Viñedo Chadwick and Baettig wines) opting for a bottle of Pulingy-Montrachet Les Combettes from Etienne Sauzet. “I love the elegance and balance of this appellation, and the purity of the wines from this producer.” Neri is saving his last bottle of 2005 Bourgogne Blanc by Coche-Dury alongside a 1991 Terlano Rarita, a Pinot Bianco blend released 25 years after it was made, proving the incredible ageing potential of top whites from Alto Adige. Mangenot has also opted for a rarity for the special day – a magnum of 2012 Nuits-Saint-Georges Blanc from Château-Gris (Albert Bichot). Chardonnay accounts for just 2% of the Nuits-Saint-Georges appellation. “The wine has a lot of richness and a beautiful tension due to the altitude of the vineyards,” says Mangenot: he is pairing it with cod fillet and citrus cream. Keller is bucking the trend and unsurprisingly opting for dry Rieslings, specifically from the 1990s, along with an eagerly awaited bottle of 1959 Mosel Piesporter Schubertslay. In 2008, Keller (although based in Rheinhessen) took over 0.7 hectares of this incredibly steep slope in the Mosel and he is using his Christmas dinner to do some research on this Mosel site with some serious bottle age. The reds Keller is not holding back on the reds: he’s got a 1966 Ch. la Mission Haut-Brion and a 1991 Clos de la Roche Grand Cru from Hubert Lignier lined up. Gianlorenzo di Neri is also opting for a Clos de la Roche, although his is a 2006 from Armand Rousseau. At the Neri household they love to compare Grand Cru Burgundy with their Brunellos, “It should be amazing to taste our 2006 Tenuta Nuova alongside.” Beyond Brunello and Burgundy, they will also be enjoying some top Nebbiolo, but it’s not an easy choice. “For Barolo we love so many producers, Elio Grasso’s Runcot – 2008 should be delicious now – or possibly Giacosa’s 2007 Barbaresco Asili Riserva.” For Mangenot, “The middle of winter is a good period to open a bottle of sunshine like Cornas Vin Noir 2012 from Domaine du Tunnel (my wife loves it!) – concentration, density, beautiful complexity, silky tannins… And a bunch of aromas that turns your dinner into a summer journey in a convertible car with your nose in the wind!” Beattig is also opting for Northern Rhône Syrah from his favourite producer Pierre Gonon, a Saint-Joseph. “I love the complexity of aromas, the spiciness. The structure of the wine, but at the same time the polished tannins. The mix of freshness, complexity and depth... love it.” At the Rothschild household it will of course be Lafite: “1988 or/and 1996: two absolute favourites of mine these days,” Saskia explains. “The 1988 is pure Lafite, extremely complex and evolving and the ’96, thanks to its perfect balance, is just so easy to drink that you’ll finish the bottle without even noticing it.” Jean-Guillaume Prats (CEO of Domaines Barons de Rothschild Lafite) is staying pretty loyal too, opting for Pomerol’s Ch. l’Evangile 2010. To finish Finally the sweets and fortifieds: there is never a better time to open aged Ports to go with the cheese and desserts of Christmas. For Lafite’s Jean-Guillaume Prats it will be Dow’s 1977 – in his words, “perfection”. Mangenot is also going for Vintage Port: Graham’s Quinta dos Malvedos 2001, “to go with a homemade chocolate mousse, and the rest of the bottle definitely to enjoy slowly by the fire with the family… Fruits, flowers, creamy character, it is a treat for the nose and the palate I wouldn't miss it at any price.” Keller decides on the sweet wines more spontaneously: “One of our favorite combinations is matching 40 and 50-year-old Ausleses with game dishes. It can taste so great. The anticipation is already great.” If fortifieds are not your thing, then take Jean-Sébastien Philippe of Lafite’s recommendation: he’ll be having a glass (or two) of Cognac de Lafite Très Vieille Réserve. He believes it is one of the most astonishing selections of old eaux-de-vies in Cognac. Browse our full range

There’s no better time than Christmas to open a treasured bottle or two. Ahead of the big day, we asked a handful of our favourite winemakers – from Saskia de Rothschild to Klaus-Peter Keller – to tell us what they’ll be uncorking

We find out the special bottles some of our favourite winemakers and distillers are uncorking this Christmas

What winemakers are drinking this Christmas

It is little wonder there has been a veritable tequila gold rush, after celebrity-backed brands have sold in excess of $1bn, and the category continued to report double-digit growth during a global pandemic. This growth wasn’t just at the entry level – as some might expect – as online sales of reposado, añejo and extra añejo soared in tequila’s biggest market, the US. The thirst for premium-and-above tequila falls to 163 certified tequila-producing companies and 8,000 agave producers, which is not as easily sated as some might think when your agricultural product takes years to mature in the ground and in barrel. While category growth is undeniably cause for celebration, artisanal producers like Clase Azul are struggling to meet demand. Production is so time and labour-intensive that, with increasing popularity, Clase Azul is considering an allocation model in the UK, as already employed in other markets. The brand’s distinctive hand-painted decanters take two weeks to produce, made by local artisans from the Mazahuas, in the town of Santa María Canchesdá. Before bottling, the organic, non-genetically modified Blue Weber agave takes nine years before it can be harvested, 72 hours to cook, and the Reposado and Añejo are both aged in ex-Bourbon casks for eight months and 25 months, respectively. Clase Azul Ultra – their top tequila – is aged between five and seven years in ex-Sherry casks, making it a popular choice for whisky lovers. Founder Arturo Lomeli is adamant he doesn’t want to streamline any of this process and compromise on quality. “In terms of the quality," Chantal Serrano (Prestige Account Manager for Spirit Cartel, the company's UK distributor) explains, "if you really want to have real agave quality with all the certifications – organic, non-genetically modified – there’s going to be a point when you are limited.” Clase Azul already has a Mezcal offering that is made from wild, 12-to -15-year-old Cenizo agave which can only be harvested once a year. The Cenizo is slowly roasted using firewood and volcanic rock, then milled by hand using an axe. Next it is fermented using stone piles with red oak and double-distilled using an alembic copper still known as El Viejo.   Premium-and-above tequila has been reporting double-digit growth for the past five years, but some still do not afford it the respect it’s due, according to Serrano. “I think if you told some of the biggest producers of Cognac that you were going to shot it, then I think they will be scandalised. Tequila might not have been aged in a barrel for as long as some whiskies, but the plant had to mature at least on average for five to seven years and, for some producers, like Clase Azul, it is nine years, so appreciate that.”  It is increasingly difficult for producers to have this conversation with consumers when some companies are being forced to cut corners to meet the seemingly unquenchable thirst for all things agave. The use of diffusers to process, in many cases raw, agave piñas so the sugars can be fermented and distilled more quickly has become a popular way of circumventing the challenges. While diffusers are undeniably effective in extracting the potential fermentable sugars – 99% to the traditional brick oven and tahona method’s 70% – the change in flavour profile is not always a favourable one.   “The only objective is to extract as much sugar as they can from the agave,” Serrano laments. “And I can sort of understand why they do it because there is such a huge demand… but you then sacrifice quality.   “Unmatured agave or very young agave is being used in the production of these diffusers. Even some chemicals will be used sometimes. Because of the whole process, certain bitter flavours will be there that ideally need to be removed so you potentially even add some flavours to make it feel like it was a real product.”  For Serrano, the two products are like day and night. “You cannot compare [diffuser products] to a product that has been aged for many years. The producer took the financial risk of having that capital sitting there and waiting for it. It takes a lot of time to create a good product, but that is also the beauty about it.”   The involvement of celebrities in the industry has done wonders, shining a light on the category – but it can also confuse consumers, according to Serrano. “Because Clase Azul is a luxury product, a lot of people think we are just focused on the marketing and the image,” she says. But the company is focused on much more than branding, with a clear commitment to its community.  Clase Azul was set up by Guadalajara-native Arturo Lomeli after he identified a gap in the market for a higher-end tequila to be sipped and savoured, much like a whisky or Cognac. Lomeli favoured the fruitier, sweeter and floral notes a Highland tequila imparts versus the typically peppery, spicy and vegetal notes from the valley (Lowlands). As such, he set up shop in Jésus María, a small town near Arandas – one of the highest points in the Jalisco highlands.  Clase Azul is in esteemed company with a Positive Luxury Butterfly Mark for its sustainable efforts. Glenmorangie, Macallan, Château d'Yquem and other luxury drinks brands boast the same. In addition to reducing its plastic and water use, the decanter can be upcycled, and Clase Azul tries to work with fair labour providers and sub-contractors. “Clase Azul try and implement all these measures with the same aim of giving something back and being a bit more responsible as a brand,” Serrano adds.   Sustainability has become increasingly important as drinkers increasingly consider a brand’s environmental impact as part of their buying decision. While this is something that is encouraged by many producers, it can lead to some slightly less robust claims in the industry, according to Serrano.   “It can be frustrating because some brands might say, ‘Oh we do give back to our community or a charity, or we do one specific action and they think look at us we do a lot of sustainability,’” Serrano says. “Whereas, for me, Clase Azul really embodies these values. Arturo Lomeli, from the start, wanted to give something and be sustainable. It was not just a trend and he thought ‘let me do it’. He’s been doing it almost from the beginning with the brand.”  The demand for aged, sustainable tequila is clear and Clase Azul is well positioned to go toe-to-toe with anybody in a battle of style versus substance.   Discover more about Clase Azul or read more Editorial 

In a world filled with big brands, Clase Azul is a tequila producer looking to do things differently. Holly Motion finds out why the artisan brand is determined for tradition to trump trends

Exploring how the highly collectable artisan tequila Clase Azul is doing things differently by honouring tradition rather than following trends.

Exploring artisan tequila producer Clase Azul  

Authentic agave: Clase Azul

Swiss-born Jacky Lorenzetti made his fortune in real estate. In 2006, he branched out into sport – becoming the majority shareholder in Racing 92, a then-struggling Paris rugby team that has, with his significant investment, become one of Europe’s best. Having sold his company (Foncia), he bought his first wine estate in 2008. He and his wife Françoise visited Ch. Lilian Ladouys – a Cru Bourgeois in Saint-Estèphe – and instantly fell in love with it. They acquired Ch. Pédesclaux a year later, then half of Ch. d’Issan in 2013 (which had long been owned by the Cruse family, who retained the other half). In September 2021, Lorenzetti purchased the Fourth Growth Ch. Lafon-Rochet. This property, with its iconic yellow château and labels, is just a stone’s throw from Ch. Lilian Ladouys (where the Lorenzettis live), separated from each other only by the D2 road.  The estate has a long history stretching back to the 16th century, but its modern era began under the Tesseron family (famous for their Cognac), who bought the estate in 1960, and purchased Ch. Pontet Canet in 1975. Although the château’s mustard-yellow shade has rapidly become part of its identity, it was only painted this colour in 2000, with a matching label and capsule re-design, under Michel Tesseron. Basile Tesseron took over in 2007, hiring Jean-Claude Berrouet (of Pétrus) as consultant – the first on the Left Bank to do so. Quality rose significantly under the Tesseron rule, but not to the same extent as Pontet Canet.  In 2022, Emmanuel Cruse and Jacky Lorenzetti formed Vignobles Cruse Lorenzetti – making their ongoing partnership official, with the new company responsible for all four of their properties in Saint-Estèphe and Pauillac. Their first act was to hire Christophe Congé as Managing Director. Bordeaux-born and -bred, Congé isn’t moving far – having spent 24 years at Lafon-Rochet’s neighbour, Ch. Lafite-Rothschild, working as Eric Kohler’s right-hand man, in charge of the winemaking for both the First Growth and Ch. Duhart-Milon, as well as being responsible for the estate’s on-site cooperage.   Tasting through a host of vintages, Lafon-Rochet has a clear style – classical, restrained and linear, very typical Saint-Estèphe, although there’s none of the rusticity of yore in recent vintages. In warm vintages like 2009, its clay subsoils keep the vines’ roots cool – adding a depth of fruit and plushness to the mid-palate, while cooler years like the superb 2014 are sleek and perfumed. For such a modest estate, the wines age beautifully – with the 1996 fully resolved yet vibrant and hard to resist.  The 2021s were made by the Tesserons, but Congé blended the wines and the just-released 2022 was his first full vintage at the helm – and it’s an impressive début. Given the hot, dry conditions of the year, Saint-Estèphe thrived – and Lafon-Rochet offers surprising freshness, with a linear mouthful of crunchy and pure cassis fruit.  There has already been a focus on sustainability here – with the vineyards farmed organically since 2021 (and certification set for 2024), and an agroecology project launched in 2019, planting 4.5km of hedgerows and 53 different tree species across the estate – but there is set to be more emphasis in the future. A new cellar and vat house should be completed in 2025, and changes are already being implemented with increased selection, smaller fermentation tanks and larger oak vessels; in the vineyard they are doing more soil studies and looking at possible replanting.  Talking to Congé and Cruse, the ambition here is clear, with “a new era” being declared. They’re looking to put Lafon-Rochet back in serious play alongside Saint-Estèphe’s other Classed Growths – and if things go as planned, this bright estate will soon be snapping at the heels of Calon Ségur. Watch this space.  Browse all listings of Ch. Lafon Rochet or read more about Bordeaux Photography: Emma Tournier

Change is afoot at Saint-Estèphe’s Ch. Lafon-Rochet – with new owners and big plans in the pipeline. Sophie Thorpe reports on the changes and what lies ahead for the Fourth Growth

With the new team’s first vintage released, we sat down with Emmanuel Cruse and Christophe Congé to find out more about what’s happening at Ch. Lafon-Rochet

The new team at Ch. Lafon-Rochet

Meeting the new team at Ch. Lafon-Rochet

Dalmore, Mortlach and Macallan fetch tens of thousands of pounds at auction today – but they likely wouldn’t exist if it wasn’t for an independent bottler. In times of great economic hardship, Gordon & MacPhail provided cash-strapped distilleries with much-needed capital when they secured new-make spirit to mature and bottle as a single malt, rather than a blend. “The world was so focused on blends in the 1970s that to get the financial return on the malts was really challenging,” Gordon & MacPhail’s Director of Prestige Stephen Rankin says. To put that into perspective, a bottle of 35-year-old Macallan from 1937 that would fetch approximately £32,000 in today’s market would sell for a mere £4.54 then. A top-end blend might sell for £2. Rankin says if it wasn’t for his forebears’ patience and foresight, 50-, 60-, and 70-year-old bottlings wouldn’t be available today. “It’s not just matching spirit with oak,” he explains. “It’s actually matching the spirit with the oak and then time and the patience.”   The Gordon & MacPhail name has endured where countless others have not. Today, the fourth generation can pull out samples dating back nine decades from more than 100 distilleries. “It’s that lineage that stands us apart,” Rankin says. “As a company we have had this incredible respect for whisky and depth of relationships forged from 1895.”   “Business was done on the strength of a handshake when my father started the company in the 1940s,” Fred Hamilton Laing – Douglas Laing & Co Chairman and second-generation family member – says. “And so many of our filling programmes still continue today because there was a trust given and a confidence that there would be no abuse of the stock.” If it wasn’t for the “fairly substantial” stocks Laing’s father had built up since the 1950s then the Scottish independent blenders and bottlers might not have survived the 1990s financial crash in Asia Pacific. “All of a sudden our blended business was made very difficult to continue. We were constantly adding to our stocks of grain and malt whisky for these blends, so it was a survival instinct that took us into the single cask business in the year 2000.” This business proved to be “very good” and steadied the ship. Laing says it was with great delight the company was able to come back into the blending business with Big Peat in 2009, much to the dismay of the “crusty old men in the industry”. This launch, looking at younger, slightly more rebellious whisky consumers heralded a new era for the company and brought them full circle. It was the filling programme’s breadth of stock and the relationships with the distilleries that allowed Douglas Laing to carry out the same process for Big Peat and Scallywag into the Scottish Highlands for Timorous Beastie, into the Lowlands with the Epicurean, into the Campbeltown area with the Gauldrons, onto the Island distilleries with Rock Island and introduce the Remarkable Regional Malts. “It’s a busy game,” Laing adds.  Fledgling in comparison, That Boutique-y Whisky Company stormed onto the independent bottling scene in 2012 with their 50cl illustrated bottles. “We are all about throwing fun back into whisky,” Head of Whisky Sam Simmons says. “We take the whisky very seriously, but we don’t take ourselves seriously.” The goal here is simple: curate delicious whiskies you would never see from an official bottling. This disruptive attitude has led to a cult-like following which Simmons readily acknowledges “doesn’t speak to everybody”. The Boutique-y whiskies might originate from around the world, but they are all bottled in the Scottish tradition – bought direct from the distiller or from brokers and other independent bottlers. The retail price is always calculated from the cost of the liquid rather than market value or cost. “The kind of whiskies we want to bottle may not be delicious to everybody, but they are the kind of whiskies that make you say: you got to try this,” Simmons adds. When it comes to bottling exquisite liquids, few ventures are as compelling as “curators of the most remarkable spirits”, The Last Drop Distillers. “I really love the word remarkable,” Managing Director Rebecca Jago says with a smile. “Because it is not saying it is the oldest or the best even, but that it is intrinsically delicious. If I gave you a glass of something from The Last Drop, I would want you to find it as delightful as someone who has been nosing spirits for 50 years.” The company started by Rebecca’s father Tom and his long-term friend James Espey OBE in 2008 is somewhat unique in that it crosses category. The two drinks industry icons initially set out to bottle single malts, but that all changed when they tasted a certain 47-year-old blended Scotch. From that day onwards, the two men – who had previously developed the likes of Johnnie Walker Blue Label and Chivas 18 – broadened their brief to seek out exceptional old parcels of any amazing spirit. By the time the company was sold to Sazerac in 2016, The Last Drop had released seven remarkable liquids and both Espey and Jago’s daughters (Beanie Geraedts-Espey and Rebecca Jago) had joined the business. In addition to being a source of great pride for the two founders, the acquisition also brought new freedoms and opportunities for the team. The US drinks group backing enabled The Last Drop to source stock for immediate release, granted them a greater ability to lay down stock and create their own libraries of future stock, and gave them the opportunity to venture into liquid creation. “I think finding treasure is not just about uncovering it,” Jago says. “It would be disingenuous to suggest that we’re Indiana Jones in Scotland, going and hunting out that barrel that is hidden at the back of the cellar because it is not,” Jago says. As romantic as the image might be, every single barrel of Scotch whisky of any age, of any sort, is known about by HMRC.  “We can talk about some of the lovely discoveries that we have genuinely been party to,” Jago adds. “Going back to the very first release of three unassuming barrels of an old blend. The treasure in that was the liquid inside. It had perhaps been discounted or forgotten about.” Or the “genuine discovery” of a Cognac barrel that had been lying untouched in an outhouse for over 70 years that was happened upon by a family member doing renovation work at the distillery. “I think that is the sort of ultimate Indiana Jones story,” Jago adds, “not by us, but we were fortunate enough to be there and I suppose our story of making the liquid the hero is sufficiently compelling that they are prepared to let us put it in a bottle.” All four bottlers, whether in their infancy or maturity, are bound by a sense of honour and wanting to do right by the liquid. And everyone benefits.   Browse all Scotch whisky or read more Editorial 

From traditional single malt Scotch to the weird-and-wonderful and everything in between, there’s every chance an independent bottler had a hand in bringing this liquid to your lips. Holly Motion spoke to four bottlers about the important role they play in the spirits world

Exploring the history of independent bottling with Gordon & MacPhail, Last Drop Distillers, That Boutique-y Whisky Company and Douglas Laing & Co,

Exploring the world of independent bottling 

Message in a bottle

Many factors come into play when tasting Chateau Musar vintages. Was it a warmer Cabernet year (1999, 2000, 2005)? Was it cooler, making Cinsault more influential in the blend as in 1998? Or was it a Carignan year like 2003? Will grape prominence be less relevant than the dodging of bullets across the Beka’a in a vintage we’re lucky to see the appearance of at all?  The tasting notes that follow shine a light on the vintage, the weather conditions, and the family events that helped shape the wines. There is also an insight into the mindset of the winemaker, Serge Hochar, as he became less influenced by his background in Bordeaux and increasingly confident in the wines emerging from his own terroir in Lebanon. Hochar family wines live for a long time and their flavours linger in the mouth and memory long after the bottle is drained. Some of these wines have been tasted à point, at the peak of perfection, but many have yet to reach this moment, and they are judged on their potential. Even more fascinating, perhaps, are the notes on wines that are perhaps just past their prime, but still delivering fascinating nuances that astound the taster – some of these wines elicit the most evocative tasting notes of all. For the Hochar family, a new wine, however shapely or pleasing, is always pregnant with promise for the future. Many of the notes below show the best that the wines can be – but they also underline the fact that for each taster Musar’s most sublime moment will be different. Although the Hochar family does not believe in the concept of defining a wine with numbers, ratings have been included to give some guidance.  Jancis Robinson MW, Bartholomew Broadbent and Steven Spurrier award marks out of 20 for each wine. Michael Broadbent prefers a five-star scoring system. All notes were taken in 2018/19 with the exception of Michael Broadbent’s. Chateau Musar: the reds One-third of Cabernet Sauvignon, Cinsault and Carignan, aged for a year in French Nevers oak. 2013 Chateau Musar  "Dense, deep red, still hints of purple at the core and little age on the rim. Marvellously warm Mediterranean fruits on the nose, autumnal in style but youthful in their rich, robust, vigorous presence. The essence of Lebanon in a glass, rich with spice and cooling breezes, the dry, herby fruit flows with energy over the palate before giving way to a finish that confirms the structure, fruit and tannins blending exuberantly with intriguing hints of much more to come in the next decade." Steven Spurrier, Score: 18/20, Drink: 2020-2040  2009 Chateau Musar  "Mid-crimson. Light, sweet start. For the moment it’s a little simple. Bright, ripe red fruit. Slightly burnt edge. Lots of tannins. Quite dry and youthful on the finish. Much longer bottle age needed. By far the most youthful wine in this vertical tasting." Jancis Robinson MW, Score: 17+++/20, Drink: 2028-2050  "Deep ruby colour but light translucent rim. More primary sweet baked red fruit notes and a lovely bloody, cured meat Rhone character. This is a complex nose – sweet candied blackberry, raspberry, cardamom, tobacco – a very pure nose.  Dense tannins still not fully integrated but will get there and very well balanced with a vibrant line of acidity running through the palate. A real Italian flair to the wine but the tannins are so silky, beautifully handled. Still plenty of life in this wine." FINE+RARE 2008 Chateau Musar  "Heady and beguiling with a gamey note on the nose. Very sweet and young; well balanced on the palate. No hurry at all to drink this youthful ferment. Very tight, dry wine that is so much younger than any other vintage tasted. So much more youthful than a Bordeaux 2008!" Jancis Robinson MW, Score: 17.5+++/20, Drink: 2025-2045 "After blending, [Head Winemaker] Tarek [Sakr] was raving about this vintage. I asked him to add 0.5% of any wine he liked and we’d taste it again in two weeks. An act of faith or la folie? We tasted it again. He raved again; the wine had changed colour and bouquet." Serge Hochar "Dark, blood red. Really powerful nose with tonnes of young, juicy blue and red fruit. Behind this, layers of dried fruit emerge (prunes and raisins) and tobacco, generally a much darker and more brooding profile than the initially youthful nose suggested. Leather and smoked meat, as well as mineral graphite, but also fresh mint and liquorice. Complex and ever-changing in the glass that invites you to keep going back and discovering more. Again, fantastic acidity, plus velvety tannins." FINE+RARE 2003 Chateau Musar  "Mid-garnet. Quite a bit deeper and younger-looking than even the 2001. A little marine influence (oyster shells?) on the somewhat reticent nose. Rather different from many of these Musars. Sweet start and very vigorous and fun. If I had not tasted vintages back to 1961, I might have taken this for a fully mature wine. It already gives masses of pleasure with some milk-chocolate notes and quite a bit of light dry tannin on the end. Excellent drive. Long and dramatically big, but with good freshness on the finish." Jancis Robinson MW, Score: 18.5/20, Drink: 2016-2035 "A vintage with high alcohol and acidity. Rainiest winter in 15 years, then not a drop of rain from April throughout a hot, sunny summer. Heatwave during flowering reduced the harvest by 30%." Tarek Sakr, Head Winemaker "Darker than more recent vintages, gun smoke, spice and hints of leather. Rich darker fruit, riper with dense, sweet mid-palate. Balanced though, with Cinsault contributing acid and vibrancy that is often absent in 2003s. Fruit profile is richer and darker and tannins riper and juicy, perhaps not as refined as the excellent 2008, but still with Musar DNA. Smoked meat and charcoal. Delicacy throughout. Fascinating and delicious." FINE+RARE
 2000 Chateau Musar  "Reasonably mature. Brick-red rim, autumnal faded red bowl. Mouthwatering acidity on the nose that can be smelt a foot away. Lovely aromas of damp autumn forests, decaying leaves and wood combine with a slightly chocolatey sweetness. A little spirit developed over the course of the evening: almost a Drambuie or Grand Marnier character. Slightly sweet on the palate with very long, classic autumnal Musar notes, soft, mature and Old World, braced by that lovely acidity. Still full flavoured and crisp on its long, lingering aftertaste, finishing with notes of liquorice and sherbet." Bartholomew Broadbent, Score: 18/20   "A Cabernet Sauvignon year. One of my clients called it 'a lioness' of a wine." Serge Hochar "Bright ruby red with the start of some brick around the edges. Sweet fruit, baked strawberries, rosewater and pomegranate. Peppery spice. Some leather and petrichor. With more air, burning embers and deep, meaty fruit and spice. Lovely sweet tannins on entry. Elegant and fresh, but with an enveloping warmth and caressing softness, though it remains both light and structured thanks to the depth of flavour and superb acidity." FINE+RARE  1998 Chateau Musar  "Pale, jewel-bright garnet. Light, spicy, particularly well-integrated nose, already well developed. A sweet start on the palate; the opposite of heavy; a really lovely wine: fresh, sweet, with some very slight mintiness and a dry finish. Very long, and nicely mature: seems just right now. It will go beautifully with food. One of my favourite wines in this collection. Is it the Cinsault I like so much?" Jancis Robinson MW, Score: 18.5/20, Drink: 2012-2030 "Tarek said: 'Let’s bottle at the end of the second year. Let’s try!' We did 20,000 bottles like this, then the rest a year later, as usual. We tasted the wines four years later. Something was missing in the earlier-bottled wines. They had an obvious Chateau Musar character but were not necessarily better. Identity is permanently important. We went back to the original formula." Serge Hochar "Cool year, Cinsault dominated. Cold and rainy until June, with a sunny, dry summer. Harvest began on 9th September." Tarek Sakr, Head Winemaker  "Similar in style to the 1997 but with more fruit concentration, the aromas more earthy and
dried leather, but the lifted perfumed floral tone still dominates on the nose: dried roses, sweet licorice, candied cinnamon – lovely additional set of oak flavours that add aromatic complexity. Lovely texture – tannins are seamless – silky and long – provide structure but are sweet and resolved, backed by vibrant acidity keeping the wine fresh. Fruit is plump, rich, ripe, very much on the red fruit spectrum – raspberry, red cherry. Great acidity. Light fresh tobacco and light leather notes coming through on the finish. Great integration and drinking very well now. Difficult to pick between the '97 and '98 – the '97 is more ethereal – it tastes like quality aged Burgundy! '98 is plusher and more concentrated but less ethereal." FINE+RARE
 1997 Chateau Musar  "Very light in colour with maturity on the rim: salmon ruby. Surprisingly intense and concentrated nose with strong ash and autumnal smells; great acidity, damp leaves and old bonfires. On the palate, very sweet fruit and a long finish that goes through several evolutions (one developing old pomegranate flavours) in the longest aftertaste of any Musar. Full mouthfeel defies the lightness of the wine. Almost chewy in texture. Intense volatile acidity." Bartholomew Broadbent, Score: 18/20  "We had two harvests – before and after a week of heavy rain – and made a big, big wine. Two years after bottling it changed direction and began to create heavy sediments. It was the biggest surprise in my life. This wine was behaving like a human going through an adolescent crisis. Which way is it heading now? The only thing I know is that I trust my wines. It is already an interesting wine, and starting to taste beautiful." Serge Hochar "Translucent Pinor Noir-esque colour with tremendous clean aromatics – lifted floral notes,
fresh aniseed, scented aromatic tea leaf, red cherry, strawberry, pomegranate, so perfumed. Seamless tannins, silky soft but there is a delicate framework and the fruit concentration provides lovely depth. Fruit remains very fleshy. Very clean considering the age, and lovely refreshing, vibrant acidity, remarkably stable at 24 years of age. Lovely, ethereal quality to this wine, reminds me of a great aged Burgundy with the acid and florality!" FINE+RARE 1979 Chateau Musar  "…misleadingly pale, fully mature; nose like squashed strawberries; sweet, long, delicious." Michael Broadbent "Vibrant red with a hint of mahogany but still red on the rim. Astoundingly young and vigorous with warm red summer fruits and a definite hint of roses on the nose; has the feel of a wine at least 20 years its junior. The sweetness of fruit continues on the palate with a backbone of tannin to firm it up – without losing the old-fashioned ‘burgundian’ richness and just the right level of acidity to refresh the palate for another glass. This must always have been an exceptional wine, as it remains today." Jancis Robinson MW, Score: 18.5/20 1974 Chateau Musar  "Good depth but still light, with a mature-looking, orangey rim. Very vibrant, sweet-fruited nose, alive and drawing attention to itself. Very old, elegant fruit on the palate, with a touch of cheese rind. Extraordinary texture: velvety and syrupy at the same time; deep, with high acidity and a very long finish. Biscuity flavours (‘Playbox’ biscuits: if you are English and of a certain age, you’ll remember licking the sugary coat off those). Although past its prime, it is fascinating, like an old man with many stories to tell. You can imagine the wartime conditions through which this wine has aged, enduring much and remaining strong, until now as it begins to lose its way." Bartholomew Broadbent, Score: 19/20 "My ’74 I wasn’t happy with. But it developed! In 2000 I tasted it again. Now I think it is nearly ready to drink." Serge Hochar 1970 Chateau Musar  "In 1983, richly coloured; pine needles and vanilla; soft, velvety, well-balanced, yet powerful and plump like Château Petrus. Labelled ‘Réserve Rouge. Grand Cru’, still deep and rich, complete." Michael Broadbent, Score: five stars  "Dark, shaded ruby; just the sort of colour I would expect from a 1970 red Bordeaux. Light, very Cabernet nose. If I were given this blind I would be tempted to head straight for Bordeaux, though it would have to be a comely château such as Palmer perhaps, and a fairly ripe vintage. Perhaps 1961? But then there is probably more sweetness and a bit more exoticism than one would find in a Bordeaux of this evident age... Mouth-filling and again that note of violets, candied this time. A little dusting of tannins on the end. Lovely wine." Jancis Robinson MW, Score: 18/20, Drink: 1985-2022 1964 Chateau Musar  "Mature rim but not for its age: still tons of vibrant life in its red colour. Very little sign of ageing. Nose is very big, more like a mature Châteauneuf-du-Pape or other big, structured Rhône wine. Very concentrated and deep with autumnal bonfire ash. Spectacularly good, huge on the palate: damp decaying leaves; great acidity; volatility balanced by brown sugar flavours; delicious, sweet, long on the finish. Hardly any age. A great classic wine." Bartholomew Broadbent, Score: 20/20 "I had been in Bordeaux. I was 25. I prefer not to qualify the attitude of the French towards me, but no-one hurt me: they respected my oenological degree. However, I never took them a wine of my own. I was pretentious, my way! Was it as a reaction to this? I don’t know, but 1964 was my wild wine." Serge Hochar 1961 Chateau Musar  
"Slightly sludgy rust colour. Sweet, rich and thoroughly exotic. Old leather handbags? With some biscuit slurry (dunked, not-too-gingery ginger nuts?). Ethereal and lifted. Beautiful sweetness as it hits the palate then real freshness and super-clean, thoroughly mature aromas. Gloriously mature but not at all old. Does taste like a wine from a bygone age… Long and rich on the finish. Amazing to think that Cinsault can last this long. No variety imprints itself. Just a little chewiness on the end suggests a solid accompaniment would be wise." Jancis Robinson MW, Score: 18.5/20,  Drink: 1980-2028  1960 Chateau Musar  "Great depth for a wine of this age. Still very solid red with a touch of maturity on the rim. Looks about 15 years old. Classic nose: mature Bordeaux in character; signs of age and aromas reminiscent of very old cellars in France; lovely autumnal smells and meaty redcurrant fruit. Perfection on palate: full fruit and a great mouthfeel, with sweetness, length, great texture and perfect evolution; a little spicy and hot on the finish. Like an old Bordeaux but with better acidity, then a lovely aftertaste that conjures up the bonfire smells of autumn country walks. At its peak now. One of the best Musars I’ve ever tasted." Bartholomew Broadbent, Score: 20/20  "That summer I was invited to Château Langoa-Barton for an internship with Ronald Barton. What I saw, tasted and learned there affected me. If I had to describe myself, I was a civil engineer who made wine and who had started to discover the complexity of wine. I was trying to understand, to observe. I knew that nature will never repeat herself and for a while I thought I might change all the grape varieties that we were growing, but to plant grapes and make good wine takes 20 years, and what if I was wrong?  "However, I experimented a little with Grenache, Mourvèdre and Merlot. Looking back there were three stages to my winemaking. Between 1959 and 1964 I was making wines without an objective, with what we had at hand. From 1960 to 1970, having studied in Bordeaux and been influenced by Saint-Julien and Saint-Estèphe, I now realise that I was trying to produce wines in that style. Since 1970, I have been producing my wines, my way. Les vins du terroir Libanais." Serge Hochar 1959 Chateau Musar  "The oldest vintage presented by Serge Hochar in London in August 1979: fine, rich, mature; delicious bouquet; sweet, soft, fabulous. Twenty years later: orange-tinged; lovely old nose; still delicious. Last tasted at Musar in Beirut, Dec 1999." Michael Broadbent, Score: five stars Chateau Musar: the whites A blend of two local varieties, Merwah and Obaideh. Both grapes are partly fermented in oak
barriques (25% new each year) where they mature for a further nine months. They are then
blended, bottled and aged for a further six to eight years before release. 2012 Chateau Musar  "Fine fresh-looking lemon-yellow, but shows reassuring maturity. Dry honey and spices on the nose; a controlled richness of fruit on the palate that reminds me of Ygrec: complex, dry but with sweetness in its DNA before natural acidity lifts the exotic aftertaste. Lanolin smooth but not easy to assess (and not meant to be at this stage). Young white Musar that retains its mystery." Steven Spurrier, Score: 18.5/20, Drink: 2020-2035 2000 Chateau Musar  "Medium depth golden-yellow; no maturity showing. Still very closed on the nose, subdued, with a light floral nettle aroma. A bit astringent on the palate, but with mellow, soft textures and good acidity too. Needs time. By the next morning, the nose had come alive. The palate was beautiful, like a spicy Petite Suisse cheese, with great length. Nose continuing to develop on day three." Bartholomew Broadbent, Score: 18/20 1992 Chateau Musar  
"Deep orange gold. On the nose, beginning to mature and open up. Good depth and concentration. Lovely flavours of old Cheddar and surprisingly high acidity. Very good length on the aftertaste. Will age for a long time. After an hour in the glass, the wine started to develop characteristic honey aromas that also revealed themselves on the palate alongside a beautiful vanilla and beeswax aroma. The next morning saw it develop a rich, sweet, cognac-like nose; bone dry, powerful yet elegant on the palate with pronounced alcohol and a long finish. By day three, the middle nose had developed even more." Bartholomew Broadbent, Score: 18.5/20 "The weather was terrible. We had winter until June. Hail came. Biblical weather! I tried to make a Chateau Musar red, but two years later found it wasn’t up to standard, so we distilled it. The best grape that year was white Obaideh." Serge Hochar 1975 Chateau Musar  "Deep orangey gold; looks like a late harvest wine in colour. Nose; wow! Incredibly intense, concentrated, dry, very deep and austere: a combination of leather saddles, barnyard and old mahogany musky characters with mouthwatering citrus orange acidity. Astonishing complexity and intensity on the palate, with a syrupy texture. Massive, deep powerful, concentrated and long. Delicious flavours keep changing like a kaleidoscope in this mouth-filling but elegant wine. On day two it had aromas of sweet Australian ‘Tokay’ and a bite of cognac-like alcohol." Bartholomew Broadbent, Score: 20/20  1972 Chateau Musar  "Golden brass-yellow, very bright and alive. A superb nose with good depth and concentration, combining notes of apricot, brown sugar, cigar box and old charred wood. Unique. On the palate: a delicious, dry lean wine with a sweet finish and tremendous length. In perfect condition with a lovely lingering aftertaste. Very cerebral. Tastes of very old cellars. Day two saw an amazing development of the nose: very hard to describe but utterly riveting to the brain." Bartholomew Broadbent, Score: 20/20  [All extracts from 'Chateau Musar: The Story of a Wine Icon' have been published online with the kind permission of the Académie du Vin Library.] Read more Editorial 

The rise of Chateau Musar is legendary. We take a closer look at the vintages that have cemented the Lebanese estate's enviable reputation in the hearts and minds of critics and collectors alike.

Exploring the vintages that have made Chateau Musar such a fine wine icon – from 1972 to 2013 

Chateau Musar tasting notes year by year

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