NEWS

This year, Hear Palmer 2018 will mark the event’s 10th edition. Since 2010, wine and jazz go hand in hand at Château Palmer. The wines of the estate are not only tasted but heard, unveiled through the notes of great jazzmen.

Hear Palmer was born of a meeting between Jacky Terrasson, a famous French-American jazz pianist, and Thomas Duroux, managing director of Château Palmer. The idea of collaborating together came naturally for the two men, for a delicious dialogue of complexity and spontaneity exists between Château Palmer and Jazz. At once universal and mysterious, they both flirt between rigour and improvisation. From this blend of passions, wine for the one and jazz for the other, Hear Palmer was created. It took the form of a unique concert, held in the château, and resonating with a particular meaning – an expression in music of the 2009 vintage, the first in a long list of interpretations.

The 2010 vintage would then be interpreted by Yaron Herman and Michel Portal in the chai des Marronniers, the estate’s historic barrel cellar. Next came the 2011 vintage by the trio AIR, composed of Giovanni Mirabassi, Flavio Boltro and Glenn Ferris, once again within the walls of the château. Afterwards came the Lionel Belmondo trio to unveil the 2012 vintage. The 2013 vintage was set to music by the Daniel Humair Quartet, of which the saxophonist is none other than Émile Parisien. A beautiful concert, performed in the vast chai des Jasmins barrel cellar. As for the 2014 vintage, it would mark with an historic date for Château Palmer: that of our 200th anniversary, when we remembered the day two centuries earlier when the Major-General Charles Palmer bought the estate from the widow De Gascq. A watershed moment, celebrated by the Christophe Dal Sasso Big Band. Thomas Enhco and Dan Tepfer would improvise on the 2015 vintage, and Archie Shepp would shake the chai des Jasmins with his Quartet, unveiling the 2016 vintage in the year of his 80th birthday! Finally, the 2017 vintage was expressed in the notes of the Einar Scheving Quartet, an Icelandic group. 

As many interpretations as there are vintages. Revelations in music, of which the next expression will be the 2018 vintage…

This 10th edition of Hear Palmer represents an opportunity to offer a new, original format, of not one, but three concerts. The philosophy of the event remains unaltered: an artist is invited to express his vision, his understanding and his emotions about the new vintage of Château Palmer – he becomes its patron and its voice.

This year, it’s Émile Parisien who will once again recount, in music, the estate’s new vintage, but this time he’s been given carte blanche to imagine and present a programme of three concerts in three symbolic locations… with the first to be held in the château. A lovely echo of that very first concert given by Jacky Terrasson.

Hear Palmer 2018 :

29th March 2019 at Château Palmer, Duo Metanuits, Émile Parisien & Roberto Negro (private concert) –La révélation

30th March 2019 at Le Rocher de Palmer, at 20:30, Émile Parisien Sfumato & his friends – L’assemblage

31st March 2019 at La Cité du Vin, 18:00, Carte blanche for Émile Parisien – La finale

For more information visit hear-palmer.com/en

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Hear Palmer and Qobuz offer some high quality music: from the 5th of April to the 5th of May, the live concerts will be available on free download on: www.qobuz.com/hearpalmer-uk

December - At Château Palmer, 2019 will be the year of jazz, marked by the 10th edition of our annual concert, Hear Palmer. A fine opportunity to celebrate the work of Guy Le Querrec, with the exhibition “Jazz de J à ZZ”, presented from 19 January to 19 August 2019 at Château Palmer.
 
A member of the Magnum photo agency since 1976, this Parisian photographer with roots in Brittany has a passion for images dating back to his earliest days. Following in the footsteps of so many he admires – Marc Riboud, Henri Cartier-Bresson, Sergio Larrain – he travelled the world, producing landmark photo reportages.
 
In the life and oeuvre of Guy Le Querrec, music holds a special place. In turning his gaze often and freely across this universe, he has created some of the most celebrated snapshots of the 20th century, becoming internationally renowned for photographing the greatest living figures in jazz.
 
“Jazz – my ears, my heart, my emotions need it. Its cadences, its rhythms... And then there’s that crucial word: to practice a photography of improvisation.”
 
Documenting the lives of musicians through the decades, he also created his own shows, from “De l’eau dans le jazz” in 1983 to “Jazz comme une image” in 1993, during which images on a giant screen scrolled by, set to music played by a live jazz quartet composed of Michel Portal, Louis Sclavis, Henri Texier and Jean-Pierre Drouet. In 2011, he was invited to photograph Michel Portal and Yaron Herman during the second edition of Hear Palmer, held in the estate’s barrel cellar. This meeting marked the beginning of a lasting friendship between the photographer and Château Palmer.
 
“I seek to recount the lives of musicians, their voyages, their fatigue, their joys, their practice sessions, their solitude, their hopes.”
 
Guy Le Querrec, with modesty and generosity, infiltrates the lives of artists to capture a silence, a secret, a note… a pulse.
 
Archie Shepp, famous for the warm, lyrical sounds of his tenor, strolling through the streets of Paris; John Coltrane, this giant of the saxophone, hypnotising us from behind a simple television screen… Each image, taken in the heat of the moment by a master of rhythm, improvisation, and imagination, challenges the viewer in its own way.
 
The exhibition “Jazz de J à ZZ” by Guy Le Querrec may be seen during estate visits to Château Palmer, from 19 January to 19 August 2019. Length: 2 ½ hours - 70€ - Reservations by e-mail: chateau-palmer@chateau-palmer.com

Miles Davis (trumpet). Concert by the Miles Davis Quintet with Wayne Shorter (ts), Chick Corea (p, keyboard), Dave Holland (b), Jack DeJohnette (dms). Paris Jazz Festival. Salle Pleyel, Paris. Tuesday 4 November 1969 ©Guy Le Querrec/ Magnum Photos

Archie Shepp, Paris, France, 9 november 1983 ©Guy Le Querrec/ Magnum Photos

September – Early morning. The sun rises slowly over the vineyard, painting the sky in a vibrant red, melting into shades of orange, then pale pink. This delicate light washes over the estate now. As the dew begins to slowly disappear under the morning sun, Thomas, Sabrina and Sylvain roam the vineyard, tasting.

September is an intense month on the estate, since it generally brings the beginning of harvest. This year, the harvest began September 13th with the parcels of young Merlot. And since the beginning of the month, every morning the technical team has tasted the berries to keep track of the grapes’ maturity levels. They walk the vine rows of every parcel, picking berries here and there, analysing the flavours and smoothness of tannins in the skins and seeds.

Tasting grapes is an art unto itself. It’s the first step towards truly distinguishing the similarities and differences between parcels. It’s the moment when we begin to group the grapes, and even to blend them, if only at first in our minds. Some will reach maturity earlier, revealing themselves before the others. Eventually, this entire puzzle of parcels will be sorted through.

These daily tasting walks allow us to evaluate three types of grape maturity: technological maturity, which reflects the balance of sugar and acidity, aromatic maturity which indicates the aromatic style of the vintage, and finally phenolic maturity, which allows us to judge the quality of the tannins and overall structure.

We seek the moment when these three types of maturity are in sync, so that only the most promising grapes enter the vats. Each vintage is different, unique, and to best respect its style, the decision of whether to harvest or wait must entail a very subtle equation indeed. Each day matters. It’s a countdown whose sum provides the first score of the vintage.

September 2018 - With harvest time fast approaching, the work of green pruning is reaching its end. This extended viticultural period encompasses three main tasks: raising the support wires, removing secondary shoots and desuckering. Desuckering is the art of removing non-fruit-bearing shoots growing directly on the trunk of the vine. This helps the vine to concentrate its energy in the fruit-bearing branches, those which will carry grapes. As for removing secondary shoots (or épamprage), this is done throughout the green pruning period. But there is one form of this task which is specific to the late summer season. “Nous terminons les américains” (We’re finishing the Americans) – so will the vignerons describe this other type of épamprage. Behind this rather odd expression hides an interesting story…

Vitis Vinifera is the principal species of grapevine historically cultivated in Europe, and includes such well-known varietals as Cabernet Sauvignon or Merlot. Until the 19th century, it was always planted “franche de pied”, meaning simply that it possessed its own root system. It was a vine that could weather anything. Anything, that is, except the disease of the century: phylloxera, a little sap-sucking aphid which feeds on a vine’s roots, resulting in deformations which gradually cut off the flow of nutrients and water, killing the vine. So it was that, starting in the 1860s, entire vineyard regions throughout France and Europe were destroyed, all because of this devastating little insect.
 
There are several theories regarding the origins of the phylloxera epidemic, and how it came to proliferate throughout our terroirs. The most widely accepted theory concerns the New World. As the world economy was rapidly developing in the 19th century, the increase in transatlantic exchanges and the decrease in the time necessary to traverse the ocean led to the arrival in Europe of phylloxera, a species hitherto unknown here.

Another theory, more prevalent in biodynamic circles, postulates on the contrary that this aphid has always been present here, and that Vitis Vinifera simply lost its natural capacity to resist it. The rationalisation of viticulture, the depletion of grape varietal diversity, and the shift to systematic propagation by root cuttings would be, among other factors, responsible.

To renew Europe’s vineyards, wine growers came up with the idea of employing a practice already common in arboriculture at the time: grafting. Grape varietals of the Vitis Vinifera species were thus grafted onto other species of Vitis from America, such as Vitis Rupestris or Vitis Berlandieri, which are resistant to phylloxera.

“Faire les américains”, signifies cutting the non-fruit-bearing shoots growing on the rootstock, that is to say the “American” part of the vine, which prevents the grafted Vitis Vinifera vine from being rejected by its host. This specific type of épamprage, carried out across the entire vineyard, constitutes a long and painstaking task. On average, the job entails pruning 600 vine plants per hour and per person. Enough to keep everyone busy until the harvest…