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 

Bordeaux 2023  Unsurprisingly, our coverage of the latest Bordeaux vintage was top of the most-read list this year. From our first look, our full report and breakdown of the year by commune to our round-up of what the critics were saying about the vintage, there’s no doubt that Bordeaux 2023 caught your attention.  Read all our coverage of the vintage here  Burgundy  The allure of the Côte d’Or and its expressions of Chardonnay and Pinot Noir don’t look set to fade. With the release of the latest vintage from Burgundy always straddling New Year, our most-read features included coverage of both 2022 (with our summary of what the critics thought of the year) as well as our first look at the 2023 vintage, which we’re currently immersed in, as well as Jasper Morris MW’s feature for FONDATA on eight domaines to watch and our essential guide to the region.  Read all Burgundy features  Advocating for change: William Kelley  In under a decade, William Kelley has gone from an unknown academic to one of the wine world’s most familiar faces and influential voices. Now in situ as the Wine Advocate’s Editor-in-Chief, we sat down with the wine critic and winemaker to talk about his accidental career and his plans for the publication.  Read more  Rino Fontana: a collector like no other  Named by Antonio Galloni as his Wine Personality of the Year in 2023, Rino Fontana is a collector like no other. He has been squirrelling away Piedmont’s treasures since he started visiting the region’s wineries in the 1980s. But he has eyes only for one grape: Nebbiolo. We sat down to talk about his journey into wine, extraordinary cellar and obsession with this regal variety.   Read more  Telmo Rodríguez: the eternal battle  Over the last three decades, Telmo Rodríguez has relentlessly fought for Spain’s vinous heritage, forging a new face for the nation’s wines. We caught up with the indefatigable winemaker to talk about his eternal battle to right previous wrongs and Matallana, his most ambitious project to date.  Read more  See what was popular last year or read more Editorial 

From in-depth vintage reports to interviews with the industry’s leading names, we’ve published a whole host of features over the course of 2024. Of it all, however, these were the stories that proved most popular

The most popular wine and spirits features we published in 2024 – as chosen by you, from detailed vintage reports to deep-dive interviews 

The biggest wine and spirits stories of 2024 

The biggest stories of 2024 

2021 RICHEBOURG, GRAND CRU, DOMAINE HUDELOT-NOËLLAT From a mere 0.28 hectares, this is a seductive and regal Grand Cru in 2021. The aristocracy of this site shines through, with haunting perfume and sumptuous depths to the sweet fruit. It’s elegant yet rich, with nuanced, smoky tones and outstandingly fine tannins that add texture to the long and plush palate of this very fine Pinot Noir. A remarkable wine. 2021 LATRICIÈRES-CHAMBERTIN, GRAND CRU, DOMAINE DAVID DUBAND Duband’s Latricières comes from a 0.3-hectare plot of 60-year-old vines in the Grand Cru, sandwiched between plots that belong to Leroy and Chantal Rémy. In 2021 it’s spicy and perfumed – the wine leaping out of the glass. Florals, pepper and incense mingle with bright yet delicate crushed raspberry fruit. Silken and fine-boned, this is beautifully elegant, with a long mineral finish. 2021 CHAMBOLLE-MUSIGNY, PREMIER CRU, LES CHARMES, REMOISSENET PÈRE & FILS This pretty Chambolle combines predictable florals and sweet strawberry with an almost blackcurrant note. The palate is lush and long, with chalky structure and crushed-raspberry fruit. It’s a wine, however, that is all about its finesse – effortless and fine-boned Pinot Noir. 2021 BEAUNE, PREMIER CRU, LES TUVILAINS, DOMAINE GEORGES NOËLLAT Maxime Cheurlin’s range is charming in 2021 – and this was a particular highlight. The nose is bright, with raspberry lift and brightness – but it’s concentrated and pure. A wave of soft, crushed wild strawberry washes over the palate – bright and pure, yet with a darker edge to it. The tannins are powdered and fine, adding the slightest grip to the palate. The finish is long and savoury. 2021 MOREY-SAINT-DENIS, PREMIER CRU, LES SORBÉS, CHARLES VAN CANNEYT Charles van Canneyt’s line-up this year is superb. This Morey-Saint-Denis Premier Cru with free-draining soils produced a silken wine. The fruit here is dark yet bright, with a beautiful density to the palate – a vivid concentration and mouth-watering freshness, building to a crunchy, red-fruited finish. 
2021 CLOS DE LA ROCHE, GRAND CRU, OLIVIER BERNSTEIN From vines that average 50 years in age, this offers incredible density – especially in 2021. The nose is pure dark cherry, not revealing much at this nascent stage. Like a gawky teenager, it’s waiting to reveal its potential, but the palate offers glimpses of what lies ahead – with smoky, savoury tones, fine – almost Italianate – dusty, tannins and bright juicy red fruit, building towards an elegant, nuanced finish. Impressive. 
 

2021 CLOS DES LAMBRAYS, GRAND CRU, DOMAINE DES LAMBRAYS Domaine des Lambrays’s flagship site is almost but not quite a monopole, with an ouvrée – less than 0.2 of the total 8.84 hectares – at the bottom of the clos belonging to Taupenot-Merme. Yields here were slashed in half in 2021, not helped by now farming biodynamically. Most of the vines (71%) date from between 1898 and 1935, while the lowest section of the vineyard is 40 years old, and 3% of the vines are spritely 20-somethings that are currently de-classified. It is fascinating tasting three sections of this large Grand Cru separately and then all the parcels as a blend, seeing how each one contributes its own character. We started with the firm, linear Plante Bas, then the more expressive, prettier Cerisiers on the Clos de Tart side, and the intense, powerful 50 Ouvrées. Combined, the result is intense, silken and long. It’s round but focused, with incredible energy and the finest texture. Gorgeous floral perfume adds a lightness to the fruit – an explosion of red cherry that fills the palate, making it seem approachable even now. A fresh, herbal twist makes the finish utterly moreish. 2021 PULIGNY-MONTRACHET, PREMIER CRU, CLOS DE LA MOUCHÈRE, DOMAINE HENRI BOILLOT Boillot’s four-hectare monopole Clos de la Mouchère is always a favourite – the shame in 2021 is that he made less than 20% of the normal production of this flagship wine. This sub-section of Perrières produces a particularly honeyed expression of the site. It’s a real step up and contrast to the already impressive village Puligny, with intense and powerful fruit expression. Cooked apricot, white peach and Amalfi lemon peel leap out of the glass, yet on the palate it’s incredibly tightly wound – with a concentrated core that will need time to reveal itself fully. The acidity here is exhilarating, driving through the fruit to a saline finish lifted by a sherbet freshness.  2021 BIENVENUES BÂTARD-MONTRACHET, GRAND CRU, ALVINA PERNOT In 2021, this is laden with generous, almost heady fruit – peach and pineapple making for a voluptuous wine that envelops you. It’s creamy and layered on the palate with incredible texture that builds with sweet spice adding complexity. It’s concentrated, full and rich with real Grand Cru concentration. Only two barrels made.  2021 CORTON CHARLEMAGNE, GRAND CRU, DOMAINE FAIVELEY The Corton Charlemagne was the last wine of our tasting at Faiveley this year – and what a way to finish. They managed to harvest just 12hl/ha from this site, one that normally is never hit by frost, yet was in 2021. The resulting wine is beautifully concentrated, with a chalky, bright citrus nose. It’s open and sunny, yet also taut – with a line of vibrant, limey acidity that runs through the entire length of the wine. The citrus fruit is complemented by light, honeyed notes and white blossom. 
Browse all available Burgundy or read more about the vintage 

The 2021 vintage in the Côte d’Or produced some wonderful wines – perfumed Pinot Noir and taut Chardonnay, wines that will appeal to classic Burgundy-lovers. Of all the wines we’ve tasted so far, these are our 10 favourites 

Discover our top 10 wines tasted from the Burgundy 2021 vintage so far – from up and down the Cote d’Or

Our favourite wines from Burgundy 2021

Burgundy 2021: our favourites

If you journey to the northernmost prefecture of Japan you will find Hokkaidō. Venture deeper into the Japanese island’s stunning national parks and forests and you’ll find its native quercus crispula – the mystical mizunara. Measuring up to 30 metres in height, with long, curved branches and broad leaves, the Japanese oak tree is undeniably majestic. In recent years, this humble tree, favoured by luxury furniture makers, has become an incredibly highly sought-after commodity in the whisky world for the slightly unusual characteristics of sandalwood, coconut and incense it imparts. It is so desirable, in fact, that a single barrel can easily cost 10 times the amount you’d pay for a standard Sherry cask. If you can get your hands on one at all, that is. Mizunara hasn’t always been as desirable as it is today. In fact, track back 10 to 15 years and very few people had heard of it, let alone deigned to put their beautifully crafted whisky in it. Its popularity neatly coincides with the sudden rise of Japanese whisky and Suntory’s decision to release a whisky that had been aged, albeit fleetingly, in this Japanese oak. What many didn’t realise at the time, and arguably still don’t to this day, is how problematic the mystical mizunara is to cooper, source and use as a maturation vessel. It takes approximately 200 years before a mizunara tree reaches the desired diameter for a cask (70-80cm). It doesn’t grow in a straight line, which makes creating staves a bit of a logistical headache for coopers. It has an extremely high moisture content (mizunara literally translates as water oak), and contains more knots than other woods, which is an issue when trying to make a cask watertight. It is also porous and prone to leakage. It's fair to say that it’s not a natural choice, and historically it wasn’t used in this way. Japanese distillers traditionally used European or American oak to mature their whisky because they were heavily influenced by Scotch traditions. But a shortage of casks during and after World War II forced them to look closer to home, to their native oak tree. Fast forward to today and the number of mizunara-finished whiskies is at an all-time high. As a consequence, mizunara barrels have only become more difficult (and expensive) to source. Andrew Rankin has worked in the whisky industry for 47 years – what he doesn’t know about casks isn’t worth knowing and his connections are enviable. None more so than his relationship with one of the oldest independent cooperages in Japan, from whom he sources a steady supply of mizunara for his new Scottish Highlands distillery Ardross. He describes the Japanese oak as a “fairly recent phenomenon” that was kickstarted by Suntory – a company he knows exceptionally well from his 20-plus years at Morrison Bowmore – where they filled an “absolutely tiny percentage” of Yamazaki into mizunara a decade ago. In the years that have followed, Rankin has been watching the mizunara market closely and is sceptical as to whether there is enough supply to meet demand. “It took me years to persuade Suntory to give us some mizunara casks,” he says. “At that time, I think it was 2010, we got three used mizunara casks and we got three new mizunara casks – and that was it. And it was a one-off. We weren’t getting a regular supply of it.” Even with his connections, Rankin says he doesn’t get a committed volume of mizunara each year because it is dependent on the level of deforestation and the quality of the wood. “We were due to get 20 [barrels] in at the beginning of this year,” he says, “but we still haven’t got them because of selection problems with the wood and shipping problems.” He’s hopeful they’ll arrive before the year is out, but there’s no guarantee. From the people I have spoken to, this lengthy wait is par for the course. East Asia Whisky Company’s Christian Leusder says it takes “approximately three years before you receive a good-quality mizunara barrel”. When you’ve parted with a staggering £8,000 per cask – five times the cost of a standard European or American oak barrel – it can be galling when other producers punt for a mediocre cask, which is only partly made from mizunara or is made from multiple trees, and sell their whisky for a similar price. These, arguably, poorer imitations can be with the buyer within a month or two because they take far less time to cooper and ship. Leusder believes the “massive” difference in cask pricing and considerable delay is worth it to produce something that isn’t just “bandwagon [and] off-the-rack”. Another bone of contention regarding mizunara is the length of time the whisky has spent in barrel, and whether the cask is fully or only partly made from the Japanese oak. Suntory UK Brand Ambassador James Bowker says the Japanese whisky behemoth is “lucky” to have a “relatively consistent, quality supply chain” that has been established over many years. These relationships enable them to fully age whiskies in single casks rather than cask transferring or finishing. “You’ll see this practice across our portfolio where we use mizunara,” he says. “It gives a more rounded, complex, tertiary profile rather than a simple hit of the primary cask notes.” However, Bowker is quick to acknowledge this expensive process which requires a “significant” time investment is not always possible – financially or otherwise – for some producers. Rankin says he really doesn’t know where all these producers are sourcing mizunara casks from because they are, naturally, far more scarce today than they were a decade ago. He is also sceptical about how long some of these whiskies have spent in mizunara and believes it takes at least five years to get any influence from the wood. “At the moment, you could put your whisky in a mizunara cask, roll it about on the floor, and say it is mizunara-cask-finished,” the Master Blender says. “And you probably know, and I probably know, that it is going on.” The people who don’t know, Rankin says, are the end consumers because producers are not currently required to be transparent about this on the label. East Asia Whisky Company’s Leusder picks up the point. “If you look at what Chivas Regal are doing, they are producing a lot of mizunara single malt whiskies which are just finishes and they don’t actually have an age statement so you don’t know how long they’ve been in there,” he says. “And I personally can’t really taste the mizunara out of it.” He continues: “Finishes can be gimmicky. They can go wrong. And they do not always yield the best product.” This is one of the reasons East Asia Whisky Company dips their toe in the mizunara pool but has no intention of fully submerging its feet. Its current Macallan mizunara series stops after the third release. A mizunara-finished Springbank and Bowmore release will follow, and then Leusder says the team might try and get their hands on a younger vintage and decide to age it in mizunara until the 40-to 50-year mark, when it will no longer be a finish. Dr Bill Lumsden, the genius behind Glenmorangie and Ardbeg for the past 26 years, has pioneered experimentation on every aspect of whisky production. It is telling that he has never released a product with mizunara oak in it. He says it is the taste profile, rather than sourcing and porosity, that puts him off the Japanese oak. “If I was to take Glenmorangie new-make spirit – and I’m neither confirming nor denying that I have done this – and mature it in a new heavily-toasted mizunara oak cask for 12 years, at the end of the day, I would have something that would probably taste a little bit bizarre,” he says. Lumsden says he always recalls doing a tasting in conjunction with The Glenlivet Master Distiller Alan Winchester and Suntory Chief Blender Shinji Fukuyo in London when Fukuyo presented a fully mizunara-matured whisky. Lumsden struggles to remember if it was Yamazaki but remembers the taste profile with crystal-clear clarity. He describes it in just two words: “bewilderingly strange”. Coming from a man who invented the Russian-oak matured Ardbeg Kelpie, which he says has elements of “the smell of burning rubber when a car has screeched away”, this is quite the review. Casting an eye to the future, there is little doubt producers will continue to release mizunara-finished whiskies – certainly in the short to mid term. Leusder says he thinks it will always be popular simply because it’s so rare, but predicts there will be a larger and widening gap between high and low quality. “There will be less and less of the high and more and more of the low,” he says, “and the market will be more and more confused as to which is which.” When pushed, Suntory’s Bowker says he absolutely thinks the trend will continue and other categories will start using mizunara. But, he adds with trepidation, that he hopes producers will “respect this special wood and ensure that consumers get to experience it at its best rather than being tempted by more affordable shortcuts as you so often see in this industry”. For the time being, at least, it seems like the mystical mizunara is going to continue to enchant producers and drinkers alike. And, unless things drastically change, the onus will be on the whisky drinker to watch out for the sorcery and find the magical liquid that undoubtedly exists. Browse all spirits or read more Editorial 

Mizunara has everybody spellbound. The Japanese oak – once relatively unknown and troublesome – is now desperately sought-after. Holly Motion speaks to some of the biggest names in the cask industry about what they really think of the mystical wood

Exploring why the Japanese oak mizunara – once relatively unknown and troublesome – is now desperately sought-after in the whisky world

Investigating the rare Japanese oak, mizunara

The mystical mizunara

Over two trips to the region, our team delved into the 2022 vintage – visiting, tasting with and talking to a range of producers up and down the Côte d’Or. Here we break down the year by producer, from north to south, with a summary of how each fared and our favourite wines from the tasting table

A run-down of the Burgundy 2022 vintage wines en primeur by producer: from Fourrier to Lamy via Bernstein, Lamarche, Lambrays, Duroche and Hudelot-Noellat

Burgundy 2022 – the vintage by producer

Burgundy 2022: by producer

Burgundy is a mecca for lovers of fine Chardonnay and Pinot Noir, but, with its litany of producers and vineyards, it can be a tricky region to get to grips with. Here we offer an essential guide to the region – breaking down everything from how vineyards are classified to producers to look out for

Discover everything you need to know about Burgundy: from vineyards and producers to the difference between négociant and domaine or what a Grand Cru is

Your essential guide to Burgundy wine

Your essential guide to Burgundy

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