Tag Archives: aged puer

Puerh Junky Studies Leaves

Posted on by Yang-chu
10 Aug

Puerh Junky Studies Leaves continues an on-going discussion regarding the task of determining age of certain productions.  A recent entry compared leaves spanning 10 years in age difference but seemed may just a few.  A similar format of mainly pictures will be employed here involving a ’96 raw brick acquired spring ’22 and a ’98 7542 acquired in May of ’18  included among the Bazhong in Sampler U.

Here’s the first image taken.

Side-by-side

Don’t forget one of the nifty features of wordpress is that you can click the images for close ups.  Both have been dry-stored and you get to guess which is which.

Old productions such as these often require some type of preparation.  The ’98 received no preparation but it literally took more than five years to come into form.  All the while, I sat skeptical about the production’s actual age and drinking potential because the three other cakes from that vendor had all shown considerably more life after a year in LA. Upon tasting of the ’96, I immediately broke about half for storage in porcelain because I didn’t want to wait years before it would become enjoyable.

Side-by-side flipped

So there’s a difference in hue depending on where they are.

Side-by-side original

Something younger but more humidly stored, the ’03 Yiwu Princess. . .

Yiwu Princess 2020 foto

I immediately noticed a redder red.  Let’s look at the cups:

’96 ZC Brick

Now for the cake:

’98 Bazhong Cake

There’s a fair measure of light that factors.  Several shots in as similar a light as possible.

Revolutionary Suspect 8972

I conservatively guessed the Revolutionary Suspect to be about the late aughts, but it was pure speculation.  From among the four, it is clear that the Yiwu Princess is the darkest.  It is also the most humidly stored.  Yes, the RS 8972 certainly got something like wet storage but a year after receipt in ’14-5, it got bone dry indoor storage in clay for six years.  Given all the redness, it appears that the RS got a good deal of heat at one point. . .  or dryness?  I’m beginning to think that red indicates something other than age, maybe heat or dry heat but not age.

’09 Ox, 6FTM Guangdong storage 2022 foto

Are you getting the picture?  Determining age by looking at the leaves appears to be a challenging task.  I recall sometime back reading the comment section of a vendor in the UK.  The post alleged that the vendor was pawning young tea for old.  I immediately thought, “given the range in storage conditions how does he know that?”  Of course the accuser offered no basis for the allegation.  It’s pretty easy to get “caught up” in aspects of the puerh game that are ancillary to puerh drinking itself.  Aging variable vary widely and when it boils down to it, each production must be evaluated on its own terms.

The more I drink puerh, which is now a decade, the more I learn.  The more productions acquired in the early days age, the more I learn about how a production was conceived and crafted.  In the end, it seems that a gander at the leaves says more about how a production was stored than it does about actual leaf age.  Leaves will always be just a relative indicator, along with the specifics of storage itself.  I’m now at the stage where I doubt the years of productions less and less because I simply have no way of knowing and have witnessed some of my own long-stored items actually get lighter, at least in terms of liquor, over the years.  So, we’re back to evaluating productions on their own terms in light of years of drinking experience.

Visiting Grenouille and Aging

Posted on by Yang-chu
27 Jul

Visiting Grenouille and Aging tackles two subjects: the first is an update on the ’06 Grenouille, and the second compares Grenouille to the considerably younger ’16 Bulang Shengtai, Jindafu.  Let’s begin

Grenouille’s Developments

Grenouille hails from Wuliang Mt, in Simao.  The most famous of Simao mountains by far is Jingmai.  Wuliang Mt could well be the second most famous.  The terroir profiles of the two are distinctive. Where Jingmai are know for their florals, often described as orchid, Wuliang can be minerally or peppery.  The pepper profile is extremely common among Simaos that do not bear the appellation Jingmai.  These often hail from Jinggu.  There is also Ailao Mt possessing a pepper note.  Simao is synonymous with Lancang, cf Lincang, and Puer City.  Jingmai, Wuliang, Jinggu, and Ailao are the commonly recognized names of the productions associated with Simao.

There will be a quiz so pay attention.

Grenouille typifies the Simao essence.  Where Jingmai should sing in a high register, other Simao brood.  There’s nothing pitchy.  Rather, there’s a complex melange of medium to dark notes, notes that are difficult to identify beyond Simao itself.  Think of an attar of oud, vetiver, and vanilla, the hand of a fiendish perfumer.   This is not your mother’s Menghai.  It takes some sessions to get one’s head around what the terroir communicates.  Similar offerings in the the Collection include Buddha Impressions and Auspicious Dragon, both from Jinggu and the Cherry Blossom, also from Wuliang.

Grenouille came into the Puerh Junky’s possession in early ’19.  Up to that point, it had been conservatively dry stored, perhaps a bit warm.  Such conditions can give rise to a baby powder cum old church lady perfume quality that appeals to many drinkers.  The transition has been from subtle to insufferable to settled, where it is now this Jul 2022.  There’s a touch of bitter and an even smaller bit of sour.  Quite sophisticated it is.

By “settled,” the Puerh Junky means to convey something about that layer of baby powder.  At the insufferable stage, it is the prevailing note constituting an intensely sweet attar.  This is where increased humidity of LA conditions heighten the top layer of expression.  At the settled stage, that trait percolates into the overall character of the tea.  This indicates transformation beyond the top layer where the deeper layers have also had a chance to cook.

Aging: Grenouille vs Bulang Shengtai

Grenouille is from ’06 and Bulang Shengtai is from ’16.  Ten year difference.  I’ve been storing the latter since ’17 and the former, as mentioned above, since ’19.

Grenouille 2022 Foto

Shot two:

Bulang Shengtai 2022 Foto

Here’s another:

Bulang Shengtai 2017 Foto

Let’s let the pictures speak for themselves.  It’s clear that Grenouille is darker, but the question is whether it appears ten years darker.  The answer lies in understanding the relative nature of aging.  Obvious, right?  Still, it’s good to have a side-by-side gander to determine just how difficult it is to tell the age of a production by the leaves themselves.

The darker the leaves the older the tea.  Again obvious.  The darkness of the leaves relative the production date indicates storage conditions.  The difference is apparent in clearly humid versus dry stored productions.  However, there is a good deal of gray, especially among mainland offerings, so the colour provides an additional indicator of just how dry relative what’s being tasted.  This provides some clues regarding what to expect given one’s own storage conditions and transformation prospects for the production itself.   Unfortunately, it doesn’t look like I snapped a shot of Grenouille‘s cashed leaves when first acquired.

 

 

 

Raw Puerh Summer: OG Gangsta

Posted on by Yang-chu
25 Jun

Raw Puerh Summer: OG Gangsta is the unceremonious title for a blog update on the eponymously referenced object of attention: ’05 OG Gangsta.  In some regards, it appears our pirate of Puerhia is getting “sof”, as they say back in Philly.

I broke off a fleck of a little over 8.6327g, placing in my 150ml gaiwan.  The whole fleck went in, and I gave it a good two minutes to brew.  From Palookaville to Plum Village, if I had to tell ya.  No smoke, no toe-curling astringency, something you’d give to the gramma of the girl you started dating to get on her good side.

“What’s this, Joey?  Ya sayin’ da OG done gawn straight on us?”

“Hold ya hawses, Milton.  I’m just tawkin’ about the first few passes like four or somethin’.  Ah ain’t done tellin’ ya about da nex day.”

Each of those subsequent infusions were about a minute, surprisingly sweet and entirely unexpected.  The next day wouldda made the gang back in Philly proud, lemme tell ya.  By that time all the leaves had loosened up real nice, ya see.  Then, they got yer normal flash action.  The first one was a real doozy, a blast of camphor right in the kissa with some vanilla on top.  It then settles in to something more familiar, though softer, with the smoke greatly attenuated.  The sweetness and the texture are also much more developed and the huigan confidently redolent.

 

Lifting the Lid on Tinned Puerh

Posted on by Yang-chu
09 May

Lifting the Lid on Tinned Puerh marks an episode in the puerh storage saga of the Puerh Junky.  About a year ago, I took a few productions and placed them in various vessels, some tins, some glazed caddys, and others in porcelain.  Seals on the vessels varied in tightness and material.  The main reason for this experiment had to do with a desire to hasten transformation and adjust for what I noticed to be a bit of drop off in the pizazz primarily of the Fohai.  Altogether, I placed about five different productions in five different vessels and then proceeded to compare the performance of the vessel-stored productions against the cakes.  The caddies are stored mostly in the door of the dead refrigerator, which seems close to ideal.

 

Findings: May 2022

After better than a month with the lit removed, the Fohai was back to its original sparkle.  Notable for the Cherry Blossom was greater sweetness and a stronger fruit nose.  All of the items improved from removal of the lid with the actual vessel being of no discernible significance.  The exception being the items stored in porcelain.  None of the porcelain-stored treasures had their lids removed because they did not exhibit the same undesired tendencies.  If anything they got better.

It’s difficult to say that any of the the tinned have aged appreciably more than their respective cakes.  What can be said, however, is that their performance is noticeably better than the cakes.  Whether lid-free tinning produces appreciably better effects than setting the cake out for a few days before drinking probably depends on the production itself and the conditions in which the tea sets out.  It’s my suspicion that the Fohai probably fares better in the tin than if it were just set out, but this is merely a hunch.

Puerh Junky Discusses Peacocks

Posted on by Yang-chu
06 May

Puerh Junky Discusses Peacocks because in the course of searching for interesting Xinghai productions, the Peacock comes up often.  Well, while looking at interesting pictures I clicked upon a site heretofore unknown to me that serves up a bevy of interesting articles.  One of them read An Explanation of the Banzhang Ecological Big Cabbage, and Peacock Series; Banzhang Old Tea Big and Small Cabbage (班章生态茶之大白菜·孔雀系列详解！班章老茶之大小白菜！).

In it, the role of the founder of Jindafu, He Baoqiang, is discussed in light of the emergence of the “organic” and “green” certifications.  These certifications were marked by a cabbage seal.  Long story short, the Banzhang shengtai materials that Mr He produced in cooperation first with Menghai TF and subsequently Xinghai became known as Big Cabbage and Peacock, the former because of the certification insignia and the latter the wrapper.

Big Cabbage Insignia

Now it may be just a coincidence but if it is, that sir name He seems to be extremely common among the well-regarded puerh.  Curiously, the pricey Fujin also has a similar Dayi and Xinghai history and their founder also bears the sir name He.  There is also a Mr He Shihua who is recognized as a tea meistro who is commissioned in the making of a few productions, has productions listed in the Puerh Yearbook, and has even ascended to the level of having some of those productions faked.

Here, copycatting must be distinguished from fake.  One of He Shihua’s production line is unmistakable, featuring red traditional Dai tribal script along a white backdrop.  I acquired one such production, not because of any He Shihua awareness at the time, but because it was from Gupuer, a factory I follow.

Here, we have a copycat because Mr He’s name doesn’t appear on the wrapper and the GPE logo is emblazoned within the ring of bazhong.  Fakes, also known as tiepai, don’t have their own logo.  Years later when I stumbled upon Mr He through searches on Fujin, I ran into this wrapper without any logo but essentially similar enough to create confusion were one haphazardly scouting for He’s productions.  This doesn’t entirely resolve the matter.

From its early days, GPE commissioned some heavy hitters in the production of offerings, sold during the early naughts under the bazhong wrapper.  It is quite plausible that the wrapper above from ’13 is actually a reflection upon both their Zhongcha and He Shihua history.  The jury is still out.  This is a huge but worthwhile digression as wrappers are often telling a story that eludes those of us with only a scad of knowledge about the history.  Here we’ll depart from the He part of the discussion to address a couple peacocks in the Puerh Junky Collection: the BZ Peacock and the Peacock Brick.

BZ Peacock and Peacock Brick

The BZ Peacock’s real name is BZ Old Tree.  If you recall the opening paragraph about the title referenced, the name BZ Old Tree should ring a bell.  The name BZ Peacock was only given to reference the wrapper, but clearly Xinghai was varying a theme in which it played no small role in developing.  Xinghai has quite a few of these peacocks from this era. Here’s a pic of the one most highly prized, the Banzhang King:

The presentation here is iconic Xinghai.  The peacock is an image that is used by several other factories, Xiangming and Du Qiongzhi’s Pengcheng to name just two.  The center varies from one factory to the next and you can see Xinghai’s logo in this one.  Usually, the images will read Peacock Country at the bottom.  It’s the Puerh Junky’s guess that this Peacock Country logo references the Dai hill tribe/nationality, but this is only a guess.

Here’s the same icon but at the bottom reads Silver Peacock, the name of the production. It doesn’t appear that in terms of the vaunted peacocks that ripes factor at all.  That makes sense, as ripes by and large are not taken very seriously no matter how good or expensive they become.

’06 BZ Peacock

At least some of the vaunted peacocks are noted for possessing a smoky character.  In fact, it appears that these were the productions that put smoke on the map, something that seems strange since Xiaguan is known for their smoky offerings.  Perhaps it has something to do with smoky productions from Banzhang and the Bulang region more broadly.

Factoring greatly into the fame of the peacocks has to be qi, though I’ve not read anything about this.  When the name Banzhang comes up instantly there are expectations, positively none which interest the Puerh Junky.  Once queried about whether I thought the BZ Peacock had real BZ, I replied that I didn’t care because I only got it for the wrapper from a factory I follow.  It should be noted, however, that among those who have tasted it and are not inclined to comment upon the qi, remarks were volunteered about how “warming” it was.  Onto the brick.

Recent discoveries on the vaunted peacocks has afforded the Puerh Junky even greater appreciation for Liming’s Peacock Brick, which bears neither the shengtai nor gushu additions.  There’s no reference to BZ either.  It does have the smoke, however.  It also possesses great sweetness, texture, and durability that distinguishes it from most ripe bricks.  The smoke is not heavy and there’s no char effect.

Here’s a write up on my qi experience with the Peacock brick.  I originally picked it up in ’15 and after the few I had for offer were snatched up by one buyer, more was purchased in ’19 at more than twice the ’15 price.  Perhaps the peacock craze started to sift down into other factories beyond Dayi and Xinghai.  After my readings, I decided to check the box for any telltale signs tying it to “the peacocks.”

Little Cabbage Insignia

There it is.  The haloed cabbage insignia, the independent verification of being a “green product,” which certifies legit production and environmental standards but not the soil, a step down from but often a stage toward organic.  In short, this little Peacock Brick checks all the boxes for being a legit peacock.

Wrap up

Aside from tasting for yourself, this post should go quite a distance in shedding light upon the subject of famous peacocks from the naughts.  A nice tidbit on the origins of the Jindafu and Mr He Baoqiang tied in Xinghai’s role in the formation of a now legendary series copied far and wide.  Finally, Liming got its two-cents worth in as to why it at least deserves a seat at the table among its more celebrated relatives.

Puerh Junky Reform School

Posted on by Yang-chu
28 Apr

Puerh Junky Reform School is a post that is sure to leave many a puerh enthusiast crestfallen.  No. It’s not about reforming tattoo and piercing hipsters from the notion that that oolong-processed “gu-shu” from ’19 is puerh;  rather it’s about how the Puerh’s Junky continues to get schooled by some real late bloomers.  The reader is left crestfallen because his junkiness deigns to make out like his irascibility has been earned by developing a reservior of knowledge, while it becomes ever clearer that it is simply his posturing.

Those ’07s Turn 15

First of all we should start with those much disparaged Zhongcha ’07s, which turn 15 this year ’22.  Whereas treasures like the Thick Zen and Water Blue Mark blossomed two or three years ago, the same could not be said about the likes of the Pig, the Blue Mark Iron Cake, HK Returns Iron Cake, or Beijing Olympics.  Among these, certainly the the Pig continued to beg the question:  “Why or how could it be possible for the makers to produce such a crappy tea”?

Against my better judgement, I opened the Pig up a few weeks ago.  What a difference!  There’s no need to go into the gory details.  The takeaway is what’s important: that is many flat, boring, or crappy productions are simply not what you think they are and only time will reveal their secrets.  This boils down to processing, a subject that many including myself have discoursed upon a great deal.

’07 Pig, ZC

Whether the the old-school processing methods are better than the new-school ones is going to boil down to preference, intention. . . and disregard for the the time variable.  If one intends to store the newly processed ones, then it’s anyone’s guess what the results will be, compounded by the complexities of storage conditions.

Pig 2016

Pig 2022

I nearly destroyed my silver needle storing it among the raws, and similarly catastrophic results developed with a couple tasty Nahan, Lincang cakes.  It is clear that those puppies require a great deal more air than traditionally processed puerh.  Any fears that air will cause the treasure to lose its aromatic intensity and pizazz should be laid to rest.  The opposite is true.

’18 Nahan

Nahan 2018 Shot

The pinkishness to the hue of that pic is obvious.  Evidently, this is supposed to mean “glory.”  The material is no doubt good, but creatures of this sort are raised in the same pen as the Pig.

As market demand has driven demand for more puerh that can be drunk now increases, it appears that some of the newer methods have creeped into even how Zhongcha is making some of the older productions.  If the Lunar Series serves as any indication, we see that compression at the very least is one of the differences.  This in itself may be sufficient for allowing quicker transformation, but there’s more.

For example, there’s a huge difference in appearance between the of the ’07 Pig and the ’14 Horse.  Wholeness and choppness is going to impact the final result.  Ostensibly the Pig and Horse recipes are the same, comprised of primarily Lincang material with some Menghai thrown in.  However, the sweetness has already started to emerge with the Horse despite being seven years younger than the Pig.  They’ve both been stored here in Los Angeles for about the same amount of time.  It seems unlikely that this difference could be chalked up exclusively to compression, though it is imaginable that both required somewhere around the same amount of storage time under Los Angeles conditions to blossom, seven years.  Still, the Puerh Junky’s hunch is that there’s changes in processing that are driven by the market.

Pig w/ neifei and neipiao modesty

Horse brazenly immodest

The Lincang villages not including Mengku and Fengqing specialize in fruity expressions that are sweet very early.  This is due to processing.  However, old-school Zhongcha productions comprised of Lincang material are no more expressive at a young age than those from Yiwu.  The differences depend not in terroir but upon the ones processing the maocha, just how much they feel they can reasonably cook the tea without losing the intrinsic character.  Obviously, some have assumed a devil-may-care attitude knowing that the drinker hasn’t any inclination to store the production, so they cook the hell out of it. . . or is that into it?

Wrap-up

This confession has gone long enough.  I can think of at least three different productions that have been stored since before ’16 from the ’07ish time period that didn’t blossom till this year, all from different factories with varying measures of market cache.  Some of these productions are still not ready but do benefit from a good deal of cooking.  My experience with some of the Lincangs that have specialized in sweet processing longer than other regions is that they require different care from the old-school productions.  Even here, however, it seems that the craft tends toward more conservative processing the more special the production.  That is to say, real Xigui and Bingdao won’t get the fire of less recognized villages and even they will require some wait of a year or two.  That’s another reform school lesson for another time.  By the way, have you paid your tuition?

 

 

 

Puerh Perplexity

Posted on by Yang-chu
06 Mar

Can you help a Puerh Junky out?  The Puerh Junky finds himself twisted in knots over what it means when one says “They don’t care for factory productions.”  Does that mean they don’t like recipes?  Maybe it means they like young productions.  Perhaps it means they only go for small factory productions.

As you’ve already discerned, the Puerh Junky is clueless.  He’s read of famous puerh vendors who’ve bought tea here and there, only to take it to be processed at reputable factories.  What does it mean to not be a fan of factory teas?

Factories often have so many selections, styles, and grades.  Even if it means not caring for a particular house style, this still confounds.  House styles vary, so it’s impossible to speak of factory productions as a monolith, unless there is some elusive trait that they all share.  It is true that among the factories emerging on the scene since the late 90s that they overwhelmingly descend from the Menghai TF.  Still, these meistras and masters bring their own touch to productions and are frequently commissioned to oversee special offerings by vendors.  What on earth is “the factory style”?

Maybe it’s the pressing and aesthetics, but pretty much all productions since ’14 have gone the way of Yiwu in making their teas look pretty. . . except for recipes.  This leads back less to factory productions per se than to production styles of a particular era.  Even so, there are plenty of old Yiwu offerings hailing from the factories that are gorgeous.

Maybe it’s the quality, but this is a very tricky matter, especially if one is tasting a five-year old recipe and expecting it to taste like a similarly aged production from some Lincang village.  “Factories” have been offering more and more of these type of selections, and the question begs to what degree these bear the classical factory traits.  As the market has evolved, offerings and production styles have evolved.  Surely, these factors enter into the calculus of one who doesn’t like “factory productions.”

The best bet is that “factory” is shorthand for “recipe.”  Certainly, “8582” doesn’t have the curb appeal of say, Cosmic Bitch Slap or Orgasmic Shortcake both with histories reaching as far back as 2016.  Are these even puerh, really?  And how is it possible to have any reasonable clue about a five-year old recipe?

Now before casting the Puerh Junky as an inveterate curmudgeon, understand that he likes a young production as well.  However, it seems that age is the crux of puerh.  Only factories have productions old enough to determine the spirit of an offering.  Factory productions come from a lineage that is true to either the region or school or both.  What you end up getting then is a factory’s rendering, not dissimilar to the differences in pianists playing Schubert.  Such renderings make it nigh impossible to be categorically dismissive without sounding a smidge inexperienced.

Ox 6FTM Retrospective

Posted on by Yang-chu
06 Mar

Let’s take a journey, an Ox 6FTM Retrospective if you will.  It’s the ’09 offering in the 6FTM Zodiac/Lunar Series.  The Puerh Junky is in possession, covetously I might add, of them all, though some have never been touched.  If memory serves, the Ox may have been the first in the series acquired back in ’15.

The Ox is the first year of the series that was moderately pressed.  It was also wet-stored.  Here’s a shot from 2016.


Here’s a shot from 2020.

That foto includes the pot reserved for floral productions.  It’s 150ml.  The pour is fairly slow, so I go with less leafage, perhaps about five grams.  Here’s a shot from 5 March ’22, evening sesh.  It’s actually as dark it looks.  I was shocked.

Yeah, it’s a bit blurry.  Opening infusions are very smooth.  There’s something quite genteel to it in contrast to the Rat and Pig.  Here’s a couple shots from the morning, 6 March 2022.  The first about 15s and the second a good push of a minute or so.

Nice sparkle, matched in taste.

Light doesn’t catch the same here.  Same clarity actually.  Not as floral as the evening before with more minerality along with tame humidity.  Here’s cashed leaves from ’16.

Here’s the same leaf action in ’22.

There you have it. The ’09 Ox, 6FTM.

Puerh Junky Visits BZ Peacock

Posted on by Yang-chu
04 Mar

Before going into a Xinghai rant, Puerh Junky Visits BZ Peacock, the ’06 red ring version.   There is also a “coffee” ring version, referencing the colour of the ring on the wrapper.  Its name is taken partially from the wrapper design, though it’s actual name is BZ Old Tree.

Sometime in the early naughts, Tobacco Class puerhs started to gain steam among enthusiasts.  Among them, it seems that two stood out above the others, the Big Cabbage and the Peacock.  The former is recognizable by a big green bok choi that is also synonymous with being organic and the latter is not recognizable at all given the popularity of the peacock as an enduring totem among the hill tribes of the region.  These both seemed to be first innovated by the Fujin TF, which at the outset worked and wrapped through Dayi/MHTF before moving onto Xinghai.  The wrapper of the Big Cabbage is not discernible from any other Bazhong wrapper from the era, but the price commanded would leave one truly agog.

Puerh Junky has only been gathering peacocks for wrapper appeal.  The BZ Peacock had been in his sites for some time for this reason, totally ignorant of the buzz around the peacock of the tobacco class.  I picked up my first round as a test in ’19 and when I went to get more the price more than trebled.  The search was on.

I personally pay very little attention to the names of productions.  I’m in it for the wrappers, as already stated, and factories.  Xinghai happened to be a factory with a peacock logo or name, so that’s how I happened upon them.  It started out with mostly ripes, but I slowly started exploring some of their raws.  Xinghai set sail in ’02 and in ’18 they were bought by some entity that I haven’t cared to do any research on.  Right now, that’s not so important, as the BZ Peacock is the object of discussion.

Tobacco Class productions range due largely to house and production conception.  I previously offered an unrelenting Xinghai brick for the price of dirt, which I called Lapsang Bulang.  That brick holds the distinction of being THE smokiest and most carefully crafted brick ever encountered.  The leaves were big and whole.  The brick broke apart easily with the leaves in tact.

That’s a Jul 2000 shot, which the program won’t let me caption without creating mayhem in the layout.  In any event, Lapsang Bulang is serving as a foil to demonstrate what the BZ Peacock is not.  BZ Peacock’s smoke is more like incense.  There is a whiskey, tequila oak-stored quality about it.

Before getting more into the drinking, something should be said about how remarkably unrefined this production is.  It’s really the quintessence of the old-school factory style: hard pressed, ugly, and chunky.  Prying leaves is a joke.  This is a Menghai/Bulang creation and elegance in pressing at this time did not figure.  Don’t look for that Yiwu elegance here.

This rougueness carries over into the presentation, sorta.  Thoughts of drinking this makes me cringe a bit.  It doesn’t have that in-your-face smoke.  In fact, it’s not the smoke at all that elicits the fear.  It’s the qi.  Maybe it was “one of those days,” but even from the second cup of the first infusion earlier this week absolute oppression occurred.  I guess you could say like whiskey or tequila.

Below is what it looks like from the rinse.  There’s zero humidity.  There’s no Guangdong.  There’s positively no humidity.  The rinse, yeah I’ll drink the rinse, has a bit of sour and smoke, and surprising sweetness.  Already, I feel it and a sense of dread comes over me.  Only one cup. The pic show’s crystal clear now.  It instantly gets my throat.  Must be the day, as I have no prior recollection of that.  The sour note in taste and aroma are the most interesting traits.

Rinse

After the leaves have woken, the pot has a sour, mesquite, and Redman Tobacco sweetness aroma, in that order.  I toss the rinse, as I want to last and upon standing am already feeling it. Only one cup!  I decide on 10s in the bell pepper pot, even though earlier in the week I flash infused infused in gaiwan to proper results.  I’ll modify later but am going for a more forceful experience this time, though am using less leafage, 6.7g in 150ml.

I don’t think I’ll last more than four rounds.  I keep thinking of the Simao “A”, which I’ve learned was crafted by another tea meistra Wang Xia.  The BZP has the taste is of pure tequila without the volatile distraction of the alcohol.  There’s an exquisite note of vanilla which finishes the sip.  The taste is smooth in the mouth.  Surprisingly sweet.  It’s not too much time, an appropriate first infusion. The vanilla is definitely winning major points.  The brew is not in the least crude, at least at this point. With devil may care attitude I have another cup and pour another, but now I’m definitely feeling it in my head and chest.

Infusion 1

I’m not sure I can go on.  I think there’s a feeling of anxiety coming on, though I’m not the anxious type.  The sensation in the chest and head aren’t fun.  I feel dread.  I honestly can’t go on.  My hands are on the shaky side.  My body tells me that’s enough.

I tap out after three cups from two infusions.  I’m going to brew a little “7588” Fuhai to settle down.

Portrait “7588”

Earlier in the week while sitting in the sun I was able to power through to about six, with gaps interspersed.  That’s when the the incense to center stage.  Also, the huigan is floral.  The smoke-fade-to-flowers sensation may be quite common, but I cannot think of any off-hand.  The floral presence in the huigan builds with each infusion.  It’s quite nice.  Cask-type productions usually carry with them a measure of bitterness and the BZ Peacock is no exception.  I went two days with this and it never bottomed out.  The incense carries throughout.  It’s a cross between these two pieces, Sylvian and Black Sabbath.  Like I said, not for lightweights.

 

 

Bada Peacock: Hot to Trot

Posted on by Yang-chu
15 Feb

This just in: As of February 2022, the Bada Peacock is Hot to Trot.  Some time ago, the Puerh Junky did a side-by-side with Hideout.  Well, the Bada has left the Hideout in the dust.  At the time of that review, the Bada had a copper twang.  It’s no longer there.

Kunming TF productions aim for Zen.  The Bada Peacock is no exception.  There’s no bitterness here, nor any astringency.  Giving the leaves a good 15m soak and there is still zero of either.

In all its Zen, one thing distinguishing the BP from some of the other KMTF/Zhongcha offerings is its complete deviation from that fruit undertone so easily associated with the flagship jiaji (甲级), i.e., Top Notch Tuo, but also evident in the HK Returns, Water Blue Mark, and emerging in the Thick Zen, and presumably to appear in the Beijing Olympics and the still very young Mangosteen, a rough customer despite being from ’07 leaves before being pressed in ’12 (As an aside, it should be noted that HK Returns cake is still in a burly phase.).

Most ZC productions from ’06-’14 do not specify region or village, as the emphasis during this era was still on recipes, mostly some combo of eastern Lincang and Menghai/Bulang.  In this regard, BP is unique. The taste is pure rock sugar.  It’s very, very, sweet and this sweetness never wanes.

Ephemeral and ineffable.  You could drink and drink the Bada Peacock trying to figure it out.  The light floral note offers a nice accent to an sugary treat that doesn’t require much thought for an offering’s that’s hot to trot.