I like to read recipes and pairing books. Logical Pairing (2023) by Motohiro Ogoshi is one of the few I keep going back to.

It is a Japanese-language book aimed at general readers, and anyone with drinks at home can use the way of thinking straight away, not only with wine, but also with sake, shochu, cocktails, and even non-alcoholic drinks. It is not a book to explain one dish with one drink, but to give us principles and clues to apply across multiple cases. So, after reading it, I found myself running small experiments on my own dinner table even more enjoyable, putting a wine and a sake next to the same dish just to see which direction I liked better.

That is what I want to pass on in this article. Introducing some of his principles and three small clues that I apply for wine and sake pairing at my table, which you can try at home this weekend.

Who Is the Author?

Ogoshi-san is one of the most respected voices in the Horeca industry in Japan today. He started in the drinks world as a bartender, trained as a sommelier in France, and worked at the celebrated Ginza L’ecrin as head sommelier in between studying viticulture and winemaking in France.

Today he runs two modern Vietnamese restaurants in Tokyo. He consults on pairing for restaurants ranging from three-Michelin-star establishments to casual ones, judges wine and sake at the IWC, and works with airlines on their drinks programmes.

This range of experience gives him an unusually wide coverage. I have only briefly crossed paths with him, but I admire him and read this book often. His way of moving fluidly between wine and sake also matches how I like to set my own table.

My Angle: Wine and Sake on the Same Table

I genuinely like having both on the same table. There is a practical reason. Sake tends to be sweeter, more umami-driven, and a bit higher in alcohol than most wines. A full sake-only pairing through a long meal can feel heavy, especially without the cleansing acidity wine usually brings. Wine, in turn, sometimes struggles with the umami-heavy ingredients that are everywhere in Japanese cooking, where sake fits more naturally.

That said, I am not really complaining about either. I just like both, and I want to keep finding the most delicious pairing for what is on the plate.

So the question I find interesting is not ‘which is better’, wine or sake. It is: for this dish tonight, which direction do I feel like going? Preparing both simply increases the options and expands the horizon. Particularly with one interesting tool that sake gives you and wine usually does not: temperature. Chilled, room temperature, lukewarm, hot. Same bottle, very different drink, and that alone makes pairing more interesting.

The Book in One Page

This book builds some frameworks around a number of pairing ideas. One of the basic ideas is that pairing can be approached through five themes (these are my own interpretation, not a direct translation from the book).

• Echo — match a flavour between the dish and the drink. Particularly acidity, sweetness, salinity, and umami.

• Contrast — balance a dominant taste with its opposite.

• Complete — add what the dish is missing with the drink, often acidity.

• Resonance — match aromatic families.

• Texture — match weight, temperature, mouthfeel.

He applies it to wine, sake, orange wine, cocktails, non-alcoholic drinks, and more, and shows where each direction takes you. It made me realise that wine pairing logic and sake pairing logic are not two different worlds.

Three Clues from the Book I Keep Coming Back To

All five tools are worth your time, but the three below are the ones I reach for most often at home, the ones where wine knowledge translates most cleanly into sake thinking. Pick a dish you cook often. Open one wine and one sake. Try the same bite with each, and see which version you want to come back to.

Clue 1 — Match the Weight (richer dish edition)

One of the principles I reach for first is matching weight: aligning the weight of the food and the drink. The “weight” of a drink is close to “body”, which might be familiar for people who study wine, so the knowledge you already have becomes a useful hint for thinking about sake.

Think of a roast chicken with butter and herbs, or any roasted, slightly fatty Western dish (a pork chop, a confit, a creamy gratin). A heavier dish needs a drink with comparable body, otherwise the drink disappears under the food. You might pair it with an oaked Chardonnay with lees ageing, or a Rhône white such as a Viognier or a Southern Rhône white blend. The idea is to match the weight and a touch of richness.

You could try the same strategy for sake too, with fuller-bodied styles with higher umami such as a junmai (less polished, with more rice character), or kimoto or yamahai (*1), ideally at room temperature or gently warmed (around 40°C). Warmth amplifies the sweetness and umami of sake, which is exactly what the dish is asking for.

On the other hand, a light, dry sake such as “tanrei karakuchi”, or an elegant, sophisticated daiginjo, will often lose to those rich dishes as there is not enough body to stand up. The book makes this point clearly, and it matches my own experience.

(*1) Kimoto and yamahai: traditional fermentation methods that produce sake with higher acidity and deeper umami than modern styles.

Clue 2 — Add What the Dish Is Missing (acidity)

Another principle I find useful is to add what the dish lacks, most often acidity. Wine drinkers know this instinctively. A fatty fish wants a squeeze of lemon, or the lemony lift of a Chablis or Sancerre. The same logic applies here: instead of squeezing lemon on the plate, you pour a similar character into the glass.

Reaching for sake where you would normally reach for wine is a fun way to expand the horizon.

For instance, think of a piece of rich cheese, ideally something soft, runny, and umami-heavy, such as Mont d’Or in winter. A washed-rind cheese works too. Or a creamy mushroom soup. Rich, umami-loaded food often wants acidity to lift it. In wine direction, you might pair it with a Vin Jaune, or a regular Savagnin from the Jura. The acidity cuts the richness, and the umami-rich, sometimes oxidative character meets the dish on its own terms.

You could try the same strategy for sake too, with kimoto and yamahai that have real acid presence. One real advantage of sake here is that you can adjust its temperature, while wine has a much narrower range. Warm it gently, and the umami opens up further while still keeping enough acidity to lift the dish. Warm sake with a runny cheese is one of my favourite winter combinations, and it surprises every guest I serve it to.

Try both, and see which one makes you reach for the next bite faster.

Clue 3 — Match the Aromas

A third principle I love is matching aromatic families. This is where things get geeky, but in a fun way.

Take “sotolon”, an aroma compound that carries notes of fenugreek, curry, and maple syrup. It develops in oxidative wines such as dry Oloroso Sherry and Vin Jaune, and it is also found in aged sake. So when a dish suits one of these wines, an aged sake (koshu) often works on the same logic. Try it with aged Comté: the classic Jura partner for Vin Jaune turns out to work wonderfully with aged sake too.

Another example in the book is the link between caproic acid in food and sake. Many fragrant junmai daiginjo are rich in ethyl caproate, the compound responsible for the green-apple aroma you find in modern aromatic sake. Beef contains caproic acid, the related fatty acid. That shared chemistry is why a chilled junmai daiginjo, with cold roast beef and a touch of wasabi, feels so harmonious. You will enjoy that the green-apple lift in the sake meets the richness of the meat, and the wasabi bridges the two with a crisp note on top.

I am still learning in this area, but whenever the chemical components of food and sake are clear, you have one more tool for pairing.

Why This Book Is Worth It

Pairing books often try to give you the answer. Logical Pairing gives you the framework, then steps back and lets you make the choice. That is why I find myself returning to it.

For me, the most outstanding thing about Ogoshi-san’s approach is that he does not pick sides. Wine, sake, shochu, non-alcoholic, French, Vietnamese, washoku. The same logic applies. Once you have the toolkit, your dinner table becomes a place to experiment rather than a place to get the answer right.

I will be honest, I keep wishing this book existed in English for expanding sake culture.

If you read Japanese, the book is published by Shibata Shoten and easy to find. If you don’t, well, I keep hoping someone translates it. In the meantime, I will share my own attempts here and on my Instagram.

Open a wine. Open a sake. Cook something you love. Pour both. See which direction makes you smile.

Logical Pairing (『ロジカルペアリング』, Shibata Shoten, 2023) by Motohiro Ogoshi.

In Japan, the sake shelf moves with the seasons. Spring brings new releases. Autumn brings hiyaoroshi, released as the weather turns cooler. Aged sake, if it exists at all on a given shelf, tends to occupy one quiet corner, usually unlabelled as such, sometimes priced oddly, and rarely explained.

I grew up in that culture. Sake meant something recent. Something bright, often fragrant, sometimes ephemeral. I drank it with pleasure and did not look for what was missing.

Then I moved to the Netherlands. And something shifted.

At an importer tasting in Amsterdam, a bottle appeared that I did not recognise. The colour was deeper than anything I was used to: a warm amber, more sherry than ginjo. The smell stopped me. Caramel, something close to soy sauce, dried fruit, and underneath it all, a structural firmness that reminded me of a mature vin jaune: that same combination of oxidative depth and uncompromising acidity holding everything in place. There were several aged sake lined up alongside one another, each from a different producer, each showing something different from the last. Seeing them there, presented seriously, was one of the things that began to pull me in.

Why aged sake is rare, and why it was not always so

For most of the last century, Japan’s sake industry operated on a logic of volume and freshness. New sake was the product. Competitions, notably the National New Sake Appraisal, assessed freshly made sake for technique and quality. The market rewarded early release.

This was not always the case. Records suggest that a culture of aged sake existed in Japan in the samurai era, from roughly the 15th to the 19th centuries (Edo period). The shift came sharply in the late 19th century (Meiji era), following modernisation. Among the factors was taxation: unlike later frameworks, the Meiji tax system levied duty at the point of production rather than at the point of sale. A brewer who aged sake for several years was carrying costs on a product that had not yet generated any return, while the sake itself was changing and not guaranteed to improve. The rational response was to move stock quickly and keep turnover high.

By the time of the two World Wars, the conditions for thinking about ageing had deteriorated further. Under the severe strain of Japan’s economy, aged sake was not a category the industry had the means to prioritise. The logic of the period was compression: stretching supply, increasing yield, surviving the season. Holding premium sake back for years of careful maturation belonged to a different world.

It was only from the 1970s onward, and gathering momentum into the 1980s, that producers and drinkers began to have enough economic and cultural space to reconsider what aged sake might be. Interest in it as an intentional category, rather than an accidental one, started to re-emerge. This set the ground for more formal efforts: the Long-Term Aged Sake Research Association was established in 1985 with the goal of reviving production techniques and building a market. Although koshu remains the domain of dedicated connoisseurs, aged sake still commands little price premium over fresh sake — a reflection, perhaps, of how little the market has yet been built. But it is a real category, with a growing body of technical research behind it and some producers who treat it with genuine seriousness.

There is no single, universally agreed definition for aged sake. The terms koshu (古酒) and jukuseishu (熟成酒) are often used interchangeably, and in practice the terminology and ageing periods vary depending on the source and context.

What happens when sake ages

The most immediate change is colour. Fresh sake is pale, water-white. As it ages, it darkens: first straw, then gold, then amber, eventually approaching the colour of old Madeira or Oloroso. This is not a flaw. It is a sign of time.

The aroma changes more dramatically. Fresh sake, especially ginjo style, leads with esters: fruit, flowers, a particular brightness that can feel almost effervescent. That brightness fades over years. In its place come other things. Caramel and toasted cereal from Maillard-type reactions. Soy sauce-like savouriness. Dried fruit, honey, hints of curry or fenugreek. Something earthy beneath all of it. These are not the result of a specific production step, but time-derived complexity, a product of slow chemical transformation.

The palate changes too. High-acid sake can round out and integrate. The finish lengthens. Astringency, if it was ever present, softens. Umami deepens. The overall impression shifts from lively to layered.

For a wine drinker, the closest analogy might be an aged white wine with oxidative character: a ten-year-old white Rioja, a mature Jura vin jaune, or the older vintages of white Burgundy where hazelnut and earth have replaced primary fruit. The parallels are not exact, because the chemistry is different. But the experience is similar: something bright has given way to something more complex, and the question has changed from “what does this taste like now?” to “where has this been?”

Note: The key compounds associated with aged sake character include sotolon, which contributes fenugreek and curry-like notes; furfural, which brings a toasted, almond-like quality; various aldehydes; and ethyl esters of organic acids. DMTS (dimethyl trisulphide) is associated with the less desirable end of sake ageing, as described below.

What drives ageing: temperature, vessel, and time

Temperature, vessel, and time are the main variables. Of these, temperature is the most consequential.

At the colder end, sake is often stored below 5°C — a practice that slows chemical development and tends to preserve structure, encouraging subtle integration over time rather than rapid change. Some producers go further, storing sake at or near freezing, a practice sometimes referred to as ice-temperature storage. At these near-zero or sub-zero temperatures, the pace of development slows considerably further, extending the window over which a sake can be held without losing freshness. Whether it halts transformation entirely is unclear, but the slowing effect is well established.

At the other end, storage at room temperature allows Maillard-type reactions to proceed more quickly, producing more pronounced colour development, caramel and soy sauce-like character, and stronger tertiary aromas in a shorter time. A note worth making here for international readers: “room temperature” in Japan should not be imagined as a stable, mild condition year-round.

Vessel matters too. Most sake is aged in enamel-lined tanks, which are neutral and protective. Bottle ageing can produce a different result, with slower and more restrained development. Some producers also use traditional ceramic jars (kame). There are also now a small number of experimental and collaborative projects exploring wood ageing, including some involving French oak barrels. These remain marginal and exploratory, but they are worth noting as evidence that producers are testing the outer possibilities of the category.

Duration is a frame, not a guarantee. A sake aged ten years at near-freezing in bottle may be less evolved than one aged three years in a warm tank. The starting point matters equally: depending on the producer and the original character of the sake, the same number of years in storage will mean different things.

Which sake ages well

There is no single answer, but there are useful patterns.

Sake with firm acidity tends to age better than sake built around aromatic lightness. The acid acts as a scaffold, holding structure together as other elements shift. Kimoto and yamahai sake, which develop higher acidity and amino acid content through slow, lactic-driven fermentation, are often considered good candidates. So are genshu (undiluted sake) and sake with substantial umami.

Highly aromatic ginjo sake, designed to express delicate esters, tends to lose what it was made for as those esters fade. This is not true in every case, but it is a reasonable starting assumption.

Unpasteurised sake presents a different picture. Namazake may develop more quickly than pasteurised sake under similar conditions due to its live enzymes, so its ageing behaviour needs to be considered separately.

The design intention matters as much as the style category. Some producers make sake explicitly intended for long ageing: structures built for the future rather than for next month. Others age sake they have on hand and hope for the best.

Aged versus degraded: the question that matters most

This is where most confusion lives.

Not every sake that has spent years in storage is aged sake. Some of it is deteriorated sake. The difference is real, though the sensory line can be blurry.

What is called hineka (老香) in Japanese — roughly translated as stale odour — is a recognised fault in sake. It emerges from improper storage: exposure to heat, light, or oxygen in ways the sake was not designed to handle. The resulting smell is often described as cardboard, dusty, or a heavy, flat staleness that sits inert rather than evolving. This is not a character. It is a failure of conditions.

What separates hineka from desirable aged character appears to come down to which chemical compounds dominate. Research by the National Research Institute of Brewing found that sake identified as hineka-affected by professional tasters tended to show higher concentrations of polysulphides, particularly DMTS. Sake that had been intentionally aged and was commercially sold as koshu tended instead to show sotolon and carbonyl compounds in more prominent positions. The demarcation is not absolute, and sensory experience runs on a gradient, but the point holds: time alone does not produce quality. How and under what conditions the sake has been held matters at least as much as how long.

The practical rule for a consumer: aged sake from a producer who uses the word intentionally, and stores correctly, is very different from a bottle of fresh sake left in a warm cupboard for five years. One is deliberate. The other is not.

One example: what koshu can taste like

To understand what matured sake character actually means in the glass, it helps to start with a concrete example rather than a general description.

Akishika Shuzo, based in Osaka Prefecture, grows its own rice and releases much of its sake only after at least one year of ageing. Some bottlings are held back far longer — three, five, or more years in some cases. The Akishika Yamahai Junmai 2017 had been aged approximately nine years before release.

In the glass, it is a deep amber. The nose is pronounced and complex: caramel and brown sugar upfront, followed by toasted cereal, fenugreek, honey, and a savoury undercurrent of meat broth and something close to miso. There are earthy, oxidative nuances, and beneath all of it a clear grain-derived backbone that tells you this was well-made sake to begin with. No faults. Just depth.

The palate is dry, with high acidity that brings structure and a sense of freshness despite the maturity. Full-bodied, with a slightly grainy texture. The flavour follows the nose: caramel, toasted cereal, savoury broth, gentle bitterness that extends the finish. The alcohol is high but well integrated. The finish is long and dry, driven by acidity and umami, with lingering cereal notes that persist for twenty seconds or more.

Best served at around 15 to 18°C, or lightly warmed to around 40°C, where the umami opens further.

If you want to explore aged sake

The first recommendation is to let someone else do the ageing.

A handful of breweries in Japan treat aged sake as an important part of what they do, among them Daruma Masamune, Kidoizumi, Tamagawa, Kenbishi, Akishika Shuzo, and Mukai Shuzo.

It is also worth knowing that koshu does not only enter the market as a producer-designed release. Importers sometimes hold sake back before making it available, allowing additional development in their own conditions. Specialist sake bars and dedicated venues may age bottles on their premises. In Japan, there are venues that focus almost entirely on aged sake, offering opportunities to taste across producers and vintages in a way that is difficult to replicate at home.

If you are drawn to experimenting at home, the principles are consistent with good sake storage: low and stable temperature, darkness, and minimal oxygen exposure. Keep records of what you have and when it went in. That said, outcomes depend heavily on the sake itself. Some sake are resilient enough to evolve positively even in conditions that would damage something more fragile. A producer I met stores sake at what would broadly be described as room temperature in a part of Japan where indoor summer temperatures can rise above 35°C, and the results showed genuine, delicious aged character rather than spoilage. This is not a suggestion to attempt the same without experience or in conditions more challenging than you can manage. It is a reminder that the starting material matters most. The best home experiments begin with sake that was built to last.

A note on workshops

Much of what this article touches on — the character of aged sake, their difference in style, how temperature and time and structure interact — is easier to understand through tasting than through reading. I explore these questions in a workshop format in Amsterdam, comparing young and aged sake, and examining how the structural ideas discussed in my earlier writing on aged sake play out in the glass over time. If you want to taste and understand aged sake more directly, you are welcome to join.

Sake for Wine Lovers #4 — Aging Journey Tasting

Notes

Hineka (老香) and aged character: The distinction between desirable aged character and stale, off-putting hineka is one of the more nuanced questions in sake evaluation. Research from Japan’s National Research Institute of Brewing points to DMTS (dimethyl trisulphide) as a key marker of hineka-type degradation, while sotolon and related carbonyls are associated with positive aged character. The sensory boundary is a gradient rather than a clean line, and professional evaluation differs from consumer experience.

Key ageing compounds: Sotolon contributes fenugreek and maple-like notes; furfural brings toasted almond character; diethyl succinate adds fruity richness in some aged sake; DMDS and DMTS, at elevated levels, are associated with unwanted odours. The Maillard reaction — a reaction between sugars and amino acids accelerated by heat and time — contributes colour development and browning-associated aromas including caramel and toasted cereal.

Long-Term Aged Sake Research Association: Founded in 1985, the Association works on production technique exchange and market development for aged sake. Their working definition — sake aged three or more years after pressing, excluding sugar-added types — provides a practical reference point in the absence of a legal definition.

References

Note: All linked sources are in Japanese.

National Research Institute of Brewing (NRIB)

• National New Sake Appraisal

• Lecture materials on long-term ageing of sake

• Storage guidelines for sake

National Tax Agency (NTA)

• Sake no Shiori / Overview of the Sake Industry (2024)

• Aged Sake Symposium materials (Long-Term Aged Sake Research Association)

• Aged Sake Symposium lecture materials

National Tax College

• Research paper on the decline of aged sake and the role of taxation

Academic

• Review article on hineka and aged sake aroma (Journal of the Brewing Society of Japan, via J-STAGE)

Industry

• Japan Sake and Shochu Makers Association — statistics and terminology

Most sake labels feature calligraphy, mountain scenery, or abstract brushwork. So when I first came across a bottle with a woman’s manga on the front, I was a little surprised. She is Rumiko Moriki, a master brewer at Moriki Shuzo. The illustration was drawn by manga artist Oze Akira, whose work had changed the course of her life decades earlier.

Last summer, visiting Japan from the Netherlands. The brewery was quiet and small. Nothing about the exterior hints at the story inside. It had the feel of a grandparent’s house — familiar, unhurried.

A Brewery Committed to One Thing

Moriki Shuzo is a fifth-generation family brewery in Iga City, Mie Prefecture, located roughly midway between Osaka and Nagoya (Aichi Prefecture) on Japan’s main island. This is a landlocked basin known internationally as the birthplace of ninja. Annual production in this brewery is around 300 koku (one koku equals 180 litres, so roughly 45,000 kilograms of rice). Very small, and small enough that every step of the process can be done by hand.

The brewery was founded in the 1890s by Moriki Keiichiro, who asked a local Buddhist priest to divine a water source on the site. A well was dug, and the brewery was built around it. The founding label, Tae no Hana (meaning “wondrous flower”), takes its name from the Lotus Sutra and is still used as sacramental sake at a local shrine today.

The current lineup has four labels: Tae no Hana, Rumiko no Sake, Hanabusa — made with organic Yamadanishiki (the most prized variety of sake rice, grown predominantly in Hyogo Prefecture) — and RIE STYLE, named after current toji (master brewer) Rie Toyomoto.

Every bottle is junmaishu, brewed from rice, koji, and water alone, without any added distilled alcohol. The brewery completed its transition to an all-junmai production in 1998.

The flavour direction is consistent: depth over brightness, palate over aroma, texture over fragrance. The sake opens up with food, and improves when warmed. “Junmaishu is what we, as brewers, want to drink ourselves”.

The choices made to achieve that sake follow from there.

All koji (the mould-cultivated rice that converts starch to sugar and drives fermentation) is made using the tray method (futakoji-ho), handling small quantities carefully rather than in bulk — the quality of the koji, in their view, demands it. Rice is steamed in an old-fashioned iron cauldron over a fuel-oil burner, a method that gives precise control over steam quality and produces rice that is dry and firm on the outside, soft within.

Since 2016, Moriki Shuzo has been relying entirely on the ambient yeast living in the brewery for their kimoto and yamahai brews — traditional methods of developing the fermentation base using naturally occurring lactic acid bacteria, rather than adding cultured lactic acid. This roughly doubles the time required, but produces a complexity and depth that commercial yeast cannot replicate, they say.

The Midnight Manga and the Seven-Page Letter

Step inside the brewery and manga illustrations appear everywhere. Ask about them, and you are told a story.

Rumiko Moriki was born in 1960, the eldest daughter of the brewery. After university in Osaka, she took a job at a pharmaceutical company. Then her father had a stroke. She left her job, married her fiancé Hideki Moriki, and the two of them joined the brewery together in 1988.

Almost immediately, a larger crisis arrived. The brewery’s main income came from supplying sake by the tank to a large producer, who would bottle and sell it under their own brand. In 1990, that buyer pulled out. The choice, as described by the brewery, was binary: close, or pivot to premium junmaishu and build a market from scratch.

It was during this period that a friend recommended a manga series called Natsuko no Sake. Written by Oze Akira and serialised from 1988, it was later adapted for national television — a story that resonated across Japan. The parallels with Rumiko’s own situation were apparently too many to count, and she read the entire series in a single night. By the time she finished, she sat down and wrote Oze a seven-page letter. He replied and promised to draw her label when she made the switch to junmaishu, and introduced her to a brewery that was already doing it.

In 1992, Moriki Shuzo brewed two tanks of junmaishu. Both sold out. Oze named the sake Rumiko no Sake and drew the label himself. Knowing this before you open the bottle makes the sake look a little different.

Women and the Brewery

When Rumiko joined Moriki Shuzo in 1988, there was almost no precedent for a woman on the brewing floor. The first female toji in modern Japan had taken up the role at Hakubotan Shuzo in Hiroshima in 1985 — just three years earlier.

Sake was originally a women’s craft: the word toji may derive from an older term, meaning lady or mistress of the household. Shrine maidens brewed sake as an offering to the gods over two thousand years ago.

The shift happened around the 17th–19th century. Sake production scaled up commercially and brewers began living together inside the brewery through the winter months.

The combination of heavy physical work and communal dormitory life became a structural barrier — something Hideki Moriki spoke about directly during my visit.

After stabilising the brewery, Rumiko founded the Women in Breweries Summit — an organisation for women working in sake breweries across Japan. The first gathering was held in June 2014, bringing together women from twenty-two breweries. It now meets twice a year, combining visits to each other’s workplaces with technical exchange.

As of December 2024, an Associated Press report put the number of women registered as toji with Japan’s Toji Guild Association at thirty-three, out of more than a thousand active breweries. The number is slowly growing.

At Moriki Shuzo today, three women are involved in the brewing: Rumiko, toji Rie Toyomoto, and brewery worker Nozomi Moriki, Rumiko’s daughter. The next generation is brewing in the space that Rumiko helped open up.

Growing the Rice

During the visit, Hideki drove me out of the brewery to their rice field — the brewery’s own plot, where they grow Yamadanishiki. It accounts for around five percent of the rice they use in a year. Small, but grown with a specific intention: they want the people who drink the sake to taste what rice actually tastes like.

Sake breweries growing their own rice is, historically, rare. In the premium wine world, growers cultivating their own grapes is standard practice — known as the domaine model. In sake, it has long been standard practice to source rice from farmers or agricultural cooperatives — rice is easy to dry and transport, so there was little pressure to keep it close.

In recent years, some breweries have begun farming their own rice, but they remain a small minority nationally.

No pesticides, no herbicides. The only fertiliser is sake lees (the pressed solids left after sake is filtered) from the previous year’s pressing, spread across the fields every November. Farming without herbicides is genuinely difficult. Unlike grapes, which grow on the same vines year after year, rice is replanted annually — which means the fight against weeds starts from scratch every season. There are years when weeds win outright in parts of the field, and a section produces nothing.

But without any inputs, the rice drives its roots deep and grows on its own terms. “It’s not just for marketing,” Rumiko has said. “Rice grown without pesticides is simply stronger.”

The Yamadanishiki from this field, together with rice grown by local contract farmers under the same approach, is the basis for Hanabusa — the brewery’s label that most directly expresses this philosophy of growing and brewing as a single practice.

In the Glass

Two sakes from the visit stood out.

Rumiko no Sake No.9 Yeast Super Dry Tokubetsu Junmai (tokubetsu junmai: a premium class of pure rice sake)

Rice: Hattan Nishiki 75% (a sake rice variety from Hiroshima), Yamadanishiki 25% | Seimaibuai (rice polishing ratio): 60% | Yeast: Kyokai No.9 | ABV: 15% | SMV: +15 (Sake Meter Value; positive numbers indicate dryness) | Acidity: 1.5

Super dry, with clean finish, restrained aromas and gentle umami in balanced palate. Versatile for any kinds of dishes.

Hanabusa Tokubetsu Junmai Kimoto Hiire (hiire: pasteurised)

Rice: Yamadanishiki 100% (Mie Prefecture) | Seimaibuai (rice polishing ratio): 60% | Yeast: Kuratsuki (indigenous yeast native to the brewery) | Method: Kimoto | ABV: 15% | SMV: +7.5 | Acidity: 1.6

A gentle lactic presence from the kimoto fermentation. On the nose, banana, milk, and a faint honey note. The palate is dry with good umami, full-bodied with a slight viscosity, and the finish is long and clean. Warm it slightly and it rounds out further, becoming even more at ease alongside food. The kimoto starter takes around forty days to develop; fermentation runs for a further thirty — roughly double the time of conventional methods. The extra patience is audible in the glass.

An Unhurried Approach

Moriki Shuzo’s sake is not flashy. There is no pronounced aroma, no obvious sweetness, no complexity that announces itself immediately. What is there is balance, and an easy relationship with food. The umami holds its own without overriding what is on the plate.

I brought bottles back to the Netherlands and tried them with sole meunière and pasta as well as Japanese food. The harmony was there in each case. The kind of sake you want to keep in the refrigerator as a matter of course.

Getting here took a long time. This is a small brewery, working with labour-intensive methods, taking more time than the alternatives. The sake is not made for competition awards — it is made for the table. Knowing the background makes it taste a little different.

My thanks to Rumiko, Hideki, and Rie at Moriki Shuzo for welcoming me to the brewery, and to Dick at Yoigokochi, the Dutch importer, for making the visit possible.

Moriki Shuzo

Senzai 41-2, Iga City, Mie Prefecture 518-0002

Official website: https://morikishuzo.co.jp/en/index.html

Visited: August 2024. References: SAKETIMES (2021); Associated Press (December 2024).

酒蔵インタビュー#14 : 森喜酒造場：名前を背負う酒

深夜のマンガ、7枚の手紙、そして一本のラベルが生まれるまで

日本酒のラベルは、筆文字や山水画が多い。そこに一人の女性の顔が描かれた瓶を初めて見たとき、少し驚いた。神様でも歴史上の人物でもない。三重県伊賀市の酒蔵、森喜酒造場の杜氏・森喜るみ子さんだ。ラベルを手がけたのは漫画家・尾瀬あきら氏。彼の作品が、何十年も前にるみ子さんの人生を変えた。

昨夏、オランダから一時帰国した折に、伊賀市を訪れた。蔵は静かで小ぶりだった。外観には、中に宿る物語を予感させるものはない。祖父母の家をおとづれた時のような、どこか懐かしい佇まいだ。話を聞いていくうちに、その静けさの奥に、かなり長い時間が積み重なっていることがわかってきた。

純米酒だけを造る蔵

森喜酒造場は三重県伊賀市に蔵を構える、五代続く家族経営の酒蔵だ。忍者の里として知られるこの土地の内陸盆地に位置し、年間生産量は約300石（約45,000kg）。大手が数十万石を誇る世界では、これは徹底して小さな規模だ。だからこそ、工程のすべてを手で完結できる。

蔵の創業は1890年代、初代・森喜啓一郎の時代に遡る。地元の住職に水脈を占ってもらい、その場所に井戸を掘って蔵を開いた。創業当時からの銘柄「妙の華」は、妙法蓮華経からとられた名前で、今も地元の神社の御神酒として使われている。

現在の主な銘柄は4つ。「妙の華」「るみ子の酒」、有機山田錦を使った「英（はなぶさ）」、そしてもう一人の杜氏・豊本理恵の名を冠した「RIE STYLE」。全品、米と麹と水だけで造る純米酒だ。1998年に全量純米蔵へ移行した。

目指す酒質は、香りより味わい、明るさより深み。食事と合わせたとき、燗にしたとき、じわりと存在感が増す酒だ。「私たちが本当に飲みたいと思う酒が純米酒だった」という言葉が、そのまま蔵の輪郭になっている。その酒を造るための選択が、いくつかある。

麹はすべて麹作りを少量ずつ管理する蓋麹法だ。小規模だからこそ、大量処理に向く方法を選ばず、手をかけてこそ、求める品質の麹になると考えている。米の蒸し上げも昔ながらの釜と燃料油バーナーだ。蒸気の質を細かく制御できるこの方法で、外は乾いて硬く、内は柔らかい蒸し米に仕上げる。

発酵においても、急がない選択をしている。2016年から、生酛と山廃の仕込みは酵母無添加とした。培養酵母を添加せず、蔵に棲む酵母と自然の乳酸菌だけに委ねる。通常の倍近い時間がかかるが、それによって生まれる複雑さと深みは、添加酵母では出せないものだという。

深夜のマンガと、7枚の手紙

蔵を訪れると、あちこちに漫画のイラストが目に入る。ラベルだけでなく、同じスタイルの漫画もある。訊けば、こんな話があるそうだ。

るみ子さんは1960年、この蔵の長女として生まれた。大阪の大学を卒業後、製薬会社に就職したが、父親が脳梗塞で倒れたことをきっかけに、婚約者の英樹さんと入籍して、1988年に二人で蔵に入ったそうだ。

しかしその直後、大きな危機が訪れた。当時の収入の柱は、造った酒をタンクごと大手に納める桶売りだったが、1990年、その大手が買い付けを打ち切る。選択肢は二つだった。廃業か、品質と個性で勝負する純米専業化か。

その苦境の中で、知人に勧められたのが漫画「夏子の酒」だった。尾瀬あきら氏原作で、1988年から連載され、後にテレビドラマ化もされた国民的な作品だ。るみ子さんの境遇と重なる部分があまりにも多かったため、夜通し最後まで読み通したという。読み終わったその晩、尾瀬先生に便箋7枚の手紙を書いた。一週間後に返事が届き、「純米に切り換えたらラベルを描く」という約束を取り付け、純米酒造りで先を行く蔵を紹介してもらったという。

1992年、森喜酒造場は純米酒の醸造を2タンクで始め、その酒は完売した。尾瀬先生が「るみ子の酒」と名付け、ラベルも描いてくれたという。こんな話を知ってからボトルを開けると、その酒がまた少し違って見える気がした。

女性と蔵、その長い歴史

るみ子さんが蔵に入った1988年、女性が醸造の現場に立つことは、業界でほぼ前例がなかった。近代の酒造りにおける最初の女性杜氏が広島・白牡丹酒造に誕生したのは1985年のことで、るみ子さんが入蔵したのはその3年後だ。

しかしもともと、酒造りは女性の仕事だった。「杜氏」という言葉は、古語で主婦や女主人を意味する「刀自（とうじ）」に由来するという説がある。弥生時代には、神への供え物として巫女が口噛み酒を醸していた記録も残っている。女性が蔵から遠ざけられるようになったのは、江戸時代に酒造りが大規模化・商業化してからのことだ。冬場に杜氏と蔵人が蔵に住み込む慣習が生まれ、重労働と共同生活が、女性の参入を阻む構造的なハードルになっていった。英樹さんは訪問時、そのことを率直に話してくれた。

蔵女性サミットを立ち上げたのは、るみ子さんだ。蔵の危機を乗り越えたあと、同じ立場の女性たちを支援する活動を始める。2014年6月、東京・椿山荘に全国22蔵の女性蔵人が集まる場を設け、現在は年2回の開催で、蔵の相互見学や技術交流の場として機能している。「同じ重荷を持つ人と話せると、少し楽になる」と、るみ子さんは言う。

2024年12月のAP通信の報道によれば、全国の杜氏組合に登録する女性杜氏は33名（稼働蔵は1,000以上）。数は少しずつ増えている。

現在の森喜酒造場では、るみ子さん、杜氏の豊本理恵さん、そして蔵人の望さん（るみ子さんの娘）と、3人の女性が酒造りに携わっている。るみ子さんが切り開いた場所で、次の世代が醸している。

米を、蔵から育てる

訪問の途中、英樹さんの運転で蔵を出た。車で5分もかからない場所に、田んぼがある。山田錦を育てている自社田だ。この自社田の米は、使用原料米全体の約5パーセントにあたる。少ないが、「米本来の味わいを感じてほしい」という思いで育てているそうだ。

酒蔵が自ら田んぼを持つことは、歴史的な経緯もあって非常に少ない。プレミアムワインでは造り手が自らブドウを育てることが当然とされているが、日本酒は長らく米を農家や農協から購入するのが一般的で、蔵と米の間には距離があった。また、米が乾燥させた状態で運搬しやすいことも一因の一つだ。近年、ワインのテロワールの概念に影響を受けて自家栽培に乗り出す蔵も出てきているが、それでも全国ではごく少数にとどまる。

農薬も除草剤も使わない。肥料は、前年の酒を搾った後の酒粕だけだ。毎年11月、田んぼに酒粕を撒く。除草剤なしの米作りは並大抵ではない。ブドウと違って稲は毎年植え替えるため、雑草との戦いを毎年一から始めることになる。雑草に負けて、一定範囲に全く育たないこともある。しかし何も与えられない分、米は根を深く張り、自力で育つという実体験があるそうだ。「マーケティングのためだけではない」と、るみ子さんは語っている。

この自社田の山田錦と、地元・伊賀の契約農家が同じ方針で育てた米を原料に使うのが、「英（はなぶさ）」だ。蔵元が米の栽培から関わる、この蔵を象徴するシリーズだ。

グラスの中へ

訪問時に試飲した中で、特に印象に残る2本を紹介する。

るみ子の酒 No.9酵母 超辛口 特別純米

使用米：八反錦75%・山田錦25%　精米歩合：60%　酵母：協会9号　アルコール度数：15%　日本酒度：+15　酸度：1.5

「超辛口」香りは穀物、栗、果実の香は控えめで清潔感がある。口に含むと確かに辛口だが、旨みがきちんとあってするすると盃が進む。余韻は短めでキレが良く、合わせる料理を選ばない。懐の深い食中酒だ。

英（はなぶさ） 特別純米 生酛 火入れ

使用米：山田錦100%（三重県産）　精米歩合：60%　酵母：蔵付酵母　製法：生酛　アルコール度数：15%　日本酒度：+7.5　酸度：1.6

生酛由来の乳酸の気配が穏やかに漂う。口に含むとバナナ、ミルク、ほのかなはちみつ。辛口で旨みがあり、濃醇でわずかにとろみがあり、余韻は長めでクリーン。温度を上げると丸みが増し、食事との相性がさらによくなる。この酒は生酛作りに40日、さらに発酵に30日と通常よりかなり長い時間をかけゆっくり発酵させている。

選ばれた、不便な道

森喜酒造場の酒は、決して派手ではない。華やかな香りや、わかりやすい甘さ、一目でわかる複雑味があるわけではない。しかしバランスが良く、食事に寄り添う。旨みがあって、食べ物に負けない。

オランダに持ち帰って、和食だけでなく、舌平目のムニエルやパスタと合わせてみた。ハーモニーがあり、非常に心地よかった。冷蔵庫に常備しておきたい日本酒だ、と思った。

この酒が届くまでの道のりは長い。小さな蔵で、手間のかかる方法で、時間をかけて造られる。鑑評会の金賞を狙うための酒ではなく、食卓に置くための酒だ。その背景を知ってから飲むと、またひと味違う。

今回の訪問を快く受け入れてくださった森喜酒造場のるみ子さん、英樹さん、理恵さん、この機会を実現させてくれたオランダのインポーター「酔い心地」のディックさんに心から感謝いたします。

森喜酒造場（合名会社）

三重県伊賀市千歳41-2　TEL 0595-23-3040

公式サイト：https://morikishuzo.co.jp

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Kyoto is one of Japan’s most popular destinations, rivaling Tokyo for international tourists. Millions arrive each year in search of UNESCO World Heritage temples and a city whose memory stretches back over a thousand years. Most come expecting an encounter with old Japan.

That is what makes Matsui Shuzo so striking, in the best possible way.

The brewery sits in the center of Kyoto, about twenty minutes from Kyoto Station by train. Nestled between the Higashiyama mountain range and the Kamo River, with the Imperial Palace and Shimogamo Shrine to the west, it is one of only two breweries said to remain within Kyoto’s central urban area, alongside Sasaki Shuzo.

Follow the address and you arrive at what looks like an ordinary apartment block. The brewery occupies part of the ground floor. Without a sign, you could walk straight past. Step inside, and the picture shifts: modern equipment, brewery tours available in both Japanese and English, and depending on the time of day, more foreign visitors than Japanese ones. The overall impression is of a brewery that has made itself genuinely open.

A 300-Year History, and a Return

Matsui Shuzo was founded in 1726, giving it nearly three centuries of history. The brewery began in Kasumi, Hyogo Prefecture, before relocating to Kyoto. The current address in Yoshida-Kawaracho dates to around the time of the thirteenth-generation owner.

Brewing here came to a halt when railway extension work in the area raised concerns about the impact on the local groundwater. Water is fundamental to sake production, and the risk was not one to ignore. The brewery decided to move to Fushimi, the well-known sake-producing district in southern Kyoto, and production continued there as a cooperative brewing arrangement for a period.

Matsui Shuzo today is managed by the fifteenth-generation owner, Jiemon Matsui. In 2009, Matsui Shuzo returned to the current location. The motivation was simple: to brew on their own terms again in the same place.

The restart involved significant changes. The well was dug deeper to secure a stable supply of high-quality soft water. The ground floor was converted into a working brewery, fitted with compact equipment and climate control. The traditional seasonal brewing model, which limits production to winter, was replaced with year-round brewing.

That shift also makes it possible to supply the brewery’s core product, unpasteurized sake (namazake), requiring refrigeration, fresh throughout the year.

Matsui Shuzo is not simply making do with its unusual setting in the apartment. It has built a brewing style around it.

Brewing Tour

The tour begins with a hair cap. Strict hygiene is standard in any food production environment, but the small ritual of putting one on has a way of reorienting you. You are about to enter a working production facility.

The tour follows the brewing process in sequence: rice washing and steaming, then the koji room where the koji rice is made. At the fermentation tanks, it is possible to compare a batch from just a few days into fermentation with one nearing completion. The difference in appearance and aroma is immediately obvious. The structure of the tour, following each step in order, makes the logic of sake production easy to grasp.

Next comes the pressing stage, where the fermented moromi mash is separated into sake lees (sake kasu) and the finished sake. The tour ends with bottling and the heat pasteurization step for some sakes that stabilizes the sake for storage.

Year-round brewing makes the tour considerably more vivid than it would otherwise be. At seasonal breweries, visiting outside the production window means looking at idle equipment. Here, the process is running. When the tasting follows directly afterward, the sake in the glass carries a context you have just witnessed.

Kagura: What the Brewery Puts in the Glass

The flagship brand is Kagura (meaning “divine storehouse”). The core range is unfiltered, undiluted, and unpasteurized (muroka, genshu, namazake). Because it is unpasteurized, the sake requires refrigeration, and year-round production ensures it is always served fresh.

The brewing water is drawn from an on-site well drawing ultra-soft water, said to share the same underground vein as the three famous wells of the Kyoto Imperial Palace. Matsui Shuzo is currently the only brewery drawing on this particular water source. The soft, clean character of the water runs through the entire Kagura range.

At the ground-floor tasting bar, a sake server allows visitors to try around twenty varieties in small pours. Impressions of the three bottles below.

Junmai Kagura, Muroka Genshu Namazake (Ruri / Lapis)

The entry point to the Kagura range, and food-friendly in style. Brewed from Kyoto-grown Iwai rice with an extended low-temperature fermentation averaging thirty-five days, around ten days longer than a typical junmai. The nose is gentle: a subtle lactic freshness, a hint of citrus. On the palate, the texture is rounded, rice umami and gentle acidity crossing each other, with a pleasant dryness that keeps the finish clean. Approachable for anyone new to sake or Kagura’s style, this is where to start.

Junmai Daiginjo Kagura, Muroka Genshu Namazake (Shiro / White)

The same Iwai rice, milled to 35%. Multiple award winner, including a silver at the International Wine Challenge in 2015. The nose opens with white flowers, sweet and fresh, rising cleanly. On the palate, the complexity arrives in layers: sweetness, acidity, and a gentle bitterness, none dominating. The soft water shows clearly here, keeping the texture smooth despite the concentration. A fresh acidity draws you back for the next sip, and the rice character spreads slowly. The finish holds. This is Kagura at full expression.

Junmai Daiginjo Kagura, Muroka Genshu Namazake (Kuro / Black)

Where White uses Kyoto-grown Iwai, Black is built on Yamada Nishiki from Hyogo Prefecture, also milled to 35%, fermented with the brewery’s own proprietary yeast. It has won at the National New Sake Competition, Japan’s most prestigious sake award. The color is a faint gold. The ginjo aroma is present but turned inward, less fragrant than White, more restrained. On the palate, the contrast with the fruity nose is clean and sharp: the texture cuts through, the finish is lean and precise. If White leads with the complexity of the rice, Black leads with clarity. What struck me most was how much two bottles at identical polishing ratios could differ, simply through the combination of rice variety, yeast, and water.

After the Tour: A Bar That Happens to Be a Brewery

After the tour, there were people at the bar counter who were clearly in no hurry to leave. They had ordered light snacks, settled in, and were working their way through the sake server at their own pace. The atmosphere was less brewery visit, more neighbourhood bar. Easy to drop into, easy to stay in. For a Kyoto itinerary built around cultural depth, this is what a well-placed stop looks like.

Matsui Shuzo also makes gin and rum. The path to distilling began during the COVID-19 pandemic, when rising demand for medical-grade alcohol created an opening to obtain a spirits production license. Tourism collapsed, restaurant orders dried up, and the brewery took a serious hit. The owner’s response was to treat the disruption as an opportunity. “Let’s try distilling.” Easier said than done: moving from brewing to distilling took considerably longer than planned, and the first release was delayed well past the original schedule. The result, though, is a craft gin built on a base spirit redistilled from sake lees (sake kasu), layered with juniper berry, lemon, sesame, and shiso from Ohara. It is called Kyoto Gin Rinne (meaning “reincarnation”). The name fits: the sake-making process generates the base, and the gin completes the circle.

A Final Note

Most visitors to Kyoto look for Japan’s depth through old buildings, stone paths, and temple gardens. That instinct is not wrong. But places like Matsui Shuzo add another dimension.

A brewery founded in 1726 gave up brewing on this site, then came back in 2009. When the pandemic shut down tourism, it moved into a new category of production entirely. Each time, rather than being defined by the constraint, it found a different direction. That accumulated resourcefulness is present in the small ground-floor space, whether you register it consciously or not.

Knowing that history changes how the sake tastes, or at least how you receive it. The weight of continuing to brew in an old city, and the lightness with which the brewery carries it, are both there.

Getting there is straightforward: around twenty minutes from Kyoto station. Tours are ticketed and available in Japanese and English. Check the official website for reservation requirements.

If you are going to Kyoto, it is worth the detour.

Matsui Shuzo at a Glance

• Founded: 1726 (Kyoho 11)

• Address: 1-6 Yoshida-Kawaracho, Sakyo-ku, Kyoto

• Flagship brand: Kagura (Kamikura)

• Tours: Japanese and English, ticketed (check website for reservations)

• Access: approx. 10 min walk from Keihan Demachiyanagi Station; approx. 1 min from Kawabata-Ichijo bus stop

How to obtain in the Netherlands: Kagura is available in the Netherlands through Otemba Sake. Based in Amsterdam, they deliver carefully selected sake to Europe with proper temperature control.

I would like to thank Mr. Jiemon Matsui XV, the CEO of the Matsui Sake Brewery, and a brewer Mr. Morikami for sharing insightful stories during my visit, and to Otemba Sake for making this connection possible.

酒蔵インタビュー#13:松井酒造

京都の真ん中で、日本酒はこんなに開かれていた

京都は、海外旅行者にとって東京と並ぶ日本最大の目的地のひとつだ。世界遺産の寺社仏閣、石畳の路地、千年以上続く都市の記憶を求めて、毎年何百万人もの旅行者が訪れる。彼らの多くが期待するのは、古い日本との出会いだろう。

だから、松井酒造を初めて訪れたときの驚きは、なかなか言葉にしにくい。

場所は京都市左京区吉田河原町。京都駅から電車で20分前後の距離になる。東山三十六峰と鴨川に挟まれ、西には京都御所と下鴨神社を望む、京都の中心市街地に残る酒蔵は、現在は佐々木酒造と松井酒造の2蔵のみとされている。

住所を頼りにたどり着くと、そこにあるのは普通のマンションだった。1階の一部が蔵になっている。看板がなければ、通り過ぎてしまいそうなほど、ふつうの外観だ。一歩中に入ると、設備は現代的で、ツアーの案内が日本語と英語の両方で提供されており、訪れた時間帯によっては外国人旅行者の方が日本人より多い。京都観光の合間に立ち寄れる、開かれた蔵という印象だった。

松井酒造の歴史と再出発

松井酒造の創業は1726年、およそ300年の歴史を持つ蔵である。もともとは兵庫県の香住で始まり、その後京都へ移転。現在の吉田河原町に落ち着いたのは、13代目が当主を務めた頃だという。

しかしこの地での酒造りは、一度途絶えることになる。電鉄の延伸に伴う地下工事が周辺で行われた際、地下水への影響が懸念された。水の問題は日本酒造りの根幹に関わる。そのため蔵は京都南部の日本酒銘醸地として名の知れた伏見で合同醸造を行う時期を経ることになった。

その後、2009年に松井酒造はこの地へ戻ってきた。「もう一度同じ場所で」という思いが、再出発を後押しした。

再開にあたって、蔵は大きく変えられた。井戸を深く掘り直し、安定した質の良い軟水を確保した。1階を酒蔵として改装し、小型設備と空調を整え、通常冬に一度だけ醸造するスタイルから、通年醸造にも対応できる環境にした。また、通年醸造は松井酒造のメイン商品である生酒を、通年にわたって新鮮な状態で提供することを可能にした。

現在の松井酒造は、京都の都市部で酒造りを続けるための合理的な選択をするだけでなく、この環境を最大限活かして蔵のスタイルを伝えている。

醸造工程に沿った見学

見学はヘアキャップを受け取るところから始まる。衛生管理の徹底は、食品を扱う現場として当然のことだが、このひと手間で気持ちが切り替わる。「これから製造現場に入る」という感覚だ。

案内は醸造工程の順序に沿って進む。米を洗い、蒸す工程から始まり、発酵タンクへと続く。タンクでは、仕込んで数日目のまだ若い状態と、発酵が終わりに近づいた状態を実際に見比べることができた。見た目も香りも明らかに違う。説明を受けながら工程をたどる構成なので、酒造りの流れがイメージしやすい。

その後、上槽の工程へ。発酵を終えたもろみから酒粕と日本酒を分けるこの工程は、ワインでいえば圧搾にあたる。できあがった日本酒を実際に確認し、最後は瓶詰めと加熱殺菌（火入れ）の現場を見学して締めくくられる。

松井酒造が通年醸造を行っていることが、この見学をより充実したものにしている。季節限定の蔵では、製造していない時期に訪れると、設備を眺めるだけになることも多い。ここでは、稼働している現場を実際に見ることができる。見学後に試飲へと移る流れも自然で、飲みながら「さっき見た工程を経てきた酒だ」という実感が伴う。

神蔵KAGURA──京都の蔵が醸す酒

松井酒造の主力ブランドは「神蔵 KAGURA」だ。無濾過・無加水・生酒というスペックが主軸になっている。生酒であるため要冷蔵で、通年製造を生かして、常にフレッシュな状態で提供される鮮度を重視するスタイルといえるだろう。

仕込み水は敷地内の井戸「洗心井」から汲み上げた超軟水で、京都御所三名水と同じ地下水脈に由来するとされる。この水脈を使って酒を仕込む蔵は現在ここだけだ。柔らかく癖のない水の性格が、神蔵全体の飲み口に反映されている。

1階のテイスティングバー「酒中仙」では、日本酒サーバーを通じて20種類程の酒を少量ずつ試すことができる。印象に残った3本について記す。

純米 神蔵KAGURA 無濾過・無加水・生酒（ルリ）

神蔵の中でも特に食事との相性が良い純米酒。京都産「祝」米を使い、通常の純米酒より約10日長い平均35日の低温発酵で醸す。ほのかなラムネ様の香りに柑橘のニュアンス。口に含むと丸みある飲み口が広がり、米の旨味と穏やかな酸が交差する。心地よい渋みとともに、余韻はすっきりとクリーンに収まる。日本酒に慣れていない人にも、経験のある人にも受け入れやすいバランスで、蔵のスタイルを理解する入り口として選ぶなら、まずこの一本だと感じた。

純米大吟醸 神蔵KAGURA 無濾過・無加水・生酒（白）

こちらは同じ「祝」を35%まで精米した純米大吟醸。2015年のInternational Wine Challengeをはじめ複数の賞を受賞している。口に含むと白い花を思わせる甘く爽やかな香りが鼻腔に抜け、続いて甘・酸・苦・渋が層をなして口中に広がる。複雑でありながら香り高く柔らか。微かな酸が次の一口を促し、米の旨味が体に染み入るように広がる。余韻には凝縮感が残る。神蔵の最高峰ラインにふさわしい、透明感と奥行きを兼ね備えた一本だ。

純米大吟醸 神蔵KAGURA 無濾過・無加水・生酒（黒）

白が京都産「祝」を使うのに対し、黒は兵庫県産「山田錦」を35%まで精米した一本だ。松井酒造オリジナル酵母を使用しており、日本で最も有名な全国新酒鑑評会にも入賞している。うっすらと黄金色を帯びた液色が、まず目を引く。香りは甘く鼻腔に静かに漂う吟醸香で、白ほど華やかではなく、より内向きに凝縮されたような印象だ。口に含むと、フルーティな香りとは対照的に、すっきりと冴えた飲み口が広がる。キレがよく、淡麗な後口に仕上がっている。白が米の複雑さを前面に出すとすれば、黒は研ぎ澄まされた透明感を軸にした一本といえる。同じ精米歩合でも、米の品種と水の組み合わせがこれだけ異なる表情を生む、という点が興味深かった。

バーとして使える酒蔵、そしてジンへ

見学ツアーが終わったあと、1階の「酒中仙」でしばらく飲み続けている人がいた。カウンターに腰を落ち着けて、軽いおつまみを頼みながら、ゆっくりと杯を重ねている。その光景は、蔵見学の延長というより、一軒のバーに来たような雰囲気だった。観光客が立ち寄りやすく、そのまま長居もできる。日本文化を求める京都観光のオアシスとは、こういう場所のことかと思った。

松井酒造では、ジンとラムも製造している。製造を始めたのは、消毒用アルコール製造需要が高まったコロナ禍で、蒸留酒免許取得の機会がきっかけになった。観光客が激減し、レストラン需要も止まり、酒蔵として大きな打撃を受けたが、蔵元は「このチャンスに蒸留をやってみよう」と動いた。醸造酒の専門家が蒸留に挑むのは容易ではなく、発売は当初の予定より大幅に遅れたという。しかし、その試行錯誤の末に生まれたクラフトジンは、酒粕を再蒸留して得たスピリッツをベースに、ジュニパーベリー、檸檬、胡麻、大原の紫蘇といったボタニカルを合わせた、この蔵にしか作れない一本になった。名前は「京都ジン 輪廻（りんね）」。日本酒蔵ならではの発想が、スピリッツの形で結実している。

結び

京都を訪れる旅行者の多くは、古い建物、石畳、寺の庭園を通じて日本の深さを感じようとする。それは間違っていない。しかし松井酒造のような場所は、もうひとつの角度から京都を立体的にしてくれる。

1726年から続く蔵が、いったんこの地での酒造りをあきらめ、2009年に戻ってきた。コロナ禍で観光が止まったときには、蒸留酒という新しい領域に踏み出した。その都度、状況に押しつぶされず、別の可能性を探してきた蔵の姿勢が、マンション1階の小さな空間に積み重なっている。

その事実を知った上で、神蔵の生酒を飲むとき、感じるものが少し変わる。古い都市で酒造りを続けることの重さと、それをかなり軽やかに見せようとする意志の両方が、そこにある。

アクセスは良い。出町柳駅から徒歩10分、川端一条バス停からなら目の前だ。見学は有料で、日本語と英語に対応している（事前予約の要否は公式サイトで確認を）。

京都に行くなら、ぜひ立ち寄ってみてほしい。

松井酒造について

• 創業: 享保11年（1726年）

• 所在地: 京都府京都市左京区吉田河原町1-6

• 主力ブランド: 神蔵 KAGURA

• 見学: 日本語・英語対応（有料、要予約確認）

• テイスティングバー「酒中仙」: 日本酒サーバーでの試飲、軽食あり

• アクセス: 京阪「出町柳駅」から徒歩約10分、京都バス「川端一条」から徒歩約1分

オランダでの入手方法 松井酒造の日本酒はOtemba Sake（オテンバ・サケ）を通じてオランダで購入可能。アムステルダムを拠点に、厳選された日本酒を適切な温度管理のもとヨーロッパに届けている。

今回の訪問で示唆に富む話をしてくれた松井酒造十五代当主松井治右衛門さん、蔵人の森上さん、そしてこの出会いを繋いでくれたOtemba Sakeチーム、本当にありがとうございました。

お読みいただき、ありがとうございます！いいね、コメント、重ね読み、購読でサポートしていただけると嬉しいです。

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My first encounter with sake was unremarkable. As a university student in Japan, I drank cheap sake warmed in a small ceramic cup, felt sick afterward, and decided I would never drink sake again.

Around 30, I returned to sake. This time, I was genuinely impressed. The brilliance of ginjo aromatics, the fruit, flowers, and elegance, was a revelation. I was drawn to hard-to-find names like Jikon and Juyondai, the kind you had to search for. I also appreciated well-known brands: the clean precision of Hakkaisan, the dry structure of Kokuryu. Sake became part of my life again.

Then a sudden study opportunity took me to Los Angeles, and I started drinking wine. That changed everything. Wine shifted the center of my palate. I began paying attention to acidity, tannin, texture, and finish. These were elements I had never consciously looked for in sake. When I returned to sake afterward, I found myself listening for these same qualities. Now I enjoy both wine and sake in the same way, looking for the same structural elements in both.

This leads to a question I keep returning to: what do I really mean when I say “wine-like sake”?

In Europe, this phrase comes up sometimes. I use it often myself, especially when introducing sake to wine drinkers. But it can be vague, and I have been wanting to articulate what I actually mean.

1. Acidity as Structure

In wine, acidity is a key part of structure. Tartaric and malic are the principal grape acids, and together they account for the vast majority of wine’s total acidity. Other acids, such as lactic (from malolactic fermentation) or acetic (from fermentation and microbial activity), are formed during winemaking. Acidity makes wine refreshing and should be in balance with fruit concentration and, depending on style, any residual sugar, alcohol, or tannins. Too little acidity can make a wine feel flabby and unbalanced.

Sake also contains acid, though the composition is different. Lactic acid, produced or added during the fermentation starter stage, is the dominant acid in most sake. Succinic acid, produced during fermentation, is another key component, contributing a savory, umami-like character. Malic acid, produced by yeast metabolism, and citric acid, which appears in sake brewed with white koji (a technique borrowed from shochu production), add brightness that some brewers are now pursuing deliberately.

Traditional fermentation starters (kimoto, yamahai, and mizumoto) generate higher levels of lactic and succinic acid through slower, more microbially diverse fermentation, resulting in more complex acid profiles.

A growing number of brewers in Japan, influenced in part by exposure to wine and the export market, are actively seeking higher acidity in their sake.

When acidity in sake functions as structure, holding the sake together, creating tension, guiding the palate from beginning to finish, rather than simply as a flavor note, the sake starts to feel “wine-like.” This is especially true when malic or citric acid brings brightness and lift. It is not about having more acid. It is about acid playing an architectural role.

2. Intensity and Texture: Density Without Heaviness

Wine texture comes from several sources. Phenolic compounds extracted from grape skins and stems contribute body and grip. Tannin provides a tactile, drying sensation, particularly in red wine. Malolactic fermentation softens the mouthfeel, often lending creaminess on the palate. Lees contact adds body and can enhance umami-like sensations through the release of amino acids and mannoproteins. Ethanol contributes to perceived viscosity and weight. A great wine often has density, a sense of weight and substance, without feeling heavy.

Sake builds texture differently. Amino acid content is a primary driver. Higher amino acid levels create richness, umami, and a broader mouthfeel. Yet if amino acids are too high, the result can be unwanted heaviness or off-flavors.

Kimoto and yamahai fermentation tend to produce sake with greater textural depth. Aging smooths the palate through chemical changes such as the Maillard reaction, which builds richness and rounds out rough edges. Unfiltered styles (muroka) retain flavor compounds that charcoal filtration would remove. And umami itself, often discussed as a taste, also functions as a textural element. It creates a sense of fullness and persistence in the mouth.

Polishing ratio plays a role, but not in a simple way. Highly polished rice (say, 40% remaining) tends to produce more transparent, lighter sake. Less polished rice retains more protein and fat, which can contribute to texture and complexity. But this is not a scale from crude to refined. A sake polished to 80% (20% is polished off) with careful koji work and proper aging can be more sophisticated than a 35% daiginjo.

Brewing methods matter. At Akishika Brewery in Osaka, brewmaster Hiroaki Oku deliberately dissolves rice as completely as possible, keeping all the flavor in the sake rather than discarding it as pressed lees. The result is a dry, textured sake with remarkable finish, yet surprisingly lean and sophisticated.

The idea that “sophisticated” and “bold” sit at opposite ends of a spectrum is misleading. Some of the most sophisticated wines in the world, aged Barolo, mature Northern Rhône Syrah, are also among the most bold. They have density, grip, and power, but every element is integrated. The same principle applies in sake. A full-bodied yamahai genshu can be both bold and elegant if its components are well balanced. This is one of the elements I look for in “wine-like” sake: density with clarity, a sake that has something to say on the palate, not just on the nose.

3. Length: What Creates Finish

Finish emerges from the overlap of several elements: aromatic and taste persistence as well as mouthfeel.

After swallowing, volatile compounds continue to move retronasally, from the back of the throat up through the nasal passage. This is why you can still “taste” aromas seconds after the liquid is gone. Acidity, bitterness, and umami linger on the palate and fade gradually. Sweetness tends to disappear faster. Tannin, alcohol warmth, or even slight bitterness can extend the perceived duration. Several breweries I have spoken with deliberately preserve a touch of bitterness as a structural element. The interplay of these remaining sensations defines the character of the finish.

In sake, acidity still plays a role, but the tactile contribution of tannin is largely absent. Instead, amino acids and umami create a lingering savory presence. Alcohol, at 15 to 17%, also supports retronasal aroma persistence. Aged sake (koshu) adds complexity to the finish: caramel, soy sauce-like notes, and dried fruit that persist long after the sip.

An important point: length is not defined by sake’s classification. A highly polished, fruity ginjo can have beautiful aroma on the nose but disappear quickly once swallowed, while a ginjo with moderate aroma can leave a lasting impression of umami and acidity for twenty seconds or more. Some sake are made with an intentionally short finish, a quality called “kire,” where the flavor disappears cleanly, making it easy to return to the next sip or the next bite.

Length cannot be faked. It reflects what the sake is made of and how it was built. I look for it in sake, just as I do in wine.

4. Complexity: Layering Beyond Fruit

For someone who learned wine through WSET, the framework of three aroma categories should be familiar: primary aromas come from the grape itself, secondary aromas come from production methods, and tertiary aromas come from aging.

Sake follows a broadly similar logic, though the categories are less clearly delineated. Still, some aromas can be traced to certain ingredients or production stages.

Rice-derived character provides the base: rice flour, toasted cereal aromas, and a subtle sweetness ranging from cotton candy to brown sugar. Fermentation and production contribute another layer. Koji* brings its own character, including chestnut and mushroom notes. Traditional fermentation starters (kimoto, yamahai) or the use of wild yeast can add complexity through microbial diversity. A small amount of alcohol addition, commonly used to extract and enhance aromatic compounds, can also draw out lighter, herbal or bamboo-like notes. Aging adds yet another dimension: caramel, soy sauce, miso, dried fruit, honey.

Tracing what you smell back to the rice, the koji, or the brewery itself is part of the pleasure for an engaged drinker.

The biggest difference from wine, and often the source of confusion, is ginjo aroma. Ginjo aroma is often described as the pinnacle of sake craft, and with good reason. The esters produced during low-temperature fermentation with highly polished rice, such as isoamyl acetate (banana, pear) and ethyl caproate (apple, melon), create a distinctive aromatic clarity. This is genuinely beautiful. But it is one layer among several.

Imagine a mature Meursault Premier Cru, seven or eight years old. Fruit is present, citrus, white peach, but it has receded. In its place: hazelnut, butter, a faint earthiness, something almost saline. The wine has weight without heaviness, and a finish where acidity and savory elements meet and linger. The beauty is in the intersection, not in any single element.

Sake can reach a similar intersection. When acidity provides structure, when umami adds depth without heaviness, when aging or brewing choices introduce savory and earthy notes alongside whatever fruit remains. A well-aged kimoto with its lactic depth, or a yamahai genshu where microbial diversity has created layers that a single cultivated strain could not achieve: these are sake that engage the palate the way a complex wine does.

*Note: Koji is rice inoculated with koji mold (Aspergillus oryzae), the enzyme source that converts starch to sugar in sake brewing.

Conclusion: Why I Now Find It Beautiful

When I was younger, I chased aroma. The most fragrant ginjo, the most expressive bouquet. That was what impressed me. Aroma was the gateway, and I am grateful for it.

Now I look for structure.

Wine taught me to value architecture: the way acidity, tannin, body, and finish hold a wine together and give it direction. It taught me that the best drinks are not the most aromatic but the most balanced, layered, and persistent. When I returned to sake with that understanding, I began to find beauty in places I had previously overlooked: in a quiet kimoto with a long umami finish, in an aged yamahai with the complexity of a mature Burgundy, in a muroka genshu where density and clarity coexist. Even in ginjo sake, texture and sophistication can coexist. These are the sake that stay with me.

“Wine-like sake” is not imitation. It is not sake trying to be wine. It is sake with structure, where acidity, texture, complexity, and finish work together in the way that the best wines are built: with architecture. And it is, I believe, the direction in which international wine lovers are naturally heading.

Kanpai.

I am organizing a workshop in Amsterdam focused on sake that shows these structural qualities, where balance, length, intensity, and complexity are not just measurable but felt. If this way of thinking resonates with you, you are welcome to join.

Join the Workshop

Among Bordeaux’s classified châteaux and investment-grade labels, Château Le Puy occupies a singular position. A family estate in Saint-Cibard since 1610, biodynamic even before the word existed, and classified not as Bordeaux but as Vin de France. No chemicals, no new oak, minimal sulphur. Le Puy has never followed the region’s prevailing direction—because it never changed course to begin with.

Often described as a benchmark of Biodynamic Bordeaux, Le Puy represents something rarer: continuity.

I first encountered Le Puy in Amsterdam, years ago. It tasted like Bordeaux, but I couldn’t say so with confidence. Gentler and more transparent, yet full of energy. Complex but pure. Visiting the estate confirmed that impression for me: a simplicity in the approach, and a directness in the wine that many Bordeaux producers seem to have left behind.

So when I learned that Emeline Callet, Sales at Famille Amoreau, would be in Amsterdam for a Daxivin portfolio tasting, I went without hesitation. Six wines, a generous conversation, and a renewed appreciation for what fine wine can mean when you strip away the spectacle.

The Estate and Its Names

The estate sits in Saint-Cibard, on a clay-limestone plateau on the right bank, at 107 metres above sea level—one of the highest points in the Gironde. The Amoreau family has farmed here since 1610, now in its fifteenth generation under Jean-Pierre and his son Pascal.

Each wine carries the name of a family ancestor. Emilien was the third recorded winemaker in the family line. Barthélemy was the first to question the necessity of sulphur, back in the mid-nineteenth century. Rose-Marie, Marie-Cécile—these are not branding exercises. They are a form of memory, essential to the estate.

Until 2017, Le Puy’s wines carried the Francs Côtes de Bordeaux appellation. That year, the family chose to leave. The Vin de France designation, paradoxically, offered more freedom: to plant experimental varieties in response to climate change, to work without bureaucratic friction.

A Singular Path

It would be easy to describe Le Puy simply as biodynamic. The vineyards are Demeter-certified, the farming follows lunar cycles, and horses work the soil. But the philosophy here is rooted not in ideology but in history. They farmed this way because that was how it was done in 1610, and simply continued while the world around them industrialised.

The estate’s approach is built on ecosystem, not intervention. Forest, meadows, and a pond account for roughly half the property—not remnants of neglect, but a deliberate buffer maintained to keep the vineyard in ecological balance. Five horses of different breeds work the soil, their varying walking patterns helping to avoid uniform compaction. Natural plants grow between the rows as indicators of soil condition—not seeded cover crops, but whatever the land produces on its own, read against generations of observation. Nature, in this context, is the most reliable textbook.

In the cellar, observation and low intervention remain guiding principles. Fermentation begins spontaneously in concrete vats, using what Le Puy calls “infusion”—allowing gentle diffusion and integration of tannins rather than forced extraction. Ageing takes place over two years in old barrels and large foudres. No new oak.

Le Puy’s approach is the result of four centuries of learning what works, and what does not need to be done. It is simple. And yet, the estate takes full responsibility for the quality of its wines, maintaining its own analysis laboratory with results published on its website.

The Amsterdam Tasting

They prepared a rosé, four vintages of Emilien spanning nearly two decades, and the no-sulphur Barthélemy.

Rose-Marie 2023 | 100% Merlot

A cooler vintage, and the wine showed it: restrained, precise, fresh. There was transparency to the fruit, presented without amplification. Strawberry, raspberry, peony, a hint of elderflower. Structured by smooth tannins and vibrant acidity. A serious gastronomic rosé.

Emilien 2022 | 85% Merlot, 7% Cabernet Sauvignon, 6% Cabernet Franc, 1% Malbec, 1% Carmenère

A generous and perfumed vintage. Ripe berry fruit with an unexpected citrus note—mandarin zest—alongside juniper and nutmeg. Carried by refreshing acidity and smooth, present tannins. Balanced, with a long finish.

Emilien 2019 (Magnum)

Earthier and more inward-looking, with ruby-toned fruit and a gamy, spicy character. The nose remains complex and unfolding. Where the 2022 offers immediate pleasure, the 2019 asks for patience.

Emilien 2017

Green bell pepper, liquorice, black cherry, blackberry, dried leaves, an earthy finish. Quiet and restrained. The structure is tight, the flavours precise rather than generous. A reminder that Le Puy does not chase ripeness.

Emilien 2005

The colour has shifted toward deep garnet with tawny edges. The nose is layered: red and black currant, plum, cherry, blueberry, dried fruit, tea leaves, mushroom, hay, toasted almond, balsamic. Beneath it all, a savoury soy-sauce nuance and the umeboshi note I have come to recognise as a Le Puy signature. On the palate, silky tannins and lifted acidity carry a long, memorable finish.

Barthélemy 2022 | Mainly Merlot

Aged two years in old oak. Deep and concentrated, with a clarity that no-sulphur wines achieve at their best. The fruit speaks clearly through fine tannin and mineral tension.

What Fine Wine Means

Le Puy does not need to be positioned as an alternative to Bordeaux. It is Bordeaux—one of its oldest and most honest expressions. A family that has farmed the same plateau for over four hundred years, making wine with the same respect for the land, without interruption.

Climate change presents a growing challenge. At 107 metres above sea level—the second highest geodesic point in the Gironde—the estate is not immune to rising alcohol levels and shifting growing conditions. Since 2019, the family has been planting ancient grape varieties, seeking cultivars that may preserve freshness and acidity in future blends. They are also collaborating with the University of Geneva on research into reducing copper-based treatments in organic viticulture. The response is long-term; some of these plantings may take a generation to prove their worth.

The wines are not loud. They do not demand attention. But they reward it deeply for those willing to take the time.

In a market that increasingly values authenticity, the irony is that Le Puy has never tried to be authentic. It simply never stopped being itself.

My sincere thanks to Emeline Callet for a generous and illuminating tasting, and to Daxivin for bringing these wines to the Netherlands.

Outside Japan, I find it interesting that we have few preconceptions about sake style. For me personally, perhaps wine helped me erase those preconceptions.

When I lived in Japan, I believed that refined junmai daiginjo (premium sake with highly polished rice) was delicious. Such sake removes impurities by polishing away the rice, leaving only hints of fruity aroma and rice sweetness. I also assumed that high-acid sake was inferior.

After seriously studying wine, on the other hand, I began assessing sake by the same criteria I use for wine, whether good or bad. I started looking for balance between sweetness and acidity, complexity, intensity of flavor, and length of finish. I became drawn to unpredictable character rather than uniform beauty. What I seek now is something like clean natural wine, such as sake that uses wild yeast, or traditional methods, or that doesn’t intentionally strip away too much, yet still maintains a clean flavor profile.

I visited Eigashima Brewery because they use mizumoto (a traditional brewing method dating back to 14th–16th century). Moreover, whisky accounts for 80% of their production—a rare setup. I headed to this port town with excitement.

Background and History

Eigashima Brewery sits in a port town of Akashi City, Hyogo Prefecture (western Japan). Port towns tend to have many sake breweries. Before modernization, sea transport dominated over land routes. Nada sake (from the famous and biggest brewing region in Hyogo) became popular in Tokyo because ships could transport barrels efficiently. The brewery is about one hour by train from Osaka. It stands on the west side of Nada, overlooking the beautiful sea.

Eigashima Brewery’s history traces back to 1679. In 1888, five local leaders joined forces to expand production and achieve nationwide distribution, forming a corporation. They gradually expanded their brewing licenses, and obtained permits for Western spirits, shochu (Japanese distilled spirit), and whisky. This actually predates Suntory (the largest Japanese whisky company). It was one of the earliest whisky manufacturing licenses in Japan.

Today, whisky accounts for about 80% of Eigashima Brewery’s production. Sake has shrunk to about 500 koku (roughly 90,000 liters)—a major decline from the mass production era. Mass production no longer fits the times, and the brewery needed to shift from quantity to quality.

However, Eigashima Brewery’s equipment remains large-scale. When I toured the brewery, I was surprised to see tanks and machines clearly larger than those at other breweries I had visited. One machine can process one ton of rice into koji rice (steamed rice that has been inoculated with koji mold: this is used to convert starch to sugar) at once. Unfortunately, in sake brewing, bigger doesn’t mean better. Small batches require small tools; otherwise, quality control becomes difficult.

“We wanted to make the most of our existing equipment while shifting from quantity to quality, creating sake with real character. That’s when we explored mizumoto as an option,” recalls Hiraishi-san, the company president. Mizumoto was the answer—a method that produces distinctive sake even with large equipment.

What is Mizumoto?

Why Lactic Acid Matters

In the early stage of sake fermentation, brewers must create a fermentation starter—a large quantity of cultured yeast that will drive alcohol fermentation. They need to establish an environment where only the necessary microorganisms survive. Yeast is extremely delicate; if harmful bacteria enter, the yeast dies quickly.

This is where lactic acid comes in. Yeast thrives in acidic conditions, while harmful bacteria do not. By maintaining acidic conditions, brewers can suppress bacteria while cultivating yeast.

How do you create this acidic environment? The modern mainstream method adds manufactured lactic acid, completing the fermentation starter efficiently in about two weeks.

In contrast, kimoto, yamahai, mizumoto, and bodaimoto use naturally occurring lactic acid bacteria to produce lactic acid. Compared to added lactic acid, these methods produce higher acidity and create more complex aromas and flavors through the power of natural microorganisms. However, they take three to four weeks and require considerably more labor.

Mizumoto is the oldest method and the process works as follows:

Brewers soak raw rice in water for ten days to several weeks. Lactic acid bacteria attached to the rice multiply in the water and begin lactic acid fermentation. The resulting acidic water becomes the brewing water. Using this water makes the fermentation starter acidic, suppressing harmful bacteria while promoting yeast fermentation.

Bodaimoto, often described as a synonym of mizumoto, soaks both raw rice and steamed rice in water to cultivate lactic acid bacteria, then uses that water for brewing. Bodaimoto refers to a specific technique used at Shoryakuji Temple (in Nara Prefecture). Mizumoto is a broader concept that includes variations developed independently by breweries across Japan.

The Difficulty of Mizumoto

Fewer than 1% of sake breweries use mizumoto.

The main reason is the higher risk of “contamination” throughout the brewery. If lactic acid bacteria and other microorganisms from mizumoto become established in the brewery environment, they can affect the flavor of other sake, such as clear ginjo (premium aromatic sake). It is said that some breweries tried mizumoto without proper knowledge or experience, then contaminated their entire facility.

“Other breweries that came to observe are often surprised that we run mizumoto tanks right next to daiginjo tanks. They ask, ‘Is that okay?’” says Ishida-san, the kashira (assistant master brewer). So what’s the secret to brewing without problems?

“Mizumoto requires more focus on hygiene management within the brewery,” Ishida-san explains.

Understanding how bacteria move and controlling them so they don’t affect other sake—only then can a brewery produce both mizumoto and ginjo under the same roof.

The process demands effort, but the distinctive flavors waiting at the end made me smile.

Tasting Mizumoto

All Yamato Damashii (meaning “soul of Japan”) are mizumoto-brewed junmai (pure rice sake) muroka nama genshu (unfiltered, unpasteurized, undiluted).

SMV in the list means Sake Meter Value, indicating residual sugar—negative numbers mean more sugar. However, perceived sweetness changes with acidity. For example, Mizumoto Kanro has an SMV of -57, indicating very high residual sugar, but its acidity of 4.9 provides balance, preventing cloying sweetness. I include these numbers not for individual analysis but to show the range.

Yamato Damashii Mizumoto Shikomi (Style) (Green Label)

Rice: Nihonbare from Hyogo Prefecture, 17% ABV, SMV -4, Acidity 6.1

Eigashima’s standard mizumoto expression. Aromas of rice sweetness, dairy notes like yogurt and sour cream, toasty cereal with subtle fruit and herbs behind. The palate opens with rice sweetness, quickly followed by refreshing acidity. The finish is clean. Complex in the mizumoto style yet balanced and approachable.

Yamato Damashii Karakuchi (Dry) Seven (Navy Label)

Rice: Nihonbare from Hyogo Prefecture, 17% ABV, SMV +7, Acidity 2.8

A dry expression designed to pair with a wide range of foods. Restrained aromas, including subtle dairy, cereal, steamed rice, smoked bacon. Gentle acidity with a clear finish and pleasant bitterness like dried citrus peel.

Yamato Damashii Mizumoto Kanro (Sweet) (Pink Label)

Rice: Nihonbare from Hyogo Prefecture, 15% ABV, SMV -57, Acidity 4.9

Fermented only with indigenous yeast and lactic acid bacteria from the brewery—a dessert wine-style sake. Honey and caramelized cereal notes. The high acidity provides balance, creating a sweet-sour taste with a surprisingly clean finish. Pair with cheese, Japanese sweets, or sweet and spicy Thai food.

Yamato Damashii Mizumoto Special II (Light Blue Label)

Rice: Nihonbare from Hyogo Prefecture, 17% ABV, SMV -4.8, Acidity 5.0

A white wine-style mizumoto. Lactic acid from mizumoto, citric acid from white koji (usually used for shochu), malic acid from the yeast—a “trio of acids.” Layers of lemon, sour cream, and granny smith-like apple flavors. Reminiscent of a slightly sweet, high-acid Riesling Kabinett. “Many people pair this with dishes that call for a squeeze of lemon—raw oysters, fried chicken. It might go well with Dutch croquettes too,” says Ishida-san.

Yamato Damashii Niwazake (Yellow Label)

Rice: Yamada Nishiki from Hyogo Prefecture, Yeast and koji: harvested from Niwata Shrine, 16% ABV, SMV -5.4, Acidity 4.4

One of the Mizumoto’s origins. Based on an ancient text from around 713 AD, they recreated the method using koji mold and yeast collected from the Shrine. Fermented in traditional ceramic vessels. The rice polishing ratio is 90%. Aromas of smoked bacon, washed-rind cheese, meat broth, mushrooms, fermented pickles, and toasted grain. Complex, wild flavors. It might not be for everyone but this distinctive character hooks serious sake drinkers.

Yamato Damashii AGED BY THE SEASIDE (Barrel-Aged)

Rice: Nihonbare from Hyogo Prefecture, 17% ABV, SMV -8.5, Acidity 3.3, 500ml

A collaboration between mizumoto sake and whisky. Deep amber color in a whisky-style bottle—it looks like whisky. Aged over one year in new oak barrels. Caramel, roasted nuts, hints of vanilla, clove, cinnamon, truffle, maple syrup, coffee, chocolate, miso, and soy sauce nuances. Full-bodied with balanced umami, acidity, and sweetness. “Heat it to 60°C and it tastes like Shaoxing wine,” says Ishida-san. The brewery also ages whisky in barrels that previously held this sake—a concept possible only at a brewery that makes both.

Rice and Design Philosophy: Reverse Engineering

“You use Nihonbare, a table rice. With such distinctive styles, you can’t really pick the characters of the rice, can you?”

Ishida-san nodded emphatically when I said this.

Sake drinkers tend to think “Yamada Nishiki tastes like this” or “this has the flavors of Gohyakumangoku.” But brewers think in reverse.

“Each rice variety has characteristics that make certain styles easier to achieve. So we decide what styles we want, then work backward to choose the rice and production options,” Ishida-san explains.

If wine builds from terroir (the character of the land), sake builds from design philosophy. Brewers envision the finished sake first, then select ingredients and techniques in reverse. Soaking time, koji-making method, brewing water temperature—by adjusting countless parameters, they create different sake from the same rice.

Adapting to Climate Change

That’s why the craft lies in achieving the desired style even when conditions change.

I asked about something I had been curious about: how climate change affects rice and how brewing methods adapt. Indeed, climate change has made rice harder and more difficult to dissolve.

Ishida-san’s solution surprised me.

“We cool the brewing water way down, then add the steamed rice while it’s still warm and soft. Rice becomes harder to dissolve as it cools. So we pre-chill the water and add the rice while it’s still warm after steaming.”

Temperature setting is crucial for controlling sake fermentation. Normally, brewers cool steamed rice to lower fermentation temperature. But cooled rice becomes hard and dissolves poorly. So they flip the approach: chill the water, keep the rice warm. Even as climate changes, they maintain the sake’s intended profile. That flexibility embodies the craftsman’s skill.

Conclusion

Though all six bottles use the mizumoto method, the lineup ranges from dry to ultra-sweet, from wild to barrel-aged. I had never encountered such diversity, and it thrilled me. Sake style isn’t determined by method or ingredients alone. The design philosophy—what flavor to deliver—creates the sake’s character.

The complex mizumoto brings counter to efficiency and safety. But that’s exactly where memorable sake emerges. Not predictable beauty, but unpredictable character. Yamato Damashii pursues that range of character to the fullest. Rather than reaching many people with aromatic, fruity ginjo, they want to reach those who understand these flavors—so they sell directly to sake enthusiasts through specialty sake shops. Sake enthusiasts making sake for sake enthusiasts. If you think all sake tastes the same, taste Yamato Damashii bottles. Your perception will change.

Drinkers outside Japan have fewer preconceptions about sake style. The range of aromas and wild character? Wine drinkers have experienced that. They will surely choose distinctive bottles based on their own values.

This brewery’s sake may pose a question: Do you seek clean, uniform beauty in sake? Or complexity woven by time and microorganisms?

A phrase on the label stayed with me.

“Sake-making that stays in the heart, not just on the tongue.”

About Eigashima Brewery

• Founded: 1888

• Location: 919 Nishijima, Okubo-cho, Akashi City, Hyogo Prefecture

• Brands: Kamitaka, Yamato Damashii

• Production: About 500 koku (roughly 90,000 liters)

• Features: Hyogo Prefecture’s only mizumoto brewer, whisky license obtained in 1919, producing both sake and whisky

• Website: https://www.ei-sake.jp/

Acknowledgments

My sincere thanks to Hiraishi-san and Ishida-san for welcoming this visit, and to Dick at Yoigokochi, the Dutch importer who made it possible.

Written by Kazumi (Grape and Rice)

酒蔵インタビュー#12: 江井ヶ嶋酒造

水酛という選択──ウイスキーの蔵が守る、日本酒の複雑さ

日本の外にいると、日本酒に対する固定概念がないことが面白いと思うことがある。というか、ワインに集中したおかげで私の中の固定概念を消すことができたとでもいうべきか。

日本にいた頃は、米を沢山削って雑味を消し、果実の香りと米の甘みだけがほのかに残る洗練された、いわゆる「純米大吟醸」を美味しいと思っていたし、「酸が高い日本酒は良くない」と思い込んでいた。それらの固定概念が取り払われ、良いか悪いかは別として、ワインと同じような基準で日本酒を判断し始めたとき、日本酒の中に、甘みと酸のバランス、複雑さ、味わいの強さ、余韻の長さを探し始めた。また、均質な美しさよりも予測不可能な個性に惹かれるようになった。自然酵母や伝統的製法を駆使しつつ、意図的にあれこれ取り除きすぎない、とはいえ綺麗な味わいを残す、いわば、クリーンなナチュラルワインのような味わいを探していると思う。

江井ヶ嶋酒造を訪ねたのは、この蔵が「水酛（みずもと）」という室町時代からの製法を取り入れていると聞いたからだった。しかも生産量の8割はウイスキーだという、なかなかない設定。心躍らせながら瀬戸内海を望む港町へ向かった。

この記事は、日本酒を飲み始めた方、そしてワインは好きだけど日本酒はよくわからないという方に向けて書いている。英語版は日本語や専門用語をできるだけ噛み砕いて説明するよう努め、日本語版はオランダで日本酒を広める活動を細々としていることを知っていただきたいなと思って書いている。ぜひ最後までお付き合いいただきたい。

酒蔵の背景と歴史

江井ヶ嶋酒造は兵庫県明石市、瀬戸内海に面した港町にある。港町には酒蔵が多いという。それは、江戸時代、酒の運搬は陸路より海路が主流だったことに由来する。灘の酒が江戸で人気を博したのも、樽廻船で効率よく運べたからだ。蔵は、大阪から電車で約1時間、京都からは約1時間半。神戸の西側、播磨灘の美しい海が望める立地にある。

この地で酒造りが始まったのは、江戸時代初期で、江井ヶ嶋酒造の歴史も1679年にまで遡る。そして、1888年（明治21年）、この地にあった5つの酒蔵が集まって株式会社として再出発した。生産量拡大・全国販売を目指して、地元の名士たちが手を組んだのが始まりだ。酒造免許の種類も増やしていき、1919年には洋酒・焼酎の免許とともにウイスキー製造免許を取得した。これは実はサントリーより早い。日本で最初期のウイスキー製造免許の一つだ。

現在、江井ヶ嶋酒造の生産量の約8割はウイスキーが占め、日本酒は約500石、かつての大量生産時代からは大きく縮小している。（1石は約180リットル。つまり500石は約90,000リットル、720ml瓶に換算すると約12万5千本分だ。）

日本国内では1970年代以降、日本酒の消費量と生産量は長期的に減少傾向にあり、酒蔵数の減少も続いている。また、20代の約4〜6割がほとんど飲酒をせず、若年層のアルコール消費自体が大幅に減少していることからも、大量生産は時代にそぐわなくなってきていることもあり、量より質に転換する必要があった。

とはいえ、江井ヶ嶋酒造の製造設備は大規模用が多い。蔵を案内されたとき、他の酒蔵で見たものより明らかに大きなタンクや機械が並んでいるのに驚いた。1トンもの米を一度に麹に加工できる機械もあった。酒造りにおいては、残念ながら大は小を兼ねない。基本的には小さな仕込みには小さな道具が必要で、大きな設備で少量を造ると品質管理が難しくなる。

「既存の設備を活かしつつ、量より質、そして、しっかり個性のあるものを造りたい。そのときに水酛という選択肢を探った」と社長の平石さんは振り返る。大きな機械でも、質が高く、個性を出せる製法──それが水酛だった。

水酛とは何か

なぜ乳酸が必要なのか

日本酒を発酵させる初期段階、アルコール発酵を担う酵母を大量に培養した液体（酒母という）を作り、日本酒作りに必要な微生物だけが残る環境を整える必要がある。なぜなら酵母は非常にデリケートで、雑菌が入り込むとすぐに死んでしまうからだ。

ここで乳酸の出番だ。酵母は酸性に強く、雑菌は弱いという特徴がある。つまり酒母を酸性に保てば、雑菌を抑えながら酵母を育てることができる。

ではどうやって酸性環境を作るか。現代の主流は、人工的に作られた乳酸を添加し、2週間ほどで酒母が完成する効率的な方法が使われる。

一方、生酛、山廃、水酛、菩提酛などは、自然界の乳酸菌を利用して乳酸を作り出す。人工的に添加された乳酸に比べて、酸度が高くなり、また自然の微生物の力により、より複雑な香りと味わいを生む。ただし、3〜4週間と長い時間がかかる上、必要な労力も大きい。

水酛は最も古く、室町時代に使われ始めた方法で、下記のように作られる。

生米を水に浸して10日から数週間置くと、米に付着している乳酸菌が水の中で増殖し、乳酸発酵する。こうしてできた乳酸酸性水（「そやし水」と呼ぶ）を仕込み水として使うことで、酒母を酸性にし、雑菌の増殖を抑えながら酵母の発酵を促す。

水酛と「ほぼ同じ製法」と言われることが多い菩提酛は、生米と蒸米を水に浸けて乳酸菌を増殖させ、その水を仕込み水として使う。菩提酛は正暦寺で使われていた特定の製法を指し、水酛は各地の蔵元が独自に編み出したバリエーションを含む、より広い概念だ。

水酛の難しさ

水酛で造っている蔵は、日本酒全体の1%にも満たない。

これほど少ない最大の理由は、蔵全体への「汚染」リスクだ。水酛で繁殖させた乳酸菌やその他の微生物が蔵の環境に定着してしまうと、透明感のある吟醸酒など、他の酒の味にも影響を与える可能性がある。「珍しさから水酛に手を出して、蔵の中が全部汚染されたという事故を起こした蔵もある」という。

「よく他の酒蔵さんが驚かれるのが、うちでは水酛のタンクと大吟醸のタンクを隣で稼働させていること。『大丈夫なの？』って聞かれる」と、頭の石田さんは語る。では、問題なく醸せる秘訣は何か。

「水酛っていうのは、お酒を作る技術というよりも、蔵の中の衛生管理をする技術の方が結構大事だと思います」と、石田さんは言う。

菌の動きを把握し、他の酒に影響しないようコントロールする。それができて初めて、水酛と吟醸酒を同じ蔵で造り分けることができる。

手間がかかるが、先にある個性豊かな味わいには、思わず微笑みが漏れた。

水酛の味わい

試飲した「日本魂（やまとだましい）」シリーズ6種を紹介する。すべて水酛仕込みの純米 無濾過生原酒だ。

記載している日本酒度とは、残糖の目安で、マイナスほど糖が多いことを表す。ただし甘さの感じ方は酸度とのバランスで変わる。例えば水酛甘露は日本酒度-57と残糖が非常に多いが、酸度4.9の高い酸がバランスを取り、べったりとした甘さにはならない。1つ1つ数値に注目するのではなく、その幅の広さに目を向けてもらうために、記載した。

日本魂 水酛仕込み（緑ラベル）

米：兵庫県産日本晴、アルコール17度、日本酒度-4、酸度6.1

江井ヶ嶋による水酛仕込みのスタンダード。米の甘やかさ、ヨーグルトやサワークリーム等の乳製品、香ばしいシリアルの背後に控えめな果実味、微かにハーブのニュアンス。味わいは米の甘みが広がり、すぐに爽やかな酸が追いかけてくる。後味はすっきり。水酛らしい複雑さがありながらもバランスがよく、飲みやすい。

日本魂 カラクチセブン（紺ラベル）

米：兵庫県産日本晴、アルコール17度、日本酒度+7、酸度2.8

水酛仕込みを幅広い食事に合わせるよう辛口に仕上げた一本。香りは控えめで、わずかに乳製品、シリアル、米、スモークベーコン。酸味は控えめで、ドライな柑橘の皮のような心地良い苦味とキレの良さが際立つ。

日本魂 水酛甘露 無添加（ピンクラベル）

米：兵庫県産日本晴、アルコール15度、日本酒度-57、酸度4.9

蔵付き酵母と乳酸菌の力だけで醗酵させた酒でデザートワインのような位置づけ。はちみつ、カラメル風味のシリアルの味わい。日本酒としてはかなり高い酸がバランスを取り、甘酸っぱい味わいと想像以上にすっきりした後味。チーズや和菓子はもちろん、甘くてスパイシーなタイ料理とも合わせたい。

日本魂 水酛スペシャルⅡ（水色ラベル）

米：兵庫県産日本晴、アルコール17度、日本酒度-4.8、酸度5.0

水酛を白ワインのように仕上げた一本。水酛由来の乳酸、白麹由来のクエン酸、酵母由来のリンゴ酸──「酸の三重奏」。ほんのり甘く、軽やかで心地の良い爽やかな酸味が骨格を作る白ワインのような味わい。レモン、サワークリーム、酸の高いリンゴを思わせる味わいが層になる。やや甘口で酸の高いリースリングのカビネットを彷彿させる。「生ガキ、唐揚げなどレモンを絞りたくなる料理に合わせる方は多い。オランダで人気のコロッケとも好相性では？」と石田さん。

日本魂 庭酒（黄色ラベル）

米：兵庫県産山田錦、酵母・麹菌：庭田神社で採取、アルコール16度、日本酒度-5.4、酸度4.4

水酛原点回帰の一本。清酒醸造に関する最古の記録『播磨国風土記』をもとに、兵庫県宍粟市の庭田神社で採取した麹菌と酵母で再現。甕（かめ）で発酵。精米歩合90%、つまりほとんど削っていない米を使う。スモークベーコン、ウォッシュチーズ、コンソメ、きのこ、発酵ピクルス、穀物の香りと複雑で野生味あふれる味わい。好みは分かれるだろうが、この個性は呑兵衛が止まらなくなる酒だ。

日本魂 AGED BY THE SEASIDE（樽熟成）

米：兵庫県産日本晴、アルコール17度、日本酒度-8.5、酸度3.3、500ml

水酛と日本酒とウイスキーの協奏。深い琥珀色でウイスキーボトルに入っているため、見た目はもうウイスキーだ。ホワイトオーク樽で1年以上貯蔵。カラメル、ローストナッツ、ほのかなバニラ、クローブ、シナモン、トリュフ、メイプルシロップ、コーヒー、チョコレート、味噌、醤油のニュアンス。フルボディな味わいは旨味、酸、甘みの調和が取れている。「60度に温めると紹興酒のような味わいに」と石田さん。その後、この樽でウイスキーを熟成させる取り組みもある──日本酒とウイスキー両方を造る蔵ならではの発想だ。

米と設計思想──逆算の発想

「米は飯米の日本晴なんですね。実際この個性豊かなスタイルに米そのものの味ってわからないですよね」

私がそう言うと、石田さんは大きくうなずいた。

日本酒を飲む側は「山田錦だからこういう味」「五百万石らしい味わい」と考えがちだ。しかし造り手の発想は逆だという。

「お米によってこういう味にしやすいという特徴はあります。だから、作りたい味わいから逆算して、お米はこれを使おうっていう考え方なんです」と石田さんは語る。

ワインがテロワール（土地の個性）から酒を組み立てる文化だとすれば、日本酒は設計思想から酒を組み立てるものだ。目指す酒の姿を先に描き、逆算して原料と手法を選び取る。浸漬時間、麹の作り方、仕込み水の温度──無数のパラメーターを操作することで、同じ米からでも異なる酒が生まれる。

気候変動への対応

だから、状況が変わっても望む設計スタイルに仕上げるのが技術だ。

気になっていた、気候変動による米の変化と醸造方法での対応について聞いてみた。やはり気候変動で米が硬くなり溶けにくくなっているという。その対応として石田さんが挙げたのは、意外なアプローチだった。

「水を冷やすんです。仕込み水をグーッと冷やしておいて、蒸し上がった米が温かくて柔らかいうちに仕込んでやる。米は冷えると溶けにくくなるから、あらかじめ水を冷やしておいて、ある程度お米が蒸し上がった後、温かくて柔らかいうちに仕込む」

日本酒の発酵をコントロールするために温度が重要だ。通常、仕込み温度を下げるために、蒸し米を冷ます。しかし冷めた米は硬くなり溶けにくい。だから逆転の発想で、水を冷やして米は温かいまま仕込む。気候が変わっても、目指す酒の輪郭を保ち続けられる柔軟さ。そこに職人の技術が宿っている。

結び

水酛という製法は共通しながら、辛口から超甘口、野生味から樽熟成まで、これほど個性豊かなラインナップは初めてで心躍った。日本酒のスタイルは製法や素材だけでは決まらない。どんな味わいを届けたいか──その設計思想こそが、酒の個性を生むのだと実感した。

水酛がもたらす複雑さは、効率や安全とは逆の方向を向いている。しかしそこにこそ、記憶に残る酒が生まれる余地がある。予測可能な美しさではなく、予測不可能な個性。その個性の幅をとことん追求したシリーズが日本魂だ。香り華やかでフルーティな吟醸酒で広く届けるのではなく、この味わいを理解してくれる人に届けたい──だから量販店では売らず、地酒専門店を通じて、日本酒好きに直接届けている。酒好きが酒好きのために作る酒だ。日本酒はどれも同じだと思っているとしたら、日本魂を並べて味わってみてほしい。概念が変わるだろう。

日本の外の飲み手には、日本酒に対する先入観が少ない。また、香りの幅広さや野生味溢れる個性は、ワインでも経験済みだ。個性溢れるボトルを、自分の価値観で選ぶに違いない。

この蔵の酒は一つの問いを投げかけているのかもしれない。日本酒に求めるのは、クリアで均質な美しさなのか。それとも、時間と微生物が織りなす複雑さなのか。

ラベルに書かれた言葉が印象的だった。

「舌ではなく、心に残る酒造りを」

江井ヶ嶋酒造について

• 創業: 1888年（明治21年）

• 所在地: 兵庫県明石市大久保町西島919

• 銘柄: 神鷹、日本魂

• 生産量: 約500石（日本酒）

• 特徴: 兵庫県唯一の水酛仕込み、1919年取得のウイスキー製造免許、日本酒とウイスキーの二刀流

• 公式サイト: https://www.ei-sake.jp/
  

謝辞

今回の訪問を快く受け入れてくださった江井ヶ嶋酒造の平石さん、石田さん、この機会を実現させてくれたオランダのインポーター「酔い心地」のディックさんに心から感謝いたします。

文：Kazumi（Grape and Rice）

It was late October, and the light along the Amstel had that particular quality—clear, soft, unhurried. Austrian wine waited at the Amstel Boathouse.

The tasting was structured unlike any I had attended. Thirteen flights, six wines each, organised by category: sparkling, village whites, single-vineyard Grüner Veltliner and Riesling, orange wines, reds across three weight classes, a dedicated flight for Blaufränkisch, and so on.

Participants could start anywhere. There was no presenter moving the room through a sequence—only the wines in front of you, each carrying a QR code linking to its basic details. The system trusted you to find your own path.

I wished I could have stayed a couple more hours to digest everything on the spot. But then I realised: the format itself invites you to continue elsewhere. The Austrian Wine Marketing Board provides remarkably thorough resources as well as two books on Austrian cuisine and history. The Board was established in 1986 in the aftermath of an adulteration scandal that collapsed exports overnight. The recovery that followed was built entirely on quality. One proof of this commitment: where 'Austria' is written on the outside, Austria must be inside.

In this post, alongside some impressions of the beautiful wines, I will focus on three areas that struck me most—with a bit of research drawn from the Austrian Wine Marketing Board website. Seriously, a great website. For those studying WSET (particularly Level 3 or higher) or planning to travel to Austria, the website is worth checking.

A Quick Geography of Austrian Wine

This may read like a geography lesson, but bear with me: understanding the framework helps make sense of the diversity encountered in any serious Austrian wine tasting.

Austria sits at the heart of Central Europe, bordered by Germany, the Czech Republic, Hungary, Slovenia, and Italy. The western half of the country is dominated by the Alps, whose mountainous terrain is largely unsuitable for grape growing. Viticulture becomes possible only where the mountains give way to lower elevations, particularly as the landscape flattens toward the east and the Pannonian Plain around Hungary.

Austria’s northern wine regions lie along the Danube River. Along its corridor lie Wachau, Kremstal, Kamptal, and further east, Weinviertel, and Vienna, too, sits within this zone. These northern areas focus predominantly on white wines. Grüner Veltliner is the flagship grape, accounting for roughly one-third of all plantings nationwide. Riesling, though planted on a smaller scale, produces some of Austria’s most prized whites, particularly from steep terraced vineyards in the Wachau.

The two grapes have distinct soil preferences. Grüner Veltliner thrives in moisture-retentive soils such as loess and clay, while Riesling favours drier, well-drained soils—limestone, gneiss, and schist.

Moving south and east, into Burgenland and Steiermark, the climate becomes warmer thanks to their proximity to the Pannonian Plain. Here, red grape varieties find their footing. Blaufränkisch is the most important red grape in Austria, capable of producing wines with firm tannins and notable aging potential.

Lake Neusiedl plays a distinctive role in Austrian viticulture. In autumn, mists rising from the lake create conditions ideal for the development of Botrytis cinerea—noble rot. Welschriesling, a grape otherwise used for simple dry whites, becomes the foundation for Austria’s botrytised sweet wines, particularly around the town of Rust.

In Austria, rainfall is considerably lower, and the Pannonian influence brings drier, sunnier conditions during the growing season. This reduced humidity means lower disease pressure in the vineyard, making organic and sustainable farming more achievable although drought is an increasing concern. That said, Austrian wine law permits irrigation where necessary—a pragmatic response to shifting conditions.

Let's begin with Austrian Sekt.

Austrian Sekt

The sparkling flight delivered consistent quality, with the zero-dosage and brut nature styles (0–3 g/L) proving particularly convincing. The true standout was Harkamp’s Brut Nature “Zero Dosage” NV from Südsteiermark, a blend of Pinot Noir, Pinot Blanc, and Chardonnay with at least 24 months on the lees.

Serious sparkling, authentic Champagne style. Ripe apple, raspberry, strawberry, a hint of fruit spice, brioche, hazelnuts. Wet stone minerality. Lean on the palate, with vibrant acidity.

One thing caught my attention: if I was not mistaken, none of the six Sekts carried a PDO designation. Reading through the history section of The Wine in Austria, a book gifted at the event, offered some clues.

Austrian Sekt was born in 1842, when Robert Alwin Schlumberger, a cellarmaster trained at Ruinart in Champagne, followed his love Sophie Kirchner to Vienna and founded his own sparkling wine house. Yet for over a century, only dedicated Sektkellereien were permitted to produce sparkling wine. It was not until 1976, when winegrower Gerald Malat won a court case, that individual estates gained the right to make their own Sekt. Small-scale production is barely fifty years old and still only around 114 wineries produce sparkling wine in Austria.

However, quality remains the priority, as noted at the beginning. Several bottles displayed Demeter or organic certification more prominently than any regional indication, suggesting where producers place their emphasis.

That said, the PDO system itself is rigorous and internationally competitive. Sekt Austria (PDO) requires grapes from a single federal state. Sekt Austria Reserve mandates stricter regulations, exceeding non-vintage Champagne requirements. Sekt Austria Große Reserve is comparable to vintage Champagne.

However, the current naming convention was formalised only in 2022, and the sector may still be in transition. The prevalence of non-PDO bottles likely reflects all of these factors, including a classification system still settling into its new identity.

Austrian Sekt once relied primarily on Grüner Veltliner and Welschriesling as base wines, but aromatic varieties like Riesling and Champagne grapes are gaining ground. Considering the quality already on display and the trajectory ahead, this is a genuinely exciting category to watch.

Single-Vineyard Wines: The Transparency of Classification

The single-vineyard flight demonstrated what happens when a wine region commits to making its knowledge visible. Five out of six carried the “1ÖTW” designation on their labels. This mark indicates wines classified as Erste Lage (Premier Cru) by the Österreichische Traditionsweingüter, an association of traditional wine estates founded in 1992. The 1ÖTW, first applied to 52 sites in 2010 and now encompassing over 100 vineyards, evaluates sites based on historical significance, geological homogeneity, and decades of quality track record.

As I mentioned above, Riesling prefers well-drained soils: primary rock (Urgestein) such as gneiss, mica schist, and amphibolite, or limestone. The single-vineyard selections that followed illustrated this principle precisely, each label revealing not just a name but a soil type, an altitude, a slope orientation.

Mantlerhof, Grüner Veltliner Ried Gedersdorfer Moosburgerin 1ÖTW 2023 (Kremstal DAC) Ripe apricot, marmalade, pink grapefruit. Textured and yeasty.

Sepp Mantler’s estate occupies steep loess terraces in Kremstal. Ried Moosburgerin is unusual, where pure loess meets conglomerate rock. The vineyard curves steeply, capturing sun while channeling western winds for ventilation. Mantlerhof was among the founding estates of the Österreichische Traditionsweingüter. The wine shows the full-bodied, persistent character that loess delivers.

Fritsch, Grüner Veltliner Ried Steinberg Ruppersthal 1ÖTW 2024 (Wagram DAC) White pepper, ripe apricot. Long finish with tension and texture.

Karl Fritsch farms biodynamically in Wagram, a region defined by its massive loess terrace, yet Ried Steinberg breaks the pattern. The steep southeast-facing slope at 240 metres consists of slate and granite, yielding a Grüner Veltliner with unusual mineral tension. The 15- to 65-year-old vines undergo spontaneous fermentation in stainless steel. Fritsch was a founding member of Respekt-Biodyn, Austria’s premier biodynamic growers’ association. This wine combines the varietal’s characteristic pepper spice with the site’s crystalline edge. Outstanding.

Hirsch, Riesling Ried Zöbinger Gaisberg 1ÖTW 2023 (Kamptal DAC) Apricot, yellow peach, quince, citrus pith. Gorgeous, balanced, focused finish.

Johannes Hirsch works 31 hectares in Kamptal, with 85% of his vineyards on slopes. The Gaisberg lies in classic Urgestein territory, which is primary rock, exposed by erosion, into which vine roots must penetrate millimetre by millimetre through cracks and crevices. Hirsch, a founding member of Respekt-Biodyn, employs soft pruning to minimize vine wounds. The result is Riesling of crystalline purity—lean, precise, with the mineral salinity that primary rock delivers.

Weinhofmeisterei Mathias Hirtzberger, Riesling Ried Kollmitz Smaragd 2021 (Wachau DAC) Honey, marmalade, spice (anise). Long-lasting finish.

Mathias Hirtzberger, son of the renowned Franz Hirtzberger of Spitz, established his own estate in Wösendorf. Ried Kollmitz is one of the highest-elevation sites in their portfolio, benefiting from long hours of sunshine on the southeast- to west-facing terraces. The resulting Riesling, harvested at Smaragd ripeness (minimum 12.5% alcohol under Vinea Wachau’s classification), shows the interplay of power and precision. The 2021 vintage, with its 7.9 g/L acidity against 3 g/L residual sugar, demonstrates why Wachau Smaragd ages: structure rather than sweetness defines the wine’s architecture.

Blaufränkisch: Austria’s Answer to Structure

The final flight turned to red, and specifically to Blaufränkisch. It is Austria’s most important indigenous red variety and the flagship variety in four distinct regions: Eisenberg, Mittelburgenland (colloquially called “Blaufränkischland”), Leithaberg, and Carnuntum. Each now produces DAC wines with typicity of origin.

The variety’s signature is structure. Typical Blaufränkisch displays wild berry and cherry notes underscored by powerful acidity and prominent tannins. Wines can be impetuous in youth—sometimes challengingly so—but develop velvety facets with sufficient bottle age. Dense examples have serious cellaring potential.

Trapl Johannes, Blaufränkisch Ried Spitzerberg 1ÖTW 2021 (Carnuntum DAC) Wild cherry, dark berries, a hint of confected fruit. Mineral, fine-grained tannins. Elegant structure with a stony finish.

Johannes Trapl farms biodynamically in Carnuntum, certified organic since 2010 and now Demeter-certified. The Spitzerberg vineyard consists of meagre schist rock—a soil type that imparts mineral tension and restraint to Blaufränkisch rather than the fuller fruit profile found on warmer sites.

At 13% alcohol with 5.4 g/L acidity, it demonstrated the freshness and lift that distinguishes site-driven Austrian Blaufränkisch from richer international styles. For drinkers accustomed to Blaufränkisch’s reputation for robustness, Spitzerberg offers a different conversation.

Conclusion: The Rewards of Preparation

The format of Flight Tasting Amsterdam invited a particular approach: taste with focus, and continue learning afterward. It demands more homework than a guided tasting—but the rewards scale accordingly.

In the weeks that followed, I found myself returning to the Austrian Wine Marketing Board’s resources, cross-referencing soil maps with tasting notes, tracing the history of a classification system back to its founding debates. Connecting what I had tasted with what I later read became its own quiet pleasure.

This, perhaps, is what wine education looks like when it works: not a lecture absorbed passively, but a conversation that continues after the glasses are cleared.

Many thanks to the Austrian Wine Marketing Board for making such thorough resources freely available, and to Simon J Woolf for curating an event that trusts its participants to find their own path.

I’m a wine and sake educator based in Amsterdam. This year, wanting to refresh my sake knowledge (which keeps evolving), I decided to take the JSA sake diploma exam in both Japanese and English (and passed)—a perfect excuse to visit Japan twice.

Both trips were officially for the exams. In reality? I spent most of my time visiting breweries and drinking sake you can only find in Japan.

Today I want to share what I actually ate and drank during those August and October visits—in a lighter tone than my usual brewery interviews.

What did I eat? No sushi. No yakiniku. No ramen. Instead, this is the kind of food that sake professionals seek out: dishes that might seem strange at first glance but make complete sense the moment you pair them with the right cup.

The place: Yunimoni, a tiny counter-only bar in Osaka. No English menu. No tourist crowds. Just locals who know their sake and a chef who knows exactly what to cook alongside it.

Here are four dishes—authentic tapas-style food, each with a fantastic twist. Let me show you how I think about pairing.

Sanma Mousse on Maitake

The first dish arrived looking like chocolate mousse perched on golden-brown mushrooms. A halved sudachi (Japanese citrus) sat alongside. I had to ask what I was looking at.

Sanma is Pacific saury—a sleek silver fish whose kanji (秋刀魚) literally means “autumn sword fish.” To prevent overfishing, the fishing season traditionally opens around August 10th, but the true peak comes in September and October. In Japan, when sanma appears at markets alongside the autumn sake release called hiyaoroshi, everyone knows: autumn has arrived. The classic preparation is simple—grilled over charcoal and finished with a splash of soy sauce.

Here, instead of that familiar char, the kitchen had transformed sanma into something impossibly light: a mousse with the texture of silk, all the good parts of blue-fleshed fish concentrated, the harshness left behind. The maitake mushrooms beneath had been sautéed until their edges crisped.

Serving them together isn’t creative fusion—it’s seasonal common sense.

The sake: Tamagawa “Iwai” Junmai Ginjo, 2023BY. Tamagawa is made in Kyoto by British toji Philip Harper (more on him in my previous article). “Iwai” means celebration—it’s also the name of a Kyoto-grown rice variety used here. The result is round and generous, with just enough acidity to stay balanced.

Sanma carries a characteristic bitterness that some find challenging. But matched with sake’s umami, that bitterness becomes pleasant, almost appetizing. The sake’s gentle sweetness echoed the mousse, creating resonance rather than contrast. And the layered umami in this dish—fish, mushroom, fermentation—found a partner in the sake’s own depth.

Each sip encouraged another bite. Each bite demanded another sip.

Seared Bonito with Egg Tartar and Shutō

This one looked deceptively simple: thick slices of seared bonito topped with golden tartar sauce, finished with a small dollop of something rust-colored.

Seared bonito is one of Japan’s great preparations—the fish charred over extremely high heat so the exterior blackens while the interior stays cool and raw. The contrast between smoky crust and silky flesh is thrilling. But this version went further. The egg tartar added richness and body. And then there was the shutō.

Shutō is hard to explain. It’s the fermented, salted internal organs of bonito, aged until deeply savory and almost paste-like. Think of it as Japan’s answer to anchovy paste or bottarga—concentrated, funky, intensely umami. People buy it as a luxury gift and ration it carefully.

Here, just a small amount sat atop the tartar, adding a high note of concentrated flavor to an already complex dish.

The sake: Hiokizakura Junmai Hiyaoroshi Yamayosoou, served cold. A classic autumn release—soft, round, mellow.

This pairing was all about umami meeting umami. The bonito brought savoriness. The tartar added richness. The shutō contributed fermented depth. These layers didn’t compete—they amplified each other, like voices joining in harmony. The sake’s own umami became part of the chord, filling in the spaces between fish, egg, and fermentation.

Three sources of umami, one cup of sake to bind them together.

Nikogori with Nagano Purple Grapes

In a ceramic bowl sat what appeared to be a small cube of amber-colored jelly, studded with slices of deep purple grape.

Nikogori is not a sauce or dressing but a state of matter. When proteins with high collagen—typically from fish or meat—are cooked and cooled, the liquid sets naturally into a soft jelly. No gelatin added. Just the ingredient’s own substance, transformed by temperature.

What makes nikogori special is what happens when you eat it. At room temperature, it holds its shape. But in your mouth, it begins to melt—your body heat liquefying the jelly back into a silky, savory liquid. The Nagano Purple grapes added sweetness and slight acidity, creating contrast within a single bite.

The real revelation came from the chef’s instruction: Keep the nikogori in your mouth for three seconds after sipping warm sake, then let it melt.

The sake: Hiokizakura Junmai Hiyaoroshi Yamayosoou, served warm.

Here’s what happens during those three seconds. You sip warm sake. You place nikogori on your tongue. The sake’s heat begins to break down the jelly’s structure. For a moment, solid and liquid exist together. Then the nikogori releases entirely, mixing with the remaining sake in your mouth—transforming into something neither jelly nor drink, but richer and more unified than either.

Temperature does the work here. Warm sake speeds the phase change. The hiyaoroshi’s soft, round character matches the nikogori’s delicate texture rather than cutting through it. The grape’s acidity provides a bright finish.

Food as experience. Three seconds of attention, and a dish becomes unforgettable.

Nuta-ae (Fish with White Miso Dressing)

This one looked almost like a Hawaiian poké bowl: cubes of raw fish in a pale sauce, topped with microgreens.

Nuta is one of Japan’s quiet classics—a dressing made from white miso, rice vinegar, and a touch of sweetness, traditionally from mirin. The flavor is gentle and round, with fermented depth balanced by brightness. Japanese grandmothers have been making this for generations, usually to dress spring onions or seafood. It’s home cooking, not restaurant cooking—until places like Yunimoni started treating it with the seriousness it deserves.

Here, pristine slices of fish lay beneath a generous coating of nuta dressing, the creaminess of the miso wrapping around each piece.

The sake: Banshu Ikkon Junmai, from Hyogo Prefecture. Known for its dryness and precision.

This pairing seemed counterintuitive at first—a dry sake with a creamy, sweet-inflected dish?

But here’s where fermentation changes everything. The sweetness in nuta doesn’t come from refined sugar. It comes from the same process that creates sake: fermentation transforming starches into sugars. The miso has its own sweetness from months of slow fermentation. The mirin(cooking sake) adds sweetness from rice fermentation. And sake carries residual sweetness from the same enzymatic magic.

These sweetnesses recognize each other. They harmonize at a level that cane sugar never could.

Fermented meets fermented. The conversation between cup and plate felt almost inevitable.

What These Pairings Remind Me

These four dishes share something important. They’re not flashy. They don’t photograph particularly well (though I tried). They require explanation before they can be appreciated.

But that’s the point.

Japanese cuisine, at its deepest level, is about using ingredients fully and honoring the seasons that bring them. Nikogori exists because someone noticed cooking liquid sometimes sets when cooled. Shutō exists because someone found value in parts of the bonito that might otherwise be discarded. The sanma mousse exists because autumn brings this fish, and a skilled kitchen found a new way to honor it.

And sake exists to accompany all of this—not as an afterthought but as a partner. The right sake doesn’t just pair with a dish. It transforms it.

For those planning a trip to Japan: go beyond the familiar pleasures. Find a counter seat at a place that serves what locals drink. Order what the person beside you is eating. Accept that you might not know what it is until you taste it.

Experiencing another culture in a different country—that’s the joy, isn’t it? And it goes both ways.

Now, today is Sinterklaas here in the Netherlands—the most important day of the year for kids. Time for this mother to get back to her behind-the-scenes elf duties.

Tot ziens!

Philip Harper, the first non-Japanese master brewer to win gold at Japan’s National New Sake Competition, has been brewing Tamagawa sake at Kinoshita Shuzo in northern Kyoto Prefecture for the past 19 years. This interview explores the thinking behind one of Japan’s most unconventional breweries.

There’s an enormous distance between “speaking” a foreign language and “delivering professional results” in that language. Living in the Netherlands, finding my way in English and Dutch, I feel that distance every day. That’s why I couldn’t help but feel awe when I learned that Philip Harper, originally from Britain, passed one of Japan’s most challenging brewing exams—the Nanbu Toji certification, administered by the country’s largest toji guild—and has led a Kyoto brewery for nineteen years.

Before visiting, my impression of Tamagawa was a robust, flavorful sake that reveals its true character at room temperature or warmed. But this brewery visit showed me the philosophy behind that impression: an uncompromising approach to rice preparation, a genetically unique indigenous yeast—rare in today’s sake industry—and sake that only gets better with time. “Even two or three years after opening, it still holds,” Harper told me. That’s extraordinary.

Founded in 1842, Saved from Closure

Kinoshita Shuzo was founded in 1842 in Kumihama, in northern Kyoto Prefecture. The Kawakami-dani River runs right beside the brewery—its bed once lined with pebbles so fine and lustrous it resembled a stream of jewels. “A river like gems”—that’s the origin of the brand name Tamagawa.

In 2007, the brewery was on the brink of closing. The toji who had led the brewery for forty-six years had passed away, and Yoshito Kinoshita, the eleventh-generation owner, was preparing to shut down. That was when Philip Harper entered the picture.

Harper had come to Japan in 1988 through the JET Programme as an English teacher. Joining a sake club with friends, he became captivated by brewing, eventually quit his job, and became a brewery worker. After training under tojis from three of Japan’s great traditional guilds and earning Nanbu Toji certification, he joined Kinoshita Shuzo. In his very first year, he began brewing with traditional natural fermentation methods (kimoto and yamahai) without adding commercial yeast. In 2008 and 2012, he won gold at the National New Sake Competition—the first non-Japanese toji ever to do so.

Yet in other interviews, Harper credits his mentors rather than his foreignness: “My brewing style isn’t about being a foreigner—it’s the result of learning from veteran Japanese toji.” Behind those words lies years of training under tojis from three of the greatest traditional guilds.

Precision Soaking for All Rice

Rice absorption determines sake quality. How much water rice absorbs affects steaming texture, koji development, and ultimately flavor. “Precision soaking” means controlling absorption time down to the second. Tamagawa does this for all its rice—not just the portion used for koji, but everything.

What surprised me first was the new in-house rice polishing machine. For a brewery this size (about 850 koku), in-house polishing is extremely rare. The new machine, installed four years ago, handles smaller batches (from 600 kg) that the old one would have cracked, and cuts electricity costs in half.

Most breweries just start with white rice, and never see the year-by-year and variety-by-variety,farmer-to-farmer differences to the brown rice during the polishing process. However, rice from different fields absorbs water differently. Because Tamagawa polishes in-house and knows each lot’s characteristics, precision soaking becomes meaningful.

Absorption begins with washing. Wash 500 kg of rice in one large vat, and loading time alone creates a twenty-minute gap between the first and last grains. “You can ignore that gap, or not. We won’t.” Tamagawa uses a labour-intensive system where all rice is washed in individual 15 kg batches.

A Genetically Distinct Indigenous Yeast

Another defining feature of Tamagawa is its use of indigenous yeast for kimoto and yamahai brewing. In wine, yeast on grape skins drives natural fermentation. Polished white rice has no yeast. So “natural yeast” in sake means yeast living in the brewery’s air and on its tools—”indigenous yeast.”

Before modern methods were established, all sake used indigenous yeast. Starting in the early 1900s, superior strains were isolated, managed, and distributed as Brewing Society yeast. Today, nearly every brewery uses them.

But here’s my question: in breweries that have added Brewing Society yeast for decades, those strains have likely colonized the environment. When such breweries claim to use “indigenous yeast,” isn’t it really just old Brewing Society yeast?

“We had our yeast genetically analyzed,” Harper said. “Ours belongs to a completely different group from Brewing Society yeast.”

When Harper arrived, Kinoshita Shuzo used Brewing Society #7. In the first two or three years of no-additive brewing, #7 naturally drifted in. Eventually, the brewery’s original yeast reasserted itself.

Aging and Shipping at Room Temperature

Sake consumption in Japan has fallen to less than a quarter of its 1973 peak. Meanwhile, exports have more than tripled over the past decade. This shift opens two perspectives worth noting.

First, the opportunity in aged sake. In Japan, the prevailing view is “drink new sake while it’s fresh.” From wine cultures, though, aging is a key factor in building value. As I noted in my Kenbishi article, aged sake holds possibilities beyond Japan’s shrinking domestic market.

Kinoshita Shuzo values aging—especially room-temperature aging. Most pasteurized Tamagawa releases spend at least three years maturing before shipping. The Junmai Ginjo Omachi is six years old; the Tokubetsu Junmai, four. Ask anyone at the brewery, and they’ll tell you room-temperature aging produces better results than refrigeration.

What’s fascinating is that room-temperature aging creates regional variation. Refrigerate sake, and it ages the same whether stored in Japan or the Netherlands. At room temperature, it becomes entirely different sake. You might call it “terroir of aging.”

Second, Harper emphasizes the importance of room-temperature shipping.

“Back when sake was booming, everything shipped at room temperature. Now it’s all ‘refrigerate this, drink that quickly.’ Too many rules. That limits your audience.”

Of course, this only works if the sake can handle it. Tamagawa offers refrigerated shipping on request, but year-round—even for the summer-only “Ice Breaker” unpasteurized genshu—the sake is shipped without refrigeration.

In the brewery’s attic, sake brewed nineteen years ago sleeps at room temperature. Even when summer heat pushes past 40°C, it doesn’t break down. Remarkable.

Tasting Time – Four Notable Bottles

Tamagawa Junmai Ginjo Omachi BY2018

Alcohol 15–16%. Akaiwa Omachi is a premium designation within Omachi rice. Entry-level style—water added, pasteurized—but aging before release gives it a soft mouthfeel. The pandemic extended aging, so current bottles have six years instead of the usual four. A bargain. “ Once 2018 stock runs out, we’ll switch to 2019 then 2020, so the sake will get a year or two younger,” Harper said. Rich umami with Omachi’s distinctive texture. Labeled ginjo, but think herbal aromas rather than fruit or flowers, plus caramel and soy sauce from aging. Full presence, clean finish. Best at room temperature (20–25°C) or nurukan (warm, around 40°C).

Tamagawa Yamahai Junmai Muroka Nama Genshu BY2024

Alcohol 19–20%. Hyogo-grown Kitanishiki and HYOGO SAKE 85 rice. Tamagawa’s flagship, naturally fermented with indigenous yeast. Rich in acid and amino acids. The powerful yeast keeps going until the sake hits high alcohol and dryness. Layers unfold in the mouth. The yamahai genshu exported to the Netherlands is this type, aged one year at room temperature before shipping. Works from on-the-rocks to jo-kan (hot, 45°C)—different charms at each temperature.

Tamagawa Yamahai Junmai Muroka Nama Genshu White Label BY2018 (Summer Room-Temperature Aged)

Alcohol 21–22%. 100% Kitanishiki, naturally fermented with indigenous yeast. The color approaches tawny port. Caramel nuts, soy sauce, dried fruit, rich mature rice umami. Room-temperature aging builds layers of acidity, sweetness, and umami—warm aged aromas and a long finish. “This is amazing,” I said out loud. I wanted to buy some, but already sold out. I’ll wait for the next vintage.

Tamagawa Time Machine 1712 BY2022

Alcohol 14–14.9%. A recreation of old-style brewing methods. “1712” refers to the year the historical text Harper referenced was completed. Gentle sweetness with faint soy sauce aromas. Extremely sweet, yet abundant acid and amino acids cut through. Delicious over ice cream, and pairs surprisingly well with blue cheese or local salt-fermented mackerel.

“Ultimately, sake flavor is not determined by polishing ratio,” Harper said. Anyone serious about sake reaches this conclusion eventually.

Epilogue – “Take Your Time”

A conversation in the tasting room stayed with me.

Tamagawa sake is strong. It handles room-temperature aging. Moreover, open a bottle, and two or three years later, the flavor hasn’t faded—it’s even improved. Harper is captivated by aged sake’s potential. Each year he experiments with different styles and conditions, including temperatures and durations, and the breadth of his aged sake lineup reflects that dedication.

Wine and sake typically decline after opening—wine loses acidity, refrigerated quick-drinking sake loses aroma. Tamagawa is different. Harper calls it oxidative aging rather than oxidation. The last glass from a bottle tastes better than the first—restaurant customers say so unanimously.

That’s why Tamagawa doesn’t say “drink quickly after opening.”

Instead, it says “take your time.”

From a brewery that treats time as an ally, Tamagawa now introduces a new Reserved series shaped entirely by slow, careful ageing — and I already can’t wait for the day it finally reaches the Netherlands.

After more than thirty years in Japan, earning Nanbu Toji certification, winning gold at the National New Sake Competition, Harper is still learning. All the brewing team work seasonally. Several live in the brewery with Harper, sharing dinner and drinks each night. Some have worked alongside him for nineteen years.

“Take your time”—perhaps this applies not just to drinking sake, but to life itself.

About Kinoshita Shuzo

• Founded: 1842

• Location: Kumihama, Kyotango City, Kyoto Prefecture

• Main brand: Tamagawa

• Production: About 850 koku (153 kiloliters)

• Features: Precision soaking for all rice, genetically distinct indigenous yeast, room-temperature aging and shipping, in-house rice polishing, traditional kimoto and yamahai fermentation

Where to Find Tamagawa Sake

In Japan: Authorized retailers nationwide (distributed from Hokkaido to Okinawa)

In the Netherlands: Through Yoigokochi

Acknowledgments

My sincere thanks to Philip Harper for welcoming this visit, and to Dick at Yoigokochi, the Dutch importer who made it possible.

Thank you for reading! Likes, comments, subscriptions, and shares with sake-loving friends are always appreciated.

酒蔵インタビュー#11: 玉川:「ゆっくりお飲みください」という革命

イギリス人杜氏が証明した、日本酒の新しい時間軸

外国語を「話せる」ことと、その言語で「専門家として結果を残す」ことの間には、途方もない距離がある。オランダに住み、英語とオランダ語と格闘する私は、その距離を毎日痛感している。だからこそ、イギリス出身のフィリップ・ハーパーさんが難易度の高い専門試験──日本最大の杜氏集団である南部杜氏の試験──に合格し、19年にわたって京都・丹後の酒蔵を率いていると知ったとき、畏敬の念を抱かずにはいられなかった。

訪問前の玉川の印象は、常温や燗酒で真価を発揮する、骨太で味わい深い日本酒だった。しかし今回の蔵訪問で、その印象の背後にある哲学──全量限定吸水という妥協のない米洗い、協会酵母とは別系統の蔵付き酵母、そして「開けてから2、3年経っても持つ」という驚異的な酒質──を目の当たりにした。

天保13年創業、廃業寸前からの再生

木下酒造は天保13年（1842年）、京都府北部・京丹後市久美浜で創業した。蔵のすぐ隣を流れる川上谷川は、玉砂利を敷き詰めたような清流だったという。「玉（とても美しい）のような川」——銘柄「玉川」の由来である。

2007年、この蔵は存亡の危機にあった。46年間蔵を支えた杜氏が亡くなり、11代目蔵元の木下善人社長は廃業を覚悟したという。そんな折、知人を通じて紹介されたのがフィリップ・ハーパーさんだった。

1988年にJETプログラムで来日したハーパーさんは、友人と日本酒クラブに参加するうち酒造りに魅せられ、気づけば仕事を辞めて蔵人になっていた。各地の蔵で経験を積み、南部杜氏の資格を取得。木下酒造では就任1年目から、酵母無添加の生酛・山廃仕込みに着手した。2008年と2012年には全国新酒鑑評会で金賞を受賞——外国人杜氏として史上初の快挙である。

他のインタビュー記事を読むと、ハーパーさんは「私の造りは”外国人だから”というより、日本のベテラン杜氏から学んだ結果です」と語っている。但馬、南部、能登、日本四大杜氏のうち３つもの杜氏の下で研鑽を積んだ経験が、その言葉の背景にあるのだろう。

全量限定吸水──20分のズレを許さない

米の吸水は酒質を左右する。米がどれだけ水を吸うかで蒸し上がりの硬さが変わり、麹の出来が変わり、酒の味わいが決まる。「限定吸水」とは秒単位で吸水時間を管理する技法で、玉川はこれをすべての米に行う。

蔵を案内されて最初に驚いたのは自社精米機だった。この規模（約850石）の蔵で自家精米を行うのは極めて稀だ。4年前に導入した新型機は、旧型では割れてしまうことがあった少量（600キロ〜）にも対応でき、電気代も半分に下がった。

「普通の蔵では「加工用米」は、精米された白米でごちゃ混ぜに入ってくるので、何が入っているかわからない。品種が変わると水の吸い方も変わる。ごちゃ混ぜだと、適当にやるしかない」

米は品種や天候によってコンディションが異なり、吸水率に直結する。自家精米で品種ごとの特性を把握しているからこそ、全量限定吸水が意味を持つ。

また、吸水はその前のフェーズ洗米から始まっている。500キロの米を大きな桶で一度に洗うと、米の送り込みに時間がかかるため、最初と最後の米で吸水時間が20分もずれてしまう。「それを見て見ぬふりするか、しないか。うちはしない」

給水時間をより正確にコントロールするために、玉川では毎日700〜800キロの米を、15キロずつ洗っている。

蔵付き酵母という「別系統」

玉川のもう一つの特徴は、生酛・山廃仕込みにおける酵母無添加だ。ワインでは葡萄の皮に付着した酵母が自然発酵を担うが、精米された白米には酵母がいない。だから日本酒における「自然酵母」とは、蔵の空気中や道具に棲みついた「蔵付き酵母」を指す。

近代的製法が確立する以前は全て「蔵付き酵母」だったが、1900年代初頭から優良な酵母が「協会酵母」として管理・頒布され、今ではほとんどの蔵がこれを使う。

長年協会酵母を添加してきた蔵では、それが蔵に定着しているはずだ。つまり「蔵付き酵母」といっても、実態は昔使っていた協会酵母なのではないか？——私はそう問いかけた。

「遺伝子を調べてもらったんですが、うちの酵母は協会酵母とは別グループなんですよ」と、ハーパーさんは言う。

ハーパーさんが就任した当初、蔵では7号酵母を使っていたため、酵母無添加を決めた最初の2、3年も7号が自然に入り込んでいたそうだが、やがて協会酵母使用以前の蔵本来の酵母が顔を出し始めたそうだ。

この独自の酵母が、玉川の酒に驚異的な耐久性をもたらしている。屋根裏には19年前に仕込んだ酒が常温で眠っている。真夏には40度を超える環境でも、へたらないというから驚きだ。

熟成と常温流通

日本酒の国内消費量は、ピーク時（1973年）から4分の1以下に縮小した。一方で輸出は過去10年で3倍以上に伸びている。この状況から2つの視点を注目したい。

まず熟成酒という機会。日本では「新酒は新鮮なうちに」という考え方が主流だが、ワイン文化圏から見ると、熟成は酒の価値を高める重要な要素だ。剣菱の記事でも触れたように、熟成酒は縮小する国内市場とは別の可能性を持っている。

木下酒造でも、熟成、特に常温熟成を大切にされている。玉川では火入れタイプのほとんどが3年以上の熟成を経て出荷される。純米吟醸雄町は6年もの、特別純米は4年もの。蔵の中でも冷蔵管理よりも常温管理した方が美味しいという意見が圧倒的だそうだ。

また、興味深いのは、常温熟成だと土地によって酒が変わるということ。冷蔵保管なら日本で熟成してもオランダで熟成しても同じ酒になるが、常温だと全く違う酒になる点だ。「熟成のテロワール」とも言えるだろうか。

そしてもう一つ、ハーパーさんが強調するのは「常温流通」の重要性だ。

「日本酒業界が一番栄えていた時は、全部常温流通だったんですよ。今は冷蔵庫に入れなきゃとか、早く飲まなきゃとか、注文が多すぎる。それじゃ窓口が狭まる」

顧客の要望によっては冷蔵流通もしているが、玉川は夏限定の「Ice Breaker」（無濾過生原酒）も含め、年間を通じてクール便を使わなくて済む酒質だそうだ。

常温熟成で深みを増した日本酒が常温流通で届けられる強さのある酒、海外市場での評価につながっている。

時間を味わう──テイスティングノート

試飲した中から、印象的だった4本を紹介する。

玉川 純米吟醸 雄町 BY 2018

赤磐雄町100% アルコール15〜16%。赤磐雄町は雄町の中でも高品質のブランド米だ。加水・火入れのエントリースタイルだが、蔵内で熟成させてから出荷するため口当たりが柔らかい。コロナ禍で熟成期間が延び、通常より長い6年熟成で販売されている今がお買い得だという。「2018年の在庫がなくなり次第2019や2020年の若いビンテージに入れ替わる予定」とハーパーさん。豊かな旨味に雄町らしい独特のテクスチャ。吟醸とはいえ、果実や花の香りよりは草やハーブを思わせる香りに、熟成によるカラメルや醤油のニュアンスが加わる。存在感がありつつもキレ味が良い。常温（20〜25度）かぬる燗（40度）がおすすめ。

玉川 山廃 純米 無濾過生原酒 BY 2024

アルコール19〜20%。兵庫県但馬産北錦とHYOGO SAKE 85を使用した玉川の定番シリーズ。蔵付き酵母による自然仕込みで、酸とアミノ酸が豊富。蔵付き酵母の力が強く、アルコール度数が高く辛口になるまで発酵し続ける。口中で展開するレイヤーの厚みが印象的だ。オランダで扱っているのもこのタイプの山廃原酒で、蔵で1年常温管理してから送っているそうだ。オンザロックから上燗（45度）まで、温度帯によって異なる魅力を見せる。

玉川 山廃白ラベル 純米 無濾過生原酒 BY 2018 夏越し常温熟成

アルコール21〜22%。北錦100%、蔵付き酵母による自然仕込み。色はもう紹興酒だ。キャラメルナッツ、醤油、ドライフルーツ、熟れた米の旨味。常温熟成由来の酸・甘味・旨味が層になり、温かみのある熟成香と長い余韻を残す。「超おいしい」と思わず声が出た。買って帰りたかったが、残念ながらすでに売り切れとのこと。次のヴィンテージを楽しみに待ちたい。

Time Machine 1712 2022BY

兵庫県産北錦 アルコール14〜14.9%。江戸時代の製法を再現した酒だ。商品名の「1712」は、ハーパーさんが参考にした古文書『和漢三才図会』が完成した年である。優しい甘みと、ほのかに醤油のような香り。超甘口だが、豊富な酸とアミノ酸が濃厚な甘さをすっと切らせる。アイスクリームにかけても美味しいし、ブルーチーズや丹後名物のへしことも合うとのことで、驚きの相性だ。

「結局、酒の味は精米歩合で決まるものではない」とハーパーさんは言う。真剣に酒を飲んでいく人は、結局その結論にたどり着くのだと。

エピローグ──「ゆっくりお飲みください」

試飲室での会話が印象的だ。

玉川の酒は強い。常温保管で熟成させても、開栓後2、3年経っても味がへたることはなく、むしろ向上するという。熟成酒の可能性に魅せられているハーパーさんは、毎年温度や期間等の条件を変えながら実験を続けており、熟成酒の商品ラインナップの幅がその姿勢を物語っている。

ワインも日本酒も、通常は開栓後に劣化していく——ワインは酸が落ち、冷蔵・早飲み想定の日本酒は香りが落ちる。しかし玉川の酒は違う。酸化ではなく酸化熟成とハーパーさんは言う。瓶を開けた最初の一杯より、最後の一杯のほうが美味しい——飲食店の客は皆、口を揃えてそう言うという。

だから玉川は「開栓後は早くお飲みください」とは言わない。

「ゆっくりお飲みください」。

そんなふうに「時間を味方につける」玉川から、ゆっくりと育てた熟成の魅力を凝縮した “Tamagawa Reserved” シリーズが登場した。オランダで手に入れられる日が、今から本当に待ち遠しい。

30年以上日本に暮らし、南部杜氏の資格を取り、全国新酒鑑評会で金賞を獲得しても、彼は今なお学び続けている。蔵のメンバー全員が季節雇用だ。住み込みで、毎晩一緒に食事をして晩酌をする蔵人も多く、19年間一緒に働くメンバーもいるという。

「ゆっくりお飲みください」という言葉は、日本酒への向き合い方だけでなく、人生への姿勢を示しているのかもしれない。

木下酒造について

• 創業: 1842年

• 所在地: 京都府京丹後市久美浜

• 銘柄: 玉川

• 生産量: 約850石（153キロリットル）

• 特徴: 全量限定吸水、協会酵母とは別系統の蔵付き酵母、常温熟成・常温流通、自社精米、生酛・山廃仕込み

玉川の日本酒を味わうには

日本国内:全国の特約店（北海道から沖縄まで流通）

オランダ: 酔い心地（Yoigokochi）経由

謝辞

今回の訪問を快く受け入れてくださったフィリップ・ハーパーさん、この機会を実現させてくれたオランダのインポーター「酔い心地」のディックさんに心から感謝いたします。

お読みいただき、ありがとうございます！いいね、コメント、購読、お友達の日本酒好きへのシェアでサポートよろしくお願いします。

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This article is also published on Dutch Wine Apprentice, where I regularly contribute wine event reports and producer profiles.

On a bright early November day, two leading Dutch wine importers joined forces to host a portfolio tasting at the stunning Hotel Karel V in Utrecht. Co-organized by Anfors Imperial and Smaragd Wijnen, the event featured numerous winemakers across both portfolios, offering a balanced mix of historic names and rising newcomers.

Instead of a masterclass style where you may spend a long time on a single producer, this setup allowed attendees to move at their own pace—interviewing winemakers and tasting wines in the order they preferred. The selection was more than we expected, particularly with some new discoveries for us.

In this post, I highlight the most memorable producers and wines from the afternoon.

📍 Who should read this article:

• Wine enthusiasts interested in terroir-driven European wines

• Professionals seeking new producers outside the mainstream

• Those curious about natural and biodynamic winemaking approaches

• Anyone interested in the stories behind small-production estates

Hunter|McKirdy: Terroir-driven Newcomers in Alsace

Jolene Hunter and Paul McKirdy launched their estate in 2023 after working at Zind-Humbrecht, where Hunter served as Export Director and McKirdy worked as Chef de Cave. The couple farms 3.5 hectares on early Jurassic limestone-marl soils in Zellenberg, with vines averaging over 45 years old.

Tasting their wines reveals salinity, crunchy fruits, solid structure, alcohol maintained in the low 12% range, and a focused finish. The wines bear little resemblance to typical Alsace profiles. Instead, they evoke Jura. This makes sense: the terroir is said to mirror Sud Revermont in Jura. Their choice of Vin de France over AOC Alsace Grand Cru reflects a philosophy of freedom from conventional expectations.

Harvest Philosophy and Winemaking

Hunter shared some of their choices for expressing terroir during the tasting. Harvest timing is determined through extensive sampling, with the team prioritizing optimal fruit expression, acidity, and focus rather than potential alcohol. They maintain rigorous sorting standards, rejecting any botrytis or shriveled berries.

Grapes are pressed gently in wooden basket presses for 8-10 hours—what they call “Champagne pressing.” Fermentation occurs spontaneously in old Burgundian barrels over 10 years old. The estate integrates some biodynamic elements, though it is not certified.

For those curious about biodynamics, here is an intriguing story. Hunter and McKirdy employ extended maceration lasting 29.5 days, described as a “full lunar cycle.” They observe a distinctive tannin evolution: the first two weeks progress normally, the third week shows excessive extraction (”What have I done? Gone way too far, too tannic”), but by the fourth week, tannins soften and fill out.

Tasting Notes:

Samares et Strobiles (Pinot Gris) 2023 | 12.5%

This Pinot Gris is an orange wine in style, with whole bunch fermentation. The color is pale red rather than orange, with tannins served from a decanter. Exciting and playful wine with another level of depth and complexity.

Crunchy red cherry, cranberry, orange peel, undergrowth, leaf, stony minerality. A hint of wood notes accentuates the fruitiness. Juicy acidity with tannins, reminiscent of Pinot Noir from cool climates.

Le Jardin de la Source (Pinot Blanc) 2023 | 12.5%

“It must be hard to imagine Pinot Blanc as the top white cuvée,” Hunter says with a smile, “but for us, it offers structure and possibility and complexity, Pinot Blanc is the most interesting wine.”

Pure aromas of white and yellow flowers, citrus, crushed shell. The medium-bodied palate is linear and austere yet refined and elegant, with a focused finish showing salinity. Aging potential.

Casa Lebai: Recovering Tradition in Ribera del Duero

Brothers Rodrigo and Asier Calvo founded Casa Lebai in 2019 in Gumiel de Mercado, Ribera del Duero. Their family has been connected to wine for generations. Their parents started a winery where both brothers worked as winemakers. But in 2019, they decided to break away and recover the traditional way of making wine in their area. This decision came from a concern about losing heritage. Old underground cellars and stone lagares were being abandoned. For the Calvo brothers, using these historic spaces again was the best way to preserve them.

Historic Infrastructure and Philosophy

Casa Lebai works with three small vineyards. The oldest vines date back to 1936. The estate uses 17th century granite lagares for foot-treading and 15th century underground cellars for aging. These are not decorative choices. The brothers believe these old structures help them make wines that express terroir and variety in a way that modern facilities cannot.

Their philosophy stands apart from typical Ribera del Duero styles. They do not pursue overripe fruit, heavy extraction, or new oak. Instead, they focus on freshness and balance. “Wine is a refreshing liquid,” Asier explained during the tasting. They harvest for phenolic maturation without waiting for the grapes to become overripe. The winemaking is simple: normal alcoholic fermentation, then one year of aging in large old barrels. They deliberately use very big vessels—large foudres rather than barriques—to allow gentle oxidation without adding makeup. “It’s not important for us the time in the oak,” Asier said. “We don’t try to make reserva or crianza. We try to make terroir wines.”

This approach extends to their choice of varieties. One vineyard contains Bobal, which is technically not allowed in Ribera del Duero. But because the vines were planted before 1982, when appellation rules were established, Casa Lebai can legally use them. This creates field blends that reflect the true historical composition of the area. All three wines are made the same way, so we can taste the differences between sites, varieties, and terroir without winemaking interference.

Tasting Notes:

Albillo Mayor “La Nava” 2021

This wine comes from a 1936 vineyard where Albillo Mayor represents 80 to 85 percent of the planting. The rest is Castellana Blanca and Pirulés. Asier called Albillo Mayor “the father variety of Tempranillo,” though he admitted he wasn’t entirely sure about this claim. What struck us was his comment that Albillo Mayor is “really neutral” when young. If you try to make a fresh, primary-style wine with this variety, you will get almost no nose. But if you give it time—aging in barrel and then a year in bottle—it starts to express itself.

The 2021 showed spicy flavors and aged fruit rather than primary fruit notes. There was an oiliness on the palate and a mineral tension. The finish was amazingly long. High refreshing acidity gives it structure and aging potential. Asier said it could age for five to ten years. Even at this young stage, the wine already showed complexity and depth.

Red Blend “El Portillo” 2022

This wine comes from the same 1936 vineyard as the Albillo Mayor. The blend includes Tinto Fino, Garnacha, and Valenciano (the local name for Bobal). Asier explained that Bobal and Garnacha together represent about 15 percent of the blend, with Tempranillo comprising the remaining 85 percent. The wine aged for one year in large barrels.

We found this red to be super refreshing and elegant. It had structure and texture but was not heavy or extracted. The fruit was red and precise. The acidity carried through to a long, clean finish. This wine felt completely different from the typical Ribera del Duero profile. There was neither overripeness nor new oak sweetness. Instead, alive and pure.

100% Tinto Fino “Matadiablos” 2021

The third wine came from a younger vineyard planted in 1997. This one is pure Tinto Fino. Rodrigo warned us that it would be “totally different” from what people expect from Ribera del Duero. He was right. The wine was not borderless, not heavily oaked, not very concentrated. It was refreshing, structured, and textured with a finish that continued to the end. The tannins were present but refined. The acidity kept everything lifted.

Weingut Bründlmayer: Grüner Veltliner Mastery from Austria’s Kamptal

Willi Bründlmayer runs one of Austria’s most respected estates in Langenlois, Kamptal. The estate covers approximately 80 to 90 hectares and has farmed organically since 2015. Grüner Veltliner and Riesling form the core of production, with wines ranging from entry-level regional bottlings to single-vineyard Erste Lage wines from sites like Heiligenstein and Lamm.

Terroir-First Winemaking

The estate’s approach emphasizes terroir transparency. Wines are vinified in stainless steel with whole-cluster pressing, sedimentation without pumping, spontaneous fermentation, and extended lees contact. Oak plays a role only in reserve-style wines, where large old foudres add structure without masking fruit.

Thomas Klinger, Head of Marketing and Sales at Bründlmayer, led us through the tasting. We discussed white pepper aromas in Grüner Veltliner—a characteristic many people associate with the variety. But he was clear: white pepper is one element, not the defining element. “Grüner Veltliner has so much more to offer than just pepper,” he explained. The estate’s focus is on balance, minerality, and the expression of Kamptal’s diverse soils—primary rock, loess, and clay—rather than chasing a single aromatic marker.

Tasting Notes:

Grüner Veltliner Ried Lamm 1ÖTW 2022

Ried Lamm classified as Erste Lage—First Growth—in the Austrian system. The vineyard lies east of Langenlois on southwest-facing slopes with limestone-rich clay soils. Lamm has been recognized for centuries as one of Central Europe’s finest Grüner Veltliner sites. This is a reserve-style wine, and the must ferments in 300-liter Austrian oak barrels, before maturing in large wooden foudres.

The wine is complex and refined. The nose showed stone fruit, citrus, and white flowers with subtle spice. On the palate, the wine had weight and precision. The wine felt complete and balanced with a long, clean finish. This was Grüner Veltliner with both immediate appeal and the structure to age.

Riesling Ried Heiligenstein 1ÖTW 2023

Heiligenstein is Bründlmayer’s most famous vineyard and one of the great Riesling sites in Austria. The vineyard sits on 250-million-year-old desert sandstone with volcanic components—a soil type unique to this single site. This geology creates wines of remarkable intensity and mineral character. The vineyard is protected as a nature reserve, where the finest fruit ripens high on the slope.

This Riesling showed firm, deep citrus aromas with herbal nuances and hints of peach. The palate was taut and precise with focused acidity. There was nothing superfluous in the structure—just pure Riesling fruit, bright acidity, and mineral tension. The wine felt alive and electric.

Champagne Michel Gonet: Grower Champagne from Le Mesnil-sur-Oger

Michel Gonet is a family-run Champagne house based in Le Mesnil-sur-Oger. The estate has been in the family for seven generations, founded in 1802. The estate farms approximately 38 hectares across multiple sites, with 80 percent planted to Chardonnay and 20 percent to Pinot Noir.

Freshness Through Controlled Disgorgement

The estate’s winemaking philosophy centers on terroir expression and freshness. During the tasting, we learned about their unique approach to disgorgement and dosage. Michel Gonet disgorges only one thousand bottles at a time throughout the year. This allows them to adjust dosage levels for each disgorgement based on how the wine has evolved. As the wine spends more time in contact with the lees, it gains richness, requiring less dosage. The goal is to provide the freshest possible Champagne to the market. When consumers choose to enjoy it is their decision. “Our role is to provide you the freshest Champagne possible,” he explained. Once a wine is disgorged, it stops improving and starts transforming. By disgorging small batches continuously, they ensure every bottle reaches customers at peak freshness with precisely calibrated dosage.

Tasting Notes:

Les 3 Terroirs Extra Brut Blanc de Blancs 2020

This wine represents three distinct terroirs in equal parts. One third comes from Le Mesnil-sur-Oger, where the estate holds 14 hectares. Another third comes from Montgueux, in the Aube that the Champagne trade calls “the Montrachet of Champagne,” with silex, limestone, and clay for its soil on the south facing slopes, making powerful wines. The final third comes from Vindey, meaning ‘wine of the god,’ an appellation south of Sézanne known for ripe fruit character. The wine ferments in stainless steel at 12°C and ages five years on lees before receiving 4 grams of dosage.

This Champagne is refined and elegant. The nose showed fresh citrus, apple, peach with subtle tropical, and white floral notes rounded by biscuit, hazelnuts and toast. Long lees aging gives it a creamy texture balanced by refreshing acidity.

Grand Cru Mesnil-sur-Oger Millésime 2015 Blanc de Blancs

This vintage Champagne comes from a single lieu-dit called Les Hautes Mottes in Le Mesnil-sur-Oger, located next to the renowned Les Chétillons parcel. The site sits on pure chalk soils. The wine ferments in stainless steel at 12°C and ages six years on lees before disgorgement with zero dosage.

This wine has more weight and richness than the Les 3 Terroirs. The nose showed ripe citrus, brioche, and toasted almonds. On the palate, the wine had a creamy texture balanced by razor-sharp acidity. The chalky minerality was present throughout. The finish was persistent with layers of fruit, yeast, and mineral notes.

Weingut Pflüger: Altitude-Driven Elegance in the Pfalz

Alexander Pflüger represents the younger generation of a family estate whose history stretches for 200 years in Bad Dürkheim, Pfalz. His father Bernd pioneered organic viticulture in the region starting in the 1980s. In 2008, father and son converted the entire 38-hectare estate to biodynamic practices, achieving Demeter certification.

Biodynamic Philosophy

The estate’s philosophy centers on minimal intervention and allowing terroir to express itself. Alexander avoids fining agents, aromatic yeasts, and enzymes, emphasizing time, patience, and sensitivity instead. The vineyards feature biodiversity with fig trees, cypresses, sandstone walls, and grasses growing between vine rows. The estate produces its own compost, treating the vineyard as a living organism.

Tasting Notes:

Riesling “Fuchsmantel” 2021

Fuchsmantel sits at nearly 300 meters elevation on pure Buntsandstein. “Quite high in altitude, almost 300 meters, which means the season is a bit longer,” Alexander explained. “You always have lower alcohol level, but full concentration, a lot of taste, a lot of aromatics, and a nice acidity.” The red sandstone itself contributes additional acidity, creating wines that are fresh, light, and focused.

The 2021 showed bright citrus and green apple on the nose with subtle herbal notes. The palate was crisp and mineral-driven, with a firm acid spine. Despite the freshness, there was no lack of fruit intensity or texture. The wine felt complete and balanced, with a long, clean finish showing stony minerality.

Riesling “Ungsteiner Herrenberg” 2021

Herrenberg ranks among the most prestigious vineyards in the Mittelhaardt, classified as Grosse Lage—Grand Cru. The vineyard faces southeast on protected slopes, surrounded by old sandstone walls that store heat. Vines planted in the 1980s. Unlike the Buntsandstein found elsewhere, Herrenberg consists of loess-clay with high limestone content, creating wines with both power and minerality.

“Very much exposed to the sun, so always very full-bodied and rich,” Alexander noted. “But 21 has been a colder vintage, so you will have a nice acidity as well.” This tension between the site’s natural power and the vintage’s restraint created something special.

The nose showed ripe stone fruit—peach and apricot—with citrus brightness and floral lift. On the palate, the wine had weight and texture, but the 2021 acidity kept everything lifted and precise. The limestone minerality came through clearly on the finish, which was long and layered. This was Riesling with both immediate appeal and the structure to age for years.

What This Tasting Reveals

What stood out across this tasting was how each producer, in their own way, is moving toward clearer expressions of terroir. Hunter and McKirdy chose Vin de France to step outside appellation rules and let their sites speak more freely. Casa Lebai works with old co-planted vines and historic vessels, using winemaking not to decorate the wine but to reveal what the land offers. Michel Gonet adjusts dosage levels to stay closer to transparent expressions of place. Alexander Pflüger follows biodynamic certification while keeping terroir at the center. Bründlmayer’s wines show strong vineyard character tied directly to Kamptal’s soils.

These are different paths, but they point in the same direction. In an era where marketing often overshadows substance, these producers remind us that wine’s true value lies in its connection to place. Their wines are excitingly beautiful—not because of what has been added, but because of what has been preserved.

How to obtain these wines in the Netherlands:

The wines featured in this tasting are available through Anfors Imperial and Smaragd Wijnen in the Netherlands. Both importers focus on terroir-driven, small-production estates and offer delivery throughout the country.

I would like to thank all the producers for sharing inspiring stories and the team of Anfors Imperial and Smaragd Wijnen for inviting us to this memorable tasting.

Kenbishi, founded in 1505 with over 500 years of history, continues to craft its aged multi-vintage sake through an “unchanging method”. The brewery is the largest buyer of Special A District Yamada Nishiki rice (premium sake-specific rice) and operates an in-house woodworking shop, but Kenbishi hardly advertises these facts. I visited this brewery last month to reveal the stories behind it.

As a teenager, the name “Kenbishi” first made me think of Yuri Kenbishi, the wild heroine of the classic girls’ manga Yukan Club (“The Leisure Club”). Its super-rich high-school characters are named after famous sake brands—Shochikubai, Kikumasamune, Kizakura, and Hakushika. Because of that, I carried a mistaken impression: Kenbishi meant “super-rich,” a big corporation inclined toward mass production.

This assumption shattered at a sake event in Amsterdam when I tasted Nada no Ki-ippon. It had a yellowish color, rich umami, complex taste, and a lingering finish. Simply delicious. This unusual interest led me straight to Nada.

What I found there exceeded my expectations: a simple approach unchanged for centuries, no exaggeration, and an attitude focused entirely on quality.

📍 Who should read this article:

• Sake lovers interested in sake and brewery stories behind them

• Wine lovers who want to understand sake from a wine perspective

• Those interested in Japanese craftsmanship

500 Years of History and Recovery from the Earthquake

At the beginning of its 500-year history in the Edo period (1603-1868), Kenbishi became so popular that drinking its sake had its own verb: “kenbiru.” However, this long history has not been smooth. Five different families have taken over as brewery owners while continuing to brew Kenbishi.

The Shirakashi family took over the business from the previous owner who faced bankruptcy due to the Meiji-era brewing tax (Note: This tax required payment when sake was brewed, not when shipped. This hurt Kenbishi, which specialized in storage for aging and blending). The fourth-generation president, Masataka Shirakashi, now leads the company.

Sake consumption in Japan has continued declining since its peak in 1973. Kenbishi produced 350,000 koku (one koku equals 180 liters) in 1975 but now produces only about 20,000 koku. While major breweries Hakutsuru and Gekkeikan still produce around 300,000 koku each, Kenbishi’s scale is about one-fifteenth of the biggest players. Production has shrunk to one-twentieth of what it was 50 years ago, but Kenbishi prioritizes quality over quantity and continues protecting its unchanging taste.

We must not forget January 17, 1995 - the Great Hanshin - Awaji Earthquake, a magnitude 7.3 disaster that killed over 6,400 people and destroyed more than 100,000 buildings.

“Before the earthquake, Kenbishi had eight brewery buildings. Seven wooden buildings collapsed, and only this one remained,” Mr. Haba says.

The only reinforced-concrete building, built 37 years earlier. Several employees died, and that year’s sake production stopped. However, they collected usable tools from the remaining building, rebuilt from there, added three more buildings, and established a four-brewery system. Due to market changes, they now operate with three breweries.

Kenbishi’s Commitment - Protecting Without Boasting

Kenbishi maintains several craftsman-like commitments.

The Largest Buyer Who Doesn’t Talk About Yamada Nishiki

Yamada Nishiki is like the “Chardonnay” of sake rice - a top variety. About 60-70% of all Yamada Nishiki grows in Hyogo, with Special A District being the highest grade. Kenbishi is the largest buyer of Special A District Yamada Nishiki rice, yet surprisingly only writes “domestic rice” on its labels.

“We wanted to make delicious sake and ended up using Yamada Nishiki as a result. We don’t want to say it’s delicious because we use Yamada Nishiki. A different rice variety might appear in the future,” Mr. Haba says.

However, they never compromise on quality. The president himself holds a rice inspector certification, visits rice fields, and grades each farmer and each field. “Even in the same district, this field and that field produce different quality” - he identifies these differences, grades them by company standards, and reflects this in sake brewing.

Aging and Blending - Sake Brewing

All Kenbishi sake is aged sake - specifically, aged sake blended from multiple years, like multi-vintage Champagne. They have used this same method since the Edo period. Other breweries make aged sake, but only Kenbishi makes nothing but aged sake. Their product lineup is remarkably simple. While many breweries offer nearly 30 different products with various rice types, polishing ratios, and seasonal varieties, Kenbishi’s six-product lineup stands out as unusual.

Moreover, they don’t display polishing ratios or junmai (pure rice) labels. There’s a reason for this. “The polishing ratio changes based on that year’s rice conditions, so we can’t display the polishing ratio after blending. Without displaying the polishing ratio, we can’t claim specially designated sake under current tax laws.” They prioritize unchanging taste over special designation status.

The Woodworking Shop Protecting the Last Traditions

Kenbishi’s Hama brewery includes an attached woodworking shop. Three craftsmen handmake sake brewing tools like wooden steaming vats (koshiki), warming barrels (danki-daru), and straw-wrapped barrels (komo-daru). The sight of wood from different regions lined up neatly surprises many visitors.

Kenbishi has become the guardian of traditional sake-making tools. When technologies necessary for sake making nearly disappeared, Kenbishi brought them in-house and protected them, all to protect Kenbishi’s unchanging taste. When the danki-daru craftsman became Japan’s last one, Kenbishi hired him as an employee. They had two young workers apprentice under him to pass on the technique. When the koshiki maker became the last one, they learned that technique too. They bought the manufacturing machine from the last straw rope maker and now produce it themselves.

Currently in the sake industry, some breweries are reviving wooden barrels for barrel brewing. Kenbishi accepts orders from other sake and soy sauce companies, supporting traditions not just for themselves but for the entire Japanese sake industry.

No Advertising - Commitment to Quality

Kenbishi tells visitors about these commitments but doesn’t openly explain them otherwise and hardly advertises. “We answer when asked, but we don’t write about it deliberately,” Mr. Haba says. The philosophy of “taste over titles” embodies the Japanese craftsman spirit.

Different Values for Aged Sake

Kenbishi’s aged sake, which represents its “unchanging taste,” receives different evaluations between Japan and overseas.

First, the color. Aged sake turns yellow depending on its condition through the Maillard reaction (a chemical reaction between amino acids and sugars). Kenbishi has loyal fans who appreciate this rich, aged flavor. However, in Japan’s sake market, fresh sake consumed within a year remains mainstream, and the aged-sake market is still relatively small. Since most consumers are accustomed to fresh, clear sake, some are surprised by the yellow color and occasionally ask if it’s defective. Kenbishi uses white bottles for its 5–15-year-aged “Zuishou” to show, rather than hide, the color that proves aging. In Europe, where people are familiar with aged beverages such as sherry and tawny port, this color is naturally accepted.

Best-selling products also differ. Kenbishi believes in maintaining “prices that regular customers can reach with a small stretch.” In the Japanese market, “Kuromatsu Kenbishi” and “Gokujo Kuromatsu Kenbishi” have established themselves as standard products sold in supermarkets nationwide. Meanwhile, the longer-aged “Mizuho Kuromatsu Kenbishi” and “Zuishou Kuromatsu Kenbishi” are mainly sold as gifts in department stores but account for only 1-2% of total sales.

However, exporting creates an interesting phenomenon. Price differences from Japan shrink overseas. Sake tax depends on volume regardless of price (about 90 yen per 900ml), and shipping costs are calculated by weight and size. A 1,000-yen sake and a 3,000-yen sake get the same shipping costs added, so price differences shrink dramatically compared to Japan.

This price structure change directly affects consumer choices. Products that account for over 90% of sales in Japan’s regular price range sometimes sell at a 3:7 or 4:6 ratio with higher-end, longer-aged products in France and Italy. As price differences shrink, consumers choose based purely on taste preference.

Tasting - Layers of Flavor Created by Aging

I tasted six types of Kenbishi sake. All are aged sake, and all blend multiple years. These sakes, made with methods unchanged for centuries, each showed different expressions.

Kuromatsu Kenbishi (1-3 year aged blend) The standard product with the youngest aging period. 17% alcohol content. Off-dry and rich with a full-bodied taste. Made to pair with simmered dishes and classic Japanese cuisine, which often use sweet rice wine (mirin).

Gokujo Kuromatsu Kenbishi (1-3 year aged blend) Made the same way as Kuromatsu Kenbishi but selecting only the best tanks. 16.5% alcohol content. Has a cleaner, sharper taste than Kuromatsu with higher acidity. Chilling brings out even more sharpness.

Mizuho Kuromatsu Kenbishi (2-8 year aged blend) Pure rice type without added brewing alcohol. Blends about four generations of sake - 2 years, 4 years, 6 years, 8 years, depending on the year. Elegant and complex taste. You can taste umami like soy sauce, making it easy to pair with food. Delicious to drink on its own, a well-balanced bottle.

Zuishou Kuromatsu Kenbishi (5-15 year aged blend) The product with the longest aging period. Deep umami and complexity like miso (fermented soybean paste). Full-bodied, with evaluations like “people who like Bordeaux wine will love this.” Aging has smoothed the edges, creating both mellowness and complexity.

Nada no Ki-ippon (7-year single vintage) The only vintage sake, not blended, from a single year. Limited production of 3,000 bottles per year. Surprisingly smooth with no bitterness or rough edges. Interestingly, it feels younger than Mizuho (2-8 year blend) and even refreshing. Not blending allows that year’s character to express itself directly.

What Kenbishi Teaches Us

“I don’t think anywhere else goes this far with in-house production,” Mr. Haba said while showing me around the woodworking shop. “Since sake sales won’t increase from this, we can only hope visitors will spread the word that ‘there were these unusual people.’”

500 years of history, recovery from the earthquake, and obsession with unchanging taste. Kenbishi’s stance might be one answer for the sake industry’s future. Not chasing scale, not chasing trends, just purely pursuing quality. The philosophy of “taste over titles” sounds surprisingly fresh in today’s information-overloaded world.

Next time Kenbishi is poured into your glass, beyond that golden color, you should see the unchanging production methods and the craftsmen who support them.

About Kenbishi Sake Brewery

• Founded: 1505

• Location: Higashinada-ku, Kobe City, Hyogo Prefecture

• Main brands: Kuromatsu Kenbishi, Mizuho, Zuishou, Nada no Ki-ippon

• Production: About 20,000 koku (3,600 kiloliters)

• Features: All products are aged sake, multi-year blends, traditional production using wooden tools

How to obtain in the Netherlands: Kenbishi is available in the Netherlands through Otemba Sake. Based in Amsterdam, they deliver carefully selected sake to Europe with proper temperature control. Website: www.otemba.eu

I would like to thank Mr. Haba from Kenbishi for sharing insightful stories during my visit, and to Otemba Sake for making this connection possible.

剣菱酒造インタビュー：500年変わらぬ味を守る、灘の異端児

兵庫県灘の剣菱酒造を訪問し、営業担当の幅さんに話を聞いた。1505年創業、500年以上の歴史を持つ剣菱は、熟成とブレンドによる「変わらぬ味」を守り続けている。特A地区山田錦の最大の買い手でありながらそれを語らず、木工所を併設して伝統技術を内製化し、広告もほとんど打たない。シャンパーニュのような複数年度ブレンドで造る熟成酒の世界を探る。

最初に「剣菱」と聞いて思い出すのは、少女漫画『有閑倶楽部』の破天荒なお嬢様、剣菱悠理だ。松竹梅 魅録、菊正宗 清四郎、黄桜 可憐、白鹿 野梨子。名だたる”酒銘”がずらり並ぶ超大金持ちの高校生が活躍する学園コメディ。この世界観が好きだというと、世代がわかってしまう。気づけば、剣菱＝超お金持ち＝大手＝大量生産という先入観を持っていた。

そんな思い込みが覆されたのは、アムステルダムの酒イベントでのことだった。蔵の幅さんが注いでくれた「灘の生一本」は、黄色みを帯びた色、ふくよかな旨味、そして複雑に続く余韻があった。素直に美味しい。いつもとは異なる興味も重なり、日本に戻ると真っ先に灘へ向かった。そこで見たのは、シンプルで、数百年変わらず、口数は少なく、質を追求する想像をはるかに越える姿勢だった。

📍この記事を読んでほしい人

日本酒に興味がある人、酒蔵の話を知りたい人

日本の職人気質に興味がある人

ワインの観点で日本酒を理解したい人

500年の歴史、そして震災からの復活

剣菱酒造は1505年（永正2年）の創業から500年以上の歴史を持つ。江戸時代には大ブームとなり、「剣菱を飲む」ことを「けんびる」と呼ぶほどの人気を博した。しかし、その長い歴史は決して平坦ではなく、五家にわたって蔵元が交代しながら剣菱を造り続けてきた。

明治の造石税導入（注：お酒を造った時点で税を納める税制。熟成とブレンドを目的とした貯蔵を得意とする剣菱にとって大きな痛手となった）による廃業危機に陥った先代の蔵元から白樫家が事業を引き継ぎ、現在は4代目の白樫政孝社長が舵をとる。

日本酒の消費量は1973年をピークに減少し続けている。剣菱も1975年には35万石を生産していたが、現在は約2万石（1石＝180リットル）。最大手の白鶴や月桂冠が現在も30万石前後を生産する中、剣菱の規模は大手の15分の1程度となった。50年前と比べて生産規模は20分の1に縮小したが、量より質を優先し、剣菱は変わらぬ味を守り続けている。

忘れてはいけないのが、1995年1月17日、阪神淡路大震災だ。

「震災が起こる前まで、この界隈に8カ所の蔵がありました。7個の蔵は倒壊したんです。木造の蔵が全部倒壊して、ここだけ残った」と幅さんは語る。

37年前に建てられた唯一の鉄筋コンクリート造の蔵。従業員も数名が犠牲となり、その年の酒造りは中止。しかし、残った蔵から使える道具を集め、そこから再建して3つの蔵を増やし、4蔵体制を築いた。現在は市場環境の変化により3蔵で操業している。

剣菱のこだわり——語らずして、守り抜く

剣菱には、職人気質のこだわりがある。その一端を紹介したい。

山田錦を語らない、最大の買い手

驚くべきことに、剣菱は特A地区山田錦の最大の買い手でありながら、ラベルには「国産米」としか記さない。山田錦といえば、ワインで言えば「シャルドネ」のような優等生の米品種、さらに、全国の山田錦の6〜7割が兵庫県産、その中でも最高級が特A地区産だ。

「美味しい酒を作ろうと思ったら、結果的に山田錦を使っただけ。山田錦を使っているから美味しいっていうふうにしたくないし、将来もっと違う米ができるかもしれない」と、幅さんは語る。

しかし、品質へのこだわりは妥協しない。社長自らが米の鑑定士資格を持ち、田んぼに足を運び、農家ごと、田んぼごとに等級をつける。「同じ地区でもこっちの田んぼとあっちの田んぼで出来が違う」——その違いを見極め、自社基準で等級付けし、酒造りに反映させる。

熟成とブレンド——酒造り

剣菱の酒は全て熟成酒、それも複数年度ブレンドしている熟成酒、シャンパーニュでいうところのマルチヴィンテージだ。江戸時代から変わらぬ造り。熟成酒を造っている酒蔵は他にもあるが、熟成酒しか造っていないのは剣菱だけだという。そして、その商品構成はとてもシンプルだ。米の品種や精米歩合の違い、季節の酒が加わり、30銘柄近くを出す酒蔵が多い中、たった6種類の商品構成は異色の存在だ。

しかも、精米歩合も表記していないし、純米の表記もない。それには理由がある。「その年の米の状況によって精米歩合が変わるから、ブレンド後の精米歩合を表記できない。精米歩合を表記しないので、現在の酒税法上は、特定名称酒を名乗れない」のだそうだ。特定名称酒を名乗れなくても、変わらぬ味を優先する。

木工所が守る、最後の伝統

剣菱酒造の浜蔵には木工所が併設されている。3名の職人が甑（こしき）、暖気樽（だきだる）、菰樽（こもだる）などの酒造道具を手作りしている。異なる産地の木材が整然と並ぶ光景は、多くの見学者を驚かせる。

日本の酒作りに必要な技術が途絶えそうになった時、その技術ごと内製化し、保護してきた結果だ。剣菱の変わらぬ味を守るためだ。木工所では、暖気樽の職人が日本最後の一人となった時、剣菱は彼を社員として雇用。若手2名を弟子入りさせ、技術を継承。甑のメーカーも最後の一軒になると、その技術も習得。菰樽に巻くわら縄も、最後のメーカーから製造機ごと買い取り自社生産している。

現在、日本酒業界では、木製の木桶を復刻させて、木桶仕込みを行う蔵が出て来ている。剣菱では、他の日本酒・醤油会社からの注文も請け負っており、自社のためだけでなく、日本酒業界全体の伝統を支えている。

広告をしない——品質へのこだわり

そして、剣菱では上記のこだわりを蔵に訪れた人に伝える他は、特に表立って説明しないし、広告もほとんど打たない。「聞かれたら答えるけど、あえて書きません」と、幅さんは語る。「肩書きより味」という哲学は、日本の職人魂の塊だ。

熟成酒に対する異なる価値観

原材料にこだわり、手間暇かけて”変わらぬ味”を守る剣菱の熟成酒への評価は、日本と海外で大きく異なる。

まずは色だ。熟成酒はメイラード反応により黄色く色づいている。日本では、日本酒は無色透明だと誤解する消費者も多く、黄色く色づいた日本酒を「不良品」とするクレームが寄せられることがある。剣菱が5〜15年熟成の「瑞祥」に白いボトルを採用したのも、熟成の証である色を隠さず見せるためだ。シェリーやポートといった熟成酒に親しむヨーロッパでは、この色は自然に受け入れられているようだ。

売れ筋商品も異なる。剣菱には「一般の客が少し背伸びしたら手の届く価格」を保つという信念がある。日本市場では「黒松剣菱」「極上黒松剣菱」が全国のスーパーマーケットで販売される定番商品として定着している。一方、熟成期間の長い「瑞穂黒松剣菱」や「瑞祥黒松剣菱」は主に百貨店で贈答用として扱われるが、全体売上の1〜2％に過ぎない。

ところが、輸出によって興味深い現象が起きる。日本での価格差が海外では縮小するのだ。酒税は価格に関係なく容量で決まり（900mlあたり約90円）、輸送費も重量とサイズで計算される。1,000円の酒も3,000円の酒も同じ輸送コストが上乗せされる結果、現地での価格差は日本より大幅に縮まる。

この価格構造の変化は、消費者の選択に直接影響を与える。日本では売上の9割以上を占める普及価格帯の商品が、フランスやイタリアでは熟成期間の長い上位商品と3対7、あるいは6対4の割合で売れることもある。価格差が縮小することで、純粋に味の好みで選ばれるようになるのだ。

テイスティング——熟成が織りなす味わいの階層

剣菱の6種類の酒を試飲した。全て熟成酒、そして複数年度をブレンドした酒だ。数百年変わらぬ製法で造られた酒は、それぞれに異なる表情を見せた。

黒松剣菱（1〜3年熟成ブレンド） 最も若い熟成期間の定番商品。アルコール度数17%。甘やかでコクがあり、こっくりとした味わい。みりんを使った煮物や古典的な日本料理との相性を考えて造られている。「当時の日本人が食べていた、今より味の濃い料理に合うように」という江戸時代からの哲学が生きている。

極上黒松剣菱（1〜3年熟成ブレンド） 黒松剣菱と同じ造りだが、出来の良いタンクだけを選定。アルコール度数16.5%。黒松に比べてさっぱりとした切れ味があり、酸がより強く感じられる。冷やすとさらにキレが際立つという。

瑞穂黒松剣菱（2〜8年熟成ブレンド） 純米タイプで醸造アルコール無添加。2年、4年、6年、8年など、その年によって4世代ほどの酒をブレンド。上品でまとまりのある味わい。醤油のような旨味が感じられ、食事と合わせやすい。「そのまま飲んで美味しい」と評される、バランスの取れた一本。

瑞祥黒松剣菱（5〜15年熟成ブレンド） 最も長い熟成期間を誇る商品。味噌のような深い旨味と複雑さ。フルボディで、「ボルドーワインが好きな方は大好きだと思う」という評価。熟成により角が取れ、まろやかさと複雑さが同居している。

灘の生一本（7年単一熟成） 唯一のヴィンテージ酒で、ブレンドしない単一年度の7年熟成。年間3,000本限定生産。驚くほど滑らかで雑味がない。興味深いことに、瑞穂（2〜8年ブレンド）よりも若く感じられ、爽やかですらある。ブレンドしないことで、その年の個性がそのまま表現される。

剣菱が教えてくれること

「ここまでやってるところもないと思います」と幅さんは木工所を案内しながら語った。「酒の売上が伸びるわけではないので、見学いただいた方に『こんな変わったやつがいたんだよ』という口コミで広めてもらうしかない」

500年の歴史、震災からの復活、そして変わらぬ味への執着。剣菱の姿勢は、日本酒業界の未来への一つの答えかもしれない。規模を追わず、流行を追わず、ただひたすらに品質を追求する。「肩書きより味」という哲学は、情報過多な現代において、かえって新鮮に響く。

次にグラスに注がれた剣菱を飲む時、その黄金色の向こうに、数百年変わらぬ製法と、それを支える職人たちの姿が見えるはずだ。

剣菱酒造について

• 創業：1505年（永正2年）

• 所在地：兵庫県神戸市東灘区

• 代表銘柄：黒松剣菱、瑞穂、瑞祥、灘の生一本

• 生産量：約2万石（3,600キロリットル）

• 特徴：全商品が熟成酒、複数年度ブレンド、木製道具による伝統製法

オランダでの入手方法 剣菱はOtemba Sake（オテンバ・サケ）を通じてオランダで購入可能。アムステルダムを拠点に、厳選された日本酒を適切な温度管理のもとヨーロッパに届けている。

今回の訪問で示唆に富む話をしてくれた剣菱酒造の幅さん、そしてこの出会いを繋いでくれたOtemba Sakeチーム、本当にありがとうございました。

お読みいただき、ありがとうございます！いいね、コメント、重ね読み、購読でサポートしていただけると嬉しいです。

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Ine Mankai stopped me in my tracks—a vibrant pink sake made from ancient red rice at Japan’s most seaside brewery. Unlike traditional clear sake, this vibrant rose-colored nihonshu showcases how female toji (master brewer) Kuniko Mukai revolutionized sake brewing using kodaimai (ancient rice varieties) in Japan’s most seaside brewery.

I visited Mukai Brewery on a warm October day, driving through winding mountain roads to reach this inlet where traditional boat houses line the water’s edge. Master brewer Kuniko Mukai welcomed me to the vertical brewery—a three-story structure squeezed onto a narrow strip of land.

📍 Who This Article Is For

• Sake enthusiasts (beginner to intermediate) wanting to discover unique regional styles and stories.

• Wine lovers curious about how terroir influences sake character

• Those interested in female leadership in traditional Japanese industries

• Travelers seeking authentic, off-the-beaten-path destinations in Japan

I’m Kazumi, a DipWSET, an educator based in Amsterdam. With a background in wine and sake, I translate sake through a wine-savvy lens.

The Journey North: From Urban Kyoto to Coastal Ine

When you think of Kyoto, you might imagine a traditional Japanese city filled with temples and tourists. However, if you drive to the north for two and a half hours, or take a four-hour train ride to the Sea of Japan side, you will find a completely different face of Kyoto. Ine Town has rows of funaya (boat houses with docks on the first floor and living spaces on the second floor) - this inlet town received two stars in the Michelin Green Guide. Here stands Mukai Brewery, known for its bright red sake called “Ine Mankai.”

Founded in 1754, this brewery with 270 years of history sits on a narrow strip of land between rock cliffs and the sea. The brewery stretches upward, making efficient use of the limited land. The inlet’s unique geography protected the calm sea surface from the strong winds typical of the Sea of Japan side, and the water sparkled in the sun. The view of Ine Bay through the bottling machine windows took my breath away. You probably cannot find another sake brewery in Japan where workers can see the ocean from their workplace windows.

Birth of a 23-Year-Old Female Master Brewer

Kuniko Mukai became a toji (master brewer) at just 23 years old. More than 20 years ago, when female toji were still rare, she took over her family’s sake brewery right after graduating from Tokyo University of Agriculture, a prestigious school for sake brewing. Today, her younger brother serves as company president while Kuniko oversees all sake brewing.

“From when I was born, I loved it when the brewery workers came in winter and we all ate meals together. The craftsmen gave me sweets, and I played sitting on their laps,” Kuniko recalls about her childhood. However, she resisted when people called her the successor. When her brother was born 12 years later, she felt happy, thinking “Now I don’t have to be the successor.”

The turning point came when she met Professor Masahisa Takeda at university. He taught Kuniko that “Japan has plenty of delicious sake all over the country. So you must brew sake that is unique.” She conducted innovative research including collecting wild yeast from the air, making sake with red rice, and creating sake with rice roasted like coffee. He advised that “If you balance the five tastes - sweet, dry, umami, sour, and bitter - you can make sake that goes down smoothly without leaving a bitter taste,” leading in her philosophy of sake making.

Starting Alone at 3 AM

However, when Kuniko became toji at 23, she hit a big wall. The workers she had known since birth were friendly when she was just an apprentice, but the moment she became the master brewer, nobody would talk to her. The workers’ attitude was clear - they didn’t accept this inexperienced youngster as their master brewer.

Furthermore, that year the Japanese sake industry was in its worst period, when it lost in sales to shochu (distilled spirits), with hundreds of breweries closing in the year. Likewise, in Mukai Brewery, workers had to change from live-in to commuting arrangements. When they started work at 8 AM, operations continued until 9 PM, which increased complaints from the brewery workers. This was another situation where brewery workers were against her.

Kuniko made a decision. She woke up at 3 AM to set rice in the pot and add water by herself. By the time workers arrived at 8 AM, she had the steamed rice ready. The three-story vertical structure suited working alone. She changed several brewing processes, including the koji-making method which was difficult for one woman to handle, improving overall work efficiency.

“When they saw me working alone to overcome these hardships, after a while they started coming at 6 or 7 AM. Also, an outside master brewer checked our brewing process and helped make improvements. Our work became more efficient and quality improved dramatically. I learned that to get a team to work, I must move first and show my attitude,” Kuniko reflects.

Even now, the brewery maintains systems efficiently that make it easy to work with few people. Currently, six skilled workers can do all the tasks, so whoever comes that day can start working right away - this creates a flexible system. Work in the koji room (where koji mold is cultivated) is especially important, and Kuniko tends to it even at 2 AM. “When I go in at 2 AM and spend 40 minutes mixing it, the koji becomes fluffy. The more I tend to it, the better it gets,” Kuniko says with a smile.

Philosophy: Sake You Can Keep Drinking

Mukai Brewery’s sake-brewing philosophy is clear. “I want to drink a lot myself, so I want sake you can keep drinking. Sake whose sweetness sticks to your tongue or doesn’t go with food is not our style. Sake, even if it has texture, structure, or full of umami, with a clean finish is ideal,” Kuniko explains.

Their standard “Kyo no Haru” perfectly embodies this philosophy. This junmai sake (pure rice sake) uses sokujō brewing (quick fermentation method) with Kyoto-grown rice. A restaurant owner once said, “With just this one bottle, we can serve it from cold to hot.” When you taste it, rich umami spreads in your mouth, but the aftertaste disappears cleanly, inviting the next sip.

“Obessan” (meaning Ebisu, a god of prosperity) uses Omachi rice organically grown in Ine town without pesticides or fertilizer. Omachi rice grown outside Okayama Prefecture is very rare. “Rice without fertilizer has a very pure, refreshing taste,” says Kuniko. While the sake is rich and layered due to the kimoto brewing (traditional starter method), the acidity is relatively restrained so you don’t get tired of drinking it.

Sake made with Koshihikari rice using yamahai brewing (natural lactic acid fermentation) has complex layers like earth and mushrooms in its taste, with abundant umami. Still, it finishes cleanly. All their sake values being “delicious as warmed sake,” showing depth that works at any temperature.

The Red Revolution - Birth of Ine Mankai

What made Mukai Brewery famous in the sake industry was “Ine Mankai,” made with ancient rice. This bright red sake resulted from research Kuniko started during her university days, inspired by her professor’s advice. The red color comes from ancient black rice, revitalized specifically for sake making. Initially, she asked two local farmers to grow the rice, but they struggled with heat damage from recent global warming that turned the rice brown. Brown rice doesn’t produce a beautiful red color. “Last year the color really didn’t come out. This year, changes in planting methods seem to be moving things in the right direction,” she says about the ongoing struggle.

Ancient rice needs different care to brew. For example, it has “as much oil as wheat and a unique bitterness like chewing on a crayon.” Therefore, they blend it with white rice and add it at the perfect timing during fermentation to balance color and taste. After summer passes, the bitterness becomes rounded and settles like wine tannins. In summer, they make it into nigori sake (cloudy sake), where rice particles create a creamy texture that softens the bitterness. The pink nigori sake is a summer favorite and tastes good even mixed with carbonated water.

Diverse Expression

Mukai Brewery’s innovation appears in their product lineup. Japanese sake made with white koji (koji for shochu) shows different characteristics in the final sake style, including with higher acidity. The ‘Inecho Natsu no Omoide(Beautiful memory in summer of Ine town) has citrus aromas like white wine. After aging this for two years, the orange-colored sake releases complex aromas like soy sauce, caramel, and dried mandarin oranges. Michelin-starred restaurants in Australia use it, praising how it pairs with herb dishes.

Princess Michiko is a rose variety with a deep orange color and a gentle fragrance, named after Empress Emeritus Michiko. It became famous when in 1966, the British Royal Family presented these roses to then-Crown Princess Michiko. This sake uses yeast isolated from the flowers of this rose. The result has a slightly more elegant aroma than Mukai’s usual style.

Their newest nama genshu (unpasteurized undiluted sake) is delicate - fermentation runs wild if it exceeds 12-13 degrees Celsius. “It’s really popular but hard to manage, so we sell limited amounts,” says Kuniko.

The impressive labels are works by father-and-son woodblock print artists Akihito Murakami and Nobuaki Murakami. Bottles lined up against Ine’s ocean looked like a natural art museum.

Epilogue - A Story Woven by Family

Currently, Kuniko runs the brewery together with her brother. “Luckily, my brother and I aim for the same sake. Without detailed meetings, he lets me make the sake I want to make, saying ‘Whatever you want to make is fine, sister.’” Her younger sister also supported the brewery for seven years. Though she now lives in Tokyo, family bonds remain strong.

The view of Ine Bay from the bottling area, the rows of funaya, and Kuniko’s warm personality - Mukai Brewery’s unique and delicious sake comes from this land and these people. “In the future, I want to create a place where I can drink with customers,” Kuniko shares her dream.

Recently, overseas tourists have increased thanks to Taiwanese bloggers’ introductions. When I visited, I passed several groups of overseas travelers. If you visit Kyoto, definitely extend your trip to this “other Kyoto. Next summer, I want to enjoy Kuniko’s sake together with her again while feeling Ine’s sea breeze watching my kids swimming in the sea.

Where to Find Mukai Brewery Sake

• Japan: Direct from Mukai Shuzo or authorized distributors

• Netherlands: Through Yoigokochi (importer)

• Select international markets: Check with specialty sake importers

Thank you to Kuniko Mukai for welcoming this visit, and to Dick from Dutch importer Yoigokochi for making it possible.

酒蔵インタビュー#9: 京都・伊根の海辺で醸す物語 - 向井酒造の女性杜氏を訪ねて

京都と聞けば寺院や観光客で賑わう古都を想像するかもしれない。しかし、京都市内から北へ車で2時間半、電車なら4時間かけて日本海側へ向かうと、まったく異なる京都の顔に出会える。一階が船着場、二階が住居になっている舟屋が立ち並ぶ伊根町 - この入江の町は、ミシュラン・グリーンガイドで二つ星にも選ばれた景勝地だ。ここに、鮮やかな赤い日本酒「伊根満開」で知られる向井酒造がある。

1754年創業、270年の歴史を持つこの蔵は、岩肌と海の間のわずかな土地に建っている。狭小住宅のように縦に伸びる蔵の設計は、そのわずかな土地を効率良く使う工夫がなされている。訪れた日は残暑が残る10月初め、入江特有の地形のおかげで日本海側特有の強風から守られた穏やかな海面はきらきらと輝いていた。瓶詰め機械越しに見える伊根湾の景色は息をのむ美しさで、作業場の窓から海が見える酒蔵など、日本中探してもここだけだろう。

23歳の女性杜氏誕生

向井久仁子さんは、23歳という若さで杜氏となった。20年以上前、女性杜氏がまだ珍しかった時代に、酒造りの名門、東京農業大学を卒業してすぐに実家の酒蔵を継いだ。現在は弟さんが社長を務め、久仁子さんは製造責任者として酒造りを統括している。

「生まれた頃から、冬になったら蔵人のおっちゃんたちが来て、一緒にご飯を食べるのが大好きでした。職人さんに、お菓子をもらい、膝の上に座って遊んでいました」と幼少期を振り返る久仁子さん。しかし後継者と言われることには抵抗があり、12歳下の弟が生まれた時は「これで後継がなくて済む」と喜んだという。

運命の転機は大学での恩師・武田正久教授との出会いだった。「日本中に美味しい酒はたくさんある。だから話題性のある、面白い酒造りをしなければダメだ」という教えを受け、空気中の野生酵母を採取する研究や、赤米を使った酒造り、コーヒーのように焙煎した米での酒造りなど、革新的な研究に取り組んだ。「甘、辛、旨味、酸味、苦味の5つのバランスさえ取れれば、のど越しがひっかかることなく、スッと入るお酒ができる」という教えが、今の酒造りの基礎となっている。

一人で始めた朝3時からの酒造り

しかし、23歳で杜氏になった当初、久仁子さんは大きな壁にぶつかった。生まれた時から知っているおっちゃんたちは、手伝いの時は仲良くしてくれたが、杜氏になった瞬間、誰も口を聞いてくれなくなった。「経験の浅い花たれ小僧が杜氏になるなんて」という空気が蔵を支配していた。

さらに、その年は日本酒が焼酎に売上で抜かされ、年間何百件という蔵が廃業した業界最悪の時期。向井酒造の蔵人も住み込みから通いに変更せざるを得なくなり、朝8時出勤では作業が夜9時まで続く状況で、蔵の雰囲気も良くなかったそうだ。

久仁子さんは決断した。朝3時に起きて、一人で釜に米を張り、水を入れる。蔵人が出勤する8時には、蒸米が上がる状態を作っておく。3階建ての縦長構造は一人で作業するのには向いていたし、女性一人では運ぶのに手間がかかる蓋麹法から、作業効率の良い床麹法に変更するなど、酒造りの工程のいくつかは変えたそうだ。

「一人でやっていることが伝わったのか、しばらくすると頼まなくても6時、7時に来てくれるようになりました。また、外部の杜氏に酒造りの工程を見てもらい改善をしたことで、作業工程が効率化され、品質も圧倒的に向上しました。チームに動いてもらうには、自分が一番に動いて姿勢を見せないとダメだと学びました」と、久仁子さんは振り返る。

今でも少人数で作業しやすい工夫がされており、現在は6人の少数精鋭で酒造りを行っている。「みんな全ての作業ができるので、その日来た人から作業に入ってもらえる」という柔軟な体制。麹室での作業は特に重要で、久仁子さんは夜中2時にも手入れをする。「夜中の2時に入って40分かけて手入れすると、麹がふわふわになる。入った分だけ良くなるんです」と、久仁子さんは笑顔を見せる。

「たくさん飲み続けられる」酒造りの哲学

向井酒造の酒造りの哲学は明確だ。「私がたくさん飲みたいから、ずっと飲み続けられるお酒がいい。舌にベタッと残る酒や、食事と合わせにくいような酒はうちの酒ではない。キレがある酒が理想」と久仁子さんは語る。

定番の「京の春」は、まさにその哲学を体現している。速醸仕込みの純米酒で、京都産の「京の輝き」という加工用米を使用。居酒屋の店主から「これ一本あれば、冷酒も燗も全部いける」と言われたという逸品だ。口に含むとふくよかな旨みが広がるが、後味はすっと消えて、次の一杯を誘う。

「おべっさん」（恵比寿さんのこと）と名付けられた生酛造りの酒は、伊根町産の雄町を無農薬・無肥料で栽培したものを使用。岡山県以外で作られる雄町はとても珍しい。「肥料を使わない米は素朴で、さっぱりとした味わいになる」と久仁子さん。生酛らしい厚みがありながら、酸を抑えてあるため飲み疲れしない。

山廃仕込みのコシヒカリを使った酒は、味わいに土やキノコのような複雑な層があり、旨味が豊富だ。それでも最後はきちんとキレが良い。どの酒も「燗にして美味しい」ことを大切にしており、温度帯を選ばない懐の深さがある。

赤い革命 - 伊根満開の誕生

向井酒造を全国的に有名にしたのは、古代米（赤米）を使った「伊根満開」だ。鮮やかなピンク色のこの酒は、農大時代から研究していた成果。当初は地元の2軒の農家に栽培を依頼していたが、昨今の温暖化による高温障害で米が茶色くなる問題に悩まされた。茶色くなると綺麗な赤にならないそうだ。「去年は本当に色が出なくて、岡山の古代米専門農家から2000キロ送ってもらって何とか色を付けた」という苦労もあった。

古代米は「麦に近いくらい油分が多くて、クレヨンをかじったような」独特の苦味がある。そのため白米とブレンドし、発酵中の絶妙なタイミングで加えることで、色と味のバランスを取っている。夏を越すと、その苦味はワインのタンニンのように丸みを帯びて落ち着く。」 夏場はにごり酒にすることで、米の粒子がクリーミーなテクスチャーを生み、苦味を和らげる工夫をしている。ピンクのにごり酒は夏の人気商品で、炭酸で割っても美味しいそうだ。

多彩な表現

向井酒造の革新性は、その商品ラインナップにも表れている。白麹（焼酎用の麹）を使った酸味の効いた日本酒は、柑橘系の香りでまるで白ワインのよう。それを2年熟成させたオレンジ色の酒からは、醤油やカラメル、乾燥みかんのような複雑な香りが立ち上る。オーストラリアのミシュラン星付きレストランでも採用され、ハーブ料理との相性が評価されている。

プリンセスミチコという花酵母を使った酒は、英国王室から美智子上皇后に贈られたバラから採取した酵母を使用。47都道府県で一蔵ずつ選ばれた特別なプロジェクトで、向井酒造では珍しく香りを重視しながらも、辛口に仕上げてキレを出している。

印象的なラベルは、親子で木版画家である村上暁人氏と村上伸明氏の作品だそうだ。伊根の海を背景に並べたボトルは、まるで自然の美術館のようだった。

エピローグ - 家族で紡ぐ物語

現在、久仁子さんは弟さんと二人三脚で蔵を運営している。「ラッキーなことに、弟と目指す酒が同じ。細かい打ち合わせをしなくても、姉ちゃんが作りたい酒でいいよと任せてもらえる」。妹さんも7年間蔵を支え、今は東京在住だが、家族の絆は強い。

瓶詰め場から見える伊根湾、舟屋が並ぶ町並み、そして久仁子さんの温かい人柄。向井酒造のユニークで美味しい酒は、この土地と人から生まれている。「将来的にはお客さんと一緒に飲める場所を作りたい」という夢を語る久仁子さん。

最近は台湾のブロガーの紹介で外国人観光客も増えているという。私が訪れた日も、何組もの外国人とすれ違った。京都を訪れることがあれば、ぜひこの「もう一つの京都」まで足を延ばしてほしい。来年の夏、私もまた伊根の海風を感じながら、子供たちと一緒に久仁子さんの酒を楽しみたいと思う。

向井酒造の日本酒を味わうには

• 日本国内：公式サイト取り扱い店一覧参照

• オランダ：酔い心地（インポーター）経由

この記事が、新しい日本酒の世界への扉となることを願っています。ぜひ、お友達の日本酒好きにシェアしていただけると嬉しいです。

今回の訪問を受け入れてくださった向井久仁子さん、この機会を実現させてくれたオランダのインポーター酔い心地のディックさんに感謝を。

お読みいただき、ありがとうございます！いいね、コメント、重ね読み、購読でサポートしていただけると嬉しいです。

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Shimizu Seizaburo Shoten brewery sits in Suzuka City, Mie Prefecture (located between Osaka and Nagoya on Japan’s main island). The brewery opened its doors in 1869, just after Japan ended its isolation period. Today, sixth-generation owner Shinichiro Shimizu runs the business, with master brewer Tomohiro Uchiyama leading sake production. They focus on premium junmai sake (without alcohol addition).

Their flagship brand “ZAKU” gained international attention when world leaders chose it for their dinner at the 2016 G7 Ise-Shima Summit (a major meeting of world economic powers held in Mie). The name “ZAKU” means “to create” in Japanese, representing not just the brewing process but the entire community of makers, sellers, and drinkers. Interestingly, the name sounds like “Zaku” from the anime Mobile Suit Gundam, which led to special collaboration products that attracted anime fans. ZAKU consistently wins awards at international competitions like the International Wine Challenge, earning respect both in Japan and abroad.

I recently tasted ZAKU at a tasting event in Amsterdam. The sake had beautiful aromas but also subtle bitterness and acidity that kept each sip interesting. As I held my glass, I began to understand why ZAKU succeeded so well internationally. Later, when I returned to Japan, I visited their brewery in Suzuka, Mie. Martin, a brewery worker, showed me around. Through his stories and those of other brewers, I discovered what makes ZAKU so special. Let me share what I learned.

The Appeal of Taste: Mie’s Style

Martin explains that each Japanese prefecture has its own sake style. Fukushima makes sweet and fruity sake. Nagano produces light sake that pairs easily with food. Shizuoka creates slightly sweet sake with gentle acidity. These regional differences come from local water, specific yeasts, and brewing traditions.

So what defines Mie’s style? Martin describes it as “gentle umami (savory taste) with bitterness in the finish that makes you want another sip.” Three standard ZAKU products perfectly show this style.

Gen-no-tomo (meaning “original wisdom”) represents ZAKU’s core style most directly. It smells like juicy Japanese white peaches and green apples. The texture feels smooth and rich, with complex dry flavors that expand in your mouth.

Megumi-no-tomo (meaning “blessed wisdom”) offers melon and Asian pear aromas. It has a clean texture with a touch of residual sweetness that adds softness. The gentle acidity lets the gorgeous aromatics define this off-dry sake.

Ho-no-tomo (meaning “ear of grain wisdom”) brings banana and floral aromas with a light body and subtle bitterness. The fragrant nose draws you in, while the taste settles into a sweetish dry finish, thanks to its relatively high acidity.

Comparing these three: Gen-no-tomo captivates with its fullness, Megumi-no-tomo impresses with its gorgeous character, and Ho-no-tomo attracts with its aroma and higher acidity. Though each takes a different approach, they all share Mie’s signature “umami and drinkability.” This relentless pursuit of refined aroma and taste defines ZAKU’s greatest appeal.

Revolutionary Sake Making

ZAKU’s innovative approach extends beyond traditional boundaries—from the brewery building itself to process management and final pasteurization. Let me share some distinctive practices.

The building design deserves special attention. ZAKU’s brewery rises three stories tall, with the brewing process flowing from top to bottom using gravity. Rice steaming happens on top, then fermentation in the middle, and finally pressing to separate sake from rice solids at the bottom. This design improves efficiency and hygiene while optimizing how workers move through the space.

The brewery includes a lab and tasting room where the master brewer and team leaders analyze fermentation progress, alcohol levels, and acidity every day. They taste samples constantly. They mainly use their own “house yeast” rather than standard commercial versions. They cultivate commercial yeast through several generations at the brewery, adapting it to their environment. This creates ZAKU’s unique flavors.

The pasteurization process also shows innovation. While most sake undergoes slower heating in hot water baths over several minutes, ZAKU uses plate heaters for rapid heating and cooling. This preserves the fresh taste while ensuring the sake stays stable in the bottle.

These represent just some of their innovations, but they all follow one consistent philosophy: “How can we deliver the most refined flavors?”

Brewery Culture and Training

Technology alone doesn’t make ZAKU’s sake. The brewery succeeds because workers take initiative, keep learning, and constantly improve their methods.

Workers rotate through different roles—steaming rice, making koji (the mold that converts rice starch to sugar), preparing the fermentation starter. Each person takes full responsibility for their assigned task. They decide critical details like soaking times and water amounts that greatly affect the final taste. Anyone can suggest improvements regardless of their position, and operations constantly evolve. Martin says, “Sometimes we fail, but looking long-term, it becomes learning that helps us next time.”

The most symbolic example involves their highest-grade daiginjo. Master brewer Uchiyama-san stays completely hands-off while one brewery worker manages an entire tank alone. That worker decides everything: how to finish the koji, how much rice and water to add, and when. After bottling, Uchiyama-san only provides feedback. If the sake turns out well, it goes straight to market. This serves both as education and as a showcase for technical skills.

At the pinnacle sits “ZAKU Satori” (meaning “enlightenment”). This junmai daiginjo served as the toast at the 2016 G7 Ise-Shima Summit and represents ZAKU’s ultimate expression. Brewers make it using the fukurozuri method—hanging bags of fermented rice mash and collecting only the drops that fall naturally without any pressure. This creates an extremely delicate and pure sake. It embodies the brewery’s philosophy and technique in their highest form.

Collaboration and Creating Spaces

Building on their uncompromising systems and culture, ZAKU opens their brewery as a stage connecting with the local community and the world.

Local artists’ works decorate the brewery interior. Visitors experience not just sake but art as well. Musicians perform concerts here, transforming the brewery from a production facility into a creative venue.

The brewery includes a modern kitchen and dining room that hosts dinner events with Michelin-starred chefs from Japan and abroad almost every week. These gatherings sparked collaborative sake with famous sushi chefs, expanding possibilities for sake and food pairing.

Some sake embody regional connections directly. They make sake using “Kami-no-ho” rice (a variety developed specifically for Mie Prefecture and also grown in Suzuka). It has good length and sharpness with a slight spiciness at the finish—truly expressing Mie’s character. Using locally grown rice deepens ZAKU’s connection to the land.

These efforts accumulate to make ZAKU a “showcase for Mie Prefecture.” Martin says, “Sake comes alive the moment someone tastes it. Creating that moment matters most.”

International Expansion and Communication Strategy

ZAKU isn’t a large brewery. Their annual production of about 3,500 koku (630,000 liters) places them in the medium-sized category. However, they use the agility and personal relationships that their size allows to open international markets.

The owner, Shimizu-san explains, “Small companies like ours that don’t mass-produce sake must do business face-to-face through trust. We learned the importance of direct dealing overseas too.”* Working directly with importers instead of through trading companies represents a strategy that major breweries can’t easily copy.

Building successful international business took over ten years. The turning point came when they won at Kura Master, a sake competition in France. This recognition of their quality in overseas markets triggered rapid export growth.

Because they’re medium-sized, they can move flexibly while maintaining trust-based relationships. Add international recognition, and ZAKU established a strong presence in global markets.

*Source: Interview with Shinichiro Shimizu from Japan Academy of Management journal

Recently, Zaku took an initiative to publish introductory document of Mie prefecture in English. This book presents a vivid picture of Mie through sake, food, and local culture. Written by Martin from ZAKU and three wine and sake professionals, it connects the brewery’s story to the wider world. Downloading is possible from here.

Conclusion

Looking back at ZAKU’s journey, three consistent themes emerge: “pursuing style,” “cultivating culture,” and “maintaining agility.” They innovate technology to deliver refined aromas fresh to customers. Brewery workers learn independently and continuously improve systems. They collaborate with art, food, and their region. They carved out international markets through their own efforts.

ZAKU carries tradition while never forgetting to innovate, continuing to challenge the world from their base in Mie. We cannot look away from their next moves.

I would like to thank Martin from Shimizu Seizaburo Shoten for sharing insightful stories during my visit, and to Yuri Goto from Otemba Sake for making this connection possible. Thank you both so much.

ZAKU sakes are imported to the Netherlands through Otemba Sake. You can enjoy them at their sister establishment Utage Sake Bar and at carefully selected restaurants throughout the country.

伊勢志摩サミット乾杯酒『作（ZAKU）』－三重から世界へ挑む酒造り

スタイルの追求と革新の精神が生んだ日本酒の新しい姿

三重県鈴鹿市に蔵を構える清水清三郎商店は、1869年（明治2年）に創業した歴史ある酒蔵である。現在は六代目・清水慎一郎氏が代表を務め、現在は杜氏・内山智広氏のもと、純米系を中心に高品質な酒を通年で醸す体制を敷いている。

代表銘柄「作（ZAKU）」は、2016年の伊勢志摩サミットで首脳の晩餐会酒に選ばれたことで国際的に注目を集めた。銘柄名には”造る”という営みを象徴する意味が込められており、飲み手や販売者も含めた広がりを意識した命名である。さらに「機動戦士ガンダム」の”ザク”と重なったことでコラボレーション商品も生まれ、一般層にも知名度を広げた。IWCをはじめとする海外コンペティションでも高く評価され、ZAKUは国内外双方で評価を得る存在となっている。

オランダ・アムステルダムで「作（ZAKU）」のペアリングイベントに参加したことがあった。華やかだが、ほのかな苦味や酸味があって飲み飽きず、高いレベルで洗練されている。グラスを手にしながら、なぜZAKUがここまで世界に受け入れられているのか、その理由を垣間見た気がした。後日、日本帰国の機会に三重県鈴鹿の蔵を訪れた。案内をしてくれたのは蔵に勤めるマーティン氏。彼と蔵人の語る言葉の中に、ZAKUが注目を集め続ける所以を見出すことができた。本投稿では、その一端を紹介したい。

味わいの魅力：三重のスタイル

日本酒には、それぞれの県にある程度、固有のスタイルがあるとマーティン氏は言う。甘くてフルーティーな福島のスタイル。軽やかで食事と合わせやすいのは長野のスタイル。少し甘やかで酸が穏やかなものは静岡のスタイルのように、その産地の水や使う酵母といった要素から、その土地らしさが形づくられる。

では、三重のスタイルとは何か。マーティン氏は「旨味が高めで、後半に苦味があるからこそ飲み続けやすい味わい」と説明する。そのスタイルを象徴するのが、スタンダードな三種類の酒である。

「玄乃智」。その名の「玄」はオリジナルの意を持ち、ZAKUのスタイルを最も端的に示す酒である。香りは清水白桃や青リンゴを思わせ、とろりとしたテクスチャーの中に複雑で膨らみのある辛口の味わいが広がる印象だ。

「恵乃智」は、メロンや日本の梨の香りが立ち上がり、すっきりとしたテクスチャーにわずかな残糖感が柔らかさを添える。酸は穏やかで、香りの華やかさが印象を決定づける半辛口である。

そして「穂乃智」。バナナやフローラルの香りを持ち、軽やかな口当たりにほのかな苦味が走る。香りで惹きつけつつ、味わいは甘めの辛口に落ち着くの印象なのは、比較的高めの酸があることにも起因するだろう。

三本を比較すると、膨らみで飲ませる玄乃智、華やかさで印象づける恵乃智、香りとキレ味（酸の働き）で惹きつける穂乃智と整理できる。いずれも方向性は異なれど、「エレガントな香り、透明感、爽やかな旨みとコクによる飲みやすさ」という共通項がある。その洗練された香と味わいを徹底的に追求することこそが、ZAKUに最大の魅力だ。

革新的な酒造り

ZAKUの革新性は、伝統の枠内にとどまらず、蔵そのものの構造から工程管理、そして最終工程の火入れにまで徹底して貫かれている。いくつかの特徴的な取り組みを紹介したい。

まず注目すべきは建物の設計である。ZAKUの蔵は三階建ての構造となっており、米を蒸す工程から発酵、上槽（搾り）へと、仕込みの流れを重力に従って上から下へ移していく。この設計によって効率と衛生を高め、人の動きを最適化した造りが可能となっている。

蔵内にはラボとテイスティングルームがあり、毎日、杜氏と各チームリーダーが発酵の進行やアルコール度数、酸度などを分析し、きき酒を繰り返している。さらに使う酵母も「自社酵母」が中心である。協会酵母をそのまま使うのではなく、蔵で数世代培養し直すことで自蔵に馴染んだ酵母とし、それがZAKU独自の香味を支える。

火入れの工程にも独自の工夫がある。一般的な日本酒が湯煎によって数分かけて火入れされるのに対し、ZAKUではプレートヒーターを使い、短時間で加熱・冷却を行う。これにより搾りたてのようなフレッシュさを保ちつつ瓶詰めが可能となる。

これらは革新的な取り組みの一例だが、いずれも「洗練された香味をいかに届けるか」という一貫した哲学に基づいている。

蔵文化と人材育成

革新的な技術だけでは、ZAKUの酒造りは成立しない。蔵を支えているのは、蔵人が主体的に働き、学び、改善を重ねていく仕組みである。

米を蒸す、麹を造る、酒母を仕込むといった担当は時に入れ替わり、任された者が責任を持つ。給水や浸漬の時間といった、酒の味わいを大きく左右する要素もその判断に委ねられる。また改善提案は立場にかかわらず受け入れられ、オペレーションは常に更新されている。マーティン氏は「失敗することもあるが、それも長い目で見れば次に生かされる前進」と語る。

最も象徴的なのが、最高スペックの大吟醸である。杜氏の内山氏は一切関与せず、蔵人一人がタンクを任される。麹の仕上がり、米や水の投入量やタイミングまで、その蔵人が決める。出来上がった酒は瓶詰めされた後に杜氏が講評を加えるだけで、良い仕上がりならそのまま商品化される。教育の一環でありながら、蔵人にとっては、技術の見せ場でもある。

最上位に位置するのが「作 智（さとり）」である。2016年のG7伊勢志摩サミットで乾杯酒に採用され、ZAKUにおける最高峰とされる純米大吟醸だ。造りは醪を酒袋に入れて吊るし、圧力をかけずに自然に滴り落ちる雫だけを集める「袋吊り」という方法で行われ、極めて繊細で澄んだ酒質となる。蔵の哲学と技術を凝縮した最高の表現と言える。

コラボレーションと場作り

妥協を許さない仕組みと文化の上に築かれたZAKUは、酒蔵を舞台として開き、地域や世界とつながる活動を展開している。

蔵の内部には地元アーティストの作品が多く飾られ、訪れる人は酒だけでなくアートに触れる体験を得ることができる。音楽家を招いた演奏会も開かれ、酒蔵は酒造りの場から創造の舞台へと姿を変える。

さらに、蔵の一角には最新のキッチンとダイニングが設けられ、国内外のシェフを招いた食事会が頻繁に行われる。寿司の名店シェフとの共同開発酒もここから生まれ、酒と食の可能性を広げてきた。

地域との結びつきを体現する酒もある。三重県産米「神の穂」（鈴鹿市でも栽培）を使った酒である。伸びやかでキレがあり、最後にわずかな辛味が引き締める、まさに三重らしい味わいだ。地元で育った米を原料とすることで、ZAKUの酒は土地と一層深く結びつく。

こうした取り組みが積み重なり、ZAKUは「三重のショーケース」としての役割を担うようになった。マーティン氏は「酒が生まれるのは、誰かが口に含む瞬間。その場をどう作るかが一番大事だ」と語る。

海外展開と発信戦略

ZAKUは決して大きな蔵ではない。年間生産量はおよそ3,500石、中小規模にあたる。しかし、その規模だからこそ可能な機動力と信頼関係を武器に、海外市場を切り拓いてきた。

清水氏は「私どものような小さな会社、大量販売しない酒蔵は、お互い顔を合わせて信頼で商売するしかなかった。海外でも直接取引の大切さを学んだ」と、論文の中で語っている。(※) 商社を介さず、輸入業者と直接つながるやり方は、大手にはできない中小蔵ならではの戦略である。

また、海外展開が軌道に乗るまでには十年以上の時間を要したとされる。転機となったのが、フランスの日本酒コンクール「Kura Master」での受賞である。海外市場での酒質評価が形となって現れたことで、輸出が一気に拡大したという。

小さな蔵だからこそ、信頼を基盤にしながらも柔軟に動ける。そこに国際的な評価が加わり、ZAKUは世界市場で存在感を放つようになった。

※引用元：日本経営学会論文集における清水慎一郎氏のインタビューより(〔1〕J-STAGE 査読論文（松井, 2022）)

最近ZAKUが中心となり、三重の酒・食・文化を鮮やかに描き出す一冊の資料を英語でまとめている。ZAKUのマーティンと3人のワイン・日本酒のプロが執筆し、蔵の物語を世界へとつないでいる。こちらからダウンロード可能。

結び

ZAKUの歩みを振り返ると、そこには一貫して「スタイルの追求」「文化の醸成」「フットワークの軽さ」がある。洗練された香りをフレッシュなまま届けるための技術革新。蔵人が主体的に学び改善を重ねる仕組み。アートや食、地域とのコラボレーション。そして海外市場をも自らの力で切り拓いてきた行動力。

伝統を背負いながらも革新を忘れず、三重の地から世界へ挑み続けるZAKU。その動きから、今後も目を離すことはできない。

今回の訪問で示唆に富む話をしてくれた清水清三郎商店のマーティンさん、そしてこの出会いを繋いでくれたOtemba Sakeの後藤勇理さん、本当にありがとうございました。

清水清三郎商店のZAKUは、オランダではOtemba Sakeを通じて輸入されており、系列のUtage Sake Barをはじめ、厳選されたレストランで楽しめます。

お読みいただき、ありがとうございます！いいね、コメント、重ね読み、購読でサポートしていただけると嬉しいです。

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Akishika Brewery in Nose, Osaka is a grain-to-bottle producer known for dry, flavor-forward junmai (pure-rice sake) and genshu (undiluted) bottlings. One of roughly 50 breweries in Japan that grow their own rice (out of 1,141 producers), Akishika focuses on field character, a koji method designed to fully dissolve the grain, and traditional starters like kimoto and yamahai, particularly for their own rice.

I’m a big fan of Akishika. Their sake doesn’t chase showy aromas. It speaks through umami, a gentle bitterness, texture, a long finish, and balanced acidity. It’s unmistakably sake, yet has a power wine lovers will recognize—and that's what I love about it.

This article is my on-site interview with brewmaster Hiroaki Oku at the brewery.

Reference: Japan’s National Tax Agency reports 1,141 breweries that produced sake in FY2022.

I’m Kazumi, a DipWSET and educator based in Amsterdam. With a background in wine and sake, I translate sake through a wine-savvy lens.

📍Who this article is for

• Sake drinkers (beginner to advanced) who want to understand style differences

• Natural-wine lovers and anyone curious about domaine-style production (estate-grown, estate-made)

• People interested in how ageing works in sake

Grain to bottle: starting with rice

The tour began with a huge rice mill that has run for more than 35 years. It handles 1,200 kg at a time: milling to 80% takes about 6 hours; to 40% takes a full three days. “We grow the rice and we mill it ourselves”—and Akishika return all the rice bran to the fields as fertilizer.

How most breweries work: many buy rice through agricultural co-ops (JA) and choose by official rice grading, mainly grain size and appearance. Larger, plumper grains score higher, so some farms add extra nitrogen to push that “plumpness.”

As a brewery that grows its own rice, Akishika takes a different path.

• Akishika don’t chase high grades. "Third grade—the regulatory minimum for stating rice variety on the label—is actually ideal, Mr. Oku says." Smaller, not-too-plump grains give more concentrated flavor, Mr.Oku says. As for shinpaku (the white opaque core in sake rice that helps water absorption and dissolving), large shinpaku can crack easily at high polishing; smaller—or none—is easier to handle.

• Fertilizer is only rice bran. No chemical fertilizer, no pesticides. It’s a closed loop on their farm. The grains end up smaller, but the flavor stays true to the rice.

• Akishika manage fields by parcel. Soil differences matter, and parcels are treated as separate “sites.” (To me, this feels very close to vineyard-and-soil thinking in wine.)

A concrete example is a single-field bottling from the Kamimura-Ōmachi paddy made with Omachi rice. The goal is to bottle the field’s character. Akishika plans to grow these single-field releases from the current one or two into a fuller range.

At Akishika, rice sourcing takes a two-pronged approach. They both cultivate rice in their own fields and purchase rice from contracted farmers. Bottles made with rice grown in their own paddies are marked with the playful symbol.

Notes: kimoto = older, hand-worked starter method; muroka = unfiltered; nama = unpasteurized; genshu = undiluted.

Brewing philosophy: make the rice dissolve

Akishika’s core belief is simple: believe in the rice. Akishika aim to dissolve the rice thoroughly and avoid throwing flavor away as sake cake (pressed lees). You can filter more to make a “refined, cleaner, and sophisticated” sake, but you also risk losing parts that would have built body and depth. So Akishika prioritize dissolving.

Fermentation runs a bit warmer than usual, and the target alcohol is around 17%. Akishika aim for a dry profile with very little residual sugar. When the rice dissolves well, total acidity tends to be slightly higher—this becomes the structure for ageing. Most releases rest 1–2 years before shipping so the sake reaches you at a drink-now peak.

Mr. Oku: “We put a lot of work into growing the rice. Beyond that, we keep the process simple. Our focus is making sure the rice really dissolves—we try not to add extra ‘hands’ to the process.”

Koji: where flavor starts

This was the biggest surprise. There’s an old saying: “First koji, second starter, third everything else.” Koji (rice inoculated with a mold to convert starch into sugar) is what lets sake ferment at all. Grapes already have sugar, while rice needs koji to create fermentable sugar. How completely the koji breaks down the rice sets the core and weight of flavor.

In simple terms, you can design koji in two directions:

• Less dissolving for a sleeker, cleaner style

• More dissolving for a broader, deeper style (with less lees discarded)

Akishika chooses the second. Even for polished, elegant styles like daiginjo, Akishika stay close to the “dissolve” idea.

Their method is unusual. Instead of sprinkling koji spores in a dedicated koji room (the classic ritual-like scene with white powder floating in the air that you see in photos) and mixing to even it out, they spread the spores where air flows in one direction—inside a drying/humidity-control unit. Each grain gets coated evenly and the koji grows strong and healthy. The aim is single-minded: dissolve the rice well.

Ageing and how the world sees it

Akishika ships at “drinkable maturity.” They build dry, rice-driven sakes with structure, then let time do its work. In Japan, sake is generally expected to be enjoyed young and fresh. It is usually consumed before it has any chance to undergo aging, and the market for matured sake is still relatively small. However, Akishika brews with ageing in mind.

Mr. Oku: “We usually wait one to two years before release. Not many breweries hold that long, but the outline becomes clearer, and we can hand over a sake that’s ready. In Europe, where wine ageing is normal, people understand this quickly.”

Their commitment to maintaining their style, even as a minority, is also reflected in their attitude toward competitions. They choose not to submit their sake to national appraisals or contests.

Mr. Oku: “We make sake for drinkers, not judges. In Japan lately, more aromatic and slightly sweet styles do well in contests. We keep making dry sake.”

The result? It works. Sales are healthy, and exports are steadily growing.

Personal note: In the Netherlands I tasted a 2002 vintage Akishika koshu (aged sake). It was truly superb—complex and deep—and still lively after twenty years.

A big tasting at the brewery

I tasted 28 sakes in total: 19 current releases and 9 newer-vintages that are waiting for the release(The current vintage for a aged sake is 2020 and the vertical tastings across 2021–2025 for comparison.). A house signature ran through everything: not flashy aromatics, but flavor that rises in the mouth, complex “after-aromas,” and a precise, long, dry finish.

Tasted 28, Had to Narrow It Down

1. Yamada Nishiki Junmai Daiginjo “Ikkantsukuri” 2024
   A daiginjo that speaks through flavor, not perfume. Gentle rice sweetness and umami flow gracefully, and the long layered finish stays dry—“flavor-forward daiginjo.”
   Tech: Estate Yamada Nishiki 100% / polishing 40% / sokujo (quick starter with added lactic acid) / Kyokai #9 (in-house propagation) / Alc 16% / SMV +8 / Acidity 1.8 (SMV = Sake Meter Value; higher/positive = drier)

2. Yamahai Yamada Nishiki Genshu 2025
   Young and vivid: herbal freshness on the nose; in the mouth, rice-driven notes of nuts and spice linger as a flavor “aftertaste.” It shows Yamada Nishiki’s tidy, straight posture, with clear room to gain layers as it ages.
   Tech: Yamada Nishiki / polishing 60% / yamahai (traditional starter using natural lactic acid bacteria) / Kyokai #7 / Alc 17% / SMV +12 / Acidity 2.2 / Amino Acid 1.6

3. Kimoto Kamimura Ōmachi Omachi Muroka Namagenshu 2020
   Five years on and still strikingly fresh and lively. The backbone of Omachi remains, edges have rounded, and the whole feels integrated. Deep layers, long quiet finish.
   Tech: Omachi / polishing 60% / kimoto / Kyokai #7 / Alc 18% / SMV +9 / Acidity 2.7 / Amino Acid 1.7

What a single field can teach you: Kamimura-Ōmachi vertical

In general, young sake shows fresh herbs, green apple, melon, and gentle rice sweetness. With age you see hay and dried herbs, nuts, bran, mushroom; textures soften and gain depth.

We lined up Kamimura-Ōmachi (single paddy) × Omachi across 2020 (current release) and 2021–2025 (newer vintages). The pace and face of ageing shifted year by year:

• 2020 (current): as described above in #3.

• 2021: surprisingly, clear maturity—drier herbs, light nuttiness, and a softer, rounder outline without losing structure.

• 2022: sits between 2020 and 2021; a poised balance of freshness and early maturity.

• 2023・2024・2025: all still young; fresh-herb tones remain; tight flavors with obvious room to build layers in bottle.

Mr. Oku also pointed to a farming link: when ripening-season temperatures run higher, the rice’s outer layer firms up slightly and amino-acid levels tend to rise—those years often show maturity earlier in the glass. We could see that tendency across these consecutive vintages. The takeaway: “older equals more mature” is too simple—vintage shapes the ageing curve.

On top of that, soils differ by area, too. Kanda has dark, volcanic-ash-like earth; Ōmachi is more clay-rich. Even with the same rice variety, the field shifts the sake’s personality. Akishika plans to expand the single-field program from the current one or two bottlings.

Outlaw fun: moto-shibori

Mr.Oku poured me something I’d never tasted: moto-shibori. Sake starts with a concentrated yeast-starter mash (shubo) to kick off a healthy main fermentation. Moto-shibori presses that starter as a mid-process sake. The idea came from tasting the starter and thinking, “What if we press this?” Mr.Oku tried it, liked it, and still make small batches.

Moto-shibori sits around 9% alcohol. It’s sweet-tart with a light, silky feel. Berry-like notes rise in the mouth; the finish suggests ripe persimmon and faint caramel, kept clean by refreshing acidity. It shines as a dessert-course alternative; a Michelin-starred sushi restaurant in Tokyo has paired it with a “ripe persimmon × fresh cheese” mille-feuille.

Final thought

Akishika is built on the full chain: grow the rice, then make the sake. Akishika aim at drinkers, not judges, and keep testing their own ideas—saving back vintages, tasting verticals, and feeding what Mr.Oku learns back into brewing. Mr.Oku also enjoys trying new shapes, from moto-shibori to single-field bottlings. Sake’s value isn’t only about how much you polish. Field character, farming choices, dissolving design, ageing frame—the sum of these is what you taste in the glass.

This is why I can’t stop watching Akishika. I’m a fan, and I expect their flavor-first sake to keep evolving.

My thanks to Hiroaki Oku for the generous interview, and to Dick at Yoigokochi (Netherlands importer) for making the visit possible. In the Netherlands, you can find Akishika at restaurants and shops through Yoigokochi.

米の力を信じる酒造り ─ 秋鹿酒造インタビュー

秋鹿（あきしか）の大ファンである。香りで華やかさを競う酒ではなく、旨味とほろ苦み、テクスチャー、余韻、そして酸のバランスで語る酒。日本酒でありながら、どこかワインを思わせる力強さがある——そんな秋鹿の酒が心から好きだ。

オランダ在住のワインと日本酒の講師をする私は、残暑の残る8月、たまたま帰国の機会を得て、高揚のまま真っ先に秋鹿酒造へ向かった。

秋鹿酒造（あきしかしゅぞう）は大阪府北部・能勢町にある酒蔵である。蔵を切り盛りするのは奥裕明さん。スタイルは一貫して辛口。ラインナップは純米酒が中心で、生原酒（げんしゅ）も多いのが持ち味だ。強調しておきたいのは、全国に千余（*1）の清酒製造場がある中で、米作りから取り組む蔵はおよそ50蔵に過ぎず、秋鹿はその稀少な一蔵である点である。この記事は、実際に蔵を訪ねて杜氏の奥裕明さんにインタビューした内容をまとめたものである。

（*1）令和4酒造年度に実際に清酒を製造した場数は1,141場（国税庁）。出典：清酒の製造状況等について（令和4酒造年度）PDF

米作りから始まる一貫生産

最初に案内されたのは、35年以上使っているという大型の精米機である。一度に1200kgを仕込め、精米歩合80％なら約6時間、40％まで磨けば丸3日。育てた米は自分たちの手で磨く——その当たり前を、秋鹿は今も続けている。削り落とした外側（米糠）はすべて、肥料として田へ戻す。

まず、国内で一般的に見られる姿を押さえたい。多くの蔵はJA（農協）経由で米を購入し、米の等級（粒張りや外観）をもとに原料の米を選ぶ。上位等級は大粒で“プリプリ”した米が有利になりやすく、粒張りを狙って窒素をやや多めに与える田も少なくないという。

秋鹿では二段構えの米作りをしている。自社で米作りからすべて行っている田んぼと、契約農家から仕入れる米の両方を使う。自分たちの田んぼで収穫した米を使った酒には、「へのへのもへじ」のマークが記されている。

米作りから行う秋鹿は、その常識といくつかの点で発想が異なる。

第一に、等級を追わない。小粒で過度に“プリプリ”していない米の方が味わいが凝縮すると考える。また、心白(*2)は「大きいほど割れやすい」ため、小さい方が良いそうだ。規制上米の品種を記載できる下限「三等級」が理想という。

第二に、肥料は米糠のみ。米糠には必要な栄養素が含まれているが、微量であるため、自然由来の栄養のみの小粒の米になる。化学肥料や農薬に頼らない結果として米本来の味わいが生きる。

第三に、自家栽培の米を田んぼ単位で見る。土壌の違いを意識し、区画ごとに別物として管理する。これはワインでいう“土壌・区画”の感覚に通じると強く感じた。

(※2)：心白（しんぱく）……酒造好適米の中心に現れる白い不透明部。吸水・溶解を助けるが、大きすぎると割れやすく、高精米では不利に働くことがある。

醸造の哲学 ─ 造りの核は「米を溶かす力」

秋鹿の酒造りは、「米の力を信じる」に尽きる。米をしっかり溶かし、酒粕をできるだけ出さない設計だ。酒粕を多く取り除けば酒は澄むが、本来なら酒に溶け込んで味や厚みになる部分まで手放しがちになる。だから“溶かす力”を重視するのである。

発酵から熟成までの考え方もその延長にある。発酵はやや高めの温度帯で管理し、アルコールは17度前後を目安に、残糖を残さず辛口に仕上げる。米をよく溶かすほど酸も（やや）高めになり、その酸が熟成の骨格になる。秋鹿では1〜2年熟成させてから出荷するのが基本で、その時間に耐えうる輪郭をあらかじめ与えている。

秋鹿酒造 奥さん：「うちは、米作りには手間暇をかけています。でも、米がしっかり溶けるようにする／溶かし切るという方向以外、造りはできるだけシンプルに、余計な手はかけません。」

麴（こうじ）づくりのこだわり

最も驚いたのは、麴づくりである。酒造りには「一麴、二酛、三造り」という言い回しがあるとおり、まず麴がいちばん大事だ。麴は米の糖化を担う。ワインは果実自体に糖があるのでそのまま発酵するが、米には糖がない。麴が米のデンプンを糖へ変えることで、はじめて発酵が進む。どれだけ米を“溶かして”糖を生むかが、味の芯や厚みを決める。

麴の設計には大きく二つの方向がある。ひとつは溶かしを控えてすっきり洗練させる方向、もうひとつはよく溶かして味を太くする方向。前者は酒粕が多く出やすい。秋鹿はもちろん後者——米をしっかり溶かす麴を選ぶ。大吟醸のように洗練に寄せる酒でも、基本思想は後者に近いという。

方法も独特だ。多くの蔵が専用の部屋で麴菌の粉を米にふりかける（白い粉が宙に舞う、あの“儀式”のような）作業を行うのに対し、秋鹿は風が一方向に流れる乾燥・調湿機内で行う。粒ごとに均一に麴をまとわせ、健全で力のある麴を育てるためである。

熟成の考え方と評価

日本では日本酒は、若くフレッシュなうちに飲むのが一般的とされている。熟成させる前に消費されるのが普通であり、熟成酒の市場はまだそれほど大きくない。しかし、秋鹿は、「飲み頃で届ける」発想で熟成を重視する。米をしっかり溶かして辛口に仕上げ、そのうえで時間に耐える骨格を育てるという造りの帰結である。

秋鹿酒造 奥さん：「基本は1〜2年寝かせてから出します。ここまで待つ蔵は多くありませんが、そのほうが味の輪郭がはっきりして、飲み頃でお渡しできます。ヨーロッパはワイン文化があるので熟成の考え方が伝わりやすく、評価も早いですね。」

少数派でもスタイルを貫く姿勢は、コンペへの向き合い方にも表れる。鑑評会やコンクールには出さない。

秋鹿酒造 奥さん：「審査員に評価されるためではなく、飲む人に届けたいんです。近年の日本では、香りが立ってやや甘口に感じられるタイプが評価されやすい流れもありますが、うちは辛口を貫きます。」

結果は良好で、売上にも表れている。そして輸出も着実に伸びている。

付記：オランダのインポーター酔い心地を通じて、2002年ヴィンテージの秋鹿・古酒を飲む機会に恵まれたが、その複雑さと深みは本当に素晴らしかった。そして何より、20年を経てもなお生き生きとしていたことに驚かされた。

圧巻のテイスティング

この日テイスティングしたのは、商品化済み19本に加え、商品化前のバックヴィンテージ9本について 2021／2022／2023／2024／2025 の連続ヴィンテージを縦比較（バーティカル）で味わった。合計28本、どの酒も、香りで派手さを競わず“味”で魅せ、口中で穏やかに立ち上がる香りの残像が複雑で、辛口の余韻が正確に長く続くのが印象的だ。

敢えて選ぶ、印象に残った3本

1. 山田錦 純米大吟醸 一貫造り 2024

   　大吟醸でありながら、香り一辺倒ではなく“味”に重心がある。米由来の優しい甘さと旨味がエレガントに流れ、長く層をなすフィニッシュはあくまで辛口。「味で語る大吟醸」を体現する一本。

   　［Tech］ 自営田産山田錦100％／精米歩合40％／速醸（そくじょう）／協会9号（自家培養）／ALC16％／日本酒度+8／酸度1.8

2. 山廃 山田錦原酒 2025

   　若いヴィンテージならではのハーブのような爽やかさがあり、口に含むとナッツやスパイスを含む米の風味が“味わいの残像”として長く残る。優等生な山田錦らしいすっきりしている一方で、今後の熟成でレイヤーが厚みを増していく余地は大きい。

   　［Tech］ 雄町／精米歩合60％／山廃／協会7号／ALC17％／日本酒度+12／酸度2.2／アミノ酸度1.6

3. 生酛 上村大町 雄町 無濾過生原酒 2020

   　5年を経ても驚くほどフレッシュでエレガント。雄町らしい骨格を保ちながら角がとれ、まとまりが前面に出る。レイヤーの厚みは群を抜き、余韻は静かに、長く続く。

   　［Tech］ 雄町／精米歩合60％／生酛／協会7号／ALC18％／日本酒度+9／酸度2.7／アミノ酸度1.7

単一田んぼ「上村大町」の雄町米の垂直試飲

一般論として、若い段階にはフレッシュハーブ、青リンゴ、メロン、米由来の甘いニュアンスが前面に出やすく、熟成が進むとヘイ（乾草）やドライハーブ、ナッツ、ブラン（穀皮）、マッシュルームなどが現れ、丸みと深みへ移ろう。今回は、上村大町（単一田）×雄町を2020（現行）と2021〜2025（バックヴィンテージ）を並べ、年ごとに熟成のスピードと表れ方が異なることを確認した。

• 2020（現行ヴィンテージ）：印象は前章3)に記したとおり。

• 2021：熟成感が明瞭。乾いたハーブや軽いナッツが印象的で、旨味の輪郭がやわらかく丸みを帯びる。骨格は保ちつつ、テクスチャーに落ち着きが出た年。

• 2022：熟成感でいうと2020と2021の間の印象。フレッシュさと熟成ニュアンスが拮抗し、過渡期ならではの均衡がある。

• 2023・2024・2025：いずれも若い印象で、フレッシュハーブの要素が残る。香味はタイトで、これからの熟成でレイヤーが厚みを増していく余地が大きい。

奥さんの観察では、登熟期（稲の実る時期）の気温が高い年は、熟成感が早く顔を出す傾向があるという。米の外層がやや硬くなり、アミノ酸度が上がりやすいためと推測している。同一田・連続年の並びでも、この傾向は確かにうかがえた。

「古いほど熟成感が出て、新しいほどフレッシュ」という単純な図式では語れない。ヴィンテージごとに熟成の歩み方が明確に異なることが浮き彫りになった。

田んぼは地域によって土質が違う。たとえば「神田（かみだ）」地区は黒土で火山灰に近い性質。一方で「大町（おおまち）」は粘土質。同じ品種を植えても、土壌で微妙に性格が変わると言う。田の個性をそのまま酒に写す単一田んぼ（シングル・ファーム）の日本酒を現状の1〜2銘柄から徐々に拡充していく意向だ。

アウトロー：型破りの楽しさ「酛搾り」

最後にとてもユニークな日本酒「酛搾り」を試飲した。日本酒づくりでは、主発酵に使う発酵の“もと”（酒母／しゅぼ）を先に仕込む。酛搾りは、その酒母をそのまま搾った“途中段階の酒”である。きっかけは、仕込み中の酒母を味見して「これを搾ってみよう」と思い立ったこと。試作を重ね、いまも小仕込みで継続している。

味わいはアルコール約9％。甘酸っぱさと軽やかな粘度、口中で立ち上がるベリー系のニュアンスに、余韻には熟した柿や淡いカラメルが重なる。酸がきれいに締め、長く続いても重たくならない。コースの締めに“デザートの代わり”としても映え、都内の寿司店で「熟した柿×フレッシュチーズのミルフィーユ」と合わせた提供例がある。

最後に

秋鹿の骨格は、米作りから仕込みまで一貫して手がける姿勢にある。自分たちが正しいと思う味わいを追求し、審査や流行よりも“飲む人”を見据える。そのうえで、実験と研究を重ねる具体例としてバックヴィンテージの保存と縦比較を続け、設計にフィードバックしている。さらに、新しい発想を形にする姿勢として、酒母を搾る酛搾りや単一田んぼのボトルといった挑戦がある。日本酒の価値は精米だけに宿るのではない。田の個性、育て方、熟成設計、味の骨格——多様な要素の総和として立ち上がることを、秋鹿は教えてくれる。

だからこそ、秋鹿から目が離せない。大好きな秋鹿は、これからも味で語る酒を更新し続けるはずだ。

今回の素敵なインタビューの機会をくださった秋鹿酒造の杜氏、奥裕明さん、インポーター「酔い心地」のディックさんに心から感謝いたします。

オランダでは、「酔い心地」を通じて、レストランや小売ショップで秋鹿の日本酒を入手できます。

お読みいただき、ありがとうございます！いいね、コメント、重ね読み、購読でサポートしていただけると嬉しいです。

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Hanatomoe's sharp acidity caught me completely off guard. With an acidity level around 3.0 to 4.5, it's more than double that of typical sake. This bold character represents Miyoshino Brewery's distinctive approach, born in Yoshino—a region famous for forestry, not rice cultivation.

I visited Miyoshino Brewery in Yoshino, Nara Prefecture, on a hot August day. This small brewery sits beside the Yoshino River and carries on the name "Hanatomoe" from a sake brewery that once stood at Mount Yoshino, a sacred site for mountain ascetics, until it was lost to fire in 1912. Current brewery owner Teruaki Hashimoto shared his brewing philosophy, one shaped by both the constraints and possibilities of this mountainous land.

📍 Who This Article Is For

• ·Sake enthusiasts (beginner to intermediate) wanting to understand sake's diversity

• Wine lovers interested in regional expression and terroir

• Those interested in traditional industries and regional revitalization

• People curious about sustainable brewing and agriculture

I'm Kazumi, a DipWSET and educator based in Amsterdam. With a background in wine and sake, I translate sake through a wine-savvy lens.

The Turning Point: Learning from Yoshino Cedar's Dense Planting

Miyoshino Brewery is a small sake brewery nestled deep in the mountains of Yoshino, Nara. When Hashimoto returned home in 2010, his encounter with local forestry workers became a turning point. While exploring the possibility of using Yoshino cedar for sake brewing barrels, he discovered the region's unique dense planting forestry method.

Yoshino cedar has remarkably fine growth rings because of this "dense planting" technique. Foresters plant cedar trees at three times the normal density, forcing them to compete for nutrients and sunlight. This competition suppresses their growth. After 100 years, this slow growth produces incredibly dense, high-quality timber. The process is both natural and artificial—a human-managed forest that works in harmony with nature's principles.

"When humans understand natural principles and guide them appropriately, the characteristics of the land emerge naturally," Hashimoto explains. This revelation fundamentally changed his approach to sake brewing.

Forestry requires thinking in 100-year cycles, which naturally enforces sustainable practices. The forestry workers he met spoke in terms of generations—what their grandfathers planted, what their grandchildren would harvest. "I want to work with farmers' next generation, and the generation after that," Hashimoto told me, adopting this long-term perspective for his brewery.

Hanatomoe's Philosophy: Turning Constraints into Character

Yoshino in Nara Prefecture is famous for forestry, not rice cultivation. The mountainous terrain doesn't suit large-scale agriculture, so local farmers grow multiple crops—persimmons, plums, onions—alongside small quantities of rice. Rice remains precious here, a stark contrast to Japan's major rice-producing regions.

In conventional sake production, brewers polish away rice's outer layers containing proteins, fats, and vitamins, keeping only the starch-rich core. While these outer layers contain amino acids that can add umami, they can also create off-flavors if not handled properly. Standard sake uses rice polished to 70% or less of its original size. Premium daiginjo requires polishing to 50% or less, as competition judges favor these refined, delicate flavors. Some breweries have pushed this to extremes—Niizawa Brewery's "Reikyo Absolute 0" achieves a 0.09% polishing ratio. This "polishing competition" drives up costs dramatically since most of the rice grain is literally thrown away.

But Yoshino's farmers saw this differently.

"When I showed farmers our daiginjo polished to 50%, they said 'what a waste,'" Hashimoto recalls. "I realized that what we brewers consider quality, farmers see as wasteful."

This perspective shifted everything. Instead of pursuing extreme polishing, Hashimoto keeps his rice at around 70% and focuses on completely dissolving it during fermentation. Through careful koji cultivation and fermentation management, he converts all the rice starch into sugar and eventually alcohol. This approach produces Hanatomoe's signature high acidity—a bold, distinctive character rather than delicate refinement.

Hanatomoe takes this philosophy further by not specifying rice varieties on their labels—unusual in a world where premium sake often highlights specific cultivars like Yamada Nishiki. Miyoshino Brewery works with 10 contract farmers whose rice varies significantly in hardness and water absorption. Each batch requires individual adjustments during processing.

"We don't cut corners in processing each farmer's rice differently," Hashimoto explains. "This extra attention at the beginning makes everything else flow smoothly."

Wild Yeast and No Temperature Control: Embracing Natural Fermentation

Miyoshino Brewery's innovation lies in what they choose not to do: no added yeast and no temperature control for 60% of their production. This approach seems risky in modern brewing, where precision typically ensures consistency.

" Cultured yeast dies when temperatures drop to 5°C," Hashimoto explains. "But wild yeast survives even below 5°C or over 30°C. I chose to trust nature's resilience. "

Their 1200-liter enamel tanks sit at ambient temperature year-round without air conditioning. In Yoshino, this means near 0°C in winter and over 30°C in summer—extreme variations that would terrify most brewers. But Hashimoto embraces these fluctuations as part of the brewing process.

Without temperature control, how do they prevent spoilage? The answer lies in concentration. By maintaining high sugar and extract levels, they create osmotic pressure that suppresses harmful microbes while allowing beneficial ones to thrive. It's the same principle that keeps jam from spoiling despite sitting at room temperature. Hashimoto sees this as another lesson from dense-planting forestry: controlled stress creates quality.

For creating the fermentation starter (shubo), Miyoshino uses two traditional methods that rely on natural lactic acid bacteria rather than adding commercial lactic acid for the 60%. Mizumoto, a technique descended from 15th-century Nara brewing, works even in autumn's warm 20°C temperatures. Yamahai, which literally means "abolishing yeast grinding," thrives in winter's cold. While these traditional starters take 40 days to prepare compared to 14 days for modern quick-starters, yamahai remains usable for three months afterward—a testament to its natural stability.

"Various wild yeasts compete in our tanks," Hashimoto notes. "Only the strongest survive the high concentration environment. It's natural selection for sake."

This approach creates distinct seasonal variations. Autumn batches ferment quickly in 20°C warmth, producing dry, crisp sake. Winter's slow, cold fermentation yields juicy, fruit-forward flavors. Spring's rising temperatures create vigorous fermentation with sharp, edgy characteristics. Each season leaves its signature on the final product—something impossible with temperature-controlled brewing.

Strategic Product Development

Interestingly, the remaining 40% uses the modern quick-starter method with temperature control. Entry-level products like " Jun Dai Dai" and "Usunigori" ferment in temperature-controlled tanks, creating an accessible "familiar flavor" with seasonal characteristics subdued.

This mirrors champagne's non-vintage and vintage approach. The strategy draws people in with approachable flavors, then guides them toward seasonal, wild-fermented expressions.

Tasting Six Hanatomoe Varieties: Yamahai, Mizumoto, and Kijoshu

The Hanatomoe lineup I tasted during my visit perfectly embodies Miyoshino Brewery's philosophy of embracing natural variation and high acidity.

1.Hanatomoe Yodan-jikomi Yamahai Junmai Nama (Autumn, Wooden Barrel)
The fourth-stage brewing technique—adding extra steamed rice late in fermentation—creates additional sweetness that balances this yamahai's naturally sharp edges. The result is a sweet-sour profile that works beautifully as an aperitif or dessert sake.

2.Hanatomoe Yamahai Junmai Usunigori Nama (Winter, Enamel Tank)
An entry-level product that doesn't compromise on character. Winter's low-temperature fermentation creates a fruity style with gentle effervescence. The balance of juicy acidity and sweetness makes it approachable even for sake newcomers or those who usually prefer wine.

3.Hanatomoe Yamahai Junmai Nama (Winter, Enamel Tank)
Hanatomoe's flagship winter brew and the brewery's original style. It offers bitterness reminiscent of white grapefruit pith, alongside spice notes and earthiness. The rich, complex flavors develop during an extended 40-60 day fermentation period.

4.Hanatomoe Mizumoto Junmai Nama (Autumn, Enamel Tank)
This showcases mizumoto's characteristic high acidity balanced with rice-derived sweetness. A subtle gamey nuance in the finish unexpectedly reminded me of Burgundian Pinot Noir—a comparison that might help wine drinkers understand its complexity.

5.HANATOMOE Mizumoto × Mizumoto Kijoshu
A luxurious creation where sake replaces water in the brewing process—a technique for creating dessert-style sake. The result offers dense sweetness reminiscent of Sauternes, with burnt caramel aromatics. It pairs brilliantly with blue cheese.

Hanatomoe Umeshu
Kishu Nanko plums macerated in yamahai (21% alcohol). The integration is remarkable—plum and yamahai meld into something entirely new rather than competing for attention.

All six share Hanatomoe's signature high acidity, making them surprisingly accessible to wine drinkers while offering sake enthusiasts something genuinely different.

Pursuing Flavors Beyond Imagination

Hashimoto shared a thought that stuck with me:

"When you travel and encounter unexpected scenery, you're moved. Chain restaurants have predictable flavors, but when a local restaurant amazes you, you think 'I've never tasted this before.' If sake falls within expected parameters, there's no point traveling to drink it."

These words capture the essence of regional sake—it should surprise you, challenge you, make you reconsider what sake can be.

Standing by the Yoshino River after my visit, I reflected on the concept of terroir. Wine directly expresses its land through the grapes that grow there. Sake takes a different path, expressing place through the brewer's interpretation of local conditions and constraints. Neither approach is superior; they're simply different philosophies.

Miyoshino Brewery demonstrates how limitations spark innovation. Their distinctive character doesn't come despite being outside prime rice-growing regions, but because of it. The seasonal variations aren't a flaw of lacking temperature control but the whole point. The wild yeasts aren't unpredictable variables but carriers of local identity.

This philosophy proves especially relevant as climate change and generational farm transitions challenge traditional sake brewing. By embracing diverse production methods and maintaining flexibility, Hashimoto builds resilience into his operation. This long-term thinking mirrors Yoshino's forestry industry, where decisions consider impacts a century ahead.

Some sake can only exist in specific locations. These bottles deserve seeking out, traveling for, experiencing in context. Perhaps this represents regional sake's future—not imitating famous styles but creating something impossible to replicate elsewhere.

Where to Find Hanatomoe

· Japan: Miyoshino Brewery online shop

· Netherlands: Through Yoigokochi (importer)

· Select international markets: Check with specialty sake importers

Thank you to Teruaki Hashimoto for welcoming this visit, and to Dick from Dutch importer Yoigokochi for making it possible.

Glossary

Rice Polishing Ratio: Percentage of rice remaining after polishing. 70% means 30% has been removed.

Acidity: Total acid content in sake. Standard sake ranges 1.0-1.5; Hanatomoe reaches 3.0-4.5.

Shubo (Starter Culture): Concentrated yeast culture prepared before main fermentation begins.

Yamahai: Traditional starter method using natural lactic acid bacteria instead of added lactic acid.

Mizumoto: Nara's traditional starter method, descended from 15th-century bodaimoto technique.

Sohaze: Koji cultivation method that spreads mold throughout rice grains for maximum enzyme production.

Yodan-jikomi (Fourth-stage brewing): Adding steamed rice after the standard three additions to increase sweetness.

Kijoshu: Dessert sake made by replacing water with sake during brewing.

Extended fermentation: Fermenting 40-60 days instead of the standard 25-30 days.

Other Brewery Interviews

· SAKE Interview #5: Gensaka Brewery: Brewing the Future of Rural Japan

· SAKE Interview #4: Hakushika Brewery: Legacy Brewery Pioneering Aged Sake

· SAKE Interview #3: Kirei Brewery: Ultra-Dry Sake with Toji Masahiro Nishigaki

· SAKE Interview #2: Ninki Brewery: Wooden Barrel Brewing

· SAKE Interview #1: The Beginning of Sake

花巴（美吉野醸造）訪問記｜奈良・吉野の野生酵母と高酸度が生む日本酒の新境地

奈良県吉野の美吉野醸造「花巴」訪問記。野生酵母と温度管理なしで醸す高酸度（3.0-4.5）の日本酒。山廃・水酛の伝統製法と現代の感性が融合。橋本晃明氏が語る100年先を見据えた酒造りとは。

初めて花巴を飲んだ時、その鮮烈な酸味に驚いた。酸度は体感で3.0から4.5——一般的な日本酒の倍以上はあるだろう。これが米どころではない吉野で生まれた、美吉野醸造が作る「花巴」の独自の答えだった。

奈良県吉野の美吉野醸造を訪れたのは、8月の暑い日だった。吉野川のほとりに立つこの小さな蔵は、明治45年の火事で失われた修験道の聖地・吉野山の酒蔵「花巴」の名を受け継いでいる。現当主の橋本晃明氏が語る酒造りの哲学は、この土地の制約と可能性から生まれていた。

📍この記事を読んでほしい人

• 日本酒の個性や違いを理解したい初〜中級者

• 地域性や土地の表現に興味があるワイン愛好家

• 伝統産業や地域創生に関心がある方

• サステナブルな醸造・農業に興味がある方

美吉野醸造の転機：吉野杉の密植林業との出会い

美吉野醸造は、奈良県吉野の山深い地に佇む小規模な酒蔵だ。現在の当主橋本晃明氏が実家に戻った2010年、転機となったのは地元の林業家たちとの出会いだった。木桶プロジェクトへの参加を通じて、吉野杉の密植林業を知ることになる。

「吉野杉の年輪を見てください」と橋本氏は樽材を手に取る。驚くほど細かく均等な年輪。これは通常の3倍の密度で杉を植える「密植林業」の産物だ。木々は栄養を奪い合い、成長が抑制される。100年以上という時間をかけて、極めて緻密な木材が生まれる。

「これは自然であり人工です。人工林ですけど、自然と一体になっている」

「人が自然の摂理を理解し、適切に「誘導」することで、土地の特徴が自然に表れる。」と、橋本氏は語る。

「100年かけて木を育てる林業から学んだのは、無理をしたら続かないということ。祖父の代、孫の代という時間軸で物事を考える。農家さんの次の世代、その次の世代とも一緒にやっていきたい」

そして、この考え方が、酒造りを根本から変えることになる。

花巴の哲学：米どころではない地域の逆転の発想

林業で名を馳せる奈良県吉野は、米どころではない。山深い地形は農業に適さず、この地域の農家は柿や梅、玉ねぎとの複合経営が一般的だ。米は今でも貴重品だという意識がある。

日本酒はタンパク質、脂肪、ビタミンを含む外側を削り、でんぷん質の多い中心部のみを使用する。外側はアミノ酸が多く旨味にもなるが、作り方次第では雑味にもなるからだ。洗練された味わいがコンペティションで評価される傾向があり、通常70％以下、大吟醸と呼ばれるカテゴリは50％以下まで削る。削ることも技術であるため、極限まで削れることを示した0.09％まで削った日本酒も登場した（新澤醸造店「零響」）。精米歩合合戦と表されることもある。当然削り捨てる部分が多いため、必然的にコストが上がり高額になり、高級品として扱われる。ところが吉野での受け止め方は違った。

「50％まで削った大吟醸を農家さんに見せたら『もったいない』と言われました。磨くことが良いという価値観は、立場によって違う」

橋本氏は、考えを変えた。

精米歩合70％に留め、代わりに米を完全に溶かし切る。総破精（そうはぜ）という麹の作り方で、米のデンプンを徹底的に糖化させる。結果として生まれた高い酸度が、花巴の個性となった。

さらに、花巴のラベルには米の品種名を記載しない。米を選ばないという意思表示だ。契約農家10軒それぞれの米の個性——硬さも吸水率も異なる——を、生産者ごとに漬け時間を変えて丁寧に処理する。

「原料処理は面倒くさがらずにやることで、後の工程をスムーズにする」

野生酵母による自然発酵：花巴独自の醸造法

美吉野醸造の革新性は、現代技術を「やらない」選択にも現れている。酵母無添加、そして生産量の約6割で温度管理をしない。

「協会酵母は5度まで下がると死んでしまう。でも野生酵母は30度まで上がっても、5度まで下がっても死なない」

1200リットルの琺瑯タンクは外気温のまま。吉野の気温は冬は0度近く、夏は30度を超える。この変動をそのまま受け入れる。

その代わり、糖分とエキス分の濃度で発酵を制御する。浸透圧で微生物の活動を抑制する——ジャムが腐りにくいのと同じ原理だ。これも密植林業から学んだ手法。濃度で酵母を「抑えつける」ことで、ゆっくりとした発酵を実現する。

酒母づくりには、水酛（みずもと）と山廃（やまはい）という伝統製法を多く採用。水酛は奈良に1400年代から伝わる菩提酛の流れを汲む技法で、秋の高温期でも安全に醸造できる。山廃は冬の低温を活かす製法で、酒母造りに40日もかかるが（速醸なら14日）、その後3ヶ月も使える安定性がある。

「いろいろな酵母がいる中で、濃度を高めて残るものだけが花巴の菌。自然淘汰です」

結果、秋の仕込みは20度前後の温かい環境で速い発酵となりドライに、冬は0度近い低温でゆっくり発酵してジューシーに、春は気温が上がり発酵が活発になってエッジの効いた味になる。季節の個性がそのまま酒に現れる。

戦略的な商品展開

興味深いのは、残り4割は速醸を使い、温度管理することだ。「純橙」「薄にごり」といったエントリー商品は、サーマルタンクで温度を管理し、季節の個性が抑えられた「分かりやすい味」になる。

まさに、シャンパーニュのノンヴィンテージとヴィンテージのような考え方。まず親しみやすい味で、そこから季節ごとの野生的な酒へ導く戦略だ。

花巴全6種テイスティング：山廃・水酛・貴醸酒の個性

訪問時に試飲した花巴のラインナップは、美吉野醸造の哲学を体現していた。

花巴 四段仕込み 山廃純米生酒（秋・木桶仕込み） 四段仕込みで通常より甘く仕上げた山廃。春に仕込んだエッジの強さを甘みで中和し、甘酸っぱい味わい。アペリティフかデザート感覚で。

花巴 山廃純米 薄にごり生酒（冬・琺瑯タンク） エントリー商品の一つ。冬の低温発酵による甘酸っぱさとガス感。口に含んだ瞬間、ジューシーな酸味と甘みのバランス、日本酒が苦手な人でも飲める。

花巴 山廃純米生酒（冬・琺瑯タンク） 花巴の原点となる冬仕込みの定番。グレープフルーツの白い部分のような苦味、スパイス感、土っぽさ。40〜60日という長期発酵による濃厚な味わい。

花巴 水酛純米生酒（秋・琺瑯タンク） 水酛特有のジューシーな酸味と米の甘み。余韻に微かに獣っぽいニュアンスが、ブルゴーニュのピノ・ノワールを思わせる。

HANATOMOE 水酛×水酛 貴醸酒 水の代わりに日本酒で仕込んだ贅沢品。ソーテルヌのような濃厚な甘みと焦がしカラメルの香ばしさ。ブルーチーズとの相性は抜群。

花巴 梅酒 山廃（アルコール度数21度）で紀州南高梅を漬け込んだ梅酒。驚くほど馴染んでおり、梅と山廃が一体化している。

どの酒も酸度が高く、ワインに慣れた舌にも違和感なく受け入れられる。

想像を超える美味しさの追求

橋本氏は言う。

「旅行に行った時、想像もしなかった景色に出会うから感動する。チェーン店なら味が分かってるけど、旅先の定食屋がめちゃくちゃうまかったら『今まで感じたことがない味だ』となる。想像できる範囲のお酒だったら、わざわざ飲む意味がない」

この言葉に、地酒の本質が凝縮されている。

訪問を終えて吉野川を眺めながら考えた。ワインが土地の味をダイレクトに表現するのに対し、日本酒は人の解釈を通じて土地を表現する。それは少し異なるアプローチだ。

美吉野醸造が示しているのは、制約を創造性に変える力。米どころでなくても、だからこそ生まれる個性。温度管理しないからこそ生まれる季節の味。野生酵母だからこそ生まれる土地の味。

気候変動や農家の世代交代といった変化にも、多様な製法と柔軟な姿勢で対応する。これは、100年先を見据えた吉野の林業から学んだ知恵だ。

その土地でしか作れない酒がある。そして、それを飲む価値がある。これこそが、地酒の新たな形なのかもしれない。

花巴を味わうには

• 美吉野醸造オンラインショップ

• 日本国内：はせがわ酒店（東京）、山中酒の店（大阪）など

• オランダ：酔い心地（インポーター）経由

この記事が、新しい日本酒の世界への扉となることを願っている。あなたの「想像外の美味しさ」体験を、#花巴 #美吉野醸造 でシェアしてください。

今回の訪問を受け入れてくださった橋本晃明氏、この機会を実現させてくれたオランダのインポーター酔い心地のディックさんに感謝を。

専門用語

精米歩合：玄米を削って残った割合。70％なら外側30％を削ったことを示す。

酸度：日本酒に含まれる酸の総量。一般的な日本酒は1.0〜1.5、花巴は3.0〜4.5程度。

酒母（しゅぼ）：本仕込み前に酵母を大量培養するスターター。

山廃（やまはい）：山卸廃止酛の略。自然の乳酸菌を活用する伝統製法。

水酛（みずもと）：奈良の伝統的な酒母製法。菩提酛の流れを汲む。

総破精（そうはぜ）：麹菌を米全体に繁殖させる製法。米を溶かす力が強い。

四段仕込み：通常の三段仕込み後にもう一度米や麹を加える製法。

貴醸酒（きじょうしゅ）：仕込み水の代わりに日本酒を使う贅沢な製法。

長期醪（ちょうきもろみ）：通常より長い期間（40〜60日）発酵させたもろみ。

【基本情報】

蔵名：美吉野醸造株式会社

ブランド：花巴（HANATOMOE）

所在地：〒639-3433 奈良県吉野郡吉野町六田1238番地1

代表銘柄：花巴 山廃純米、花巴 水酛純米、HANATOMOE 貴醸酒

特徴：野生酵母、温度管理なし、高酸度（3.0-4.5）

他の酒造インタビューはこちら

SAKE インタビュー#5: 元坂酒造: 農村の未来を醸す：元坂酒造が紡ぐKINOの物語

SAKE インタビュー#4: 白鹿酒造: 老舗酒蔵白鹿が切り拓く古酒の世界

SAKE インタビュー#3: 亀齢酒造:大辛口の日本酒 - 亀齢酒造・西垣昌弘杜氏

SAKE インタビュー#2: 人気酒造:木桶で酒造り:人気酒造の現場から

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お読みいただき、ありがとうございます！いいね、コメント、重ね読み、購読でサポートしていただけると嬉しいです。

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This interview with Shimpei Gensaka, 7th generation brewer at Gensaka Sake Brewing in Mie Prefecture, explores how one historic brewery is revolutionizing sake through rice cultivation, environmental stewardship, and a 200-year vision for sustainable rural communities.

📍Who This Is For

• Wine enthusiasts curious about sake's terroir expression

• Anyone interested in sustainable agriculture and brewing

• Sake lovers seeking producers with domain-style production

• Those who appreciate beverages that tell a story of place and purpose

I'm Kazumi, a DipWSET and educator based in Amsterdam. With a background in wine and sake, I translate sake through a wine-savvy lens.

When a Wine Lover Finds Her Sake

My sake preferences transformed completely after immersing myself in wine. Five years ago in Japan, I enjoyed aromatic, fruity junmai daiginjo with pristine clarity and subtle sweetness. Beautiful sake, certainly—but today, my heart belongs to a different style entirely.

I seek sake without residual sugar, with pronounced acidity and umami, impressive texture and finish, speaking through taste rather than aroma. These are the exact elements I chase in wine. KINO was precisely that sake—one that resonated deeply with my wine-loving soul.

After discovering KINO at Amsterdam's Utage Sake Bar, I was thrilled to interview Shimpei Gensaka, 7th generation of Gensaka Sake Brewing. What followed exceeded all expectations. This wasn't just about brewing—it was about living with nature, community, and sustaining an ecosystem for centuries. His quiet determination drew me in.

1805: When Heritage Embraces Innovation

Gensaka Sake Brewing was founded in 1805 in Yanagihara, Odai-cho, Mie Prefecture. Located about two hours from Osaka and 90 minutes from Nagoya, Mie is home to Japan's most sacred site, Ise Shrine. Furthermore, in 2020, Mie became the first prefecture to receive Geographic Indication (GI) status for sake, "GI Mie," recognized for exceptional water, rice, and brewing expertise.

Their flagship brand "Sakaya Hachibei" bears the name of founder Gensaka Hachibei. Shimpei represents the seventh generation of this historic brewery.

The Gensaka’s real turning point came 40 years ago when Shimpei's father, Shin Gensaka, made an unprecedented decision for a sake brewery: start growing their own rice. This revolutionary challenge began from scratch—massive investments in agricultural machinery, countless trials and errors, ultimately leading to the revival of Mie's extinct native variety, Isenishiki.

Why Domain-Style Sake Breweries Remain Rare

While domain-style production (controlling everything from raw materials to brewing) is common in particularly fine wine, it remains extremely rare in sake. Of Japan's roughly 1,300 breweries, only about 50 operate as domains.

Shimpei explains clearly: "With wine, harvested grapes need immediate processing to maintain their freshness. Then viticulture and winemaking tend to be established close by. Rice, however, can be stored and transported due to its dry nature, so agriculture and brewing could remain geographically separated. Historical factors also played a major role. Before modernization, farmers had to deliver rice as tax to feudal lords, preventing free use for sake production."

Even today, barriers to become domain-style remain high: the JA (agricultural cooperative) control the distribution system of rice including its price and connecting demand and supply, landowners' reluctance to sell ancestral property, and complex agricultural rights. Gensaka succeeded partly because they already held agricultural rights as landowners. Still, the journey from agricultural beginners to reviving an extinct rice variety required extraordinary effort.

The Birth of KINO: A Mission to Protect Rice Fields

In 2020, Gensaka launched their new brand "KINO," using 100% estate-grown rice. KINO (帰農) means "returning to agriculture" or "going back to farming" in Japanese. This shows their agricultural commitment.

Here is the story behind.

After returning from Tokyo in 2010, Shimpei spent two years farming and brewing before a realization struck. "Initially, I thought we grew rice for sake production. Then one day I understood: Japan built its society on agriculture, specifically rice cultivation. We make sake because we're an alcohol producer in a country full of rice fields."

The 2011 earthquake was another turning point. The push for renewable energy transformed rural landscapes. "About 30% of our village's farmland in Yanagihara converted to solar panels," Shimpei recalls. This rapid transformation made him realize agriculture itself was in crisis.

"If we want to preserve this brewery's work for 200 years into the future, we must first protect the rice fields."

Since they were already farming, why not deepen their commitment? Instead of common varieties like Yamada Nishiki and Omachi, Gensaka revived their region's native Isenishiki. To value rice, they created KINO as a distinct brand from their flagship Sakaya Hachibei.

Shimpei had another motivation. The sake industry typically values low polishing ratios. Junmai daiginjo requires polishing below 50% in the regulation. However, sake that won the National New Sake Competition are normally made with rice polished 35% or less, and rare bottles polished to single digits are sold on premium prices.

But Shimpei emphasizes: "Polishing competitions are not related to rice quality. Sake production starts with rice cultivation. I want people to see the rice growing stage."

This philosophy of concentrating value in the rice fields themselves embodies Gensaka's essential philosophy.

Understanding KINO's Character: The Personality of Isenishiki

To understand KINO's taste, we must first know Isenishiki rice.

Yamada Nishiki, the king of sake rice, is often compared to Chardonnay—neutral on its own, but excellent at expressing terroir and brewing methods. Compared to this neutral Yamada Nishiki or the full-bodied Omachi, Shimpei describes Isenishiki as "extremely delicate, clear, with a long finish."

Isenishiki's distinctive aroma stands out. "Like crushing grass growing around rice paddies, or cutting them with a mower—that fresh, moist, grassy green scent." After a year of aging, "the herbal or herbaceous notes gradually transform into straw."

"Fresh-pressed sake shows herbal character, but with time and maturation, even further chocolate and coffee nuances emerge. Isenishiki is a rice with aging potential." His words reveal deep understanding of this rice. To preserve its delicate aromatics, they deliberately avoid aromatic yeasts.

The taste profile features high acidity and complexity from kimoto brewing. "High acidity improves balance, allowing us to elevate bitterness, umami, and other elements. It enables deeper, more layered flavors."

Alcohol sits at a relatively high 16%. The reason is clear: "I really hate residual sugar. That grainy feeling when sugar coats your tongue after drinking. I want to complete fermentation without residual sugar." Perhaps the preference of a wine enthusiast.

Rice polishing was 65% for the 2023 vintage, but varies from 65% to 80% depending on the year. They adjust based on each year's rice quality. The target flavor profile serves as the blueprint; polishing ratio is merely one element.

When Organic Creates Another Dimension

KINO actually comes in two versions: KINO 1 (organic farming) and KINO 2 (conventional). This difference goes beyond farming methods, creating decisive flavor distinctions.

Simply put, organic rice produces more complex, profound flavors with unpredictable elements. "The liquid has higher density, pressure, more body," Shimpei explains.

Even "sweetness" isn't simply sweet. "It's bittersweet, sweet-sour—sweetness coexisting with other flavors." He describes this difference as "emotional impact value as a liquid."

However, annual production of organic farming is lower than that of conventional: roughly 7,000 bottles of KINO 2 versus just 1,000 of KINO 1. Labor intensity and yield instability prevent expansion. Climate change poses an even greater threat. "Change happens too fast—we don't know if rice itself can adapt."

The 2024 vintage produced no KINO 1—everything went into KINO 2. "Pursuing organic might be heading toward self-destruction," he admits, revealing harsh realities. They'll spend the coming years observing climate patterns while improving agricultural techniques before reconsidering further organic transition.

Water: The Ultimate Expression of Terroir

Sake is 80% water. Gensaka maintains strong dedication to this crucial element.

"If we define wine as fermenting flavorful liquid, then sake dissolves rice flavor into flavorless water," Shimpei's expression perfectly captures water's essential role in sake.

Gensaka's brewing water is ultra-soft. WHO standards classify anything under 60mg as soft, meaning 1.8 represents astonishing softness. "We get abundant rainfall, creating rich groundwater reserves with fast flow. Water spends very little time underground, resulting in water with not much mineral."

Japan's abundant clean freshwater serves both brewing and rice cultivation naturally. Globally, this represents privileged conditions. "To preserve sake brewing 100 or 200 years into the future, we need to value and protect water," Shimpei emphasizes.

This philosophy inspired another brand, "Kataru Hotaru," a special sake produced only in years when fireflies appear. Fireflies require pristine water—their presence proves water quality. Additionally, Gensaka donates 15% of sales to Odai-cho's environmental protection program, contributing to watershed conservation.

With Isenishiki's delicate character, natural cultivation challenges, and blessed ultra-soft water—let's see how these elements come together in KINO's taste.

KINO 2 Tasting Note: Power Within Delicacy

KINO 2 presents a pale straw color with slight viscosity.

The nose shows medium intensity but impressive complexity. A hint of herbaceous notes of grass and dill with hay nuances. Subtle steamed rice aromas, toasted cereal grains with pleasant nuttiness. Hints of nutmeg spice, lactic notes, subtle chocolate and nut impressions.

On the palate, it's dry yet the higher acidity from kimoto brewing contributes its balance. Rich umami, velvet-like texture, pleasant bitterness adding accent, counterbalanced with the refreshing acidity. The 16% alcohol never overwhelming, full-bodied without weight.

Smooth, gentle entry reveals firm body underneath. Acid and umami achieve beautiful harmony, with Isenishiki's characteristic long finish inviting another sip.

Food Pairing Paradise

"I recommend room temperature, 20-25°C," Shimpei begins discussing food pairings enthusiastically.

"Preferably cooked items—not sashimi but simmered or grilled fish." Dishes with bold miso or soy sauce preparations pair exceptionally well.

"Chinese cuisine matches incredibly well—sweet vinegar, black vinegar, sweet and sour pork, really delicious. Tomato-based dishes, lu rou fan—umami-rich preparations bring out KINO's true character."

While Shimpei personally doesn't favor cheese pairings with sake, Europe's diverse cheese selection offers exciting pairing adventures to explore. Do experiment with various dishes, especially warm preparations, to discover your favorites.

Epilogue: The Dream of Rebuilding Rural Communities

2024 proved challenging for Gensaka. "Climatic condition is tough and we couldn't make organic farmed rice. That's vintage 2024." On the bright side, KINO 2 contains significant amounts of organic rice from KINO 1.

Climate change impacts are severe. In 2025, average temperatures exceeded 35°C, with peaks approaching 42°C. Agricultural work has become extreme. "Five years ago, we could work continuously for an hour in the fields. Now 30 minutes is the limit. Beyond that, I genuinely feel my life is in danger."

Yet Shimpei's vision remains firmly fixed on the future. Responding to climate change, "I want to graduate from fossil fuels," he states. He aims for wood-fired rice steaming, limiting brewing to winter months to away from cooling system, pursuing more natural production cycles. "My ultimate big dream is reforming entire rural communities. Including forest management—creating circular regional systems."

KINO represents far more than just a beverage. It embodies Gensaka's philosophy: looking 200 years ahead, living with nature, protecting regions, passing on culture.

Gazing at KINO glowing quietly in my glass, I realize: this is sake's new narrative. Within flavors that capture wine lovers' hearts lives one man's passion for protecting Japan's rural future.

Where to Find KINO in Netherlands

In the Netherlands, KINO is imported by Otemba Sake and available at:

• Utage Sake Bar (Amsterdam)

• Select restaurants and shops throughout the Netherlands

For more information: Otemba Sake

Acknowledgments

Many thanks to Shimpei Gensaka of Gensaka Sake Brewing for this wonderful interview opportunity, and to Yuri Goto of Otemba Sake for making this connection possible. Thanks also to Ian Segal for the beautiful photography.

Picture credit: Ian Segal

Did you enjoy this interview? Subscribe to Grape & Rice for more stories about sake breweries pushing boundaries and the people behind them. Each month, I bring you in-depth interviews and insights from my unique perspective as a wine and sake educator in Europe.

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農村の未来を醸す：元坂酒造が紡ぐKINOの物語

200年先を見据えた酒造り―7代目・元坂新平氏が語る、テロワールと循環型社会への挑戦

はじめに

アムステルダム在住の日本酒・ワインエデュケーター、上條和美です。オランダを拠点に、教育活動やワイン・日本酒についての執筆を通じて、両者の魅力を伝える活動をしています。このインタビューシリーズでは、革新的な日本酒造りに挑む蔵元の方々の声を、海外の皆様にお届けしています。

ワインラバーが出会った、心に刺さる日本酒

ワインにどっぷり浸かってから、私の日本酒の好みは大きく変わった。5年前、日本にいた頃よく飲んでいた、香り高く、フルーティで洗練された透明感のある少し甘めの純米大吟醸酒。それらは確かに美しいお酒だったが、今の私の心を掴むのは違うタイプの日本酒だ。

残糖感がなく、酸味と旨味がしっかりとあり、テクスチャーと余韻が印象的で、香りよりも味わいで語りかけてくる日本酒。それは、私がワインに求める要素と同じだ。KINOはまさに、そんなワインラバーの心に深く刺さる日本酒だった。

アムステルダムの居酒屋Utage Sake Barで出会ったKINOに感動し、実現した元坂酒造の7代目、元坂新平氏へのインタビューは、私の想像をはるかに超えるものだった。単なる酒造りの話ではない。自然との共生、社会への還元、そして日本酒を通じたエコシステムを何百年も続けていくという壮大なビジョン。その穏やかだけれども意思の強い語りに、私は完全に引き込まれた。

1805年創業、変革を恐れない老舗の挑戦

元坂酒造は1805年に、三重県大台町柳原で創業した。三重県は大阪から約2時間、名古屋から約1.5時間の距離にあり、日本最高の聖地・伊勢神宮を擁する地である。2020年には日本酒として初めて都道府県単位でGI（地理的表示）認定を受けた「GI三重」の産地でもあり、良質な水と米、そして高い醸造技術で知られている。

代表銘柄「酒屋八兵衛」は、創業者・元坂八兵衛の名を冠している。新平氏は、この歴史ある酒蔵の7代目後継者だ。

しかし、元坂酒造の真の転機は40年前に訪れた。新平氏の父、元坂新氏が、酒蔵としては極めて珍しい決断を下したのだ。自ら米作りを始めるという、当時としては革新的な挑戦だった。

ゼロから始めた米作りは、農業機械への大規模な投資と、数々の試行錯誤を経て、ついには絶滅していた三重の在来品種「伊勢錦」の復活栽培にまで至ったそうだ。

なぜ日本酒にドメーヌ型が少ないのか

ワインの世界では当たり前のドメーヌ型（原料栽培から醸造まで一貫して行う）が、日本酒では極端に少ない。全国約1,300の酒蔵のうち、ドメーヌ型は大小合わせても50蔵程度だという。

新平氏はその理由を明快に説明してくれた。「ワインの場合は採れたブドウが水分を多く含み、鮮度が重要です。収穫地から離れた場所で加工すると品質が落ちてしまうため、ブドウ栽培とワイン醸造は必然的に密接な関係にあります。一方、日本酒の原料である米は乾燥した状態で保存・運搬が可能なので、農業と醸造が地理的に離れていても問題ありませんでした」

歴史的背景も大きく影響している。日本では近代化以前、農民が作った米は年貢として領主に納める必要があり、米を自由に酒造りに使うことができなかった。

現代においても、農協（JA）による米の流通システムの存在、土地への強い愛着から農地を手放しにくい現状、複雑な農業権など、新規参入への障壁は依然として高い。元坂酒造が成功できたのは、元々地主として農業権を持っていたという利点があった。とはいえ、農業未経験から始めて幻の米を復活させるまでの道のりは、並大抵の努力ではなかったはずだ。

「KINO」誕生―田んぼを守るという使命

2020年、元坂酒造は新ブランド「KINO」を立ち上げた。日本語で「農業に帰る」「農業に戻る」という意味の「帰農」。自社栽培米100％使用という、元坂酒造の農業への取り組みを象徴するブランドだ。

その背景には、新平氏自身の意識の変化があった。新平氏が2010年に蔵に戻り、農業と酒造りに参加するようになってから2年ほど経った頃のことだ。「最初は酒造りのための米作りだと考えていました。しかし、ある日気づいたんです。日本は農業、つまり稲作を社会基盤の中心として出来上がった国。田んぼがたくさんある国のアルコールメーカーだから日本酒を作っているのだと」

この気づきと時を同じくして、2011年の東日本大震災後、自然エネルギーを求める動きから、地域に劇的な変化が起きていた。「柳原という村の農地の、大体3割ぐらいがソーラーパネルに変わったんです」新平氏の言葉には、危機感がにじむ。

「200年先までこの酒蔵の仕事を守っていこうと思ったら、まず田んぼを守らなきゃまずいんじゃないかって思ったんです」

そこで元坂酒造では、力を入れるのであれば、どこでも作られている米ではなく、この地域でしかできないことをやりたいと考え、在来品種の「伊勢錦」を復刻栽培することにした。そして、その米の価値を最大限に表現する日本酒を作るため、看板商品「酒屋八兵衛」とは異なる新ブランド「KINO」を立ち上げたのだ。

また、新平氏には別な思いもあった。日本酒の世界では、「低い精米歩合」に価値が置かれがちだ。純米大吟醸は規定上50％以下まで磨くことが求められる。しかし、全国新酒鑑評会ではさらに低い35％まで磨いた米でなければ賞を取れないとも言われるし、極限の一桁台まで磨いたレアな日本酒が高値で取引されることもある。

しかし新平氏は、「精米歩合の競争に米の品質は出てこない。でも、酒造りは米作りから始まっています。酒蔵の外の世界、つまり米作りも見てほしいんです」と強調する。そして、できるだけ田んぼに価値が集まるような酒造りをしていくという想いに至ったという。この言葉に、元坂酒造の本質的な哲学が込められている。

KINOの味わいを紐解く―伊勢錦が織りなす個性

KINOの味わいを理解するには、まず伊勢錦という米の個性を知る必要がある。

酒米の王様と呼ばれる山田錦は、しばしばシャルドネに例えられる。それ自体の個性は強くないが、テロワールや醸造方法によって全く異なる表情を見せる素直な品種だ。このニュートラルな山田錦や、ボディのある雄町と比較して、新平氏は「伊勢錦は非常に繊細、クリアで余韻が長いんです」と説明する。

伊勢錦で特に際立つのは、その独特な香りだ。「田んぼの周りに生えている緑の雑草を踏みつぶしたりとか、草刈り機で刈り払ったような、ちょっと潤いのある雑草のグリーンな香りがします」。これが1年以上の熟成を経ると、「ハーブがだんだん藁に変わってきている」という変化を見せる。

「搾りたてのハーブ感は、時間をかけると、熟成によりチョコレートやコーヒーのようなニュアンスが出てきます。伊勢錦は長期熟成向けの米なんです」新平氏の言葉には、この米への深い理解が滲む。その繊細な香りを生かすため、香りの強い酵母はあえて使わないという。

味わいは生酛造りによる高い酸と複雑性が特徴だ。「酸が高いとバランスが良くなり、苦味や旨味など他の要素も高めることができます。より深みのある味わいを作ることが可能になるんです」

アルコール度数はやや高めの16度。その理由は明確だ。「私は残糖感が大嫌いなんです。酒を飲んだ時に舌が糖分でざらつく感じが苦手で」。残糖感を残さず完全にアルコール発酵させるため、この度数に落ち着くという。ワイン愛好家でもある新平氏ならではのこだわりかもしれないと、ふと感じた。

精米歩合は2023ヴィンテージで65％だが、年によって65％から80％まで変動する。毎年の米の出来を見て調整するのだ。目指す味わいが設計図としてあり、精米歩合はあくまでその要素の一つに過ぎない。

オーガニックが生む、もう一つの次元

米作りにこだわるKINOには、実はKINO 1（自然栽培）とKINO 2（慣行栽培）の2種類がある。この違いは、単なる栽培方法の差を超え、味わいに決定的な差をもたらすという。

端的に言えば、オーガニックの方が複雑で深みがあり、予測できない要素を含んでいる。「液体の密度、圧力が高く、厚みがあるんです」と新平氏は表現する。

例えば「甘み」一つをとっても、単に甘いだけではない。「苦甘い、甘酸っぱい、というように甘みに他の味わいが共存している印象です」新平氏は、その違いを「液体としての感動値」という独特な言葉で表現する。

しかし、年間生産量はKINO 2が約7,000本に対し、KINO 1はわずか1,000本。労働量の多さと生産量の不安定さが、増産を困難にしている。さらに深刻なのは気候変動だ。「変化のスピードが速すぎて、米自体が対応できるのかどうかもわからないんです」

2024ヴィンテージは、ついにKINO 1の生産ができず、全てKINO 2として出荷せざるを得なかった。「オーガニックをやり通すというのは、もしかしたら自滅に向かっていく可能性もあるんじゃないか」という言葉に、現実の厳しさが表れている。今後数年は気候変動の様子を見定めながら、農業技術を高めた上でオーガニックへの移行を検討するという。

水が語る、究極のテロワール

日本酒の80％は水でできている。元坂酒造では、この水への強いこだわりを持っている。

「ワインっていうのは味のある液体を発酵させていく飲み物だと定義したときに、日本酒って味のない水に米の味を溶かしていく飲み物なんですよ」新平氏のこの表現は、日本酒における水の重要性を端的に表している。

元坂酒造の仕込み水は、硬度約1.8という超軟水だ。WHO基準では60mg未満が軟水とされるが、1.8という数値は驚異的な軟らかさを示している。「雨が多い地域なので、地下水の涵養量が非常に豊富で、かつ流れも速い。そのため水が地面の中にとどまっている時間が非常に短いんです」

日本では清らかな淡水が豊富なため、酒造りだけでなく米作り（水田）にも当たり前のように使われている。しかし世界的に見れば、これは恵まれた環境だ。「100年先、200年先にも酒造りを残すとすると、水に価値をつけて守る方向に動く必要があります」と新平氏は強調する。

この思いを形にしたのが、「語蛍（KATARU HOTARU）」という特別な日本酒だ。ホタルは清らかな水にしか生息できない。その年にホタルが確認できた時のみ製造するこの限定酒は、水質の証明でもある。さらに元坂酒造は、売上の15％を大台町の環境保護プログラムに寄付し、水源の保全に貢献している。

伊勢錦の繊細な個性、自然栽培への挑戦、そして超軟水という恵まれた水。これらの要素が織りなすKINOの味わいを、実際にテイスティングしてみよう。

KINO 2の味わい テイスティングノート：繊細さの中の力強さ

KINO 2は、ごく淡い麦わら色を呈し、わずかな粘性が光を受けて輝いている。

香りは中程度の強さながら、その複雑さは印象的だ。青草やディルのようなハーブの香りが、干し草のニュアンスへと変化しつつある。蒸米の香りは穏やかで、その代わりに麦わら、トーストしたシリアルの穀物香が香ばしく漂う。かすかなナツメグのスパイス感、乳酸のニュアンス、そしてほのかなチョコレートやナッツの印象。ミネラル感と土っぽさが全体を引き締める。

口に含むと、ドライな印象ながら、生酛造りによる高めの酸が全体を支える。旨味は豊かで、ベルベットのようなテクスチャーに、心地よい苦味がアクセントを加える。16度のアルコールは決して高すぎず、フルボディながら重さを感じさせない。

なめらかで穏やかな口当たりなのに、しっかりとしたボディを感じる。酸と旨味が見事に調和し、伊勢錦の特徴である長い余韻が、飲み手を次の一口へと誘う。

料理との至福のマリアージュ

「飲み方は常温、20度から25度ぐらいまでがお勧めです」と、新平氏は食事との相性を楽しそうに語り始めた。

「できれば加熱されたもの、つまり刺身じゃなくて煮魚、焼き魚がいいですね」。特に味噌や醤油で調理された濃い味付けの料理との相性は抜群だという。

「中華料理との相性めちゃくちゃ良くて、甘酢とか黒酢とか、酢豚とか、本当に美味しいです。トマトベースの料理、ルーローハンなど、旨味の強い料理との組み合わせは、KINOの真価を引き出します」

乳製品と日本酒の組み合わせは、新平氏自身はあまり好みではないようだが、欧州のチーズの豊富さは、マリアージュにチャレンジする楽しみを広げてくれるはずだ。ぜひ、色々な料理、特に温かい料理と合わせてお気に入りを見つけて欲しい。

エピローグ：農村をリビルドするという夢

2024年は元坂酒造にとって試練の年となった。「とにかく米の品質が悪くて、まともな酒造りができなかった。それが2024ヴィンテージです」というが、裏を返すと慣行栽培のKINO2には、かなり多くのオーガニック栽培KINO1の米が入っているということだ。

気候変動の影響は深刻だ。2025年の今年、全国の平均気温は35度以上となり、最高気温は42度に迫ったという。農作業の環境も過酷を極める。「5年前は1時間連続して農作業ができたんですが、現在は30分が限界です。それ以上続けると、本当に生命の危険を感じます」

しかし、新平氏の目は未来を見据えている。気候変動への対応も鑑み、「化石燃料から卒業したいんです」と語る。薪での蒸米を目指し、醸造期間をさらに冬季限定し、より自然なサイクルでの酒造りを追求したいという。「最終的な大きな夢は、農村全体の改革です。山の管理、つまり林業も含めた循環型の地域づくりを目指しています」

KINOという日本酒は、単なる飲み物ではない。それは、200年先の未来を見据え、自然と共生し、地域を守り、文化を継承していくという、元坂酒造の哲学そのものだ。

グラスの中で静かに輝くKINOを見つめながら、私は思う。これこそが、日本酒の新しい物語なのだと。ワインラバーの心を掴んで離さないその味わいの奥に、日本の農村の未来を守ろうとする、一人の醸造家の情熱が息づいている。

今回の素敵なインタビューの機会をくださった元坂酒造の元坂新平さん、そしてこの出会いを繋いでくれたOtemba Sakeの後藤勇理さん、本当にありがとうございました。美しい写真を提供してくださったIan Segalさんにも感謝です。

元坂酒造のKINOは、オランダではOtemba Sakeを通じて輸入されており、系列のUtage Sake Barをはじめ、厳選されたレストランで楽しめます。

写真提供: Ian Segal

お読みいただき、ありがとうございます！いいね、コメント、重ね読み、購読でサポートしていただけると嬉しいです。

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This is an interview with Tatsuuma-Honke Brewing Company on crafting prized aged sake. Discover their unexpected journey into the ancient art of aged nihonshu*(Japanese sake).

📍Who This Is For
Curious about sake? Hear directly from the person who makes it. Whether you work in wine retail or hospitality—or simply enjoy discovering standout bottles at home—this post is for you.

I'm Kazumi, a DipWSET and educator based in Amsterdam. With a background in wine and sake, I translate sake through a wine-savvy lens.

*Nihonshu: The GI-protected official term for Japanese sake

Introduction: The Unexpected Discovery

The sugar-coated pecan nuts disappeared from my plate with alarming speed. At ProWein's master class, the Maillard reaction aromas from Hakushika's 10-year koshu created a collaboration with those sweet, crunchy pecans that was dangerously addictive—I could have eaten them forever.

Later, wandering through the trade fair, I found myself at Hakushika's booth, still thinking about that remarkable pairing. When I asked company president Tatsuuma-san about how their koshu came to be, his answer was surprisingly humble: "It was a serendipitous discovery."

That phrase sparked my curiosity, leading me to interview the people behind this exceptional koshu.

Heritage & Foundation: 363 Years of Brewing Excellence

Hyogo Prefecture produces approximately 30% of Japan's domestic nihonshu and ranks as the nation's top nihonshu-producing region. Within Hyogo, the Nada district between Osaka and Kobe is renowned as Japan's finest nihonshu production area, home to numerous prestigious breweries including Hakushika.

Tatsuuma-Honke Brewing Company, an established sake brewery , has been crafting nihonshu since 1662 in Nishinomiya's legendary Nada district. Founded by Kichizaemon Tatsuuma during Japan's Edo period, this family business now operates under its 15th-generation leadership—a remarkable continuity spanning nearly four centuries.

The name "Hakushika" (白鹿) means "white deer," drawn from a Chinese legend of an emperor who encountered a thousand-year-old white deer wearing a bronze medallion in his palace gardens. The deer became a symbol of longevity and good fortune—an apt metaphor for the brewery's enduring legacy.

Located in the heart of Nada, Hakushika benefits from "miyamizu"—the famous brewing water from the Rokko Mountains that has made this region synonymous with premium nihonshu production. The brewery's philosophy centers on creating "umami-rich nihonshu that harmonizes with food." This approach to sake-making would prove particularly well-suited to their later koshu development.

The Lost Tradition: From Samurai Luxury to Tax-Driven Extinction

To understand why Hakushika's discovery felt serendipitous, we must first understand why aged nihonshu became so rare. Until the end of the Edo period (1603-1867), aged nihonshu was highly prized. During this era, aged nihonshu ranging from three to ten years was reserved for celebrations, with the finest examples commanding premium prices among the samurai elite.

Everything changed with the Meiji Restoration. In the late 1800s, the government introduced the "zōkoku-zei" (brewing tax), fundamentally altering how nihonshu was taxed. Previously, taxes were collected when nihonshu was sold; under the new system, they were due immediately after brewing. No brewery wanted to wait years for revenue while risking spoilage or continued tax obligations.

This 'zokoku-zei' was abolished in 1944 and replaced with "kuradashi-zei"(tax upon shipment from brewery), but by then Japan had entered an era of mass production and consumption. The cultural appreciation for aged nihonshu had been lost to nearly a century of economic pragmatism. Only around 1970 did renewed interest in complexity and vintage appeal begin to emerge, as Japan's growing prosperity allowed for more diverse aesthetic values.

The Science of Serendipity: How Great Koshu is Born

At Hakushika, what outsiders call serendipity is actually the result of systematic observation. Every year, the brewery conducts "so-nomikiri"—early tasting inspections of their 400-500 storage tanks. This rigorous annual review examines every tank containing nihonshu at various stages of maturation.

"During one of these tastings, we found nihonshu that had developed beautifully over time," explains toji Tome-san. "Rather than being planned from the design stage, we were taught by the nihonshu itself. From there, we began to think about creating more koshu deliberately." Thanks to the comparison tasting of 400-500 tanks, the team captured the clues of the characteristics of nihonshu that can age beautifully, including polishing ratio, acidity level, amino acid level and so on.

What factors influence koshu's flavor development? When I asked this question, Tome-san outlined the key elements:

Temperature acts like a conductor for the aging orchestra. "The higher the temperature, the faster the aging progresses. But temperature fluctuations can cause problems, so maintaining stable, relatively low temperatures—15°C or below—is important for long-term storage," Tome-san explained.

The role of amino acids challenges common assumptions. While many believe higher amino acid content creates better aged sake, Tome-san disagrees: "Nihonshu with high amino acids tends to have rough flavors—what we'd call lower-grade nihonshu. When aged, the reactions are stronger, but the rough flavors come along with them." Quality over quantity, it seems.

Pasteurization presents an interesting paradox. "Pasteurization stops enzyme activity, actually slowing the aging process but providing stability," Tome-san notes. Sometimes slowing down creates better results—a lesson in brewing patience.

Added brewing alcohol is also interesting. "Aroma components dissolve into alcohol rather than water," Tome-san explains. "During aging, these components don't volatilize because we keep it sealed, so they continue to develop and change." The alcohol becomes a vessel for flavor evolution.

But perhaps most importantly, Tome-san returns to fundamentals: "the quality of the finished nihonshu. Well-balanced, clean-tasting nihonshu becomes an even better koshu when aged and mellowed." Great koshu, it turns out, begins with great sake.

Deconstructing the 10-Year Koshu: From Rice to Glass

Hakushika's 10-year koshu begins with 100% Yamada Nishiki rice from Hyogo Prefecture, polished to 70% (removing 30% of the outer grain). The choice of this "king of nihonshu rice" reflects their commitment to quality from the foundation up.

Tasting Notes: Complexity in Harmony

Appearance: Pale golden amber, translucent and luminous.

Nose: The aroma offers a deeply savory experience, beginning with a veil of umami-rich soy and unfolding into layers of marzipan, honey, toasted cashew, burnt sugar, candied fruit, brown sugar syrup, a touch of tonka bean, and more soy sauce. Additionally, it displays the hallmarks of the Maillard Reaction: nutty toast, caramel, and warm spice.

Palate: The texture is rich, creamy, and almost dessert-wine-like—medium-sweet, yet balanced by fresh acidity and elevated by dense umami. Complex yet approachable, with sweetness balanced by sufficient acidity, giving a long yet refreshing finish without heaviness.

Serving: "Room temperature to slightly warmed would be good," suggests Tome-san. When warmed, the sweetness becomes more pronounced and the nihonshu opens up beautifully, revealing layers of flavor that remain hidden when chilled. The brewery recommends pouring it over vanilla ice cream as a dessert—a playful application that demonstrates the nihonshu's versatility and natural affinity for sweet applications.

European Appreciation: Mingling Cultures

The response to Hakushika's koshu in Europe has been remarkably enthusiastic, particularly in countries with strong wine cultures. "I'm really surprised by the strength of reaction in places like Italy and Spain," notes Matsuki-san from the brewery's Overseas Business Division. "People seem to prefer more unique styles of nihonshu—they have a broader palate acceptance."

For instance, in Italy, innovative pairings with aged cheeses, especially Parmigiano-Reggiano, have created new appreciation for koshu. The country's Milano Sake Challenge even features a food pairing category for nihonshu that pairs with Parmigiano-Reggiano, where koshu and aged nihonshu frequently receive recognition. In Spain, consumers often demonstrate remarkable familiarity with the Japanese words for aged nihonshu, "koshu". "When they taste it, they immediately say it's very similar to Jerez (Sherry). They're amazed that this is Japanese nihonshu—they appreciate its depth."

This sophisticated response stems from established wine culture: "People who are used to drinking wine and thinking about daily food pairings can imagine what might work well—there's a cultural foundation for that kind of thinking," the sales representative explained.

Can You Make Koshu? Creating Aged Nihonshu at Home

For nihonshu enthusiasts inspired to experiment with aging, the answer is yes—with proper storage, koshu can be created at home. The key requirements are consistent temperature (15°C or below), darkness, and avoiding temperature fluctuations, just like wine. Temperature significantly affects aging speed: "For every 5°C difference in temperature, the reaction speed significantly changes—the lower the temperature, the slower the aging process," Tome-san explained.

This means patient collectors can experiment with different storage temperatures to influence their nihonshu's development rate. However, Tome-san emphasizes a crucial distinction: not every nihonshu ages gracefully. The quality and balance of the original nihonshu determines whether time will enhance or diminish its character.

For home aging, choose nihonshu with good acidity balance, avoid anything already showing signs of oxidation, and maintain consistent cool storage. Most importantly, taste periodically—aging nihonshu is a dialogue between time, temperature, and the original liquid's potential.

Standardization and Innovation

Currently, no official government standards exist for koshu classification. However, voluntary organizations are establishing guidelines. "The Long-term Aged Nihonshu Research Group defines aged nihonshu as 'nihonshu aged at the brewery for three years or more, excluding sugar-added nihonshu,'" explains Tome-san. "There's also the Toki Sake Association, which sets its own standards and offers 'Toki Sake' certification."

The challenge lies in koshu's inherent unpredictability. Each brewery develops different styles, and even within the same brewery, different vintages can vary significantly. Like wine, this variation becomes part of koshu's appeal—the exploration and discovery of how different conditions create unique expressions of time and terroir.

Conclusion

In Hakushika's philosophy, nihonshu brewing requires connecting every step carefully. "Each process in nihonshu making—if any one element is missing, you can't make good nihonshu. From raw material processing to the finished product, everything must be linked together," explains Tome-san.

This meticulous attention extends to their koshu program, where what began as accidental discovery has evolved into deliberate exploration of time's transformative power. Their 10-year koshu represents not just aged nihonshu, but nihonshu that proved worthy of aging.

Europe's enthusiastic reception suggests that koshu speaks a universal language of complexity and time that transcends cultural boundaries. Whether experienced with Parmigiano-Reggiano in Milan, compared to Sherry in Madrid, or paired with pecan nuts at a German trade fair, koshu demonstrates nihonshu's remarkable ability to find resonance with sophisticated palates worldwide.

The brewery's message to international audiences reflects this discovery: "Please try it once—you can't understand its quality without tasting it. That's where the first step begins."

As I discovered at ProWein, sometimes the most profound discoveries are indeed serendipitous. But as Hakushika demonstrates, recognizing and nurturing those serendipitous moments requires centuries of expertise, systematic attention, and the wisdom to let time reveal what intention alone cannot create.

Technical Specifications

Hakushika Koshu 10-Year

• Brewery: Tatsuuma-Honke Brewing Co., Ltd. (辰馬本家酒造)

• Founded: 1662 (363 years of operation)

• Location: Nishinomiya, Hyogo Prefecture (Nada district)

• Rice: 100% Yamada Nishiki from Hyogo Prefecture

• Polish Ratio: 70% remaining (30% polished away)

• Aging: More than 10 years at constant 15°C

• Style: Honjozo-based koshu with brewing alcohol

• Japanese Sake Meter Value: -6 (sweet)

• Acidity: 1.7-1.8

• Yeast: Kyokai #701 (low-temperature brewing optimized)

• Awards:
  Grand Gold Medal : National Kan sake award 2024

  Gold Medal : Wine Glass Award 2025

  Gold Medal : KURA MASYER 2025

  Top of Best : Bishu competition 2024 (*Top of Best = Top of Gold Medal)

• Best Served: Room temperature to lightly warmed (40-45℃)

Glossary

Koshu (古酒): Aged nihonshu, typically matured for three or more years

Toji (杜氏): Master brewer responsible for nihonshu production

Miyamizu (宮水): The famous brewing water of Nada. While most of Japan has soft water, miyamizu is distinguished by its rich mineral content—particularly potassium and phosphoric acid—that is exceptionally beneficial for sake brewing, earning it the revered name "miyamizu" (shrine water)

Kanzake (燗酒): Warmed or heated nihonshu

Honjozo: Premium nihonshu category with small amounts of added alcohol

Yamada Nishiki: Sake-specific rice. Often called the "king of nihonshu rice"

Special thanks to President Tatsuuma-san for making this article possible, and to Toji / Tome-san, Merchandise Dept. / Ohnishi-san, and Overseas Business Div. / Matsuki-san for their generous time and insights during the interviews.

Picture credit: Tatsuuma-Honke Brewing Co., Ltd. and Grape and Rice

偶然が生んだ発見：老舗酒蔵白鹿が切り拓く古酒の世界

日本最高峰の日本酒産地から、辰馬本家酒造の熟成古酒への意外な旅路

筆者はオランダでワインと日本酒の講師をしている。オランダでの日本酒の認知度は着実に上がっており、日本料理と合わせるだけでなく、西洋料理のワインペアリングコースの一部として日本酒を提供するレストランが出ており、注目度が高く、日本酒を知りたいという要望も高い。この記事は、日本酒とワインを両方楽しみたい愛好家に向けに執筆している。

はじめに：意外な発見

ProWeinのマスタークラスで、砂糖でコーティングされたピーカンナッツが驚くほどの速度で皿から消えていく。白鹿の10年古酒から生まれるメイラード反応の香りが、甘くカリカリのピーカンナッツと織りなす協調は危険なほど中毒性があり、永遠に食べ続けられそうだった。

その後、見本市を歩き回りながら白鹿のブースにたどり着いた時、まだあのペアリングのことを考えていた。社長の辰馬さんにどうやってこの古酒が生まれたのかと尋ねた時、彼の答えは驚くほど謙虚だった：「偶然の発見でした」。

その言葉が私の好奇心をかき立て、この特別な古酒の背後にいる人々へのインタビューに導いた。

363年の歴史と基盤

兵庫県は日本の国内日本酒生産量の約30％を担い、全国最大の日本酒産地として知られている。兵庫県内でも、大阪と神戸の間に位置する灘地区はその最高峰として名高く、白鹿をはじめ数々の名門蔵が軒を連ねている。

辰馬本家酒造は、1662年から灘地区の西宮で日本酒を醸し続ける老舗の酒蔵 である。日本の江戸時代に辰馬吉左衛門によって創業されたこの同族経営の酒蔵は、現在15代目だ—約4世紀にわたる驚くべき継続性である。

「白鹿」（はくしか）という名前は、宮中の庭で銅牌(どうはい)を着けた千歳の白鹿に出会った皇帝の中国の伝説から取られている。その鹿は長寿と幸運の象徴となった—蔵の永続的な遺産にふさわしい比喩である 。

灘の中心に位置する白鹿は、この地域を日本酒生産の代名詞にした六甲山からの有名な醸造水「宮水」の恩恵を受けている。蔵の哲学は「料理と調和する旨味豊かな日本酒」を醸すことだ。このアプローチは、古酒開発も同様だ。

失われた伝統：武士の贅沢品から税制による絶滅まで

白鹿の発見が偶然と感じられる理由を理解するには、なぜ古酒がこれほど稀になったかを最初に理解しなければならない。江戸時代（1603-1867）の終わりまで、熟成日本酒は高く評価されていた。この時代、3年から10年熟成の日本酒は祝い事のために取っておかれ、最高級品はプレミアム価格で取引された。

明治維新ですべてが変わった。1800年代後期、政府は「造石税」を導入し、日本酒の課税方法を根本的に変えた。以前は日本酒が売られた時に税が徴収されていたが、新制度では醸造直後に税を払わなければならなかった。腐敗のリスクや継続的な税務義務を抱えながら、何年も収益を待つ蔵はなかった。

造石税は1944年に廃止され、蔵出税に移行されたが、戦後の混乱を経て、日本は大量生産と大量消費の時代に入り、熟成日本酒への文化的評価は、約1世紀の経済実用主義により失われていた。1970年頃になってようやく、日本の成長する豊かさがより多様な美的価値を可能にし、複雑さとヴィンテージ魅力への関心が再び現れ始めたのだ。

偉大な古酒はいかに生まれたか

白鹿で偶然と呼ぶものは、実は体系的観察の結果である。毎年、蔵では400〜500本の貯蔵タンクの「総呑み切り」貯蔵段階の様々な日本酒を含むすべてのタンクを検査する厳格な年次レビュー—を実施している。

「これらのテイスティングの中で、時間を経て、美しく熟成した日本酒を見つけました」と杜氏の登米さんは説明する。「設計段階から計画されたのではなく、日本酒自体に教えられたのです。そこから、より多くの古酒を意図的に造ることを考え始めました。」400〜500本のタンクの比較テイスティングのおかげで、チームは精米歩合、酸度、アミノ酸度などを含む、美しく熟成できる日本酒の特徴の手がかりを捉えていたのだ。

古酒の味わい発達にはどんな要因が影響するのか？この質問に対して、登米さんは主要な要素を説明した：

温度は熟成オーケストラの指揮者のような働きをするようだ。「温度が高いほど、熟成は早く進みます。しかし温度変動は問題を起こす可能性があるため、安定した比較的低い温度—15℃以下—を維持することが長期保存には重要です」と登米さんは説明する。

アミノ酸の役割は予想に反するかもしれない。より高いアミノ酸含有量がより良い熟成酒を作るという考えには、登米さんは異なる意見を持つ：「高アミノ酸の日本酒は荒い味わいになる傾向があります—荒い味わいとはいわゆる下級の酒です。アミノ酸により熟成反応がより強くなりますが、荒い味わいもついてきます。」量より質ということのようだ。

火入れは興味深いパラドックスだ。「火入れは酵素の活性を止めるため、熟成プロセスは遅くなりますが、熟成が安定します」と登米さんは述べる。時には遅くすることがより良い結果を生む—醸造における忍耐だ。

醸造アルコールの添加も興味深い。「香り成分は、アルコールに溶けやすい性質があります 。熟成中、密閉したタンクに貯蔵しているためこれらの成分は揮発せず、変化を続けます。」と登米さんは説明する。アルコールは味わいの進化の器となる。

最も大切なのは、登米さんが繰り返し語る「基本に立ち返ること」ということだ。「つまり、出来上がった日本酒そのものの品質が重要だということ。バランスが良く、雑味がなく、後味がすっきりした日本酒こそが、熟成によってまろやかさを増し、より優れた古酒になります。美味しい古酒は、もともと美味しい酒から生まれるのです。」と、登米さんは言う。

10年古酒の解剖：米からグラスまで

白鹿の10年古酒は、兵庫県産山田錦を100％使用し、70％まで精米される（外側30％を削り取る）。この「酒造好適米の王」を使うことは、品質へのこだわりを反映している。

テイスティングノート：調和における複雑さ

外観： 淡い金色の琥珀、透明で光沢がある。

香り： 香りは深く旨味豊かな。醤油の複雑さに始まり、マジパン、蜂蜜、トーストしたカシューナッツ、焦がした砂糖、砂糖漬け果実、黒糖シロップ、トンカ豆のタッチ、さらなるまた醤油の層へと展開する。さらに、メイラード反応の特徴：ナッツのようなトースト、カラメル、温かいスパイスが顕著。

味覚： 食感は豊かで、クリーミー。デザートワインのような—中程度の甘さだが、新鮮な酸味とバランスを取り、密度の高い旨味により引き上げられる。複雑だが親しみやすく、甘さは十分な酸味でバランスが取れ、重さなしに長くも爽やかな後味を与える。

提供： 「常温から軽く燗をつけるのが良いでしょう」と登米さんは提案する。温めると、甘さがより顕著になり、日本酒が美しく開き、冷やした時には隠れている味わいの層を明らかにする。蔵では、バニラアイスクリームにかけるデザートとしての利用も提案している—日本酒の多様性と甘い用途への自然な親和性を示すユニークな応用である。

ヨーロッパでの評価：文化の融合

白鹿の古酒に対するヨーロッパでの反応は良く、特にワイン文化を持つ国々での興味が高いそうだ。「イタリアやスペインなどでの反応の強さに本当に驚いています」と蔵の営業担当大西さんは述べる。「人々はより独特なスタイルの日本酒を好む傾向があるようです。彼らはより幅広い味覚受容性を持っています。」

例えば、イタリアでは、熟成チーズ、特にパルミジャーノ・レッジャーノとの革新的なペアリングが古酒への新たな評価を作り出しています。同国の『Milano Sake Challenge』は、パルミジャーノ・レッジャーノに合う日本酒のフードペアリングカテゴリーさえ設けており、その中で熟成古酒がすでに認知を受けている。スペインでは、日本酒に興味がある方々は熟成古酒を表す日本語「Koshu」を理解している人が多いそうだ。「味わうと、すぐにヘレス（シェリー）に非常に似ていると言います。これが日本の日本酒であることに驚愕し、その奥深さを評価するそうです。」

この洗練された反応は確立されたワイン文化に起因している：「ワインを飲むことに慣れ、日々のフードペアリングを考えている人々は、何が良く合うかを想像し、そのような思考の文化的基盤があるようです」と海外事業部松木さんは説明した。

古酒は作れるのか？家庭での熟成日本酒作り

答えはイエスである—適切な保管があれば、古酒は家庭で作ることができる。大事なことは一貫した温度（15℃以下）、暗さ、温度変動の回避で、ワインと同様である。温度は熟成速度に大きく影響する：「温度が5℃違うごとに、反応速度は大きく変わります—温度が低いほど、熟成プロセスは遅くなります」と登米さんは説明した。

これは、つまり、忍耐強いコレクターは、日本酒の熟成速度に影響を与えるために、さまざまな保存温度を試すことができるということです。しかし、登米さんは重要なポイントを強調する：すべての日本酒が優雅に熟成するわけではない。元の日本酒の品質とバランスが、時間が特徴を向上させるか減少させるかを決定する、ということだ。

家庭熟成には、良い酸味バランスの日本酒を選び、既に酸化の兆候を示しているものは避け、一貫した冷涼保管を維持する。最も重要なことに、定期的に味見をすること—日本酒の熟成は時間、温度、そして元の液体の潜在能力との対話である。

標準化と革新

現在、古酒分類に関する公式政府基準は存在しない。しかし、いくつかの団体がガイドラインを確立している。「長期熟成酒研究会は熟成日本酒を『蔵で3年以上熟成させた日本酒で、糖類添加日本酒を除く』と定義しています」と登米さんは説明する。「また、独自の基準を設け『刻(とき)SAKE』認定を提供する『刻(とき)SAKE協会』もあります。」

古酒には固有の予測不可能性がある。各蔵が異なるスタイルを発達させ、同じ蔵内でも異なるヴィンテージは大きく異なる可能性がある。ワインのように、この変動が古酒の魅力の一部となる—異なる条件が時間とテロワールの独特な表現をどのように作り出すかの探求と発見である。

最後に

白鹿の哲学では、日本酒醸造はすべての工程に注意を払っている。「日本酒造りの各プロセス—一つの要素でも欠けていると、良い日本酒は造れません。原料処理から完成品まで、すべてがつながっていなければなりません」と登米さんは説明する。

この細心の注意は古酒造りでも同様で、偶然の発見として始まったものが時間の変革力の意図的探求に発展した。彼らの10年古酒は単なる熟成日本酒ではなく、熟成に値することが証明された日本酒を表している。

ヨーロッパでの反応は、古酒が文化的境界を超越する複雑さと時間の普遍的言語を話すことを示唆している。ミラノでパルミジャーノ・レッジャーノと体験されても、マドリードでシェリーと比較されても、ドイツの見本市でピーカンナッツと組み合わせても、古酒は日本酒の世界中の洗練された味覚との共鳴を見出す驚くべき能力を示している。

国際的な聴衆に対する蔵のメッセージはこの発見を反映している：「一度お試しください—味わうことなしにその品質は理解できません。そこから最初の一歩が始まります。」

ProWeinで発見したように、時に最も深遠な発見は確かに偶然である。しかし白鹿が示すように、そのような偶然の瞬間を認識し育てることは、何世紀もの専門知識、体系的注意、そして意図だけでは創造できないものを時間に明らかにさせる知恵を必要とする。

技術仕様

白鹿 古酒 10年

• 醸造所：辰馬本家酒造株式会社

• 創業：1662年（363年の歴史）

• 所在地：兵庫県西宮市（灘地区）

• 米：兵庫県産山田錦100％

• 精米歩合：70％

• 熟成：15℃定温で10年以上

• スタイル：本醸造ベースの古酒（醸造アルコール添加）

• 日本酒度：-6（甘口）

• 酸度：1.7-1.8

• 酵母：協会701号（低温醸造最適化）

• 受賞歴：
  ・全国燗酒コンテスト 2024 特殊ぬる燗部門 最高金賞受賞

  ・ワイングラスでおいしい日本酒アワード 2025プレミアム熟成酒部門 金賞受賞

  ・美酒コンクール 2024 エイジド部門 金賞受賞【TOP OF THE BEST】※エイジド部門金賞の中で最高得点

  ・KURA MASTER 2025 古酒部門 金賞受賞

• おすすめ提供方法：常温から軽く燗（40‐45℃）

用語集

• 古酒（こしゅ）：熟成日本酒、通常3年以上熟成

• 杜氏（とうじ）：日本酒生産の責任を負う杜氏

• 宮水（みやみず）：灘の有名な醸造水。日本の大部分が軟水であるのに対し、宮水は豊富なミネラル含有量—特にカリウムとリン酸—により区別され、酒造りに特に有益で、崇敬の名前「宮水」（神社の水）を獲得している

• 燗酒（かんざけ）：温めた日本酒

• 本醸造：少量のアルコール添加を伴う高級日本酒カテゴリー

• 山田錦：酒造専用米。しばしば「日本酒米の王」と呼ばれる

本記事を可能にしてくださった辰馬社長、インタビュー中に貴重な時間と洞察を惜しみなく提供してくださった杜氏の登米さん、商品部の大西さん、海外事業部の松木さんに感謝を申し上げます。

写真提供：辰馬本家酒造株式会社

お読みいただき、ありがとうございます！いいね、コメント、重ね読み、購読でサポートしていただけると嬉しいです。

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Interview with Kirei Shuzo's toji Masahiro Nishigaki on crafting bone-dry sake from 92% polished rice. Discover why minimal polishing and maximum precision create sake perfect for wine enthusiasts.

📍Who This Is For
Curious about sake? Hear directly from the person who makes it. Whether you work in wine retail or hospitality—or simply enjoy discovering standout bottles at home—this post is for you.

I'm Kazumi, a DipWSET and educator based in Amsterdam. With a background in wine and sake, I translate sake through a wine-savvy lens.

Sometimes a single sip can shift your entire perspective. At TEWATASHI in Amsterdam, I encountered Kirei Junmai (pure rice) Muroka (unfiltered) Nama (unpasteurized) Genshu (undiluted) 92—and that number gave me pause. A 92% polishing ratio. In an industry where premium sake typically means rice milled down to 50% or less, here was something barely polished at all.

The sake showed subtle green tints in the glass. The aromatics were restrained, particularly for fruit—instead offering toasted nuts, warm spices, and earthiness. The palate told a different story from typical sake: bone dry, structured, with pronounced umami and remarkable length. Despite minimal polishing, there was no trace of roughness. This wasn't about fruity aromatics or delicate sweetness. This was pure flavor and texture.

In today's sake market, with its preference for elegant, subtly sweet styles, Kirei 92 stands apart. It speaks directly to wine lovers who value structure and savory complexity over aromatic charm. Intrigued by this unconventional approach, I arranged an interview with Masahiro Nishigaki, the toji behind this distinctive sake.

The Brewery and Its Philosophy

Kirei Shuzo has operated in Saijo, Higashihiroshima, Hiroshima prefecture since 1898. The name derives from the Japanese proverb "Cranes live a thousand years, turtles ten thousand"—a wish for longevity embedded in the brewery's identity.

Masahiro Nishigaki represents the second generation of his family to serve as Kirei's toji. With 35 years of brewing experience, including 28 as master brewer, he continues a tradition learned during a five-year apprenticeship under his father, Nobumichi. Interestingly, he has very low alcohol tolerance, but like many beverage professionals, he tastes and spits during evaluation.

Hiroshima prefecture occupies a special place in Japan's sake landscape. Home to the Annual Japan Sake Awards—the most prestigious competition in Japan—think of it as sake's Decanter World Wine Awards. The region is known for its exceptionally soft water. Even by Japanese standards, where water is already soft compared to Europe, Hiroshima's water is ultra-soft. This typically produces sake with gentle texture, rich aromatics, and subtle sweetness. Against this regional style, Kirei 92's bone-dry character becomes even more remarkable.

The Evolution of Low-Polish Sake

To understand the significance of 92%, consider sake's polishing categories: daiginjo requires milling to 50% or less, ginjo to 60% or less, and honjozo to 70% or less. Table rice typically sits around 90%. At 92%, we're entering largely unexplored territory. (Check out this post for more knowledge about polishing ratio.)

"It began 15 years ago with a suggestion from our sales team," Nishigaki recalls. "The idea was radical—what if we could create premium sake without the premium polishing? We started with just one tank—1,000 kilograms—as an experiment."

This represented a dual challenge: defying market conventions that equated high polishing with quality, and going against Hiroshima's tradition of gentle, subtly sweet sake. But Nishigaki had inherited his father's commitment to dry sake. They began conservatively with 80% polished rice, then gradually pushed boundaries to 92%.

Why is low-polish brewing so difficult?

The advantages of minimal polishing appear straightforward: speed. While milling to 70% requires approximately 10 hours and to 50% takes 50 hours, reaching 92% takes significantly less time. Higher yields and lower costs follow naturally. "At 90%, you're essentially just removing the outer husk," Nishigaki explains.

"When other breweries visit, they consistently express the same surprise," he notes. "How can sake of this quality be produced at such an accessible price point?"

However, the brewing challenges are substantial. The proteins and lipids retained in minimally polished rice create multiple complications. "If you brew conventionally, these components easily produce off-flavors and fermentation proceeds too rapidly due to too many nutrients for yeast," he explains.

The challenge intensifies with their choice to make muroka namagenshu—unfiltered, unpasteurized, and undiluted sake. This approach leaves no room for error, as every flaw becomes apparent.

Yet Kirei 92 shows remarkable refinement. The secret?

Applying Premium Techniques to The Challenges

"We brew our 80% and 92% polished sake using exactly the same methods as daiginjo," Nishigaki reveals.

This approach transforms the entire process. Without careful control, fermentation temperatures would naturally climb to 18-20°C and finish within 14 days, producing rough, unrefined flavors. Instead, Nishigaki's team maintains a steady 11°C through meticulous management, extending fermentation to 26-27 days. Every step requires precise timing, often measured in seconds.

The philosophy differs markedly from wine production. Where winemaking—even with meticulous care—emphasizes minimal intervention to express terroir, sake brewing embraces its need for constant, precise control.

Actually, the level of precision required is extraordinary: soaking times adjusted by seconds, temperatures controlled within a single degree Celsius. This isn't just attention to detail—it's a completely different type of craftsmanship.

"If you want to change the quality or style of sake, the quickest way is to change the toji," he says. Here, human technique is paramount.

So what exactly goes into this sake?

The rice is 100% Hattan Nishiki from Hiroshima prefecture, a variety known for producing clean, crisp sake. But rice characteristics vary annually based on weather conditions—grain size, starch structure, and moisture content all fluctuate. "Quickly assessing each year's rice condition is crucial," Nishigaki emphasizes. "We adjust soaking times by seconds based on these evaluations."

When I inquire about vintage variation—a concept central to wine appreciation—he maintains a different perspective. "Regardless of rice quality or weather conditions, maintaining our brewery's fundamental character is essential."

It's an approach reminiscent of Champagne's non-vintage philosophy: prioritizing consistency over vintage expression.

The yeast story reveals another layer of continuity. They've maintained the same strain for over 30 years, originally derived from Association No. 9 yeast and passed from father to son. "Yeast dramatically influences sake quality, particularly its aroma," he explains. "That's why we essentially never change it."

Even Hiroshima's celebrated soft water takes a backseat to technique. "Water influences the result, but the brewer's skill matters more," Nishigaki insists.

The Sake: Kirei Junmai Muroka Namagenshu 92

• Rice: Hattan Nishiki (Hiroshima)

• Polish: 92%

• Yeast: Proprietary

• SMV: +4 (positive numbers indicate dryness—the higher the number, the less residual sugar)

• Acidity: 2.1

• Alcohol: 16%

Tasting Note:

Clear with subtle green reflections in appearance.

The nose offers layers of toasted nuts, grains, earthiness, and spices, with background notes of hints of melon, lime zest, and fresh herbs. Complex aromatics reveal chestnuts, almonds, hazelnuts, cereals, and brown sugar.

On the palate, it's dry with higher acidity than typical sake. Full body, rich in umami and a precise long finish. At 16% ABV, it's lower than most genshu (undiluted sake)—achieved through careful water additions during fermentation rather than post-production dilution. Despite the minimal 92% polishing, there's no trace of roughness or astringency.

This is sake that prioritizes palate impact over aromatic appeal—a philosophy wine enthusiasts will recognize.

Service and Storage

"Sake reveals its true character around 20°C [68°F]," Nishigaki advises. "Consider cola—when cold, sweetness is muted. At room temperature, everything becomes apparent."

It's confident guidance from someone who knows his sake can withstand scrutiny. While delicious at various temperatures, that 20°C sweet spot deserves exploration—it's where nothing can hide.

As unpasteurized nama, refrigeration below 5°C is essential. The yeast remains active, making proper storage crucial.

Vision for the Future

When asked about his dream, Nishigaki identifies two primary goals.

First is succession. "Passing our techniques to the next generation is my most important responsibility." He's spent 20 years training his successor, recognizing that sake production requires teamwork. "Eight to nine people work together to create sake. The toji must be both technical expert and team leader. Without brewery harmony, you can make sake, but not good sake."

Second is a dream about ingredients. "I'd like to use only premium sake rice for all our production, including the 80% and 92% polished sake."

It reflects the eternal tension between artistic vision and economic reality.

Building Bridges

As someone who appreciates dry sake—and understands that many wine enthusiasts find typical sake too sweet with insufficient acidity—I see Kirei 92 as an important bridge between worlds. This is sake that speaks wine language: structure over sweetness, texture over aroma, complexity over simplicity.

My hope is for dining tables where wine and sake coexist as equals, each appreciated for their unique contributions to the meal.

In the Netherlands, Kirei 92 is available through importer Yoi Gokochi, its sister wine shop "Zuiver Wijnen", Japanese restaurants and so on. I'm grateful to Nishigaki-san for sharing his insights and to Dick from Yoi Gokochi for facilitating this conversation.

"I wanted to demonstrate that exceptional sake could be produced with 92% polished rice," Nishigaki told me.

The proof is in the glass. Kirei 92 doesn't simply challenge conventions—it establishes new possibilities, one precisely temperature-controlled fermentation at a time. For wine lovers seeking sake that speaks their language, this serves as an excellent translator.

Next time you're browsing sake selections, look for that 92% on the label. Your palate will thank you.

Picture credits: Kirei Shuzo and Dutch Wine Apprentice

精米歩合92％革命：大辛口の日本酒 - 亀齢酒造・西垣昌弘杜氏インタビュー

筆者はオランダでワインと日本酒の講師をしている。近年、オランダでの日本酒の認知度は着実に上がっており、日本料理と合わせるだけでなく、西洋料理のワインペアリングコースの一部として日本酒を提供するレストランが出ており、注目度が高く、日本酒を知りたいという要望も高い。この記事は、日本酒とワインを両方楽しみたい愛好家に向けに執筆している。

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アムステルダムの日本料理店「TEWATASHI」で出会った一本の日本酒が、私の常識を覆した。「亀齢 純米無濾過生原酒92」。驚いたのは、その精米歩合だった。92％。つまり、ほとんど削っていない。

注がれた酒は、わずかに緑がかった色。香りは控えめで、ナッツやスパイス、栗のような香ばしさが感じられる。口に含むと、大辛口。しっかりとした旨味と骨格、そして長い余韻。にもかかわらず、雑味が一切なく、洗練された質感。香りに頼らず、味わいで勝負する。まさにワインラバーが評価するポイントそのものだった。

現在の日本酒市場では、軽やかで甘みを持つ酒、特に高精白でフルーティーな吟醸酒が主流となっている中で、このドライで味わい重視の日本酒は、良い意味で異色の存在だ。この酒の裏側を知りたくて、私は広島の亀齢酒造、西垣昌弘杜氏にオンラインインタビューを行った。

亀齢酒造と西垣杜氏

亀齢酒造は1898年に創業した広島県東広島市西条の酒蔵である。「鶴は千年、亀は万年」という日本の諺—長寿への願いが蔵の名前に込められている。

西垣昌弘杜氏は、親子2代で亀齢酒造の杜氏を務めている。酒造り歴35年、そのうち28年を杜氏として過ごし、父・信道氏の下での5年間の修業期間に受け継いだ伝統を守り続けている。興味深いことに、彼自身はアルコールに対する耐性が非常に低いが、多くの飲料のプロフェッショナルと同様、評価の際は口に含んで吐き出すという。

広島県は日本酒の世界で特別な位置を占めている。日本で最も権威ある全国新酒鑑評会の開催地—いわば日本酒版デカンター・ワールド・ワイン・アワードだ。この地域は格別に軟らかい水で知られている。日本の水はヨーロッパと比べてすでに軟水だが、広島の水はさらに軟水なのだ。これが典型的には、柔らかな質感、豊かな香り、ほのかな甘みを持つ酒を生み出す。この地域性を考えると、亀齢92の大辛口な性格はさらに注目に値する。

低精白酒の誕生背景

「92」とは精米歩合92％を指す。大吟醸酒が50％以下、吟醸酒が60％以下、本醸造酒でも70％以下、そして食用米が90％程度であることを考えると、92％という数字がいかに未開拓の領域かがわかる。

「15年前、営業チームからの提案で始まりました」と西垣杜氏は振り返る。「高精白なしでプレミアムな酒が造れるか？という過激なアイデアでした。最初は1タンク—1000キロ—だけ実験として造ってみました」。

これは二重の挑戦だった。高精白こそ高品質という市場の常識への挑戦と、広島の柔らかく、ほのかに甘い酒の伝統への挑戦。しかし西垣氏は父から辛口へのこだわりを受け継いでいた。最初は控えめに80％精米から始め、徐々に92％へと限界を押し広げていった。

低精白酒造りの困難さ

低精白の米を使うメリットは明確だ。まずスピード。70％まで削るのに約10時間、50％まで削るのに50時間かかるが、92％ならはるかに短時間で済む。また、削り捨てる部分が少ないため出来高も多く、製造コストが抑えられる。「90％なら玄米を一皮剥いただけで達成できる」と西垣杜氏は説明する。

亀齢酒造へは他の酒蔵からの見学も多いそうだが、「価格が安いのにこれだけ品質の高い酒ができることに、皆さん驚かれる」という。

しかし、酒造りの難易度は極めて高い。精米歩合92％や80％の米に残るタンパク質や脂質は、複雑な問題を引き起こす。「そのまま造ると、これらの成分が雑味を生み、酵母への栄養過多で発酵が急速に進みすぎてしまう」と西垣氏は説明する。

さらに、この亀齢92は無濾過生原酒—濾過も火入れも加水もしない酒造り—という選択により、挑戦はより困難になる。このアプローチでは、すべての欠点が露わになってしまうからだ。

にもかかわらず、亀齢92は驚くべき洗練さを見せる。その秘密とは？

大吟醸と同じ製法で造る低精白酒

「低精白の80％や92％の酒も、大吟醸とまったく同じ製法で造る」と西垣杜氏は語る。

この手法が、酒造りの全工程を一変させる。低精白米は管理しなければ、18度から20度まで品温が上がってしまい、14日程度で発酵が終わり、粗く洗練されていない味わいになってしまうそうだ。しかし西垣氏のチームは、細心の管理により11度を保ち、発酵期間を26日から27日まで延ばしている。すべての工程で秒単位の正確なタイミングが要求される。

ワイン造りの哲学とは明確に異なる。ワイン造りは細心の注意を払いながらも、テロワールを表現するための最小限の介入を強調する。一方、日本酒造りは常に正確なコントロールが必要だ。

実際、要求される精密さは驚異的だ。浸漬時間は秒単位で調整され、温度は1度単位でコントロールされる。これは単なる細部への注意ではない—まったく異なるタイプの職人技なのだ。

「酒の質やスタイルを変えたければ、杜氏を変えるのが一番早い」と西垣氏は言う。ここでは、人の技術が何よりも重要なのだ。

原材料へのこだわり

米は広島県産の「八反錦」を100％使用。クリーンでキレのある酒を生み出すことで知られる品種だ。しかし米の特性は天候により毎年変化する—粒の大きさ、デンプン構造、水分含有量すべてが変動する。「その年の米の状態を素早く見極めることが重要です」と西垣氏は強調する。「その評価に基づいて、浸漬時間を秒単位で調整します」と語る。

ヴィンテージによる変化—ワイン愛好家にとって中心的な概念—について尋ねると、彼は異なる見解を示した。「米の品質や天候がどうであれ、蔵の基本的な個性を維持することが不可欠です」。

シャンパーニュのノン・ヴィンテージ哲学を思わせるアプローチだ：ヴィンテージ表現よりも一貫性を優先する。

酵母の話はさらなる継続性の層を明らかにする。30年以上同じ株を維持し、元は協会9号酵母から派生したものを父から子へと受け継いでいる。「酵母は酒質、特に香りに劇的な影響を与えます」と西垣氏は説明する。「だから基本的に変えることはありません」。

広島の誉れ高い軟水でさえ、技術の前では脇役だ。「水は結果に影響しますが、造り手の技術の方がより重要です」と西垣氏は主張する。

日本酒の味わい

亀齢 純米無濾過生原酒92のスペックは以下の通り：

• 原料米：八反錦（広島県産）

• 精米歩合：92％

• 酵母：自家培養

• 日本酒度：+4（プラスの数値は辛口を示す—数値が高いほど残糖が少ない）

• 酸度：2.1

• アルコール分：16％

テイスティングノート：

外観は澄んだ液体にわずかな緑の反射。

香りは、トーストしたナッツ、穀物、土っぽさ、スパイスの層が重なり、背景にメロン、ライムの皮、フレッシュハーブのヒントが感じられる。複雑なアロマは栗、アーモンド、ヘーゼルナッツ、シリアル、ブラウンシュガーを思わせる。

口に含むと、一般的な日本酒より高い酸度を伴うドライな味わい。フルボディで旨味が豊富、正確で長い余韻。16％のアルコール度数は原酒（無希釈の酒）としては低め—これは製造後の加水ではなく、発酵中の慎重な加水により実現している。92％という最小限の精米にもかかわらず、粗さや渋みは一切ない。

これは香りの魅力よりも味わいのインパクトを優先した酒—ワイン愛好家なら理解できる哲学ではないだろうか。

提供温度と管理

「日本酒が真の姿を現すのは20度（68°F）くらいです」と西垣杜氏は述べる。「コーラを考えてみてください—冷やすと甘さが抑えられますが、常温ではすべてが明らかになります」。

これは自分の酒を知っている人の自信に満ちた姿勢だ。広い温度で美味しいが、その20度という最適温度は探求する価値がある—何も隠せない温度だからだ。

火入れをしていない生（なま）として、5度以下での冷蔵保管が不可欠だ。酵母はまだ活きており、適切な保管が重要となる。

将来へのビジョン

彼の夢について尋ねると、西垣氏は2つの目標を挙げた。

第一は後継者育成だ。「技術を次世代に伝えることが、私の最も重要な責任です」。彼は20年かけて後継者の東健太郎氏を育成しており、酒造りにはチームワークが必要だと認識している。「8〜9人が協力して酒を造ります。杜氏は技術的な専門家であると同時に、チームリーダーでなければなりません。蔵の調和なしには、酒は造れても、良い酒は造れません」。

第二は原材料についての夢だ。「いつかすべて酒造好適米で造ってみたい」という原材料へのこだわりを述べる。「高精白だけでなく、80％や92％の低精白でも全て酒造好適米を使ってみたい」という。

コストや流行を鑑みて最高の仕事をすることは杜氏としての最も大事な側面だと思うが、こだわりを実現させたいという職人魂を見た気がする。

また、西垣氏は、ここ4-5年の日本酒の味わいの傾向について、「最近の日本酒は甘くなってきている」と指摘し、日本の消費者が求めているとはいえ、「個人的には違和感を感じる」と本音を語った。

私も個人的に辛口の日本酒が好みな上、ワインと比較すると、酸が低く少々甘すぎると捉えるワインラバーが多い中、この日本酒はワインラバーにぜひ手に取ってほしいと思う一本だ。ワインも日本酒も同じように楽しむテーブル、それが私の夢だ。

最後に

オランダでは、インポーター「酔い心地」で取り扱っており、系列のワインショップ「Zuiver Wijnen」オランダ国内のレストランやショップで入手可能だ。貴重な話をしてくれた西垣杜氏、この機会を作ってくれた酔い心地のディックさんに感謝する。

「92％の精米歩合でも、これだけの酒が造れることを証明したかった」という西垣杜氏の言葉が、今も耳に残っている。常識を覆す挑戦と、それを支える確かな技術。亀齢92は、日本酒の新たな可能性を示す一本だ。

次回日本酒を選ぶ際は、ラベルの「92％」という数字を探してみてほしい。きっとあなたの味覚が喜ぶはずだ。

お読みいただき、ありがとうございます！いいね、コメント、重ね読み、購読でサポートしていただけると嬉しいです。

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This is part of our comprehensive guide exploring Japan's 20 most important nihonshu-producing regions, helping sake enthusiasts understand how geography and local traditions shape each area's unique brewing style.

Note: Nihonshu (日本酒) is the GI-protected official term for Japanese sake.

I'm Kazumi, a DipWSET wine and sake educator based in Amsterdam. With roots in both Japanese and European food cultures, I write to bridge these worlds, translating sake into the language of wine professionals. Each week, I explore a topic that demystifies sake, deepens your understanding, and equips you with practical knowledge for the floor or table.

Where Gods First Sipped Sake

Morning mist drifts around Mount Miwa like incense in an old temple. At the base of this sacred mountain—worshipped as a god itself—Japan's first sake breweries took root. Omiwa Shrine has stood here for thousands of years, watching sake brewing come to life. If you want to understand Japan, start with Nara. This isn't just another sake region—it's where the nation's soul and its favorite drink were born.

Here in landlocked Kansai, sake brewing runs as deep as the sacred cedars that shade these temples.

Thirteen centuries later, Nara isn't the biggest sake producer—it has a modest number of breweries and doesn't make massive volumes—but the stories here are incredible, stretching from ancient times to cutting-edge innovation.

Where Nations Are Born

Nara occupies a unique position in Japan's geography and psyche. Located about an hour inland from coastal cities like Osaka and Kobe, and from historical Kyoto, Nara turned inward and upward—toward the mountains, toward the gods, toward perfection in craft. This geographical positioning created something unique: an environment where various cultures and technologies could develop and mature slowly and carefully, like the finest sake.

Nara's story unfolds across three transformative chapters. First, Mount Miwa served as an important center of ancient worship where sake offerings were made to the gods. Rice cultivation and sake brewing using rice as a raw material are thought to have begun approximately 2,000 years ago. Next, in the 8th century, Nara became Japan's capital with the establishment of Heijo-kyo (710 CE), and major temples such as Todai-ji and Kofuku-ji were constructed. The monks who built these monuments brought not just spiritual teachings but sophisticated brewing techniques from the continent. During the time, when Nara served as Japan's first permanent capital, sake evolved from a divine offering into the favored drink of the powerful.

But it was when Nara became established as the center of sake brewing technology during the medieval period, particularly the Muromachi era (1336-1573), that its true transformation occurred. The birthplace of sake became a hub of technological innovation during this period. In the temple breweries, monks developed one revolutionary technique after another—fundamental technologies that remain essential to premium sake production today. As a result, brewers from across the country began visiting Nara's temples to learn advanced brewing techniques along with religious teachings.

Revolutionary Brewing Techniques

Nara's temple breweries pioneered a series of groundbreaking techniques that transformed sake from a cloudy, sweet beverage into today's refined beverage.

The three-stage brewing process made it possible to add ingredients in stages and precisely control fermentation. Furthermore, using polished white rice for both koji and steamed rice brought about a major transformation from the rough sake made with brown rice to a clear, elegant beverage.

The most revolutionary of these was bodaimoto, developed at Bodaisen Shoryaku-ji Temple in the 14th century. Monks succeeded in creating an acidic environment by steeping raw rice in water and utilizing natural lactic acid bacteria. This acidity suppressed harmful microorganisms and enabled stable fermentation. In an era without artificial cultures or modern equipment, this represented true medieval biotechnology—identifying and harnessing natural processes.

The Revival of Bodaimoto

This technique disappeared with modernization, dismissed as "inefficient." But in 1996, it came back into the spotlight when Nara breweries partnered with Shoryaku-ji Temple and the Nara Prefectural Industrial Technology Center to launch a project reviving this 500-year-old technique.

Today, Shoryaku-ji stands as the only temple in Japan licensed to produce yeast starter, conducting bodaimoto production every January. Monks and brewers work together to create the starter, which is then distributed to seven breweries, each crafting distinctive sake using techniques passed down from medieval times.

Among Nara's 38 breweries, not only traditional bodaimoto but also new challenges by younger generations continue. From low-alcohol undiluted sake without added water to experimental sake pursuing unique acidity and aromas, Nara's sake brewing continues to evolve.

The Nara That Most People Don't Know

When most people think of Nara, they think of deer—and for good reason. In Nara Park, approximately 1,200 deer roam freely, famously bowing to tourists for deer crackers. These deer have been cherished as divine messengers of Kasuga Taisha Shrine—one of Japan's most important Shinto shrines established in 768—for about 1,200 years. But Nara's appeal extends far beyond these charming creatures.

Nara's status as a treasure trove of cultural assets is evident in the numbers. The prefecture boasts as many National Treasure buildings as Kyoto, with 149 nationally designated historic sites scattered throughout. This density ranks among the highest in Japan. Heijo Palace Site, Todai-ji Temple, Kofuku-ji Temple, Kasuga Taisha Shrine—places essential to understanding Japanese history are concentrated here.

For sake brewing, water quality is paramount, and Nara excels in this regard. The Yoshino region, while famous for its cherry blossoms, is also a source of exceptional natural water. The prefecture contains multiple water sources selected for Japan's "100 Famous Waters" by the Ministry of Environment, and these pristine waters have sustained Nara's sake brewing tradition.

Walking through Nara in the early morning, you can sense why this place became a center of Japan's spiritual culture and technological innovation. The serene atmosphere of the ancient capital carries the weight of 1,300 years of history, yet feels surprisingly light—much like the deep flavor and refreshing finish of Nara's sake.

Featured Sake - Hanatomoe Mizumoto* Nama Genshu (Miyoshino Brewery):

*Mizumoto is the synonym of bodaimoto

About the Producer As a prime example of applying Nara's traditional techniques to the modern era, "Hanatomoe" by Yoshino Brewery exemplifies the application of Nara's traditional techniques. Established in 1912 in Yoshino, Nara prefecture, this brewery continues to innovate while preserving tradition.

Teruaki Hashimoto Toji for Yoshino Brewery, along with a small elite staff, takes a unique approach of crafting sake using rice sourced from contracted local farmers. Unlike typical sake breweries that specify particular sake rice varieties, they accept varieties that are easier for farmers to grow and create sake that brings out the individuality of each rice, instead of using only famous sake-specific rice.

Production Method Hanatomoe's most distinctive feature is fermenting exclusively with wild yeast that inhabits the brewery, completely avoiding cultured yeast. While common in wine production, this method carries high technical risks in sake brewing, which involves parallel multiple fermentation. Many breweries avoid this approach because it is likely to cause flavor variations between vintages and batches, and create distinctive flavors. However, this was the traditional sake-making method before cultured yeast appeared, and Yoshino Brewery deliberately chooses this path.

The bodaimoto starter they use suppresses harmful bacteria through an acidic environment created by natural lactic acid bacteria during fermentation. This production method creates a unique flavor profile where rich umami and vivid acidity coexist. This is junmai nama genshu - 100% pure rice, no addition of distilled alcohol, no water added, no pasteurization, no filtration.

Tasting Notes Aromas reminiscent of yogurt and cheese derived from lactic acid fermentation. On the palate, after juicy and rich umami, a characteristic sweet-and-sour acidity spreads. Citrus freshness and tropical fruit-like fruitiness flavor, with subtle sweetness and pleasant fermentation-derived bitterness maintaining overall balance. The finish is dry while the acidity persists, pairing particularly well with rich dishes, cheese, and fermented foods.

Distribution and Recognition Hanatomoe has gained high acclaim both domestically and internationally. Particularly in the Netherlands, the importer "Yoigokochi" emphasizes the uniqueness of "Nara's medieval bodaimoto production method," appealing to sake enthusiasts seeking tradition and authenticity. In today's relatively standardized sake market, the distinctive flavors created using 500-year-old techniques are recognized as new value.

From Nara to the World

Nara's example demonstrates that innovation doesn't necessarily mean rejecting tradition. The brewing techniques established by monks in the Muromachi period were methods that skillfully utilized the workings of microorganisms in nature through experience and observation. While they didn't know scientific theory, they established stable sake brewing techniques through practice.

The 14th-century monks could never have imagined that their techniques would one day be appreciated worldwide. Yet in reality, sake brewed with bodaimoto is now reaching sake enthusiasts across Europe, including the Netherlands. Techniques from over 500 years ago are creating new value in the global market.

Every time I taste bodaimoto sake, I'm reminded why Nara matters. It's not just about tradition or history—it's about monks who figured out fermentation centuries ago, and brewers today who still find value in their methods. That's a real story of Nihonshu.

日本酒の地図 #3：奈良県—神々が最初に酒を口にした場所

中世の寺院から現代のグラスへ：日本酒革新の発祥地

これは日本の20の重要な日本酒生産地域を探るガイドの一部で、地理と地域の伝統が各地域独特の醸造スタイルをどのように形作るかを海外の日本酒愛好家に理解してもらうため、JSAとWSETの知識および公式サイトの情報等を元に書いている。

神々が最初に酒を口にした場所

朝霧が古代の寺院の線香の煙のように三輪山にまとわりつく。山そのものが神として崇められるこれらの聖なる斜面のふもとで、大神神社は古来より何千年もの間変わらず、日本酒作りを見守ってきた。日本を理解するには、奈良から始めなければならない。ここは日本の酒地図上の単なる一点ではなく、日本の魂とその最も大切な飲み物の発祥の地。

ここ、関西地方の内陸の中心部奈良県では、日本最古の神社が守る神聖な杉のように、酒造りがこの土壌に深く根を張っている。

それから13世紀後の現在、奈良は日本酒地域としては、決して大きくはない（醸造所数全国18位の38場、生産量27位の2,192kL）が、古代の歴史と現代の進化に根ざした素晴らしい物語を持っている。

日本酒発祥の地*、奈良県へようこそ。

*諸説ある

日本酒が生まれた場所

奈良は日本の地理と精神において特別な位置を占めている。大阪や神戸のような沿岸都市からも京都から小1時間程内陸に位置する奈良は、外ではなく内へ、そして上へ―山へ、神々へ、技の極みへと向かった。この地理的な条件が、思いがけない結果を生んだ。様々な文化や技術が、上質な酒のようにゆっくりと、慎重に発展・成熟できる環境を作り出したのである。

奈良の歴史は三つの大きな転換点を持つ。まず、古代より大神神社がある三輪山は重要な信仰の中心地であり、酒が神々に捧げられてきた。日本に稲作が伝わり、米を原料とする酒造りが始まったのは、縄文時代後期から弥生時代初期（約2000年前）と考えられている。次に8世紀、平城京遷都（710年）により奈良は日本の首都となり、東大寺や興福寺などの大寺院が建立された。これらの寺院を建てた僧侶たちは、仏の教えとともに、大陸から高度な醸造技術も持ち込んだ。奈良が日本初の恒久的な都となった時代に、酒は神への供物から、権力者たちが愛飲する酒へと変化していったのである。

しかし奈良が酒造技術の中心地として確立されたのは、中世、特に室町時代（1336-1573）。日本酒発祥の地であった奈良は、この時期に技術革新の拠点となり、寺院の醸造所で、僧侶たちは現代の高級酒造りにも欠かせない基本技術を次々と開発していった。その結果、全国の醸造家たちが奈良の寺院を訪れ、宗教的な教えとともに、先進的な醸造技術を学ぶようになったのである。

日本の酒造技術を変えた革新

奈良の寺院醸造所は、かつて濁った甘い飲み物だった酒を、今日の洗練された清酒へと変える画期的な技術を次々と生み出した。

まず三段仕込みによって、原料を段階的に投入し、発酵を精密にコントロールすることが可能になった。さらに、麹米と掛米の両方に精白米を使用する諸白造りは、玄米を使っていた従来の粗い酒から、透明で上品な酒への大転換をもたらした。

なかでも革命的だったのが、14世紀に菩提山正暦寺で開発された菩提酛（ぼだいもと）である。僧侶たちは生米を水に浸け、自然の乳酸菌を利用して酸性の環境を作り出すことに成功した。この酸が有害な微生物を抑制し、安定した発酵を可能にしたのだ。人工的な培養菌も近代的な設備もない時代に、自然界の仕組みを見抜いて活用した、まさに中世のバイオテクノロジーだった。

菩提酛の復活

近代化とともに「効率が悪い」として姿を消したこの技術に、再び光が当たったのは1996年のことだ。奈良の酒蔵と正暦寺、そして奈良県産業振興総合センターが手を組み、500年前の技術を現代に蘇らせるプロジェクトが始動した。

今では正暦寺が日本で唯一、酒母製造免許を持つ寺院として、毎年1月に菩提酛の仕込みを行っている。僧侶と蔵人が共同で仕込んだ酒母は7つの酒蔵に分けられ、それぞれが中世から続く技術で個性豊かな酒を醸している。

県内38の酒蔵では、伝統の菩提酛だけでなく、若い世代による新たな挑戦も続いている。水を加えない低アルコール原酒、独特の酸味や香りを追求した実験的な酒など、奈良の酒造りは今も進化を続けている。

知られざる奈良の実像

奈良といえば「鹿」—これが多くの人の第一印象だろう。奈良公園では約1,200頭の鹿が自由に歩き回り、観光客から鹿せんべいをもらってお辞儀をする姿が有名だ。この鹿たちは春日大社創建以来、約1,200年にわたって神の使いとして大切にされてきた。

しかし、奈良の魅力は愛らしい鹿だけにとどまらない。文化財の宝庫としての奈良の実力は、数字が物語っている。国宝建造物の数は京都に匹敵し、県内には149もの国指定史跡が点在する。この密度は全国でもトップクラスだ。平城宮跡、東大寺、興福寺、春日大社など、日本の歴史を理解する上で欠かせない場所が集中している。

日本酒造りにとって最も重要なのは水質だが、奈良はこの点でも恵まれている。特に吉野地域は、桜の名所として知られる一方で、良質な天然水の産地でもある。県内には環境省選定の「名水百選」に選ばれた水源が複数存在し、これらの清冽な水が奈良の酒造りを支えてきた。

早朝の奈良を歩けば、この地が日本の精神文化と技術革新の中心地となった理由が体感できる。古都の静謐な空気は、1,300年の歴史の重みを感じさせながらも、不思議と軽やかだ。それはまるで、奈良の酒が持つ深い味わいと爽やかな余韻のようである。

注目の日本酒—花巴 水酛無濾過生原酒（美吉野醸造）：

生産者について

奈良の伝統技術を現代に活かす代表例として、美吉野醸造の「花巴（はなともえ）」がある。1912年に吉野で創業したこの蔵は、伝統を守りながら革新を続けている。

美吉野醸造の橋本晃明氏は、少数精鋭のスタッフとともに、地元農家が栽培する米の特性に合わせて酒造りを行うという独自のアプローチを取っている。一般的な酒蔵が特定の酒米を指定するのとは逆に、農家が作りやすい品種を受け入れ、その米の個性を活かした酒造りだ。

製造方法

花巴の最大の特徴は、培養酵母を一切使用しない点にある。蔵に住み着く野生酵母のみで発酵させるという、現代では極めて稀な手法を採用している。ワインでは一般的なこの方法は、並行複発酵を行う日本酒醸造においては技術的にリスクが高い。ビンテージや仕込みごとに味わいが変化し、また独特の風味が生まれるため、多くの蔵元が避ける方法だ。しかし、これは培養酵母が登場する以前から行われていた伝統的な酒造りであり、美吉野醸造はあえてこの道を選んでいる。

使用する菩提酛は、自然の乳酸菌による酸性環境で雑菌を抑制しながら発酵させる。この製法により、豊かな旨味と鮮烈な酸味が共存する独特の味わいが生まれる。加水なし、火入れなし、濾過なしの純米生原酒として出荷される。

テイスティングノート

乳酸発酵由来のヨーグルトやチーズを思わせる香り。口に含むと、ジューシーで豊かな旨味の後に、特徴的な甘酸っぱい酸味が広がる。柑橘系の爽やかさとトロピカルフルーツのようなフルーティーさが感じられ、ほのかな甘みと発酵由来の心地よい苦味が全体のバランスを保つ。余韻はドライながら酸味が持続し、濃厚な料理やチーズ、発酵食品との相性が特に良い。

流通と評価

花巴は国内外で高い評価を得ている。特にオランダでは輸入業者『酔い心地』が「奈良の中世から続く菩提酛製法」という独自性を前面に出し、伝統と真正性を求める日本酒愛好家に訴求している。画一化が進む現代の日本酒市場において、500年前の技術を活用した独特の味わいが、新たな価値として認識されている。

奈良から世界へ

奈良の事例が示すのは、革新が必ずしも伝統の否定を意味しないということだ。室町時代の僧侶たちが確立した醸造技術は、経験と観察を通じて自然界の微生物の働きを巧みに利用する方法だった。彼らは科学的な理論こそ知らなかったが、実践を通じて安定した酒造りの技術を確立していたのである。

14世紀の僧侶たちは、自分たちの技術がいずれ世界中で評価されるとは想像もしなかっただろう。しかし現実に、菩提酛で醸された日本酒は今、オランダをはじめヨーロッパ各地の日本酒愛好家に届いている。500年以上前の技術が、グローバル市場で新たな価値を生み出している。

菩提酛の日本酒を口にするたびに、なぜ奈良が重要なのかを改めて考える。それは単なる伝統や歴史の話ではない。何世紀も前に発酵の仕組みを解き明かした僧侶たちと、今日でもその方法に価値を見出し続ける醸造家たちの物語として。

「世界を合わせるペアリング：ワイン、日本酒、その他」をお読みいただき、ありがとうございます！いいね、コメント、スタック、購読でサポートしていただけると嬉しいです。

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