Comparison of 2 old and 1 new tetsubin

 

 A reader recently asked me to find him a new Japanese tetsubin. The nicest one I found (above on the right) reminds me of the 'dragon tetsubin' I used to have eight years ago! So, I even bought a second one in case someone else needs one! In the meantime, this gives me the opportunity to test and compare it with the 2 other tetsubin I have, which are both old.

The test is fairly simple. After cleaning this new tetsubin several times, I boiled water with each of them to compare the taste of their respective hot waters.

 On the left, the water turns out a little bit yellow and I can spot several small spots of metal at the bottom of the cup.

This water comes from this lovely shaped tetsubin with copper top. I especially like the curved handle. It looks elegant and provides a better grip.

The outside of the tetsubin is in good shape.

The reason for the yellow color of the water is that it's very rusty inside.

The bottom is in good shape, though. 

So, the problem comes for the inside. At the very bottom, the rust is a little bit more red and doesn't seem very thick. The biggest layer of rust is higher. I think I should try to remove it with a small sander. Boiling water often in it has helped, but hasn't cured it.

The water tastes soft at first, but quickly develops a strong rusty taste that one can almost smell!
I'm less concerned with the red rust on the bottom than the grey rust above. (The red rust seems active and similar to my other tetsubin, while the grey rust seems dead).

Here is the interior of the second old tetsubin (in the middle). It's the one I use regularly. There's also some fresh (red) rust, but much less than in the first.

This rust had no negative impact on the taste of the water. The water tasted very soft and clean. Excellent!

For the new Iwachu tetsubin, I made sure that the interior isn't covered with any glazing. I want the water to be in direct contact with the iron, so that it can benefit from its interaction.

Inside the new tetsubin

This tetsubin weighs 1.75 kg for a maximum volume of 1.4 liters.

This rough surface requires a good, gentle cleaning with rice water. Then, I boiled several times water in it, until the water that came out looked transparent.

Bottom of the new tetsubin

The result is hot water that doesn't taste as soft as the second tetsubin. It has some slight roughness and a young metallic/sparkling taste. There's more activity in the mouth, which would be a good fit with unroasted Oolongs or raw puerh.

I prefer the pure and soft feel of my regular tetsubin, but this new tetsubin has a better taste than more rusty tetsubin. So, age alone doesn't say much about the quality of the water.

Refined fixation for the handle

This comparison also shows that the regular use of a tetsubin is one of the best way to improve its performance. The more it's used, the less residues will come out. Thus, the modern tetsubin will loose its rough metallic taste over time. (This is what happened to my dragon tetsubin).

Chabu d'ambiance pour le thé

Le plaisir de boire du thé beau et bon se répand à Taiwan et dans le monde. Le Chabu (prononcez 'tcha bou'), est l'accessoire qui transforme la façon de préparer le thé. Ces nappes à thé habillent la dégustation. Leurs couleurs et motifs créent une ambiance, un décor qui accompagne le thé choisi. 

Le Chabu s'inscrit en droite ligne de l'esprit du thé: sa beauté est fonctionnelle. On remarque d'abord l'esthétique, le choix harmonieux des couleurs entre le tissu et les accessoires, et aussi entre l'ambiance des couleurs et celle du thé. Mais le Chabu remplit aussi la fonction d'absorber les liquides qui tombent lors des transvasements. C'est pourquoi mes Chabu ont une épaisseur supplémentaire en coton.

Chaxi en mode comparatif

On est bien conscient que cette fonction absorbante est limitée, et c'est pourquoi l'utilisation du Chabu dans la préparation du thé nous pousse à être plus attentif à nos gestes. Une petite goutte par-ci et par-là ne dérangent pas. Mais on n'a pas envie que le Chabu se transforme en serviette de bain trempée de thé! Le Chabu invite donc à plus de concentration, des gestes précis et de l'élégance.

C'est l'instant présent qui compte. Avec un Chabu, nous sommes plus facilement absorbés par la beauté du Chaxi et l'exigence de ne pas gâcher de bonnes feuilles de thé.

Assortiment de nouveaux petits Chabu disponibles dans ma sélection

Qu'obtient-on avec l'usage d'un Chabu dans la préparation du thé?

- Plus de variété dans les ambiances,
- L'adéquation entre le caractère du thé et l'ambiance de notre set-up,
- Un plaisir des yeux accru,
- Une plus grande attention au moment présent dans ses gestes,
- Moins de bruits de céramiques qui s'entrechoquent,
- Plus d'élégance à mesure qu'on apprend à maitriser le maniement de ses accessoires.

Au final, tout cela concourt à rendre le plaisir du thé plus intense. D'abord, car le thé est souvent presque toujours meilleur quand on le prépare avec finesse, et car on est plus conscient de tous ces plaisirs qui émant de notre thé.

Dong Ding Oolong de Yong Lung

(Voyez aussi mes autres créations de Chabu ici et dans mes articles récents. Vous y trouverez également un poème chinois, un tableau Shan Shui et des photos de porcelaines sur mes nouveaux Chabu. Et je compte bien vous en proposer de nouveaux dans les semaines prochaines!...)

A question about the 1999 '7542' Neifei

1999 '7542' CNNP/Menghai cake

1999 '7542' CNNP/Menghai Neifei

A reader asks a good question about the Neifei of my 1999 '7542' cake: It mentions the name of the China National Native Produce (CNNP) Corporation Yunnan Province Tea Branch. But it doesn't mention the Menghai Tea Factory as producer, as it does on the 1988 '8582' cake I showed earlier this week. So, is it evidence that this cake is fake?

This is a very legitimate concern when it comes to any famous or popular puerh. Imitations and forgeries are numerous, especially when it comes to older puerhs that can sell at high prices.

The paper that accompanies a puerh can be used to spot inconsistencies between a real and a fake puerh, provided the forger made a mistake. But it isn't sufficient evidence to prove that a cake is genuine, since paper (wrapper, neifei and neipiao) are actually easy to imitate.

So, why doesn't this 1999 Neifei mention Menghai Factory as it would have in the 80s? Then, in the 1980s, the CNNP still had a monopoly on all food products in China. Menghai factory belonged to the CNNP, which belonged to the state. The relationship was transparent as there was not conflict of interest.

It started to become more complicated during the transition period to full privatization and market liberalization. Menghai was privatized in 1996, the CNNP lost its selling monopoly in 1999 and private puerh factories emerged around 2002. As an independent firm, Menghai Factory couldn't use the CNNP brand/logo and used the DaYi brand it had developed. However, during these transition years, the CNNP was still an active seller and still had customers who ordered the same products as from the past. So, the CNNP would place an order to the factory who would best do the job. And in 1999, the only factory who had the skill and the facility to produce a good 7542 was Menghai Factory. But then, for obvious branding reasons, the CNNP would request a new Neifei that only emphasized their name.

1988 '8582' Menghai Neifei

1999 '7542' CNNP/Menghai leaves

This is the reason why there were still CNNP wrapped 7542 puerh cakes made in 1999 (along those sold under the Dayi brand). And they were made by Menghai, even though the Neifei didn't indicate it anymore.

The Neifei is therefore consistent with puerh history, but this still doesn't prove anything! Paper is easy to forge, but tea quality isn't. Old 7542s are mostly popular for their great taste and aging potential. So, the best way to check if it's real is to examine the cake and evaluate if it looks like it should look like. And then to taste it and evaluate if it tastes like a 7542 should taste.

1999 '7542' Chaxi

The 7542 recipe emphasizes smaller size leaves (than the 8582, for instance), so it's no mistake that we should see so many buds. The color of these buds is the best indicator to estimate the age of the leaves. They darken very slowly.

This large amount of buds and smaller leaves also impacts the aromas of the tea. It should be on a rather high and fresh note. The taste won't feel as thick and full body as a 8582, but still have a very long aftertaste. And, very important, the taste should feel very clean and comfortable. You should easily feel it's an above average puerh.

1999 '7542' brew

L'infusion sèche

Je connaissais l'infusion à froid (leng pao), mais je découvre aujourd'hui l'expression d'infusion sans eau (gan pao)! C'est un concept qui peut s'avérer très utile dans certaines circonstances.

Je vous sens un peu perdu. Prenons un exemple: Vous recevez un jour de la visite d'une vague connaissance pour laquelle vous n'avez pas d'affinités particulières. En hôte poli, vous proposez de déguster un thé ensemble et lui demandez d'en choisir un. Vous lui montrez votre armoir à thé et, malheur, il désigne le thé le plus ancien et rare de votre collection. En plus, on dirait qu'il s'y connait et sait que ce thé est l'équivalent d'un 1er grand cru classé.

Ce thé, vous avez envie de le partager avec un de vos meilleurs amis ou bien pour marquer un moment fort de votre vie. Mais là, vous avez surtout l'impression qu'on veut abuser de votre générosité. Une demande si déplacée vous met dans l'embarras. Eh bien, pour sortir de cette mauvaise passe, vous pouvez lui répondre: "Avec ce thé, je te propose ce que les Chinois appellent une infusion sèche: je vais te laisser sentir tous les arômes de ses feuilles sèches! Tu verras, ses odeurs sont à la fois boisées et minérales. Un délice! Rien que ces odeurs provoquent déjà une réaction salivaire dans la bouche!"

Ainsi, vous avez tenu parole et gardé ces feuilles pour un jour meilleur!

5 things Oolongs are most afraid of

Spring 2011 Hung Shui Oolong

1. Bad storage.

Tea changes easily and quickly absorbs smells from its surroundings. That's why it needs to be protected from foreign scents that could corrupt its natural fragrances. Don't store tea in the kitchen among all your spices. Keep it in a cool, clean and dark place.

2. Bad quality water.

The surest way to spoil good leaves is to brew them with water so heavy with minerals that they cover all the fine tastes and aromas of the leaves. Choose a light and sweet water with great care.

3. Sleepy water.

That is water that hasn't reached a boil. Such water hasn't opened up and come alive yet. You won't be able to unfurl the leaves properly. The tea will only release a fraction of its aromas. The result will be dull and taste watery.

4. Comparison.

On its own, each tea has something to be enjoyed if someone knows how to brew it. Its defects and quality level isn't easy to evaluate. Side by side comparison, using same brewing standards, is the surest way to judge teas and tell which one is best. Even untrained drinkers can quickly spot the better tea through comparison.

5. Your lack of attention.

Unscented Oolong tea is subtle and underwhelming at first sip. It requires focus and calm to prepare well and enjoy fully. The more effort you put in to learn about tea, the better your brews will taste!

Conclusion: the fact that you are reading this post shows your dedication and love of tea. Next time you brew, reassure your leaves with these words: "Don't be afraid! I will take good care of you."

Mardi gras et jeu d'enfants

Puisqu'on célèbre le carnaval en Europe aujourd'hui, faisons une place pour les enfants et la décoration!
Voici le Chaxi que ma fille a créé pour préparer du Baozhong organique de Wenshan du printemps 2013. Avec ce Chabu long, elle a choisi une petite théière en porcelaine qingbai et des coupes assorties. Elle utilise aussi un bol qu'elle a eu l'occasion de tourner chez un potier!

C'est mignon et touchant de la voir préparer son thé 'comme papa'! Et je suis aussi agréablement surpris par la fraicheur et la finesse de ce Baozhong. Il n'a pas pris une ride et signale l'arrivée prochaine du printemps.

Mon fils participe aussi à ce jeu. Il va nous un Hungshui Oolong jade de Zhushan. Il aime bien disposer les coupes autour de la théière! C'est son idée et je ne veux pas entraver sa créativité.

Il a le geste du père pour délicatement déposer les feuilles au milieu de la théire Xishi en hungni assez dure.

Pour éviter les taches de thé sur ce Chabu long gris design, je lui ai simplement suggéré d'utiliser une petite assiette comme au moment de remplir les coupes de thé.

Eau proche de l'ébullition et première infusion assez longue permettent à mon fils d'obtenir un thé aux arômes fruités bien concentrés. Ce Chaxi enfantin est un festival de couleurs, de goûts et d'odeurs.

Joyeux Mardi Gras!

8582 Menghai chi tse beeng cha

8582 and 7542 cakes are considered the descendants of the red mark and green mark puerhs. Now that puerh from the 50s and 60s has become too rare and expensive, those cakes from the mid 70s to the 90s have become the 'must-have' cakes for aged puerhs drinkers. They provide the benchmark for the best quality from that time period : the organized monopoly of the CNNP during the first stage of China's rise.

I call it organized, because it's in 1975 that the CNNP's Yunnan Tea Branch started to introduce a better classification of its puerh products. They started to have 4 numbers to identify them. The first 2 numbers for the year of invention of this recipe, the third number for the grade of leaf used the most in this cake, and the fourth number to identify which factory produces the puerh. 

This standardization had its limits, though. The production year wasn't indicated on the wrappers. This is where it's difficult to tell the age of those cakes. Some people rely on the analysis of the wrapper, neifei and neipiao to determine the age and authenticity of the cake.

If you'd compare the paper of the 8582 in this article to this one, you may probably think that it is younger because the color of the wrapper looks brighter. The problem with that analysis is that the wrappers were printed by handwork. This caused by discrepancies in color and sharpness of the printing within the same batch. Besides, paper is cheap and easy to copy nowadays.

What can't be imitated easily is the quality of the leaves, of the tea itself. That's why it's best to learn to read the tea leaves themselves, rater than just the paper!

The pressing of this 8582 is very well done. It feels like a discus! The color of the leaves isn't uniform, but varies according to the type of the leaf. The buds are light golden and lightest in hue. Bigger leaves contain less moisture and turn dark faster. This is an interesting example of how a puerh cake from 1988 looks like. It shouldn't have a uniform red/brownish color: this would indicate some wodui, artificial humidification process to make it look aged faster.

A close up shows that there are also buds included among the leaves of this 8582. This shows that the '8' in he number doesn't mean that this cake is made with leaves that are all from the grade 8 (= big, mature leaves), but that the majority of these leaves are big and include more stems than a 7542, for instance. The cake looks marvelous!

The leaves on the sides of the bing are easy to flake without breaking them. They have a wonderful solid and elastic feel.

For my first brew of this cake, I measured 3 grams of leaves and brewed them in a porcelain gaiwan in order to get neutral and standard results.

I have acquired this puerh recently, so it's quite normal that it should still have a storage scent. It would be best to air these dry leaves a little for better results. There are scents of dry wood and more particularly oak sawdust.

I don't rinse and brew the first brew for several minutes (between 3 and 4 approximately). My goal is to test this tea with this infusion. I obtain a very rich, concentrated tea soup, but it hasn't turned black.

What strikes me first is the camphor smell. Then, it's this very contradictory feeling of having a very thick taste combined with a purity and lightness. Such a concentrated tea should feel heavy, but it doesn't! It melts away and leaves a very sweet velvet taste on the palate, the tongue, the throat... I salivate with pleasure and my whole mouth experiences a long lasting 'tension', like a massage.

The transparency of the brew is excellent.

My second brew is shorter and therefore less concentrated.
This emphasizes even more the lightness and purity of this tea. The aromas are still full of power with notes of camphor and lots of sweetness. This sweetness is carried by tannins that have a slight bitter taste, but that help make this feeling last so long.

For the third brew, I pour my boiled water slowly and increase my brewing time. The tea turns out softer, but the incredible power I felt with the first 2 brews diminishes.

The coating of the mouth effect isn't as strong anymore. But there's still a very nice warm chaqi felt in my belly.

On the fourth brew, I pour with strength again. The sweetness of this puerh reminds me of the Yiwu region. This is consistent with what I learned about these cakes. The taste is a little bit less elegant than on the previous brew, but there was little loss of power.

I made several more brews with these leaves. They were less intense, but very enjoyable.

The open leaves look still so young! Some green color is still to be seen. That's why they have so much energy and freshness. We can also see many stems: they provide the thickness and the backbone for the great light bitter, strongly sweet tea.

Conclusion: this is a great example of how what great puerh tastes like as it reaches 25/26 years of age. It makes not only for a wonderful tasting experience, but also teaches what to aim for in a tea of that age in terms of aftertaste, energy and purity.