Toward a National Treasure

Under the system for Important Intangible Cultural Properties, the craft worth preserving is designated first, and a person who has mastered it at a high level is then certified as its holder. The Agency for Cultural Affairs describes ginjo-zukuri as the craft of making ginjo-shu, sake that pursues taste and aroma “without sparing effort or ingredients”.

Sake was refined over a long period, and in the course of that refinement it became clear that how far the rice is polished is deeply connected to the quality of the sake. The Agency records that this craft was established as rice-polishing machines developed in the modern era.

The Agency then names Noguchi as one of those who contributed to driving the ginjo-shu boom from 1975 onward, and as a person who trained many toji. The details of the system are summarized in the related articles below.

In his first year as toji, at 28, Noguchi brewed the light, clean style of sake he had learned where he trained. The answer from the local customers: “This stuff ain’t fit to drink.” Noguchi says that at that moment he realized, “I must not make sake from my own ideas”.

His creed ever since has been to make the sake that the people who drink it are looking for. Noguchi acknowledges that he is a geko, someone who cannot drink, and he does not normally drink. “Maybe it’s a taste I could make because I was a non-drinker,” he says. He says he hears the impressions of those who drank the sake at the shop attached to the brewery and when visiting customers. Noguchi has also spoken himself of learning yamahai brewing, which was being lost, and of taking ten years to stabilize a rich, full-bodied, umami-driven style of sake.

In his own words, he served as toji at three breweries and, at 82, made his “third retirement”.

During the two years he spent at home, he felt his body “aging more and more.” Then an invitation arrived to brew sake once again. His family was strongly against it. Even so, Noguchi decided that “my livelihood is, after all, sake brewing,” and, remembering the faces of the people who had liked his sake, chose to return.

In 2017, at 84, he became toji of Noguchi Naohiko Sake Institute, at a newly built brewery in Kannonshita, Komatsu, Ishikawa Prefecture. On the origin of the name, he says it is so that young people who want to take up sake brewing can learn his skills in full.

Back to the opening question. What was recommended for designation is the craft. And that craft shows up in each bottle as a different choice. Here are five bottles from the Institute that BG handles, arranged by those choices.

Polish

Junmai-Daiginjo Yamadanishiki 2019

Yamadanishiki from Tojo, Hyogo Prefecture, polished to 50%, with no filtration, no pasteurization and no added water, then aged for more than three years at ice-point temperature inside the brewery. Aromas reminiscent of lychee and pineapple, with caramel and vanilla nuances from aging alongside.

Do Not Over-Polish

Junmai Non-filter Nama-Genshu 2024

Gohyakumangoku from Komatsu, kept at 60% to leave the body of the rice. An unfiltered, unpasteurized, undiluted junmai. It speaks through concentrated umami, bright acidity and a clean, crisp finish rather than a lavish aroma.

Leave It to Time

Junmai-Ginjo Non-filter Nama-Genshu Gohyakumangoku 2019

Organically grown Gohyakumangoku from Komatsu, kept as unpasteurized sake at ice-point temperature for about three years. Young aromas reminiscent of green apple and citrus coexist in one bottle with a toasty, custard-like note of aging.

Select

NOGUCHI NAOHIKO 01 2019

A 770 ml bottle: Noguchi himself chose one tank from among several 2019 tanks and bottled it without blending it with the others. Aromas reminiscent of peach and acacia honey, with a long, clear finish.

Layer

Yume Zukuri (夢造)

A bottle born from a wish for the recovery of Noto. From yamahai genshu of five varieties of sake rice across seven years of vintages, nine were chosen and layered together with master blender Seiichi Koshimizu. How it came about is told in the related article “Yumezukuri (夢造)” below.

Polishing, not over-polishing, waiting, selecting, layering: each is a different choice within the sake brewing of one and the same Institute. What was recommended for designation is the craft itself, not an appraisal of each bottle.