I tried this sample from Esgreen twice: once on my own with notes and once with a close friend who enjoys pu’ercha during our weekly weiqi session.

I have mixed opinions on this tea. The flavor is interesting, and although the profile is strange for sheng, it’s pleasant enough. The smoky Lapsang-esque aromatics are very apparent, and seem far too potent to suggest natural nuances from the leaves themselves. It may hint at “yan wei,” or smokiness resulting from wood stove drying as opposed to sun drying. This is usually caused when the leaves are dried during the summer months, when the rainy skies prevent the leaves to be dried outside by sunlight, and these summer shengs are generally considered to be lower quality. I won’t pretend to know whether or not that is true for this sheng, but the unbalance of the smoke seems to come from the exterior of the leaf rather than the interior (cf. the Esgreen 2008 sheng zhuan sample from this round, which is also smoky, but does not taste as “smoked”).

The sweetness brought on by the buds is apparent. Besides woody flavors that are more noticeable in the beginning of the session, fruity and sweet floral flavors abound. However, there is a serious lack of power in the leaves. The amount of small leaves and buds may account for both of these features. Considering an age of only about two years for these cakes, the serious lack of texture and absence of throaty kuwei is concerning. The liquor is mild and presents an almost indiscernible cha qi, sitting somewhat unpleasantly in the stomach. The aftertaste is sweet, and there is a very slight bitterness present. I would not say that this is one of the strong points, however.

With sweetness and smokiness being the most noteworthy aspects of this very young sheng, I would not consider storing this for aging. Besides flavor, which begins wearing off after five steeps, this sheng provides a pretty boring session and doesn’t have much else to it.


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I’m fanatic about all things tea-related. Lately, I’ve been fascinated with Wuyi yancha, aged Taiwanese oolongs, and sheng pu’ercha. Nearly all of my sessions as of late are performed gong fu, with pu’er tastings comprising probably eighty percent of them. My collection of pu’ercha is small, but growing steadily. Much of the specimens I drink daily are various samples, although I dig into a cake every so often.

I love trying new teas and I am always learning all I can about the world of tea. Hence, I spend a majority of the time I devote to tea either drinking, writing notes in my journal, or reading. But mostly drinking, as I think it should be. Since I have handwritten logs of everything I drink, I cannot usually find the extra time to log my notes here, and unfortunately my online log is underrepresented.

When drinking, I look for a tea that presents a unique experience, something that involves every sense and provides intrigue in every aspect throughout steeps. I search for teas with balanced complexity and something that makes me keep reaching for my cup. I yearn to find all the positives a tea possesses and every subtle nuance hiding among the leaves. I try to be detailed in my notes and deliver a more comprehensive view of the tea, paying attention to things other than simply flavors and qualitative aspects of aroma, such as the form of the liquor and its development in the mouth. Things like this are much easier to compare between teas, as I find them to be more consistent between sessions, and also make distinctions between a good and mediocre tea easier to make.

Adagio UtiliTEA electric kettle.
For gong fu, a 100 mL porcelain gaiwan and a 100mL Yixing di cao qing xi shi pot dedicated to mostly young sheng pu’er.
I drink all green teas in small (maybe 450mL) glass tumblers in the traditional style, with off-boiling water.


Fort Myers, Florida

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