Jonathan Paull Gertler - No Fear (2021) Hi-Res

Jonathan Paull Gertler operates on the “less is more” premise with No Fear, set for release on September 10. Capturing a pure acoustic sound, Gertler has gone for clean guitar tones, supportive instrumentals and clear vocals, aiming at minimum production density and an organic feeling. “I hope the simpler it gets, the better it gets. When you say less but express more, the song stays central,” he explained.

Gertler knows about heart, both metaphorical and literal. He spent years as a vascular surgeon, exposed to life-and-death choices and things most people never see; that way of life affects his music—a willingness to take risks to get to a better place without putting people in harm’s way. “If you’re afraid of taking that risk, you can end up with poor outcomes. The art of surgery is very much the art of staring down tough odds with both confidence and humility.”

Gertler’s music began when he was making peanut butter-and-jelly, not life-and-death choices, however. Starting guitar at 11, he was writing songs by about 14, influenced along the road by Chris Smither, Bonnie Raitt, Paul Simon, Joni Mitchell, Stephen Stills, Jason Isbell, Lyle Lovett, Karla Bonoff, and Ryan Montbleu. His first album, 2013’s After the Storm, was inspired by the untimely death of his sister, and the aptly-named Heart and Mind (2016) was fueled by positivity. No Fear follows a natural progression: “I’m optimistic because everything I do in life really requires a level of optimism,” he said. “Aiming high, but tempering optimism with realism. You have to take into account the pitfalls the world can bring you.””

The songwriter told Elmore why he chose to cover this much-recorded song. “‘The Water is Wide’ is a beautiful, traditional folk tune with Scottish origins that has been covered by many. I learned it in its utmost simplicity years ago but ultimately converted it to an open D approach. It is a lovely tune lyrically with many of the metaphors that always speak to me—the sea, ships, etc.—and the language is formal and old but still warm and inviting. The arrangement tried to juxtapose a dense fingerstyle approach with Sal DiFusco’s wonderful melodic lead and fills, and the vocal richness of the near-a cappella section and then the full on multi-harmonies was something that Jon [Chase], Corinne [Chase}, and I had come together. I have just always loved this song.”