Teja Gerken & Doug Young’s ‘The Water Is Wide’ Bridges Familiar Tunes and Fresh Arrangements

If, like me, you loved fingerstyle titans Teja Gerken and Doug Young’s wonderfully eclectic 2020 album Duets and Gerken’s recent solo voyage, Test of Time (released on New Year’s Day 2024), you’re almost certain to enjoy the SF Bay Area duo’s latest stellar effort, The Water Is Wide. I know it’s purely coincidence, but this album feels like it was aimed straight at my wheelhouse: Two of the songs—Erik Satie’s famous Gymnopédie No. 1 (written for piano in 1888) and the classic “Sí Bheag, Sí Mhór,” by the blind early-18th-century Irish harpist and composer Turlough O’Carolan—are staples of the classical guitar repertoire (I was editor of Classical Guitar magazine for seven years). And two others happen to be among my favorite acoustic guitar instrumentals of the rock era—“Embryonic Journey” by Jefferson Airplane’s Jorma Kaukonen (the first acoustic guitar piece I fell in love with, from Surrealistic Pillow in 1967), and Duane Allman’s lovely, lilting duet “Little Martha” with Allman Brothers co-guitarist Dickey Betts (from the 1972 Eat a Peach album).

Gerken’s “Takoma,” originally written for 12-string in tribute to Leo Kottke (whose 1969 debut, 6- and 12-String Guitar, still tops my personal list of solo acoustic guitar records), first appeared on Test of Time. Here, as the liner notes say, “It’s still on 12 strings, but spread out over two guitars!” The familiar English traditional tunes “The Water Is Wide” and “Greensleeves” also receive loving, quietly inventive treatments.

With fingerstyle guitar duos, it’s all about touch, timing, tonal variation, and telepathic communication—and Gerken and Young are clearly masters of all those skills. They effortlessly weave their lines in and out of each other’s parts—trading leads, occasionally finishing each other’s phrases, and always contributing subtle harmonic and rhythmic support. You’ll hear everything from harmonic pings to glistening strums to grounding low-end lines that function as bass. They make it all sound natural and easy—but of course, it’s anything but. Even the most consonant and familiar tunes are arranged with great care, and the pristine, ultra-clear mix (courtesy of Young) allows every nuance to be heard.

Beyond the expert playing and thoughtful arrangement of the parts, the other key element is the “casting” of the many different guitars the duo used on the project and the varied tunings they employed—all helpfully notated, along with capo positions, in the liner notes. And while the majority of the tunes feature two standard steel-strings, sprinkled throughout are some imaginative choices that add more color and depth: a couple of steel resonators, three baritones, an archtop electric on the Stefan Grossman–penned “Bermuda Triangle Exit,” and even an effective eBow solo on “Little Martha.” Young’s guitars included a Martin OM-LJ, Ed Claxton EM and Malabar models, Kent Hamblin SJ and GC, and an Eastman John Pisano archtop. Gerken played a Martin OM, Lowden 010, Mario DeSio baritone, Kenny Hill Ruck model, and a National Style 1 resonator.

As with their previous collaborations, The Water Is Wide is a testament to Gerken and Young’s deep musical connection—and to the enduring beauty of two guitars in conversation.