The Golgowsky track is the flipside of a record that was used for Harlequin, the "Immer bei Nacht" track is "HOME" with German lyrics (Most probably have the English one) John taped this off a test pressing that Tau played for him on one of his visits.
E-C#-G#-E-D-(B or E)
and on 8 String
E-C#-B-G#-E-D-B-E
He also told John Marsden in July 1967 that he used
E-B-A-G-E-C-E-C (C6th added maj7)on his twin neck
Basilh, this is the most enjoyable posting I have had the pleasure of reading and listening to of all your great contributions to the Forum. Keep up your great work. I have been a fan of Tau Moe and Rose for many years along the playing of both you and Bob Brozman.
Tau Moe will always be near and dear to my heart. My wife and I had the wonderful privilage of knowing Tau, Rose, Lani and Dorian for so many years. We had many jam sessions at his home in Lai'e, one of which was a Sunday afternoon when Bob Brozman asked me to take him there to meet his "hero" ! That particular jam session was taped and I sent a copy of the tape to Bob in the later weeks. Bob mentions the event on the LP cover. Tau was virtually an 'unknown' in Hawai'i even at the peak of his fantastic career, however everywhere else, especially Europe he was Hawai'i's unofficial ambassador. His steel guitar styling was a close match to the great Sol Ho'opi'i and Sol K Bright sr...amazing technic. Tau was one smart cookie...he enrolled young Lani into acrobatics and dancing classes, and young Dorian into ballet classes also. They in turn taught each other, plus Tau and Rose everything they had learned. Their act encompassed everything from big show 'modern' music of the day to Polynesian. Tau presented me with a VHS tape of their act which is absolutely astonishing. He even knew how to arrange for a Big Band. Rose had a remarkable voice that was so unique right to the end of her long life. Even suffering the ravages of alzheimer, she was still able to remember and sing the lyrics to so many hulas now long gone and probably forgotten. Theirs is a remarkable story on a par with Hollywood's "Sound of Music".
This music is a revelation. Many of us knew Tau Moe only through the Brozman/Moe Family recording, and there's really no way to tell from that CD what a brilliant electric steel player he was. Baz, thanks for all the time that went into this impressive contribution.
Thanks so much for this wonderful music!!! He is so good and so creative! It is a revelation to hear a master from the past! Thanks so much for your "community service". We all appreciate it.
Stephan Miller wrote:This music is a revelation. Many of us knew Tau Moe only through the Brozman/Moe Family recording, and there's really no way to tell from that CD what a brilliant electric steel player he was. Baz, thanks for all the time that went into this impressive contribution.
Too true Stephan, there's simply no way of telling how good Tau was, by listening to THAT recording.. IMHO they suffered that particular endeavour purely for publicity purposes.
basilh wrote:Too true Stephan, there's simply no way of telling how good Tau was, by listening to THAT recording.. IMHO they suffered that particular endeavour purely for publicity purposes.
Basil, I know you like black and white evaluations so I will say you are just plain wrong about THAT recording. Also Tau made the initial contact with Brozman, I doubt at Tau's age he did it for publicity.
Don't go in the water after lunch. You'll get a cramp and drown. - Mother.
OK David, maybe I was to obtuse, My words above were specific.....especially "suffered"..and "they"...
Not only Tau was involved, and the rest of the family did have a say..
I don't know about Tau making first contact with Brozman, I do know that Brozman's burlesquing and music hall flamboyant playing did nothing to showcase Tau's playing.
When I discussed the recording with Dorian she intimated that his involvement was "accommodated" for exposure reasons.
I always thought Hawaiian music first migrated to the West Coast and branched out from there. Your post has been quite a revelation. It is greatly appreciated !
David Matzenik wrote: Also Tau made the initial contact with Brozman, I doubt at Tau's age he did it for publicity.
True David, but not looking to record with Brozman, just as Brozman says:-
In 1986, I received a letter from Mr. Tau Moe, ordering one of my own albums.
Also, not so much for publicity but exposure for pecuniary and LDS reasons.
Throughout the 60's we were in touch and regularly met with the family, likewise with Bill and Mary Buysman, George de fretes, Bill Thoma, Joyce Aubrey and others, the European Hawaiian family was our family back then..
Basil, if you care to follow this up I would direct you to track 13 of the Album “Remembering The Songs Of Our Youth;” # Fort Street 1929 and 1988. It starts out with Tau playing on 1929 recording and then through some rumbles turns into a live recording of the family with BB. I think the two players are not all that different in style. If that was “burlesquing” (to use a Byrd-ism) then Tau didn’t seem to mind playing that way. But the live part of the track in 1988 reveals a great deal of enthusiasm by all present for that music especially from Rose who thanks everybody at the end. But then you say Bob was merely “accommodated” for exposure purposes! Oh, what a put down! Could Tau really have been that condescending toward Bob? Tau lost his National Tricone during the war. On his 80th birthday Bob Brozman presented him with a 1932 style 2 guitar very much like the one he had lost. As I understood it Bob and Tau were great friends, but I guess that’s show biz for you.
Don't go in the water after lunch. You'll get a cramp and drown. - Mother.
David, yes Tau is emulating the mid 20's stlyings, prompted to do so because of the instrument used and Bob's participation. His real love was the Electric Hawaiian Guitar, however maybe it better NOT to follow this up here.. I'll PM you with more details..
