MUSICAL MEMORIES: EAST ISLIP HIGH SCHOOL BAND - THE MILLIGAN YEARS
By Mike Piliero
 

   From 1956 to 1960, my sister Carol, class of 1960, and I attended East Islip High School and became part of the great, developing East Islip High School Band.
Our family moved quite a bit in the old days. Only now, on reflection, does it register that I went K-12 in five separate school districts. This is mentioned as a point of perspective for the following musical-diary-like account of my days with the great East Islip High School Band. I’m kind of “Lost In The Fifties Tonight” as sung by Ronnie Milsap.
 

About to start 8th grade in the fall of 1956 at age thirteen, and having just “moved” from Wantagh, N.Y., my family settled in North Great River on Westbury Street. (Though only 17 miles away, Wantagh seemed like thousands back then.) This “move” was heartbreaking for besides leaving my good Rama Of The Jungle and Davy Crocket friends behind, it effectively ended my first platonic love, Dorothea, the “girl next door” on Chelsea road who would soon become among her many other accomplishments, Miss New York State in the 1964-65 Miss U.S.A. pageant. “Ain’t That A Shame” sang Fats Domino, and “Call Me Mister Blue” by the Fleetwoods set the mood. And as fate would have [while seemingly closing one door and opening another] one adapts to new beginnings and surroundings. In Wantagh I was quite active playing baseball [in the old Oakfield Ave. cow pasture], stickball [on Chelsea road], rooting for the Brooklyn Dodgers [‘til the “end of baseball, September 24, 1957.”] “bottle hunting” [for deposit] and starting at age 11, delivering the Long Island Press. “The Happy Wanderer” by Frank Weir was popular then.

   Now, in E.I., (actually North Great River) I took on another paper route, Newsday. Bicycling up and down Connetquot and Carlton avenues and Jefferson and Madison streets, and caddying at the old Great River Country Club (now Timber Point County Park). On most summer days while caddying, I’d be enchanted with the soft, wafting melodies coming from the Club-marina-pool of Johnny Mathis’ “Chances Are”, “A Certain Smile” or Debby Reynolds’ “Tammy” as I walked into the warm southerly sweet aromatic breezes on the 1st hole near the Great South Bay. On these days, depending on the handicap of the “players” I was caddying for, my reverie might be shaken with a sudden shout of “FOUR!” or the other name for golf: “OH , SH_ _!”

   If not working or doing “Yakety Yak” “don’t talk back” chores: “ if you don’t scrub that kitchen floor, you ain’t gonna rock and roll no more” by The Coasters, I was usually out exploring the great outdoors with my brothers, Charles and Allen, at the old Southside Sportsman’s Club (now Connetquot State Park). Gil Bergen, the revered Superintendent of Connetquot State Park today would, on rare occasion back then, in his game warden employ at the old Sportsman’s Club, catch my brothers in our innocent trespassing days, but was never able, though he was by far the very best warden, to catch “Green Jacket” (my nom de guerre). Being legend then, the old Southside Sportsman’s Clubs owners, employees and fellow poachers recalled: “Green Jacket was as observant as an owl, cunning as a fox, swift as a deer, and impossible to catch in days of yore.” And, “All we ever got to see was the green flash of his jacket quickly disappearing into the pines horizon.” The instrumental version of “Canadian Sunset” by Hugo Winterhalter filters back. Other times we’d be clamming, fishing, swimming, crabbing, or boating on the beautiful Great South Bay - musically accompanied by Bobby Darin’s “Somewhere Beyond The Sea”, Richard Rogers “Victory At Sea” or Acker Bilk’s “Stranger On The Shore”. A lot of transformation lay ahead. One word best describes East Islip in 1956: QUIET. Maybe I should add a second: PLEASANT. And third: EXCITING!

   September of 1956 found me and Carol busy transferring into eighth and ninth grades, respectively. The East Islip High School band was directed by the late Roy H. Milligan who welcomed us into the band even though we lacked instrumental experience. It is very rare for schools to accept beginning instrumentalists in 8th or 9th grades. We practiced clarinet and trumpet – Carol chose the clarinet and I liked the macho look and “Harry James sound” of the trumpet. Thus began our wonderful and highly redeeming, musical journey through life. The Del-Vikings sang “Come Go With Me”.

   Mr. Milligan’s presence alone assured that the band program would proceed exponentially to become a paragon in music education, training, and appreciation. Since then there have been numerous occasions for witnessing and testifying to the glowing praise of Mr. Milligan - from various music directors, teachers and former students.
Having seen and listened to many high school bands over the years, I must conclude only a few have come close to the high level achieved by our E.I. band. Mr. Milligan quickly became Chairman of the music department and over the years received much acclaim and honor before retiring in the 1980’s
 

   Our school schedule included band class which quickly became my favorite – and remained so for the next three years. (It also served, as it turned out, to ease my “Dorothea” heartbreak.) Throughout these maturing, rebellious, adrenal and hormonal productive years - what started inconspicuously as “band period” beautifully morphed into a warm, nurturing foundation - one that enabled and encouraged success. I’m very fortunate to have been blessed with a love of music, for it bestows access to music’s inherent aesthetic bounty and her charming life-sustaining capabilities. William Congreve, in 1797 wrote “Music hath charms to soothe the savage breast, to soften rocks, or bend a knotted oak.”- What charm! Today I would substitute “The Arts” for “Music …” to be inclusive of all creative genius.
 

   Band period (always too short) began in the same way, every day: In the first three minutes we had to retrieve instruments and music folders from the instrument storage closet, greet fellow bandsmen, take care of whatever business, exchange the latest gossip etc., then get to our seats, set up the music for the days practice, and begin to warm up. Imagine the scene if you will, with each bandsmen enthralled in their own happy warm up soliloquy, seemingly oblivious to all, and then gradually fusing together , making way for the ever increasing, unforgettable, inharmonious, dramatic, ascending crescendo of catastrophic, chaotic, sound!?! Until mercifully, Mr. Milligan, akin to the Sorcerer in the Disney classic “The Sorcerer’s Apprentice” from Fantasia, steps up onto the podium and with raised arms brings instant cessation to the wild, free unique sounds created by the “Sorcerer’s Apprentice’s..” us. (Oh, to be able to hear it again!) This then led to some harmonic resolution. Now, (still only three minutes into band period) we were ready to begin the “warm-up” and “tune-up” routines. I’ve learned that this is a most important function for any good band and for us tune ups occurred at anytime. Playing out of tune can spoil the anticipated harmonic rewards and passions that music sets free.
 

   The scale, I should call it: The Milligan Warm-Up Scale, started out in double whole notes at middle staff C, then down to G, down to E, and down to below staff C. Then - in whole notes – ascends from C in major scale to D, ( above middle staff C ) and then descends in major scale back down to C. Then up & down the Milligan Scale in half notes, followed by quarters, eighths, sixteenths, and: Look Out!: thirty-seconds and maybe sixty fourths - but with master “Sorcerer” at the podium. Tune-up would start by section, and then, individually. Finally, after all this, we got down to the music at hand and class began.
 

   Our Concert Band took on the popular Classics. Today I smile every time I hear a media presentation of any of the Classics we played remembering well the dedication, hard work, and consequent joy of a really fine, exacting performance. In the spring and early summer, Mr. Milligan began the selection of music for the following school year with an eye out for the higher difficulty level. His extensive knowledge, gifted teaching abilities, and inspired direction brought to fruition many fine performances. As was custom, he would captivate us with a historic introduction to each new piece [a fine source of education and entertainment,] before attempting the first measure, thereby allowing for the setting of tone and desired music dynamics. I wonder if any fellow bandsmen remember the “calm before the storm” segment in the William Tell Overture by Gioacchino Rossini featuring the woodwinds? Not to mention the “STORM” itself, featuring the brass – it was widely heard as television’s theme song for our cowboy hero, The Lone Ranger; Or, in Nikolai Rimsky-Korsakov’s Scheherazade; the “Greatest Love” story, symbolized by the rising phoenix [woodwinds] after the “ship wreck on the rocks” [brass]? In 1991 I met with Mr. Milligan and had the opportunity to ask which, of all the classics, he liked the most. His reply: Scheherazade, though he loved them all.

   Always up to the challenge, our leader demanded and received, (as far as I can tell) excellence, even while pushing our musical techniques “envelope”. One year, for example, we played P. Tchaikovsky’s March Slave (funny how I always recall this song whenever I’m “slaving” around) which required the knowledge and practical use of “double and triple tonguing”. The 2nd and 3rd trumpet sections I recall, had to do a quick-learn there. Another time Mr. Milligan and First Trumpet, Arty Accardo, who - it must be said, played extraordinarily well - amended the score to the Star Spangled Banner to include a spectacular high trumpet part in the last stanza that astounded the audience, every time – something, regrettably, I haven’t heard since.

   There were many occasions in concert where the Maestro, his warm face beaming, appeared especially pleased with a performance – and deservedly so- for preceding every concert, in the tense “butterfly” moments of anticipation we worried about things like “hitting” our respective “notes,” and “nailing” the solos. Anxiety hung like a heavy mist that only lifted on Mr. Milligan’s first down beat. And from that point on, it was enjoyable and usually superb. I remember the sheer joy from the profound physical and emotional feelings we often experienced in concert and how it consumed us in a divine-like rapture. A rapture that could, in those intense, fleeting and euphoric seconds – absolutely transcend, everything - some refer to this as a chill, shiver, harmonic high, or spine tingling moment. Well, we surely had to be doing this right. I can still remember the Bravo applause! Indeed, it was rewarding by itself to acknowledge the Maestro’s enjoyment.

   Not to be outdone by the Concert Band, our Marching Band with Majorettes and Color Guard (mostly, same crew), annually participated in Memorial Day ceremonies at two memorial sites: one situated just west of the old Woodland Rest (diner) on the corner of Main Street and Bayview Ave, and the other on Great River Road near the town dock. We played the Sousa marches crisply with attending staccato emphasis - was there any another way? Note: any band members remember playing a concert march by Baccalari called “The Italian Rifleman”? It would be accurate to state that we marched with a precision to be envied by our own armed services. Boot Camp, in comparison, could be a breeze. In addition we performed at football games, home and away, including spectacular precision half time shows that featured our Majorettes - a gallant effort, indeed.

   The movie “American Graffiti” and follow-up television show, “Happy Days” gave good definition to those days. Band activities served to strengthen and unify us in ways, separate from our mutual love of music. As an extracurricular, the band was annually rewarded with a field trip that brought us for several years, to that ever refreshing get-away, Jones Beach. One can hear Percy Faith’s “Theme From A Summer Place” emanating there along the boardwalk with the smells of the ocean, the hot dogs and irresistible fries from the concession stands. The Drifters’ “Under The Boardwalk”
 

   We were a special band where friendships flourished in the background of our academic and musical enrichment. Academic! That reminds me.. in addition to “all this” we did have “other classes”, but I’ve forgotten them. While these years were slowly rolling by “and time can do so much.. are you still mine..?” Unchained Melody, the mid 50s versions. “I don’t Have Anything” by Jimmy Beaumont And The Skyliners, “Rock Around The Clock” by Bill Haley’s’ Comets, segued into Danny And The Juniors, “At The Hop”, The Platters and The Ink Spots had their string of super romantic hits. The Coasters had “Poison Ivy” and Ernie K Doe sang (or moaned) about his “Mother in Law” “I come back with my pay, She asks me what I made…”
 

   Our soon-to-be-memories and maturing milestones were emerging and taking form when my interests started “playing second fiddle”, rather trumpet, to my developing, in my mind, second platonic love, but as many teenagers are wont, I hid feelings, as in Ray Charles’ “You Don’t Know Me”, or Doris Days’ “Secret Love”, or The Chantels, “Look in My Eyes”. My new crush, like Dorothea, would excel in her future endeavors. Once again, fate stepped in. In 1960 my family moved to Levittown, N.Y., where after a relatively bland, wanting, and frustrating year I graduated high school and, in short order, became: A seaman with the Woods Hole Oceanographic Institute in Cape Cod, Ma., aboard the hundred foot - ever rolling - Research Vessel Bear, for an entire seven, (seasick) days out in the Gulf Stream. Enjoyable Great South Bay excursions on the roughest days, had me convinced that I could “handle” - read, conquer- all seas! A four year, eye opening stint with the Air Force, A Macy’s security agent, shoe salesman ( Simco ) at the Walt Whitman Mall, Real Estate Salesman/Broker in 1967, selling land and homes from Massapequa to presently, Hampton Bays. In 1968, I married The Love of my life, Claire with the strains of “At Last” the Etta James hit, “…and life is like a song] in the background. We are blessed with seven beautiful children. In the 70s I began composing popular music, surprise. In 1974 I soloed in a Cessna 150, to Harry Nilsson’s “Everybody’s Talking’” at West Palm Beach International Air Port, and in 1978 successfully ran the Dan’s Papers 1st annual Race for the Potatoes.
 

Pardon the cliché, fellow (1956-60) bandsmen but... Where did all these years go?
 

WOW!
 

   When I look in the mirror these days, albeit with my, to coin an expression, “poetic vision”, I’m still that mellow lad of my youth, the mirror hasn’t changed me. However, I have no clue on the identity of that aged, imposing, balding person in photos of late. I guess I prefer my “magic” mirror. Have you experienced what I mean? “Try to Remember” “the kind of September when life was slow and oh, so mellow.” 1960- from the play “The Fantastics.”
 

   Over the years I have had the pleasure to meet and or talk with a few of our, “still young”, band alumni including Peter Paschke - Clarinet, now living in Florida, who along with fellow clarinetist Andrew Sloupe should have, and definitely could have, become professional musicians - along with others. I have spoken with Geraldine Gehr, who thought it would be wonderful to have an alumni band get together (B.Y.O. instrument), Sharon Leonard - Trumpet, who’s favorite period, like mine, was band and who clearly remembered the protocol instrument positions vis-a- vis the conductor standing on the podium. I’ve been unable to contact Arthur Accardo - Trumpet, first chair, and Mary Kate Maddox - Trumpet, among many others. I have heard that Arthur (Arty) had a very successful career in the Navy, culminating in the directorship of the U.S. Navy Band in Washington, D.C. Note: Mr. Milligan’s roots started with the, then, Merchant Marine Band. Another trumpeter, Honor Society President, Buddy (Dr. Harry) Hlavac, presently a Clinical Professor, renowned Author, and practicing Podiatrist in California, (he played almost as well as me) remembers Mr. Milligan as a person of great character whose high standards helped the band excel and who, at one time, invited famed trumpet-coronet player, extraordinaire, James f. Burke, who played with the use of his one workable hand, for a lecture. Buddy recalls Mr. Milligan as the kind of person who could always be counted on to “do the right thing”.
 

   Mr. Milligan passed away in the summer of 2003. Students and friends are forever grateful for his tireless efforts to instill in our lives a love and appreciation of music and life.
His children, Rich, Patti, and Rob graciously forwarded about twenty photos of the band from 1956 through 1961. Immediately I took a “sentimental journey” back to Ole E.I. There were many familiar faces and a few I can’t attach names to. There are photos with scenes that have since disappeared to so called “progress” or “growth”, like the old school athletic field where gym classes were held, and where we marched, and played sports, and which today exists as a 55 + co-op development called Bel Laurel, (with current prices for a low maintenance 2 bedroom, 2 bath coming in at around $275K, a mere 23 times the value of similar homes in the late 1950s.) I guess most of us are aware that the old school itself has been remodeled into a business compound that wisely used our concert auditorium as a theater venue: Bayway Arts Center. At least it wasn’t leveled.
Included with the photos, were old cassette tapes of various bands and orchestras. Only one of which is labeled: East Islip High School Band and I would gather from listening, that it is a cassette copy off an old “78” record they made of our concerts, back then probably from 1961. Songs on this tape included Wagner’s “Tristan and Isolda” and Mendelssohn’s “Overture for Band”.
 

   We were maturing adolescents with hearts abundant in innocent dreams, hopes and aspirations having no bounds. We roamed the grounds and halls of old East Islip High School seeking their fulfillment. It was a time when Elvis was beginning to became King, when groups like The Platters and The Ink Spots brought romantics to the gym dance floor, (sox only) when The Beach Boys and The Beatles were still years away from their debut.. We had a band room that substituted as a 2nd home with family, away from home and family. It brought together some very lucky students, some really neat sounds, memories and some amazing transformations that will remain like Bob Dylan’s “Forever Young”.
 

After having the enjoyment of these photos and cassette tapes for several years and considering the sea change of advances in communications technology, I thought it best to entrust such invaluable artifacts, originally from the Milligan Estate, to the East Islip Public Library. Speaking to the enthused library director Mr. Guy Edwards, led to the introduction to the equally enthused Mr. Ray Lembo, Archivist/Trustee of The East Islip Historical Society, which is located on the lower level of the library and who, with due care and dedication would gladly accept for preservation and public use, the expanding Milligan Band Photos and Tapes Project. Mr. Lembo will use his unique skills and all the latest technology to bring this about.

Thank you, Mr. Guy Edwards and Mr. Ray Lembo.
 

And, if you’re listening, a very special Thank You! Mr. Roy H. Milligan.
 

Thanks to Mr. Milligan’s son, Richard and family for making this possible and for wishing this “Project” the best of success.
 

NOTE: I’m aware of recordings, (78’s) of band concerts in the 1956-60 years, and would like to be able to listen to them, and think that it would be terrific if anyone in possession of records or tapes would be kind enough to present a copy to the East Islip Historical Society for duplication to enhance this project. Any additional photos and/or Band artifacts of this period would also be welcomed.
 

NOTE TO ALL FORMER BANDSMAN: By all means please, add your names and any comments to this project.
 

Mike Piliero

 

Mike can be reached through the East Islip Historical Society eihs@eastislip.org

Photo Gallery Below - Click for larger picture

Sticker Instrument Case Sticker - Familiar to all band members	Mr. Milligan Professional Head Shot.	Mr. Milligan	Mr. Milligan Dress whites	Band 1955 Assembeled for a group shot in front of the old High School 1955
Band 1955 Group Shot 1955	EIHS Band Inside the Gym of the old school	EIHS Band On Stage in the Auditorium of the old school.	Trumpet Section Author Mike Piliero is far right.	EIHS Band Lower Brass Section
EIHS Dance Band Jazzin' it up 1961	Band Officers	Drilling	Color Guard
Color Guard		Outdoor Rehearsal	Flutes	Constantino
A'Lary	Gallagher	Hotaling	Harps	Harp
Percussion	Percussion	Reeds	Sax Section	Majorettes
Majorette	Majorettes

 

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