Local 47 Lifetime Achievement Awards

Join us in the kickoff celebration of a new tradition honoring esteemed members of AFM Local 47!

About the honorees:

Gene Cipriano

Gene “Cip” Cipriano was born on July 6, 1929 in New Haven, Connecticut. At an early age he got serious about horns and picked up the saxophone, played in the high school orchestra band and joined a Union so he could get booked playing club dates.

While Cip was a junior in high school, he joined the Ted Fio Rito band that featured singers Betty Grable and June Haven, and Doc Severinson on trumpet and Donn Trenner on piano. Throughout the 1940s Cip built a professional reputation and was sought after by some of the leaders in the jazz world, eventually joining Tommy Dorsey’s Orchestra. His move to Los Angeles in the 1950s led to him becoming one of the busiest working studio musicians of our time, including being a part of The Wrecking Crew playing on hits for the Beach Boys, Frank Sinatra, Nancy Sinatra, Sonny and Cher, Jan & Dean, The Monkees, Gary Lewis and the Playboys, Mamas and Papas, Tijuana Brass, Ricky Nelson, Johnny Rivers and was Phil Spector's Wall of Sound.

Cip has toured with the greats, including Frank Sinatra, and is credited with mastering instruments such as the Alto, Tenor, Soprano, Baritone, and Bass Saxophones as well as Oboe, Oboe D'Amore, English Horn, Flute, Alto Flute, Bass Flute, Piccolo, Clarinet, Bass Clarinet, E Flat Clarinet, and Contralto Clarinet. He is also credited for making the word “Yo” a standard part of our vernacular, way before Yo! MTV Raps came about. It’s traced back to the ’30s-’40s originating in the Italian neighborhoods. Cip started using it regularly when he worked with Joe Ganz, a drummer. Each time Joe got ready to take his drum solo, he would say “Yo” and then started hitting. It stuck with him from that point forward. Cip even yelled out “Yo Barbra” as Barbra Streisand passed by him in the orchestra pit on her way to collect her Academy Award for best song in the ’60s. He continues to be active in the studios in addition to performing in several local Big Bands and in the live orchestras for the Emmys and Academy Awards.

Vincent DeRosa

Vincent DeRosa was born in Kansas City, Missouri, on October 5, 1920. His family moved to Chicago about a year after his birth. His father, John DeRosa, was a professional clarinetist; his mother, Clelia DeRubertis DeRosa, was an accomplished singer. He began his horn studies at age 10 with Peter Dilecce, third horn of the Chicago Civic Opera orchestra. In 1932 the family moved to Los Angeles.

Vincent began his professional career in 1935, after the death of his father, by substituting for another player in the San Carlo Opera Company's production of La Traviata. He continued to perform until 2008. When the U.S. entered World War II, he enlisted before he could be drafted and was assigned to play with the California Army Air Corps radio production unit.

Throughout his career Vincent has performed on many film soundtracks, recordings, and television programs, and is probably the most recorded brass player of all time. He played on recordings by Julie Andrews, the Beatles, Tony Bennett, Nat King Cole, Ella Fitzgerald, Jascha Heifetz, and Frank Sinatra, among others. The films and musicals for which he played include The Magnificent Seven, How the West Was Won, The Days of Wine and Roses, Jaws, Rocky, Midway, Close Encounters of the Third Kind, Oklahoma, Carousel, The Music Man, Mary Poppins, Edward Scissorhands, My Fair Lady, and The Sound of Music. His television credits include Batman, Bonanza, Dallas, Hawaii Five-O, Peter Gunn, The Rockford Files, The Simpsons, and Star Trek. He was the first horn for such greats as Henry Mancini, Alfred Newman, Lalo Schifrin, and John Williams.

Among his credits outside the Hollywood studios, he was a member of the Abnuceals Emuukha Electric Symphony Orchestra, which recorded Frank Zappa's first solo album, Lumpy Gravy. His impact on the business has brought along with it a new standard for studio horn parts.

Louise DiTullio

Louise DiTullio is one of the most widely heard flutists today, having performed on over 1,200 motion picture and television scores during the last four decades. Though her name may not be immediately recognizable, years of recordings have brought her artistry to a vast audience. Following in the footsteps of her father and two uncles, Louise was the fourth DiTullio to join the Los Angeles Philharmonic Orchestra before the age of 20. While in the Philharmonic, Louise performed as Principal Flute with the Columbia Symphony, recording many of Igor Stravinsky’s works under the baton of the composer.

After six years with the Philharmonic, performing in both the Assistant Principal Flute and Solo Piccolo positions, she resigned to pursue a more varied career in both classical and recording work.The ensuing years brought success in all aspects of the recording world. Her playing was heard nightly on television in shows such as Gunsmoke, Hawaii Five-O, Little House on the Prairie, The Waltons, and Dallas. The list of film composers with whom she has collaborated includes the most distinguished names in music today. Composer John Williams, arguably the most honored film composer in history, refers to her as being “in the very front rank among the world’s great flutists.”

Louise's playing can be heard on the albums of recording stars Barbra Streisand, Frank Sinatra, and Tony Bennett, Kenny G, and Michael Jackson. She has performed on numerous classical recordings ranging from chamber music to a concerto album with the English Chamber Orchestra. She has been the recipient of several awards of recognition from the National Academy of Recording Arts and Sciences.

While continuing her busy recording career, Louise has held the Principal Flute position in many Los Angeles area orchestras, including the Orange County Pacific Symphony, Pasadena Symphony, and Hollywood Bowl Orchestra. A partial list of orchestras with which she has appeared as soloist includes the Boston Pops, Orange County Pacific Symphony, Pasadena Symphony, Los Angeles Chamber Orchestra, Mexico City Symphony, and 21 seasons with the Carmel Bach Festival.

She has taught flute since the age of 18 and has served on the faculties of the University of Southern California, Music Academy of the West in Santa Barbara, and California State University at Fullerton. Several of her students now occupy the Principal Flute chairs in a number of major symphony orchestras and fill the ranks of working flutists throughout the country.

Carol Kaye

Carol Kaye was born in Everett, Washington to musician parents, Clyde and Dot Smith, both professionals. She has played and taught guitar professionally since 1949, played bebop jazz guitar in dozens of nightclubs around Los Angeles with top groups (also in Bob Neal's jazz group with Jack Sheldon backing Lenny Bruce, with Teddy Edwards, Billy Higgins etc.), accidentally got into studio work late 1957 with the Sam Cooke recordings and other big recordings on guitar for the 1st 5 years of studio work in Hollywood.

In 1963 when a Fender bassist didn't show up for a record date at Capitol Records, she picked up the Fender bass (as it was called then) and augmented her busy schedule playing bass and grew quickly to be the no. 1 call with record companies, movie & TV film people, commercials, and industrial films. She enjoyed working under the direction of Michel LeGrand, Quincy Jones, Elmer Bernstein, Lalo Schifrin, David Rose, David Grusin, Ernie Freeman, Hugo Montenegro, Leonard Rosenman, John Williams, and Alfred & Lionel Newman, as well as the numerous hits she recorded for hundreds of recording artists.

Beginning in 1969, she wrote her first of many bass tutoring books, "How To Play The Electric Bass," effectively changing the name of Fender bass to "electric bass" and began teaching hundreds of students, many of them now famous themselves. Her teachings are endorsed by such notables as Professor Joel Leach, a 10-year winner of the Pacific Jazz Festival Awards with his famous Cal-State Northridge jazz bands, and Plas Johnson, the jazz/blues studio sax legend of "Pink Panther" fame.

Carol stepped out to perform live with the Hampton Hawes Jazz Trio in the mid-1970s, has given many seminars all over the United States, and is a leader in electric bass education.

Dick Nash

Dick Nash started playing a brass instrument at the age of 10. His parents died and, since he was very young, he went to a boarding school where he came in contact with brass playing. His first brass instrument was an army bugle and he was told to play the trumpet. Even then he was attracted to the trombone and practiced it secretly. The bandmaster heard him play trombone and said "the trumpet is too small for you, you must play the baritone." During his high school days he switched to the trombone and took lessons from John Coffey of the Boston Symphony Orchestra.

Dick took classical trombone lessons and played all the repertoire, but his desire was to play dance music, which was very popular in the '40s and '50s. During this period there was a great market for the big bands, ballroom bands and so on. He traveled with Billy May and played in several other bands. In the '50s, the popularity of big bands waned and a lot of great bands disappeared. Dick had problems finding a job as a trombone player (as did a lot of other players at that time.) In 1953, Dick married Barbara and he asked her if she would like to go to Los Angeles for their honeymoon. She said yes, so they packed their bags and left to build a new future. For nearly a year they struggled but a rescue came from Tommy Pederson, who arranged a job for him with one of the local bands. This was his lucky break and his great Los Angeles career began.

He soon became a first call studio musician, and was composer/conductor Henry Mancini's favorite trombonist. Dick was featured soloist on several Mancini soundtracks, beginning with Mr. Lucky and Peter Gunn. Nash's trombone is featured on the theme from Hatari! from the soundtrack for the John Wayne film (1962), Breakfast At Tiffany's (1961), and The Days of Wine and Roses. In 1959 he played bass trombone on Art Pepper + Eleven's Modern Jazz Classics.

Thank You!

What a night! Thank you to all who turned out for our inaugural Lifetime Achievement Awards. View the photo gallery here.

Press Release


This free event is open to the public.

Guests will enjoy live jazz, and delicious Southern BBQ will be available from the Burnt To A Crisp Texas Smokehouse from 6-8 p.m.

Media Advisory