Vincent Ned DeRosa (October 5, 1920 – July 18, 2022) was an American hornist who served as a studio musician for Hollywood soundtracks and other recordings from 1935 until his retirement in 2008. Because his career spanned over 70 years, during which he played on many film and television soundtracks and as a sideman on studio albums, he is considered to be one of the most recorded brass players of all time. He set "impeccably high standards" for the horn, and became the first horn for Henry Mancini, Lalo Schifrin, Alfred Newman, and John Williams, among others, with Williams calling him "one of the greatest instrumentalists of his generation." DeRosa contributed to many of the most acclaimed albums of the 20th century, including some of the biggest-selling albums by artists as diverse as Frank Sinatra, Barry Manilow, Frank Zappa, Boz Scaggs, Ella Fitzgerald, Harry Nilsson, Stan Kenton, Henry Mancini, The Monkees, Sammy Davis Jr., and Mel Tormé. Early life and training 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 ten with Peter Di Lecce, Principal Horn of the Chicago Symphony Orchestra. In 1932, the family moved to Los Angeles. While still a teenager, DeRosa studied briefly with his uncle, Vincent DeRubertis. He also studied with and played several times for Alfred Edwin Brain Jr., Dennis Brain's uncle. Career DeRosa began his professional career in 1935 by substituting for another player in the San Carlo Opera Company's production of La traviata. When the U.S. entered World War II, DeRosa enlisted before he could be drafted and was assigned to play with the California Army Air Forces radio production unit. He was discharged in 1943 because he was the head of a household. However, eventually he was recalled to service and was demobilized in 1945. Recording DeRosa's recording career began shortly after his military service ended, and he quickly established himself as the first-call session horn player in the recording industry. He recorded extensively in several genres, including jazz, rock, pop, and classical. His name has become a metaphor for prolific recording: in Collected Thoughts on Teaching and Learning, Creativity, and Horn Performance Douglas Hill refers to a prolific session player as "the Vince