World Drum Corps Hall of Fame inductees made contributions coast to coast and even South Africa

The seven men to be inducted into the World Drum Corps Hall of Fame on September 4 have made outstanding contributions to the international drum and bugle corps movement right across the continent, from Quebec south to Louisiana, west to California and as far away as South Africa.

The inductions will take place at the mid-day banquet and awards ceremony in Scranton, PA, during the Drum Corps Associates Labor Day weekend championships. They were selected by the Hall of Fame screening committee.

Michel Boulanger, of Ste. Foy, QUE, began his percussion career at Ste. Dominique School in 1953. He became a snare drummer with Les Diplomats de Quebec in 1961 and continued to play snare while serving as their instructor/arranger from 1970 until 1973. He was instructor and arranger for Offensive Lions and Les Chatelaines de Laval, two of Quebec’s top junior corps from 1974 to 1979, then served as consultant to the Rosemont Cavaliers, Spirit of Atlanta and Concord Blue Devils.

In 1974, he was appointed percussion quality control manager for DCA. He pioneered score sheet changes that separated the marching drum line from the stationary pit ensemble. He has also judged percussion for DCA, DCI and the Canadian Judges Association.

Raymond A. Cappiccille, of Whiting, NJ, began his drum corps career 1950, when he joined the Holy Name Cadets, playing French horn. He continued on French horn with the Hawthorne Caballeros from 1957 to 1965 and switched to the mellophone when he joined the Hawthorne Caballeros Alumni in 1994. He was the drill designer/instructor for the Garfield Cadets from 1967 to 1973 and their program co-ordinator from 1974-1978. From 1963 until 1981, he judged marching/GE with various associations including New York All-American, National, Mid Atlantic, DCA, DCI and WGI.

Frank Dorritie, of Brentwood, CA, began his performance career as a bugler with Scout Pack NYC in 1958 before he moved on to play with St. Catherine’s Queensmen. He spent 10 years as the soprano soloist with the Long Island Sunrisers, becoming their brass instructor/arranger for three years from 1970 to 1973.

He has been the instructor/arranger for some the best-known corps in North America, including Garfield Cadets, Blue Devils, Santa Clara Vanguard, Bayonne Bridgemen, 27th Lancers, Bluecoats, Connecticut Hurricanes, Westshoremen and, most recently, the San Francisco Renegades.

He has also been an audio producer since 1977 and has received nine Grammy nominations and two Grammy awards. He has also served as a brass and music judge for a number of associations and was the first judge from the United States to participate in judging 40 African corps, in Johannesburg, South Africa, in 1999.

Marty Hurley, of New Orleans, LA, began his odyssey into drum corps in 1955, playing snare drum for the Neptune, NJ, Shoreliners. He also played with Blessed Sacrament Golden Knights and the Hawthorne Caballeros. For several years in the 1970s, he was the percussion instructor/arranger for three Louisiana corps: the Stardusters, Bleu Raeders and Southern Rebels. He also taught and arranged for Belleville Black Knights and Phantom Regiment.

He served as percussion judge for the Percussive Arts Society for four years and has conducted percussion clinics for the national meetings of Music Educators Conferences and regional music educators sessions in Louisiana and Texas. He is currently a marching percussion clinician for Sabian Cymbals.

Howard “Whitey” Roberts, of Summerdale, NJ, had his initial foray into drum corps in 1949, playing a baritone for a local American Legion post. In 1951, he joined the Liberty Bell Cadets. As a senior corps member, he played baritone with the Reilly Raiders and switched to contra bass when he migrated to the Archer-Epler Musketeers and the United States Air Force Drum and Bugle Corps at Bolling Field in Washington, D.C.

During almost three decades as a marching and maneuvering instructor, he taught such well-known corps as Vassella Musketeers, Belles of St. Mary’s, York White Roses, Archer-Epler Musketeers and the Yankee Rebels. He was the chief judge for the National Judges Association for 36 years, from 1963 to 1999. He has also judged for DCA. Roberts is currently active adjudicating high school bands and color guards.

Louis Storck, of Fairlawn, NJ, the quintessential Hawthorne Caballero, began his career in 1955 with the percussion section of Our Lady of Lourdes. He joined the Caballeros in 1966 and ever since has served as color guard captain or assistant drum major.

He has been the operations manager for the Caballeros since 1985. He has been an active color guard and high school band instructor for many schools in New Jersey. He currently instructs marching and maneuvering for the Kearny and Nutley High School bands. The persuasion color guard has won eight championships under his tutelage. He has been a dynamic presence at DCA congresses for the past 20 years.

Robert Sullivan, of LeRoy, NY, began his life in drum corps as a percussionist with St. Joseph’s of Batavia in 1942. In 1951, he moved a few miles down the road to play cymbals with the Brockport Grenadiers. He was the drill instructor for St. Joseph’s from 1956 to 1961 and served as their director from 1956 to 1971. He also served as director of the Rochester Crusaders from 1980 to 1982. He has been the director of Mighty St. Joe’s Alumni since 1992.

Since its founding in 1976 by the late Vince Bruni of Rochester, NY, membership in the World Drum Corps Hall of Fame has grown from six charter members to a total of more than 400 regular and associate members from the United States and Canada. The organization is currently soliciting nominations from outside North America, in recognition of the more widespread drum corps activity, particularly in Europe and Southeast Asia.

The World Drum Corps Hall of Fame is a non-profit organization honoring those individuals who have, over a number of years, contributed significantly to the development and continuing excellence of the activity through individual or collective efforts. The organization also seeks to preserve the history of the drum and bugle corps movement in North America by selecting a noteworthy junior and senior “corps of the decade.”

An important part of the Hall of Fame’s purpose is to enhance a feeling of good fellowship among the many individuals and organizations involved with drum and bugle corps activity, thereby enhancing constructive contributions in all areas.

More information about the World Drum Corps Hall of Fame is available at