Jerry Fuller

The extensive professional path of clarinetist Jerry Fuller encompasses a distinctive sequence of sessions released under his own name, a prolonged partnership alongside trombonist Jack Teagarden, and, during his later decades, involvement with the forward-looking Style Is Back in Style ensemble. Although his identity is frequently connected to classic Dixieland approaches—he held the distinction of being the longest-surviving participant in the founding lineup of the Dukes of Dixieland—Fuller shares with clarinetist Pee Wee Russell a reputation for updating the musical surroundings he enters, all while maintaining ease among fellow players.

Distinct from both the modern jazz drummer from Alberta and the Texas-based rock musician and producer who share the name, Fuller originated in California and took up the clarinet during childhood. He entered Jimmy Zito’s ensemble in 1949, moved the following year to Will Osborne’s group, and then served in the military reed section until 1953. After an extended stint with Pete Daily’s Chicagoans, he launched a trio in Hollywood, yet soon accepted the steadier opportunities presented by Teagarden. The ensuing four-year association included an extended Asian itinerary backed by the U.S. State Department. Fuller attached himself to the Dukes of Dixieland in 1959 and can be heard on the ensemble’s Audio Fidelity releases.

His independent discography features projects issued by Capitol, Columbia, and Decca. He also supplied woodwind work for numerous variety programs on 1960s television, including pit-orchestra duties for The Dean Martin Show, The Mike Douglas Show, and The Ed Sullivan Show. Fuller frequently anchors an album around a chosen stylistic premise, as illustrated by South American Cookin’ from 1961, a set of current hit themes issued the same year, and the swinging treatments of seasonal standards that Style Is Back in Style recorded for the 2004 album Christmas Is for Us Kids.