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Stop All That Jazz
Stop All That Jazz
Stop All That Jazz
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Stop All That Jazz
Studio album by
Leon Russell
ReleasedMay 10, 1974
Recorded1974
Studio
  • Leon Russell's House (Tulsa, Oklahoma)
  • Paradise (Tia Juana, Oklahoma)
  • Pete's Place (Nashville)
  • The Church (Tulsa, Oklahoma)
Length35:46 (original): 41:27 (reissue)
LabelShelter Records (US); A&M (UK)
ProducerLeon Russell
Leon Russell chronology
Hank Wilson's Back Vol. I
(1973) 		Stop All That Jazz
(1974) 		Live in Japan
(1975)
Professional ratings
Review scores
SourceRating
AllmusicStarStar[1]
Christgau's Record GuideD+[2]
Tom HullD+[3]
Leon Russell in 1973, Shelter Records file photo

Stop All That Jazz is an album by singer and songwriter Leon Russell. The album was recorded in 1974 at Russell's House Studio in Tulsa, Oklahoma; Paradise Studios in Tia Juana, Oklahoma; Pete's Place in Nashville, Tennessee; and Shelter The Church Studio, in Tulsa. Stop All That Jazz is Russell's sixth solo album.

The Gap Band, a funky group of Tulsans, backed Russell on the Stop All That Jazz album. Through the Stop All That Jazz album Russell introduced the world to The Gap Band. The Gap Band then released its debut album Magician's Holiday on Russell's Shelter Records label. Later Russell played piano on the group's 1977 The Gap Band release.[4]

The album shows Russell's creativity, coming after his country music album Hank Wilson's Back Vol. I. There is a diverse array of songs on the album, some jazz as well as synthesizers and programmed drum machines. There are some standards written by others, including Bob Dylan's "The Ballad Of Hollis Brown" and Tim Hardin's "If I Were A Carpenter." "Wild Horses" by The Rolling Stones was added to later versions of the album as a bonus track. Willie Nelson helped with the album, playing guitar and singing on the song "Wabash Cannonball." John Cale also played on "If I Were a Carpenter". The album was produced by Tom Cartwright, Leon Russell and Denny Cordell.[5][6]

Track listing

[edit]
  • All songs written by Leon Russell except where noted.

Side one

  1. If I Were a Carpenter (Tim Hardin) - 3:50
  2. Smashed (Mose Allison) - 2:17
  3. Leaving Whipporwhill - 4:04
  4. Spanish Harlem (Jerry Leiber/Phil Spector) - 4:33
  5. Streaker's Ball - 2:15

Side two

  1. Working Girl - 3:11
  2. Time for Love - 4:00
  3. The Ballad of Hollis Brown (Bob Dylan) - 3:54
  4. Mona Lisa Please - 3:28
  5. Stop All That Jazz - 3:59

Bonus tracks

  • Note: "Time For Love" is incorrectly listed as 3:40 on the sleeve/record centre. 4:00 is the correct time.

Charts

[edit]
Chart (1974) Peak
position
Australia (Kent Music Report)[7] 58
United States (Billboard 200) 34

Personnel

[edit]
  • Leon Russell - Banjo, Bass, Composer, Guitar, Keyboards, Piano, Piano (Electric), Primary Artist
  • Willie Nelson - Guest Artist, Guitar, Guitar (Rhythm), Performer, Primary Artist, Vocals
  • Ann Bell - Vocals, Vocals (Background)
  • Henry Best - Bass
  • Chuck Blackwell - Drums
  • J.J. Cale - Guitar, Guitar (Electric)
  • Chris Clayton - Horn, Vocals (Background)
  • Joey Cooper - Guitar, Vocals
  • John Gallie - Keyboards, Programming
  • Linda Hargrove - Guitar, Guitar (Acoustic)
  • Karl Himmel - Drums
  • Jim Keltner - Bass, Drums
  • William Kenner - Mandolin
  • Marcy Levy - Vocals, Vocals (Background)
  • Tommy Lokey - Horn, Vocals (Background)
  • Jamie Oldaker - Drums
  • Don Preston - Dobro, Guitar, Vocals
  • Carl Radle - Bass
  • Edwin Scruggs - Guitar, Guitar (Acoustic)
  • Lena Stephens - Vocals, Vocals (Background)
  • Odell Stokes - Guitar
  • Pam Thompson - Vocals, Vocals (Background)
  • Cam Wilson - Organ, Percussion, Vocals (Background)
  • Charlie Wilson - Keyboards, Vocals
  • Ric Wilson - Bass
  • Robert Sinclair Wilson - Bass, Drums
  • Ronald Wilson - Horn, Vocals (Background)
  • Pete Drake - Engineer, Guitar (Steel)
  • Tom Cartwright - Producer
  • Denny Cordell - Producer
  • Tom Russell - Engineer
  • Tami Masak - Assistant Engineer, Assistant Producer
  • Terence P. Minogue - Assistant Engineer, Assistant Producer
  • Kent Duncan - Engineer
  • Steve Hoffman - Engineer
  • Cheryl Pawelski - Assistant Engineer, Assistant Producer
  • Bernadette Fauver - Assistant Engineer, Assistant Producer
  • Margaret Goldfarb - Assistant Engineer, Assistant Producer
  • John LeMay - Engineer
  • Charles Levan - Assistant Engineer, Assistant Producer
  • Tom Wilkes - Design

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Stop All That Jazz

View on Grokipedia
from Grokipedia
Stop All That Jazz is the fifth studio album by American and , released on May 10, 1974, by . The album blends rock, folk, world, and country elements, featuring Russell's signature piano-driven arrangements across ten tracks, including originals like "Smashed" and "Stop All That Jazz," as well as covers such as Tim Hardin's "If I Were a Carpenter," and Jerry Leiber's "Spanish Harlem," and Bob Dylan's "The Ballad of Hollis Brown." Recorded primarily in 1974 at Leon Russell's House Studio and Shelter Church Studio in Tulsa, Oklahoma, along with Paradise Studios in Tia Juana, Oklahoma, and Pete's Place in Nashville, Tennessee, the sessions showcased Russell's collaborative spirit with a diverse ensemble of musicians. Notable contributors included the emerging funk group The Gap Band—consisting of brothers Charlie, Ronnie, and Robert Wilson—who provided backing on several tracks, marking an early introduction of the Tulsa-based act to a wider audience. Additionally, country legend Willie Nelson played rhythm guitar on "If I Were a Carpenter," while other session players like drummer Jamie Oldaker, bassist Carl Radle, and keyboardist Don Preston rounded out the sound. The album's eclectic mix reflects Russell's versatile career, bridging his session work with influences from , , and Southern music traditions, and it stands as a key release in his catalog during the mid-1970s.

Background

Pre-release context

Leon Russell built a formidable reputation as a and in the late and early 1970s, contributing piano, guitar, and arrangements to landmark recordings by artists including , , and . His versatility extended to , as a member of the house band for ABC's Shindig! from 1964 to 1966, where he backed emerging pop acts. This period culminated in his pivotal role with , co-producing and arranging the 1969 album Joe Cocker! before organizing and leading the expansive Mad Dogs & Englishmen ensemble for Cocker's 1970 U.S. tour. The resulting live album, featuring approximately 48 shows across 48 cities, peaked at number two on the and sold over a million copies, solidifying Russell's influence in rock's evolving landscape. Russell's transition to a solo artist further highlighted his experimental bent, with his self-titled debut in 1970—featuring guests like and —achieving gold status and establishing , which he co-founded. His 1972 follow-up, Carney, became his biggest commercial success to date, peaking at number 2 on the with hits like "Tight Rope" and blending , and gospel elements. However, his fifth album, (1973), released under the pseudonym Hank Wilson, represented a deliberate pivot to , covering classics by , , and others with Nashville session players at Bradley's Barn. This release, co-produced by J.J. Cale, reached the Top Ten on the country charts but stalled at number 66 on the pop side, reflecting Russell's deep-rooted affinity for the genre amid his rock prominence. By 1973-1974, the music industry was experiencing a boom in -rock fusion, a that merged 's improvisational complexity with rock's rhythmic drive and electric instrumentation, peaking in popularity during this era. Pioneering works like Herbie Hancock's (1973), which sold over a million copies, and Chick Corea's (1972-1974 albums) exemplified the style's commercial and artistic appeal, drawing rock audiences into territory through accessible yet sophisticated sounds. This burgeoning fusion movement, building on late-1960s innovations by and others, encouraged artists to explore hybrid forms, setting the stage for Russell's return to eclectic rock and influences after his excursion.

Album conception

Stop All That Jazz marked Leon Russell's fifth solo studio album, envisioned as a return to his foundational rock influences after the country-oriented Hank Wilson's Back Vol. I (1973). This shift allowed Russell to explore a broader creative palette, reasserting his piano-centric rock style while venturing into experimental jazz territories. Central to the album's conception was an emphasis on stylistic diversity, merging piano-driven rock with jazz and funk infusions to create a dynamic, eclectic soundscape. Russell incorporated synthesizers, such as the Moog, to enhance the blend of genres and add modern textural layers. Influences from jazz pianists like Ray Charles and Mose Allison informed this approach, enabling reinterpretations of standards alongside original compositions that pushed boundaries without abandoning accessibility. The album's title, Stop All That Jazz, playfully alluded to curbing excessive musical complexity, serving as an ironic commentary given the project's embrace of intricate jazz experimentation and genre fusion. This thematic intention reflected Russell's intent to balance with his rock heritage, positioning the work as a deliberate evolution in his discography.

Recording and production

Studio sessions

The recording sessions for Stop All That Jazz took place throughout 1974 across several studios, allowing for a flexible workflow that supported both intimate and larger ensemble recordings. Key locations included Leon Russell's House Studio in ; Paradise Studios in Tia Juana, near Grand Lake of the Cherokees; Pete's Place in ; and (also known as Shelter Church Studio) in Tulsa. The album was produced by and , who oversaw the integration of live band performances with layered production elements to blend rock, jazz, and R&B influences. Sessions incorporated early electronic instrumentation, notably the played by Russell on tracks such as "Leaving Whipporwhill," "Streaker's Ball," "Working Girl," "Time for Love," and "The Ballad of Hollis Brown," contributing to the album's experimental fusion sound.

Personnel

Leon Russell was the central figure in the recording of Stop All That Jazz, contributing lead vocals, piano on all tracks, guitar on select tracks such as "Spanish Harlem," bass on tracks including "Time for Love" and " Please," electric piano on "Time for Love," on multiple tracks like "Leaving Whipporwhill" and "Streaker's Ball," on "Working Girl," and percussion on "Streaker's Ball." The album featured contributions from a diverse group of Tulsa-based and Nashville musicians, reflecting Russell's deep ties to the local scene. Key additional players included on bass for tracks like "Leaving Whipporwhill" and "Streaker's Ball," Joey Cooper on guitar for "Leaving Whipporwhill," and on guitar and for the same track. Guest appearances added distinctive flavors, with providing on the cover of "If I Were a Carpenter" and contributing to the same track. Henry Best played bass and William Kenner on "If I Were a Carpenter." A notable collaboration came from , a ensemble from Tulsa whose members infused several tracks with rhythmic energy and their signature groove rooted in the city's musical heritage. Band members Ronnie Wilson, Tommy Lokey, and Chris Clayton provided horns and backing vocals on "The Ballad of Hollis Brown," while Charlie Wilson (as Charles Wilson) added organ, percussion, and backing vocals on selections like "Smashed," "Spanish Harlem," and "The Ballad of Hollis Brown." This involvement marked an early major exposure for , highlighting their influence before their breakthrough as a standalone act. Other supporting musicians included Robert Wilson on bass for tracks such as "Smashed," "," and "The Ballad of Hollis Brown," on drums for "Smashed," "Streaker's Ball," "Working Girl," and "Stop All That Jazz," John Gallie on organ for "Leaving Whipporwhill," and background vocalists like Marcy Levy, Pam Thompson, and across various cuts. Drummers like , Karl Himmel, Chuck Blackwell, and Roscoe Smith, along with guitarists , O'Dell Stokes, and Edwin Scruggs, and steel guitarist , rounded out the ensemble on specific recordings. On the production side, co-produced the album alongside . Engineering duties were handled primarily by John Le May for most tracks, with assistance from Kirk Bressler, and additional engineering by and ; Kent Duncan mastered the original release.

Composition

Musical style

Stop All That Jazz is characterized primarily as piano rock infused with jazz elements, drawing on Leon Russell's signature keyboard prowess to create an experimental sound that incorporates synthesizers, drum machines, and rhythms. The album's eclectic style blends rock foundations with jazzy improvisations and grooves, particularly evident in the rhythmic drive provided by , a Tulsa-based funk ensemble that backed Russell on several tracks. Influences on the album include nods to Bob Dylan's folk traditions through covers like "If I Were a Carpenter." Emerging synthesizer experimentation is highlighted by the use of Moog synthesizers and programmed drum machines, adding layered, modern textures to the arrangements. Critics have described the overall sound as a smeary approach to rock with undertones, creating a diverse and unpredictable listening experience. Key sonic features include prominent honky-tonk piano on upbeat tracks like "Streaker's Ball," which evokes a jaunty, Cab Calloway-inspired vibe, contrasted with sparse, intimate arrangements on ballads that emphasize Russell's vocal and piano delivery. The Gap Band's contributions provide a funky rhythmic backbone, particularly on title track "Stop All That Jazz," where synthesizers enhance the experimental edge. This combination results in an album that prioritizes playful eclecticism over strict genre adherence, marking a creative pivot in Russell's .

Track listing

The original 1974 release of Stop All That Jazz by Leon Russell consists of ten tracks with a total running time of approximately 35 minutes.
No.TitleWriter(s)Length
1If I Were a Carpenter3:50
2Smashed2:17
3Leaving WhipporwhillLeon Russell4:04
4Spanish HarlemJerry Leiber, 4:33
5Streaker's BallLeon Russell2:15
6Working GirlLeon Russell3:11
7Time for LoveLeon Russell3:40
8The Ballad of Hollis Brown3:54
9Mona Lisa PleaseLeon Russell3:28
10Stop All That JazzLeon Russell3:59
The album includes covers of songs by , , Leiber and Spector, and , with the latter's folk ballad "" reinterpreted with jazz elements. Later reissues, such as the 1995 Capitol CD edition, add bonus tracks including a cover of "Wild Horses" by and (3:37).

Release

Release details

Stop All That Jazz was released on May 10, 1974, by in the United States under catalog number SR-2108 and by in the under catalog number AMLS 68262 for the vinyl LP. The original format was a vinyl LP with a runtime of 35:46, comprising ten tracks. Subsequent CD reissues, including a 1995 edition by , added bonus tracks such as "Wild Horses" and "Wabash Cannonball" (featuring ), extending the total runtime to 41:27, along with later reissues such as the 2002 edition by Lemon Records and a 2013 mini-LP by Vivid Sound in . The album's packaging featured a cover photograph of in a setting, taken by Dan Mayo and designed by Tom Wilkes, accompanied by crediting producers and .

Promotion and singles

Stop All That Jazz did not yield any major commercial singles, consistent with its orientation toward cohesive album listening experiences in the rock genre rather than individual hit tracks. The album's promotion was integrated with Leon Russell's active 1974 tour schedule, where he performed alongside the Gap Band—who had backed him on the recording—and showcased selections from the new release during live shows. Notable tour stops included RFK Stadium in Washington, D.C., on May 19, and Engel Stadium in Chattanooga, Tennessee, on June 1. Performances often featured album cuts like "Smashed" to highlight the fresh material for audiences. Complementing the tour, Russell appeared in a dedicated on The Midnight Special, aired July 16, 1974, and taped at his Tulsa studio, with joining for renditions of songs such as "Alcatraz" and covers like "Ain't That Peculiar." bolstered the campaign with print advertising, including posters that spotlighted tracks like "Leaving Whipporwhill" and emphasized the album's fusion of rock, , and experimental elements. Media exposure further amplified reach, with contemporaneous reviews in outlets like (August 1974), (1974), and Circus (September 1974) discussing Russell's evolving sound.

Reception and legacy

Critical reception

Upon its release in 1974, Stop All That Jazz received mixed to negative reviews from critics, who often highlighted its uneven execution despite Russell's evident ambition to blend jazz elements with his rock and pop sensibilities. In Rolling Stone, Chet Flippo described the album as "an awkward pastiche of substanceless songs and failed jazz attempts," criticizing tracks like "Mona Lisa Please" for poor imitation of and "The Ballad of Hollis Brown" for an embarrassing take on ' style, while acknowledging isolated bright spots such as "Leaving Whipporwhill." Similarly, awarded it a D+ grade in his Village Voice consumer guide, lambasting the album's "bad jokes" starting with the cannibal-themed and pointing to dumb lyrics in the cover of "If I Were a Carpenter," though he noted the title track's horn riffs as the only element worth revisiting. Retrospective assessments have echoed this , emphasizing a lack of cohesion in Russell's experimental forays. On , user reviews average 3.07 out of 5 based on over 100 ratings, with many praising Russell's playing and versatile covers like "If I Were a Carpenter" for their emotional delivery, but faulting the overall production and over-experimentation with as detracting from his core strengths. Common critical themes include appreciation for Russell's musical versatility and interpretive covers, which showcase his prowess, contrasted with widespread disapproval of the album's overreaching experiments that result in an inconsistent and sometimes numbing listen.

Commercial performance

Stop All That Jazz peaked at number 34 on the Billboard 200 chart in 1974, spending 16 weeks on the listing. Despite this chart performance, the album achieved only modest sales, reflecting Leon Russell's transition into a post-peak commercial phase following the height of his early success with albums like Carney, which had reached number 2 on the 200. This period coincided with distribution challenges at , the independent label Russell co-founded, which struggled financially and relied on shifting partnerships with major distributors like . The album received no RIAA certifications for sales thresholds such as or status. Nevertheless, Stop All That Jazz has maintained steady catalog sales over the decades, supported by Russell's enduring fanbase and his reputation as a influential songwriter and performer.

Reissues and influence

The album has seen several reissues in various formats since its original 1974 release. In 1995, issued a CD edition through its The Right Stuff imprint, adding two bonus tracks: a cover of ' "Wild Horses" and "" featuring on vocals. A 2007 Japanese replica edition was released by Toshiba-EMI, faithfully reproducing the original packaging in a sleeve. During the 2010s, Elemental Music produced multiple Ultimate High Quality CD (UHQCD) editions, including a 2018 replica with expanded detailing the album's recording sessions and contributions from . While Stop All That Jazz had minimal direct impact on the jazz-rock genre, it bolstered Leon Russell's reputation as a genre-blending artist, incorporating elements of rock, , and funk through collaborations like his work with the then-up-and-coming as the backing ensemble. Tracks such as "Streaker's Ball" have been occasionally covered in tribute performances and compilations honoring Russell's songwriting, reflecting its enduring appeal in niche and circles. In Russell's broader career, the album is regarded as a transitional work, bridging his and explorations of the early —seen in releases like Hank Wilson's Back!—with the more blues-infused phases that emerged later, such as his 2007 album Angel in Disguise. Renewed interest in the album and Russell's catalog surged following his 2010 collaboration with on the album The Union, which reintroduced his eclectic style to new audiences and prompted fresh listens to earlier efforts like Stop All That Jazz.

References

  1. https://rateyourmusic.com/release/album/leon-russell/stop-all-that-jazz/
  2. https://www.discogs.com/release/2299979-Leon-Russell-Stop-All-That-Jazz
  3. https://www.allmusic.com/album/stop-all-that-jazz-mw0000207825
  4. https://www.oklahoman.com/story/entertainment/columns/brandy-mcdonnell/2016/11/14/gap-bands-charlie-wilson-remembers-leon-russell-i-learned-so-much-from-him/60637851007/
  5. https://www.leonrussell.com/about
  6. https://www.leonrussell.com/hank-wilson
  7. https://www.allmusic.com/style/fusion-ma0000002607
  8. https://www.superseventies.com/sprussellleon2.html
  9. https://www.discogs.com/master/81043-Leon-Russell-Stop-All-That-Jazz
  10. https://primarywave.com/writer/leon-russell/
  11. https://www.discogs.com/release/10415378-Leon-Russell-Stop-All-That-Jazz
  12. https://www.onamrecords.com/artists/leon-russell/discography/britain/a-m-records-ltd/yam-68262/stop-all-that-jazz
  13. https://www.rateyourmusic.com/release/album/leon-russell/stop-all-that-jazz/
  14. https://www.rhino.com/article/leon-russell
  15. https://www.discogs.com/release/809605-Leon-Russell-Stop-All-That-Jazz
  16. https://secondhandsongs.com/work/1437/versions-of-the-ballad-of-hollis-brown
  17. https://www.discogs.com/release/9313078-Leon-Russell-Stop-All-That-Jazz
  18. https://www.discogs.com/release/4806602-Leon-Russell-Stop-All-That-Jazz
  19. https://www.concertarchives.org/concerts/leon-russell--19
  20. https://www.youtube.com/watch?v=RCkqwgIwkFA
  21. https://www.concertarchives.org/concerts/new-riders-of-the-purple-sage-leon-russell-e7540cd8-9edc-478c-8fac-159a6c852bd3
  22. https://www.youtube.com/watch?v=19z9JSaTm8c
  23. https://www.ebay.com/itm/197848100958
  24. https://www.robertchristgau.com/get_album.php?id=7703
  25. https://www.bsnpubs.com/abc/shelter.html
  26. https://www.amazon.co.jp/-/en/Stop-All-That-Jazz-Ltd/dp/B07HC5H98S
  27. https://www.discogs.com/release/12929204-Leon-Russell-Stop-All-That-Jazz
  28. https://www.allmusic.com/artist/leon-russell-mn0000816387
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