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The Church Studio
The Church Studio
Location304 S. Trenton Ave., Tulsa, Oklahoma
Coordinates36°9′21″N 95°58′11″W / 36.15583°N 95.96972°W / 36.15583; -95.96972
ArchitectChris Lilly (renovation)
Architectural styleGothic Revival
WebsiteThe Church Studio
NRHP reference No.100001595[1]
Added to NRHP8 September 2017

The Church Studio is a recording studio in the Pearl District of Tulsa, Oklahoma established in 1972 by musician, songwriter, and producer Leon Russell. Located in a converted church building, the studio has since been cited as being the heart of the Tulsa Sound.[2]

History

[edit]

Originally built in 1915 as Grace Methodist Episcopal Church, the stone structure located at 304 South Trenton Avenue in Tulsa's Pearl District was converted to a recording studio in 1972 by Leon Russell, who bought the building and adjoining properties for his diverse recording activities and as a home for Shelter Records, the company he had previously started with partner Denny Cordell.[3][4] Russell eventually sold the building. Tulsa musician Steve Ripley, leader of The Tractors and partners bought it in 1987[5] and retained ownership until 2006.[6]

Numerous musicians recorded at The Church Studio during Russell's ownership, including Kansas (band) Willie Nelson, Stevie Wonder, Michael Bolton, Eric Clapton, Bonnie Raitt, Dwight Twilley, Dr. John, Charlie Wilson, Jimmy Buffett, Willis Alan Ramsey, JJ Cale, The Gap Band, Freddie King, Phoebe Snow and Peter Tosh. Mike Campbell (musician) and Tom Petty, with their early band Mudcrutch and later Tom Petty and the Heartbreakers, signed their first record deal with Shelter Records.[7][8] The studio's equipment includes a vast collection of vintage microphones, tape machines, Fairchild 660 and NEVE 8068 mixing console purchased from Daniel Lanois that is pictured on the album cover of the Bob Dylan album Time Out of Mind. Other notable equipment pieces includes Dan Fogelberg's Yamaha C-7 grand piano[9] and the Sakae drum kit of Jamie Oldaker, drummer of Eric Clapton.[10]

Leon Russell ultimately was inducted into the Rock & Roll Hall of Fame, Songwriters Hall of Fame, and Oklahoma Music Hall of Fame. Following Russell's death in 2016, flowers, paintings, memorabilia, and notes left by fans covered the church steps as a memorial.[11][12]

Restoration and reopening

[edit]

In 2009, new owners Jakob and Randy Miller declared their intention to revive The Church Studio as a music facility.[6][13] The following year, the Pearl District Association and the city of Tulsa collaborated to rename the section of East Third Street where the church is located as "Leon Russell Road."[6]

In 2016 the building was purchased by Tulsa entrepreneur Teresa Knox and her husband Ivan Acosta, who expressed their intention to renovate the building (a process that was expected to take two years but took over five years), seek registration on the National Register of Historic Places, and use it as a recording studio and community facility.[14]

Leon Russell bronze statue located in front of The Church Studio.

In 2022, after over five years of renovation, The Church Studio reopened to the public on March 1, 2022, the 50th anniversary of Leon Russell's purchase of the building.[15] The facility serves as a tourist attraction and includes a recording studio, concert and event venue, home of The Church Studio Archive, and audio engineering school.[16] A series of highly curated concert events included performances by Bill Champlin and Kenny Loggins.[17] Various musicians and bands have visited or recorded at the historic recording studio, which offers both analog and digital recording techniques, including Joe Bonamassa, 38 Special, Air Supply, Tommy Emmanuel, Lainey Wilson, Nick Mason, Bill Ward (musician), Lukas Nelson & Promise of the Real, George Thorogood Asleep at the Wheel, Marc Ribot, Kristin Chenoweth, Cory Henry The Oak Ridge Boys, The All-American Rejects, T Bone Burnett, Wes Studi, Gary Busey, Turnpike Troubadours, Rosanne Cash, The Mountain Goats, Elle King,[18] and Ray Wylie Hubbard. In 2022, Dropkick Murphys recorded their album, This Machine Still Kills Fascists, at the studio. The lyrics on the album are written by Oklahoma native Woody Guthrie. Taj Mahal co-produced and recorded Swingin' Live at the Church in Tulsa and received a Grammy nomination for Best Traditional Blues Album in 2024.[19]

A life-sized bronze statue of Leon Russell as he appeared in 1972 when he purchased the church, including his Wrangler denim jacket, snake-skinned boots, cross necklace, and signature top hat, stands at the new entrance of The Church Studio. The statue, which took three years to complete, was created by artist Jim Franklin of Perry, Oklahoma, was commissioned by Teresa Knox, who also owns the copyright.[20][21]

The building was listed on the National Register of Historic Places in 2017 due to its significance to American music culture and being the heart of the Tulsa Sound.[22]

Grammy Awards lists the Church Studio a top 10 studio that takes fans behind the scenes.[23]

References

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The Church Studio

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from Grokipedia
The Church Studio is a renowned in , originally constructed in 1915 as the Grace Methodist Episcopal Church and transformed into a music production facility in 1972 by and producer . Located at 304 South Trenton Avenue in the Pearl District, it served as the headquarters for Russell's label and became a pivotal creative hub for the development of the , a genre blending , , , and influences. Over its history, the studio has hosted legendary artists including JJ Cale, , , , , , , , and , where they recorded seminal tracks that shaped in the 1970s and beyond. The building's ecclesiastical origins trace back to its founding as a Methodist church, with subsequent uses by the First United Brethren Church (by 1928), the First Evangelical United Brethren Church (1948–1961), and the First Church of God (by 1961), before falling into disrepair until Russell's acquisition. Under Russell's vision, the dilapidated structure was renovated into a world-class studio, fostering a collaborative environment that attracted musicians from across the and contributed to Tulsa's emergence as a rock music epicenter during the era. After the end of Leon Russell's ownership in the early 2000s, the studio passed to various owners including and Charlene Ripley and Randy and Debbie Miller. In 2016, entrepreneurs Ivan Acosta and Teresa Knox acquired the property and spearheaded a major restoration, completed in March 2022, preserving its historic architecture while integrating modern recording technology. As of 2025, The Church Studio operates as a multifaceted venue encompassing recording services with both analog and digital capabilities, guided historic tours highlighting its musical legacy, an audio engineering school for aspiring producers, and an event space accommodating up to 150 guests for performances and receptions. It continues to honor the through initiatives like album sessions and educational programs, maintaining its status as a preserved of American music history.

Origins and Early Use

Construction and Church History

The Church Studio building, located at 304 S. Trenton Avenue in , was originally constructed in 1915 as the Grace Methodist Episcopal Church. This brick structure served as one of the earliest churches in the rapidly growing city, providing a place of worship for the local Methodist Episcopal congregation during a period of significant urban development in Tulsa's Pearl District. The church survived the 1921 Tulsa Race Massacre, a violent event that destroyed much of the nearby Greenwood District but spared structures like this one. The church was built by its own members and featured a simple brick facade at the time of completion, reflecting the modest architectural style common to early 20th-century religious buildings in the region. In 1928, the building was acquired and renamed the First United Brethren Church, where it remained in use by the United Brethren in Christ denomination until 1946. Following a transitional period, city directories from 1948 list it as the First , a denomination formed by the merger of the United Brethren and Evangelical churches, and it served in this capacity until 1961. That year, it underwent another name change to the First Church of God, continuing its role as a community worship site amid evolving denominational affiliations. During the mid-1950s, specifically around 1953, the congregation added a permastone facade over the original brick exterior to address aging and aesthetic concerns, though the project was incomplete due to funding shortages. By the 1960s, attendance and religious activity at the First Church of God had significantly declined, mirroring broader shifts in urban demographics and church consolidations in Tulsa. The building fell into vacancy and disrepair, becoming dilapidated by the early 1970s. In 1972, the vacant property was purchased by musician , marking the end of its history.

Architectural Features

The Church Studio, originally built in 1915 as the Grace Methodist Episcopal Church in , is a structure exemplifying Gothic Revival elements common in early 20th-century American ecclesiastical design, such as pointed arches and vertical emphasis to evoke spiritual aspiration. In the mid-1950s, the building underwent a significant modification with the addition of a distinctive permastone facade, transforming its appearance into a rugged, "castle-like" edifice that has since become visually iconic. The interior layout revolves around the original sanctuary, a spacious area with high, vaulted ceilings that originally facilitated communal worship and naturally amplified voices through reverb. Post-conversion, this space was adapted as the main recording room, while adjacent rooms—once used for church offices and classrooms—were repurposed for control rooms and support functions. These architectural choices contribute to the studio's acoustic profile, where thick stone walls and wooden structural elements create distinctive natural sound reflections and , providing an organic auditory environment that was later refined for professional recording without altering the core design.

Conversion and Golden Era

Acquisition by

In 1972, , a prominent Tulsa-born musician, songwriter, and producer, purchased the dilapidated former Grace Methodist Episcopal Church at 304 South Trenton Avenue in , transforming it from a shuttered religious site into a dedicated recording facility. The building, originally constructed in 1915, had fallen into disrepair by the time of the acquisition, but its stone architecture and central location in Russell's hometown made it an appealing choice for establishing a musical workspace. This purchase marked the beginning of the site's shift from ecclesiastical use to a cornerstone of the emerging scene. The conversion process involved outfitting the structure with essential recording equipment to create a functional studio environment, while also designating portions of the building as the headquarters and home office for Russell's label, which he co-founded in 1969. Basic setups were installed to leverage the natural reverb and acoustics of the high-ceilinged stone interior, turning the space into a versatile area for audio production without extensive structural alterations. These modifications blended professional studio capabilities with office functions, allowing seamless integration of administrative tasks alongside creative endeavors. From its official opening in 1972, The Church Studio operated as a dynamic creative hub where songwriting, rehearsals, and collaborative sessions flourished, reflecting Russell's vision of a multifunctional space that fused artistic and business elements of his career. The facility quickly became a focal point for musicians seeking an inspiring environment in Tulsa, emphasizing informal gatherings and experimentation over rigid production schedules. This era established the studio's reputation as more than a mere recording venue, but as an extension of Russell's personal and professional world.

Notable Recordings and Artists

During its peak under 's ownership from 1972 to the early 1980s, coinciding with ' operations until its closure in 1981, The Church Studio became a hub for prominent musicians, particularly those associated with the emerging genre. himself recorded multiple albums there, capturing his eclectic style blending rock, blues, and country influences. Other key artists included J.J. Cale, who recorded tracks emphasizing laid-back blues grooves with subtle rock elements. Tom Petty's early band Mudcrutch recorded tracks such as “I Can't Fight It” and “Lost in Your Eyes” at the studio in 1974 and signed their first record deal with Shelter Records there. Visiting luminaries like Eric Clapton, Willie Nelson, and Stevie Wonder also utilized the facility for sessions that contributed to the Tulsa Sound's signature fusion of rock, blues, and country, drawing both local talent and national acts. Additional notable contributors included , whose progressive rock elements were tracked there in the mid-1970s; , pioneers of with Tulsa roots; and the Dwight Twilley Band, who captured tracks reflecting the era's organic, unpolished vibe. The studio's role in the was pivotal, serving as a creative space where these artists blended genres through collaborative sessions, often hosted by Russell's label, fostering a distinctive regional style that influenced broader American music.

Later Years and Decline

Post-Russell Ownership

Following Leon Russell's sale of the studio in the late 1970s, The Church Studio changed hands multiple times over the subsequent decades, reflecting the evolving landscape of the recording industry in Tulsa. In 1987, Tulsa musician and producer Steve Ripley, along with his wife Charlene, acquired the property and operated it as a working studio for nearly two decades until 2006. During this period, Ripley, known for his innovations in audio technology and leadership of the band The Tractors, maintained the facility's analog capabilities while adapting to emerging recording needs. The studio then passed to subsequent owners, including Randy and Debbie Miller, who took possession around 2009 and focused on its preservation as a music venue amid fluctuating usage. These ownership transitions, totaling five between 1978 and 2016, underscored the studio's enduring but intermittent role in local music production. Under the Ripley and Miller tenures, The Church Studio remained active for various recording sessions, hosting a range of artists who contributed to Tulsa's evolving music scene. Notable projects included ' self-titled debut album in 1994, which captured the band's country-rock sound and became a commercial success. Other sessions featured local and regional talents such as Hanson, whose early work benefited from the studio's acoustics; country legend Roy Clark; member ; and Tejano icon , who recorded tracks emphasizing the facility's warm analog tone. These efforts sustained the studio's reputation for high-quality analog recordings, though activity was less prolific than during its 1970s peak. The studio faced significant operational challenges during this era, including periods of underuse and physical deterioration due to inconsistent maintenance across owners. By the early , structural issues such as foundation instability, outdated electrical and plumbing systems, and a leaking had rendered parts of the building unusable, leading to boarded-up windows and reduced bookings. These difficulties were compounded by broader industry shifts toward technologies and home studios, which diminished demand for traditional analog facilities like The Church Studio and contributed to its gradual decline in commercial viability through the . Leon Russell maintained an intermittent connection to the studio until his death in 2016, occasionally returning to record and oversee the upkeep of its vintage analog equipment, including consoles and tape machines that he had originally installed. His involvement helped preserve the facility's historical integrity, even as ownership changed, ensuring that elements of the persisted in later sessions.

Closure After Russell's Death

Leon Russell, the founder and central figure behind The Church Studio, died on November 13, 2016, at the age of 74, which placed significant emotional and financial strain on the studio's ongoing operations. The studio, deeply intertwined with Russell's personal and professional life, ceased active recording activities by late 2016 as a direct result of his passing, leading to the building being left vacant and exposed to the elements. In the ensuing months, the once-vibrant facility fell into physical decline, becoming dilapidated due to neglect, with the vacant structure suffering from exposure to weather and lack of maintenance, rendering parts of it unsafe for entry. Equipment left behind began to decay, and the building's isolation contributed to minor incidents of vandalism, exacerbating the overall deterioration. The Tulsa community responded swiftly to Russell's death, transforming the front steps of the vacant studio into an impromptu memorial site adorned with flowers, cards, paintings, and personal memorabilia from fans mourning the loss of a local legend. Local preservation advocates, recognizing the site's cultural importance, pushed for its inclusion on the National Register of Historic Places, which was granted in September 2017, amid growing concerns over potential demolition and the erasure of a key piece of Tulsa's musical heritage.

Restoration and Modern Era

Acquisition and Renovation by Knox and Acosta

In 2016, Tulsa entrepreneur Teresa Knox and her husband, music producer Acosta, purchased The Church Studio, motivated by a desire to preserve its historic significance as a key site in the movement. The acquisition came at a time when the building had fallen into significant disrepair following years of neglect after Leon Russell's ownership. The renovation project, spanning more than five years and concluding in early 2022, cost over $2 million and was entirely funded through private investment by Knox and Acosta. Key efforts included extensive structural repairs to the roof and foundation to stabilize the 1915-era building, while carefully preserving its original stone facade—added in the mid-1950s—and the renowned acoustics of the main live room, which measures 46 feet by 37 feet 8 inches and is celebrated for its natural reverberation suitable for diverse recording sessions. The project also integrated modern analog-digital hybrid recording systems, featuring vintage equipment like the Neve 8068 console alongside digital tools such as Pro Tools HDX, to blend historical authenticity with contemporary production capabilities. Throughout the process, Knox and Acosta faced challenges in navigating strict regulations, as the studio was added to the in 2017, requiring adherence to guidelines that protected its cultural value. Demolition and repair work uncovered artifacts from its musical past, including a grand once owned by and drummer Jamie Oldaker's kit, which were safeguarded to honor the site's legacy. These discoveries underscored the building's deep ties to iconic artists and reinforced the commitment to restoration over mere modernization.

Reopening and Current Facilities

The Church Studio officially reopened in March 2022, with full functionality achieved following the completion of renovations in early 2022, transforming it into a multifaceted non-profit facility that serves as a , audio engineering school, , and event venue. In August 2025, Knox released the Sanctuary of Sound: The Church Studio Story, chronicling the studio's history. Additionally, in July 2025, the studio received a grant to install a giant as part of area revitalization efforts. The recording facilities feature a main live room measuring 46 feet by 37 feet 8 inches, a of 21 feet 3 inches by 15 feet 6 inches, four cedar-lined isolation booths originally from the church's choir chambers, and two reverb/echo chambers, all designed for optimal acoustics. The studio is equipped with a Neve 8068 analog console, a Studer A827 24-track tape machine, Pro Tools HDX for digital integration, and a collection of vintage microphones including Neumann U47 and U67 models, enabling hybrid analog-digital workflows. The adjacent museum showcases exhibits on Leon Russell's legacy and the Tulsa Sound, displaying artifacts, albums, and historical items from over 450 cataloged archive pieces related to past musicians and eras. As an educational hub, the Church Studio Institute offers a licensed 600-clock-hour certificate program in audio , covering sound recording techniques with an emphasis on analog methods, and is now enrolling students. It hosts workshops for musicians and engineers on analog recording practices and collaborates with institutions like for immersive events and programs. The event venue accommodates up to 100 guests for gatherings such as album release parties, with indoor and outdoor options, on-site parking, and ADA compliance. Since 2022, the studio has hosted recording sessions for both established and emerging artists, including a 2025 GRAMMY-winning live album by , while offering daily public tours and special events like the annual Carney Fest to engage visitors with its history and ongoing creative output.

Cultural Significance

Legacy in Tulsa Sound

The Tulsa Sound emerged in the 1970s as an eclectic musical genre blending rock, , , and , characterized by a laid-back shuffle beat, soulful grooves, and a fusion of regional influences from twang to . Pioneered by Tulsa's vibrant music community, it reflected the city's position as a musical crossroads, producing memorable tracks that captured a distinctive, organic vibe. The Church Studio, converted by in 1972, became the epicenter of this genre, serving as the headquarters for and a hub where the sound was developed and refined through live sessions and experimentation. The studio's contributions were pivotal in fostering collaborations among local talents, including Russell and J.J. Cale, whose partnerships yielded recordings that extended 's reach to national acts like . This environment encouraged a communal approach to music-making, where musicians from diverse backgrounds improvised and layered influences, creating the genre's signature warmth and eclecticism. Additionally, the studio's reliance on analog recording equipment during its peak years preserved techniques that imparted a rich, tactile tone to the music, distinguishing from more polished contemporary styles. The long-term impact of The Church Studio's role in Tulsa Sound has reverberated through Oklahoma's music scene, inspiring ongoing revivals and a renewed appreciation for the genre's roots. By hosting seminal sessions that captured the essence of regional creativity, the studio helped establish Tulsa as a lasting influence on American music, blending rural and urban elements into a timeless aesthetic. Its recent restoration and reopening have ensured continuity, providing new generations of artists access to the same inspirational space and techniques that defined the original movement.

Recognition and Media

The Church Studio was added to the on September 8, 2017, recognizing its significance in American music history as the creative hub established by in 1972. This federal designation highlights the studio's role in producing influential recordings that shaped the genre. Locally, it is acknowledged as a historic landmark in Tulsa, contributing to the city's musical heritage alongside sites like . Media portrayals of the studio often center on Leon Russell's legacy, with several short documentaries produced by Church Studio Films. These include "Mural of Space and Time: A Leon Russell Short Film Documentary" (2021), inspired by Russell's song "A Song for You," which explores his life and the studio's cultural impact. Another, "The Man in Bronze" (2023), details the creation of a bronze statue honoring Russell outside the studio, emphasizing its role as a pilgrimage site for music enthusiasts. In 2025, Teresa Knox, co-owner and CEO of the studio, published Sanctuary of Sound: The Church Studio Story, a lavishly illustrated book chronicling its history from Russell's acquisition through restoration and revival, drawing on rare photographs and personal accounts. The book has been praised for preserving the studio's narrative as a "sanctuary" of musical innovation. Awards and honors tied to the studio reflect its broader influence on Oklahoma's music scene. Leon Russell, who founded the studio, was inducted into the Oklahoma Music Hall of Fame in 2006, with the venue frequently cited in tributes to his contributions. More recently, figures associated with the studio, such as producer Steve Ripley—a key collaborator in Tulsa Sound recordings—were posthumously inducted into the Oklahoma Music Hall of Fame in 2025, underscoring the site's ongoing legacy. Tourism promotions by Visit Tulsa position the Church Studio as a must-visit attraction, offering guided tours and events that attract visitors to experience its restored facilities and historical exhibits. In 2025, the studio marked key milestones with events celebrating its revival, including the launch of Knox's book. A members-only signing occurred on August 4, followed by a public book launch and signing on August 9, both at the studio, featuring discussions on its cultural preservation efforts. Additional events included a Q&A and signing at the Museum of Tulsa History on November 4, highlighting the studio's role in Oklahoma's musical . These gatherings, along with the eighth anniversary of its National Register listing on September 8, drew attention to the studio's successful reopening as a modern recording and event space.

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