Despite some potentially indifferent material, Turrentine is in fine form throughout.
The Spoiler catches Stanley Turrentine in a session stacked with serious talent, and the weight of it shows in every solo. Blue Mitchell on trumpet, Pepper Adams on baritone, James Spaulding on alto and flute, Julian Priester on trombone — that's a front line built for collision, not consensus. McCoy Tyner anchors it all at the piano while Bob Cranshaw holds the low end and Mickey Roker drives from the drums. With Duke Pearson's arrangements threading through, this reads like a lineup assembled to test Turrentine's mettle, and he answers the challenge. His tone stays warm and centered even when surrounded, which matters because the material itself is uneven — some tracks land harder than others, and not every composition feels like it needed this much firepower.
What saves it is Turrentine's refusal to get lost in the crowd. He solos with clarity and purpose, never rushing, never overshadowed. Tyner's chords give everything a sophisticated harmonic floor, and the horns trade ideas with real energy. This isn't a small group date; it's a brass conference where everyone has something to prove. The session captures a moment when Blue Note could still throw money at a date and expect results — good players, solid arrangements, proper time to get it right.
It stands as a solid mid-career statement, neither his peak nor a misstep. AllMusic reviewer Scott Yanow's 4½-star rating acknowledges what works here: a saxophonist comfortable enough in his own voice to hold his ground against this company. Not every album needs to be historic, and this one doesn't claim to be. It's a pro session, well-executed, with enough character to stay with you.
