Abraxas Dr. Lonnie Smith is a well known B3 Hammond Organ player, one of the many Jimmy Smith soul jazz followers. He has played with Lou Donaldson, George Benson, Red Holloway, among others, and his stint with Lou made him be signed to Blue Note Records. Turning Point was his second release for that label, released in 1969, however the quality admittedly is not of a Blue Note record.

What happens with many followers of a specific style, they end up making rehashes of older material with the lack of creativity and adventure. It's the case of Turning Point that it's simply another typical soul jazz album with very predictable solos and grooves, even though the musicians on board are definitely capable of doing more.

The sound overall is very monotonic, it's hard to notice when one tune ends and the other starts. Sincerely I can't find any redeeming features, not even the organ playing, an instrument I love, thrills me even in the least.

1.5 stars: I suppose there are worse things, but this is clearly a non-recommended album unless you're a soul jazz collector.

Sean Trane A rather surprising (and aptly titled) Blue Note label product, one ranging much closer to RnB or JR/F (we are in early 69), than your typical usual and standard rear-guard Blue Note jazz, Turning Point is an instrumental feast for fusion of styles with a lush Hammond organ sound dominating the debate. Not to be confused with Lonnie Liston Smith (also on keyboards), this dude has the excellent Maupin (on sax rather than bass clarinet) and Priester (trombone), Morgan (trumpet) for winds, but the real engine is Smith on his Hammond organ (most likely playing bass pedals as well) and Sparks on guitar. Graced with a fairly modern and intriguing artwork, Turning Point is an easy crowd pleaser that shouldn’t find much criticism, beit from purists or avant-garde snobs.

Opening on the short Auger’s Trinity-like Seesaw, the clams down to a brassy and bluesy Slow High, riding a hypnotic beat over which Lonnie’s Hammond is cruising effortlessly. The following People Sure Act Funny is definitely faster and funkier (Sparks’ guitar), and Smith again reminiscent of Brian Auger…. Or maybe the other way around. On the flipside, the excellent 9-mins rendition of Eleanor Rigby can only thrill the listener, even, if the middle sections are not that recognizable due to the jazzy arrangements. The closing Smith-penned (only one of two originals on the album) 9-mins title track opens on a short separated intro, before the wind trio takes over before breaking into a long up-tempo groove and allow a general jam… enjoyable but nothing groundbreaking of histrionic.

A very entertaining and non-demanding album, the only one I know of Smith so far, but it’s definitely a good times party album that could even spin a second time in a row without any complains, especially that it’s fairly short in duration. Very pleasant, despite being a tad lightweight.