With all the excitement raging around soul revival artists such asSharon Jones and the Dap Kings and The Budos Band, let me take you on a spin back in time when this kind of music was everywhere. In fact, this sound was so prevalent that it was innocuous; it just blended into everyday life. Funk jazz dominated the TV airwaves and movie soundtracks to the point that it was nearly impossible to distinguish one cut from the next. So, before you go out and plunk your hard earned cash down for the latest slab from a soul revivalist, take some time to explore the roots of the genre. There is no better place to start than with this finely crafted delicacy from Quincy Jones.

This film is the sequel to In the Heat of the Night and many times takes a back seat to that great score featuring Ray Charles and a host of giant players. Where In the Heat of the Night is a veritable masterpiece of country gospel, soul and old school rhythm and blues,They Call Me Mr. Tibbs takes a decidedly different path into the heart of the urban ghetto at the turn of the '60s. Released in 1970, this score set the example and laid the foundation for what would be the soundtrack to almost every detective movie or TV show for nearly two decades.

The title track is a raw slab of pure horn infested funk and chugs along forcefully. It starts out with a haunting muted horn signature that echoes throughout the rest of the album and at first listen will send you to the source to find out just who in the heck is laying down that red-hot groove. In my opinion, this is what a good soundtrack should be; music that can go with whatever your day or night throws at it.

Perfectly nestled behind the title track is ‘‘Rev’ Logan," a bluesy jazz organ solo that brings you down from the driving hard funk of the opener and settles you in like a warm and comfortable chair. "Blues for Mr. Tibbs" is next and opens with organ to the right and electric keys on left and reminds us of a time when real instruments were played by masters. Just as the groove is firmly established, a smooth guitar takes center stage and a laid back after hour’s jam-fest is underway. With a name like "Fat Poppadaddy," you know the next cut is going to really blow your socks off and Mr. Q does not disappoint, an overdriven guitar lead that defines blistering brings us into a fast rocker. Things slow down a bit with "Soul Flower" and we enter into the rather psychedelic headspace of a lush orchestral arrangement punctuated by muted horns, smooth liquid guitar runs and the ever-present organ back. The electric piano takes the stage for "Black Cherry" and we are treated to a nice smooth jazz track with wonderful guitar and keyboard interplay. "Family Man" continues this vibe and sets the table for the classic "Side Pocket," an orchestral blues with a distinctly mysterious edge. The mystery continues with "Why Daddy?" as a clarinet rasps and all the elements, strange and glorious, come together to close the set and leave you wanting more… Why Daddy? indeed!

-MKE