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Big congratulations! It's not always so that "side" tunes performed in such 50s R'n'R movies are released properly so this obviously is a rare one.  BTW, not meaning to be derisive at all when I say "side tunes", but stylistically speaking, "The Big Beat" (released in 1958, FWIW) was certainly not focusing primarily on artists such as Cal Tjader. And then, judging by your record (your photo looks like the one from the Discogs listing, BTW ), was the tune listing from the promo blurb for this movie (see below) wrong in the case of Cal Tjader?

Leroy Jenkins' Sting – Urban Blues  

Release date July 18: Embarking on an exhilarating journey into uncharted musical territories, pianist Bram de Looze assembles a quartet of extraordinary talent, featuring Joey Baron on drums, Thomas Morgan on double bass, and Hank Roberts on cello. This convergence of masterful musicians promises a transcendental exploration of sonic landscapes, where spontaneity, intuition, and boundless creativity intertwine.At Brussels Jazz Festival in Flagey, the four musicians proved to be world class storytellers through music. With unexpected twists and turns, they weaved an evocative narrative, always supporting the music, claiming the moment as a group without feeling the need to overpower each other. This magical performance was captured by VRT Radio Klara and, luckily, will be enjoyed for generations.

Release date August 8: Renowned Russian jazz pianist Ivan Farmakovskiy makes his highly anticipated debut on SteepleChase Records with a stunning new album. Blending his signature hard-bop style with modern jazz sensibilities, Farmakovskiy delivers a masterful performance that bridges tradition and innovation with American rhythm section of Christian McBride and Jack DeJohnette. Ivan won the 1994 bi-annual Russia Jazz Competition, the biggest contest for young Russian performers and he won another prize at the 1997 Europe Jazz Contest in Belgium.

Release date July 18: I always try to create a story, Alex Sipiagin says. "For me, the pieces are totally connected, even if they don't sound that way - a standard could connect with some free composition or complicated odd meter. It's a very logical line from the beginning until the end." With an eye towards realizing that aspiration on his 14th Criss Cross leader album, titled Reverberations, Sipiagin booked a six-concert tour in November by a sextet of long-time friends and bandmates from several files of activity that constitute his thriving career. After a few days off, they convened at a well-appointed studio in Bassano del Grappa, the grappa capital of Italy, a 10-minute drive from Sandrigo, the village in the north Italian region of Vicenza, where Sipiagin resides with his wife, Melissa Tham. The album's back story dates to label founder Gerry Teekens' suggestion after the 2017 release of Sipiagin's Moments Captured that the trumpet grandmaster consider making a standards album as a follow-up. Teekens was responding to an exploratory session comprising seven characteristically episodic, harmonically challenging, rhythmically layered, contrapuntal, melody-rich Sipiagin originals evoking an ambiance, as I wrote in the liner notes to the similarly ambitious 2011 album Destinations Unknown [Criss-1336], of "long-form stories with multiple plot lines that reflect an array of moods and colors."Sipiagin and his band of potential poll-winners render them - as alto saxophonist Will Vinson put it in a profile I wrote about Sipiagin for Downbeat in 2016 - with "balls-to-the-wall, Coltrane-era energy." On two pieces Sipiagin inserted soprano singer Alina Engibaryan on the front line with all-world partners Vinson and Chris Potter on two tunes. On several others, he gave pianist John Escreet free rein to deploy the immense lexicon of bespoke sounds at his disposal on Prophet 6 synthesizer, and also included on "Evija Bridge" Escreet's verbatim, first-take overdub of Potter's extremely complicated tenor solo. "It's the New York sound, " Sipiagin told me several years later. "You go for it a hundred percent - there are amazing rhythm sections everywhere; everything is musical and perfect." The Album was recorded November 10 / 11, 2024 at the Art Music Studio in Bassano del Grappa (Italy). Recording engineer: Diego Piotto. Editing, mixing and mastering by Mike Marciano at Systems Two NYC. Produced by Jerry Teekens. Photography by Sasha Maschin