This starry, talent-packed deluxe box, containing eight CDs and a dcopious stills-illustrated booklet, enlarges on the Moochin' About label's first Jazz On Film … The New Wave set of 2013, which mostly featured the French film-with-jazz innovators of the late 1950s and early 1960s. New Wave II relays a healthy bunch of piano maestro Legrand's scores, including Cleo from 5 to 7 and Une Femme est une Femme, as well as those for films by Roger Vadim and Jean Pierre Melville. But the lions' share consists of half a dozen classics of the British pioneer directors and composer-musicians, from the Free Cinema-catalysed collaborations of Karyl Reisz with Dankworth (We are the Lambeth Boys, Saturday Night and Sunday Morning), through blacklisted US emigré Joseph Losey's passionately atmospheric Eve and The Criminal, also with Legrand and Dankworth, to Jack Clayton's Room at the Top, Basil Dearden's All Night Long, and Seth Holt and Ken Tynan's Nowhere to Go with bravura hard bop embellishments by widely undervalued Jamaican trumpeter Dizzy Reece. The scenario of All Night Long sensitively updates that of Othello, while conveying a wealth of live jazz fireworks unparalleled elsewhere in this compendium. The highspot is a wild warehouse party at which Mingus jams with Brubeck, and the likes of Tubby Hayes, Keith Christie, John Scott and Dankworth effectively recreate the euphoria of the 1950s Americana, Flamingo, Ken Colyer and Cy Laurie Clubs, alongside those of the Pizza Express-sponsored Soho Jazz Festivities that lit up the subsequent London-wide decades. Among other treasures on board are David Raksin's songs and score for Cassavetes's thrilling and poignant Too Late Blues; Mundell Lowe's jazz burlesque soundtrack for Satan in High Heels blown to musical heights (dizzier than those dreamed of by this sexploitation-movie per se by Clark Terry, Joe Newman, Urbie Green, Al Green and their ilk, plus the suitably downbeat and moody scores by Kenyon Hopkins for The Hustler and Giorgio Gaslini for Antonioni's La Notte. Mike Leigh contributes an exultant foreword to the booklet, endorsing the collection's “golden years, in terms of the exciting transition, as we saw it, from the old world to the new”. The one tiny fault I've noted is neither with Jason Lee Lazell's typically ambitious production, nor Keith M Johnston's revealing text, but with the blurb alleging it to be “a stunning full colour booklet” – when only six of its 134 pages deploy colour at all. As this approximates closely to the fraction of colour footage represented in the films, it feels perfectly in order, adding further authenticity to the box's perpetuation of so classic a phase of both cinema and jazz music.