This third 5-CD box set of further Jazz On Film recordings produced, selected and annotated by Selwyn Harris homes in on a more unified set of collaborations than its predecessors, brilliantly extending the City of Light's continuum of cross-genre excitements. Marcel Romano, Parisian hipster/club programmer extraordinaire, points out in the lavish accompanying booklet that ‘Jazz was an integral part of the artistic scene around St-Germain-des-Prés. It was only logical that the young new wave directors made films by day using the music they heard in the clubs at night.’ Romano supervised Miles Davis’ all-blue soundtrack for Louis Malle's 1958 directorial debut, Lift To The Scaffold, improvised in response to the footage Malle had filmed on the streets of the city. Romano also organised sessions featuring vintage Jazz Messenger formations, one for Roger Vadim's update of Les Liaisons Dangereuses, blowing their tops on sumptuous scores by Duke Jordan and Benny Golson. The contrapuntal combustions of Art Blakey's thundrous dynamics with then 20-year-old Lee Morgan's aural lightning cascades and Golson's lambent tenor sax sonorities, survive as ever-redhot hard bop classics. Michel Legrand's orchestrations for Joe Losey's Eva of 1962 bid fair to emulate the Miles-Gil Evans Sketches of Spain – but are trumped by leitmotif repeats, throughout this set-piece for Jeanne Moreau at her world-weariest, of Billie Holiday's bittersweet rendition of ‘Willow Weep For Me’. Cooler chimes of intermedic concentration flash through the setting by John Lewis for Vadim's No Sun In Venice of 1957. The delicate mellifluousness developed between Lewis, Milt Jackson and Percy Heath feels threatened, to my ear, by a relentless monotony in some of Connie Kay's pyrotechnics. But there is much else to relish on these and a number of other tracks from this unprecedented and probably unimprovable-on phase of Parisbased movie making.