Going on with the flow from last year's 5-CD box set of jazz-based Film Noir soundtracks, Jazzwise's film music chauffeur Selwyn Harris and expert CD compilers have collated another eight remastered movie score recordings from 1953-61. This second volume's selection highlights that era's countercultural youth revolutions, which drove new visions fast and loose across the States and Europe. Kick-starting the series are Leith Stevens and Shorty Rogers's Latin bebop-pounding riffs for The Wild One (1953), in which Marlon Brando apotheoses the prototypically gruff, terse outsider ‘rebel without a cause’ motorbike gang leader, who when asked “What are you rebelling against Johnny?” replied: “Whaddya got?” There follow Franz Waxman's score for Don Siegel's Crime in the Streets (1956); Johnny Mandel's for Robert Wise's I Want to Live (1958); Coleman Hawkins, Stan Getz, Sonny Stitt, Roy Eldridge, plus Dizzy et al juicily jamming with a vintage Oscar Peterson Quartet for Marcel Carné's Les Tricheurs (1958); Charles Mingus and Shafi Hadi's ebullient small group improvs on Mingus's themes for John Cassavetes’ Shadows (1959); the André Previn/Gerry Mulligan and co's cool school soundtrack for Donald MacDougal's otherwise dodgy adaptation of spontaneous bop prose pioneer Jack Kerouac's The Subterraneans (1960); the Ellington/Strayhorn charts for Paris Blues (1961), embellished by a wildly steaming ‘Battle Royal’ with Louis Armstrong niftily counterpointing each, in turn, of two-dozen frantic French instrumentalists, and five tracks with an even bigger posse of crack Ellingtonians in full cry; and the mellifluous Freddie Redd/Jackie McLean Quartet's score from Shirley Clarke's transposition to screen of The Connection (1961), Jack Gelber's claustrophobic stage portrayal of junkies waiting for the man. Jon Newey's Foreword to the 60-page inlay booklet and Selwyn Harris's extended commentary on each CD raise the bar for the so frequently perfunctory level of liner notes, with Harris suggesting for example that the interracial complexities revealed in Shadows “might be the closest we have to a jazz film.” There have of course been plenty since, such as Spike Lee's Mo’ Better Blues, which connoisseurs might feel come closer still. The current proliferation of DIY movie making, music making and recording will doubtless generate further new departures for jazz on film worldwide. This set of veritably classic precedents will prove an enduring inspiration for such developments.