Charlie Haden’s third and best Quartet West album, Haunted Heart, opens with Max Steiner’s ”Fanfare” (from Warner Brothers’ ’40s movies) and ominous strains from The Maltese Falcon lifted directly from the film. Then the outstanding quartet — saxophonist Ernie Watts, pianist Alan Broadbent, drummer Larance Marable, and bassist Haden — slips into a satiny scene-setting ballad, ”Hello My Lovely.” If you begin to imagine yourself coasting along a California freeway to a rendezvous with a highball and Rhonda Fleming (or Robert Mitchum) and discover the fellow tailing you looks like Peter Lorre, relax: You’re in the right movie. All the Quartet West albums are conceived as aural time travel, with musical reminders of postwar Los Angeles and its noir movies, Raymond Chandler novels, and sexy torch singers. This time, Haden goes a crucial step further; he interpolates the original 1947-54 recordings of ”Haunted Heart,” ”Ev’ry Time We Say Goodbye,” and ”Deep Song” — by Jo Stafford, Jeri Southern, and Billie Holiday, respectively — into his own coolly expressive renditions. The result is a serenade of remembered delights — and because music is less constrained than film, you can write your own script. A