Sam Records is a one man, Paris, France-based operation began in 2011. The one man is Fred Thomas, who has self-professed interests in both jazz and photography. He also obviously is a man who cuts no corners and who believes in authenticity.

This Chet Baker album originally issued by the French Barclay label in 1956 features only one original member of his then quartet: bassist Jimmy Bond. The drummer, a Swede named Nils-Bertil "Bert" Dahlander took the place of the quartet's original drummer Peter Littman who'd returned to America. The group's original saxophonist Lars Gullin discovered pianist Dick Twardzik dead in his room weeks earlier, dead of a heroin overdose. On piano here was an unknown—Gérard Gustin who'd just been signed by label head Eddie Barclay.

Given the new line-up, the session, recorded at Studio Pathe-Magellan in Paris, Monday, October 24, 1955 was all about standards. Baker chose eight, five of which he'd not previously performed, and three he'd done with Gullin and Twardzik but ten days earlier. Imagine his mind-set.

"These Foolish Things" had been in the group's repertoire for some time. "There's a Small Hotel", "Autumn In New York", "Summertime", "You Go To My Head" and "Tenderly" were new. "I'll Remember April" and "Lover Man" were the two he'd performed with Twardzik and Gullin.

The mood is melancholic for obvious reasons but few do that mood better than Baker and this very well-recorded mono set well demonstrates that!

Despite the forlorn mood, given today's frenzied, chaotic world this record is more likely to produce reverie than outright sadness. If your blood pressure hasn't dropped when it's over you really weren't listening all that carefully. Baker was a ballad master and his straight forward takes here are elegant in their linear simplicity.

The record was mastered from the original analog tape and pressed at Pallas. Mr. Thomas' interest in photography brought him to the original photographer Jean-Pierre Leloir who was sort of like the Francis Wolff of Paris, although he captured the jazz scene without regard to record label.

In addition to superb cover art produced using the original negative, Mr. Thomas has accurately reproduced the cover using the original "fold-over" construction and lamination. Also included inside the jacket is another outstanding Baker photo by Leloir superbly reproduced in a fold-over sheet.

The record is costly (I bought my copy, no promos) but well worth the money for the music, the sound and the packaging. Though its musical significant in terms of jazz history is minor, the record does capture a young Chet Baker in his musical prime and the mood enhancing musical textures, startling image dimensionality and overall atmospheric pleasures make this record a treasure that demands repeated listens.

The vinyl is pressed at Pallas and according to the company, each record is carefully inspected before jacket insertion.

Mr. Thomas has self-funded six titles since 2011: two other LPs recorded by Chet Baker in Paris for the Barclay label, the last session recorded by Lester Young in Paris in 1959, a Ronnell Bright Trio from 1958 on Polydor label and a Barney Wilen recorded in 1957 for the Guilde du Jazz label.

Now he is seeking 'crowd-sourced' funding for future projects.