Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2618
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2465 …}
}

[
  "listeModal" => true
  "categorieProduitEnum" => [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
]

App\Twig\Components\ListePanier {#2695
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2698 …}
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entityManager: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -gestionPanier: App\Service\FrontGestionPanierFavori {#2697 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2465 …}
  -formView: Symfony\Component\Form\FormView {#2734 …}
  -form: Symfony\Component\Form\Form {#2884 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 2915
    -nom: "Live In Finland 1961 & 1962  (Numbered Limited Edition Mono)"
    -informationComplementaire: "Plongez au cœur d’un Coltrane en pleine métamorphose. Avec "Live In Finland 1961–1962", chaque souffle devient feu, chaque improvisation repousse les frontières du jazz. Un voyage brut, intense et essentiel, là où la légende s’écrit en direct."
    -description: """
      Live In Finland 1961–1962 capture un moment charnière de la carrière de John Coltrane, à l’aube de ses explorations les plus audacieuses. Enregistré lors de ses tournées finlandaises entre 1961 et 1962, cet album restitue toute l’intensité brute et la liberté créative du saxophoniste en pleine mutation artistique.\r\n
      \r\n
      Entouré de musiciens d’exception comme Eric Dolphy, McCoy Tyner, Reggie Workman et Elvin Jones, Coltrane livre des performances habitées, oscillant entre standards revisités et longues improvisations transcendantes.\r\n
      \r\n
      Des titres emblématiques comme "My Favorite Things", "Blue Train" ou encore "Impressions" prennent ici une dimension nouvelle, plus étirée, plus intense, presque hypnotique. Ces enregistrements témoignent de la transition entre le hard bop et le jazz modal, annonçant déjà les audaces spirituelles de ses œuvres futures.\r\n
      \r\n
      Un document rare et précieux, où chaque note semble capturer l’instant fragile, libre et incandescent.\r\n
      \r\n
      - John Coltrane "Live In Finland 1961 & 1962" !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      John Coltrane was never a loner. A tireless worker, he was on a perpetual quest to learn from others and build symbiotic relationships with them. Before playing, he listened. The 1950s were dazzling years, and decisive ones; he performed with Ellingtonian Johnny Hodges, collaborated with Dizzy Gillespie's band, and met Charlie Parker and Bud Powell. Then he encountered Miles Davis.\r\n
      \r\n
      Coltrane pursued his quest. In the space of just a few months he met Thelonious Monk, Yusef Lateef, Sonny Rollins, McCoy Tyner, Elvin Jones and Eric Dolphy. All of them shared the same passion for musical creativity. They were all exploring new modes of expression and new sounds, seeking a dense playing style that could cascade across astonishingly rapid tempi. To the standard harmonic chart, they added cycles of thirds that made polytonality a realm of infinite possibilities.\r\n
      \r\n
      On November 22, 1961, at the Kulttuuritalo in Helsinki, John Coltrane, Eric Dolphy, McCoy Tyner, Reggie Workman (on bass) and Elvin Jones were on stage. "My Favorite Things", which opened the session, is from Rodgers & Hammerstein's musical comedy The Sound of Music. Coltrane had made the piece one of the iconic hits of his career, and in March of that year had released an eponymous album.\r\n
      \r\n
      One detects in this piece the extension of innovations found in Kind of Blue: long modal passages alternate between major and minor modes. Coltrane said of it, "This waltz is fantastic : when you play it slowly, it has a ‘gospel' aspect, which is not at all unpleasant; when you play it fast, it has certain other undeniable qualities. It's very interesting to discover a terrain that renews itself according to the impulse that you give it; that's the reason why we don't always play this tune in the same tempo. Nothing is ever fixed with Coltrane, and this version is no doubt one of his finest...\r\n
      \r\n
      It has often been said that everything Trane did, he did to excess drugs and alcohol, then cigars, vegetarianism, and finally, religion. Overlooked, though, was his obsession with friendship, his passion for group musical performances where owing to his high expectations of himself and others the contribution of each individual musician was elevated. Even his spiritual conversion late in life was not self-centered. Miles Davis wrote in his autobiography that Coltrane turned into a diamond. He could have added that Trane was considered a beacon; he shaped music in general and jazz in particular, and he guided entire generations of immense jazzmen.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "John Coltrane (tenor & soprano saxophone), Eric Dolphy (alto saxophone & flute), McCoy Tyner (piano), Reggie Workman (bass), Elvin Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=i0PCZVMydAc"
    -referenceProduit: "The Lost Recordings 4065"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. My Favorite Things"
      ]
      [
        "ordre" => 2
        "nom" => "Side B : "
      ]
      [
        "ordre" => 3
        "nom" => "1. Blue Train"
      ]
      [
        "ordre" => 4
        "nom" => "2. I Want to Talk About You"
      ]
      [
        "ordre" => 5
        "nom" => "Side C :"
      ]
      [
        "ordre" => 6
        "nom" => "1. Impressions"
      ]
      [
        "ordre" => 7
        "nom" => "2. I Want to Talk About You"
      ]
      [
        "ordre" => 8
        "nom" => "3. Everytime We Say Goodbye"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Bye Bye Blackbird"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1765901899 {#1896
      date: 2025-12-16 16:18:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775637396 {#1889
      date: 2026-04-08 08:36:36.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-live-in-finland-1961-1962-numbered-limited-edition-mono-the-lost-recordings-4065"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3159
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2697 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 2915
    -nom: "Live In Finland 1961 & 1962  (Numbered Limited Edition Mono)"
    -informationComplementaire: "Plongez au cœur d’un Coltrane en pleine métamorphose. Avec "Live In Finland 1961–1962", chaque souffle devient feu, chaque improvisation repousse les frontières du jazz. Un voyage brut, intense et essentiel, là où la légende s’écrit en direct."
    -description: """
      Live In Finland 1961–1962 capture un moment charnière de la carrière de John Coltrane, à l’aube de ses explorations les plus audacieuses. Enregistré lors de ses tournées finlandaises entre 1961 et 1962, cet album restitue toute l’intensité brute et la liberté créative du saxophoniste en pleine mutation artistique.\r\n
      \r\n
      Entouré de musiciens d’exception comme Eric Dolphy, McCoy Tyner, Reggie Workman et Elvin Jones, Coltrane livre des performances habitées, oscillant entre standards revisités et longues improvisations transcendantes.\r\n
      \r\n
      Des titres emblématiques comme "My Favorite Things", "Blue Train" ou encore "Impressions" prennent ici une dimension nouvelle, plus étirée, plus intense, presque hypnotique. Ces enregistrements témoignent de la transition entre le hard bop et le jazz modal, annonçant déjà les audaces spirituelles de ses œuvres futures.\r\n
      \r\n
      Un document rare et précieux, où chaque note semble capturer l’instant fragile, libre et incandescent.\r\n
      \r\n
      - John Coltrane "Live In Finland 1961 & 1962" !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      John Coltrane was never a loner. A tireless worker, he was on a perpetual quest to learn from others and build symbiotic relationships with them. Before playing, he listened. The 1950s were dazzling years, and decisive ones; he performed with Ellingtonian Johnny Hodges, collaborated with Dizzy Gillespie's band, and met Charlie Parker and Bud Powell. Then he encountered Miles Davis.\r\n
      \r\n
      Coltrane pursued his quest. In the space of just a few months he met Thelonious Monk, Yusef Lateef, Sonny Rollins, McCoy Tyner, Elvin Jones and Eric Dolphy. All of them shared the same passion for musical creativity. They were all exploring new modes of expression and new sounds, seeking a dense playing style that could cascade across astonishingly rapid tempi. To the standard harmonic chart, they added cycles of thirds that made polytonality a realm of infinite possibilities.\r\n
      \r\n
      On November 22, 1961, at the Kulttuuritalo in Helsinki, John Coltrane, Eric Dolphy, McCoy Tyner, Reggie Workman (on bass) and Elvin Jones were on stage. "My Favorite Things", which opened the session, is from Rodgers & Hammerstein's musical comedy The Sound of Music. Coltrane had made the piece one of the iconic hits of his career, and in March of that year had released an eponymous album.\r\n
      \r\n
      One detects in this piece the extension of innovations found in Kind of Blue: long modal passages alternate between major and minor modes. Coltrane said of it, "This waltz is fantastic : when you play it slowly, it has a ‘gospel' aspect, which is not at all unpleasant; when you play it fast, it has certain other undeniable qualities. It's very interesting to discover a terrain that renews itself according to the impulse that you give it; that's the reason why we don't always play this tune in the same tempo. Nothing is ever fixed with Coltrane, and this version is no doubt one of his finest...\r\n
      \r\n
      It has often been said that everything Trane did, he did to excess drugs and alcohol, then cigars, vegetarianism, and finally, religion. Overlooked, though, was his obsession with friendship, his passion for group musical performances where owing to his high expectations of himself and others the contribution of each individual musician was elevated. Even his spiritual conversion late in life was not self-centered. Miles Davis wrote in his autobiography that Coltrane turned into a diamond. He could have added that Trane was considered a beacon; he shaped music in general and jazz in particular, and he guided entire generations of immense jazzmen.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "John Coltrane (tenor & soprano saxophone), Eric Dolphy (alto saxophone & flute), McCoy Tyner (piano), Reggie Workman (bass), Elvin Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=i0PCZVMydAc"
    -referenceProduit: "The Lost Recordings 4065"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. My Favorite Things"
      ]
      [
        "ordre" => 2
        "nom" => "Side B : "
      ]
      [
        "ordre" => 3
        "nom" => "1. Blue Train"
      ]
      [
        "ordre" => 4
        "nom" => "2. I Want to Talk About You"
      ]
      [
        "ordre" => 5
        "nom" => "Side C :"
      ]
      [
        "ordre" => 6
        "nom" => "1. Impressions"
      ]
      [
        "ordre" => 7
        "nom" => "2. I Want to Talk About You"
      ]
      [
        "ordre" => 8
        "nom" => "3. Everytime We Say Goodbye"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Bye Bye Blackbird"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1765901899 {#1896
      date: 2025-12-16 16:18:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775637396 {#1889
      date: 2026-04-08 08:36:36.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-live-in-finland-1961-1962-numbered-limited-edition-mono-the-lost-recordings-4065"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2465 …}
}

[
  "produit" => App\Entity\Produit {#2041
    -id: 3056
    -nom: "Live at the Concertgebouw 1980  (Numbered Limited Edition)"
    -informationComplementaire: "Un piano, une salle légendaire, un Maître au sommet de son art. Avec ce récital capté en 1980 au Concertgebouw, Emil Gilels livre un Beethoven d’une intensité rare, profond, lumineux, inoubliable."
    -description: """
      Enregistré le 15 avril 1980 au mythique Concertgebouw d’Amsterdam, ce récital d’Emil Gilels capture l’un des derniers témoignages d’un maître absolu du piano dans son répertoire de prédilection : "Ludwig van Beethoven".\r\n
      \r\n
      Seul sur scène, Gilels déploie toute la richesse de son art dans deux œuvres majeures : la Sonate n° 7 en ré majeur, Op. 10 n° 3, et les Variations et fugue "Eroica", Op. 35. Entre puissance architecturale et profondeur expressive, son jeu allie une clarté souveraine à une intensité presque introspective.\r\n
      \r\n
      Ce concert, capté en public dans une acoustique exceptionnelle, restitue avec une rare authenticité la présence du pianiste, la tension du moment et la poésie du silence entre les notes. Plus qu’un simple enregistrement, il s’agit d’un document vivant, où chaque phrase semble surgir dans l’instant.\r\n
      \r\n
      Une parution essentielle pour les amateurs de Beethoven comme pour les admirateurs de Gilels, témoignant d’un art arrivé à pleine maturité.\r\n
      \r\n
      - Emil Gilels "Live at the Concertgebouw 1980" !\r\n
      - 180 gram hand-numbered edition !\r\n
      - Limited to 3000 copies worldwide !\r\n
      - Remastered from the original analog tape by Kevin Gray at Cohearent Audio !\r\n
      - Gold foil and debossing on soft-touch cover !\r\n
      - Printed inner sleeve; pressed at Optimal in Germany !\r\n
      \r\n
      While exploring the Dutch archives, The Lost Recordings unearthed five forgotten recordings of Emil Gilels, captured between 1975 and 1980 at the Concertgebouw in Amsterdam.\r\n
      \r\n
      Among them : a recital performed on April 15, 1980, entirely dedicated to Beethoven. A unique performance, filled with calm power, absolute clarity, and a musicality carved out of silence.\r\n
      \r\n
      Beethoven, embodied! Gilels doesn't merely play Beethoven. He inhabits him shapes him sculpts every note. From Sonata N° 7 to the Eroica Variations, this recital journeys through shadow and light, tragedy and grace, with sovereign elegance. No effects, no artifice each movement reveals a raw, dense, and moving truth.\r\n
      \r\n
      This recital, rediscovered more than four decades later, is more than just a recording. It's a true legacy.\r\n
      \r\n
      Recorded at the Concertgebouw, Amsterdam.\r\n
      \r\n
      Remastered by The Lost Recordings from the original analog tapes.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Emil Gilels (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=1sObJaNgBMI"
    -referenceProduit: "The Lost Recordings 6032"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Beethoven : Sonata N° 7 in D Major, Op. 10, N° 3"
      ]
      [
        "ordre" => 2
        "nom" => "- I. Presto"
      ]
      [
        "ordre" => 3
        "nom" => "- II. Largo e mesto"
      ]
      [
        "ordre" => 4
        "nom" => "- III. Menuetto : Allegro"
      ]
      [
        "ordre" => 5
        "nom" => "- IV. Rondo : Allegro"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Beethoven : Varations and Fugue in E-flat major "Eroica", Op. 35 "
      ]
      [
        "ordre" => 8
        "nom" => "- I. Introduzione: Allegretto vivace"
      ]
      [
        "ordre" => 9
        "nom" => "- II. Tema"
      ]
      [
        "ordre" => 10
        "nom" => "- III. Variation N° 1"
      ]
      [
        "ordre" => 11
        "nom" => "- IV. Variation N° 2"
      ]
      [
        "ordre" => 12
        "nom" => "- V. Variation N° 3"
      ]
      [
        "ordre" => 13
        "nom" => "- VI. Variation N° 4"
      ]
      [
        "ordre" => 14
        "nom" => "- VII. Variation N° 5"
      ]
      [
        "ordre" => 15
        "nom" => "- VIII. Variation N° 6"
      ]
      [
        "ordre" => 16
        "nom" => "- IX. Variation N° 7 : Canone All'ottava"
      ]
      [
        "ordre" => 17
        "nom" => "- X. Variation N° 8"
      ]
      [
        "ordre" => 18
        "nom" => "- XI. Variation N° 9"
      ]
      [
        "ordre" => 19
        "nom" => "- XII. Variation N° 10"
      ]
      [
        "ordre" => 20
        "nom" => "- XIII. Variation N° 11"
      ]
      [
        "ordre" => 21
        "nom" => "- XIV. Variation N° 12"
      ]
      [
        "ordre" => 22
        "nom" => "- XV. Variation N° 13"
      ]
      [
        "ordre" => 23
        "nom" => "- XVI. Variation N° 14 minore"
      ]
      [
        "ordre" => 24
        "nom" => "- XVII. Variation N° 15 Maggiore - Largo"
      ]
      [
        "ordre" => 25
        "nom" => "- XVIII. Coda"
      ]
      [
        "ordre" => 26
        "nom" => "- XIX. Finale : Alla Fuga"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2043 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1457 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2052 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2045 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2047 …}
    -enregistreLe: DateTime @1775632160 {#2033
      date: 2026-04-08 07:09:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775632160 {#2032
      date: 2026-04-08 07:09:20.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2049 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-live-at-the-concertgebouw-1980-numbered-limited-edition-the-lost-recordings-6032"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3273
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2697 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2041
    -id: 3056
    -nom: "Live at the Concertgebouw 1980  (Numbered Limited Edition)"
    -informationComplementaire: "Un piano, une salle légendaire, un Maître au sommet de son art. Avec ce récital capté en 1980 au Concertgebouw, Emil Gilels livre un Beethoven d’une intensité rare, profond, lumineux, inoubliable."
    -description: """
      Enregistré le 15 avril 1980 au mythique Concertgebouw d’Amsterdam, ce récital d’Emil Gilels capture l’un des derniers témoignages d’un maître absolu du piano dans son répertoire de prédilection : "Ludwig van Beethoven".\r\n
      \r\n
      Seul sur scène, Gilels déploie toute la richesse de son art dans deux œuvres majeures : la Sonate n° 7 en ré majeur, Op. 10 n° 3, et les Variations et fugue "Eroica", Op. 35. Entre puissance architecturale et profondeur expressive, son jeu allie une clarté souveraine à une intensité presque introspective.\r\n
      \r\n
      Ce concert, capté en public dans une acoustique exceptionnelle, restitue avec une rare authenticité la présence du pianiste, la tension du moment et la poésie du silence entre les notes. Plus qu’un simple enregistrement, il s’agit d’un document vivant, où chaque phrase semble surgir dans l’instant.\r\n
      \r\n
      Une parution essentielle pour les amateurs de Beethoven comme pour les admirateurs de Gilels, témoignant d’un art arrivé à pleine maturité.\r\n
      \r\n
      - Emil Gilels "Live at the Concertgebouw 1980" !\r\n
      - 180 gram hand-numbered edition !\r\n
      - Limited to 3000 copies worldwide !\r\n
      - Remastered from the original analog tape by Kevin Gray at Cohearent Audio !\r\n
      - Gold foil and debossing on soft-touch cover !\r\n
      - Printed inner sleeve; pressed at Optimal in Germany !\r\n
      \r\n
      While exploring the Dutch archives, The Lost Recordings unearthed five forgotten recordings of Emil Gilels, captured between 1975 and 1980 at the Concertgebouw in Amsterdam.\r\n
      \r\n
      Among them : a recital performed on April 15, 1980, entirely dedicated to Beethoven. A unique performance, filled with calm power, absolute clarity, and a musicality carved out of silence.\r\n
      \r\n
      Beethoven, embodied! Gilels doesn't merely play Beethoven. He inhabits him shapes him sculpts every note. From Sonata N° 7 to the Eroica Variations, this recital journeys through shadow and light, tragedy and grace, with sovereign elegance. No effects, no artifice each movement reveals a raw, dense, and moving truth.\r\n
      \r\n
      This recital, rediscovered more than four decades later, is more than just a recording. It's a true legacy.\r\n
      \r\n
      Recorded at the Concertgebouw, Amsterdam.\r\n
      \r\n
      Remastered by The Lost Recordings from the original analog tapes.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Emil Gilels (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=1sObJaNgBMI"
    -referenceProduit: "The Lost Recordings 6032"
    -titreMorceau: [
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        "nom" => "Side A :"
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        "nom" => "1. Beethoven : Sonata N° 7 in D Major, Op. 10, N° 3"
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        "ordre" => 2
        "nom" => "- I. Presto"
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        "nom" => "- II. Largo e mesto"
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        "nom" => "- III. Menuetto : Allegro"
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        "nom" => "- IV. Rondo : Allegro"
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        "nom" => "Side B : "
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        "ordre" => 7
        "nom" => "1. Beethoven : Varations and Fugue in E-flat major "Eroica", Op. 35 "
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        "nom" => "- I. Introduzione: Allegretto vivace"
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        "nom" => "- II. Tema"
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        "nom" => "- III. Variation N° 1"
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        "nom" => "- IV. Variation N° 2"
      ]
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        "ordre" => 12
        "nom" => "- V. Variation N° 3"
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      [
        "ordre" => 13
        "nom" => "- VI. Variation N° 4"
      ]
      [
        "ordre" => 14
        "nom" => "- VII. Variation N° 5"
      ]
      [
        "ordre" => 15
        "nom" => "- VIII. Variation N° 6"
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      [
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        "nom" => "- IX. Variation N° 7 : Canone All'ottava"
      ]
      [
        "ordre" => 17
        "nom" => "- X. Variation N° 8"
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      [
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        "nom" => "- XI. Variation N° 9"
      ]
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        "nom" => "- XII. Variation N° 10"
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        "nom" => "- XIII. Variation N° 11"
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        "nom" => "- XIV. Variation N° 12"
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        "ordre" => 22
        "nom" => "- XV. Variation N° 13"
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        "nom" => "- XVI. Variation N° 14 minore"
      ]
      [
        "ordre" => 24
        "nom" => "- XVII. Variation N° 15 Maggiore - Largo"
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        "nom" => "- XVIII. Coda"
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        "ordre" => 26
        "nom" => "- XIX. Finale : Alla Fuga"
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    ]
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[
  "produit" => App\Entity\Produit {#2063
    -id: 3047
    -nom: "The Unreleased Berlin Recordings  (Numbered Limited Edition)"
    -informationComplementaire: "Un enregistrement rare des années 60. Lorin Maazel dirige le Radio-Symphonie-Orchester Berlin dans un programme puissant réunissant Ludwig van Beethoven, Claude Debussy et Béla Bartók. Un témoignage orchestral intense, entre précision, énergie et poésie."
    -description: """
      - Enregistrements rares issus d’archives berlinoises !\r\n
      - Un Lorin Maazel au sommet de sa jeunesse artistique !\r\n
      - Un témoignage sonore du Berlin musical des années 60 !\r\n
      - Un programme riche : Beethoven, Debussy, Bartók !\r\n
      \r\n
      Ce double enregistrement issu des archives berlinoises des années 1960 met en lumière un Lorin Maazel jeune mais déjà magistral, dirigeant avec une autorité impressionnante et une sensibilité remarquable.\r\n
      \r\n
      La Symphonie N° 4 en si bémol majeur, Op. 60 de Ludwig van Beethoven y déploie toute son élégance classique, entre énergie vive et lyrisme maîtrisé. Maazel y révèle une lecture claire et incisive, soulignant la modernité de cette œuvre souvent sous-estimée.\r\n
      \r\n
      Avec La Mer, L. 109 de Claude Debussy, l’orchestre berlinois explore une palette sonore d’une richesse exceptionnelle. Les textures orchestrales évoquent tour à tour la lumière, le mouvement et la puissance des éléments naturels.\r\n
      \r\n
      L’album se conclut par la Danse Suite, SZ. 77 de Béla Bartók, œuvre rythmique et colorée, où se mêlent influences folkloriques et modernité orchestrale.\r\n
      \r\n
      - Lorin Maazel "The Unreleased Berlin Recordings" !\r\n
      - Recorded at the Concertgebouw, Amsterdam on Apri 15, 1980 !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 3000 copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      "When I first discovered Maazel's recordings conducting the Berlin Radio Symphony Orchestra, I was completely captivated by his singular artistic choices, particularly in Beethoven's 4th Symphony. It is only at the end of the Finale, that the listener has the feeling of having experienced a unique reading, truthful and as inspired as it is organic. The version of La Mer sparkles with a thousand lights and one could not imagine more authentic Bartók. Maazel is definitely a conductor of the highest range and these recordings are simply fascinating". - Frédéric D'ORIA-NICOLAS, Musical Treasure Hunter\r\n
      \r\n
      Many musicians feared Maazel's chilly authoritarianism, his inability to make concessions. Unfailingly demanding, he insisted that the orchestras show him blind obedience and that the boards in charge run operations smoothly. His temper was legendary.\r\n
      \r\n
      But if he was demanding, it was first and foremost of himself. "Little Lorin", as the former child prodigy was known then, was first asked to lead a professional orchestra when he was nine years old and already a violin virtuoso. When he was eleven, Toscanini invited him to take the baton of the NBC orchestra in New York.\r\n
      \r\n
      Maazel had phenomenal gifts. These, coupled with his sheer hard work and exceptional resilience, resulted in a career of 72 years that encompassed more than 7000 performances with the most prestigious orchestras worldwide. His repertoire was seemingly boundless. During the 1960s and 1970s, when he was at the helm of the Sinfonie Orchester Berlin, Maazel proved himself to be a maestro of style, a magician of sound gifted with not only a perfect sense of line and color, but also infallible technique.\r\n
      \r\n
      The Lost Recordings found these hitherto unpublished recordings, made in October 1969 in Studio 1 of Berlin Radio. Here Maazel's inspiration takes him to the very summit of refinement and expressive intensity.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Lorin Maazel conducts the Berlin Radio Symphony Orchestra"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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    -preCommande: true
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    -extraitYoutube: "https://www.youtube.com/watch?v=2cCLuN3coro&t=195s"
    -referenceProduit: "The Lost Recordings 3063"
    -titreMorceau: [
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        "ordre" => 5
        "nom" => "III. Allegro vivace - Trio"
      ]
      [
        "ordre" => 6
        "nom" => "IV. Allegro ma non troppo"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Claude Debussy : La Mer, Trois Esquisses Symphoniques pour"
      ]
      [
        "ordre" => 9
        "nom" => "Orchestre, L 109"
      ]
      [
        "ordre" => 10
        "nom" => "I. De l'aube à midi sur la mer (From Dawn till Noon on the Sea)"
      ]
      [
        "ordre" => 11
        "nom" => "II. Jeux de vagues (Play of the Waves)"
      ]
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        "nom" => "III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)"
      ]
      [
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        "nom" => "I. Moderato"
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        "nom" => ""
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      [
        "ordre" => 22
        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2065 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3324
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2697 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 3047
    -nom: "The Unreleased Berlin Recordings  (Numbered Limited Edition)"
    -informationComplementaire: "Un enregistrement rare des années 60. Lorin Maazel dirige le Radio-Symphonie-Orchester Berlin dans un programme puissant réunissant Ludwig van Beethoven, Claude Debussy et Béla Bartók. Un témoignage orchestral intense, entre précision, énergie et poésie."
    -description: """
      - Enregistrements rares issus d’archives berlinoises !\r\n
      - Un Lorin Maazel au sommet de sa jeunesse artistique !\r\n
      - Un témoignage sonore du Berlin musical des années 60 !\r\n
      - Un programme riche : Beethoven, Debussy, Bartók !\r\n
      \r\n
      Ce double enregistrement issu des archives berlinoises des années 1960 met en lumière un Lorin Maazel jeune mais déjà magistral, dirigeant avec une autorité impressionnante et une sensibilité remarquable.\r\n
      \r\n
      La Symphonie N° 4 en si bémol majeur, Op. 60 de Ludwig van Beethoven y déploie toute son élégance classique, entre énergie vive et lyrisme maîtrisé. Maazel y révèle une lecture claire et incisive, soulignant la modernité de cette œuvre souvent sous-estimée.\r\n
      \r\n
      Avec La Mer, L. 109 de Claude Debussy, l’orchestre berlinois explore une palette sonore d’une richesse exceptionnelle. Les textures orchestrales évoquent tour à tour la lumière, le mouvement et la puissance des éléments naturels.\r\n
      \r\n
      L’album se conclut par la Danse Suite, SZ. 77 de Béla Bartók, œuvre rythmique et colorée, où se mêlent influences folkloriques et modernité orchestrale.\r\n
      \r\n
      - Lorin Maazel "The Unreleased Berlin Recordings" !\r\n
      - Recorded at the Concertgebouw, Amsterdam on Apri 15, 1980 !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 3000 copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      "When I first discovered Maazel's recordings conducting the Berlin Radio Symphony Orchestra, I was completely captivated by his singular artistic choices, particularly in Beethoven's 4th Symphony. It is only at the end of the Finale, that the listener has the feeling of having experienced a unique reading, truthful and as inspired as it is organic. The version of La Mer sparkles with a thousand lights and one could not imagine more authentic Bartók. Maazel is definitely a conductor of the highest range and these recordings are simply fascinating". - Frédéric D'ORIA-NICOLAS, Musical Treasure Hunter\r\n
      \r\n
      Many musicians feared Maazel's chilly authoritarianism, his inability to make concessions. Unfailingly demanding, he insisted that the orchestras show him blind obedience and that the boards in charge run operations smoothly. His temper was legendary.\r\n
      \r\n
      But if he was demanding, it was first and foremost of himself. "Little Lorin", as the former child prodigy was known then, was first asked to lead a professional orchestra when he was nine years old and already a violin virtuoso. When he was eleven, Toscanini invited him to take the baton of the NBC orchestra in New York.\r\n
      \r\n
      Maazel had phenomenal gifts. These, coupled with his sheer hard work and exceptional resilience, resulted in a career of 72 years that encompassed more than 7000 performances with the most prestigious orchestras worldwide. His repertoire was seemingly boundless. During the 1960s and 1970s, when he was at the helm of the Sinfonie Orchester Berlin, Maazel proved himself to be a maestro of style, a magician of sound gifted with not only a perfect sense of line and color, but also infallible technique.\r\n
      \r\n
      The Lost Recordings found these hitherto unpublished recordings, made in October 1969 in Studio 1 of Berlin Radio. Here Maazel's inspiration takes him to the very summit of refinement and expressive intensity.
      """
    -prixVente: "99.50"
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        "nom" => "Side C :"
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        "nom" => "1. Claude Debussy : La Mer, Trois Esquisses Symphoniques pour"
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        "ordre" => 9
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      [
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        "nom" => "II. Jeux de vagues (Play of the Waves)"
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        "nom" => "III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea)"
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        "nom" => "Side D : "
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2065 …}
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[
  "produit" => App\Entity\Produit {#2085
    -id: 2914
    -nom: "Live In Helsinki 1963 & 1965"
    -informationComplementaire: "Plongez au cœur de la magie du live avec Ella Fitzgerald. À Helsinki, en 1963 et 1965, la First Lady of Song enflamme la scène et réinvente chaque note avec une élégance et une liberté inégalées. Une voix, un moment, une légende comme si vous y étiez."
    -description: """
      L’album "Live in Helsinki 1963 & 1965" de Ella Fitzgerald est une plongée rare et précieuse dans l’art de la scène de l’une des plus grandes voix du jazz. Enregistrées lors de deux concerts donnés en Finlande, ces performances capturent Ella Fitzgerald au sommet de son talent, dans toute la spontanéité et la virtuosité qui ont fait sa légende.\r\n
      \r\n
      Entre standards intemporels, improvisations audacieuses et scat époustouflant, Ella transforme chaque morceau en un moment unique. Son sens du swing, sa justesse parfaite et sa capacité à dialoguer avec les musiciens offrent une expérience live authentique et vibrante.\r\n
      \r\n
      Ces enregistrements révèlent une artiste libre, joueuse et profondément connectée à son public, un témoignage vivant de l’âge d’or du jazz et de la puissance de la performance en direct.\r\n
      \r\n
      - Ella Fitzgerald "Live In Helsinki 1963 & 1965" !\r\n
      - 180 gram mono (3 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      In 1960 Ella Fitzgerald bought a house in Copenhagen. It might seem surprising for someone born in Virginia to choose Denmark with its icy winters. There was indeed a part of folly in the decision, because she was once more in love. This time, the man was Swedish. But the chain of events had not been random. Norman Granz, her mentor, friend and producer had decided to leave the U.S. and move to Switzerland around the same time. He was weary of battling away in a country fraught with racism, bogged down in the Cold War and witch hunts.\r\n
      \r\n
      Ray Charles, Miles Davis and many other musicians were also victims of obnoxious prejudice and Europe became their new mecca. Granz had already led the way and Ella followed. However, she never definitively left the United States, where she continued to fight racism, supporting Martin Luther King and appearing with her blond "sister," Marilyn Monroe. Across the Atlantic, she made more and more European tours, speaking German in Berlin, French in Paris, and Italian in Rome. She used English in Helsinki, where she gave two memorable concerts in April 1963 and March 1965. She felt a close affinity to Copenhagen. One thing was sure, she was happy, and it showed.\r\n
      \r\n
      It took us at The Lost Recordings months of talks and two trips to Helsinki to unearth the tapes of these concerts, never before published as records. We were immediately struck by Ella's virtuosity - her vocal acrobatics - and the quality of her voice, whose very essence and tonal confidence still shine through. This imposing woman's stage presence is magnetic, masking her stage fright in the wings and the shyness she had retained since childhood.\r\n
      \r\n
      After listening to these concerts, it is clear that her musical legacy extends beyond the musical framework of jazz. Her repertoire included not only the composers of The Great American Songbook, such as Cole Porter, Irving Berlin and George Gershwin, but also popular Broadway numbers, songs by The Beatles and South American music. The last piece of the puzzle: she knew no boundaries. She swept up everything along her way. Her timbre, her style and her very presence are immediately recognisable. She was inimitable. Whether she was living in Harlem, London, Los Angeles, Copenhagen or Helsinki, she was the very embodiment of swing, of scat, and of jazz. Ella and music are one.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Ella Fitzgerald (vocals), Tommy Flanagan (piano), Les Spann (guitar, flute), Jim Hughart, Ketter Betts (bass), Gus Johnson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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      [
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        "nom" => "11. How High the Moon"
      ]
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        "nom" => "LP 3"
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        "nom" => "1. Walk Right In"
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        "nom" => "4. Here's That Rainy Day"
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        "nom" => "5. The Angels Sing"
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        "nom" => "6. A Hard Day's Night"
      ]
      [
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        "nom" => "7. Medley :"
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        "nom" => "- Do Nothin' Till You Hear From Me"
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      [
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        "nom" => "- Mood Indigo"
      ]
      [
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        "nom" => "- It Don't Mean a Thing"
      ]
      [
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        "nom" => "8. The Boy from Ipanema"
      ]
      [
        "ordre" => 36
        "nom" => "9. Don't Rain on My Parade from 'Funny Girl'"
      ]
      [
        "ordre" => 37
        "nom" => "10. Mack the Knife"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2087 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3375
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2697 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2085
    -id: 2914
    -nom: "Live In Helsinki 1963 & 1965"
    -informationComplementaire: "Plongez au cœur de la magie du live avec Ella Fitzgerald. À Helsinki, en 1963 et 1965, la First Lady of Song enflamme la scène et réinvente chaque note avec une élégance et une liberté inégalées. Une voix, un moment, une légende comme si vous y étiez."
    -description: """
      L’album "Live in Helsinki 1963 & 1965" de Ella Fitzgerald est une plongée rare et précieuse dans l’art de la scène de l’une des plus grandes voix du jazz. Enregistrées lors de deux concerts donnés en Finlande, ces performances capturent Ella Fitzgerald au sommet de son talent, dans toute la spontanéité et la virtuosité qui ont fait sa légende.\r\n
      \r\n
      Entre standards intemporels, improvisations audacieuses et scat époustouflant, Ella transforme chaque morceau en un moment unique. Son sens du swing, sa justesse parfaite et sa capacité à dialoguer avec les musiciens offrent une expérience live authentique et vibrante.\r\n
      \r\n
      Ces enregistrements révèlent une artiste libre, joueuse et profondément connectée à son public, un témoignage vivant de l’âge d’or du jazz et de la puissance de la performance en direct.\r\n
      \r\n
      - Ella Fitzgerald "Live In Helsinki 1963 & 1965" !\r\n
      - 180 gram mono (3 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      In 1960 Ella Fitzgerald bought a house in Copenhagen. It might seem surprising for someone born in Virginia to choose Denmark with its icy winters. There was indeed a part of folly in the decision, because she was once more in love. This time, the man was Swedish. But the chain of events had not been random. Norman Granz, her mentor, friend and producer had decided to leave the U.S. and move to Switzerland around the same time. He was weary of battling away in a country fraught with racism, bogged down in the Cold War and witch hunts.\r\n
      \r\n
      Ray Charles, Miles Davis and many other musicians were also victims of obnoxious prejudice and Europe became their new mecca. Granz had already led the way and Ella followed. However, she never definitively left the United States, where she continued to fight racism, supporting Martin Luther King and appearing with her blond "sister," Marilyn Monroe. Across the Atlantic, she made more and more European tours, speaking German in Berlin, French in Paris, and Italian in Rome. She used English in Helsinki, where she gave two memorable concerts in April 1963 and March 1965. She felt a close affinity to Copenhagen. One thing was sure, she was happy, and it showed.\r\n
      \r\n
      It took us at The Lost Recordings months of talks and two trips to Helsinki to unearth the tapes of these concerts, never before published as records. We were immediately struck by Ella's virtuosity - her vocal acrobatics - and the quality of her voice, whose very essence and tonal confidence still shine through. This imposing woman's stage presence is magnetic, masking her stage fright in the wings and the shyness she had retained since childhood.\r\n
      \r\n
      After listening to these concerts, it is clear that her musical legacy extends beyond the musical framework of jazz. Her repertoire included not only the composers of The Great American Songbook, such as Cole Porter, Irving Berlin and George Gershwin, but also popular Broadway numbers, songs by The Beatles and South American music. The last piece of the puzzle: she knew no boundaries. She swept up everything along her way. Her timbre, her style and her very presence are immediately recognisable. She was inimitable. Whether she was living in Harlem, London, Los Angeles, Copenhagen or Helsinki, she was the very embodiment of swing, of scat, and of jazz. Ella and music are one.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Ella Fitzgerald (vocals), Tommy Flanagan (piano), Les Spann (guitar, flute), Jim Hughart, Ketter Betts (bass), Gus Johnson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 3
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=XFq4_h6Yz6E&list=RDXFq4_h6Yz6E&start_radio=1"
    -referenceProduit: "The Lost Recordings 4064"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "LP 1"
      ]
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        "ordre" => 1
        "nom" => "1. Just One of Those Things"
      ]
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        "ordre" => 2
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      [
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        "nom" => "3. Crazy He Calls Me"
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        "ordre" => 4
        "nom" => "4. In a Mellow Tone"
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        "nom" => "5. No Moon at All"
      ]
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        "nom" => "6. Georgia on My Mind"
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      ]
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        "nom" => "11. Mack the Knife"
      ]
      [
        "ordre" => 12
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      [
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        "nom" => "1. Don't Get Around Much Anymore"
      ]
      [
        "ordre" => 14
        "nom" => "2. They Can't Take That Away From Me"
      ]
      [
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      ]
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        "nom" => "9. Desafinado"
      ]
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        "nom" => "10. Tenderly"
      ]
      [
        "ordre" => 23
        "nom" => "11. How High the Moon"
      ]
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        "nom" => "LP 3"
      ]
      [
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        "nom" => "1. Walk Right In"
      ]
      [
        "ordre" => 26
        "nom" => "2. That Old Black Magic"
      ]
      [
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        "nom" => "3. Body and Soul"
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      [
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        "nom" => "4. Here's That Rainy Day"
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        "nom" => "10. Mack the Knife"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2087 …}
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2465 …}
}

[
  "produit" => App\Entity\Produit {#2105
    -id: 1500
    -nom: "Live In Scheveningen 1958 - Sapphire Edition Clear Vinyl"
    -informationComplementaire: null
    -description: """
      - Art Blakey "Live In Scheveningen" !\r\n
      - 200 gram numbered (2 LP) Sapphire Edition clear vinyl limited to 4000 copies ! !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed and assembled in France !\r\n
      - Box and tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      "This particularly ephemeral formation of the Jazz Messengers, led by Benny Golson, is for some, simply the best. Never before has the group achieved this balance between passion, elegance and swing, this ideal between freedom and sophistication. And it will never find again totally this osmosis afterwards. A superbly restored album. Not to be missed. For any reasons." — 5 Stars, Jazz Magazine\r\n
      \r\n
      On the evening of November 29, 1958, on the stage of the Kurhaus in Scheveningen, when Art Blakey grabs the microphone to say "I would like to take a moment and say good evening on behalf of the Jazz Messengers and myself," everyone knows that he is living a historic moment.\r\n
      \r\n
      Pianist Bobby Timmons has just created the iconic "Moanin'" and saxophonist Benny Golson the famous "Along Came Betty," which the Jazz Messengers mix with compositions by their illustrious companions, Thelonious Monk, Charlie Parker and Dizzy Gillespie. The essence of world jazz is on stage, and is taken up again on this edition forgotten until today.\r\n
      \r\n
      Recorded at the Kurhaus in Scheveningen, Netherlands, Oct. 29, 1958.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Art Blakey (drums), Lee Morgan (trumpet), Benny Golson (tenor saxophone), Bobby Timmons (piano), Jymie Merritt (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=npillCWp7kw"
    -referenceProduit: "The Lost Recordings 4034"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "LP 1 :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Introduction by Art Blakey"
      ]
      [
        "ordre" => 2
        "nom" => "2. Moanin'"
      ]
      [
        "ordre" => 3
        "nom" => "3. Announcement by Art Blakey"
      ]
      [
        "ordre" => 4
        "nom" => "4. Along Came Betty"
      ]
      [
        "ordre" => 5
        "nom" => "5. Announcement by Art Blakey"
      ]
      [
        "ordre" => 6
        "nom" => "6. Evidence / Justice"
      ]
      [
        "ordre" => 7
        "nom" => "LP 2 :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Just by Myself"
      ]
      [
        "ordre" => 9
        "nom" => "2. Announcement by Art Blakey"
      ]
      [
        "ordre" => 10
        "nom" => "3. I Remember Clifford"
      ]
      [
        "ordre" => 11
        "nom" => "4. Announcement by Art Blakey"
      ]
      [
        "ordre" => 12
        "nom" => "5. Now Is the Time"
      ]
      [
        "ordre" => 13
        "nom" => "6. Announcement by Art Blakey"
      ]
      [
        "ordre" => 14
        "nom" => "7. Whisper Not"
      ]
      [
        "ordre" => 15
        "nom" => "8. Night in Tunisia"
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2107 …}
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    -style: App\Entity\Style {#1468 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2109 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2111 …}
    -enregistreLe: DateTime @1546768555 {#2098
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    }
    -modifierLe: DateTime @1766128698 {#2099
      date: 2025-12-19 07:18:18.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2113 …}
    -disponible: null
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    -slug: "vinyles-live-in-scheveningen-1958-sapphire-edition-clear-vinyl-the-lost-recordings-4034"
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App\Twig\Components\GestionPanierFavoriComponents {#3426
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2697 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2105
    -id: 1500
    -nom: "Live In Scheveningen 1958 - Sapphire Edition Clear Vinyl"
    -informationComplementaire: null
    -description: """
      - Art Blakey "Live In Scheveningen" !\r\n
      - 200 gram numbered (2 LP) Sapphire Edition clear vinyl limited to 4000 copies ! !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed and assembled in France !\r\n
      - Box and tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      "This particularly ephemeral formation of the Jazz Messengers, led by Benny Golson, is for some, simply the best. Never before has the group achieved this balance between passion, elegance and swing, this ideal between freedom and sophistication. And it will never find again totally this osmosis afterwards. A superbly restored album. Not to be missed. For any reasons." — 5 Stars, Jazz Magazine\r\n
      \r\n
      On the evening of November 29, 1958, on the stage of the Kurhaus in Scheveningen, when Art Blakey grabs the microphone to say "I would like to take a moment and say good evening on behalf of the Jazz Messengers and myself," everyone knows that he is living a historic moment.\r\n
      \r\n
      Pianist Bobby Timmons has just created the iconic "Moanin'" and saxophonist Benny Golson the famous "Along Came Betty," which the Jazz Messengers mix with compositions by their illustrious companions, Thelonious Monk, Charlie Parker and Dizzy Gillespie. The essence of world jazz is on stage, and is taken up again on this edition forgotten until today.\r\n
      \r\n
      Recorded at the Kurhaus in Scheveningen, Netherlands, Oct. 29, 1958.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Art Blakey (drums), Lee Morgan (trumpet), Benny Golson (tenor saxophone), Bobby Timmons (piano), Jymie Merritt (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=npillCWp7kw"
    -referenceProduit: "The Lost Recordings 4034"
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        "ordre" => 0
        "nom" => "LP 1 :"
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        "nom" => "8. Night in Tunisia"
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2107 …}
    -label: App\Entity\Label {#1063 …}
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2465 …}
}

[
  "produit" => App\Entity\Produit {#2129
    -id: 1026
    -nom: "Live In Rotterdam 1967 - Sapphire Limited Edition Clear Vinyl"
    -informationComplementaire: null
    -description: """
      - Thelonious Monk "Live In Rotterddam 1967" !\r\n
      - 200 gram numbered (2 LP) Sapphire Edition clear vinyl limited to 4000 numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed and manufactured in France !\r\n
      - Box and tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      When he took the stage at the Club Doelen in Rotterdam on October 28, 1967, Thelonious Monk had just turned 50. Fifteen years later he would disappear from the music scene, taking refuge for the last six years of his life in New York at Pannonica de Koenigswater, never to touch the piano again. Flanked by the two "classics" "Ruby, My Dear" and "Blue Monk", he leads the quartet of his three accomplices, Charlie Rouse, Larry Gales, Ben Riley and their guests, for more than an hour and 20 minutes.\r\n
      \r\n
      Larry Gales' bass pops out of a box at the end of "Hackensack", the brass gets carried away in the middle of "We See"; they answer each other by swirling in the dizzying "Oska". And in the middle of the concert, a solo moment on 'Don't Blame Me," everything appears contrasting, twisted, oblique, each note seeming to be surprised by the previous one. Monk first goes around the melody from behind before bringing it back, pure, to the front. Finally they close: "Blue Monk," all classical restraint.\r\n
      \r\n
      Lost Recordings' Sapphire Edition pushes the boundaries of audio media. It is the pinnacle of our latest innovations in restoration and manufacturing processes, without any constraints or compromises, thus delivering an unprecedented musical experience.\r\n
      \r\n
      Recorded at De Doelen, Rotterdam, Oct. 28, 1967.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Thelonius Monk (piano), Charlie Rouse (tenor saxophone), Larry Gales (bass), Ben Riley (drums), Clark Terry, Ray Copeland (trumpet), Jimmy Cleveland (trombone), Phil Woods (alto saxophone), Johnny Griffin (tenor saxophone)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Juk8HmTOAOw"
    -referenceProduit: "The Lost Recordings 4029"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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        "nom" => "1. Ruby, My Dear"
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        "nom" => "Side B : "
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        "nom" => "3. We See"
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      [
        "ordre" => 5
        "nom" => "4. Epistrophy"
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        "ordre" => 6
        "nom" => "Side C :"
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        "nom" => "1. Evidence / Epistrophy"
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        "nom" => "2. Don't Blame Me"
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        "nom" => "Side D : "
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        "nom" => "4. Blue Monk"
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        "nom" => ""
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2131 …}
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    -modifierLe: DateTime @1765996192 {#2119
      date: 2025-12-17 18:29:52.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2137 …}
    -disponible: null
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]

App\Twig\Components\GestionPanierFavoriComponents {#3477
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2697 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2129
    -id: 1026
    -nom: "Live In Rotterdam 1967 - Sapphire Limited Edition Clear Vinyl"
    -informationComplementaire: null
    -description: """
      - Thelonious Monk "Live In Rotterddam 1967" !\r\n
      - 200 gram numbered (2 LP) Sapphire Edition clear vinyl limited to 4000 numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed and manufactured in France !\r\n
      - Box and tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      When he took the stage at the Club Doelen in Rotterdam on October 28, 1967, Thelonious Monk had just turned 50. Fifteen years later he would disappear from the music scene, taking refuge for the last six years of his life in New York at Pannonica de Koenigswater, never to touch the piano again. Flanked by the two "classics" "Ruby, My Dear" and "Blue Monk", he leads the quartet of his three accomplices, Charlie Rouse, Larry Gales, Ben Riley and their guests, for more than an hour and 20 minutes.\r\n
      \r\n
      Larry Gales' bass pops out of a box at the end of "Hackensack", the brass gets carried away in the middle of "We See"; they answer each other by swirling in the dizzying "Oska". And in the middle of the concert, a solo moment on 'Don't Blame Me," everything appears contrasting, twisted, oblique, each note seeming to be surprised by the previous one. Monk first goes around the melody from behind before bringing it back, pure, to the front. Finally they close: "Blue Monk," all classical restraint.\r\n
      \r\n
      Lost Recordings' Sapphire Edition pushes the boundaries of audio media. It is the pinnacle of our latest innovations in restoration and manufacturing processes, without any constraints or compromises, thus delivering an unprecedented musical experience.\r\n
      \r\n
      Recorded at De Doelen, Rotterdam, Oct. 28, 1967.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Thelonius Monk (piano), Charlie Rouse (tenor saxophone), Larry Gales (bass), Ben Riley (drums), Clark Terry, Ray Copeland (trumpet), Jimmy Cleveland (trombone), Phil Woods (alto saxophone), Johnny Griffin (tenor saxophone)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Juk8HmTOAOw"
    -referenceProduit: "The Lost Recordings 4029"
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        "nom" => "Side A :"
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        "nom" => "1. Ruby, My Dear"
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        "nom" => "2. Hackensack"
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        "nom" => "Side B : "
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        "nom" => "3. We See"
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      [
        "ordre" => 5
        "nom" => "4. Epistrophy"
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      [
        "ordre" => 6
        "nom" => "Side C :"
      ]
      [
        "ordre" => 7
        "nom" => "1. Evidence / Epistrophy"
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      [
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        "nom" => "2. Don't Blame Me"
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      [
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        "nom" => "Side D : "
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        "ordre" => 10
        "nom" => "3. Oska T. / Epistrophy"
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        "nom" => "4. Blue Monk"
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        "ordre" => 12
        "nom" => ""
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        "nom" => ""
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        "nom" => ""
      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2131 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
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[
  "produit" => App\Entity\Produit {#2153
    -id: 678
    -nom: "Live at the Berlin Jazz Festival 1969-1973"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Duke Ellington (piano), Joe Benjamin (bass), Harold "Money" Johnson (trumpet), Paul Gonsalves (saxophone), Harry Carney (baritone saxophone, clarinet), Quinten "Rocky" White Jr. (drums), Duke Ellington orchestra (Duke Ellington (piano), Cat Anderson, Cootie Williams, Mercer Ellington (trumpet), Harold Ashby, Johnny Hodges, Paul Gonsalves, Russell Procope (saxophone), Harry Carney (baritone saxophone, clarinet), Rufus Jones (drums) \r\n
      \r\n
      - Duke Ellington "Live at the Berlin Jazz Festival 1969-1973" !\r\n
      - 180 gram hand-numbered edition !\r\n
      - Limited to 2000 copies worldwide !\r\n
      - Gold foil and debossing on soft-touch cover !\r\n
      - Printed inner sleeve; pressed at Optimal in Germany !\r\n
      \r\n
      On Nov. 8, 1969,on the stage of the Berlin Philharmonic's main hall, the Duke, whose portrait is the poster of the Jazztage Festival celebrating his 70th birthday, slowly joined his piano. His orchestra was at the helm, adorned with a gleaming section, some of whom have accompanied him for 30 years, such as Cootie Willams and Cat Anderson. Legendary saxophonists Paul Gonsalves and Johnny Hodges and Russell Procope were also present.\r\n
      \r\n
      In a sort of rattle, the Duke launched "La plus Belle Africaine". A baroque but perfectly mastered mixture of sunny colors captured during a tour in Dakar, launched by the solo saxophone and then taken up with flashes of inventiveness by all or part of the band. The tone is set. Cat Anderson launched into a furious "El Gato" which shook the audience with its creaking, deliberate deconstruction, evoking the revolutionary, fragmentary and unfinished gestures of Thelonious Monk or Cecil Taylor. A studied contrast with the gentle continuation of "I Can't Get Started", just before the 43 second parenthesis of "Caravan", which is a mischievous link to the flamboyant "Satin Doll" that masterfully punctuates this concert.\r\n
      \r\n
      In 1973, a few months before his death, Duke returned to Berlin in a formation based on his trio (Joe Benjamin on double bass and Quinten "Rocky" White Jr. on drums), joined by Harold Johnson on trumpet, the clarinettist and baritone saxophonist Harry Carney and by his long-time sidekick, the tenor saxophonist Paul Gonsalves. Duke Ellington gives his piano a central place here, making it both the driving force of the ensemble and its harmonic and rhythmic backbone.\r\n
      \r\n
      In the blues that opens the concert, we hear Debussy. Take the A train' follows. The Duke likes changes of mood. Only, here and there, touches of discontinuous speech remind us how sagaciously the Duke was able to draw on the audacious harmonies of his contemporaries. And then he dares to do everything. Like offering his band the rhythmic virtuosity of Baby Laurence on tap dance in "Tap Dance". The magic works. The success is total.\r\n
      \r\n
      Two concerts in Berlin, two facets of a poetic universe, two visions of an alchemist who knew how to draw with lightness but also with a mixture of jubilation and authority, from the harmonic sources of all music and which make so relevant the formula he loved: "there are only two kinds of music: good and bad". We have had the extreme privilege of resurrecting the better one.
      """
    -prixVente: "52.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Duke Ellington (piano), Joe Benjamin (bass), Harold "Money" Johnson (trumpet), Paul Gonsalves (saxophone), Harry Carney (baritone saxophone, clarinet), Quinten "Rocky" White Jr. (drums)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=-7xCnhEYk9U"
    -referenceProduit: "The Lost Recordings 0404"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Piano Improvisation N° 1"
      ]
      [
        "ordre" => 2
        "nom" => "2. Take the "A" Train"
      ]
      [
        "ordre" => 3
        "nom" => "3. Pitter Panther Patter"
      ]
      [
        "ordre" => 4
        "nom" => "4. Sophisticated Lady"
      ]
      [
        "ordre" => 5
        "nom" => "5. Introduction by Baby Laurence"
      ]
      [
        "ordre" => 6
        "nom" => "6. Tap Dance"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. The Most Beautiful African"
      ]
      [
        "ordre" => 9
        "nom" => "2. El Gato"
      ]
      [
        "ordre" => 10
        "nom" => "3. I Can't Get Started"
      ]
      [
        "ordre" => 11
        "nom" => "4. Caravan"
      ]
      [
        "ordre" => 12
        "nom" => "5. Satin Doll"
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2155 …}
    -label: App\Entity\Label {#1063 …}
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    -slug: "vinyles-live-at-the-berlin-jazz-festival-1969-1973-the-lost-recordings-0404"
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App\Twig\Components\GestionPanierFavoriComponents {#3528
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2697 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2153
    -id: 678
    -nom: "Live at the Berlin Jazz Festival 1969-1973"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Duke Ellington (piano), Joe Benjamin (bass), Harold "Money" Johnson (trumpet), Paul Gonsalves (saxophone), Harry Carney (baritone saxophone, clarinet), Quinten "Rocky" White Jr. (drums), Duke Ellington orchestra (Duke Ellington (piano), Cat Anderson, Cootie Williams, Mercer Ellington (trumpet), Harold Ashby, Johnny Hodges, Paul Gonsalves, Russell Procope (saxophone), Harry Carney (baritone saxophone, clarinet), Rufus Jones (drums) \r\n
      \r\n
      - Duke Ellington "Live at the Berlin Jazz Festival 1969-1973" !\r\n
      - 180 gram hand-numbered edition !\r\n
      - Limited to 2000 copies worldwide !\r\n
      - Gold foil and debossing on soft-touch cover !\r\n
      - Printed inner sleeve; pressed at Optimal in Germany !\r\n
      \r\n
      On Nov. 8, 1969,on the stage of the Berlin Philharmonic's main hall, the Duke, whose portrait is the poster of the Jazztage Festival celebrating his 70th birthday, slowly joined his piano. His orchestra was at the helm, adorned with a gleaming section, some of whom have accompanied him for 30 years, such as Cootie Willams and Cat Anderson. Legendary saxophonists Paul Gonsalves and Johnny Hodges and Russell Procope were also present.\r\n
      \r\n
      In a sort of rattle, the Duke launched "La plus Belle Africaine". A baroque but perfectly mastered mixture of sunny colors captured during a tour in Dakar, launched by the solo saxophone and then taken up with flashes of inventiveness by all or part of the band. The tone is set. Cat Anderson launched into a furious "El Gato" which shook the audience with its creaking, deliberate deconstruction, evoking the revolutionary, fragmentary and unfinished gestures of Thelonious Monk or Cecil Taylor. A studied contrast with the gentle continuation of "I Can't Get Started", just before the 43 second parenthesis of "Caravan", which is a mischievous link to the flamboyant "Satin Doll" that masterfully punctuates this concert.\r\n
      \r\n
      In 1973, a few months before his death, Duke returned to Berlin in a formation based on his trio (Joe Benjamin on double bass and Quinten "Rocky" White Jr. on drums), joined by Harold Johnson on trumpet, the clarinettist and baritone saxophonist Harry Carney and by his long-time sidekick, the tenor saxophonist Paul Gonsalves. Duke Ellington gives his piano a central place here, making it both the driving force of the ensemble and its harmonic and rhythmic backbone.\r\n
      \r\n
      In the blues that opens the concert, we hear Debussy. Take the A train' follows. The Duke likes changes of mood. Only, here and there, touches of discontinuous speech remind us how sagaciously the Duke was able to draw on the audacious harmonies of his contemporaries. And then he dares to do everything. Like offering his band the rhythmic virtuosity of Baby Laurence on tap dance in "Tap Dance". The magic works. The success is total.\r\n
      \r\n
      Two concerts in Berlin, two facets of a poetic universe, two visions of an alchemist who knew how to draw with lightness but also with a mixture of jubilation and authority, from the harmonic sources of all music and which make so relevant the formula he loved: "there are only two kinds of music: good and bad". We have had the extreme privilege of resurrecting the better one.
      """
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[
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    -nom: "Stan Getz Quartet - At Zardi's 1956 Vol. 1"
    -informationComplementaire: null
    -description: """
      - Stan Getz "Getz At Zardi's 1956 Vol. 1" !\r\n
      - An elegant sax on Hollywood Boulevard !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      On June 22 and 27, 1959 Stan Getz and his quartet gave two legendary concerts in a club on Hollywood Boulevard. Black and white people, Saxophone players, pianists and singers all flocked to play the clubs and their sound resonated round the world from these sun-drenched settings. What drew all these jazz musicians of the time such as Oscar Peterson, Ella Fitzgerald, Art Tatum, Chet Baker, Sarah Vaughan and, of course, Stan Getz to these venues ? They were escaping the chilly East Coast for both a warmer climate and a more relaxed environment than the tense South. It sustained a musical melting pot encouraged by a governor free of racial prejudice, the Republican Goodwin J. Knight, not to mention a booming labor market and the glamour of the movie industry in a nutshell, the mythical appeal of the West Coast.\r\n
      \r\n
      Their favorite clubs: the Tiffany, the Haig, and most of all, the celebrated Zardi's Jazzland, where Getz and his musicians performed these two evenings. The recordings remained unpublished on vinyl until this present edition.\r\n
      \r\n
      In spring 2025 we came across the original tapes in the suburbs of Chicago. The set list of the two concerts is diverse but the lineup is identical, with pianist Lou Levy, brilliantly representing the sound of the West Coast and whose style dovetailed perfectly with Getz's budding forms of inspiration of that year, Max Bennett was on base and Gary Frommer on drums.\r\n
      \r\n
      Getz here conveys the gentle atmosphere and cool mood he liked so much. The evening's voyage concludes with a swinging improvisation that has the members of the audience reaching for the incandescent starry skies of California.
      """
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App\Twig\Components\GestionPanierFavoriComponents {#3579
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    -nom: "Stan Getz Quartet - At Zardi's 1956 Vol. 1"
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      - Stan Getz "Getz At Zardi's 1956 Vol. 1" !\r\n
      - An elegant sax on Hollywood Boulevard !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
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      \r\n
      Their favorite clubs: the Tiffany, the Haig, and most of all, the celebrated Zardi's Jazzland, where Getz and his musicians performed these two evenings. The recordings remained unpublished on vinyl until this present edition.\r\n
      \r\n
      In spring 2025 we came across the original tapes in the suburbs of Chicago. The set list of the two concerts is diverse but the lineup is identical, with pianist Lou Levy, brilliantly representing the sound of the West Coast and whose style dovetailed perfectly with Getz's budding forms of inspiration of that year, Max Bennett was on base and Gary Frommer on drums.\r\n
      \r\n
      Getz here conveys the gentle atmosphere and cool mood he liked so much. The evening's voyage concludes with a swinging improvisation that has the members of the audience reaching for the incandescent starry skies of California.
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[
  "produit" => App\Entity\Produit {#2199
    -id: 417
    -nom: "Stan Getz Quartet - Live At Zardi's 1956 Vol. 2"
    -informationComplementaire: null
    -description: """
      - Stan Getz "Getz At Zardi's 1956 Vol. 2" !\r\n
      - An elegant sax on Hollywood Boulevard !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      On June 22 and 27, 1959 Stan Getz and his quartet gave two legendary concerts in a club on Hollywood Boulevard.\r\n
      \r\n
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      \r\n
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      \r\n
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      \r\n
      On June 27, Stan performed 14 titles. From the irresistible ballad "Little Girl Blue", the Afro-Cuban theme composed by Dizzy Gillespie "A Night in Tunisia", to Gershwin's "Summertime", every single note was inspired. Stan possessed this unique gift of thinking, creating, imagining in advance, and then, when the time came, bringing fantasy, charm, rhythm, and spontaneity to life on stage.\r\n
      \r\n
      That June 27, where the elegance and beauty of these melodies mingled with the scents and colors of the California sunset, was a resounding success for this magnificent quartet.
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        "nom" => "1. I May Be Wrong"
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      - Stan Getz "Getz At Zardi's 1956 Vol. 2" !\r\n
      - An elegant sax on Hollywood Boulevard !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      On June 22 and 27, 1959 Stan Getz and his quartet gave two legendary concerts in a club on Hollywood Boulevard.\r\n
      \r\n
      Saxophone players, pianists and singers all flocked to play the clubs and their sound resonated round the world from these sun-drenched settings. What drew all these jazz musicians of the time such as Oscar Peterson, Ella Fitzgerald, Art Tatum, Chet Baker, Sarah Vaughan and, of course, Stan Getz to these venues ? They were escaping the chilly East Coast for both a warmer climate and a more relaxed environment than the tense South.\r\n
      \r\n
      It sustained a musical melting pot encouraged by a governor free of racial prejudice, the Republican Goodwin J. Knight, not to mention a booming labor market and the glamour of the movie industry in a nutshell, the mythical appeal of the West Coast. Their favourite clubs: the Tiffany, the Haig, and most of all, the celebrated Zardi's Jazzland, where Getz and his musicians performed these two evenings. The recordings remained unpublished on vinyl until this present edition.\r\n
      \r\n
      In spring 2025 we came across the original tapes in the suburbs of Chicago. The set list of the two concerts is diverse but the lineup is identical, with pianist Lou Levy, brilliantly representing the sound of the West Coast and whose style dovetailed perfectly with Getz's budding forms of inspiration of that year, Max Bennett was on base and Gary Frommer on drums.\r\n
      \r\n
      On June 27, Stan performed 14 titles. From the irresistible ballad "Little Girl Blue", the Afro-Cuban theme composed by Dizzy Gillespie "A Night in Tunisia", to Gershwin's "Summertime", every single note was inspired. Stan possessed this unique gift of thinking, creating, imagining in advance, and then, when the time came, bringing fantasy, charm, rhythm, and spontaneity to life on stage.\r\n
      \r\n
      That June 27, where the elegance and beauty of these melodies mingled with the scents and colors of the California sunset, was a resounding success for this magnificent quartet.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
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    -referenceProduit: "The Lost Recordings 4061"
    -titreMorceau: [
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  "produit" => App\Entity\Produit {#2218
    -id: 1474
    -nom: "Live at the Concertgebouw 1961"
    -informationComplementaire: null
    -description: """
      - Oscar Peterson Trio "Live In Bremen 1961" !\r\n
      - First-ever release! Live concert featuring jazz greats Oscar Peterson, Ray Brown and Ed Thigpen !\r\n
      - Numbered edition on 180 gram vinyl 45 RPM (2 LP) limited to 3000 copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Simon Garcia, Marciac, France !\r\n
      - Gatefold tip-on jackets printed in Italy !\r\n
      \r\n
      The Glocke was one of Herbert von Karajan's favorite concert halls in Europe. Located in the Hanseatic city of Bremen, a capital of commerce that gained its riches from the coffee business, it is an unusual place. The hall itself has been at the confluence of all the arts for decades. It was designed on an octagonal plan in 1737 and despite several fires, it has retained some of the finest acoustics on the continent.\r\n
      \r\n
      On that evening in April 1961, before an audience of 1400, the imposing figure of Oscar Peterson sat down at his piano with his two acolytes. There was Ray Brown, known to his admirers as "the handsome bassist", and Ed Thigpen, one of the most sought-after drummers on the New York scene.\r\n
      \r\n
      Some 15 years earlier, in the mid-1940s, the Canadian pianist was on the path to becoming a classical performer. Then, influenced by popular pianists such as Nat King Cole and the prodigious Art Tatum, whom he would idolize, he suddenly changed direction. In September 1949, Norman Granz discovered Peterson at Carnegie Hall and launched his career as a jazz legend. By 1958, with some ten years of success behind him, the man his fans nicknamed "the man with four hands" and the "Bomber of Boogie Woogie" began to feel that the structure of his repertoire and interpretations needed to evolve.\r\n
      \r\n
      Peterson had been performing chiefly with guitarist Herb Ellis (with whom he never stopped playing), but now he decided to try out working with a trio. This marked an important turning point in his artistic development. The counterpoint of the guitar gave way to the functional and rhythmic backing of the drums and bass, enabling the musical magician to give freer rein to his creativity. In the words of Quebecois novelist Claude Vaillancourt in April 2008, his concerts were imbued with the magic of "hidden pleasure". At a time when jazz, influenced by the new sounds of rock, was in the throes of deconstruction, Peterson responded by grounding his music in the deep roots of the blues, in his classical training and in popular trends. To quote Vaillancourt again, he gave a "grounded earthiness" to the flights of virtuosity that made him so famous. And with spectacular results, as this Bremen concert proves : Peterson, instead of sacrificing swing, imbues it with constant refinement and elegance, and at times even seriousness.\r\n
      \r\n
      The concert kicks off with "Les Filles de Cadix", using the theme of Léo Delibes' famous 1874 composition, revisited by Miles Davis in 1957 on his Miles Ahead album. Initially barely perceptible, the trio ornaments and develops the theme with restraint and elegance up until the central section, where an enchanting swing takes over, before vanishing as discreetly as it had appeared. There are few tunes more popular than "I Could Have Danced all Night" from My Fair Lady, the Broadway musical that premiered in 1956. The rhythm builds up gradually, punctuated by Peterson's occasional humming, growing and amplifying before ending in a soft murmur of the piano.\r\n
      \r\n
      "The Golden Striker" opens with a choral-like melody reminiscent of Bach. Peterson's solo part is solemn; his delicacy nevertheless has forcefulness. His inspiration is drawn from a musical phrase and here, his classical training is evident. A variation follows on from a sudden stop: a wild swing with responses first from Brown and then Thigpen, and Peterson's flourishes on the piano. In only four minutes, the trio propels us into a vortex with the intensity of their performance. A few calm words introduce "Where Do We Go From Here ?", a springtime ballad, which, in contrast with the preceding piece, is light and carefree; we could imagine ourselves on the the banks of a cool, undulating stream. The virtuosity of the piano is so subtle as to be almost imperceptible, and time stands still until the very last chord, delicately played in arpeggio.\r\n
      \r\n
      "My Funny Valentine" is a standard that needs no introduction, but only after a few minutes does the solo piano, still leaving a role for the bass and drums, finally unveil the theme. Peterson drives his fellow musicians to increase the rhythm, the substance, the power. Brown responds with a solo that is just as enchanting. The last piano notes restore the lightness that Frank Sinatra had imparted to the song. Peterson gently introduces "I've Grown Accustomed to her Face", another song from My Fair Lady. Although the melody is less well known, the swirls of the piano in this interpretation transport the listeners into a thrilling whirlwind of delight. With "Blues for Big Scotia", the concert comes to an end in a different register: the trio gives us a version that is truly original. Dazzling arpeggios lead into a series of chords, , reminiscent of Peterson's experiences touring in the Deep South.\r\n
      \r\n
      The Lost Recordings retrieved the tapes of this landmark concert from the archives of the Bremen Radio, and many long weeks were spent on their restoration. As the trio leaves the stage to the thunderous applause of the German audience that we can hear here, it is clear that Oscar Peterson is an alchemist of genius, and in a certain sense, his very own Pygmalion who sees his transformations through to end. Already a master of swing, Peterson surpassed himself in every way. He broadened his repertoire and constantly reinvented himself, all the while remaining faithful to his innermost self. His legacy, the magical lustre he brought to jazz, is priceless.
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -referenceProduit: "The Lost Recordings 4053"
    -titreMorceau: [
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    -id: 1474
    -nom: "Live at the Concertgebouw 1961"
    -informationComplementaire: null
    -description: """
      - Oscar Peterson Trio "Live In Bremen 1961" !\r\n
      - First-ever release! Live concert featuring jazz greats Oscar Peterson, Ray Brown and Ed Thigpen !\r\n
      - Numbered edition on 180 gram vinyl 45 RPM (2 LP) limited to 3000 copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Simon Garcia, Marciac, France !\r\n
      - Gatefold tip-on jackets printed in Italy !\r\n
      \r\n
      The Glocke was one of Herbert von Karajan's favorite concert halls in Europe. Located in the Hanseatic city of Bremen, a capital of commerce that gained its riches from the coffee business, it is an unusual place. The hall itself has been at the confluence of all the arts for decades. It was designed on an octagonal plan in 1737 and despite several fires, it has retained some of the finest acoustics on the continent.\r\n
      \r\n
      On that evening in April 1961, before an audience of 1400, the imposing figure of Oscar Peterson sat down at his piano with his two acolytes. There was Ray Brown, known to his admirers as "the handsome bassist", and Ed Thigpen, one of the most sought-after drummers on the New York scene.\r\n
      \r\n
      Some 15 years earlier, in the mid-1940s, the Canadian pianist was on the path to becoming a classical performer. Then, influenced by popular pianists such as Nat King Cole and the prodigious Art Tatum, whom he would idolize, he suddenly changed direction. In September 1949, Norman Granz discovered Peterson at Carnegie Hall and launched his career as a jazz legend. By 1958, with some ten years of success behind him, the man his fans nicknamed "the man with four hands" and the "Bomber of Boogie Woogie" began to feel that the structure of his repertoire and interpretations needed to evolve.\r\n
      \r\n
      Peterson had been performing chiefly with guitarist Herb Ellis (with whom he never stopped playing), but now he decided to try out working with a trio. This marked an important turning point in his artistic development. The counterpoint of the guitar gave way to the functional and rhythmic backing of the drums and bass, enabling the musical magician to give freer rein to his creativity. In the words of Quebecois novelist Claude Vaillancourt in April 2008, his concerts were imbued with the magic of "hidden pleasure". At a time when jazz, influenced by the new sounds of rock, was in the throes of deconstruction, Peterson responded by grounding his music in the deep roots of the blues, in his classical training and in popular trends. To quote Vaillancourt again, he gave a "grounded earthiness" to the flights of virtuosity that made him so famous. And with spectacular results, as this Bremen concert proves : Peterson, instead of sacrificing swing, imbues it with constant refinement and elegance, and at times even seriousness.\r\n
      \r\n
      The concert kicks off with "Les Filles de Cadix", using the theme of Léo Delibes' famous 1874 composition, revisited by Miles Davis in 1957 on his Miles Ahead album. Initially barely perceptible, the trio ornaments and develops the theme with restraint and elegance up until the central section, where an enchanting swing takes over, before vanishing as discreetly as it had appeared. There are few tunes more popular than "I Could Have Danced all Night" from My Fair Lady, the Broadway musical that premiered in 1956. The rhythm builds up gradually, punctuated by Peterson's occasional humming, growing and amplifying before ending in a soft murmur of the piano.\r\n
      \r\n
      "The Golden Striker" opens with a choral-like melody reminiscent of Bach. Peterson's solo part is solemn; his delicacy nevertheless has forcefulness. His inspiration is drawn from a musical phrase and here, his classical training is evident. A variation follows on from a sudden stop: a wild swing with responses first from Brown and then Thigpen, and Peterson's flourishes on the piano. In only four minutes, the trio propels us into a vortex with the intensity of their performance. A few calm words introduce "Where Do We Go From Here ?", a springtime ballad, which, in contrast with the preceding piece, is light and carefree; we could imagine ourselves on the the banks of a cool, undulating stream. The virtuosity of the piano is so subtle as to be almost imperceptible, and time stands still until the very last chord, delicately played in arpeggio.\r\n
      \r\n
      "My Funny Valentine" is a standard that needs no introduction, but only after a few minutes does the solo piano, still leaving a role for the bass and drums, finally unveil the theme. Peterson drives his fellow musicians to increase the rhythm, the substance, the power. Brown responds with a solo that is just as enchanting. The last piano notes restore the lightness that Frank Sinatra had imparted to the song. Peterson gently introduces "I've Grown Accustomed to her Face", another song from My Fair Lady. Although the melody is less well known, the swirls of the piano in this interpretation transport the listeners into a thrilling whirlwind of delight. With "Blues for Big Scotia", the concert comes to an end in a different register: the trio gives us a version that is truly original. Dazzling arpeggios lead into a series of chords, , reminiscent of Peterson's experiences touring in the Deep South.\r\n
      \r\n
      The Lost Recordings retrieved the tapes of this landmark concert from the archives of the Bremen Radio, and many long weeks were spent on their restoration. As the trio leaves the stage to the thunderous applause of the German audience that we can hear here, it is clear that Oscar Peterson is an alchemist of genius, and in a certain sense, his very own Pygmalion who sees his transformations through to end. Already a master of swing, Peterson surpassed himself in every way. He broadened his repertoire and constantly reinvented himself, all the while remaining faithful to his innermost self. His legacy, the magical lustre he brought to jazz, is priceless.
      """
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[
  "produit" => App\Entity\Produit {#2240
    -id: 2068
    -nom: "Live In Paris 1969 / Berlin"
    -informationComplementaire: null
    -description: """
      - Cannonball Adderley "Live In Paris 1969 / Berlin 1972" !\r\n
      - 180 gram double vinyl limited to 3000 hand-numbered copies !\r\n
      - Remastered 2024 by The Lost Recordings from the original analog tape !\r\n
      - 33 1/3 RPM lacquer cuts by Kevin Gray !\r\n
      - Pressed by MEK Vinyl, Switzerland !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      Julian "Cannonball" Adderley earned his nickname from childhood antics, but it would soon become synonymous with brilliance in jazz. One of the most versatile musicians of the 20th century, he embraced all jazz styles from cool and hard bop to funk drawing equally from African, South American, and blues traditions. Adderley was a relentless creator, forming and reshaping ensembles, always seeking deeper musical expression. His motto: jazz must move forward, but never forget its roots.\r\n
      \r\n
      Freed from the weight of the American segregation, Adderley found in Europe the space to experiment and evolve. He merged the roots of the blues with Brazilian rhythms, funk harmonies with the rigor of hard bop. At every concert, he gathered, reinvented, transmitted.\r\n
      \r\n
      This album features unreleased recordings from Berlin (1972) and Paris (1969), showcasing Adderley at the height of his powers. From the vibrant energy of "Hummin" to the tender depth of "Manhã de Carnaval", every track reflects refined artistry. Standouts such as "Walk Tall" and "Work Song" embody his commitment to dignity and justice, while "Oh Babe" and "Mercy, Mercy, Mercy" blend raw emotion with joyful groove. The funk undertones throughout hint at the future of R&B, confirming Cannonball's role as a visionary. A builder of sound and soul, he remains, truly, the Gargantua of jazz.
      """
    -prixVente: "52.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Cannonball Adderley (alto saxophone), Nat Adderley (cornet), Joe Zawinul (electric piano Fender Rhodes), Walter Booker (bass), Roy McCurdy (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=e_cMo0-7mjI&list=RDe_cMo0-7mjI&start_radio=1"
    -referenceProduit: "The Lost Recordings 4059"
    -titreMorceau: [
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        "nom" => "Side A :"
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        "nom" => "1. Hummin'"
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        "nom" => "Side B : "
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        "nom" => "2. Oh Babe"
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        "nom" => "4. Mercy, Mercy, Mercy"
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        "nom" => ""
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        "nom" => ""
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2242 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2251 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2244 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2246 …}
    -enregistreLe: DateTime @1623740919 {#2232
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    }
    -modifierLe: DateTime @1765904637 {#2231
      date: 2025-12-16 17:03:57.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2248 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-live-in-paris-1969-berlin-the-lost-recordings-4059"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3729
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2697 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2240
    -id: 2068
    -nom: "Live In Paris 1969 / Berlin"
    -informationComplementaire: null
    -description: """
      - Cannonball Adderley "Live In Paris 1969 / Berlin 1972" !\r\n
      - 180 gram double vinyl limited to 3000 hand-numbered copies !\r\n
      - Remastered 2024 by The Lost Recordings from the original analog tape !\r\n
      - 33 1/3 RPM lacquer cuts by Kevin Gray !\r\n
      - Pressed by MEK Vinyl, Switzerland !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      Julian "Cannonball" Adderley earned his nickname from childhood antics, but it would soon become synonymous with brilliance in jazz. One of the most versatile musicians of the 20th century, he embraced all jazz styles from cool and hard bop to funk drawing equally from African, South American, and blues traditions. Adderley was a relentless creator, forming and reshaping ensembles, always seeking deeper musical expression. His motto: jazz must move forward, but never forget its roots.\r\n
      \r\n
      Freed from the weight of the American segregation, Adderley found in Europe the space to experiment and evolve. He merged the roots of the blues with Brazilian rhythms, funk harmonies with the rigor of hard bop. At every concert, he gathered, reinvented, transmitted.\r\n
      \r\n
      This album features unreleased recordings from Berlin (1972) and Paris (1969), showcasing Adderley at the height of his powers. From the vibrant energy of "Hummin" to the tender depth of "Manhã de Carnaval", every track reflects refined artistry. Standouts such as "Walk Tall" and "Work Song" embody his commitment to dignity and justice, while "Oh Babe" and "Mercy, Mercy, Mercy" blend raw emotion with joyful groove. The funk undertones throughout hint at the future of R&B, confirming Cannonball's role as a visionary. A builder of sound and soul, he remains, truly, the Gargantua of jazz.
      """
    -prixVente: "52.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Cannonball Adderley (alto saxophone), Nat Adderley (cornet), Joe Zawinul (electric piano Fender Rhodes), Walter Booker (bass), Roy McCurdy (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=e_cMo0-7mjI&list=RDe_cMo0-7mjI&start_radio=1"
    -referenceProduit: "The Lost Recordings 4059"
    -titreMorceau: [
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        "nom" => "Side A :"
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        "nom" => "Side B : "
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        "nom" => "1. Work Song"
      ]
      [
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        "nom" => "2. Oh Babe"
      ]
      [
        "ordre" => 7
        "nom" => "3. Walk Tall"
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      [
        "ordre" => 8
        "nom" => "4. Mercy, Mercy, Mercy"
      ]
      [
        "ordre" => 9
        "nom" => ""
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      [
        "ordre" => 10
        "nom" => ""
      ]
      [
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        "nom" => ""
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      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2242 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2251 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2244 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2246 …}
    -enregistreLe: DateTime @1623740919 {#2232
      date: 2021-06-15 07:08:39.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765904637 {#2231
      date: 2025-12-16 17:03:57.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2248 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-live-in-paris-1969-berlin-the-lost-recordings-4059"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2465 …}
}

[
  "produit" => App\Entity\Produit {#2264
    -id: 871
    -nom: "Live at the Concertgebouw 1961"
    -informationComplementaire: null
    -description: """
      - 180 gram double LP !\r\n
      - Second pressing non-numbered !\r\n
      - Remastered from the original analog tapes !\r\n
      - Lacquers cut by André Perriat !\r\n
      \r\n
      On February 10, 1961 at the Concertgebouw in Amsterdam, just one year after her famous concert in Berlin, Ella found herself once again in front of a packed house. Following a sober presentation of the musicians by Norman Granz, Ella enters the stage. With the freshness of the eternal, slightly impertinent little girl, she propels herself one note into the rhythm of "Too Close for Comfort".\r\n
      \r\n
      The voice settles down, she holds her audience by the hand, softly, surely. Ella settles on stage as if she were in her living room. She welcomes each spectator like a privileged guest. Each piece is a glass of champagne that she offers with grace. Sometimes melancholic, sometimes joking, most of the time laughing, dynamic and catchy. "Hilariously inventive Ella !" As Bing Crosby used to say : "Man, woman or child, Ella is the greatest of them all".\r\n
      \r\n
      Recorded at the Concertgebouw, Amsterdam, Nov. 18, 1961
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Ella Fitzgerald (vocals), Lou Levy (piano), Herb Ellis (guitar), Wilfred Middlebrooks (bass), Gus Johnson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: null
    -referenceProduit: "The Lost Recordings 4027"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Introduction "
      ]
      [
        "ordre" => 2
        "nom" => "2. Won't you please let me in "
      ]
      [
        "ordre" => 3
        "nom" => "3. Too close for comfort "
      ]
      [
        "ordre" => 4
        "nom" => "4. On a slow boat to china "
      ]
      [
        "ordre" => 5
        "nom" => "Side B :"
      ]
      [
        "ordre" => 6
        "nom" => "1. How long has this been going on ? "
      ]
      [
        "ordre" => 7
        "nom" => "2. Heart and soul "
      ]
      [
        "ordre" => 8
        "nom" => "3. You're driving me crazy "
      ]
      [
        "ordre" => 9
        "nom" => "4. That old black magic "
      ]
      [
        "ordre" => 10
        "nom" => "5. Lover come back to me "
      ]
      [
        "ordre" => 11
        "nom" => "Side C : "
      ]
      [
        "ordre" => 12
        "nom" => "1. My funny valentine "
      ]
      [
        "ordre" => 13
        "nom" => "2. I've got a crush on you "
      ]
      [
        "ordre" => 14
        "nom" => "3. Lorelei "
      ]
      [
        "ordre" => 15
        "nom" => "4. Mr. Paganini "
      ]
      [
        "ordre" => 16
        "nom" => "Side D : "
      ]
      [
        "ordre" => 17
        "nom" => "1. Mack the knife "
      ]
      [
        "ordre" => 18
        "nom" => "2. Saint Louis blues"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2087 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2272 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2265 …}
    -typeMasterTape: null
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    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
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    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2267 …}
    -enregistreLe: DateTime @1455273320 {#2253
      date: 2016-02-12 10:35:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765723439 {#2254
      date: 2025-12-14 14:43:59.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2269 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-live-at-the-concertgebouw-1961-the-lost-recordings-4027"
  }
  "detaillePage" => false
]