Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2620
  -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 {#2467 …}
}

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

App\Twig\Components\ListePanier {#2697
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2700 …}
  -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 {#2699 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +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 {#2467 …}
  -formView: Symfony\Component\Form\FormView {#2736 …}
  -form: Symfony\Component\Form\Form {#2886 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1874
    -id: 1797
    -nom: "Mingus Ah Um - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: ""
    -description: """
      The Ultimate Version of Landmark 1959 Album : Deluxe Audiophile Set Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) !\r\n
      \r\n
      "Better Git It in Your Soul" not only serves as the name of the inviting, holler-appointed opening track of Charles Mingus' Mingus Ah Um. It epitomizes the spirit, urgency, freedom, and feel-it-in-your-bones passion of an album that along with Miles Davis' Kind of Blue, Dave Brubeck's Time Out, and John Coltrane's Giant Steps forms the Mount Rushmore of quintessential records from 1959-1960, jazz's watershed graduating class. Indeed, Mingus Ah Um is cited on practically every "greatest" list assembled and enjoys the rare distinction of wearing a prestigious crown in the Penguin Guide to Jazz and membership in the Grammy Hall of Fame. Now, it receives the highest sonic treatment available in the form of a reissue worthy of its preeminent creative stature. \r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step collector's edition makes Mingus Ah Um pop with unprecedented vibrancy, command, energy, and scale. The bassist's church-music roots spring to life in the form of blues themes, moaned vocals, spiritual motifs, and preacher-inspired riffs that register with hyper-realistic dimensionality and natural intimacy. Experienced as a seamless whole just as the cigar-chomping composer intended the band enters your listening room, its intertwined assembly of notes, phrases, pauses, shapes, and solos yielding something more music. What you hear here is the formation of aura and atmosphere traditionally only associated with live concerts. Such is the allure of UD1S and MoFi SuperVinyl.\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      The lavish packaging and gorgeous presentation of the UD1S Mingus Ah Um pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the textures.\r\n
      \r\n
      And clearly, Mingus ardently honored and prized the aforementioned aspects on his Columbia Records debut. Witness the unforgettable cover art, a painting by S. Neil Fujita, whose varied hues, abstract geometries, free-base forms, and ornate albeit clean presentation mirrors the seemingly impossible blend of accessibility, complexity, experimentalism, consistency, focus, individualism, and collectivity reflected in every passage of the incredibly diverse album. Or, simply look at the reverence Mingus displays for his ancestors and their contributions to jazz's ongoing conversation and cultural relevance via "Jelly Roll" (for Jelly Roll Morton), "Open Letter to Duke" (for Duke Ellington), and the hallmark ballad "Goodbye Pork Pie Hat" (an homage to Lester Young\r\n
      ).\r\n
      Above all, however, Mingus Ah Um stands as an exuberant tribute to the idea (and blueprint-caliber execution) of fully realized musical frameworks serving as launching pads for expressive interactions, responses, exchanges, and improvisations. At the core, personality, character, invention, and, color remain paramount. Mingus Ah Um acts as an aural representation of a philosophy the artist espoused before and after the recording sessions. In the liner notes to the record's follow-up, and penned shortly after the recording of Mingus Ah Um, he spoke of striving for "primitive, mystic, supra-mind communication" and avoiding the repetition, boredom, apathy, and cliché associated with falling into set patterns and mimicking the approach of recognized giants. In other words, he demanded each member of his band "play himself".\r\n
      \r\n
      Nothing could be truer when you hear in such vivid detail the work of saxophonists John Handy, Shafi Hadi, and Booker Ervin, trombonists Willie Dennis and Jimmy Knepper, pianist Horace Parlan, drummer Dannie Richmond, and the genius bass playing of Mingus himself. The collective's technical acumen be it multi-tone row scales, pedal point rhythmic patterns, traditional chords, melodic moods, harmonic lines, beginning/ending-blurring context, high registers, major and minor thirds (and absence thereof), pivot-point chromatics, diatonic manners, open fifths, and more lingers not only in the mind, but invigorates the senses.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Charles Mingus (bass, piano),? John Handy (alto & tenor sax, clarinet), ?Booker Ervin (tenor sax),? Shafi Hadi (tenor & alto sax),? Willie Dennis, Jimmy Knepper (trombone),? Horace Parlan (piano), ?Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yzlWvNbxrho"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S-010"
    -titreMorceau: [
      [
        "nom" => "1. Better Git It in Your Soul"
        "ordre" => 1
      ]
      [
        "nom" => "1. Bird Calls"
        "ordre" => 8
      ]
      [
        "nom" => "1. Boogie Stop Shuffle"
        "ordre" => 4
      ]
      [
        "nom" => "1. Pussy Cat Dues"
        "ordre" => 11
      ]
      [
        "nom" => "2. Fables of Faubus"
        "ordre" => 9
      ]
      [
        "nom" => "2. Goodbye Pork Pie Hat"
        "ordre" => 2
      ]
      [
        "nom" => "2. Jelly Roll"
        "ordre" => 12
      ]
      [
        "nom" => "2. Self-Portrait in Three Colors"
        "ordre" => 5
      ]
      [
        "nom" => "3. Open Letter to Duke"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1950 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2081 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1955 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2069 …}
    -enregistreLe: DateTime @1580194181 {#1929
      date: 2020-01-28 06:49:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653485974 {#1922
      date: 2022-05-25 13:39:34.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-mingus-ah-um-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-mfsl-45ud1s-010"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3157
  -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 {#2699 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#1874
    -id: 1797
    -nom: "Mingus Ah Um - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: ""
    -description: """
      The Ultimate Version of Landmark 1959 Album : Deluxe Audiophile Set Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) !\r\n
      \r\n
      "Better Git It in Your Soul" not only serves as the name of the inviting, holler-appointed opening track of Charles Mingus' Mingus Ah Um. It epitomizes the spirit, urgency, freedom, and feel-it-in-your-bones passion of an album that along with Miles Davis' Kind of Blue, Dave Brubeck's Time Out, and John Coltrane's Giant Steps forms the Mount Rushmore of quintessential records from 1959-1960, jazz's watershed graduating class. Indeed, Mingus Ah Um is cited on practically every "greatest" list assembled and enjoys the rare distinction of wearing a prestigious crown in the Penguin Guide to Jazz and membership in the Grammy Hall of Fame. Now, it receives the highest sonic treatment available in the form of a reissue worthy of its preeminent creative stature. \r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step collector's edition makes Mingus Ah Um pop with unprecedented vibrancy, command, energy, and scale. The bassist's church-music roots spring to life in the form of blues themes, moaned vocals, spiritual motifs, and preacher-inspired riffs that register with hyper-realistic dimensionality and natural intimacy. Experienced as a seamless whole just as the cigar-chomping composer intended the band enters your listening room, its intertwined assembly of notes, phrases, pauses, shapes, and solos yielding something more music. What you hear here is the formation of aura and atmosphere traditionally only associated with live concerts. Such is the allure of UD1S and MoFi SuperVinyl.\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      The lavish packaging and gorgeous presentation of the UD1S Mingus Ah Um pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the textures.\r\n
      \r\n
      And clearly, Mingus ardently honored and prized the aforementioned aspects on his Columbia Records debut. Witness the unforgettable cover art, a painting by S. Neil Fujita, whose varied hues, abstract geometries, free-base forms, and ornate albeit clean presentation mirrors the seemingly impossible blend of accessibility, complexity, experimentalism, consistency, focus, individualism, and collectivity reflected in every passage of the incredibly diverse album. Or, simply look at the reverence Mingus displays for his ancestors and their contributions to jazz's ongoing conversation and cultural relevance via "Jelly Roll" (for Jelly Roll Morton), "Open Letter to Duke" (for Duke Ellington), and the hallmark ballad "Goodbye Pork Pie Hat" (an homage to Lester Young\r\n
      ).\r\n
      Above all, however, Mingus Ah Um stands as an exuberant tribute to the idea (and blueprint-caliber execution) of fully realized musical frameworks serving as launching pads for expressive interactions, responses, exchanges, and improvisations. At the core, personality, character, invention, and, color remain paramount. Mingus Ah Um acts as an aural representation of a philosophy the artist espoused before and after the recording sessions. In the liner notes to the record's follow-up, and penned shortly after the recording of Mingus Ah Um, he spoke of striving for "primitive, mystic, supra-mind communication" and avoiding the repetition, boredom, apathy, and cliché associated with falling into set patterns and mimicking the approach of recognized giants. In other words, he demanded each member of his band "play himself".\r\n
      \r\n
      Nothing could be truer when you hear in such vivid detail the work of saxophonists John Handy, Shafi Hadi, and Booker Ervin, trombonists Willie Dennis and Jimmy Knepper, pianist Horace Parlan, drummer Dannie Richmond, and the genius bass playing of Mingus himself. The collective's technical acumen be it multi-tone row scales, pedal point rhythmic patterns, traditional chords, melodic moods, harmonic lines, beginning/ending-blurring context, high registers, major and minor thirds (and absence thereof), pivot-point chromatics, diatonic manners, open fifths, and more lingers not only in the mind, but invigorates the senses.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Charles Mingus (bass, piano),? John Handy (alto & tenor sax, clarinet), ?Booker Ervin (tenor sax),? Shafi Hadi (tenor & alto sax),? Willie Dennis, Jimmy Knepper (trombone),? Horace Parlan (piano), ?Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yzlWvNbxrho"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S-010"
    -titreMorceau: [
      [
        "nom" => "1. Better Git It in Your Soul"
        "ordre" => 1
      ]
      [
        "nom" => "1. Bird Calls"
        "ordre" => 8
      ]
      [
        "nom" => "1. Boogie Stop Shuffle"
        "ordre" => 4
      ]
      [
        "nom" => "1. Pussy Cat Dues"
        "ordre" => 11
      ]
      [
        "nom" => "2. Fables of Faubus"
        "ordre" => 9
      ]
      [
        "nom" => "2. Goodbye Pork Pie Hat"
        "ordre" => 2
      ]
      [
        "nom" => "2. Jelly Roll"
        "ordre" => 12
      ]
      [
        "nom" => "2. Self-Portrait in Three Colors"
        "ordre" => 5
      ]
      [
        "nom" => "3. Open Letter to Duke"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1950 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2081 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1955 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2069 …}
    -enregistreLe: DateTime @1580194181 {#1929
      date: 2020-01-28 06:49:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653485974 {#1922
      date: 2022-05-25 13:39:34.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-mingus-ah-um-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-mfsl-45ud1s-010"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2467 …}
}

[
  "produit" => App\Entity\Produit {#2098
    -id: 1966
    -nom: "Blood, Sweat and Tears - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      David Clayton Thomas (lead vocals), Lew Soloff (trumpet, flugelhorn), Jim Fielder (bass), Dick Halligan (organ, piano, flute, trombone, vocals), Steve Katz (guitar, harmonica, vocals & lead vocals), Fred Lipsius (alto saxophone, piano), Chuck Winfield (trumpet, flugelhorn), Jerry Hyman (trombone), Alan Rubin (trumpet), Bobby Colomby (drums, percussion, vocals).\r\n
      \r\n
      Mastered from the Original Master Tapes with Mobile Fidelity's One-Step Process: Blood, Sweat & Tears UD1S 180 gram 45 RPM 2 LP Box Set Is Ultimate Version of 1968 Album !\r\n
      \r\n
      Superb Packaging Includes Opulent Box, Foil-Stamped Jackets, and SuperVinyl LPs : Deluxe Audiophile Pressing Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) ! \r\n
      \r\n
      James William Guercio-Produced Record Established New Precedents for Musical Fusion : Jazz-Rock Effort Includes "You've Made Me So Very Happy" and "Spinning Wheel" !\r\n
      \r\n
      Don't call it a comeback. Not only did Blood, Sweat & Tears' eponymous album establish new precedents for musical fusion and record production upon release in late 1968, the quadruple platinum set marked a new commercial beginning for a cross-cultural group nearly decimated months earlier when its prominent co-founder, Al Kooper, departed along with two other members. The resultant sophomore effort simply went on to top the charts for seven straight weeks, earn the Grammy Award for Album of the Year, spawn three successive Top 5 singles, and land the group a headlining slot at Woodstock. No wonder its reputation remains golden among listeners, particularly audiophiles, which have never experienced the hybrid fare in more vibrant fashion than on this collectible reissue.\r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM 2LP edition presents Blood, Sweat & Tears with exacting sonics and unsurpassed visuals. Prized for decades for its rainbow of textures, colors, and openness as well as the tonalities, extension, and subtleties associated with the horn section Blood, Sweat & Tears now comes across with multi-dimensional scope and tremendous frequency responsiveness. The collective's genre-bending brass and woodwind instrumentation possess pointillistic details as rich, deep, and complex as a succulent Turkish espresso. Similarly, the originality, sophistication, and melodicism of the songs anchored by Jim Fielder's can-do-anything bass playing emerges with a newfound warmth, realism, and presence that surpass those even on the out-of-print ORG 45 RPM reissue. Such is the allure of UD1S and MoFi SuperVinyl.\r\n
      \r\n
      In addition, the lavish packaging and gorgeous presentation of the UD1S Blood, Sweat & Tears pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the finishes.\r\n
      \r\n
      Speaking of these critical aspects, it remains obvious producer James William Guercio valued them above all else when he manned the boards for the sessions. Working with engineer Roy Halee and the band's sensitive arrangements  including that for the Number Two smash "You've Made Me So Very Happy", co-arranged by Kooper  he helped spin the nonet's melange of classical, jazz, rock, folk, and blues into pop gold. Ignoring any stylistic boundaries, and preceding Chicago's similarly jazz-rock-centric debut by almost four months, the album interrupted formal convention and went against the grain of the era's dominant psychedelia. Along with creative interpretations of tunes by Traffic, Laura Nyro, and more, and fearless interplay of horns and keyboards, a key to the effort's mega-success and sterling reputation remains the vocals of David Clayton-Thomas.\r\n
      \r\n
      Reportedly discovered by Judy Collins, Clayton-Thomas brings a soulfulness and drama to the palette absent from the first album. His baritone emerges front and center on the country-leaning "And When I Die" and syncopated "Smiling Phases". The singer's multifaceted ability complements his colleagues deft approaches to tempo, transition, and tension, with solos dovetailing with jazz-derived segues to produce music that's at once elaborate, eclectic, and accessible never better represented than on the thrice Grammy-nominated "Spinning Wheel", a sly takedown of the LSD-addled era that ends with an Austrian tune from 1815 added at the last minute by Guercio to correct a mistake a one-off error on a set that seemingly has none other.\r\n
      \r\n
      Indeed, the most enduring appeal of Blood, Sweat & Tears pertains to the cohesive performances of a group that blazed its own trail. To focus on the playing of trumpeters / flugelhornists Lew Soloff and Chuck Winfield, drummer Bobby Colomby, organist Dick Halligan, guitarist Steve Katz, alto saxophonist Fred Lipsius, trombonist Jerry Hyman, and the aforementioned Clayton-Thomas and Fielder (many of whom also played auxiliary instruments) is to experience one of pop music's remarkable adventures.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "David Clayton Thomas (lead vocals), Lew Soloff (trumpet, flugelhorn), Jim Fielder (bass), Dick Halligan (organ, piano, flute, trombone, vocals), Steve Katz (guitar, harmonica, vocals & lead vocals), Fred Lipsius (alto saxophone, piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=GreaN1ljqGY"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S 016"
    -titreMorceau: [
      [
        "nom" => "1. Variations on a Theme by Erik Satie (1st and 2nd Movements)"
        "ordre" => 0
      ]
      [
        "nom" => "10. Variations on a Theme by Erik Satie (1st Movement)"
        "ordre" => 9
      ]
      [
        "nom" => "2. Smiling Phases"
        "ordre" => 1
      ]
      [
        "nom" => "3. Sometimes in Winter"
        "ordre" => 2
      ]
      [
        "nom" => "4. More and More"
        "ordre" => 3
      ]
      [
        "nom" => "5. And When I Die"
        "ordre" => 4
      ]
      [
        "nom" => "6. God Bless the Child"
        "ordre" => 5
      ]
      [
        "nom" => "7. Spinning Wheel"
        "ordre" => 6
      ]
      [
        "nom" => "8. You've Made Me So Very Happy"
        "ordre" => 7
      ]
      [
        "nom" => "9. Blues – Part II"
        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2100 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2109 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2102 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3271
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2699 …}
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  +produit: App\Entity\Produit {#2098
    -id: 1966
    -nom: "Blood, Sweat and Tears - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      David Clayton Thomas (lead vocals), Lew Soloff (trumpet, flugelhorn), Jim Fielder (bass), Dick Halligan (organ, piano, flute, trombone, vocals), Steve Katz (guitar, harmonica, vocals & lead vocals), Fred Lipsius (alto saxophone, piano), Chuck Winfield (trumpet, flugelhorn), Jerry Hyman (trombone), Alan Rubin (trumpet), Bobby Colomby (drums, percussion, vocals).\r\n
      \r\n
      Mastered from the Original Master Tapes with Mobile Fidelity's One-Step Process: Blood, Sweat & Tears UD1S 180 gram 45 RPM 2 LP Box Set Is Ultimate Version of 1968 Album !\r\n
      \r\n
      Superb Packaging Includes Opulent Box, Foil-Stamped Jackets, and SuperVinyl LPs : Deluxe Audiophile Pressing Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) ! \r\n
      \r\n
      James William Guercio-Produced Record Established New Precedents for Musical Fusion : Jazz-Rock Effort Includes "You've Made Me So Very Happy" and "Spinning Wheel" !\r\n
      \r\n
      Don't call it a comeback. Not only did Blood, Sweat & Tears' eponymous album establish new precedents for musical fusion and record production upon release in late 1968, the quadruple platinum set marked a new commercial beginning for a cross-cultural group nearly decimated months earlier when its prominent co-founder, Al Kooper, departed along with two other members. The resultant sophomore effort simply went on to top the charts for seven straight weeks, earn the Grammy Award for Album of the Year, spawn three successive Top 5 singles, and land the group a headlining slot at Woodstock. No wonder its reputation remains golden among listeners, particularly audiophiles, which have never experienced the hybrid fare in more vibrant fashion than on this collectible reissue.\r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM 2LP edition presents Blood, Sweat & Tears with exacting sonics and unsurpassed visuals. Prized for decades for its rainbow of textures, colors, and openness as well as the tonalities, extension, and subtleties associated with the horn section Blood, Sweat & Tears now comes across with multi-dimensional scope and tremendous frequency responsiveness. The collective's genre-bending brass and woodwind instrumentation possess pointillistic details as rich, deep, and complex as a succulent Turkish espresso. Similarly, the originality, sophistication, and melodicism of the songs anchored by Jim Fielder's can-do-anything bass playing emerges with a newfound warmth, realism, and presence that surpass those even on the out-of-print ORG 45 RPM reissue. Such is the allure of UD1S and MoFi SuperVinyl.\r\n
      \r\n
      In addition, the lavish packaging and gorgeous presentation of the UD1S Blood, Sweat & Tears pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the finishes.\r\n
      \r\n
      Speaking of these critical aspects, it remains obvious producer James William Guercio valued them above all else when he manned the boards for the sessions. Working with engineer Roy Halee and the band's sensitive arrangements  including that for the Number Two smash "You've Made Me So Very Happy", co-arranged by Kooper  he helped spin the nonet's melange of classical, jazz, rock, folk, and blues into pop gold. Ignoring any stylistic boundaries, and preceding Chicago's similarly jazz-rock-centric debut by almost four months, the album interrupted formal convention and went against the grain of the era's dominant psychedelia. Along with creative interpretations of tunes by Traffic, Laura Nyro, and more, and fearless interplay of horns and keyboards, a key to the effort's mega-success and sterling reputation remains the vocals of David Clayton-Thomas.\r\n
      \r\n
      Reportedly discovered by Judy Collins, Clayton-Thomas brings a soulfulness and drama to the palette absent from the first album. His baritone emerges front and center on the country-leaning "And When I Die" and syncopated "Smiling Phases". The singer's multifaceted ability complements his colleagues deft approaches to tempo, transition, and tension, with solos dovetailing with jazz-derived segues to produce music that's at once elaborate, eclectic, and accessible never better represented than on the thrice Grammy-nominated "Spinning Wheel", a sly takedown of the LSD-addled era that ends with an Austrian tune from 1815 added at the last minute by Guercio to correct a mistake a one-off error on a set that seemingly has none other.\r\n
      \r\n
      Indeed, the most enduring appeal of Blood, Sweat & Tears pertains to the cohesive performances of a group that blazed its own trail. To focus on the playing of trumpeters / flugelhornists Lew Soloff and Chuck Winfield, drummer Bobby Colomby, organist Dick Halligan, guitarist Steve Katz, alto saxophonist Fred Lipsius, trombonist Jerry Hyman, and the aforementioned Clayton-Thomas and Fielder (many of whom also played auxiliary instruments) is to experience one of pop music's remarkable adventures.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "David Clayton Thomas (lead vocals), Lew Soloff (trumpet, flugelhorn), Jim Fielder (bass), Dick Halligan (organ, piano, flute, trombone, vocals), Steve Katz (guitar, harmonica, vocals & lead vocals), Fred Lipsius (alto saxophone, piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=GreaN1ljqGY"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S 016"
    -titreMorceau: [
      [
        "nom" => "1. Variations on a Theme by Erik Satie (1st and 2nd Movements)"
        "ordre" => 0
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      [
        "nom" => "10. Variations on a Theme by Erik Satie (1st Movement)"
        "ordre" => 9
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        "nom" => "2. Smiling Phases"
        "ordre" => 1
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      [
        "nom" => "3. Sometimes in Winter"
        "ordre" => 2
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      [
        "nom" => "4. More and More"
        "ordre" => 3
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      [
        "nom" => "5. And When I Die"
        "ordre" => 4
      ]
      [
        "nom" => "6. God Bless the Child"
        "ordre" => 5
      ]
      [
        "nom" => "7. Spinning Wheel"
        "ordre" => 6
      ]
      [
        "nom" => "8. You've Made Me So Very Happy"
        "ordre" => 7
      ]
      [
        "nom" => "9. Blues – Part II"
        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2100 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1502 …}
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    -modifierLe: DateTime @1653484525 {#2096
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2467 …}
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[
  "produit" => App\Entity\Produit {#2118
    -id: 1215
    -nom: "Nuthin' Fancy "
    -informationComplementaire: ""
    -description: """
      Mastered by Kevin Gray at Cohearent Audio from the original analog tapes !\r\n
      \r\n
      200 Gram pressing by Quality Record Pressings ! \r\n
      \r\n
      Now at 45 RPM !\r\n
      \r\n
      Deluxe tip-on gatefold jacket !\r\n
      \r\n
      The title may say Nuthin' Fancy but don't be deceived! This 200 Gram stunner pressed at Quality Record Pressings is nearly peerless as a Southern rock record. Expertly remastered by Kevin Gray, lacquer plating by master technician Gary Salstrom, heavy cardboard gatefold jacket with vibrantly reproduced original artwork. How does it get any better ? Well, we've cut this edition at 45 RPM ! The dead-quiet double LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.\r\n
      \r\n
      As the Ultimate-Guitar.com put it : "Most hard rock bands would give their left arm for a record that swaggers and hits as hard as Nuthin' Fancy".\r\n
      \r\n
      "Second Helping brought Lynyrd Skynyrd mass success and for the follow-up they offered Nuthin' Fancy. It was a self-deprecating title for a record that may have offered more of the same, at least on the surface... The biggest difference with this record is that the band, through touring, has become heavier and harder, fitting right in with the heavy album rock bands of the mid '70s. The second notable difference is that Ronnie Van Zant may have been pressed for material, since there are several songs here that are just good generic rockers. But he and Skynyrd prove that what makes a great band great is how they treat generic material, and Skynyrd makes the whole of Nuthin' Fancy feel every bit as convincing as their first two records". - AllMusic\r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Ronnie Van Zant (vocals), Allen Collins, Ed King, Gary Rossington (guitar), Billy Powell (keyboards), Leon Wilkeson (bass guitar), Artimus Pyle (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1172 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=1dMVu6UKmqQ"
    -referenceProduit: "AAPP 2137-45"
    -titreMorceau: [
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        "nom" => "1. Made In The Shade "
        "ordre" => 10
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        "nom" => "1. On The Hunt "
        "ordre" => 7
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        "ordre" => 1
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        "ordre" => 2
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        "ordre" => 5
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        "nom" => "2. Whiskey Rock-a-Roller"
        "ordre" => 11
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      [
        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "Side B : "
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        "ordre" => 6
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      [
        "nom" => "Side D : "
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2120 …}
    -label: Proxies\__CG__\App\Entity\Label {#2123 …}
    -style: App\Entity\Style {#1505 …}
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      date: 2017-08-25 06:57:57.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653111215 {#2112
      date: 2022-05-21 05:33:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2129 …}
    -disponible: null
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    -slug: "vinyles-nuthin-fancy-aapp-2137-45"
  }
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App\Twig\Components\GestionPanierFavoriComponents {#3322
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2699 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2118
    -id: 1215
    -nom: "Nuthin' Fancy "
    -informationComplementaire: ""
    -description: """
      Mastered by Kevin Gray at Cohearent Audio from the original analog tapes !\r\n
      \r\n
      200 Gram pressing by Quality Record Pressings ! \r\n
      \r\n
      Now at 45 RPM !\r\n
      \r\n
      Deluxe tip-on gatefold jacket !\r\n
      \r\n
      The title may say Nuthin' Fancy but don't be deceived! This 200 Gram stunner pressed at Quality Record Pressings is nearly peerless as a Southern rock record. Expertly remastered by Kevin Gray, lacquer plating by master technician Gary Salstrom, heavy cardboard gatefold jacket with vibrantly reproduced original artwork. How does it get any better ? Well, we've cut this edition at 45 RPM ! The dead-quiet double LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.\r\n
      \r\n
      As the Ultimate-Guitar.com put it : "Most hard rock bands would give their left arm for a record that swaggers and hits as hard as Nuthin' Fancy".\r\n
      \r\n
      "Second Helping brought Lynyrd Skynyrd mass success and for the follow-up they offered Nuthin' Fancy. It was a self-deprecating title for a record that may have offered more of the same, at least on the surface... The biggest difference with this record is that the band, through touring, has become heavier and harder, fitting right in with the heavy album rock bands of the mid '70s. The second notable difference is that Ronnie Van Zant may have been pressed for material, since there are several songs here that are just good generic rockers. But he and Skynyrd prove that what makes a great band great is how they treat generic material, and Skynyrd makes the whole of Nuthin' Fancy feel every bit as convincing as their first two records". - AllMusic\r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Ronnie Van Zant (vocals), Allen Collins, Ed King, Gary Rossington (guitar), Billy Powell (keyboards), Leon Wilkeson (bass guitar), Artimus Pyle (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1172 …}
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        "ordre" => 2
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      [
        "nom" => "2. I'm A Country Boy"
        "ordre" => 5
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      [
        "nom" => "2. Whiskey Rock-a-Roller"
        "ordre" => 11
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      [
        "nom" => "Side A : "
        "ordre" => 0
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      [
        "nom" => "Side B : "
        "ordre" => 3
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        "nom" => "Side C :"
        "ordre" => 6
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      [
        "nom" => "Side D : "
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2120 …}
    -label: Proxies\__CG__\App\Entity\Label {#2123 …}
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    -photoProduit: Doctrine\ORM\PersistentCollection {#2132 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2125 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2127 …}
    -enregistreLe: DateTime @1503644277 {#2111
      date: 2017-08-25 06:57:57.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653111215 {#2112
      date: 2022-05-21 05:33:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2129 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-nuthin-fancy-aapp-2137-45"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2467 …}
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[
  "produit" => App\Entity\Produit {#2137
    -id: 1113
    -nom: "Gimme Back My Bullets"
    -informationComplementaire: ""
    -description: """
      45 RPM 200 gram gatefold double LP reissue.\r\n
      \r\n
      Remastered by Ryan Smith at Sterling Sound from the original analog tapes.\r\n
      \r\n
      Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      Tip-on gatefold jacket by Stoughton Printing.\r\n
      \r\n
      What would American southern rock be without the scorching sounds of Lynyrd Skynyrd ? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of Second Helping and Nuthin' Fancy. Back to the well then, we go, for two more Skynyrd favorites - the epic Gimme Back My Bullets and the band's bluesy, hard-rocking 1973 debut Pronounced Leh-nerd Skin-nerd.\r\n
      \r\n
      This 1976 Tom Dowd-produced classic, Gimme Back My Bullets, the fourth studio album from the legendary southern rock band, features the original line-up of Ronnie Van Zant on vocals, lead guitar great Gary Rossington, Allen Collins on guitar, Leon Wilkerson on bass, Billy Powell on piano, and Artemus Pyle on the drums.\r\n
      \r\n
      "Other records from the late, great, and original Lynyrd Skynyrd were more barroom raw (Pronounced Leh-Nerd Skin-Nerd), indelibly rocking (Second Helping), and radio-ready (Street Survivors), but none was as endearing and cohesive as Gimme Back My Bullets). The 1976 LP, whose title referred not to ammunition, but to the Billboard term N° 1 with a bullet,' found the normally three-fisted Florida guitar army one axe short. But it allowed Gary Rossington and Allen Collins to work more intuitively on the songwriting chores with vocalist Ronnie Van Zant, while providing room to groove in the process. The results, though underrated in the band's epic pre-crash catalog, sweep into rock ('Trust', 'Searching'), blues ('I Got the Same Old Blues'), folk ('Every Mother's Son'), and country ('All I Can Do Is Write About It')". - Amazon.com\r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Ronnie Van Zant (vocals), Allen Collins, Gary Rossington (guitar), Leon Wilkeson (bass, background vocals), Billy Powell (keyboards), Artimus Pyle (drums, percussion), Lee Freeman (harp), Barry Lee Harwood (mandolin), The Honkettes (background vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1172 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=w8egE4x9Djo"
    -referenceProduit: "AAPP 2170-45"
    -titreMorceau: [
      [
        "nom" => "1. Cry For the Bad Man"
        "ordre" => 11
      ]
      [
        "nom" => "1. Double Trouble"
        "ordre" => 7
      ]
      [
        "nom" => "1. Gimme Me Back My Bullets"
        "ordre" => 1
      ]
      [
        "nom" => "1. Trust"
        "ordre" => 4
      ]
      [
        "nom" => "2. All I Can Do Is Write About It"
        "ordre" => 12
      ]
      [
        "nom" => "2. Every Mother’s Son"
        "ordre" => 2
      ]
      [
        "nom" => "2. I Got The Same Old Blues"
        "ordre" => 5
      ]
      [
        "nom" => "2. Roll Gypsy Roll"
        "ordre" => 8
      ]
      [
        "nom" => "3. Searching"
        "ordre" => 9
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 6
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2120 …}
    -label: Proxies\__CG__\App\Entity\Label {#2123 …}
    -style: App\Entity\Style {#1505 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2145 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2138 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2140 …}
    -enregistreLe: DateTime @1484292108 {#2134
      date: 2017-01-13 07:21:48.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653111071 {#2135
      date: 2022-05-21 05:31:11.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2142 …}
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    -slug: "vinyles-gimme-back-my-bullets-aapp-2170-45"
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App\Twig\Components\GestionPanierFavoriComponents {#3375
  -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 {#2699 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2137
    -id: 1113
    -nom: "Gimme Back My Bullets"
    -informationComplementaire: ""
    -description: """
      45 RPM 200 gram gatefold double LP reissue.\r\n
      \r\n
      Remastered by Ryan Smith at Sterling Sound from the original analog tapes.\r\n
      \r\n
      Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      Tip-on gatefold jacket by Stoughton Printing.\r\n
      \r\n
      What would American southern rock be without the scorching sounds of Lynyrd Skynyrd ? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of Second Helping and Nuthin' Fancy. Back to the well then, we go, for two more Skynyrd favorites - the epic Gimme Back My Bullets and the band's bluesy, hard-rocking 1973 debut Pronounced Leh-nerd Skin-nerd.\r\n
      \r\n
      This 1976 Tom Dowd-produced classic, Gimme Back My Bullets, the fourth studio album from the legendary southern rock band, features the original line-up of Ronnie Van Zant on vocals, lead guitar great Gary Rossington, Allen Collins on guitar, Leon Wilkerson on bass, Billy Powell on piano, and Artemus Pyle on the drums.\r\n
      \r\n
      "Other records from the late, great, and original Lynyrd Skynyrd were more barroom raw (Pronounced Leh-Nerd Skin-Nerd), indelibly rocking (Second Helping), and radio-ready (Street Survivors), but none was as endearing and cohesive as Gimme Back My Bullets). The 1976 LP, whose title referred not to ammunition, but to the Billboard term N° 1 with a bullet,' found the normally three-fisted Florida guitar army one axe short. But it allowed Gary Rossington and Allen Collins to work more intuitively on the songwriting chores with vocalist Ronnie Van Zant, while providing room to groove in the process. The results, though underrated in the band's epic pre-crash catalog, sweep into rock ('Trust', 'Searching'), blues ('I Got the Same Old Blues'), folk ('Every Mother's Son'), and country ('All I Can Do Is Write About It')". - Amazon.com\r\n
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[
  "produit" => App\Entity\Produit {#2150
    -id: 1214
    -nom: "Second Helping"
    -informationComplementaire: ""
    -description: """
      200 Gram vinyl by Quality Record Pressings! Now at 45 RPM !\r\n
      \r\n
      Mastered by Kevin Gray at Cohearent Audio from the original analog tapes !\r\n
      \r\n
      Sleeved in a deluxe tip-on gatefold jacket !\r\n
      \r\n
      "MoFi may have the rest of their catalogue, but Chad Kassem's coup is grabbing this album, the band's second, from 1974. Why ? Because it kicks off with their anthem, the inimitable, riff-driven, majestic ‘’Sweet Home Alabama’’ one of the greatest air-guitar/road trip songs ever. By this time, the band was a mite slicker but just as unapologetically Confederate-with-a-capital 'C' as on their debut. The opener does overshadow the rest, but the album serves up what the LP title promises in ‘’The Needle And The Spoon’’ which sounds like ‘’Sweet Home Alabama II’’. Musically, this nestles alongside Little Feat and The Allman Brothers Band deservedly high praise". - Ken Kessler, Hi-Fi News, April 2014\r\n
      \r\n
      Get ready for some Southern hospitality, courtesy of Analogue Productions, Quality Record Pressings and one of the hardest-rocking bands to ever grace a stage! With a catalog of over 60 albums and sales beyond 30 million, Lynyrd Skynyrd remains a cultural icon that appeals to all generations.\r\n
      \r\n
      This Lynyrd Skynyrd 1974 album now is pressed at 45 RPM on four glorious sides of 200 Gram vinyl from the best presser in the business, Quality Record Pressings. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.\r\n
      \r\n
      Second Helping follows the success of "Free Bird" and "Gimme Three Steps" from their 1973 debut and features their biggest hit single, "Sweet Home Alabama", an answer to Neil Young's "Southern Man" and "Alabama". The song reached No. 8 on the Billboard Hot 100 chart in August 1974. Second Helping also featured "Don't Ask Me No Questions", "Workin' for MCA" and "Call Me The Breeze", the latter of which includes an acclaimed piano solo. Backed by a tight rhythm section and the mighty three-guitar attack of Allen Collins, Ed King and Gary Rossington, singer Ronnie Van Zant turns in a legendary performance on the urgent blues ballad "I Need You", the cautionary "The Needle And The Spoon" and "The Ballad Of Curtis Loew". 200 Gram vinyl, mastering by Kevin Gray, lacquer plating by QRP's Gary Salstrom, heavy, tip-on gatefold jacket. None better.\r\n
      \r\n
      """
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    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2120 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3423
  -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 {#2699 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2150
    -id: 1214
    -nom: "Second Helping"
    -informationComplementaire: ""
    -description: """
      200 Gram vinyl by Quality Record Pressings! Now at 45 RPM !\r\n
      \r\n
      Mastered by Kevin Gray at Cohearent Audio from the original analog tapes !\r\n
      \r\n
      Sleeved in a deluxe tip-on gatefold jacket !\r\n
      \r\n
      "MoFi may have the rest of their catalogue, but Chad Kassem's coup is grabbing this album, the band's second, from 1974. Why ? Because it kicks off with their anthem, the inimitable, riff-driven, majestic ‘’Sweet Home Alabama’’ one of the greatest air-guitar/road trip songs ever. By this time, the band was a mite slicker but just as unapologetically Confederate-with-a-capital 'C' as on their debut. The opener does overshadow the rest, but the album serves up what the LP title promises in ‘’The Needle And The Spoon’’ which sounds like ‘’Sweet Home Alabama II’’. Musically, this nestles alongside Little Feat and The Allman Brothers Band deservedly high praise". - Ken Kessler, Hi-Fi News, April 2014\r\n
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    -prixVente: "99.50"
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    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
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        "nom" => "1. Don't Ask Me No Questions"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2120 …}
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      date: 2022-05-21 05:30:03.0 UTC (+00:00)
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[
  "produit" => App\Entity\Produit {#2163
    -id: 1112
    -nom: "Pronounced Leh-nerd Skin-nerd"
    -informationComplementaire: ""
    -description: """
      45 RPM 200 gram gatefold double LP reissue.\r\n
      \r\n
      Remastered by Ryan Smith at Sterling Sound from the original analog tapes.\r\n
      \r\n
      Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      Tip-on gatefold jacket by Stoughton Printing.\r\n
      \r\n
      The Ultimate Classic Rock Anthem Mastered for 45 RPM :  All 11:09 of "Freebird" on it's own side !\r\n
      \r\n
      What would American southern rock be without the scorching sounds of Lynyrd Skynyrd ? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of Second Helping and Nuthin' Fancy. Back to the well then, we go, for two more Skynyrd favorites - the epic Gimme Back My Bullets and the band's bluesy, hard-rocking 1973 debut Pronounced Leh-nerd Skin-nerd.\r\n
      \r\n
      Remastered from the original analog tapes by Ryan Smith at Sterling Sound, our Analogue Productions reissue of Pronounced Leh-nerd Skin-nerd is the ultimate in luxurious reproduction and unbeatable sound. 200 gram plating and pressing by Quality Record Pressings, and a tip-on Stoughton Printing jacket round out the package.\r\n
      \r\n
      The undeniable youthful hunger of Pronounced Leh-nerd Skin-nerd pumps through the subtly witty songs, all strongly rooted in Southern heritage and working-class values. Independent of the most-requested tune in history, Pronounced Leh-nerd Skin-nerd bleeds red, white, and blue and encapsulates the wondrous dichotomies of Southern rock.\r\n
      \r\n
      Months before Lynyrd Skynyrd enjoyed the privilege of recording its debut, the band entered its seventh year of playing juke joints and assorted dives in a bootstraps effort to land a deal. During a residency at a hardscrabble Georgian club, the group's rambunctious rock, swaggering attitude, blue-collar determination, and country-reared cadence caught the ear of producer/musician Al Kooper. The rest is history. Kooper inked the ensemble to his new imprint and hustled everyone into a Georgia studio for sessions that occurred March through April 1973.\r\n
      \r\n
      It's at the Studio One space that Lynyrd Skynyrd flashed scampering tempos, cutting give-and-take riffs, loose barroom lines, and off-the-cuff vocalese that entirely separated its approach from that of the more jazz-styled affairs of the Allman Brothers Band. Confederate flags, empty whiskey bottles, cocked pistols, rotgut habits, scorned women, and prodigal drifters populate the songs, nearly all written from first-person perspectives that add to their genuineness. Prophetic touches - twinkling piano notes, soaring mellotrons, a one-off harmonica - provide ideal complements to the intertwined guitar melodies and singer Ronnie Van Zant's comfortable gruffness and way of expressing local customs.\r\n
      \r\n
       
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Ronnie Van Zant (vocals), Allen Collins, Ed King, Gary Rossington (guitar), Leon Wilkeson (bass), Billy Powell (keyboards), Bob Burns (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1172 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=saSM3a6SrGY"
    -referenceProduit: "AAPP 0363-45"
    -titreMorceau: [
      [
        "nom" => "1. Free Bird"
        "ordre" => 11
      ]
      [
        "nom" => "1. Gimme Three Steps"
        "ordre" => 4
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      [
        "nom" => "1. I Ain’t The One"
        "ordre" => 1
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        "nom" => "1. Things Goin’ On"
        "ordre" => 7
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        "nom" => "2. Mississippi Kid"
        "ordre" => 8
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        "nom" => "2. Simple Man"
        "ordre" => 5
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        "nom" => "2. Tuesday’s Gone"
        "ordre" => 2
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        "nom" => "3. Poison Whiskey"
        "ordre" => 9
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        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2120 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3471
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2699 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2163
    -id: 1112
    -nom: "Pronounced Leh-nerd Skin-nerd"
    -informationComplementaire: ""
    -description: """
      45 RPM 200 gram gatefold double LP reissue.\r\n
      \r\n
      Remastered by Ryan Smith at Sterling Sound from the original analog tapes.\r\n
      \r\n
      Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      Tip-on gatefold jacket by Stoughton Printing.\r\n
      \r\n
      The Ultimate Classic Rock Anthem Mastered for 45 RPM :  All 11:09 of "Freebird" on it's own side !\r\n
      \r\n
      What would American southern rock be without the scorching sounds of Lynyrd Skynyrd ? Analogue Productions and Quality Record Pressings have already brought you exceptional reissues of Second Helping and Nuthin' Fancy. Back to the well then, we go, for two more Skynyrd favorites - the epic Gimme Back My Bullets and the band's bluesy, hard-rocking 1973 debut Pronounced Leh-nerd Skin-nerd.\r\n
      \r\n
      Remastered from the original analog tapes by Ryan Smith at Sterling Sound, our Analogue Productions reissue of Pronounced Leh-nerd Skin-nerd is the ultimate in luxurious reproduction and unbeatable sound. 200 gram plating and pressing by Quality Record Pressings, and a tip-on Stoughton Printing jacket round out the package.\r\n
      \r\n
      The undeniable youthful hunger of Pronounced Leh-nerd Skin-nerd pumps through the subtly witty songs, all strongly rooted in Southern heritage and working-class values. Independent of the most-requested tune in history, Pronounced Leh-nerd Skin-nerd bleeds red, white, and blue and encapsulates the wondrous dichotomies of Southern rock.\r\n
      \r\n
      Months before Lynyrd Skynyrd enjoyed the privilege of recording its debut, the band entered its seventh year of playing juke joints and assorted dives in a bootstraps effort to land a deal. During a residency at a hardscrabble Georgian club, the group's rambunctious rock, swaggering attitude, blue-collar determination, and country-reared cadence caught the ear of producer/musician Al Kooper. The rest is history. Kooper inked the ensemble to his new imprint and hustled everyone into a Georgia studio for sessions that occurred March through April 1973.\r\n
      \r\n
      It's at the Studio One space that Lynyrd Skynyrd flashed scampering tempos, cutting give-and-take riffs, loose barroom lines, and off-the-cuff vocalese that entirely separated its approach from that of the more jazz-styled affairs of the Allman Brothers Band. Confederate flags, empty whiskey bottles, cocked pistols, rotgut habits, scorned women, and prodigal drifters populate the songs, nearly all written from first-person perspectives that add to their genuineness. Prophetic touches - twinkling piano notes, soaring mellotrons, a one-off harmonica - provide ideal complements to the intertwined guitar melodies and singer Ronnie Van Zant's comfortable gruffness and way of expressing local customs.\r\n
      \r\n
       
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Ronnie Van Zant (vocals), Allen Collins, Ed King, Gary Rossington (guitar), Leon Wilkeson (bass), Billy Powell (keyboards), Bob Burns (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1172 …}
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    -lpsMusic: 2
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    -extraitYoutube: "https://www.youtube.com/watch?v=saSM3a6SrGY"
    -referenceProduit: "AAPP 0363-45"
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        "nom" => "1. Free Bird"
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        "nom" => "1. I Ain’t The One"
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      date: 2022-05-21 05:21:47.0 UTC (+00:00)
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    -id: 991
    -nom: "Coltrane Plays The Blues "
    -informationComplementaire: ""
    -description: """
      Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at Gotta Groove !\r\n
      \r\n
      Numbered Deluxe Laminated Gatefold Jackets !\r\n
      \r\n
      Only 2500 Numbered Limited Edition Copies Worldwide !\r\n
      \r\n
      John Coltrane returns to his roots using the Blues to explore the boundaries of Jazz! Features McCoy Tyner, Steve Davis and Elvin Jones! Recorded in 1960 during the My Favorite Things sessions, Coltrane Plays The Blues features "Blues To Bechet", "Blues To Elvin" and "Blues To You" in addition to three other tracks. \r\n
      \r\n
      "Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't). It's more indicative of a bluesy sensibility, whether he is playing muscular saxophone or, on "Blues to Bechet" and "Mr. Syms," the more unusual sounding (at the time) soprano sax. Elvin Jones, who hadn't been in Coltrane's band long, really busts out on the quicker numbers, such as "Blues to You" and "Mr. Day". - Richie Unterberger, www.allmusic.com \r\n
      \r\n
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      """
    -prixVente: "99.50"
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    -musicienOrchestre: "John Coltrane (tenor & soprano saxophone), McCoy Tyner (piano), Steve Davis (bass), Elvin Jones (drums) "
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
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    -limitedEdition: true
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    -extraitYoutube: "https://www.youtube.com/watch?v=OYitm3eJqi8"
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    -id: 991
    -nom: "Coltrane Plays The Blues "
    -informationComplementaire: ""
    -description: """
      Mastered by Bernie Grundman from the Original Analog Master Tapes & Pressed at Gotta Groove !\r\n
      \r\n
      Numbered Deluxe Laminated Gatefold Jackets !\r\n
      \r\n
      Only 2500 Numbered Limited Edition Copies Worldwide !\r\n
      \r\n
      John Coltrane returns to his roots using the Blues to explore the boundaries of Jazz! Features McCoy Tyner, Steve Davis and Elvin Jones! Recorded in 1960 during the My Favorite Things sessions, Coltrane Plays The Blues features "Blues To Bechet", "Blues To Elvin" and "Blues To You" in addition to three other tracks. \r\n
      \r\n
      "Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't). It's more indicative of a bluesy sensibility, whether he is playing muscular saxophone or, on "Blues to Bechet" and "Mr. Syms," the more unusual sounding (at the time) soprano sax. Elvin Jones, who hadn't been in Coltrane's band long, really busts out on the quicker numbers, such as "Blues to You" and "Mr. Day". - Richie Unterberger, www.allmusic.com \r\n
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    -musicienOrchestre: "John Coltrane (tenor & soprano saxophone), McCoy Tyner (piano), Steve Davis (bass), Elvin Jones (drums) "
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
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      date: 2022-05-05 06:24:03.0 UTC (+00:00)
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[
  "produit" => App\Entity\Produit {#2195
    -id: 2036
    -nom: ""Live" At The Village Vanguard"
    -informationComplementaire: ""
    -description: """
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      Sax virtuoso John Coltrane "Live" at the Village Vanguard (Impulse ! AS-10), was Trane's first official "live" album. Coltrane is joined here on two tunes by the wonderful Eric Dolphy on bass clarinet, plus veteran sidemen McCoy Tyner on piano, Elvin Jones on drums, and Jimmy Garrison & Reggie Workman alternating on bass (both play together on "India", one of three tracks from the same sessions added here as a bonus). Right after the Village dates, Trane and Dolphy would embark on a successful European tour.\r\n
      \r\n
      Recorded live at the Village Vanguard, New York, November 2 & 3, 1961\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1912 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3570
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  +produit: App\Entity\Produit {#2195
    -id: 2036
    -nom: ""Live" At The Village Vanguard"
    -informationComplementaire: ""
    -description: """
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
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      \r\n
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[
  "produit" => App\Entity\Produit {#2211
    -id: 2029
    -nom: "Crescent"
    -informationComplementaire: ""
    -description: """
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      Released in 1964, Crescent is one of sax master John Coltrane's finest albums, featuring the talents of McCoy Tyner, Jimmy Garrison and Elvin Jones. During 1964 John Coltrane spent the least amount of time in the recording studio of his entire solo career. It wasn't until April 27 that ‘Trane, along with Tyner, Garrison and Jones went to the familiar surroundings of Rudy Van Gelder's Englewood Cliff's studio to begin work on the album that came to be called, Crescent.\r\n
      \r\n
      They recorded all the tracks that appear on Crescent, along with "Songs Of Praise", but not the final versions of the album's five tracks. From that first day's recording the ones that make the final cut are, "Lonnie's Lament", "The Drum Thing" and "Wise One". The first two of these three tracks make up all of side two of the album and on "Lonnie's Lament" Coltrane does not solo at all, instead it features a long bass solo by Garrison.\r\n
      \r\n
      Garrison's widow recalled that this album along with A Love Supreme, which was released a year later in 1965, were the two that her husband listened to the most.\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1912 …}
    -musicienOrchestre: "John Coltrane (tenor & soprano saxophone), Jimmy Garrison (bass),  McCoy Tyner (piano), Elvin Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
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    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=3z6Fo61Ts_k"
    -referenceProduit: "Acoustic Sounds Series 78301"
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        "ordre" => 0
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        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2178 …}
    -label: Proxies\__CG__\App\Entity\Label {#2197 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2219 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2212 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2214 …}
    -enregistreLe: DateTime @1620906356 {#2208
      date: 2021-05-13 11:45:56.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1643011628 {#2209
      date: 2022-01-24 08:07:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2216 …}
    -disponible: null
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    -slug: "vinyles-crescent-acoustic-sounds-series-78301"
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  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3618
  -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 {#2699 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2211
    -id: 2029
    -nom: "Crescent"
    -informationComplementaire: ""
    -description: """
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      Released in 1964, Crescent is one of sax master John Coltrane's finest albums, featuring the talents of McCoy Tyner, Jimmy Garrison and Elvin Jones. During 1964 John Coltrane spent the least amount of time in the recording studio of his entire solo career. It wasn't until April 27 that ‘Trane, along with Tyner, Garrison and Jones went to the familiar surroundings of Rudy Van Gelder's Englewood Cliff's studio to begin work on the album that came to be called, Crescent.\r\n
      \r\n
      They recorded all the tracks that appear on Crescent, along with "Songs Of Praise", but not the final versions of the album's five tracks. From that first day's recording the ones that make the final cut are, "Lonnie's Lament", "The Drum Thing" and "Wise One". The first two of these three tracks make up all of side two of the album and on "Lonnie's Lament" Coltrane does not solo at all, instead it features a long bass solo by Garrison.\r\n
      \r\n
      Garrison's widow recalled that this album along with A Love Supreme, which was released a year later in 1965, were the two that her husband listened to the most.\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1912 …}
    -musicienOrchestre: "John Coltrane (tenor & soprano saxophone), Jimmy Garrison (bass),  McCoy Tyner (piano), Elvin Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
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    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=3z6Fo61Ts_k"
    -referenceProduit: "Acoustic Sounds Series 78301"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2178 …}
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    -modifierLe: DateTime @1643011628 {#2209
      date: 2022-01-24 08:07:08.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -disponible: null
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    -slug: "vinyles-crescent-acoustic-sounds-series-78301"
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  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2467 …}
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[
  "produit" => App\Entity\Produit {#2224
    -id: 2048
    -nom: "Mambo Man  (Original Motion Picture Soundtrack)"
    -informationComplementaire: ""
    -description: """
      180 gram double LP !\r\n
      \r\n
      Remastering by Ray Staff at Air Mastering, Lyndhurst Hall, London !\r\n
      \r\n
      "There is rather the mature and conscious gaze of two authors who want to represent Cuba, and the story of the protagonist, with truth and love. With this awareness, each shot conveys a charm superior to that of a good staging. This film, made with passion, penetrates the audience to the rhythm of music and tells us about a whole, small, precious universe, absorbing its beauty and misery. "Mambo Man" is a bit like Cuba : beautiful, kind and melancholic". - Rome Prisma Independent Film Awards\r\n
      \r\n
      "It's a dynamic, colourful film, with bustling markets, lively clubs, friendly outdoor cafes, and best of all a remarkable soundtrack of classic Cuban music, which is a focal point of the film". - J.B. Spins, Joe Bendel\r\n
      \r\n
      With the Buena Vista Stars, including Candido Fabre. Based on a true story and filmed in the exotic countryside outside Havana, this remarkable and engaging film will move both your spirit and your feet with its unforgettable passion and intoxicating music. The soundtrack and live performances in the film include some of the legendary Cuban artists who appeared in the box office smash, Buena Vista Social Club.\r\n
      \r\n
      Mambo Man is packed with musical contributions from Cuban legends including; Candido Fabre, Maria Ochoa, Alma Latina, David Alvarez, Arturo Jorge, Omara Portuondo, Eliades Ochoa, Juan De Marcos Gonzalez and the Afro-Cuban All Stars.\r\n
      """
    -prixVente: "76.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1912 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=VfRdUfEIZ5A"
    -referenceProduit: "Pure Pleasure Records PPAN 023"
    -titreMorceau: [
      [
        "nom" => "1. A los Soneros \t"
        "ordre" => 1
      ]
      [
        "nom" => "1. De Cauto Cristo a Rio Cauto \t"
        "ordre" => 7
      ]
      [
        "nom" => "1. Maidel Mambo \t"
        "ordre" => 13
      ]
      [
        "nom" => "1. Romance "
        "ordre" => 19
      ]
      [
        "nom" => "2. Brisa Mañanera (Mambo Man film version) \t"
        "ordre" => 2
      ]
      [
        "nom" => "2. De Cuba Vengo y Cubano Soy \t"
        "ordre" => 8
      ]
      [
        "nom" => "2. Mambo Man (also known as Ella es Asi) \t"
        "ordre" => 14
      ]
      [
        "nom" => "2. Son Para envidiosos "
        "ordre" => 20
      ]
      [
        "nom" => "3. Cada Vez Que te Veo \t"
        "ordre" => 3
      ]
      [
        "nom" => "3. Descarga Cubana \t"
        "ordre" => 9
      ]
      [
        "nom" => "3. Nada de Ti 4. No Critiques al Nene \t"
        "ordre" => 15
      ]
      [
        "nom" => "3. There is still hope "
        "ordre" => 21
      ]
      [
        "nom" => "4. Carretero \t"
        "ordre" => 4
      ]
      [
        "nom" => "4. Finca Santaelena \t"
        "ordre" => 10
      ]
      [
        "nom" => "4. Yo Quiero Gozar"
        "ordre" => 22
      ]
      [
        "nom" => "5. Como las Mariposas "
        "ordre" => 5
      ]
      [
        "nom" => "5. La Vida "
        "ordre" => 11
      ]
      [
        "nom" => "5. Pa Apartar lo Malo \t"
        "ordre" => 16
      ]
      [
        "nom" => "6. Quiero Cantar Son del Llano "
        "ordre" => 17
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 6
      ]
      [
        "nom" => "Side C : "
        "ordre" => 12
      ]
      [
        "nom" => "Side D : "
        "ordre" => 18
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2226 …}
    -label: Proxies\__CG__\App\Entity\Label {#2229 …}
    -style: App\Entity\Style {#1513 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2238 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2231 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2233 …}
    -enregistreLe: DateTime @1622011662 {#2221
      date: 2021-05-26 06:47:42.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1641559426 {#2222
      date: 2022-01-07 12:43:46.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2235 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-mambo-man-original-motion-picture-soundtrack-pure-pleasure-records-ppan-023"
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  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3664
  -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 {#2699 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2224
    -id: 2048
    -nom: "Mambo Man  (Original Motion Picture Soundtrack)"
    -informationComplementaire: ""
    -description: """
      180 gram double LP !\r\n
      \r\n
      Remastering by Ray Staff at Air Mastering, Lyndhurst Hall, London !\r\n
      \r\n
      "There is rather the mature and conscious gaze of two authors who want to represent Cuba, and the story of the protagonist, with truth and love. With this awareness, each shot conveys a charm superior to that of a good staging. This film, made with passion, penetrates the audience to the rhythm of music and tells us about a whole, small, precious universe, absorbing its beauty and misery. "Mambo Man" is a bit like Cuba : beautiful, kind and melancholic". - Rome Prisma Independent Film Awards\r\n
      \r\n
      "It's a dynamic, colourful film, with bustling markets, lively clubs, friendly outdoor cafes, and best of all a remarkable soundtrack of classic Cuban music, which is a focal point of the film". - J.B. Spins, Joe Bendel\r\n
      \r\n
      With the Buena Vista Stars, including Candido Fabre. Based on a true story and filmed in the exotic countryside outside Havana, this remarkable and engaging film will move both your spirit and your feet with its unforgettable passion and intoxicating music. The soundtrack and live performances in the film include some of the legendary Cuban artists who appeared in the box office smash, Buena Vista Social Club.\r\n
      \r\n
      Mambo Man is packed with musical contributions from Cuban legends including; Candido Fabre, Maria Ochoa, Alma Latina, David Alvarez, Arturo Jorge, Omara Portuondo, Eliades Ochoa, Juan De Marcos Gonzalez and the Afro-Cuban All Stars.\r\n
      """
    -prixVente: "76.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1912 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=VfRdUfEIZ5A"
    -referenceProduit: "Pure Pleasure Records PPAN 023"
    -titreMorceau: [
      [
        "nom" => "1. A los Soneros \t"
        "ordre" => 1
      ]
      [
        "nom" => "1. De Cauto Cristo a Rio Cauto \t"
        "ordre" => 7
      ]
      [
        "nom" => "1. Maidel Mambo \t"
        "ordre" => 13
      ]
      [
        "nom" => "1. Romance "
        "ordre" => 19
      ]
      [
        "nom" => "2. Brisa Mañanera (Mambo Man film version) \t"
        "ordre" => 2
      ]
      [
        "nom" => "2. De Cuba Vengo y Cubano Soy \t"
        "ordre" => 8
      ]
      [
        "nom" => "2. Mambo Man (also known as Ella es Asi) \t"
        "ordre" => 14
      ]
      [
        "nom" => "2. Son Para envidiosos "
        "ordre" => 20
      ]
      [
        "nom" => "3. Cada Vez Que te Veo \t"
        "ordre" => 3
      ]
      [
        "nom" => "3. Descarga Cubana \t"
        "ordre" => 9
      ]
      [
        "nom" => "3. Nada de Ti 4. No Critiques al Nene \t"
        "ordre" => 15
      ]
      [
        "nom" => "3. There is still hope "
        "ordre" => 21
      ]
      [
        "nom" => "4. Carretero \t"
        "ordre" => 4
      ]
      [
        "nom" => "4. Finca Santaelena \t"
        "ordre" => 10
      ]
      [
        "nom" => "4. Yo Quiero Gozar"
        "ordre" => 22
      ]
      [
        "nom" => "5. Como las Mariposas "
        "ordre" => 5
      ]
      [
        "nom" => "5. La Vida "
        "ordre" => 11
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      [
        "nom" => "5. Pa Apartar lo Malo \t"
        "ordre" => 16
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      [
        "nom" => "6. Quiero Cantar Son del Llano "
        "ordre" => 17
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      [
        "nom" => "Side A : "
        "ordre" => 0
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      [
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        "ordre" => 6
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      [
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        "ordre" => 12
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      [
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        "ordre" => 18
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2226 …}
    -label: Proxies\__CG__\App\Entity\Label {#2229 …}
    -style: App\Entity\Style {#1513 …}
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    }
    -modifierLe: DateTime @1641559426 {#2222
      date: 2022-01-07 12:43:46.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2235 …}
    -disponible: null
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    -slug: "vinyles-mambo-man-original-motion-picture-soundtrack-pure-pleasure-records-ppan-023"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2467 …}
}

[
  "produit" => App\Entity\Produit {#2243
    -id: 1990
    -nom: "Music, Message and the Moment"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      John Coltrane, Max Roach, Quincy Jones, Elvin Jones, Jimmy Garrison, Charles Mingus, Shirley Scott, Yusef Lateef, Archie Shepp, Stanley Turrentine, Earl Hines, Oliver Nelson, Pharoah Sanders, The Ahmad Jamal Trio, Albert Ayler, Charlie Haden, Alice Coltrane, Michael White, Dewey Redman, Marion Brown, John Handy\r\n
      \r\n
      Deluxe Vinyl 4 LP Box Set Celebrating Impulse ! Records' Vital First Decade; Housed in a Museum Drop-Front Box Set with Magazine Style Booklet and Vinyl Slip Mat\r\n
      \r\n
      2021 marks the 60th anniversary of the legendary jazz label, Impulse ! Records home to such pioneering jazz artists as John Coltrane, Charles Mingus, Pharoah Sanders, Quincy Jones, and more. As a centerpiece to its year-long celebrations, the imprint takes a look back at its first decade with the release of Impulse Records : Music, Message & The Moment a deluxe vinyl 4 LP box set. Housed in a museum drop-front box set, Impulse Records : Music, Message & The Moment speaks to the political, social, and spiritual elements that were omnipresent in the 60s when Impulse ! and its artists were at their creative heights. In a decade marked by protests, racial and social unrest, and the dismantling of institutions, jazz was an integral part of exploring Black identity and pushing cultural and political boundaries. \r\n
      \r\n
      Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse ! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era's velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even  from swing and bebop, to free and Afrofuturist.\r\n
      \r\n
      The performances on Impulse Records: Music, Message & the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance : the promise still deferred, the message still on time. The collection highlights musical conversations about civil rights echoed in such albums as John Coltrane's Alabama, Archie Shepp's Attica Blues, John and Alice Coltrane's Reverend King, Charlie Haden and the Liberation Orchestra's We Shall Overcome, and Oliver Nelson's The Rights Of All. It also focuses on themes of spirituality, transcendentalism, and Afrofuturism through the music of Albert Ayler, Pharoah Sanders, John Coltrane, and Alice Coltrane. The historical importance of social music, meanwhile, is reflected in works by artists like Quincy Jones and John Handy.\r\n
      \r\n
      Rounding out the collection are essays by poet and critic A.B. Spellman "In many ways, this collection is a mural in sound of the activist's stimulation of the Sixties and Seventies... we need this scope of sound again : We need the horns to scream of stout resistance, and we need the bands to sing to us of the righteous beauty of our souls" and critic Greg Tate "A collection celebrating Impulse's deep-digging support of artists who scored We The People's SingFight-ing for social political and artists' self-determination in a critical time of beatdowns, breakthroughs and cosmically-centered aspirations", both of whom offer vital perspectives on the importance of Impulse !, its artists, and its music particularly within the cultural backdrop of the 60s.\r\n
      """
    -prixVente: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1912 …}
    -musicienOrchestre: "John Coltrane, Max Roach, Quincy Jones, Elvin Jones, Jimmy Garrison, Charles Mingus, Shirley Scott, Yusef Lateef, Archie Shepp, Stanley Turrentine, Earl Hines, Oliver Nelson, Pharoah Sanders, The Ahmad Jamal Trio, Albert Ayler, Charlie Haden…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 4
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=eWjhgz8bm1Q"
    -referenceProduit: "Impulse Records 71871"
    -titreMorceau: [
      [
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        "nom" => "2. Hard Sock Dance / Quincy Jones and his Orchestra"
        "ordre" => 4
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        "nom" => "2. Music Is the Healing Force of the Universe / Albert Ayler"
        "ordre" => 22
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        "nom" => "2. Reverend King / John Coltrane & Alice Coltrane"
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        "nom" => "3. Black and Tan Fantasy / Earl Hines "
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        "ordre" => 27
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        "nom" => "3. Freedom Dance / Shirley Scott Trio"
        "ordre" => 10
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        "ordre" => 32
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      [
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      [
        "nom" => "4. Just Us Blues / Elvin Jones / Jimmy Garrison Sextet"
        "ordre" => 6
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      [
        "nom" => "4. Lament (Mankind) / Michael White"
        "ordre" => 28
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      [
        "nom" => "4. Sister Mamie / Yusef Lateef "
        "ordre" => 11
      ]
      [
        "nom" => "4. The Rights of All / Oliver Nelson "
        "ordre" => 16
      ]
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "Side B : "
        "ordre" => 2
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        "nom" => "Side C : "
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        "nom" => "Side D : "
        "ordre" => 12
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        "ordre" => 24
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      [
        "nom" => "Side H : "
        "ordre" => 29
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2226 …}
    -label: Proxies\__CG__\App\Entity\Label {#2245 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2254 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2247 …}
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    -modifierLe: DateTime @1641112256 {#2241
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3717
  -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 {#2699 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2243
    -id: 1990
    -nom: "Music, Message and the Moment"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      John Coltrane, Max Roach, Quincy Jones, Elvin Jones, Jimmy Garrison, Charles Mingus, Shirley Scott, Yusef Lateef, Archie Shepp, Stanley Turrentine, Earl Hines, Oliver Nelson, Pharoah Sanders, The Ahmad Jamal Trio, Albert Ayler, Charlie Haden, Alice Coltrane, Michael White, Dewey Redman, Marion Brown, John Handy\r\n
      \r\n
      Deluxe Vinyl 4 LP Box Set Celebrating Impulse ! Records' Vital First Decade; Housed in a Museum Drop-Front Box Set with Magazine Style Booklet and Vinyl Slip Mat\r\n
      \r\n
      2021 marks the 60th anniversary of the legendary jazz label, Impulse ! Records home to such pioneering jazz artists as John Coltrane, Charles Mingus, Pharoah Sanders, Quincy Jones, and more. As a centerpiece to its year-long celebrations, the imprint takes a look back at its first decade with the release of Impulse Records : Music, Message & The Moment a deluxe vinyl 4 LP box set. Housed in a museum drop-front box set, Impulse Records : Music, Message & The Moment speaks to the political, social, and spiritual elements that were omnipresent in the 60s when Impulse ! and its artists were at their creative heights. In a decade marked by protests, racial and social unrest, and the dismantling of institutions, jazz was an integral part of exploring Black identity and pushing cultural and political boundaries. \r\n
      \r\n
      Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse ! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era's velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even  from swing and bebop, to free and Afrofuturist.\r\n
      \r\n
      The performances on Impulse Records: Music, Message & the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance : the promise still deferred, the message still on time. The collection highlights musical conversations about civil rights echoed in such albums as John Coltrane's Alabama, Archie Shepp's Attica Blues, John and Alice Coltrane's Reverend King, Charlie Haden and the Liberation Orchestra's We Shall Overcome, and Oliver Nelson's The Rights Of All. It also focuses on themes of spirituality, transcendentalism, and Afrofuturism through the music of Albert Ayler, Pharoah Sanders, John Coltrane, and Alice Coltrane. The historical importance of social music, meanwhile, is reflected in works by artists like Quincy Jones and John Handy.\r\n
      \r\n
      Rounding out the collection are essays by poet and critic A.B. Spellman "In many ways, this collection is a mural in sound of the activist's stimulation of the Sixties and Seventies... we need this scope of sound again : We need the horns to scream of stout resistance, and we need the bands to sing to us of the righteous beauty of our souls" and critic Greg Tate "A collection celebrating Impulse's deep-digging support of artists who scored We The People's SingFight-ing for social political and artists' self-determination in a critical time of beatdowns, breakthroughs and cosmically-centered aspirations", both of whom offer vital perspectives on the importance of Impulse !, its artists, and its music particularly within the cultural backdrop of the 60s.\r\n
      """
    -prixVente: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1912 …}
    -musicienOrchestre: "John Coltrane, Max Roach, Quincy Jones, Elvin Jones, Jimmy Garrison, Charles Mingus, Shirley Scott, Yusef Lateef, Archie Shepp, Stanley Turrentine, Earl Hines, Oliver Nelson, Pharoah Sanders, The Ahmad Jamal Trio, Albert Ayler, Charlie Haden…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 4
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=eWjhgz8bm1Q"
    -referenceProduit: "Impulse Records 71871"
    -titreMorceau: [
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        "nom" => "1. Africa / The John Coltrane Quartet"
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        "nom" => "1. Alabama / John Coltrane "
        "ordre" => 8
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      [
        "nom" => "1. Blue Nile / Alice Coltrane"
        "ordre" => 25
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      [
        "nom" => "1. Garvey's Ghost / Max Roach "
        "ordre" => 3
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      [
        "nom" => "1. Imani / Dewey Redman "
        "ordre" => 30
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      [
        "nom" => "1. Malcolm, Malcolm - Semper Malcolm / Archie Shepp"
        "ordre" => 13
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      [
        "nom" => "1. The Awakening / The Ahmad Jamal Trio"
        "ordre" => 21
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      [
        "nom" => "1. The Creator Has a Master Plan (edit) / Pharoah Sanders "
        "ordre" => 18
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        "ordre" => 26
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        "nom" => "2. Better Get Hit in Yo' Soul / Charles Mingus "
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        "nom" => "2. Bismillahi 'Rrahmani 'Rrahim / Marion Brown"
        "ordre" => 31
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      [
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        "ordre" => 22
      ]
      [
        "nom" => "2. Reverend King / John Coltrane & Alice Coltrane"
        "ordre" => 19
      ]
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      [
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        "ordre" => 32
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      [
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        "ordre" => 5
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      [
        "nom" => "3. We Shall Overcome / Charlie Haden"
        "ordre" => 23
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      [
        "nom" => "4. Just Us Blues / Elvin Jones / Jimmy Garrison Sextet"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2226 …}
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      date: 2022-01-02 08:30:56.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -disponible: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2467 …}
}

[
  "produit" => App\Entity\Produit {#2259
    -id: 2134
    -nom: "First Flight To Tokyo : The Lost 1961 Recordings"
    -informationComplementaire: ""
    -description: """
      First Flight To Tokyo : The Lost 1961 Recordings is a thrilling previously unreleased live recording of Art Blakey & The Jazz Messengers captured at Hibiya Public Hall in Tokyo on January 4, 1961 during the band's first-ever tour of Japan. The Jazz Messengers were among the first modern jazz groups to tour the country, and adoring Japanese audiences were enthralled by one of the band's all-time great line-ups featuring the legendary drummer with Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. The concert featured soaring performances of well-known jazz staples including Charlie Parker's "Now's The Time", Thelonious Monk's "Round About Midnight" and Jazz Messenger hits including "Blues March", "Dat Dere"" and "Moanin'".\r\n
      \r\n
      First Flight To Tokyo was co-produced by Zev Feldman and David Weiss. The deluxe 2 LP vinyl edition comes with an elaborate booklet featuring rare photos by Japanese photographers Shunji Okura and Hozumi Nakadaira; a historical essay by acclaimed jazz critic Bob Blumenthal; plus new interviews with Wayne Shorter in conversation with Blue Note president Don Was, celebrated saxophonist Lou Donaldson, Japanese jazz star Sadao Watanabe, renowned Japanese music critic Reiko Yukawa, Blakey's son Takashi Blakey, and a trio of drum greats: Louis Hayes, Billy Hart, and Cindy Blackman Santana.\r\n
      \r\n
      Audio was newly transferred from the original 1/4" tape reels, and the vinyl edition was mastered by Bernie Grundman and pressed on 180 gram vinyl at RTI.\r\n
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1912 …}
    -musicienOrchestre: "Lee Morgan (trumpet), Wayne Shorter (tenor saxophone), Bobby Timmons (piano), Jymie Merritt (bass), Art Blakey (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=CidPZqDqSE4"
    -referenceProduit: "Blue Note Records 72801"
    -titreMorceau: [
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        "nom" => "1. Dat Dere \t"
        "ordre" => 7
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        "nom" => "1. Now’s the Time "
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        "ordre" => 9
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2261 …}
    -label: Proxies\__CG__\App\Entity\Label {#2264 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2273 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2266 …}
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    }
    -modifierLe: DateTime @1641111846 {#2257
      date: 2022-01-02 08:24:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2270 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-first-flight-to-tokyo-the-lost-1961-recordings-blue-note-records-72801"
  }
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]

App\Twig\Components\GestionPanierFavoriComponents {#3763
  -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 {#2699 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2259
    -id: 2134
    -nom: "First Flight To Tokyo : The Lost 1961 Recordings"
    -informationComplementaire: ""
    -description: """
      First Flight To Tokyo : The Lost 1961 Recordings is a thrilling previously unreleased live recording of Art Blakey & The Jazz Messengers captured at Hibiya Public Hall in Tokyo on January 4, 1961 during the band's first-ever tour of Japan. The Jazz Messengers were among the first modern jazz groups to tour the country, and adoring Japanese audiences were enthralled by one of the band's all-time great line-ups featuring the legendary drummer with Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. The concert featured soaring performances of well-known jazz staples including Charlie Parker's "Now's The Time", Thelonious Monk's "Round About Midnight" and Jazz Messenger hits including "Blues March", "Dat Dere"" and "Moanin'".\r\n
      \r\n
      First Flight To Tokyo was co-produced by Zev Feldman and David Weiss. The deluxe 2 LP vinyl edition comes with an elaborate booklet featuring rare photos by Japanese photographers Shunji Okura and Hozumi Nakadaira; a historical essay by acclaimed jazz critic Bob Blumenthal; plus new interviews with Wayne Shorter in conversation with Blue Note president Don Was, celebrated saxophonist Lou Donaldson, Japanese jazz star Sadao Watanabe, renowned Japanese music critic Reiko Yukawa, Blakey's son Takashi Blakey, and a trio of drum greats: Louis Hayes, Billy Hart, and Cindy Blackman Santana.\r\n
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    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1912 …}
    -musicienOrchestre: "Lee Morgan (trumpet), Wayne Shorter (tenor saxophone), Bobby Timmons (piano), Jymie Merritt (bass), Art Blakey (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2261 …}
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    -modifierLe: DateTime @1641111846 {#2257
      date: 2022-01-02 08:24:06.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -slug: "vinyles-first-flight-to-tokyo-the-lost-1961-recordings-blue-note-records-72801"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2467 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3964
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2467 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3965 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#4013 …}
  +isValidated: false
  +validatedFields: []
}