Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2544
  -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 {#2391 …}
}

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

App\Twig\Components\ListePanier {#2621
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2624 …}
  -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 {#2623 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
  -formView: Symfony\Component\Form\FormView {#2660 …}
  -form: Symfony\Component\Form\Form {#2810 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 2905
    -nom: "This Is Clarence Carter"
    -informationComplementaire: "Plongez dans la soul authentique avec "This Is Clarence Carter". Porté par la voix intense de Clarence Carter et le mythique “Slip Away”, cet album capture toute l’émotion brute et le groove des années 60. Un classique incontournable."
    -description: """
      Sorti en 1968, "This Is Clarence Carter" est le premier album studio de Clarence Carter, une figure emblématique de la soul sudiste. Porté par la chaleur brute de sa voix et une sincérité désarmante, cet album incarne à la perfection l’esprit de la musique soul de la fin des années 60.\r\n
      \r\n
      On y retrouve un savant mélange de blues, de rhythm & blues et de soul profonde, avec des arrangements sobres mais efficaces qui mettent en avant l’émotion pure. L’album contient notamment le titre culte “Slip Away”, qui deviendra un classique instantané et propulsera Carter sur le devant de la scène. Chaque morceau raconte une histoire, oscillant entre amour, désir, vulnérabilité et intensité émotionnelle.\r\n
      \r\n
      This Is Clarence Carter n’est pas seulement un premier album, c’est une déclaration d’identité artistique, brute et authentique, qui pose les bases d’une carrière marquante dans la soul américaine.\r\n
      \r\n
      Musicians : \r\n
      Clarence Carter (guitar, vocals), Jimmy Johnson, Eddie Hinton (guitar), Linden Oldham (piano), Aaron Varnell, Charles Chalmers (tenor saxophone), Floyd Newman (baritone saxophone), Gene Miller (trumpet), Barry Beckett (piano, electric piano, Hammond organ), David Hood (bass), Roger Hawkins (drums).\r\n
      \r\n
      Clarence Carter, blind from birth, was a blues singer with lascivious wit, a talented guitarist, a songwriter with a twinkle in his eye, and a champion of down-to-earth soul grooves who taught himself to play the guitar. He sang in a gospel choir, completed a degree in music, and grounded the duo Clarence & Calvin but was not however very successful. After a car crash involving Calvin Scott, Carter started on a solo career and signed a contract with Rick Hall and the Fame label as a soloist. Among the earliest singles recorded at the Muscle Shoals studio were a few hits. After leaving Fame for Atlantic, he managed to enter the Top 20 of the R & B charts with "Looking For A Fox". His breakthrough came with "Slip Away", which sold a million copies and was awarded a Gold Record.\r\n
      \r\n
      The legendary Fame Studios in Muscle Shoals remained the home basis, as it were, for Carter during his career with Atlantic. "This Is…" begins with a contemplative, soft sound. "Do What You Gotta Do", written by Jim Webb, is a lovely, melancholic mid-tempo ballad, saturated with Barry Beckett’s keyboard and smothered by lush, plaintive winds. But the man is primarily funky here… as three danceable, finger-snapping tracks prove; "Wind It Up", with further witty improvisations and a fervid organ solo, the highly syncopated, playful "Thread The Needle", and the smoky, irresistible "Funky Fever" all written by Carter himself. Dan Penn’s and Spooner Oldham’s "Slippin’ Around" has an unorthodox bossa nova-like beat that is reminiscent of Ray Charles’s "What’d I Say", while Carter’s unmistakable chuckle is to be heard for the first time on the riotous funk-rock number "I’m Qualified", which has the very same unique, infectious groove as was to be heard on Wilson Pickett’s "In The Midnight Hour". "She Ain’t Gonna Do Right", composed by the same man, brings more Alabama Country to the mix, whereby Beckett contributes a catchy, persistent organ riff in the refrain. Soul, blues, funk, R & B a gigantic album from a giant of the genre.\r\n
      \r\n
      Recording: \u{FEFF}1968 at Fame Studios, Muscle Shoals, AL, by Rick Hall\r\n
      Production: Rick Hall
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Clarence Carter (guitar, vocals), Jimmy Johnson, Eddie Hinton (guitar), Linden Oldham (piano), Aaron Varnell, Charles Chalmers (tenor saxophone)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=Phqe9vBsThs&list=OLAK5uy_lkdMKLgHD3C8EAPN8_RjgI9aSGgdWWgv8&index=8"
    -referenceProduit: "Atlantic SD 8192"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Do What You Gotta Do"
      ]
      [
        "ordre" => 2
        "nom" => "2. Looking for a Fox"
      ]
      [
        "ordre" => 3
        "nom" => "3. Slippin' Around"
      ]
      [
        "ordre" => 4
        "nom" => "4. I'm Qualified"
      ]
      [
        "ordre" => 5
        "nom" => "5. I Can't See Myself"
      ]
      [
        "ordre" => 6
        "nom" => "6. Wind It Up"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Part Time Love"
      ]
      [
        "ordre" => 9
        "nom" => "2. Thread the Needle"
      ]
      [
        "ordre" => 10
        "nom" => "3. Slip Away"
      ]
      [
        "ordre" => 11
        "nom" => "4. Funky Fever"
      ]
      [
        "ordre" => 12
        "nom" => "5. She Ain't Gonna Do Right"
      ]
      [
        "ordre" => 13
        "nom" => "6. Set Me Free"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1478 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1763664369 {#1896
      date: 2025-11-20 18:46:09.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1777113246 {#1889
      date: 2026-04-25 10:34:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-this-is-clarence-carter-atlantic-sd-8192"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3085
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 2905
    -nom: "This Is Clarence Carter"
    -informationComplementaire: "Plongez dans la soul authentique avec "This Is Clarence Carter". Porté par la voix intense de Clarence Carter et le mythique “Slip Away”, cet album capture toute l’émotion brute et le groove des années 60. Un classique incontournable."
    -description: """
      Sorti en 1968, "This Is Clarence Carter" est le premier album studio de Clarence Carter, une figure emblématique de la soul sudiste. Porté par la chaleur brute de sa voix et une sincérité désarmante, cet album incarne à la perfection l’esprit de la musique soul de la fin des années 60.\r\n
      \r\n
      On y retrouve un savant mélange de blues, de rhythm & blues et de soul profonde, avec des arrangements sobres mais efficaces qui mettent en avant l’émotion pure. L’album contient notamment le titre culte “Slip Away”, qui deviendra un classique instantané et propulsera Carter sur le devant de la scène. Chaque morceau raconte une histoire, oscillant entre amour, désir, vulnérabilité et intensité émotionnelle.\r\n
      \r\n
      This Is Clarence Carter n’est pas seulement un premier album, c’est une déclaration d’identité artistique, brute et authentique, qui pose les bases d’une carrière marquante dans la soul américaine.\r\n
      \r\n
      Musicians : \r\n
      Clarence Carter (guitar, vocals), Jimmy Johnson, Eddie Hinton (guitar), Linden Oldham (piano), Aaron Varnell, Charles Chalmers (tenor saxophone), Floyd Newman (baritone saxophone), Gene Miller (trumpet), Barry Beckett (piano, electric piano, Hammond organ), David Hood (bass), Roger Hawkins (drums).\r\n
      \r\n
      Clarence Carter, blind from birth, was a blues singer with lascivious wit, a talented guitarist, a songwriter with a twinkle in his eye, and a champion of down-to-earth soul grooves who taught himself to play the guitar. He sang in a gospel choir, completed a degree in music, and grounded the duo Clarence & Calvin but was not however very successful. After a car crash involving Calvin Scott, Carter started on a solo career and signed a contract with Rick Hall and the Fame label as a soloist. Among the earliest singles recorded at the Muscle Shoals studio were a few hits. After leaving Fame for Atlantic, he managed to enter the Top 20 of the R & B charts with "Looking For A Fox". His breakthrough came with "Slip Away", which sold a million copies and was awarded a Gold Record.\r\n
      \r\n
      The legendary Fame Studios in Muscle Shoals remained the home basis, as it were, for Carter during his career with Atlantic. "This Is…" begins with a contemplative, soft sound. "Do What You Gotta Do", written by Jim Webb, is a lovely, melancholic mid-tempo ballad, saturated with Barry Beckett’s keyboard and smothered by lush, plaintive winds. But the man is primarily funky here… as three danceable, finger-snapping tracks prove; "Wind It Up", with further witty improvisations and a fervid organ solo, the highly syncopated, playful "Thread The Needle", and the smoky, irresistible "Funky Fever" all written by Carter himself. Dan Penn’s and Spooner Oldham’s "Slippin’ Around" has an unorthodox bossa nova-like beat that is reminiscent of Ray Charles’s "What’d I Say", while Carter’s unmistakable chuckle is to be heard for the first time on the riotous funk-rock number "I’m Qualified", which has the very same unique, infectious groove as was to be heard on Wilson Pickett’s "In The Midnight Hour". "She Ain’t Gonna Do Right", composed by the same man, brings more Alabama Country to the mix, whereby Beckett contributes a catchy, persistent organ riff in the refrain. Soul, blues, funk, R & B a gigantic album from a giant of the genre.\r\n
      \r\n
      Recording: \u{FEFF}1968 at Fame Studios, Muscle Shoals, AL, by Rick Hall\r\n
      Production: Rick Hall
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Clarence Carter (guitar, vocals), Jimmy Johnson, Eddie Hinton (guitar), Linden Oldham (piano), Aaron Varnell, Charles Chalmers (tenor saxophone)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=Phqe9vBsThs&list=OLAK5uy_lkdMKLgHD3C8EAPN8_RjgI9aSGgdWWgv8&index=8"
    -referenceProduit: "Atlantic SD 8192"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Do What You Gotta Do"
      ]
      [
        "ordre" => 2
        "nom" => "2. Looking for a Fox"
      ]
      [
        "ordre" => 3
        "nom" => "3. Slippin' Around"
      ]
      [
        "ordre" => 4
        "nom" => "4. I'm Qualified"
      ]
      [
        "ordre" => 5
        "nom" => "5. I Can't See Myself"
      ]
      [
        "ordre" => 6
        "nom" => "6. Wind It Up"
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Part Time Love"
      ]
      [
        "ordre" => 9
        "nom" => "2. Thread the Needle"
      ]
      [
        "ordre" => 10
        "nom" => "3. Slip Away"
      ]
      [
        "ordre" => 11
        "nom" => "4. Funky Fever"
      ]
      [
        "ordre" => 12
        "nom" => "5. She Ain't Gonna Do Right"
      ]
      [
        "ordre" => 13
        "nom" => "6. Set Me Free"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1478 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1763664369 {#1896
      date: 2025-11-20 18:46:09.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1777113246 {#1889
      date: 2026-04-25 10:34:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-this-is-clarence-carter-atlantic-sd-8192"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 2906
    -nom: "Much Les"
    -informationComplementaire: "Plongez dans l’énergie vibrante de "Much Les", où Les McCann mêle groove, soul et improvisation avec une intensité rare. Capté en live, cet album respire la chaleur, la spontanéité et toute la puissance d’un jazz profondément vivant."
    -description: """
      Sorti en 1969, "Much Les" est un album emblématique de Les McCann, capturé en live au célèbre club Bohemian Caverns à Washington D.C. Il incarne parfaitement la transition du jazz vers des sonorités plus modernes, mêlant soul jazz, groove et influences funk.\r\n
      \r\n
      Porté par un jeu de piano expressif et chaleureux, McCann y déploie une musique à la fois accessible et profondément habitée. L’album se distingue par son énergie communicative, son interaction avec le public et ses longues improvisations pleines de feeling.\r\n
      \r\n
      Les morceaux oscillent entre moments intimes et envolées rythmiques, avec une section rythmique solide qui soutient parfaitement l’intensité du pianiste. Much Les est souvent considéré comme l’un des disques les plus représentatifs de son style, un jazz vivant, ancré dans l’émotion et ouvert à tous les publics.\r\n
      \r\n
      Musicians :\r\n
      Les McCann (piano, vocals), Leroy Vinnegar (bass), victor Pantoja\t(congas), Emanuel Green, Harvey Shapiro, Kermit Moore, Noel DaCosta, Richard Elias, Ron Carter, Selwart Clarke, Theodore Israel, Warren Laffredo, Winston Collymore (strings), Willie Bobo (strings, timbales), Donald Dean (drums).\r\n
      \r\n
      Together with the saxophone player Eddie Harris, Les McCann was responsible for one of the best-sold albums in the whole history of jazz Swiss Movement (Atlantic SD-1537). It was his debut album on the Atlantic label. 1968 saw the release of Much Les and elaborated it with new aspects of what McCann did best in his early years: his core sound was enhanced with a string section and Latin percussion. The result is convincing, appealing, and captivating throughout and is considered an underestimated classic.\r\n
      \r\n
      In all the numbers, McCann is supported strongly and in a relaxed manner by his former trio, the bassist Leroy Vinnegar and the drummer Donald Dean. However, it is the string section which dominates as McCann's accompaniment; of the six tracks they are to be heard in all three slow numbers, as well as surprisingly in the relaxed soul jazz of "Doin' That Thing", thus lending this track almost a film soundtrack feeling. Luckily the album does not wallow in sentimental kitsch; the strings are always employed with good taste in order to lend a solid base to the whole and provide counterpoint to McCann's economical solo playing in the ballads.\r\n
      \r\n
      Further into the album he transforms Cole Porter's "Love For Sale" in one of his characteristic funky soul-jazz grooves, and returns to his gospel roots in a lyrical, exuberant rendering of Burnin' Coal, where he employs a simple but catchy beat. The whole album is well varied, and the abundant, expanded arrangement serve to accentuate not to veil the masterly groove of the McCann Trio. And that is what makes Much Les such an entertaining, essential listening experience.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Les McCann (piano, vocals), Leroy Vinnegar (bass), victor Pantoja\t(congas), Donald Dean (drums)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=7i8luXI_2mY&list=RD7i8luXI_2mY&start_radio=1"
    -referenceProduit: "Atlantic SD 1516"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Doin' That Thing"
      ]
      [
        "ordre" => 2
        "nom" => "2. With These Hands"
      ]
      [
        "ordre" => 3
        "nom" => "3. Burnin‘ Coal"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Benjamin"
      ]
      [
        "ordre" => 6
        "nom" => "2. Love For Sale"
      ]
      [
        "ordre" => 7
        "nom" => "3. Roberta"
      ]
      [
        "ordre" => 8
        "nom" => ""
      ]
      [
        "ordre" => 9
        "nom" => ""
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2046 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2039 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2041 …}
    -enregistreLe: DateTime @1763666718 {#2032
      date: 2025-11-20 19:25:18.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1777062290 {#2033
      date: 2026-04-24 20:24:50.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2043 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-much-les-atlantic-sd-1516"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3199
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 2906
    -nom: "Much Les"
    -informationComplementaire: "Plongez dans l’énergie vibrante de "Much Les", où Les McCann mêle groove, soul et improvisation avec une intensité rare. Capté en live, cet album respire la chaleur, la spontanéité et toute la puissance d’un jazz profondément vivant."
    -description: """
      Sorti en 1969, "Much Les" est un album emblématique de Les McCann, capturé en live au célèbre club Bohemian Caverns à Washington D.C. Il incarne parfaitement la transition du jazz vers des sonorités plus modernes, mêlant soul jazz, groove et influences funk.\r\n
      \r\n
      Porté par un jeu de piano expressif et chaleureux, McCann y déploie une musique à la fois accessible et profondément habitée. L’album se distingue par son énergie communicative, son interaction avec le public et ses longues improvisations pleines de feeling.\r\n
      \r\n
      Les morceaux oscillent entre moments intimes et envolées rythmiques, avec une section rythmique solide qui soutient parfaitement l’intensité du pianiste. Much Les est souvent considéré comme l’un des disques les plus représentatifs de son style, un jazz vivant, ancré dans l’émotion et ouvert à tous les publics.\r\n
      \r\n
      Musicians :\r\n
      Les McCann (piano, vocals), Leroy Vinnegar (bass), victor Pantoja\t(congas), Emanuel Green, Harvey Shapiro, Kermit Moore, Noel DaCosta, Richard Elias, Ron Carter, Selwart Clarke, Theodore Israel, Warren Laffredo, Winston Collymore (strings), Willie Bobo (strings, timbales), Donald Dean (drums).\r\n
      \r\n
      Together with the saxophone player Eddie Harris, Les McCann was responsible for one of the best-sold albums in the whole history of jazz Swiss Movement (Atlantic SD-1537). It was his debut album on the Atlantic label. 1968 saw the release of Much Les and elaborated it with new aspects of what McCann did best in his early years: his core sound was enhanced with a string section and Latin percussion. The result is convincing, appealing, and captivating throughout and is considered an underestimated classic.\r\n
      \r\n
      In all the numbers, McCann is supported strongly and in a relaxed manner by his former trio, the bassist Leroy Vinnegar and the drummer Donald Dean. However, it is the string section which dominates as McCann's accompaniment; of the six tracks they are to be heard in all three slow numbers, as well as surprisingly in the relaxed soul jazz of "Doin' That Thing", thus lending this track almost a film soundtrack feeling. Luckily the album does not wallow in sentimental kitsch; the strings are always employed with good taste in order to lend a solid base to the whole and provide counterpoint to McCann's economical solo playing in the ballads.\r\n
      \r\n
      Further into the album he transforms Cole Porter's "Love For Sale" in one of his characteristic funky soul-jazz grooves, and returns to his gospel roots in a lyrical, exuberant rendering of Burnin' Coal, where he employs a simple but catchy beat. The whole album is well varied, and the abundant, expanded arrangement serve to accentuate not to veil the masterly groove of the McCann Trio. And that is what makes Much Les such an entertaining, essential listening experience.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.
      """
    -prixVente: "38.00"
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[
  "produit" => App\Entity\Produit {#2051
    -id: 3002
    -nom: "Tonight At Noon"
    -informationComplementaire: "Une œuvre qui se regarde autant qu’elle s’écoute. Avec "Tonight at Noon", Charles Mingus livre un jazz intense et libre, où chaque note vibre d’émotion et d’audace. Une expérience musicale brute, à la fois puissante et inoubliable."
    -description: """
      Tonight at Noon de Charles Mingus est un album aussi fascinant musicalement que visuellement. Sa pochette, dominée par un portrait expressionniste aux traits éclatés et aux couleurs vives, reflète parfaitement l’univers sonore de Mingus, intense, libre et profondément émotionnel.\r\n
      \r\n
      Sorti en 1964, l’album rassemble des enregistrements issus de différentes sessions, capturant un moment de transition dans le jazz moderne. Entre compositions structurées et élans d’improvisation, Mingus y façonne un langage unique, mêlant énergie brute et sophistication harmonique.\r\n
      \r\n
      À l’image de la peinture qui semble presque en mouvement, la musique de "Tonight at Noon" est vivante, imprévisible, traversée de contrastes. Chaque morceau révèle une tension entre ordre et chaos, signature du génie créatif de Mingus.\r\n
      \r\n
      Tonight at Noon compiles tracks from two earlier recordings sessions: one session from 1957 with Jimmy Knepper on the trombone, the drummer Dannie Richmond, saxophone player Shafi Hadi and the pianist Wade Legge, which were released on the album The Clown (Atlantic 1260). The second session took place in 1961 with Booker Ervin and Roland Kirk on the saxophone, Knepper, the bassist Doug Watkins, Mingus at the piano and Richmond on the drums, and was released on Oh Yeah (Atlantic SD 1377).\r\n
      \r\n
      The two sets differ in mood, but this does not mean that it is an album that uses leftovers. While Mingus in the first session strives for European harmonics and melodic approaches with a hard bop tempo (particularly on the title track) in the direction of the blues, the second session with its vespertine elegance and spatial explorations comes over rather as a sort of exercise à la avant-garde Ellington with sophisticated harmonies that pave the way for sluggish marches and gospel-like blues. Kirk and Ervin complement one another particularly well, their swing is apparently boundless. Mingus's piano playing is deeply rooted in the blues, and his sense of tempo and lightness enhances these numbers, particularly in "'Old' Blues for Walt's Torin".\r\n
      \r\n
      In these compositions one already finds hints of Mingus's later recordings. The most beautiful number is taken from the 1957 session and concludes the album : "Passions of a Woman Loved", almost ten minutes in length, feels like an Ellington suite. Although, or maybe simply because several years passed between the two sessions, one cannot deny this album's magic.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.\r\n
      \r\n
      Recording : March 1957 in mono and November 1961 in stereo in New York City by Tom Dowd and Phil Iehle.
      """
    -prixVente: "38.00"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 3002
    -nom: "Tonight At Noon"
    -informationComplementaire: "Une œuvre qui se regarde autant qu’elle s’écoute. Avec "Tonight at Noon", Charles Mingus livre un jazz intense et libre, où chaque note vibre d’émotion et d’audace. Une expérience musicale brute, à la fois puissante et inoubliable."
    -description: """
      Tonight at Noon de Charles Mingus est un album aussi fascinant musicalement que visuellement. Sa pochette, dominée par un portrait expressionniste aux traits éclatés et aux couleurs vives, reflète parfaitement l’univers sonore de Mingus, intense, libre et profondément émotionnel.\r\n
      \r\n
      Sorti en 1964, l’album rassemble des enregistrements issus de différentes sessions, capturant un moment de transition dans le jazz moderne. Entre compositions structurées et élans d’improvisation, Mingus y façonne un langage unique, mêlant énergie brute et sophistication harmonique.\r\n
      \r\n
      À l’image de la peinture qui semble presque en mouvement, la musique de "Tonight at Noon" est vivante, imprévisible, traversée de contrastes. Chaque morceau révèle une tension entre ordre et chaos, signature du génie créatif de Mingus.\r\n
      \r\n
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      \r\n
      The two sets differ in mood, but this does not mean that it is an album that uses leftovers. While Mingus in the first session strives for European harmonics and melodic approaches with a hard bop tempo (particularly on the title track) in the direction of the blues, the second session with its vespertine elegance and spatial explorations comes over rather as a sort of exercise à la avant-garde Ellington with sophisticated harmonies that pave the way for sluggish marches and gospel-like blues. Kirk and Ervin complement one another particularly well, their swing is apparently boundless. Mingus's piano playing is deeply rooted in the blues, and his sense of tempo and lightness enhances these numbers, particularly in "'Old' Blues for Walt's Torin".\r\n
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      In these compositions one already finds hints of Mingus's later recordings. The most beautiful number is taken from the 1957 session and concludes the album : "Passions of a Woman Loved", almost ten minutes in length, feels like an Ellington suite. Although, or maybe simply because several years passed between the two sessions, one cannot deny this album's magic.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.\r\n
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      Recording : March 1957 in mono and November 1961 in stereo in New York City by Tom Dowd and Phil Iehle.
      """
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
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[
  "produit" => App\Entity\Produit {#2067
    -id: 2623
    -nom: "The Resurrection of Pigboy Crabshaw"
    -informationComplementaire: "AVAILABILITY : 30/11/2025 (subject Speakers Corner Records)"
    -description: """
      Evil tongues predicted the end of the Paul Butterfield Blues Band when the guitar virtuoso Mike Bloomfield left the group to form Electric Flag. However, the ensemble actually expanded, now including a horn section which added a more jazzy sound, while Chicago blues remained as a basis. Elvin Bishop took on the role of lead guitarist and his nickname was adopted as the name of the album. Butterfield himself played the harmonica and sang, while his band grew together to form one of the most cohesive formations of their time. Butterfield’s best-known song "One More Heartache" opens the album, which in the meantime has undoubtedly become a blues-rock classic with superb harmonica and a catchy beat that is driven onwards by the top-notch horns. "Driftin’ & Driftin’" is a further well-known piece that carries on for over nine minutes; here the brass sob and sigh while Sanborn delivers a brilliant solo performance in the choruses. In addition to cover versions by B. T. Jones "Born Under A Bad Sign", Otis Rush "Double Trouble" and Roosevelt Sykes "Drivin’ Wheel", two compositions by Butterfield are included : "Run Out Of Time" and the somewhat psychedelic "Tollin’ Bells" where Bishop’s guitar and Naftalin’s floating keyboard conjure up a haunting feeling. The stunning pastiche cover, a nod to the flower power era of those times, completes this release, which marks a new phase in the career of the Paul Butterfield Blues Band that would endure for a long time.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under http://www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : 1967 by Ray Hagerty\r\n
      Production : John Court
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3301
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    -id: 2623
    -nom: "The Resurrection of Pigboy Crabshaw"
    -informationComplementaire: "AVAILABILITY : 30/11/2025 (subject Speakers Corner Records)"
    -description: """
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      Recording : 1967 by Ray Hagerty\r\n
      Production : John Court
      """
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    -musicienOrchestre: "Paul Butterfield (harmonica, vocals), Elvin Bishop (guitar), Mark Naftalin (keyboards), Bugsy Maugh (bass, vocals), Phil Wilson (drums)"
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        "nom" => "1. Run Out of Time"
        "ordre" => 6
      ]
      [
        "nom" => "2. Double Trouble"
        "ordre" => 7
      ]
      [
        "nom" => "3. Drivin' Wheel"
        "ordre" => 8
      ]
      [
        "nom" => "4. Droppin' Out"
        "ordre" => 9
      ]
      [
        "nom" => "5. Tollin' Bells"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2069 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1455 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2078 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2071 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2073 …}
    -enregistreLe: DateTime @1737015197 {#2064
      date: 2025-01-16 08:13:17.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762858045 {#2065
      date: 2025-11-11 10:47:25.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-resurrection-of-pigboy-crabshaw-speakers-corner-records-eks-74015"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2083
    -id: 541
    -nom: "Straight From The Heart"
    -informationComplementaire: null
    -description: """
      Ann Peebles’ climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song "I Can’t Stand The Rain". Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialised disco wave, only to return many years later with a revival of her old songs.\r\n
      \r\n
      Her album from 1972 has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart "Slipped, Tripped And Fell In Love". The beat is powerful, throbbing, young and fresh "What You Laid On Me" or surging and groovy "How Strong Is A Woman ?". The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven "Somebody’s On Your Case", while a fusion of soft swing and snappy acerbity "I Pity The Fool" rounds off this album which is filled with pure emotion, heart and soul.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under http://www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : August 1971 at Royal Recording Studios, Memphis, TN, by Willie Mitchell\r\n
      Production : Willie Mitchell
      """
    -prixVente: "35.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1878 …}
    -musicienOrchestre: "Ann Peebles (vocals), James Mitchell (baritone sax), Andrew Love, Ed Logan (tenor sax, vocals), Jack Hale (trombone), Wayne Jackson (trumpet), Teenie Hodges (guitar), Charles Hodges (organ, piano), Leroy Hodges (bass), Howard Grimes (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=99JOsTPF2zo"
    -referenceProduit: "Hi Records SHL 32065"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Slipped, Tripped and Fell In Love"
        "ordre" => 1
      ]
      [
        "nom" => "2. Trouble, Heartaches & Sadness"
        "ordre" => 2
      ]
      [
        "nom" => "3. What You Laid On Me"
        "ordre" => 3
      ]
      [
        "nom" => "4. How Strong Is A Woman"
        "ordre" => 4
      ]
      [
        "nom" => "5. Somebody's On Your Case"
        "ordre" => 5
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "1. I Feel Like Breaking Up Somebody's Home Tonight"
        "ordre" => 7
      ]
      [
        "nom" => "2. I've Been There Before"
        "ordre" => 8
      ]
      [
        "nom" => "3. I Pity The Fool"
        "ordre" => 9
      ]
      [
        "nom" => "4. 99 Pounds"
        "ordre" => 10
      ]
      [
        "nom" => "5. I Take What I Want"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2085 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1462 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2094 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2087 …}
    -typeMasterTape: null
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    -adresseInternetTest: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2089 …}
    -enregistreLe: DateTime @1346586548 {#2080
      date: 2012-09-02 11:49:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1759956326 {#2081
      date: 2025-10-08 20:45:26.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2091 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-straight-from-the-heart-hi-records-shl-32065"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3352
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2083
    -id: 541
    -nom: "Straight From The Heart"
    -informationComplementaire: null
    -description: """
      Ann Peebles’ climb up the career ladder was rather more conventional than spectacular in the tough, rough days of rhythm and blues. She was first discovered when she appeared in Memphis nightclubs, was given a break by the big-band leader Gene 'Bowlegs' Miller, and landed her first top hit with the celebrated song "I Can’t Stand The Rain". Towards the end of the Seventies she made a well-timed retreat just before the outbreak of the highly commercialised disco wave, only to return many years later with a revival of her old songs.\r\n
      \r\n
      Her album from 1972 has certainly not mellowed with age. Her singing is sharp and soulful, and comes right from the heart "Slipped, Tripped And Fell In Love". The beat is powerful, throbbing, young and fresh "What You Laid On Me" or surging and groovy "How Strong Is A Woman ?". The arrangements come across as sophisticated and well balanced, yet do not baulk at harsh attacks from the winds nor from the use of Hammond and Hohner keyboards, which were so popular at that time. Melody, singers and big band are airy and finely interwoven "Somebody’s On Your Case", while a fusion of soft swing and snappy acerbity "I Pity The Fool" rounds off this album which is filled with pure emotion, heart and soul.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under http://www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : August 1971 at Royal Recording Studios, Memphis, TN, by Willie Mitchell\r\n
      Production : Willie Mitchell
      """
    -prixVente: "35.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1878 …}
    -musicienOrchestre: "Ann Peebles (vocals), James Mitchell (baritone sax), Andrew Love, Ed Logan (tenor sax, vocals), Jack Hale (trombone), Wayne Jackson (trumpet), Teenie Hodges (guitar), Charles Hodges (organ, piano), Leroy Hodges (bass), Howard Grimes (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=99JOsTPF2zo"
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      [
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      [
        "nom" => "Side B : "
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      ]
      [
        "nom" => "2. I've Been There Before"
        "ordre" => 8
      ]
      [
        "nom" => "3. I Pity The Fool"
        "ordre" => 9
      ]
      [
        "nom" => "4. 99 Pounds"
        "ordre" => 10
      ]
      [
        "nom" => "5. I Take What I Want"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2085 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1462 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2094 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2087 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2089 …}
    -enregistreLe: DateTime @1346586548 {#2080
      date: 2012-09-02 11:49:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1759956326 {#2081
      date: 2025-10-08 20:45:26.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2091 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-straight-from-the-heart-hi-records-shl-32065"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2099
    -id: 2292
    -nom: "Oh Yeah"
    -informationComplementaire: ""
    -description: """
      Commenting on this album in 1962, Billboard magazine wrote: "He seems to be everywhere, everywhere that is but on his usual instrument".\r\n
      \r\n
      Charles Mingus, one of the most impressive musicians in the history of jazz, doesn't play a single note on the bass here for a change, but leads the band from his (blues) piano the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass).\r\n
      \r\n
      Oh Yeah is definitely Mingus's most powerful and passionate album. He calls on two hot, intensive saxophonists Roland Kirk and Booker Ervin as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it's not free jazz, remaining as it does grounded in blues and gospel. "Hog Callin' Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form.\r\n
      \r\n
      Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humor is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words : "Don't let 'em drop it! Stop it! Be-bop it !"\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : November 1961 at Atlantic Studios, New York City, by Tom Dowd and Phil Iehle\r\n
      Production : Nesuhi Ertegun
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Charles Mingus (piano, vocals), Booker Ervin (tenor saxophone), Roland Kirk (flute, tenor saxophone, siren, manzello, stritch) Jimmy Knepper (trombone), Doug Watkins (bass), Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: ""
    -referenceProduit: "Speakers Corner Records SD-1377"
    -titreMorceau: [
      [
        "nom" => "1. Ecclusiastics "
        "ordre" => 5
      ]
      [
        "nom" => "1. Hog Callin' Blues \t"
        "ordre" => 1
      ]
      [
        "nom" => "2. Devil Woman \t"
        "ordre" => 2
      ]
      [
        "nom" => "2. Oh Lord Don't Let Them Drop That Atomic Bomb On Me "
        "ordre" => 6
      ]
      [
        "nom" => "3. Eat That Chicken "
        "ordre" => 7
      ]
      [
        "nom" => "3. Wham Bam Thank You Ma'am "
        "ordre" => 3
      ]
      [
        "nom" => "4. Passions of a Man"
        "ordre" => 8
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2107 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2100 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2102 …}
    -enregistreLe: DateTime @1664518707 {#2096
      date: 2022-09-30 06:18:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1664518808 {#2097
      date: 2022-09-30 06:20:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2104 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-oh-yeah-speakers-corner-records-sd-1377"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3405
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2099
    -id: 2292
    -nom: "Oh Yeah"
    -informationComplementaire: ""
    -description: """
      Commenting on this album in 1962, Billboard magazine wrote: "He seems to be everywhere, everywhere that is but on his usual instrument".\r\n
      \r\n
      Charles Mingus, one of the most impressive musicians in the history of jazz, doesn't play a single note on the bass here for a change, but leads the band from his (blues) piano the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass).\r\n
      \r\n
      Oh Yeah is definitely Mingus's most powerful and passionate album. He calls on two hot, intensive saxophonists Roland Kirk and Booker Ervin as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it's not free jazz, remaining as it does grounded in blues and gospel. "Hog Callin' Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form.\r\n
      \r\n
      Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humor is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words : "Don't let 'em drop it! Stop it! Be-bop it !"\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : November 1961 at Atlantic Studios, New York City, by Tom Dowd and Phil Iehle\r\n
      Production : Nesuhi Ertegun
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Charles Mingus (piano, vocals), Booker Ervin (tenor saxophone), Roland Kirk (flute, tenor saxophone, siren, manzello, stritch) Jimmy Knepper (trombone), Doug Watkins (bass), Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: ""
    -referenceProduit: "Speakers Corner Records SD-1377"
    -titreMorceau: [
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        "nom" => "1. Ecclusiastics "
        "ordre" => 5
      ]
      [
        "nom" => "1. Hog Callin' Blues \t"
        "ordre" => 1
      ]
      [
        "nom" => "2. Devil Woman \t"
        "ordre" => 2
      ]
      [
        "nom" => "2. Oh Lord Don't Let Them Drop That Atomic Bomb On Me "
        "ordre" => 6
      ]
      [
        "nom" => "3. Eat That Chicken "
        "ordre" => 7
      ]
      [
        "nom" => "3. Wham Bam Thank You Ma'am "
        "ordre" => 3
      ]
      [
        "nom" => "4. Passions of a Man"
        "ordre" => 8
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2107 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2100 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2102 …}
    -enregistreLe: DateTime @1664518707 {#2096
      date: 2022-09-30 06:18:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1664518808 {#2097
      date: 2022-09-30 06:20:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2104 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-oh-yeah-speakers-corner-records-sd-1377"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2112
    -id: 2201
    -nom: "Eternity"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Alice Coltrane (organ, harp, electric piano Fender Rhodes; percussion), Terry Harrington (tenor saxophone), Jerome Richardson (soprano saxophone), George Bohanon (trombone), Oscar Brashear (trumpet), Tommy Johnson (tuba),  Hubert Laws (flute), Charlie Haden (bass), Armando Peraza (congas), Ben Riley (drums)…\r\n
      \r\n
      When the brilliant saxophonist John Coltrane died in 1967, the core values of jazz music had long drawn him into the spiritual world "A Love Supreme", "Ascension", "Meditations" etc... His widow and final pianist followed in his footsteps. Alice Coltrane (1937–2007) sought after »cosmic sounds, higher dimensions, astral levels she had an important influence on the spiritualised, esoteric music scene of the 1970s. Her first album was only released after John Coltrane’s death, but "Eternity" was already her tenth. (In the same year she founded a Hindu Vedantic Center in California.) The album draws its power from highly contrasted sound worlds. The size of the ensemble ranges from an unaccompanied harp solo "Wisdom Eye" to a large orchestra with a big band of up to 25 plus a 12-man string section. Alice Coltrane’s main instrument is the electric Wurlitzer organ, whose rasping sound conjures up John Coltrane’s saxophone (especially in the opening number "Spiritual Eternal"). Mostly she improvises modally, sinuously, or with meditative ecstasy whether in the style of Latin rock "Los Caballos" or quite without a firm tempo "Morning Worship" with a tamboura accompaniment. Support comes from such renowned musicians as Charlie Haden (bass), Jerome Richardson (saxophone and flute), Hubert Laws (flute) and Ernie Watts (cor anglais). In the number "Om Supreme" Coltrane switches to a gently swinging Fender Rhodes electric piano, which is joined by a six-voice vocal group. A surprising finale to the album is an orchestral adaptation of an excerpt from Stravinsky’s "Le Sacre du printemps". Here the moments of dissonance and free jazz are far from meditative contemplation.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under http://www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : August and October 1975 at The Burbank Studios, Burbank, CA, and Westlake Audio, Los Angeles, CA, by Baker Bigsby\r\n
      Production : Ed Michael
      """
    -prixVente: "35.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Alice Coltrane (organ, harp, electric piano Fender Rhodes; percussion), Terry Harrington (tenor saxophone), Jerome Richardson (soprano saxophone), George Bohanon (trombone), Oscar Brashear (trumpet), Tommy Johnson (tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Zc98zCrCN8E"
    -referenceProduit: "Warner BS 2916"
    -titreMorceau: [
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        "nom" => "1. Om Supreme "
        "ordre" => 5
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      [
        "nom" => "1. Spiritual Eternal "
        "ordre" => 1
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      [
        "nom" => "2. Morning Worship "
        "ordre" => 6
      ]
      [
        "nom" => "2. Wisdom Eye "
        "ordre" => 2
      ]
      [
        "nom" => "3. Los Caballos"
        "ordre" => 3
      ]
      [
        "nom" => "3. Spring Rounds From Rite Of Spring"
        "ordre" => 7
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2114 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2123 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2116 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2118 …}
    -enregistreLe: DateTime @1646755631 {#2109
      date: 2022-03-08 16:07:11.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653981553 {#2110
      date: 2022-05-31 07:19:13.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2120 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-eternity-warner-bs-2916"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3451
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2112
    -id: 2201
    -nom: "Eternity"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Alice Coltrane (organ, harp, electric piano Fender Rhodes; percussion), Terry Harrington (tenor saxophone), Jerome Richardson (soprano saxophone), George Bohanon (trombone), Oscar Brashear (trumpet), Tommy Johnson (tuba),  Hubert Laws (flute), Charlie Haden (bass), Armando Peraza (congas), Ben Riley (drums)…\r\n
      \r\n
      When the brilliant saxophonist John Coltrane died in 1967, the core values of jazz music had long drawn him into the spiritual world "A Love Supreme", "Ascension", "Meditations" etc... His widow and final pianist followed in his footsteps. Alice Coltrane (1937–2007) sought after »cosmic sounds, higher dimensions, astral levels she had an important influence on the spiritualised, esoteric music scene of the 1970s. Her first album was only released after John Coltrane’s death, but "Eternity" was already her tenth. (In the same year she founded a Hindu Vedantic Center in California.) The album draws its power from highly contrasted sound worlds. The size of the ensemble ranges from an unaccompanied harp solo "Wisdom Eye" to a large orchestra with a big band of up to 25 plus a 12-man string section. Alice Coltrane’s main instrument is the electric Wurlitzer organ, whose rasping sound conjures up John Coltrane’s saxophone (especially in the opening number "Spiritual Eternal"). Mostly she improvises modally, sinuously, or with meditative ecstasy whether in the style of Latin rock "Los Caballos" or quite without a firm tempo "Morning Worship" with a tamboura accompaniment. Support comes from such renowned musicians as Charlie Haden (bass), Jerome Richardson (saxophone and flute), Hubert Laws (flute) and Ernie Watts (cor anglais). In the number "Om Supreme" Coltrane switches to a gently swinging Fender Rhodes electric piano, which is joined by a six-voice vocal group. A surprising finale to the album is an orchestral adaptation of an excerpt from Stravinsky’s "Le Sacre du printemps". Here the moments of dissonance and free jazz are far from meditative contemplation.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under http://www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : August and October 1975 at The Burbank Studios, Burbank, CA, and Westlake Audio, Los Angeles, CA, by Baker Bigsby\r\n
      Production : Ed Michael
      """
    -prixVente: "35.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Alice Coltrane (organ, harp, electric piano Fender Rhodes; percussion), Terry Harrington (tenor saxophone), Jerome Richardson (soprano saxophone), George Bohanon (trombone), Oscar Brashear (trumpet), Tommy Johnson (tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Zc98zCrCN8E"
    -referenceProduit: "Warner BS 2916"
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        "nom" => "2. Morning Worship "
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        "nom" => "2. Wisdom Eye "
        "ordre" => 2
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        "nom" => "3. Los Caballos"
        "ordre" => 3
      ]
      [
        "nom" => "3. Spring Rounds From Rite Of Spring"
        "ordre" => 7
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        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2114 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2123 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2116 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2118 …}
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    }
    -modifierLe: DateTime @1653981553 {#2110
      date: 2022-05-31 07:19:13.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2120 …}
    -disponible: null
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    -slug: "vinyles-eternity-warner-bs-2916"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2128
    -id: 2106
    -nom: "Total Eclipse"
    -informationComplementaire: ""
    -description: """
      180 gram vinyl !\r\n
      \r\n
      Ever since his time with John McLaughlin's Mahavishnu Orchestra (1971-1973), the drummer Billy Cobham is one of electric fusion jazz's greatest heroes. Total Eclipse was the third album he made as a leader within just a few months, and here again he composed all the numbers himself. In the opening 'suite' titled "Solarization" (11 minutes long) he already shows his broad and certainly refined stylistic spectrum. Cobham's music leaps from high-energy jazz-rock with wild guitar and thundering volleys on the drums to highly original improvisations on the piano and winds.\r\n
      \r\n
      Smooth electric Latin grooves and gripping funky numbers are not missing either. Cobham's handpicked band is bursting with virtuosos. A look at the names of the three-man wind section proves the point: Michael Brecker, Randy Brecker, Glenn Ferris are highlights in themselves. And the then 30-year-old band leader himself was the non plus ultra when it came to jazz-rock drumming technique his amazingly rapid drum volleys are just as sensational today as they were then. With this album this exceptional drummer will thrill all fans of first-class fusion sound similar to Weather Report or Return To Forever.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : 1974 Atlantic Recording Studios and at Electric Lady Studios, New York, N.Y. by Ken Scott\r\n
      Production : Billy Cobham & Ken Scott\r\n
      """
    -prixVente: "32.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Billy Cobham (drums), Glenn Ferris (bass & tenor trombone),  Alex Blake (electric bass), Mike Brecker (flute, soprano & tenor saxophone), John Abercrombie (electric & ovation guitars),  Milcho Leviev (keyboards), Randy Brecker (trumpet, flugelhorn)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=sbkv3ZGIIj0"
    -referenceProduit: "Speakers Corner Records 8121"
    -titreMorceau: [
      [
        "nom" => "1. Moon Germs "
        "ordre" => 10
      ]
      [
        "nom" => "1. Part. I - Solarization \t"
        "ordre" => 1
      ]
      [
        "nom" => "2. Lunarputians \t"
        "ordre" => 6
      ]
      [
        "nom" => "2. The Moon Ain't Made Of Green Cheese "
        "ordre" => 11
      ]
      [
        "nom" => "3. Sea Of Tranquility "
        "ordre" => 12
      ]
      [
        "nom" => "3. Total Eclipse \t"
        "ordre" => 7
      ]
      [
        "nom" => "4. Bandits "
        "ordre" => 8
      ]
      [
        "nom" => "4. Last Frontier"
        "ordre" => 13
      ]
      [
        "nom" => "Part II - Second Phase \t"
        "ordre" => 2
      ]
      [
        "nom" => "Part III - Crescent Sun \t"
        "ordre" => 3
      ]
      [
        "nom" => "Part IV - Voyage \t"
        "ordre" => 4
      ]
      [
        "nom" => "Part V -  Solarization-Recapitulation \t"
        "ordre" => 5
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2130 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2139 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2132 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2134 …}
    -enregistreLe: DateTime @1629270940 {#2125
      date: 2021-08-18 07:15:40.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1634713548 {#2126
      date: 2021-10-20 07:05:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2136 …}
    -disponible: null
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    -slug: "vinyles-total-eclipse-speakers-corner-records-8121"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3502
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2128
    -id: 2106
    -nom: "Total Eclipse"
    -informationComplementaire: ""
    -description: """
      180 gram vinyl !\r\n
      \r\n
      Ever since his time with John McLaughlin's Mahavishnu Orchestra (1971-1973), the drummer Billy Cobham is one of electric fusion jazz's greatest heroes. Total Eclipse was the third album he made as a leader within just a few months, and here again he composed all the numbers himself. In the opening 'suite' titled "Solarization" (11 minutes long) he already shows his broad and certainly refined stylistic spectrum. Cobham's music leaps from high-energy jazz-rock with wild guitar and thundering volleys on the drums to highly original improvisations on the piano and winds.\r\n
      \r\n
      Smooth electric Latin grooves and gripping funky numbers are not missing either. Cobham's handpicked band is bursting with virtuosos. A look at the names of the three-man wind section proves the point: Michael Brecker, Randy Brecker, Glenn Ferris are highlights in themselves. And the then 30-year-old band leader himself was the non plus ultra when it came to jazz-rock drumming technique his amazingly rapid drum volleys are just as sensational today as they were then. With this album this exceptional drummer will thrill all fans of first-class fusion sound similar to Weather Report or Return To Forever.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : 1974 Atlantic Recording Studios and at Electric Lady Studios, New York, N.Y. by Ken Scott\r\n
      Production : Billy Cobham & Ken Scott\r\n
      """
    -prixVente: "32.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Billy Cobham (drums), Glenn Ferris (bass & tenor trombone),  Alex Blake (electric bass), Mike Brecker (flute, soprano & tenor saxophone), John Abercrombie (electric & ovation guitars),  Milcho Leviev (keyboards), Randy Brecker (trumpet, flugelhorn)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=sbkv3ZGIIj0"
    -referenceProduit: "Speakers Corner Records 8121"
    -titreMorceau: [
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        "ordre" => 10
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      [
        "nom" => "1. Part. I - Solarization \t"
        "ordre" => 1
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      [
        "nom" => "2. Lunarputians \t"
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      [
        "nom" => "2. The Moon Ain't Made Of Green Cheese "
        "ordre" => 11
      ]
      [
        "nom" => "3. Sea Of Tranquility "
        "ordre" => 12
      ]
      [
        "nom" => "3. Total Eclipse \t"
        "ordre" => 7
      ]
      [
        "nom" => "4. Bandits "
        "ordre" => 8
      ]
      [
        "nom" => "4. Last Frontier"
        "ordre" => 13
      ]
      [
        "nom" => "Part II - Second Phase \t"
        "ordre" => 2
      ]
      [
        "nom" => "Part III - Crescent Sun \t"
        "ordre" => 3
      ]
      [
        "nom" => "Part IV - Voyage \t"
        "ordre" => 4
      ]
      [
        "nom" => "Part V -  Solarization-Recapitulation \t"
        "ordre" => 5
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2130 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2139 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2132 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2134 …}
    -enregistreLe: DateTime @1629270940 {#2125
      date: 2021-08-18 07:15:40.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1634713548 {#2126
      date: 2021-10-20 07:05:48.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2136 …}
    -disponible: null
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    -slug: "vinyles-total-eclipse-speakers-corner-records-8121"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

[
  "produit" => App\Entity\Produit {#2144
    -id: 1054
    -nom: "The Clown"
    -informationComplementaire: ""
    -description: """
      Who hasn't got an ancient, worn-out copy of "The Clown" on his shelf, with a tatty cover and torn inner sleeve ? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art ? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. "The Clown" was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings.\r\n
      \r\n
      In the present reissue "The Clown" can be enjoyed to the full from the very first note of "Haitian Fight Song" up until the words "William Morris Sends Regrets" in the title work.\r\n
      """
    -prixVente: "32.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1925 …}
    -musicienOrchestre: "Charles Mingus (bass), Curtis Porter (alto & tenor saxophone),  Jimmy Knepper (trombone), Wade Legge (piano), Jean Shepherd (vocals), Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=KESFYXQwCYA"
    -referenceProduit: "Atlantic 1260"
    -titreMorceau: [
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        "nom" => "1. Haitian Fight Song"
        "ordre" => 1
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        "nom" => "1. Reincarnation of A Lovebird"
        "ordre" => 4
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        "nom" => "2. Blue Cee"
        "ordre" => 2
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      [
        "nom" => "2. The Clown"
        "ordre" => 5
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "Side B : "
        "ordre" => 3
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
    -label: App\Entity\Label {#1063 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2145 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2147 …}
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    }
    -modifierLe: DateTime @1625899922 {#2142
      date: 2021-07-10 06:52:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2149 …}
    -disponible: null
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    -slug: "vinyles-the-clown-atlantic-1260"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3555
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2144
    -id: 1054
    -nom: "The Clown"
    -informationComplementaire: ""
    -description: """
      Who hasn't got an ancient, worn-out copy of "The Clown" on his shelf, with a tatty cover and torn inner sleeve ? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art ? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. "The Clown" was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings.\r\n
      \r\n
      In the present reissue "The Clown" can be enjoyed to the full from the very first note of "Haitian Fight Song" up until the words "William Morris Sends Regrets" in the title work.\r\n
      """
    -prixVente: "32.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1925 …}
    -musicienOrchestre: "Charles Mingus (bass), Curtis Porter (alto & tenor saxophone),  Jimmy Knepper (trombone), Wade Legge (piano), Jean Shepherd (vocals), Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …}
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[
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    -nom: "Le Cid - Ballet Music "
    -informationComplementaire: ""
    -description: """
      The City Of Birmingham Symphony Orchestra perform Le Cid by Jules Massenet conducted by Louis Frémaux.\r\n
      \r\n
      One often looks in vain for the name Jules Massenet in the more popular concert guides. But once you have listened to these enchanting miniatures, you will doubtless agree that the French composer should not be absent from any musical guide. The ballet suite to the four-act opera "Le Cid" from 1885, which lauds the Spanish heroes in the war against the Moors, consists of a series of traditional dances from various regions of the Iberian Peninsula. Scintillating melodies sparkle with lively motion right from the very first in the series of dances, "Castillane". This is followed by a series of highly contrasted little movements whose characteristics cover a wide range of expression from crashing and robust in the "Aragonaise", via bright, warbling and whistling in the "Aubade", and on to the symphonic and lyrical "Catalane". The suite is brought to an end with the fresh and joyous "Navarraise" in a short and vibrant Finale.\r\n
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      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.\r\n
      """
    -prixVente: "32.50"
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        "nom" => "LE CID - BALLET MUSIC"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2159 …}
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    -nom: "Le Cid - Ballet Music "
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      The City Of Birmingham Symphony Orchestra perform Le Cid by Jules Massenet conducted by Louis Frémaux.\r\n
      \r\n
      One often looks in vain for the name Jules Massenet in the more popular concert guides. But once you have listened to these enchanting miniatures, you will doubtless agree that the French composer should not be absent from any musical guide. The ballet suite to the four-act opera "Le Cid" from 1885, which lauds the Spanish heroes in the war against the Moors, consists of a series of traditional dances from various regions of the Iberian Peninsula. Scintillating melodies sparkle with lively motion right from the very first in the series of dances, "Castillane". This is followed by a series of highly contrasted little movements whose characteristics cover a wide range of expression from crashing and robust in the "Aragonaise", via bright, warbling and whistling in the "Aubade", and on to the symphonic and lyrical "Catalane". The suite is brought to an end with the fresh and joyous "Navarraise" in a short and vibrant Finale.\r\n
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      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.\r\n
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    -prixVente: "32.50"
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    -musicienOrchestre: "The City Of Birmingham Symphony Orchestra conducted by Louis Frémaux"
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[
  "produit" => App\Entity\Produit {#2173
    -id: 760
    -nom: "Piano Concertos N° 2 and 3"
    -informationComplementaire: ""
    -description: """
      Béla Bartók : Concertos for Piano and Orchestra Nos. 2 and 3 - Géza Anda and the Radio Symphonie Orchester Berlin conducted by Ferenc Fricsay.\r\n
      \r\n
      Bartók wanted his Second Piano Concerto to be understood as a contrast to his harsh and — for the orchestra — extremely difficult First Piano Concerto. But notwithstanding its more easily understandable theme, this work too was composed using strict classical sonata form. With a bright atmosphere, fired on by the sound of trumpets, the theme of the first movement forges ahead and sets the course for the whole work.\r\n
      \r\n
      Lively exuberance and a committed interplay between the soloist and orchestra result in a work that is wholly positive throughout and which remains full of energy yet bell-like and accessible right up to the final movement.?Bartok composed his third and final piano concerto in the year of his death - 1945. However, the work in no way possesses a mood of demise but breathes a worldly-wise, cheerful, and mellowed atmosphere. Delightfully audible melodies, with a chorale-like grandeur in the middle movement, are woven into a rhythmically lively but well-rounded and flowing movement structure.\r\n
      \r\n
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      \r\n
      Recording : September 1959 at Jesus-Christus-Kirche, Berlin, by Werner Wolf?Production: Hans Weber & Otto Gerdes.\r\n
      """
    -prixVente: "32.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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        "ordre" => 4
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2175 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -slug: "vinyles-piano-concertos-n-2-and-3-dg-138111"
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App\Twig\Components\GestionPanierFavoriComponents {#3652
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 760
    -nom: "Piano Concertos N° 2 and 3"
    -informationComplementaire: ""
    -description: """
      Béla Bartók : Concertos for Piano and Orchestra Nos. 2 and 3 - Géza Anda and the Radio Symphonie Orchester Berlin conducted by Ferenc Fricsay.\r\n
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      \r\n
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      Recording : September 1959 at Jesus-Christus-Kirche, Berlin, by Werner Wolf?Production: Hans Weber & Otto Gerdes.\r\n
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    -prixVente: "32.50"
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      date: 2020-04-26 10:16:01.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -slug: "vinyles-piano-concertos-n-2-and-3-dg-138111"
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[
  "produit" => App\Entity\Produit {#2189
    -id: 650
    -nom: "Chet is back !"
    -informationComplementaire: ""
    -description: "Forty-two years ago, Chet Baker one of the most tragic figures of jazz who lived in the fast lane and ruined himself with drugs and alcohol was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA's Italian subsidiary brought the musicians into the studio in January 1962. With one exception, the eight titles on this disc are all so-called standards. The two winds demand total concentration from the rhythm section while maintaining relaxed and laid-back harmonic patterns. And this is something the Italian Tommasi, the Belgian Thomas, the Frenchman Quersin and the Swiss Humair carry off with an air of nonchalance. The two ballads "These Foolish Things" and the only new composition "Ballata In Forma Di Blues" are tucked in between the other numbers and give the listener space to breathe. They are surrounded by numbers with a fast tempo, all of which demonstrate Chet Baker's and Bobby Jasper's high standard of musicianship. \r\n"
    -prixVente: "32.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=CydM2f311jc"
    -referenceProduit: "Speakers Corner Records RCA 10307"
    -titreMorceau: [
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        "nom" => "1. Over The Rainbow"
        "ordre" => 6
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      [
        "nom" => "1. Well, You Needn’t"
        "ordre" => 1
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      [
        "nom" => "2. Pent Up House"
        "ordre" => 7
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      [
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        "ordre" => 2
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        "ordre" => 8
      ]
      [
        "nom" => "3. Barbados"
        "ordre" => 3
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      [
        "nom" => "4. Blues In The Closet"
        "ordre" => 9
      ]
      [
        "nom" => "4. Star Eyes"
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        "ordre" => 0
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        "ordre" => 5
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2191 …}
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    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2195 …}
    -enregistreLe: DateTime @1379144216 {#2186
      date: 2013-09-14 07:36:56.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1586774032 {#2187
      date: 2020-04-13 10:33:52.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2197 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-chet-is-back-speakers-corner-records-rca-10307"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3703
  -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 {#2623 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2189
    -id: 650
    -nom: "Chet is back !"
    -informationComplementaire: ""
    -description: "Forty-two years ago, Chet Baker one of the most tragic figures of jazz who lived in the fast lane and ruined himself with drugs and alcohol was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA's Italian subsidiary brought the musicians into the studio in January 1962. With one exception, the eight titles on this disc are all so-called standards. The two winds demand total concentration from the rhythm section while maintaining relaxed and laid-back harmonic patterns. And this is something the Italian Tommasi, the Belgian Thomas, the Frenchman Quersin and the Swiss Humair carry off with an air of nonchalance. The two ballads "These Foolish Things" and the only new composition "Ballata In Forma Di Blues" are tucked in between the other numbers and give the listener space to breathe. They are surrounded by numbers with a fast tempo, all of which demonstrate Chet Baker's and Bobby Jasper's high standard of musicianship. \r\n"
    -prixVente: "32.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Chet Baker (trumpet, vocals), Bobby Jaspar (flute, tenor sax), Rene Thomas (guitar), Benoit Quersin (bass), Amadeo Tommasi (piano), Daniel Humair (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=CydM2f311jc"
    -referenceProduit: "Speakers Corner Records RCA 10307"
    -titreMorceau: [
      [
        "nom" => "1. Over The Rainbow"
        "ordre" => 6
      ]
      [
        "nom" => "1. Well, You Needn’t"
        "ordre" => 1
      ]
      [
        "nom" => "2. Pent Up House"
        "ordre" => 7
      ]
      [
        "nom" => "2. These Foolish Things"
        "ordre" => 2
      ]
      [
        "nom" => "3. Ballata In Forma Di Blues"
        "ordre" => 8
      ]
      [
        "nom" => "3. Barbados"
        "ordre" => 3
      ]
      [
        "nom" => "4. Blues In The Closet"
        "ordre" => 9
      ]
      [
        "nom" => "4. Star Eyes"
        "ordre" => 4
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2191 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2200 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2193 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2195 …}
    -enregistreLe: DateTime @1379144216 {#2186
      date: 2013-09-14 07:36:56.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1586774032 {#2187
      date: 2020-04-13 10:33:52.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2197 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-chet-is-back-speakers-corner-records-rca-10307"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3900
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2391 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3901 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3949 …}
  +isValidated: false
  +validatedFields: []
}