Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2619
  -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 {#2466 …}
}

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

App\Twig\Components\ListePanier {#2696
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2699 …}
  -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 {#2698 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1836 …}
  +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 {#2466 …}
  -formView: Symfony\Component\Form\FormView {#2735 …}
  -form: Symfony\Component\Form\Form {#2885 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1873
    -id: 2254
    -nom: "Blue Train (Mono)"
    -informationComplementaire: ""
    -description: """
      - Vinyl Record 180 gram !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      \r\n
      - Plated and pressed at RTI !\r\n
      \r\n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\r\n
      \r\n
      John Coltrane's groundbreaking Blue Train will be released in two special editions on September 16 as part of Blue Note's acclaimed Tone Poet Audiophile Vinyl Reissue Series.\r\n
      \r\n
      A mono pressing of the original album on 180 gram vinyl will be presented in a deluxe gatefold tip-on jacket.\r\n
      \r\n
      "Few studio experiences I've had can compare with the thrill of listening to the original master tapes-mono, stereo and alternate takes-of Blue Train", says Harley. "I consider these two new versions the definitive editions of this masterpiece performance by John Coltrane".\r\n
      \r\n
      Blue Train came at a pivotal moment in Coltrane's career. Earlier in 1957, the saxophonist had hit bottom when his heroin addiction caused him to be fired from the Miles Davis Quintet. But after kicking his habit, Coltrane returned with a fervor inspired by an extended summer residency with Thelonious Monk at the Five Spot Café.\r\n
      \r\n
      By the end of the year, Coltrane had been rehired by Davis and had produced his first masterwork, an album that even he was deeply proud of. As Kahn recounts in his essay : "Blue Train was a recording that Coltrane, ever self-critical and modest, held in high regard. In 1960, while on tour with Miles Davis for the last time, a Swedish deejay asked Coltrane what he favored from his catalog and he immediately responded : ‘Oh, I like Blue Train myself. It's a good band on there, you know. It was a good recording'".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "John Coltrane (tenor saxophone),? Lee Morgan (trumpet),? Curtis Fuller (trombone), Kenny Drew (piano),? Paul Chambers (bass),? Philly Joe Jones (drums)?"
    -sonMusic: App\Enum\SonMusicEnum {#1185 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zbkLmwLzU6g"
    -referenceProduit: "Blue Note Tone Poet Series BN 1577"
    -titreMorceau: [
      [
        "nom" => "1. Blue Train"
        "ordre" => 1
      ]
      [
        "nom" => "1. Moment’s Notice "
        "ordre" => 3
      ]
      [
        "nom" => "2. Locomotion "
        "ordre" => 4
      ]
      [
        "nom" => "3. I’m Old Fashioned "
        "ordre" => 5
      ]
      [
        "nom" => "4. Lazy Bird"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 2
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1949 …}
    -label: Proxies\__CG__\App\Entity\Label {#1963 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2080 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1954 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2068 …}
    -enregistreLe: DateTime @1660024437 {#1928
      date: 2022-08-09 05:53:57.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1664518948 {#1921
      date: 2022-09-30 06:22:28.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2074 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-blue-train-mono-blue-note-tone-poet-series-bn-1577"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3157
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2698 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1836 …}
  +produit: App\Entity\Produit {#1873
    -id: 2254
    -nom: "Blue Train (Mono)"
    -informationComplementaire: ""
    -description: """
      - Vinyl Record 180 gram !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      \r\n
      - Plated and pressed at RTI !\r\n
      \r\n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\r\n
      \r\n
      John Coltrane's groundbreaking Blue Train will be released in two special editions on September 16 as part of Blue Note's acclaimed Tone Poet Audiophile Vinyl Reissue Series.\r\n
      \r\n
      A mono pressing of the original album on 180 gram vinyl will be presented in a deluxe gatefold tip-on jacket.\r\n
      \r\n
      "Few studio experiences I've had can compare with the thrill of listening to the original master tapes-mono, stereo and alternate takes-of Blue Train", says Harley. "I consider these two new versions the definitive editions of this masterpiece performance by John Coltrane".\r\n
      \r\n
      Blue Train came at a pivotal moment in Coltrane's career. Earlier in 1957, the saxophonist had hit bottom when his heroin addiction caused him to be fired from the Miles Davis Quintet. But after kicking his habit, Coltrane returned with a fervor inspired by an extended summer residency with Thelonious Monk at the Five Spot Café.\r\n
      \r\n
      By the end of the year, Coltrane had been rehired by Davis and had produced his first masterwork, an album that even he was deeply proud of. As Kahn recounts in his essay : "Blue Train was a recording that Coltrane, ever self-critical and modest, held in high regard. In 1960, while on tour with Miles Davis for the last time, a Swedish deejay asked Coltrane what he favored from his catalog and he immediately responded : ‘Oh, I like Blue Train myself. It's a good band on there, you know. It was a good recording'".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "John Coltrane (tenor saxophone),? Lee Morgan (trumpet),? Curtis Fuller (trombone), Kenny Drew (piano),? Paul Chambers (bass),? Philly Joe Jones (drums)?"
    -sonMusic: App\Enum\SonMusicEnum {#1185 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zbkLmwLzU6g"
    -referenceProduit: "Blue Note Tone Poet Series BN 1577"
    -titreMorceau: [
      [
        "nom" => "1. Blue Train"
        "ordre" => 1
      ]
      [
        "nom" => "1. Moment’s Notice "
        "ordre" => 3
      ]
      [
        "nom" => "2. Locomotion "
        "ordre" => 4
      ]
      [
        "nom" => "3. I’m Old Fashioned "
        "ordre" => 5
      ]
      [
        "nom" => "4. Lazy Bird"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 2
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1949 …}
    -label: Proxies\__CG__\App\Entity\Label {#1963 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2080 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1954 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2068 …}
    -enregistreLe: DateTime @1660024437 {#1928
      date: 2022-08-09 05:53:57.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1664518948 {#1921
      date: 2022-09-30 06:22:28.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2074 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-blue-train-mono-blue-note-tone-poet-series-bn-1577"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2466 …}
}

[
  "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 {#1911 …}
    -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 {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
    -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 {#2101 …}
    -label: Proxies\__CG__\App\Entity\Label {#2104 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2113 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2106 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2108 …}
    -enregistreLe: DateTime @1664518707 {#2095
      date: 2022-09-30 06:18:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1664518808 {#2094
      date: 2022-09-30 06:20:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2110 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-oh-yeah-speakers-corner-records-sd-1377"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3271
  -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 {#2698 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1836 …}
  +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 {#1911 …}
    -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 {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
    -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 {#2101 …}
    -label: Proxies\__CG__\App\Entity\Label {#2104 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2113 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2106 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2108 …}
    -enregistreLe: DateTime @1664518707 {#2095
      date: 2022-09-30 06:18:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1664518808 {#2094
      date: 2022-09-30 06:20:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2110 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-oh-yeah-speakers-corner-records-sd-1377"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2466 …}
}

[
  "produit" => App\Entity\Produit {#2118
    -id: 858
    -nom: "The Complete Commodore Jazz Recordings Volume I (Box Set 23 LP + 64 page booklet)"
    -informationComplementaire: "RARE : Box Set (23 LP) 1990 - Limited Edition / indissociable des volumes II et III"
    -description: """
      Mosaic Commodore Complete Jazz Recordings Volume 1 - MR23-123\r\n
      \r\n
      Here is a wonderful out of print set of 23 LP vinyl records from the fabulous Commodore Jazz archives.\r\n
      \r\n
      This was released on the prestigious Mosaic label known for their high-quality box sets.\r\n
      \r\n
      Volume One covers all the sessions recorded by the "Commodore" label between 1929-1943 and includes great jazz musicians, such as Cow Cow Davenport, Fletcher Henderson, Django Reinhardt, Eddie Condon, Bud Freeman, the Kansas City Five and Six (with Buck Clayton and Lester Young), Teddy Wilson, Jess Stacy, Chu Berry, Willie the Lion Smith, Billie Holiday, Stuff Smith, Jelly Roll Morton, Jack Teagarden, Art Hodes, Joe Marsala, Joe Bushkin, Coleman Hawkins, Lee Wiley, Pee Wee Russell, Bunk Johnson, Mel Powell (with Benny Goodman), Wild Bill Davison, George Brunies, and Edmond Hall. \r\n
      \r\n
      Also included is the 64-page booklet that features over 37 rare black and white photographs, detailed session production notes, and a 13-page interview with Milt Gabler, the Commodore Records founder.
      """
    -prixVente: "1500.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1909 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
    -lpsMusic: 23
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: ""
    -referenceProduit: "Mosaic Records MR23-123"
    -titreMorceau: [
      [
        "nom" => "LP 1. Cow Cow Davenport"
        "ordre" => 0
      ]
      [
        "nom" => "LP 10. Willie le Lion Smith "
        "ordre" => 9
      ]
      [
        "nom" => "LP 11. Billie Holiday "
        "ordre" => 10
      ]
      [
        "nom" => "LP 12. Stuff Smith"
        "ordre" => 11
      ]
      [
        "nom" => "LP 13. Jelly Roll Morton"
        "ordre" => 12
      ]
      [
        "nom" => "LP 14. Jack Teagarden "
        "ordre" => 13
      ]
      [
        "nom" => "LP 15. Art Hodes"
        "ordre" => 14
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      [
        "nom" => "LP 4. Eddie Condon"
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        "nom" => "LP 6. The Kansas City Five et Six (with Buck Clayton and Lester Young)"
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        "nom" => "LP 7. Teddy Wilson"
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      Mosaic Commodore Complete Jazz Recordings Volume 1 - MR23-123\r\n
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      Here is a wonderful out of print set of 23 LP vinyl records from the fabulous Commodore Jazz archives.\r\n
      \r\n
      This was released on the prestigious Mosaic label known for their high-quality box sets.\r\n
      \r\n
      Volume One covers all the sessions recorded by the "Commodore" label between 1929-1943 and includes great jazz musicians, such as Cow Cow Davenport, Fletcher Henderson, Django Reinhardt, Eddie Condon, Bud Freeman, the Kansas City Five and Six (with Buck Clayton and Lester Young), Teddy Wilson, Jess Stacy, Chu Berry, Willie the Lion Smith, Billie Holiday, Stuff Smith, Jelly Roll Morton, Jack Teagarden, Art Hodes, Joe Marsala, Joe Bushkin, Coleman Hawkins, Lee Wiley, Pee Wee Russell, Bunk Johnson, Mel Powell (with Benny Goodman), Wild Bill Davison, George Brunies, and Edmond Hall. \r\n
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      Also included is the 64-page booklet that features over 37 rare black and white photographs, detailed session production notes, and a 13-page interview with Milt Gabler, the Commodore Records founder.
      """
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  "produit" => App\Entity\Produit {#2137
    -id: 495
    -nom: "The Complete Commodore Jazz Recordings Volume III (Box Set 20 LP + 48 page booklet)"
    -informationComplementaire: "RARE : Box Set (20 LP) 1990 - Limited Edition 2500 Copies / indissociable des volumes I et II"
    -description: """
      Various Artists : The Complete Commodore Jazz Recordings Volume III (1990) - 20 LP Box Set + 48 page booklet – Mosaic Records, Limited and Numbered Edition 2500 copies\r\n
      \r\n
      LP 1 : Bud Freeman And His Gang, Chu Berry & His Jazz Ensemble, Bunk Johnson, Billie Holiday\r\n
      LP 2 : Red Norvo And His Orchestra\r\n
      LP 3 : Bill Coleman, Gene Krupa Trio, Stuff Smith Trio, Teddy Wilson\r\n
      LP 4 : Teddy Wilson, Don Byas And Slam Stewart, George Zack, Jonah Jones, \r\n
      LP 5 : Jonah Jones, Wild Bill Davison, Wild Bill Davison And His Commodores\r\n
      LP 6 : Wild Bill Davison And His Commodores, Eddie Edwards And His Original Dixieland Jazz Band\r\n
      LP 7 : Eddie Edwards And His Original Dixieland Jazz Band,\r\n
      Wild Bill Davison And His Commodores\r\n
      LP 8 : George Bruns And His Jazz Band, Eddie Edwards And His Original Dixieland Jazz Band With Tony Sbarbaro\r\n
      LP 9 : Eddie Edwards And His Original Dixieland Jazz Band With Tony Sbarbaro, George Bruns And His Jazz Band\r\n
      LP 10 : Mel Powell & His Orchestra, Mel Powell, Bob Wilber And His Wild Cats\r\n
      LP 11 : Bob Wilber And His Wild Cats, Ralph Sutton, Sidney Bechet And His New Orleans Feetwarmers\r\n
      LP 12 : Sidney Bechet And His New Orleans Feetwarmers, Johnny Wiggs And His New Orleans Band\r\n
      LP 13 : Johnny Wiggs And His New Orleans Band\r\n
      LP 14 : Willie ‘’The Lion’’ Smith\r\n
      LP 15 : Ralph Sutton, Ralph Sutton Quartet With Edmond Hall, Frank Wess Quintet\r\n
      LP 16 : Frank Wess Quintet, Ralph Sutton, Ralph Sutton Quartet With Edmond Hall\r\n
      LP 17 : Frank Wess Sextet\r\n
      LP 18 : Ralph Sutton Quartet With Vic Dickenson, Peck Kelley\r\n
      LP 19 : Peck Kelley\r\n
      LP 20 : Peck Kelley\r\n
      \r\n
      The third and final Mosaic box set that reissues all of the valuable recordings from Milt Gabler's Commodore label is the smallest of these reissues, a mere 20 LP set. All three of the volumes (which total 66 albums) are wonderful but since they were originally limited-edition releases (just 2500 copies apiece) and have quickly gone out-of-print, they will be difficult to locate and expensive to acquire; buy them anyway if you have any interest in small-group swing and Chicago dixieland. Volume III starts out with some recently discovery alternate takes by Bud Freeman, Chu Berry, Bunk Johnson and Billie Holiday from 1938-44 before concentrating mostly on the 1945-46 period. There are sessions led by Red Norvo, Bill Coleman, Gene Krupa, Stuff Smith, Teddy Wilson and the duo of Don Byas and Slam Stewart (all of those are from a legendary 1945 Town Hall concert) plus dates headed by George Zack, Jonah Jones, Wild Bill Davison, Eddie Edwards, George Brunies and Mel Powell; in addition there are later sets by Bob Wilber, Ralph Sutton, Sidney Bechet, Johnny Wiggs, Willie the Lion Smith, Frank Wess and Peck Kelley. One exhausts superlatives when discussing this remarkable project.
      """
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      [
        "nom" => "Big Chief Battle Axe #2, "
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        "nom" => "BILLIE HOLIDAY : 1. How Am I To Know #3, 2. My Old Flame #3, "
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      [
        "nom" => "Blowing Up A Breeze, 6. Monday At Minton's, 7. BUNK JOHNSON : "
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      [
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        "nom" => "No. 3, Opus 119, 3. BOB WILBER AND HIS WILD CATS : Willie The Weeper, "
        "ordre" => 95
      ]
      [
        "nom" => "RED NORVO AND HIS ORCHESTRA : 1. One, Two, Three, Jump, "
        "ordre" => 13
      ]
      [
        "nom" => "RED NORVO AND HIS ORCHESTRA : 1. Seven Comes Eleven, 2. One Note Jive,"
        "ordre" => 16
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        "nom" => "Side A : "
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App\Twig\Components\GestionPanierFavoriComponents {#3375
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  -gestionSaleSetting: App\Service\GestionSaleSetting {#1836 …}
  +produit: App\Entity\Produit {#2137
    -id: 495
    -nom: "The Complete Commodore Jazz Recordings Volume III (Box Set 20 LP + 48 page booklet)"
    -informationComplementaire: "RARE : Box Set (20 LP) 1990 - Limited Edition 2500 Copies / indissociable des volumes I et II"
    -description: """
      Various Artists : The Complete Commodore Jazz Recordings Volume III (1990) - 20 LP Box Set + 48 page booklet – Mosaic Records, Limited and Numbered Edition 2500 copies\r\n
      \r\n
      LP 1 : Bud Freeman And His Gang, Chu Berry & His Jazz Ensemble, Bunk Johnson, Billie Holiday\r\n
      LP 2 : Red Norvo And His Orchestra\r\n
      LP 3 : Bill Coleman, Gene Krupa Trio, Stuff Smith Trio, Teddy Wilson\r\n
      LP 4 : Teddy Wilson, Don Byas And Slam Stewart, George Zack, Jonah Jones, \r\n
      LP 5 : Jonah Jones, Wild Bill Davison, Wild Bill Davison And His Commodores\r\n
      LP 6 : Wild Bill Davison And His Commodores, Eddie Edwards And His Original Dixieland Jazz Band\r\n
      LP 7 : Eddie Edwards And His Original Dixieland Jazz Band,\r\n
      Wild Bill Davison And His Commodores\r\n
      LP 8 : George Bruns And His Jazz Band, Eddie Edwards And His Original Dixieland Jazz Band With Tony Sbarbaro\r\n
      LP 9 : Eddie Edwards And His Original Dixieland Jazz Band With Tony Sbarbaro, George Bruns And His Jazz Band\r\n
      LP 10 : Mel Powell & His Orchestra, Mel Powell, Bob Wilber And His Wild Cats\r\n
      LP 11 : Bob Wilber And His Wild Cats, Ralph Sutton, Sidney Bechet And His New Orleans Feetwarmers\r\n
      LP 12 : Sidney Bechet And His New Orleans Feetwarmers, Johnny Wiggs And His New Orleans Band\r\n
      LP 13 : Johnny Wiggs And His New Orleans Band\r\n
      LP 14 : Willie ‘’The Lion’’ Smith\r\n
      LP 15 : Ralph Sutton, Ralph Sutton Quartet With Edmond Hall, Frank Wess Quintet\r\n
      LP 16 : Frank Wess Quintet, Ralph Sutton, Ralph Sutton Quartet With Edmond Hall\r\n
      LP 17 : Frank Wess Sextet\r\n
      LP 18 : Ralph Sutton Quartet With Vic Dickenson, Peck Kelley\r\n
      LP 19 : Peck Kelley\r\n
      LP 20 : Peck Kelley\r\n
      \r\n
      The third and final Mosaic box set that reissues all of the valuable recordings from Milt Gabler's Commodore label is the smallest of these reissues, a mere 20 LP set. All three of the volumes (which total 66 albums) are wonderful but since they were originally limited-edition releases (just 2500 copies apiece) and have quickly gone out-of-print, they will be difficult to locate and expensive to acquire; buy them anyway if you have any interest in small-group swing and Chicago dixieland. Volume III starts out with some recently discovery alternate takes by Bud Freeman, Chu Berry, Bunk Johnson and Billie Holiday from 1938-44 before concentrating mostly on the 1945-46 period. There are sessions led by Red Norvo, Bill Coleman, Gene Krupa, Stuff Smith, Teddy Wilson and the duo of Don Byas and Slam Stewart (all of those are from a legendary 1945 Town Hall concert) plus dates headed by George Zack, Jonah Jones, Wild Bill Davison, Eddie Edwards, George Brunies and Mel Powell; in addition there are later sets by Bob Wilber, Ralph Sutton, Sidney Bechet, Johnny Wiggs, Willie the Lion Smith, Frank Wess and Peck Kelley. One exhausts superlatives when discussing this remarkable project.
      """
    -prixVente: "1000.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1909 …}
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        "ordre" => 59
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        "nom" => "4. Indiana, 5. I Got Rhythm"
        "ordre" => 29
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        "nom" => "4. Sensation Rag #2, 5. Sensation Rag #3, 4. "
        "ordre" => 45
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        "nom" => "4. TEDDY WILSON : I Know That You Know, 5. Where Or When"
        "ordre" => 24
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        "nom" => "4. What's The Use ? #3 -2, 5. CHU BERRY & HIS JAZZ ENSEMBLE : "
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        "nom" => "4. Willie The Weeper #2, 5. Willie The Weeper #3, 6. Mabel's Dream, "
        "ordre" => 96
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        "nom" => "5. On The Alamo #2, 7. Someday Sweetheart, 8. Someday Sweetheart #2"
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        "nom" => "6. In The Shade Of The Old Apple Tree #2, 7. D.D.T. Blues, 8. D.D.T. Blues #2, "
        "ordre" => 87
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      [
        "nom" => "6. Ostrich Walk"
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      [
        "nom" => "6. Wabash Blues #2"
        "ordre" => 64
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      [
        "nom" => "6. Wang Wang Blues #2, 7. Doodle Doo Doo, 8. Doodle Doo Doo #2"
        "ordre" => 69
      ]
      [
        "nom" => "7. Mabel's Dream #2"
        "ordre" => 97
      ]
      [
        "nom" => "7. Mournin' Blues -2, 8. Mournin' Blues #2 -2"
        "ordre" => 74
      ]
      [
        "nom" => "7. Ostrich Walk #2 -2"
        "ordre" => 81
      ]
      [
        "nom" => "7. Stompin' At The Savoy #4"
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      ]
      [
        "nom" => "8. You Brought A New Kind Of Love To Me"
        "ordre" => 34
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      [
        "nom" => "9. D.D.T. Blues #3"
        "ordre" => 88
      ]
      [
        "nom" => "Big Chief Battle Axe #2, "
        "ordre" => 6
      ]
      [
        "nom" => "BILL COLEMAN : 1. Stardust, 2. GENE KRUPA TRIO : Stompin' At The Savoy, "
        "ordre" => 20
      ]
      [
        "nom" => "BILLIE HOLIDAY : 1. How Am I To Know #3, 2. My Old Flame #3, "
        "ordre" => 8
      ]
      [
        "nom" => "Blowing Up A Breeze, 6. Monday At Minton's, 7. BUNK JOHNSON : "
        "ordre" => 5
      ]
      [
        "nom" => "BUD FREEMAN AND HIS GANG : 1. Memories Of You #3 -1, "
        "ordre" => 2
      ]
      [
        "nom" => "Down And Write Myself A Letter #3, 5. In The Shade Of The Old Apple Tree, "
        "ordre" => 86
      ]
      [
        "nom" => "EDDIE EDWARDS AND HIS ORIGINAL DIXIELAND JAZZ BAND : 1. Lazy Daddy,"
        "ordre" => 52
      ]
      [
        "nom" => "EDDIE EDWARDS AND HIS ORIGINAL DIXIELAND JAZZ BAND : 1. Tiger Rag, "
        "ordre" => 57
      ]
      [
        "nom" => "EDDIE EDWARDS AND HIS ORIGINAL DIXIELAND JAZZ BAND WITH "
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      [
        "nom" => "EDDIE EDWARDS AND HIS ORIGINAL DIXIELAND JAZZ BAND WITH "
        "ordre" => 77
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      [
        "nom" => "GEORGE BRUNS AND HIS JAZZ BAND : 1. I Used To Love You "
        "ordre" => 83
      ]
      [
        "nom" => "GEORGE BRUNS AND HIS JAZZ BAND : 1. Sweet Lovin' Man, "
        "ordre" => 67
      ]
      [
        "nom" => "GEORGE ZACK : 1. My Daddy Rocks Me, 2. Chimes Blues, 3. Chimes Blues #2,"
        "ordre" => 31
      ]
      [
        "nom" => "In Love With Me -1, 3. DON BYAS AND SLAM STEWART : Candy -1, "
        "ordre" => 28
      ]
      [
        "nom" => "JONAH JONES : 1. You Brought A New Kind Of Love To Me #3, "
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      [
        "nom" => "LP 1 :"
        "ordre" => 0
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      [
        "nom" => "LP 10 : "
        "ordre" => 89
      ]
      [
        "nom" => "LP 2 : "
        "ordre" => 11
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      [
        "nom" => "LP 3 : "
        "ordre" => 18
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        "nom" => "LP 4 : "
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      [
        "nom" => "LP 9 :"
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      [
        "nom" => "MEL POWELL & HIS ORCHESTRA : 1. Lover Man, 2. Lover Man #2, 3. Avalon,"
        "ordre" => 91
      ]
      [
        "nom" => "MEL POWELL : 1. Sketches (For Three Instruments), 2. Brahms' Rhapsody "
        "ordre" => 94
      ]
      [
        "nom" => "No. 3, Opus 119, 3. BOB WILBER AND HIS WILD CATS : Willie The Weeper, "
        "ordre" => 95
      ]
      [
        "nom" => "RED NORVO AND HIS ORCHESTRA : 1. One, Two, Three, Jump, "
        "ordre" => 13
      ]
      [
        "nom" => "RED NORVO AND HIS ORCHESTRA : 1. Seven Comes Eleven, 2. One Note Jive,"
        "ordre" => 16
      ]
      [
        "nom" => "Side A : "
        "ordre" => 12
      ]
      [
        "nom" => "Side A : "
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        "nom" => "Side A : "
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        "nom" => "STUFF SMITH TRIO : 1. Perdido, 2. Bugle Call Rag, 3. Desert Sands, "
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        "nom" => "TEDDY WILSON : 1. Sweet And Lovely -1, 2. I Can't Believe That You're"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2120 …}
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[
  "produit" => App\Entity\Produit {#2150
    -id: 676
    -nom: "Filles de Kilimanjaro"
    -informationComplementaire: ""
    -description: """
      Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion : Exotic Suite-Like Album Beautiful, Intense, Adventurous !\r\n
      \r\n
      Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45 RPM 2 LP set.\r\n
      \r\n
      Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.\r\n
      \r\n
      The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun". Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.\r\n
      \r\n
      Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.\r\n
      \r\n
      More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music". With the jazz world still trying to wrap its collective mind around its genius, it still does.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Chick Corea, Herbie Hancock (piano, electric piano), Dave Holland, Ron Carter (bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1193 …}
    -lpsMusic: 2
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    -extraitYoutube: "https://www.youtube.com/watch?v=noUs3NfC07o"
    -referenceProduit: "MF 0438"
    -titreMorceau: [
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        "ordre" => 6
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        "ordre" => 1
      ]
      [
        "nom" => "1. Mademoiselle Mabry (Miss Mabry)"
        "ordre" => 8
      ]
      [
        "nom" => "1. Petits Machins (Little Stuff)"
        "ordre" => 4
      ]
      [
        "nom" => "2. Tout De Suite"
        "ordre" => 2
      ]
      [
        "nom" => "Side Four : "
        "ordre" => 7
      ]
      [
        "nom" => "Side One :"
        "ordre" => 0
      ]
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        "ordre" => 5
      ]
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        "ordre" => 3
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2152 …}
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      date: 2022-09-02 07:20:08.0 UTC (+00:00)
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    -slug: "vinyles-filles-de-kilimanjaro-mf-0438"
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App\Twig\Components\GestionPanierFavoriComponents {#3421
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  +produit: App\Entity\Produit {#2150
    -id: 676
    -nom: "Filles de Kilimanjaro"
    -informationComplementaire: ""
    -description: """
      Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion : Exotic Suite-Like Album Beautiful, Intense, Adventurous !\r\n
      \r\n
      Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45 RPM 2 LP set.\r\n
      \r\n
      Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.\r\n
      \r\n
      The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun". Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.\r\n
      \r\n
      Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.\r\n
      \r\n
      More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music". With the jazz world still trying to wrap its collective mind around its genius, it still does.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Chick Corea, Herbie Hancock (piano, electric piano), Dave Holland, Ron Carter (bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
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        "nom" => "1. Filles De Kilimanjaro (Girls Of Kilimanjaro)"
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        "nom" => "2. Tout De Suite"
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[
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    -id: 1623
    -nom: "The Complete Birth Of The Cool"
    -informationComplementaire: ""
    -description: """
      These pivotal, way-ahead-of-their-time 1949-1950 nonet recordings (with Gerry Mulligan, Lee Konitz, Gil Evans et al) remain jazz classics.\r\n
      \r\n
      "Birth of the Cool is the first important leader date from Miles Davis, one of jazz's most seminal figures and farsighted practitioners. Having made his reputation in large measure from playing with bop giant Charlie Parker, Davis confounded expectations when he embraced the "cool" arranging style of Gil Evans, an arranger for Claude Thornhill's band. Evans, who was employing unique voicings by adding French horns and tuba to Thornhill's instrumentations, also emphasized a diminished use of vibrato in both reeds and brass, producing a drier, "cool" sound.\r\n
      \r\n
      "Two of Evans's arrangements, "Boplicity" and "Moon Dreams", appear on the album. Also involved are baritone saxophonist Gerry Mulligan, who contributed such outstanding tunes as "Jeru" and "Venus de Milo", and Modern Jazz Quartet pianist John Lewis. The result is a date that has withstood the tests of time, fashion, and Davis's own extraordinary growth as a performer". - Amazon.com\r\n
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1909 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
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    -setBoxMusic: false
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=4WjU4eXYWg4"
    -referenceProduit: "Blue Note Records 46801"
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        "ordre" => 0
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2152 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3474
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  +produit: App\Entity\Produit {#2169
    -id: 1623
    -nom: "The Complete Birth Of The Cool"
    -informationComplementaire: ""
    -description: """
      These pivotal, way-ahead-of-their-time 1949-1950 nonet recordings (with Gerry Mulligan, Lee Konitz, Gil Evans et al) remain jazz classics.\r\n
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    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1909 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
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        "ordre" => 27
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        "ordre" => 12
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[
  "produit" => App\Entity\Produit {#2185
    -id: 512
    -nom: "Seven Steps To Heaven"
    -informationComplementaire: ""
    -description: """
      "...The Analogue Productions sound is visceral and crisp in the best sense, and the quiet pressings ensure that no musical detail is even mildly obscured... with these 45 RPM LPs, if your system is up to the task, you'll hear boundless high-frequency reach and lavish dynamic nuance and harmonic delicacy". - Marc Mickelson, The Audio Beat, December 2010\r\n
      \r\n
      In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic "Seven Steps To Heaven", "Joshua" and slow passionate versions of "Basin Street Blues" and "Baby Won't You Please Come Home".\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "Miles Davis (trumpet), George Coleman (tenor saxophone), Herbie Hancock, Victor Feldman (piano), Ron Carter (bass), Frank Butler, Anthony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1185 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=Hhfe1SUe2-A"
    -referenceProduit: "Analogue Productions AAPJ 8851-45"
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        "nom" => "1. Basin Street Blues"
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App\Twig\Components\GestionPanierFavoriComponents {#3522
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  +produit: App\Entity\Produit {#2185
    -id: 512
    -nom: "Seven Steps To Heaven"
    -informationComplementaire: ""
    -description: """
      "...The Analogue Productions sound is visceral and crisp in the best sense, and the quiet pressings ensure that no musical detail is even mildly obscured... with these 45 RPM LPs, if your system is up to the task, you'll hear boundless high-frequency reach and lavish dynamic nuance and harmonic delicacy". - Marc Mickelson, The Audio Beat, December 2010\r\n
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    -prixVente: "89.50"
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[
  "produit" => App\Entity\Produit {#2201
    -id: 724
    -nom: "Sorcerer (2LP) - 45 RPM"
    -informationComplementaire: ""
    -description: """
      Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis legendary second quintet and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity definitive 45 RPM pressing.\r\n
      \r\n
      Mastered from the original master tapes and pressed on 180 g 45 RM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism.\r\n
      \r\n
      This is a reference standard reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer. \r\n
      \r\n
      Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad « Pee Wee », an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter and Williams mirroring one another’s moves with guile and purpose. The opening « Prince of Darkness » showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.\r\n
      \r\n
      A lasting example of Davis visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing « Nothing Like You » a brief tribute to Davis eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough, the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1957 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1193 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=7QBjJh_GyGE"
    -referenceProduit: "MF 0435-45"
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        "nom" => "2. The Sorcerer"
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    -nom: "Sorcerer (2LP) - 45 RPM"
    -informationComplementaire: ""
    -description: """
      Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis legendary second quintet and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity definitive 45 RPM pressing.\r\n
      \r\n
      Mastered from the original master tapes and pressed on 180 g 45 RM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism.\r\n
      \r\n
      This is a reference standard reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer. \r\n
      \r\n
      Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad « Pee Wee », an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter and Williams mirroring one another’s moves with guile and purpose. The opening « Prince of Darkness » showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.\r\n
      \r\n
      A lasting example of Davis visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing « Nothing Like You » a brief tribute to Davis eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough, the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.\r\n
      """
    -prixVente: "89.50"
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    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
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[
  "produit" => App\Entity\Produit {#2214
    -id: 1475
    -nom: "Porgy and Bess"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba), Phil Bodner, Jerome Richardson, Romeo Penque (flute, alto flute & clarinet), Cannonball Adderley (alto saxophone), Danny Bank  (alto flute, bass flute & bass clarinet), Paul Chambers (bass), \r\n
      Philly Joe Jones, Jimmy Cobb (drums), Gil Evans (arranger & conductor).\r\n
      \r\n
      Miles Davis and Gil Evans’ "Porgy and Bess" Is a Landmark of Arrangement, Performance, and Emotion : 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal Playing. \r\n
      \r\n
      180 gram 45 RPM 2 LP Set Features Reference-Level Tonality, Depth, and Openness.\r\n
      \r\n
      If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. And that's saying nothing of the soulful playing legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of this definitive analog edition.\r\n
      \r\n
      Mastered from the original tapes, pressed at RTI, and strictly limited to 4000 numbered copies, "Porgy and Bess" attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180 gram 45 RPM 2 LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics.\r\n
      \r\n
      While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect": tone. Based not on chords but on scales and feeling, "Porgy and Bess" teems with emotions and possibilities characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song", Davis' improvisational flights on "It Ain't Necessarily So", or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability.\r\n
      \r\n
      Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of "Porgy and Bess" remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington / Billy Strayhorn and Frank Sinatra / Nelson Riddle.\r\n
      \r\n
      Defined by Davis biographer Jack Chambers as "a new score, with its own integrity, order, and action", "Porgy and Bess" has been identified by nearly every major outlet and expert as a must-have album. Davis' phrasing alone cements the effort with a genius quality. As Brian Cook and Richard Morton explain in The Penguin Guide to Jazz : "‘Prayer' is an astounding tour de force, harmonically suspended, and with Miles' most extraordinarily recorded solo to date punctuated by agonized screams and shouts, whether of affirmation or suffering it isn't easy to judge. Miles was not in good physical condition during the making of the record, which perhaps explains the twisting intensity, the bent notes and slurs which seem to express some inner pain". Then there's the immortal rendition of "Summertime", the epitome of calm, understatement, and beauty.\r\n
      \r\n
      At once sweet and spiritual, sure and steady, graceful and exuberant, happy and poignant, Porgy and Bess is a phenomenal jazz dance that has never been equaled and likely, never will. Hear it as Davis, Evans, and company intended.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1909 …}
    -musicienOrchestre: "Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1193 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=EPj22GjTUzw"
    -referenceProduit: "MFSL 2-45485"
    -titreMorceau: [
      [
        "nom" => "1. Gone, Gone, Gone"
        "ordre" => 5
      ]
      [
        "nom" => "1. It Ain't Necessarily So"
        "ordre" => 13
      ]
      [
        "nom" => "1. Prayer (Oh Doctor Jesus)"
        "ordre" => 9
      ]
      [
        "nom" => "1. The Buzzard Song"
        "ordre" => 1
      ]
      [
        "nom" => "2. Bess, You is My Woman Now"
        "ordre" => 2
      ]
      [
        "nom" => "2. Fisherman, Strawberry and Devil Crab"
        "ordre" => 10
      ]
      [
        "nom" => "2. Here Come de Honey man"
        "ordre" => 14
      ]
      [
        "nom" => "2. Summertime"
        "ordre" => 6
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      [
        "nom" => "3. Gone"
        "ordre" => 3
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      [
        "nom" => "3. I Wants To Stay Here (a.k.a. I Loves You, Porgy)"
        "ordre" => 15
      ]
      [
        "nom" => "3. My Man's Gone Now"
        "ordre" => 11
      ]
      [
        "nom" => "3. Oh Bess, Where's My Bess ?"
        "ordre" => 7
      ]
      [
        "nom" => "4. There's A Boat That's Leaving Soon For New York"
        "ordre" => 16
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
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      [
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        "ordre" => 12
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2152 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3618
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2698 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1836 …}
  +produit: App\Entity\Produit {#2214
    -id: 1475
    -nom: "Porgy and Bess"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba), Phil Bodner, Jerome Richardson, Romeo Penque (flute, alto flute & clarinet), Cannonball Adderley (alto saxophone), Danny Bank  (alto flute, bass flute & bass clarinet), Paul Chambers (bass), \r\n
      Philly Joe Jones, Jimmy Cobb (drums), Gil Evans (arranger & conductor).\r\n
      \r\n
      Miles Davis and Gil Evans’ "Porgy and Bess" Is a Landmark of Arrangement, Performance, and Emotion : 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal Playing. \r\n
      \r\n
      180 gram 45 RPM 2 LP Set Features Reference-Level Tonality, Depth, and Openness.\r\n
      \r\n
      If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. And that's saying nothing of the soulful playing legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of this definitive analog edition.\r\n
      \r\n
      Mastered from the original tapes, pressed at RTI, and strictly limited to 4000 numbered copies, "Porgy and Bess" attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180 gram 45 RPM 2 LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics.\r\n
      \r\n
      While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect": tone. Based not on chords but on scales and feeling, "Porgy and Bess" teems with emotions and possibilities characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song", Davis' improvisational flights on "It Ain't Necessarily So", or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability.\r\n
      \r\n
      Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of "Porgy and Bess" remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington / Billy Strayhorn and Frank Sinatra / Nelson Riddle.\r\n
      \r\n
      Defined by Davis biographer Jack Chambers as "a new score, with its own integrity, order, and action", "Porgy and Bess" has been identified by nearly every major outlet and expert as a must-have album. Davis' phrasing alone cements the effort with a genius quality. As Brian Cook and Richard Morton explain in The Penguin Guide to Jazz : "‘Prayer' is an astounding tour de force, harmonically suspended, and with Miles' most extraordinarily recorded solo to date punctuated by agonized screams and shouts, whether of affirmation or suffering it isn't easy to judge. Miles was not in good physical condition during the making of the record, which perhaps explains the twisting intensity, the bent notes and slurs which seem to express some inner pain". Then there's the immortal rendition of "Summertime", the epitome of calm, understatement, and beauty.\r\n
      \r\n
      At once sweet and spiritual, sure and steady, graceful and exuberant, happy and poignant, Porgy and Bess is a phenomenal jazz dance that has never been equaled and likely, never will. Hear it as Davis, Evans, and company intended.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1909 …}
    -musicienOrchestre: "Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1193 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=EPj22GjTUzw"
    -referenceProduit: "MFSL 2-45485"
    -titreMorceau: [
      [
        "nom" => "1. Gone, Gone, Gone"
        "ordre" => 5
      ]
      [
        "nom" => "1. It Ain't Necessarily So"
        "ordre" => 13
      ]
      [
        "nom" => "1. Prayer (Oh Doctor Jesus)"
        "ordre" => 9
      ]
      [
        "nom" => "1. The Buzzard Song"
        "ordre" => 1
      ]
      [
        "nom" => "2. Bess, You is My Woman Now"
        "ordre" => 2
      ]
      [
        "nom" => "2. Fisherman, Strawberry and Devil Crab"
        "ordre" => 10
      ]
      [
        "nom" => "2. Here Come de Honey man"
        "ordre" => 14
      ]
      [
        "nom" => "2. Summertime"
        "ordre" => 6
      ]
      [
        "nom" => "3. Gone"
        "ordre" => 3
      ]
      [
        "nom" => "3. I Wants To Stay Here (a.k.a. I Loves You, Porgy)"
        "ordre" => 15
      ]
      [
        "nom" => "3. My Man's Gone Now"
        "ordre" => 11
      ]
      [
        "nom" => "3. Oh Bess, Where's My Bess ?"
        "ordre" => 7
      ]
      [
        "nom" => "4. There's A Boat That's Leaving Soon For New York"
        "ordre" => 16
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "Side D : "
        "ordre" => 12
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2152 …}
    -label: Proxies\__CG__\App\Entity\Label {#2155 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2222 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2215 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
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    -unite: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2217 …}
    -enregistreLe: DateTime @1545115834 {#2211
      date: 2018-12-18 06:50:34.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1661148149 {#2212
      date: 2022-08-22 06:02:29.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2219 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-porgy-and-bess-mfsl-2-45485"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2466 …}
}

[
  "produit" => App\Entity\Produit {#2227
    -id: 2033
    -nom: "Ella & Louis"
    -informationComplementaire: ""
    -description: """
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      "The classic jazz album that brought Ella Fitzgerald and Louis Armstrong together for the first time as they recorded their version of extraordinary standards". - Wax Time\r\n
      \r\n
      The evening before Louis Armstrong recorded this album, both he and Miss Fitzgerald were appearing in an all-star concert also featuring Art Tatum and Oscar Peterson that was recorded for an album titled Live At The Hollywood Bowl (1956). The following day the two singers, along with the Oscar Peterson Trio, were in a Los Angeles studio to record this gem of an album.\r\n
      \r\n
      With no time for rehearsals the songs were all set in Louis' key to make it easier, but this in no way inhibits Ella's performance. Another challenge for Pops was the fact that the material was not his normal repertoire, meaning he had to learn things on the fly in the studio. Again there's no hint of any issues, which all goes to highlight Armstrong's innate musical ability.\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "Ella Fitzgerald (vocals), Louis Armstrong (trumpet, vocals), Ray Brown (bass), Oscar Peterson (piano), Herb Ellis (guitar), Buddy Rich (drums) "
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Vh7oIP-QSHs"
    -referenceProduit: "Acoustic Sounds Series 74801"
    -titreMorceau: [
      [
        "nom" => "1. A Foggy Day "
        "ordre" => 8
      ]
      [
        "nom" => "1. Can't We Be Friends "
        "ordre" => 1
      ]
      [
        "nom" => "2. Isn't This A Lovely Day ? "
        "ordre" => 2
      ]
      [
        "nom" => "2. Stars Fell On Alabama "
        "ordre" => 9
      ]
      [
        "nom" => "3. Cheek To Cheek "
        "ordre" => 10
      ]
      [
        "nom" => "3. Moonlight In Vermont "
        "ordre" => 3
      ]
      [
        "nom" => "4. The Nearness Of You"
        "ordre" => 11
      ]
      [
        "nom" => "4. They Can't Take That Away From Me "
        "ordre" => 4
      ]
      [
        "nom" => "5. April In Paris"
        "ordre" => 12
      ]
      [
        "nom" => "5. Under A Blanket Of Blue "
        "ordre" => 5
      ]
      [
        "nom" => "6. Tenderly"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2229 …}
    -label: Proxies\__CG__\App\Entity\Label {#2232 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2241 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2234 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2236 …}
    -enregistreLe: DateTime @1620979171 {#2224
      date: 2021-05-14 07:59:31.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1661063819 {#2225
      date: 2022-08-21 06:36:59.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2238 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-ella-louis-acoustic-sounds-series-74801"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3664
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2698 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1836 …}
  +produit: App\Entity\Produit {#2227
    -id: 2033
    -nom: "Ella & Louis"
    -informationComplementaire: ""
    -description: """
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      "The classic jazz album that brought Ella Fitzgerald and Louis Armstrong together for the first time as they recorded their version of extraordinary standards". - Wax Time\r\n
      \r\n
      The evening before Louis Armstrong recorded this album, both he and Miss Fitzgerald were appearing in an all-star concert also featuring Art Tatum and Oscar Peterson that was recorded for an album titled Live At The Hollywood Bowl (1956). The following day the two singers, along with the Oscar Peterson Trio, were in a Los Angeles studio to record this gem of an album.\r\n
      \r\n
      With no time for rehearsals the songs were all set in Louis' key to make it easier, but this in no way inhibits Ella's performance. Another challenge for Pops was the fact that the material was not his normal repertoire, meaning he had to learn things on the fly in the studio. Again there's no hint of any issues, which all goes to highlight Armstrong's innate musical ability.\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "Ella Fitzgerald (vocals), Louis Armstrong (trumpet, vocals), Ray Brown (bass), Oscar Peterson (piano), Herb Ellis (guitar), Buddy Rich (drums) "
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Vh7oIP-QSHs"
    -referenceProduit: "Acoustic Sounds Series 74801"
    -titreMorceau: [
      [
        "nom" => "1. A Foggy Day "
        "ordre" => 8
      ]
      [
        "nom" => "1. Can't We Be Friends "
        "ordre" => 1
      ]
      [
        "nom" => "2. Isn't This A Lovely Day ? "
        "ordre" => 2
      ]
      [
        "nom" => "2. Stars Fell On Alabama "
        "ordre" => 9
      ]
      [
        "nom" => "3. Cheek To Cheek "
        "ordre" => 10
      ]
      [
        "nom" => "3. Moonlight In Vermont "
        "ordre" => 3
      ]
      [
        "nom" => "4. The Nearness Of You"
        "ordre" => 11
      ]
      [
        "nom" => "4. They Can't Take That Away From Me "
        "ordre" => 4
      ]
      [
        "nom" => "5. April In Paris"
        "ordre" => 12
      ]
      [
        "nom" => "5. Under A Blanket Of Blue "
        "ordre" => 5
      ]
      [
        "nom" => "6. Tenderly"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2229 …}
    -label: Proxies\__CG__\App\Entity\Label {#2232 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2241 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2234 …}
    -typeMasterTape: null
    -marque: null
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    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2236 …}
    -enregistreLe: DateTime @1620979171 {#2224
      date: 2021-05-14 07:59:31.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1661063819 {#2225
      date: 2022-08-21 06:36:59.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2238 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-ella-louis-acoustic-sounds-series-74801"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2466 …}
}

[
  "produit" => App\Entity\Produit {#2246
    -id: 2013
    -nom: "The Witch Doctor "
    -informationComplementaire: ""
    -description: """
      Recorded in 1961, but not released until 1967, The Witch Doctor features one of Art Blakey & The Jazz Messengers' all-time great line-ups: Wayne Shorter on tenor saxophone, Lee Morgan on trumpet, Bobby Timmons on piano, and Jymie Merritt on bass. Shorter and Morgan each contribute two tunes, with Timmons penning one. Highlights include Morgan's spectacular 6/8 modal piece "Afrique" and Shorter's minor masterpiece "Those Who Sit And Wait". Bobby Timmons brings the deep soul goods on his composition "A Little Busy", and the album closes with a fleet-footed romp through Clifford Jordan's tune "Lost And Found".\n
      \n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\n
      \n
      Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180 Gram audiophile LP pressings by Record Technology Inc. Every aspect of these Blue Note / Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.\n
      \n
      Blue Note Records' Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tape 180 gram audiophile vinyl reissues in deluxe gatefold packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "Art Blakey (drums, snare drums), Jymie Merritt (bass), Lee Morgan (trumpet), Wayne Shorter (tenor saxophone), Bobby Timmons (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=xKLFf7HO2t8"
    -referenceProduit: "Blue Note Tone Poet Series 4860"
    -titreMorceau: [
      [
        "nom" => "1. A Little Busy "
        "ordre" => 5
      ]
      [
        "nom" => "1. The Witch Doctor "
        "ordre" => 1
      ]
      [
        "nom" => "2. Afrique "
        "ordre" => 2
      ]
      [
        "nom" => "2. Joelle "
        "ordre" => 6
      ]
      [
        "nom" => "3. Lost And Found"
        "ordre" => 7
      ]
      [
        "nom" => "3. Those Who Sit And Wait"
        "ordre" => 3
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2248 …}
    -label: Proxies\__CG__\App\Entity\Label {#1963 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2257 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2250 …}
    -typeMasterTape: null
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    -adresseInternetTest: null
    -poids: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2252 …}
    -enregistreLe: DateTime @1618739538 {#2243
      date: 2021-04-18 09:52:18.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1659944995 {#2244
      date: 2022-08-08 07:49:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2254 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-witch-doctor-blue-note-tone-poet-series-4860"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3715
  -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 {#2698 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1836 …}
  +produit: App\Entity\Produit {#2246
    -id: 2013
    -nom: "The Witch Doctor "
    -informationComplementaire: ""
    -description: """
      Recorded in 1961, but not released until 1967, The Witch Doctor features one of Art Blakey & The Jazz Messengers' all-time great line-ups: Wayne Shorter on tenor saxophone, Lee Morgan on trumpet, Bobby Timmons on piano, and Jymie Merritt on bass. Shorter and Morgan each contribute two tunes, with Timmons penning one. Highlights include Morgan's spectacular 6/8 modal piece "Afrique" and Shorter's minor masterpiece "Those Who Sit And Wait". Bobby Timmons brings the deep soul goods on his composition "A Little Busy", and the album closes with a fleet-footed romp through Clifford Jordan's tune "Lost And Found".\n
      \n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\n
      \n
      Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180 Gram audiophile LP pressings by Record Technology Inc. Every aspect of these Blue Note / Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.\n
      \n
      Blue Note Records' Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tape 180 gram audiophile vinyl reissues in deluxe gatefold packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "Art Blakey (drums, snare drums), Jymie Merritt (bass), Lee Morgan (trumpet), Wayne Shorter (tenor saxophone), Bobby Timmons (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=xKLFf7HO2t8"
    -referenceProduit: "Blue Note Tone Poet Series 4860"
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        "nom" => "1. A Little Busy "
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        "nom" => "1. The Witch Doctor "
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      ]
      [
        "nom" => "2. Afrique "
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      ]
      [
        "nom" => "2. Joelle "
        "ordre" => 6
      ]
      [
        "nom" => "3. Lost And Found"
        "ordre" => 7
      ]
      [
        "nom" => "3. Those Who Sit And Wait"
        "ordre" => 3
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2248 …}
    -label: Proxies\__CG__\App\Entity\Label {#1963 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2257 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2250 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2252 …}
    -enregistreLe: DateTime @1618739538 {#2243
      date: 2021-04-18 09:52:18.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1659944995 {#2244
      date: 2022-08-08 07:49:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2254 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-witch-doctor-blue-note-tone-poet-series-4860"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2466 …}
}

[
  "produit" => App\Entity\Produit {#2262
    -id: 1926
    -nom: "Tender Moments"
    -informationComplementaire: ""
    -description: """
      All-Analog 180 gram Vinyl LP of McCoy Tyner's Tender Moments Mastered from the Original Master Tapes by Kevin Gray & Pressed at RTI: Reference Caliber Blue Note Reissue Helmed by Music Matters' Joe Harley.\n
      \n
      1968's colorful Tender Moments served as pianist McCoy Tyner's initial LP as leader of an orchestral group. "The main task at the outset was to pick out the right horns, an instrumentation that would combine to produce the particular sounds I had in mind", Tyner explained. "I believe the personnel I selected gave me plenty to work with, and a good range all the way from the flute down to tuba. Each note becomes very important in a group of this kind, but I think I showed you can get a big, full sound with six horns". In piloting this compatible group of musicians, McCoy clearly knew where he was headed. Evidently his passengers, eager to help him reach his destination with the least possible turbulence, were as responsive to his leadership as he was to their cooperation. \n
      \n
      \n
      Blue Note Records has announced the continuation of the acclaimed Tone Poet Audiophile Vinyl Reissue Series in 2020. Launched in 2019 in honor of the label's 80th Anniversary, the Tone Poet series is produced by Joe Harley (from Music Matters) and features all-analog, 180 gram audiophile vinyl reissues that are mastered from the original master tapes by Kevin Gray of Cohearent Audio. Tone Poet vinyl is manufactured at RTI in Camarillo, CA, and packaged in deluxe Stoughton Printing "Old Style" gatefold Tip-On jackets. The titles were once again handpicked by Harley and cover the crème de la crème of the Blue Note catalog along with underrated classics, modern era standouts, and albums from other labels under the Blue Note umbrella including Pacific Jazz and United Artists Records. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version.\n
      \n
      "The LPs are mastered directly from the original analog master tapes by Kevin at his incredible facility called Cohearent Mastering. We go about it in the exact same way that we did for so many years for the Music Matters Blue Note reissues. We do not roll off the low end, boost the top or do any limiting of any kind. We allow the full glory of the original Blue Note masters to come though unimpeded ! Short of having an actual time machine, this is as close as you can get to going back and being a fly on the wall for an original Blue Note recording session". - Joe Harley\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "McCoy Tyner (piano), Lee Morgan (trumpet), Bennie Maupin (tenor saxophone), James Spaulding (alto saxophone & flute), Herbie Lewis (bass), Bob Northern (French Horn), Julian Priester (trombone), Howard Johnson (tuba), Joe Chambers (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
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    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=CpBAbCh6Iks"
    -referenceProduit: "Blue Note Tone Poet Series 34292"
    -titreMorceau: [
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        "nom" => "1. Mode To John"
        "ordre" => 1
      ]
      [
        "nom" => "1. Utopia"
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        "ordre" => 0
      ]
      [
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2264 …}
    -label: Proxies\__CG__\App\Entity\Label {#1963 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2268 …}
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    }
    -modifierLe: DateTime @1659944907 {#2260
      date: 2022-08-08 07:48:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2270 …}
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    -infoMasterTape: null
    -slug: "vinyles-tender-moments-blue-note-tone-poet-series-34292"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3766
  -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 {#2698 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1836 …}
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    -id: 1926
    -nom: "Tender Moments"
    -informationComplementaire: ""
    -description: """
      All-Analog 180 gram Vinyl LP of McCoy Tyner's Tender Moments Mastered from the Original Master Tapes by Kevin Gray & Pressed at RTI: Reference Caliber Blue Note Reissue Helmed by Music Matters' Joe Harley.\n
      \n
      1968's colorful Tender Moments served as pianist McCoy Tyner's initial LP as leader of an orchestral group. "The main task at the outset was to pick out the right horns, an instrumentation that would combine to produce the particular sounds I had in mind", Tyner explained. "I believe the personnel I selected gave me plenty to work with, and a good range all the way from the flute down to tuba. Each note becomes very important in a group of this kind, but I think I showed you can get a big, full sound with six horns". In piloting this compatible group of musicians, McCoy clearly knew where he was headed. Evidently his passengers, eager to help him reach his destination with the least possible turbulence, were as responsive to his leadership as he was to their cooperation. \n
      \n
      \n
      Blue Note Records has announced the continuation of the acclaimed Tone Poet Audiophile Vinyl Reissue Series in 2020. Launched in 2019 in honor of the label's 80th Anniversary, the Tone Poet series is produced by Joe Harley (from Music Matters) and features all-analog, 180 gram audiophile vinyl reissues that are mastered from the original master tapes by Kevin Gray of Cohearent Audio. Tone Poet vinyl is manufactured at RTI in Camarillo, CA, and packaged in deluxe Stoughton Printing "Old Style" gatefold Tip-On jackets. The titles were once again handpicked by Harley and cover the crème de la crème of the Blue Note catalog along with underrated classics, modern era standouts, and albums from other labels under the Blue Note umbrella including Pacific Jazz and United Artists Records. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version.\n
      \n
      "The LPs are mastered directly from the original analog master tapes by Kevin at his incredible facility called Cohearent Mastering. We go about it in the exact same way that we did for so many years for the Music Matters Blue Note reissues. We do not roll off the low end, boost the top or do any limiting of any kind. We allow the full glory of the original Blue Note masters to come though unimpeded ! Short of having an actual time machine, this is as close as you can get to going back and being a fly on the wall for an original Blue Note recording session". - Joe Harley\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1911 …}
    -musicienOrchestre: "McCoy Tyner (piano), Lee Morgan (trumpet), Bennie Maupin (tenor saxophone), James Spaulding (alto saxophone & flute), Herbie Lewis (bass), Bob Northern (French Horn), Julian Priester (trombone), Howard Johnson (tuba), Joe Chambers (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1186 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1190 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1192 …}
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    -setBoxMusic: false
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      ]
      [
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      [
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      ]
      [
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2264 …}
    -label: Proxies\__CG__\App\Entity\Label {#1963 …}
    -style: App\Entity\Style {#1116 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2273 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2266 …}
    -typeMasterTape: null
    -marque: null
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    -produitTestePar: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2268 …}
    -enregistreLe: DateTime @1601222387 {#2259
      date: 2020-09-27 15:59:47.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1659944907 {#2260
      date: 2022-08-08 07:48:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1100 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2270 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-tender-moments-blue-note-tone-poet-series-34292"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2466 …}
}