Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2608
  -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 {#2455 …}
}

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

App\Twig\Components\ListePanier {#2685
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2688 …}
  -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 {#2687 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +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 {#2455 …}
  -formView: Symfony\Component\Form\FormView {#2724 …}
  -form: Symfony\Component\Form\Form {#2874 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1821
    -id: 812
    -nom: "Time Out - Special Edition QUIEX SV-P  200 Gram Clarity Vinyl"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl SV-P II"
    -description: """
      These 200 g Clarity vinyl copies were never released and as such represent the ultimate in Classic Records collectibles. The price for these in future will likely skyrocket so don't hesitate on the rare Clarity vinyl pressing that brings the listener ever so closer to being at the sessions !\r\n
      \r\n
      Containing the monster hit "Take Five", Time Out firmly establishes the Dave Brubeck Quartet outside of the jazz world. This seminal recording is highlighted by the moody arrangements and saxophone work of Paul Desmond.
      """
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Dave Brubeck (piano), Paul Desmond (alto saxophone), Eugene Wright (bass), Joe Morello (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=vKNZqM0d-xo"
    -referenceProduit: "Classic Records CS 8192 - HQ Clarity SV-P II"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Blue Rondo A La Turk"
      ]
      [
        "ordre" => 2
        "nom" => "2. Strange Meadow Lark"
      ]
      [
        "ordre" => 3
        "nom" => "3. Take Five"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Three To Get Ready"
      ]
      [
        "ordre" => 6
        "nom" => "2. Kathy's Waltz"
      ]
      [
        "ordre" => 7
        "nom" => "3. Everybody's Jumpin'"
      ]
      [
        "ordre" => 8
        "nom" => "4. Pick Up Sticks"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1441637179 {#1876
      date: 2015-09-07 14:46:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1766745215 {#1869
      date: 2025-12-26 10:33:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-time-out-special-edition-quiex-sv-p-200-gram-clarity-vinyl-classic-records-cs-8192-hq-clarity-sv-p-ii"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3148
  -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 {#2687 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#1821
    -id: 812
    -nom: "Time Out - Special Edition QUIEX SV-P  200 Gram Clarity Vinyl"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl SV-P II"
    -description: """
      These 200 g Clarity vinyl copies were never released and as such represent the ultimate in Classic Records collectibles. The price for these in future will likely skyrocket so don't hesitate on the rare Clarity vinyl pressing that brings the listener ever so closer to being at the sessions !\r\n
      \r\n
      Containing the monster hit "Take Five", Time Out firmly establishes the Dave Brubeck Quartet outside of the jazz world. This seminal recording is highlighted by the moody arrangements and saxophone work of Paul Desmond.
      """
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Dave Brubeck (piano), Paul Desmond (alto saxophone), Eugene Wright (bass), Joe Morello (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=vKNZqM0d-xo"
    -referenceProduit: "Classic Records CS 8192 - HQ Clarity SV-P II"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Blue Rondo A La Turk"
      ]
      [
        "ordre" => 2
        "nom" => "2. Strange Meadow Lark"
      ]
      [
        "ordre" => 3
        "nom" => "3. Take Five"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Three To Get Ready"
      ]
      [
        "ordre" => 6
        "nom" => "2. Kathy's Waltz"
      ]
      [
        "ordre" => 7
        "nom" => "3. Everybody's Jumpin'"
      ]
      [
        "ordre" => 8
        "nom" => "4. Pick Up Sticks"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1441637179 {#1876
      date: 2015-09-07 14:46:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1766745215 {#1869
      date: 2025-12-26 10:33:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-time-out-special-edition-quiex-sv-p-200-gram-clarity-vinyl-classic-records-cs-8192-hq-clarity-sv-p-ii"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2455 …}
}

[
  "produit" => App\Entity\Produit {#2047
    -id: 430
    -nom: "All In One Day - Special Edition Clarity Vinyl QUIEX SV-P II"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl SV-P II"
    -description: "A original Classic Records production. A fresh voice reminiscent of Rickie Lee Jones that grabbed our attention in 1998. A unique singer and songwriter with a steam of consciousness way of story telling that casts a spell from track to track. Recorded live to 2-track analog at the ambient Lompoc Theater by Paul duGre’ (Leo Kottke, Dave Alvin, Los Lobos), Lorna’s voice and guitar is back by Danny Frankel on percussion, Greg Liesz and pedal steel, electric guitar, mandolin and weisnborn, Dave Jackson an accordion and Dave Pilch playing bass. The photography is by legendary lens man William Claxton."
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Lorna Hunt (acoustic guitar, vocals), Greg Leisz (electric guitar, pedal steel, mandolin), David Piltch (acoustic bass), Dave Jason (accordion), Danny Frankel (percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: null
    -referenceProduit: "Classic Records RTH 1015"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Long Hard Road"
      ]
      [
        "ordre" => 2
        "nom" => "2. Crazy Mary"
      ]
      [
        "ordre" => 3
        "nom" => "3. All In One Day"
      ]
      [
        "ordre" => 4
        "nom" => "4. Trying Not To Blink"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. Piece Of My Heart"
      ]
      [
        "ordre" => 7
        "nom" => "2. Powdered Diamonds"
      ]
      [
        "ordre" => 8
        "nom" => "3. Wintertime Cowboy"
      ]
      [
        "ordre" => 9
        "nom" => "4. Cut Glass Flowers"
      ]
      [
        "ordre" => 10
        "nom" => "Side C : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Don't Forget Me"
      ]
      [
        "ordre" => 12
        "nom" => "2. Whipping Post"
      ]
      [
        "ordre" => 13
        "nom" => "3. How Long"
      ]
      [
        "ordre" => 14
        "nom" => "Side D : "
      ]
      [
        "ordre" => 15
        "nom" => "1. Love Sick"
      ]
      [
        "ordre" => 16
        "nom" => "2. She Rises"
      ]
      [
        "ordre" => 17
        "nom" => "3. Anyone Like You"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2049 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2058 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2051 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2053 …}
    -enregistreLe: DateTime @1299740851 {#2043
      date: 2011-03-10 07:07:31.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1766745123 {#2042
      date: 2025-12-26 10:32:03.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2055 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-all-in-one-day-special-edition-clarity-vinyl-quiex-sv-p-ii-classic-records-rth-1015"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3262
  -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 {#2687 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2047
    -id: 430
    -nom: "All In One Day - Special Edition Clarity Vinyl QUIEX SV-P II"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl SV-P II"
    -description: "A original Classic Records production. A fresh voice reminiscent of Rickie Lee Jones that grabbed our attention in 1998. A unique singer and songwriter with a steam of consciousness way of story telling that casts a spell from track to track. Recorded live to 2-track analog at the ambient Lompoc Theater by Paul duGre’ (Leo Kottke, Dave Alvin, Los Lobos), Lorna’s voice and guitar is back by Danny Frankel on percussion, Greg Liesz and pedal steel, electric guitar, mandolin and weisnborn, Dave Jackson an accordion and Dave Pilch playing bass. The photography is by legendary lens man William Claxton."
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Lorna Hunt (acoustic guitar, vocals), Greg Leisz (electric guitar, pedal steel, mandolin), David Piltch (acoustic bass), Dave Jason (accordion), Danny Frankel (percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: null
    -referenceProduit: "Classic Records RTH 1015"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Long Hard Road"
      ]
      [
        "ordre" => 2
        "nom" => "2. Crazy Mary"
      ]
      [
        "ordre" => 3
        "nom" => "3. All In One Day"
      ]
      [
        "ordre" => 4
        "nom" => "4. Trying Not To Blink"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. Piece Of My Heart"
      ]
      [
        "ordre" => 7
        "nom" => "2. Powdered Diamonds"
      ]
      [
        "ordre" => 8
        "nom" => "3. Wintertime Cowboy"
      ]
      [
        "ordre" => 9
        "nom" => "4. Cut Glass Flowers"
      ]
      [
        "ordre" => 10
        "nom" => "Side C : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Don't Forget Me"
      ]
      [
        "ordre" => 12
        "nom" => "2. Whipping Post"
      ]
      [
        "ordre" => 13
        "nom" => "3. How Long"
      ]
      [
        "ordre" => 14
        "nom" => "Side D : "
      ]
      [
        "ordre" => 15
        "nom" => "1. Love Sick"
      ]
      [
        "ordre" => 16
        "nom" => "2. She Rises"
      ]
      [
        "ordre" => 17
        "nom" => "3. Anyone Like You"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2049 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2058 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2051 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2053 …}
    -enregistreLe: DateTime @1299740851 {#2043
      date: 2011-03-10 07:07:31.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1766745123 {#2042
      date: 2025-12-26 10:32:03.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2055 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-all-in-one-day-special-edition-clarity-vinyl-quiex-sv-p-ii-classic-records-rth-1015"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2455 …}
}

[
  "produit" => App\Entity\Produit {#2065
    -id: 477
    -nom: "Amos Lee -  Special Edition Clarity Vinyl QUIEX SV-P II 200 Gram Clarity Vinyl"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl SV-P II"
    -description: """
      AMOS LEE "Amos Lee" - 200 G LP Quiex SVP CLARITY VINYL Classic Records Reissue. \r\n
      \r\n
      Amos Lee is one of those special singer songwriters that comes along very infrequently. On this, his first release he sings songs from the heart that we can all relate to and does so with a voice that we all wish we had. Amos opened for Norah Jones on her 2004 European tour and this record is produce by Norah Jones band member Lee Alexander. Mastered and cut from the original 1/2" analog masters by Bernie Grundman on Classic's "all tube" stereo cutting system and pressed on Classic's 200 G Super Vinyl Profile. Amos is definitely in the house and in the room !\r\n
      \r\n
      This record was pressed to Clarity Vinyl right before Classic Records was sold and was NEVER RELEASED to the public, making it super rare !\r\n
      \r\n
      Background on Clarity Vinyl Pressings.\r\n
       \r\n
      In 2008, Classic discovered that demagnetizing black vinyl records leads to better sound in playback.  The engineers at Furutech in Japan, makers of a commercial record demag machine, explained that the carbon black that was added to PVC record pellets contained trace metal that became randomly magnetized and while spinning below an electro-mechanical transducer (phono cartridge) caused electrical distortion inside a cartridge during LP playback.  Hence, demagnetizing a black vinyl record dramatically reduces the electrical distortion and leads to more "Clarity" in playback.  Michael Hobson, founder of Classic Records reasoned that if the carbon black were removed then the result should be more Clarity in playback.  Working closely with the PVC manufacturer Kenan, Classic developed its own proprietary "Clarity Vinyl" devoid of the problems with trace magnetic particles contained in black vinyl formulas.  Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% percentage of the highest quality co-polymer available - a key component in vinyl pellets used for manufacturing vinyl records.  Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LP’s.  Carbon Black contains trace metals that become magnetized and cause “electrical distortions” in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the “electrical distortions” and thus bring more “Clarity” to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.A Clarity vinyl pressing on a flat profile die is the absolute ultimate pressing possible and even a step above the JVC UHQR black vinyl pressings.  Not to be missed - you can hear the difference !\r\n
      \r\n
      Background on Classic 200 G Super Vinyl Profile.\r\n
       \r\n
      In 2003, Classic Records launched its now famous Signature Blue Note Mono reissue series. As part of that series Classic developed an "authentic" 200 gram LP profile that replicated that of an original Blue Note record from the 1950's.  Comparing a test pressing on the new profile versus the same title on the normal 180 gram pressing it was discovered that the 200 gram version sounded significantly better.  The 200 gram pressing sounded louder, with more definition and solidity of notes across all frequencies and there was more detail - particularly low level detail like room or hall sounds, pages being turned, musicians whispering and automobile sounds outside the studio all became easier to identify.  At first it was speculated inside Classic Records that the extra weight resulted in the better performance as no one could come up with a better answer given that the stampers were the same as well as the vinyl pellets used on both 180g and 200g pressings.  One day, Michael Hobson, the founder of Classic Records was discussing this unexplainable sonic discovery with the Legendary Mastering Engineer and Sheffield Records founder, Doug Sax when Doug, without hesitation stated "Ah Michael you've discovered the difference in a flat versus conventional profile".  Puzzled, Hobson asked for an explanation which Sax described as going all the way back to 1950's mono pressings and what happened when stereo records came out in the early 1960's.  Sax explained that in the 1950's when mono records had no vertical modulation (only lateral), pressing PolyVinylChloride PVC (plastic) records were more easily pressed on "Flat Profile" dies fitted to the pressing machines since the grooves on the mono stampers were all the same height (no vertical modulation).  The molten vinyl was able to flow evenly across the stampers and fill properly during the molding (pressing) of the record.  The problems started when stereo record cutting came into vogue producing stampers that had variable height grooves sticking up across the diameter of each stamper.  Using the older mono pressing dies resulted in tremendous problems getting the areas between grooves of different heights to fill properly - a groove that is in front of another taller one often got passed over by the flowing molten vinyl resulting in "non-fill" which was audible and thus a "defective" record.  Pressing plants don't like to press defective records and are always looking for high pressing yields or a s few rejects as possible.\r\n
      \r\n
      To solve the problem, the engineers developed a new pressing die profile which tapers from the center of the die, flattens in the middle of the diameter and then tapers again toward the outside of the die. The new profile was "concave" rather than flat.  When you put a flat stampers onto the concave dies the stampers distort and are no longer flat - the grooves are no longer perpendicular across the stamper and by association across a finished vinyl pressing.  This new die profile created "back pressure" on the flowing vinyl and solved the "non-fill" problem with stereo pressings and resulted in higher yields which was great for pressing plants and good for record companies who wanted good prices on pressings.  The problem was and still is that the new profile records don't sound as good as they could because they are not flat across their profile.  Using a micrometer across the diameter of a 1950's mono records reveals that the thickness is virtually the same across the record's diameter from center label to outer edge but not so for a newer stereo profile pressing which is convex across its diameter resulting from the concave profile dies / distorted stampers.  This is the dirty little secret that Classic had rediscovered was known to old school experts like Doug Sax who founded Sheffield Labs in the 1970's.  After the discovery, Classic Records never looked back and all of its releases and re-pressings after 2003 were on the new 200 gram Flat Profile dies that were specially made for Classic.  Some years later Classic discovered that the very same profile was used by JVC in Japan to produce the legendary UHQR pressings for Mobile Fidelity which are well known to sound better than the conventional Mobile Fidelity pressings of the same titles - it all makes sense now.  The long and the short of this is that Classic 200g Super Vinyl Profile (Flat Profile) pressings are as good as it gets for proper playback without groove distortion from non-flat pressings - Period.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Amos Lee (guitar, vocals), Lee Alexander (pulp drum, bass), Fred Berman (drums, background vocals), Kevin Breit (acoustic guitar, mandolin) Adam Levy (electric guitar, background vocals), Norah Jones (piano, background vocals),  Devin Greenwood (Organ)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=PstRDzZjnLk"
    -referenceProduit: "Classic Records BN 7243 Clarity Vinyl"
    -titreMorceau: [
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        "ordre" => 0
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        "nom" => "3. Arms Of A Woman"
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        "nom" => "2. Colors"
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        "nom" => "3. Bottom Of The Barrel"
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        "nom" => "4. Black River"
      ]
      [
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        "nom" => "5. Love In The Lies"
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        "ordre" => 12
        "nom" => "6. All My Friends"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2067 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3313
  -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 {#2687 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2065
    -id: 477
    -nom: "Amos Lee -  Special Edition Clarity Vinyl QUIEX SV-P II 200 Gram Clarity Vinyl"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl SV-P II"
    -description: """
      AMOS LEE "Amos Lee" - 200 G LP Quiex SVP CLARITY VINYL Classic Records Reissue. \r\n
      \r\n
      Amos Lee is one of those special singer songwriters that comes along very infrequently. On this, his first release he sings songs from the heart that we can all relate to and does so with a voice that we all wish we had. Amos opened for Norah Jones on her 2004 European tour and this record is produce by Norah Jones band member Lee Alexander. Mastered and cut from the original 1/2" analog masters by Bernie Grundman on Classic's "all tube" stereo cutting system and pressed on Classic's 200 G Super Vinyl Profile. Amos is definitely in the house and in the room !\r\n
      \r\n
      This record was pressed to Clarity Vinyl right before Classic Records was sold and was NEVER RELEASED to the public, making it super rare !\r\n
      \r\n
      Background on Clarity Vinyl Pressings.\r\n
       \r\n
      In 2008, Classic discovered that demagnetizing black vinyl records leads to better sound in playback.  The engineers at Furutech in Japan, makers of a commercial record demag machine, explained that the carbon black that was added to PVC record pellets contained trace metal that became randomly magnetized and while spinning below an electro-mechanical transducer (phono cartridge) caused electrical distortion inside a cartridge during LP playback.  Hence, demagnetizing a black vinyl record dramatically reduces the electrical distortion and leads to more "Clarity" in playback.  Michael Hobson, founder of Classic Records reasoned that if the carbon black were removed then the result should be more Clarity in playback.  Working closely with the PVC manufacturer Kenan, Classic developed its own proprietary "Clarity Vinyl" devoid of the problems with trace magnetic particles contained in black vinyl formulas.  Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90% percentage of the highest quality co-polymer available - a key component in vinyl pellets used for manufacturing vinyl records.  Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LP’s.  Carbon Black contains trace metals that become magnetized and cause “electrical distortions” in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the “electrical distortions” and thus bring more “Clarity” to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.A Clarity vinyl pressing on a flat profile die is the absolute ultimate pressing possible and even a step above the JVC UHQR black vinyl pressings.  Not to be missed - you can hear the difference !\r\n
      \r\n
      Background on Classic 200 G Super Vinyl Profile.\r\n
       \r\n
      In 2003, Classic Records launched its now famous Signature Blue Note Mono reissue series. As part of that series Classic developed an "authentic" 200 gram LP profile that replicated that of an original Blue Note record from the 1950's.  Comparing a test pressing on the new profile versus the same title on the normal 180 gram pressing it was discovered that the 200 gram version sounded significantly better.  The 200 gram pressing sounded louder, with more definition and solidity of notes across all frequencies and there was more detail - particularly low level detail like room or hall sounds, pages being turned, musicians whispering and automobile sounds outside the studio all became easier to identify.  At first it was speculated inside Classic Records that the extra weight resulted in the better performance as no one could come up with a better answer given that the stampers were the same as well as the vinyl pellets used on both 180g and 200g pressings.  One day, Michael Hobson, the founder of Classic Records was discussing this unexplainable sonic discovery with the Legendary Mastering Engineer and Sheffield Records founder, Doug Sax when Doug, without hesitation stated "Ah Michael you've discovered the difference in a flat versus conventional profile".  Puzzled, Hobson asked for an explanation which Sax described as going all the way back to 1950's mono pressings and what happened when stereo records came out in the early 1960's.  Sax explained that in the 1950's when mono records had no vertical modulation (only lateral), pressing PolyVinylChloride PVC (plastic) records were more easily pressed on "Flat Profile" dies fitted to the pressing machines since the grooves on the mono stampers were all the same height (no vertical modulation).  The molten vinyl was able to flow evenly across the stampers and fill properly during the molding (pressing) of the record.  The problems started when stereo record cutting came into vogue producing stampers that had variable height grooves sticking up across the diameter of each stamper.  Using the older mono pressing dies resulted in tremendous problems getting the areas between grooves of different heights to fill properly - a groove that is in front of another taller one often got passed over by the flowing molten vinyl resulting in "non-fill" which was audible and thus a "defective" record.  Pressing plants don't like to press defective records and are always looking for high pressing yields or a s few rejects as possible.\r\n
      \r\n
      To solve the problem, the engineers developed a new pressing die profile which tapers from the center of the die, flattens in the middle of the diameter and then tapers again toward the outside of the die. The new profile was "concave" rather than flat.  When you put a flat stampers onto the concave dies the stampers distort and are no longer flat - the grooves are no longer perpendicular across the stamper and by association across a finished vinyl pressing.  This new die profile created "back pressure" on the flowing vinyl and solved the "non-fill" problem with stereo pressings and resulted in higher yields which was great for pressing plants and good for record companies who wanted good prices on pressings.  The problem was and still is that the new profile records don't sound as good as they could because they are not flat across their profile.  Using a micrometer across the diameter of a 1950's mono records reveals that the thickness is virtually the same across the record's diameter from center label to outer edge but not so for a newer stereo profile pressing which is convex across its diameter resulting from the concave profile dies / distorted stampers.  This is the dirty little secret that Classic had rediscovered was known to old school experts like Doug Sax who founded Sheffield Labs in the 1970's.  After the discovery, Classic Records never looked back and all of its releases and re-pressings after 2003 were on the new 200 gram Flat Profile dies that were specially made for Classic.  Some years later Classic discovered that the very same profile was used by JVC in Japan to produce the legendary UHQR pressings for Mobile Fidelity which are well known to sound better than the conventional Mobile Fidelity pressings of the same titles - it all makes sense now.  The long and the short of this is that Classic 200g Super Vinyl Profile (Flat Profile) pressings are as good as it gets for proper playback without groove distortion from non-flat pressings - Period.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Amos Lee (guitar, vocals), Lee Alexander (pulp drum, bass), Fred Berman (drums, background vocals), Kevin Breit (acoustic guitar, mandolin) Adam Levy (electric guitar, background vocals), Norah Jones (piano, background vocals),  Devin Greenwood (Organ)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=PstRDzZjnLk"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2067 …}
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    -modifierLe: DateTime @1766745078 {#2060
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -slug: "vinyles-amos-lee-special-edition-clarity-vinyl-quiex-sv-p-ii-200-gram-clarity-vinyl-classic-records-bn-7243-clarity-vinyl"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2455 …}
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[
  "produit" => App\Entity\Produit {#2083
    -id: 1034
    -nom: "Back To The Tracks"
    -informationComplementaire: "Last copy in stock ! - 45 Series Special One-Sided Pressing !"
    -description: "The music that comprises Back to the Tracks was recorded in September 1960, months after the sessions for True Blue, but it sat on the shelves until Mosaic reissued it as part of their Complete Blue Note Recordings box, even though it was penciled in for release. Like Minor Move, Tina Brooks first session that stayed unreleased for over 20 years, Back to the Tracks is an excellent hard bop set, and it's hard to understand why it wasn't released at the time. Brooks leads a fantastic band featuring alto saxophonist Jackie McLean, trumpeter Blue Mitchell, pianist Kenny Drew, bassist Paul Chambers and drummer Art Taylor through three originals and two standards. Each musician has opportunity to shine, but Brooks remains the center of attention. His style is remarkably fluid, capable of graceful, elegant turns on the ballads and clean, speedy improvisations on the up-tempo bop. Each of the five songs have breathtaking moments, confirming Brooks talents as a saxophonist, composer and leader. Listening to Back to the Tracks, it's impossible to figure out why the record wasn't released at the time, but it's a hard bop gem from the early '60s to cherish."
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Tina Brooks (tenor saxophone), Jackie McLean (alto saxophone), Kenny Drew (piano), Blue Mitchell (trumpet), Paul Chambers (bass), Art Taylor (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 4
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=6NrVJ-0LJjM&list=RD6NrVJ-0LJjM&start_radio=1"
    -referenceProduit: "Classic Records ST 84052-45"
    -titreMorceau: [
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        "nom" => "Back To The Tracks"
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        "nom" => "The Blues And I"
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        "nom" => "For Heavens Sake"
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        "nom" => "The Ruby And The Pearl"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2085 …}
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    -modifierLe: DateTime @1766744842 {#2078
      date: 2025-12-26 10:27:22.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -slug: "vinyles-back-to-the-tracks-classic-records-st-84052-45"
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App\Twig\Components\GestionPanierFavoriComponents {#3364
  -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 {#2687 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2083
    -id: 1034
    -nom: "Back To The Tracks"
    -informationComplementaire: "Last copy in stock ! - 45 Series Special One-Sided Pressing !"
    -description: "The music that comprises Back to the Tracks was recorded in September 1960, months after the sessions for True Blue, but it sat on the shelves until Mosaic reissued it as part of their Complete Blue Note Recordings box, even though it was penciled in for release. Like Minor Move, Tina Brooks first session that stayed unreleased for over 20 years, Back to the Tracks is an excellent hard bop set, and it's hard to understand why it wasn't released at the time. Brooks leads a fantastic band featuring alto saxophonist Jackie McLean, trumpeter Blue Mitchell, pianist Kenny Drew, bassist Paul Chambers and drummer Art Taylor through three originals and two standards. Each musician has opportunity to shine, but Brooks remains the center of attention. His style is remarkably fluid, capable of graceful, elegant turns on the ballads and clean, speedy improvisations on the up-tempo bop. Each of the five songs have breathtaking moments, confirming Brooks talents as a saxophonist, composer and leader. Listening to Back to the Tracks, it's impossible to figure out why the record wasn't released at the time, but it's a hard bop gem from the early '60s to cherish."
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Tina Brooks (tenor saxophone), Jackie McLean (alto saxophone), Kenny Drew (piano), Blue Mitchell (trumpet), Paul Chambers (bass), Art Taylor (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
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      date: 2025-12-26 10:27:22.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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[
  "produit" => App\Entity\Produit {#2099
    -id: 288
    -nom: "Radio City - Special Edition Clarity Vinyl QUIEX SV-P II"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl QUIEX SV-P II"
    -description: """
      Radio City (1974), Big Star’s sophomore effort does feature a few uncredited contributions by Chris Bell but for the most part, this is Chilton’s baby.\r\n
      Critically acclaimed almost unanimously upon release, it is now considered the band’s masterpiece.\r\n
      \r\n
      The stop and start recording history, including the actual break-up and the reuniting of its members, only makes it more incredible.\r\n
      Two of the most memorable songs Back Of A Car and especially September Gurls feature infectious hooks that have allowed them to be covered in tribute, since.\r\n
      \r\n
      Mastered and cut by Chris Bellman at Bernie Grundman Mastering in Hollywood California directly from the original analog master tapes and pressed on Classic Records proprietary, 200 gram Clarity Super Vinyl Profile II for maximum fidelity in playback !
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Alex Chilton (guitar, vocals), Andy Hummel (bass guitar, piano, vocals), Jody Stephens (drums, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Pbnekl_rE-8&list=PL59D13E22E7BDF83A"
    -referenceProduit: "Classic Records ADS 1501 Clarity Vinyl"
    -titreMorceau: [
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        "nom" => "1. O My Soul - Mono Only"
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        "nom" => "5. Morpha Too"
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        "nom" => "6. I'm in Love with a Girl"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2101 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1452 …}
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    }
    -modifierLe: DateTime @1766744754 {#2097
      date: 2025-12-26 10:25:54.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2107 …}
    -disponible: null
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    -slug: "vinyles-radio-city-special-edition-clarity-vinyl-quiex-sv-p-ii-classic-records-ads-1501-clarity-vinyl"
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3415
  -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 {#2687 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2099
    -id: 288
    -nom: "Radio City - Special Edition Clarity Vinyl QUIEX SV-P II"
    -informationComplementaire: "Last copy in stock ! Classic Records Special Edition Clarity Vinyl QUIEX SV-P II"
    -description: """
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      \r\n
      The stop and start recording history, including the actual break-up and the reuniting of its members, only makes it more incredible.\r\n
      Two of the most memorable songs Back Of A Car and especially September Gurls feature infectious hooks that have allowed them to be covered in tribute, since.\r\n
      \r\n
      Mastered and cut by Chris Bellman at Bernie Grundman Mastering in Hollywood California directly from the original analog master tapes and pressed on Classic Records proprietary, 200 gram Clarity Super Vinyl Profile II for maximum fidelity in playback !
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "Alex Chilton (guitar, vocals), Andy Hummel (bass guitar, piano, vocals), Jody Stephens (drums, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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        "nom" => "6. I'm in Love with a Girl"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2101 …}
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    -modifierLe: DateTime @1766744754 {#2097
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -disponible: null
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    -slug: "vinyles-radio-city-special-edition-clarity-vinyl-quiex-sv-p-ii-classic-records-ads-1501-clarity-vinyl"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2455 …}
}

[
  "produit" => App\Entity\Produit {#2121
    -id: 323
    -nom: "1812 Overture"
    -informationComplementaire: "Last copy in stock !"
    -description: """
      The legendary Reiner 1812 that was only available as a 1S pressing having been deleted soon after the Mercury 1812 featuring live cannon shots was released making for a very rare original to find. The performance is mind bending and features the incomparable CSO brass section. This reissue was cut for the first time from the original 30 ips session master tape which adds significantly to the low level information and clarity on the LP.\r\n
      \r\n
      One of the most sought after RCA Living Stereo "Shaded Dog" titles. Not to be missed by music lovers and audiophiles alike !
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "The Chicago Symphony Orchestra conducted by Fritz Reiner"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=5AhDSNvc5es&list=RD5AhDSNvc5es&start_radio=1"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2123 …}
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    -disponible: null
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    -slug: "vinyles-1812-overture-classic-records-lsc-2241"
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3466
  -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 {#2687 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2121
    -id: 323
    -nom: "1812 Overture"
    -informationComplementaire: "Last copy in stock !"
    -description: """
      The legendary Reiner 1812 that was only available as a 1S pressing having been deleted soon after the Mercury 1812 featuring live cannon shots was released making for a very rare original to find. The performance is mind bending and features the incomparable CSO brass section. This reissue was cut for the first time from the original 30 ips session master tape which adds significantly to the low level information and clarity on the LP.\r\n
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      One of the most sought after RCA Living Stereo "Shaded Dog" titles. Not to be missed by music lovers and audiophiles alike !
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1850 …}
    -musicienOrchestre: "The Chicago Symphony Orchestra conducted by Fritz Reiner"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=5AhDSNvc5es&list=RD5AhDSNvc5es&start_radio=1"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2123 …}
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2455 …}
}

[
  "produit" => App\Entity\Produit {#2139
    -id: 2123
    -nom: "Gentle Ballads III"
    -informationComplementaire: null
    -description: """
      A collection of beautiful ballads awaits on this Venus release from tenor saxophonist Eric Alexander, the third album in his renowned Gentle Ballads series. Like the earlier Gentle Ballads and Gentle Ballads II, this album is a collection of beautiful ballads that showcase the brawny and powerful Alexander's gentle and lyrical side.\r\n
      \r\n
      And what a beautiful performance this is! Alexander's maturity as a musician is clearly reflected in his ballad playing. His big tone, his ability to express small nuances, and his muscular style free of cheap sentimentality combine to create stunning effects, elevating this album's status from merely good to a modern masterpiece.\r\n
      \r\n
      Few tenor saxophonists, especially among his generation, are brave enough to record an all-ballad album. Alexander has done so three times now, and each time, he has given audiences something to be cherished for years. Highly recommended !
      """
    -prixVente: "75.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Eric Alexander  (tenor saxophone), Mike LeDonne (piano), John Webber (bass), Joe Farnsworth (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=PzdIIcdN22g"
    -referenceProduit: "Venus Records VHJD 204"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
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        "nom" => "1. All The Way "
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        "ordre" => 3
        "nom" => "3. Smoke Gets In Your Eyes"
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        "nom" => "Side B : "
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        "ordre" => 5
        "nom" => "1. Little Girl Blue "
      ]
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        "ordre" => 6
        "nom" => "2. Summertime "
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      [
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        "nom" => "3. You'll Be Mine Tonight"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2141 …}
    -label: Proxies\__CG__\App\Entity\Label {#2144 …}
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      date: 2025-12-19 07:23:36.0 UTC (+00:00)
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App\Twig\Components\GestionPanierFavoriComponents {#3517
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2687 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2139
    -id: 2123
    -nom: "Gentle Ballads III"
    -informationComplementaire: null
    -description: """
      A collection of beautiful ballads awaits on this Venus release from tenor saxophonist Eric Alexander, the third album in his renowned Gentle Ballads series. Like the earlier Gentle Ballads and Gentle Ballads II, this album is a collection of beautiful ballads that showcase the brawny and powerful Alexander's gentle and lyrical side.\r\n
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      And what a beautiful performance this is! Alexander's maturity as a musician is clearly reflected in his ballad playing. His big tone, his ability to express small nuances, and his muscular style free of cheap sentimentality combine to create stunning effects, elevating this album's status from merely good to a modern masterpiece.\r\n
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      """
    -prixVente: "75.00"
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    -musicienOrchestre: "Eric Alexander  (tenor saxophone), Mike LeDonne (piano), John Webber (bass), Joe Farnsworth (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2141 …}
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  }
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}

[
  "produit" => App\Entity\Produit {#2158
    -id: 2011
    -nom: "Gentle Ballads VI"
    -informationComplementaire: null
    -description: "More gentle ballads from the Eric Alexander Quartet. The sixth installment in the popular series features the talented John Di Martino on piano and includes such standards as "So In Love", "I See Your Face Before Me", "Hush-A-Bye", "You're My Thrill"."
    -prixVente: "75.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Eric Alexander (tenor & alto saxophone), John Di Martino (piano), Dezron Douglas (bass), Willie Jones III (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: null
    -referenceProduit: "Venus Records VHJD 224"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
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      [
        "ordre" => 1
        "nom" => "1. So In Love"
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      [
        "ordre" => 2
        "nom" => "2. I See Your Face Before Me"
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      [
        "ordre" => 3
        "nom" => "3. Bright Moments"
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        "nom" => "3. Moon And Sand"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2141 …}
    -label: Proxies\__CG__\App\Entity\Label {#2144 …}
    -style: App\Entity\Style {#1449 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3570
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  +produit: App\Entity\Produit {#2158
    -id: 2011
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    -description: "More gentle ballads from the Eric Alexander Quartet. The sixth installment in the popular series features the talented John Di Martino on piano and includes such standards as "So In Love", "I See Your Face Before Me", "Hush-A-Bye", "You're My Thrill"."
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    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Eric Alexander (tenor & alto saxophone), John Di Martino (piano), Dezron Douglas (bass), Willie Jones III (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -disponible: null
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    -slug: "vinyles-gentle-ballads-vi-venus-records-vhjd-224"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2455 …}
}

[
  "produit" => App\Entity\Produit {#2171
    -id: 1500
    -nom: "Live In Scheveningen 1958 - Sapphire Edition Clear Vinyl"
    -informationComplementaire: null
    -description: """
      - Art Blakey "Live In Scheveningen" !\r\n
      - 200 gram numbered (2 LP) Sapphire Edition clear vinyl limited to 4000 copies ! !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed and assembled in France !\r\n
      - Box and tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      "This particularly ephemeral formation of the Jazz Messengers, led by Benny Golson, is for some, simply the best. Never before has the group achieved this balance between passion, elegance and swing, this ideal between freedom and sophistication. And it will never find again totally this osmosis afterwards. A superbly restored album. Not to be missed. For any reasons." — 5 Stars, Jazz Magazine\r\n
      \r\n
      On the evening of November 29, 1958, on the stage of the Kurhaus in Scheveningen, when Art Blakey grabs the microphone to say "I would like to take a moment and say good evening on behalf of the Jazz Messengers and myself," everyone knows that he is living a historic moment.\r\n
      \r\n
      Pianist Bobby Timmons has just created the iconic "Moanin'" and saxophonist Benny Golson the famous "Along Came Betty," which the Jazz Messengers mix with compositions by their illustrious companions, Thelonious Monk, Charlie Parker and Dizzy Gillespie. The essence of world jazz is on stage, and is taken up again on this edition forgotten until today.\r\n
      \r\n
      Recorded at the Kurhaus in Scheveningen, Netherlands, Oct. 29, 1958.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Art Blakey (drums), Lee Morgan (trumpet), Benny Golson (tenor saxophone), Bobby Timmons (piano), Jymie Merritt (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=npillCWp7kw"
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    -titreMorceau: [
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        "nom" => "7. Whisper Not"
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        "ordre" => 15
        "nom" => "8. Night in Tunisia"
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2173 …}
    -label: Proxies\__CG__\App\Entity\Label {#2176 …}
    -style: App\Entity\Style {#1449 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2178 …}
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    -enregistreLe: DateTime @1546768555 {#2168
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    }
    -modifierLe: DateTime @1766128698 {#2169
      date: 2025-12-19 07:18:18.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2182 …}
    -disponible: null
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  }
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]

App\Twig\Components\GestionPanierFavoriComponents {#3616
  -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 {#2687 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2171
    -id: 1500
    -nom: "Live In Scheveningen 1958 - Sapphire Edition Clear Vinyl"
    -informationComplementaire: null
    -description: """
      - Art Blakey "Live In Scheveningen" !\r\n
      - 200 gram numbered (2 LP) Sapphire Edition clear vinyl limited to 4000 copies ! !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed and assembled in France !\r\n
      - Box and tip-on gatefold jacket printed in Italy !\r\n
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      \r\n
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      \r\n
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      \r\n
      Recorded at the Kurhaus in Scheveningen, Netherlands, Oct. 29, 1958.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Art Blakey (drums), Lee Morgan (trumpet), Benny Golson (tenor saxophone), Bobby Timmons (piano), Jymie Merritt (bass)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=npillCWp7kw"
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        "nom" => "6. Evidence / Justice"
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      [
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        "nom" => "LP 2 :"
      ]
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        "nom" => "1. Just by Myself"
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        "ordre" => 9
        "nom" => "2. Announcement by Art Blakey"
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        "nom" => "3. I Remember Clifford"
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      [
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        "nom" => "5. Now Is the Time"
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      [
        "ordre" => 13
        "nom" => "6. Announcement by Art Blakey"
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      [
        "ordre" => 14
        "nom" => "7. Whisper Not"
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      [
        "ordre" => 15
        "nom" => "8. Night in Tunisia"
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2173 …}
    -label: Proxies\__CG__\App\Entity\Label {#2176 …}
    -style: App\Entity\Style {#1449 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2178 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2180 …}
    -enregistreLe: DateTime @1546768555 {#2168
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    -modifierLe: DateTime @1766128698 {#2169
      date: 2025-12-19 07:18:18.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2182 …}
    -disponible: null
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  }
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2455 …}
}

[
  "produit" => App\Entity\Produit {#2198
    -id: 1026
    -nom: "Live In Rotterdam 1967 - Sapphire Limited Edition Clear Vinyl"
    -informationComplementaire: null
    -description: """
      - Thelonious Monk "Live In Rotterddam 1967" !\r\n
      - 200 gram numbered (2 LP) Sapphire Edition clear vinyl limited to 4000 numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed and manufactured in France !\r\n
      - Box and tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      When he took the stage at the Club Doelen in Rotterdam on October 28, 1967, Thelonious Monk had just turned 50. Fifteen years later he would disappear from the music scene, taking refuge for the last six years of his life in New York at Pannonica de Koenigswater, never to touch the piano again. Flanked by the two "classics" "Ruby, My Dear" and "Blue Monk", he leads the quartet of his three accomplices, Charlie Rouse, Larry Gales, Ben Riley and their guests, for more than an hour and 20 minutes.\r\n
      \r\n
      Larry Gales' bass pops out of a box at the end of "Hackensack", the brass gets carried away in the middle of "We See"; they answer each other by swirling in the dizzying "Oska". And in the middle of the concert, a solo moment on 'Don't Blame Me," everything appears contrasting, twisted, oblique, each note seeming to be surprised by the previous one. Monk first goes around the melody from behind before bringing it back, pure, to the front. Finally they close: "Blue Monk," all classical restraint.\r\n
      \r\n
      Lost Recordings' Sapphire Edition pushes the boundaries of audio media. It is the pinnacle of our latest innovations in restoration and manufacturing processes, without any constraints or compromises, thus delivering an unprecedented musical experience.\r\n
      \r\n
      Recorded at De Doelen, Rotterdam, Oct. 28, 1967.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Thelonius Monk (piano), Charlie Rouse (tenor saxophone), Larry Gales (bass), Ben Riley (drums), Clark Terry, Ray Copeland (trumpet), Jimmy Cleveland (trombone), Phil Woods (alto saxophone), Johnny Griffin (tenor saxophone)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1119 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Juk8HmTOAOw"
    -referenceProduit: "The Lost Recordings 4029"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Ruby, My Dear"
      ]
      [
        "ordre" => 2
        "nom" => "2. Hackensack"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "3. We See"
      ]
      [
        "ordre" => 5
        "nom" => "4. Epistrophy"
      ]
      [
        "ordre" => 6
        "nom" => "Side C :"
      ]
      [
        "ordre" => 7
        "nom" => "1. Evidence / Epistrophy"
      ]
      [
        "ordre" => 8
        "nom" => "2. Don't Blame Me"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
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        "ordre" => 10
        "nom" => "3. Oska T. / Epistrophy"
      ]
      [
        "ordre" => 11
        "nom" => "4. Blue Monk"
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      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
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      [
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      [
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        "nom" => ""
      ]
      [
        "ordre" => 18
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2200 …}
    -label: Proxies\__CG__\App\Entity\Label {#2176 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2209 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2202 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2204 …}
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    -modifierLe: DateTime @1765996192 {#2188
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2206 …}
    -disponible: null
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3667
  -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 {#2687 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2198
    -id: 1026
    -nom: "Live In Rotterdam 1967 - Sapphire Limited Edition Clear Vinyl"
    -informationComplementaire: null
    -description: """
      - Thelonious Monk "Live In Rotterddam 1967" !\r\n
      - 200 gram numbered (2 LP) Sapphire Edition clear vinyl limited to 4000 numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed and manufactured in France !\r\n
      - Box and tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      When he took the stage at the Club Doelen in Rotterdam on October 28, 1967, Thelonious Monk had just turned 50. Fifteen years later he would disappear from the music scene, taking refuge for the last six years of his life in New York at Pannonica de Koenigswater, never to touch the piano again. Flanked by the two "classics" "Ruby, My Dear" and "Blue Monk", he leads the quartet of his three accomplices, Charlie Rouse, Larry Gales, Ben Riley and their guests, for more than an hour and 20 minutes.\r\n
      \r\n
      Larry Gales' bass pops out of a box at the end of "Hackensack", the brass gets carried away in the middle of "We See"; they answer each other by swirling in the dizzying "Oska". And in the middle of the concert, a solo moment on 'Don't Blame Me," everything appears contrasting, twisted, oblique, each note seeming to be surprised by the previous one. Monk first goes around the melody from behind before bringing it back, pure, to the front. Finally they close: "Blue Monk," all classical restraint.\r\n
      \r\n
      Lost Recordings' Sapphire Edition pushes the boundaries of audio media. It is the pinnacle of our latest innovations in restoration and manufacturing processes, without any constraints or compromises, thus delivering an unprecedented musical experience.\r\n
      \r\n
      Recorded at De Doelen, Rotterdam, Oct. 28, 1967.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Thelonius Monk (piano), Charlie Rouse (tenor saxophone), Larry Gales (bass), Ben Riley (drums), Clark Terry, Ray Copeland (trumpet), Jimmy Cleveland (trombone), Phil Woods (alto saxophone), Johnny Griffin (tenor saxophone)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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[
  "produit" => App\Entity\Produit {#2222
    -id: 678
    -nom: "Live at the Berlin Jazz Festival 1969-1973"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Duke Ellington (piano), Joe Benjamin (bass), Harold "Money" Johnson (trumpet), Paul Gonsalves (saxophone), Harry Carney (baritone saxophone, clarinet), Quinten "Rocky" White Jr. (drums), Duke Ellington orchestra (Duke Ellington (piano), Cat Anderson, Cootie Williams, Mercer Ellington (trumpet), Harold Ashby, Johnny Hodges, Paul Gonsalves, Russell Procope (saxophone), Harry Carney (baritone saxophone, clarinet), Rufus Jones (drums) \r\n
      \r\n
      - Duke Ellington "Live at the Berlin Jazz Festival 1969-1973" !\r\n
      - 180 gram hand-numbered edition !\r\n
      - Limited to 2000 copies worldwide !\r\n
      - Gold foil and debossing on soft-touch cover !\r\n
      - Printed inner sleeve; pressed at Optimal in Germany !\r\n
      \r\n
      On Nov. 8, 1969,on the stage of the Berlin Philharmonic's main hall, the Duke, whose portrait is the poster of the Jazztage Festival celebrating his 70th birthday, slowly joined his piano. His orchestra was at the helm, adorned with a gleaming section, some of whom have accompanied him for 30 years, such as Cootie Willams and Cat Anderson. Legendary saxophonists Paul Gonsalves and Johnny Hodges and Russell Procope were also present.\r\n
      \r\n
      In a sort of rattle, the Duke launched "La plus Belle Africaine". A baroque but perfectly mastered mixture of sunny colors captured during a tour in Dakar, launched by the solo saxophone and then taken up with flashes of inventiveness by all or part of the band. The tone is set. Cat Anderson launched into a furious "El Gato" which shook the audience with its creaking, deliberate deconstruction, evoking the revolutionary, fragmentary and unfinished gestures of Thelonious Monk or Cecil Taylor. A studied contrast with the gentle continuation of "I Can't Get Started", just before the 43 second parenthesis of "Caravan", which is a mischievous link to the flamboyant "Satin Doll" that masterfully punctuates this concert.\r\n
      \r\n
      In 1973, a few months before his death, Duke returned to Berlin in a formation based on his trio (Joe Benjamin on double bass and Quinten "Rocky" White Jr. on drums), joined by Harold Johnson on trumpet, the clarinettist and baritone saxophonist Harry Carney and by his long-time sidekick, the tenor saxophonist Paul Gonsalves. Duke Ellington gives his piano a central place here, making it both the driving force of the ensemble and its harmonic and rhythmic backbone.\r\n
      \r\n
      In the blues that opens the concert, we hear Debussy. Take the A train' follows. The Duke likes changes of mood. Only, here and there, touches of discontinuous speech remind us how sagaciously the Duke was able to draw on the audacious harmonies of his contemporaries. And then he dares to do everything. Like offering his band the rhythmic virtuosity of Baby Laurence on tap dance in "Tap Dance". The magic works. The success is total.\r\n
      \r\n
      Two concerts in Berlin, two facets of a poetic universe, two visions of an alchemist who knew how to draw with lightness but also with a mixture of jubilation and authority, from the harmonic sources of all music and which make so relevant the formula he loved: "there are only two kinds of music: good and bad". We have had the extreme privilege of resurrecting the better one.
      """
    -prixVente: "52.00"
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=-7xCnhEYk9U"
    -referenceProduit: "The Lost Recordings 0404"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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        "ordre" => 1
        "nom" => "1. Piano Improvisation N° 1"
      ]
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        "ordre" => 2
        "nom" => "2. Take the "A" Train"
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      [
        "ordre" => 3
        "nom" => "3. Pitter Panther Patter"
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        "nom" => "4. Sophisticated Lady"
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        "nom" => "5. Introduction by Baby Laurence"
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        "nom" => "6. Tap Dance"
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        "nom" => "1. The Most Beautiful African"
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        "nom" => "3. I Can't Get Started"
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        "nom" => "5. Satin Doll"
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        "nom" => ""
      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2224 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3718
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    -id: 678
    -nom: "Live at the Berlin Jazz Festival 1969-1973"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Duke Ellington (piano), Joe Benjamin (bass), Harold "Money" Johnson (trumpet), Paul Gonsalves (saxophone), Harry Carney (baritone saxophone, clarinet), Quinten "Rocky" White Jr. (drums), Duke Ellington orchestra (Duke Ellington (piano), Cat Anderson, Cootie Williams, Mercer Ellington (trumpet), Harold Ashby, Johnny Hodges, Paul Gonsalves, Russell Procope (saxophone), Harry Carney (baritone saxophone, clarinet), Rufus Jones (drums) \r\n
      \r\n
      - Duke Ellington "Live at the Berlin Jazz Festival 1969-1973" !\r\n
      - 180 gram hand-numbered edition !\r\n
      - Limited to 2000 copies worldwide !\r\n
      - Gold foil and debossing on soft-touch cover !\r\n
      - Printed inner sleeve; pressed at Optimal in Germany !\r\n
      \r\n
      On Nov. 8, 1969,on the stage of the Berlin Philharmonic's main hall, the Duke, whose portrait is the poster of the Jazztage Festival celebrating his 70th birthday, slowly joined his piano. His orchestra was at the helm, adorned with a gleaming section, some of whom have accompanied him for 30 years, such as Cootie Willams and Cat Anderson. Legendary saxophonists Paul Gonsalves and Johnny Hodges and Russell Procope were also present.\r\n
      \r\n
      In a sort of rattle, the Duke launched "La plus Belle Africaine". A baroque but perfectly mastered mixture of sunny colors captured during a tour in Dakar, launched by the solo saxophone and then taken up with flashes of inventiveness by all or part of the band. The tone is set. Cat Anderson launched into a furious "El Gato" which shook the audience with its creaking, deliberate deconstruction, evoking the revolutionary, fragmentary and unfinished gestures of Thelonious Monk or Cecil Taylor. A studied contrast with the gentle continuation of "I Can't Get Started", just before the 43 second parenthesis of "Caravan", which is a mischievous link to the flamboyant "Satin Doll" that masterfully punctuates this concert.\r\n
      \r\n
      In 1973, a few months before his death, Duke returned to Berlin in a formation based on his trio (Joe Benjamin on double bass and Quinten "Rocky" White Jr. on drums), joined by Harold Johnson on trumpet, the clarinettist and baritone saxophonist Harry Carney and by his long-time sidekick, the tenor saxophonist Paul Gonsalves. Duke Ellington gives his piano a central place here, making it both the driving force of the ensemble and its harmonic and rhythmic backbone.\r\n
      \r\n
      In the blues that opens the concert, we hear Debussy. Take the A train' follows. The Duke likes changes of mood. Only, here and there, touches of discontinuous speech remind us how sagaciously the Duke was able to draw on the audacious harmonies of his contemporaries. And then he dares to do everything. Like offering his band the rhythmic virtuosity of Baby Laurence on tap dance in "Tap Dance". The magic works. The success is total.\r\n
      \r\n
      Two concerts in Berlin, two facets of a poetic universe, two visions of an alchemist who knew how to draw with lightness but also with a mixture of jubilation and authority, from the harmonic sources of all music and which make so relevant the formula he loved: "there are only two kinds of music: good and bad". We have had the extreme privilege of resurrecting the better one.
      """
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -titreMorceau: [
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        "nom" => "1. Piano Improvisation N° 1"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2224 …}
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[
  "produit" => App\Entity\Produit {#2246
    -id: 1232
    -nom: "Stan Getz Quartet - At Zardi's 1956 Vol. 1"
    -informationComplementaire: null
    -description: """
      - Stan Getz "Getz At Zardi's 1956 Vol. 1" !\r\n
      - An elegant sax on Hollywood Boulevard !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      On June 22 and 27, 1959 Stan Getz and his quartet gave two legendary concerts in a club on Hollywood Boulevard. Black and white people, Saxophone players, pianists and singers all flocked to play the clubs and their sound resonated round the world from these sun-drenched settings. What drew all these jazz musicians of the time such as Oscar Peterson, Ella Fitzgerald, Art Tatum, Chet Baker, Sarah Vaughan and, of course, Stan Getz to these venues ? They were escaping the chilly East Coast for both a warmer climate and a more relaxed environment than the tense South. It sustained a musical melting pot encouraged by a governor free of racial prejudice, the Republican Goodwin J. Knight, not to mention a booming labor market and the glamour of the movie industry in a nutshell, the mythical appeal of the West Coast.\r\n
      \r\n
      Their favorite clubs: the Tiffany, the Haig, and most of all, the celebrated Zardi's Jazzland, where Getz and his musicians performed these two evenings. The recordings remained unpublished on vinyl until this present edition.\r\n
      \r\n
      In spring 2025 we came across the original tapes in the suburbs of Chicago. The set list of the two concerts is diverse but the lineup is identical, with pianist Lou Levy, brilliantly representing the sound of the West Coast and whose style dovetailed perfectly with Getz's budding forms of inspiration of that year, Max Bennett was on base and Gary Frommer on drums.\r\n
      \r\n
      Getz here conveys the gentle atmosphere and cool mood he liked so much. The evening's voyage concludes with a swinging improvisation that has the members of the audience reaching for the incandescent starry skies of California.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Stan Getz (saxophone), Lou Levy (piano), Max Bennett (bass), Gary Frommer (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=kKW-zve2QTs&list=RDkKW-zve2QTs&start_radio=1"
    -referenceProduit: "The Lost Recordings 4060"
    -titreMorceau: [
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        "nom" => "Side A :"
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        "ordre" => 10
        "nom" => "1. The Nearness of You"
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        "nom" => "1. Whispering"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2248 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3769
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2687 …}
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  +produit: App\Entity\Produit {#2246
    -id: 1232
    -nom: "Stan Getz Quartet - At Zardi's 1956 Vol. 1"
    -informationComplementaire: null
    -description: """
      - Stan Getz "Getz At Zardi's 1956 Vol. 1" !\r\n
      - An elegant sax on Hollywood Boulevard !\r\n
      - 180 gram mono (2 LP) 33 1/3 RPM limited to 4000 hand-numbered copies !\r\n
      - Meticulously restored from original analog tapes !\r\n
      - Lacquers cut by Kevin Gray at Cohearent Audio !\r\n
      - Pressed by Phoenix Pressings !\r\n
      - Tip-on gatefold jacket printed in Italy !\r\n
      \r\n
      On June 22 and 27, 1959 Stan Getz and his quartet gave two legendary concerts in a club on Hollywood Boulevard. Black and white people, Saxophone players, pianists and singers all flocked to play the clubs and their sound resonated round the world from these sun-drenched settings. What drew all these jazz musicians of the time such as Oscar Peterson, Ella Fitzgerald, Art Tatum, Chet Baker, Sarah Vaughan and, of course, Stan Getz to these venues ? They were escaping the chilly East Coast for both a warmer climate and a more relaxed environment than the tense South. It sustained a musical melting pot encouraged by a governor free of racial prejudice, the Republican Goodwin J. Knight, not to mention a booming labor market and the glamour of the movie industry in a nutshell, the mythical appeal of the West Coast.\r\n
      \r\n
      Their favorite clubs: the Tiffany, the Haig, and most of all, the celebrated Zardi's Jazzland, where Getz and his musicians performed these two evenings. The recordings remained unpublished on vinyl until this present edition.\r\n
      \r\n
      In spring 2025 we came across the original tapes in the suburbs of Chicago. The set list of the two concerts is diverse but the lineup is identical, with pianist Lou Levy, brilliantly representing the sound of the West Coast and whose style dovetailed perfectly with Getz's budding forms of inspiration of that year, Max Bennett was on base and Gary Frommer on drums.\r\n
      \r\n
      Getz here conveys the gentle atmosphere and cool mood he liked so much. The evening's voyage concludes with a swinging improvisation that has the members of the audience reaching for the incandescent starry skies of California.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Stan Getz (saxophone), Lou Levy (piano), Max Bennett (bass), Gary Frommer (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=kKW-zve2QTs&list=RDkKW-zve2QTs&start_radio=1"
    -referenceProduit: "The Lost Recordings 4060"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Sweet Lorraine"
      ]
      [
        "ordre" => 2
        "nom" => "2. Tickle Toe"
      ]
      [
        "ordre" => 3
        "nom" => "3. Introduction by Stan Getz"
      ]
      [
        "ordre" => 4
        "nom" => "4. Untitled N° 1 - Take 1"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. Little Girl Blue"
      ]
      [
        "ordre" => 7
        "nom" => "2. Out of Nowhere"
      ]
      [
        "ordre" => 8
        "nom" => "3. East Of The Sun (And West Of The Moon)"
      ]
      [
        "ordre" => 9
        "nom" => "Side C :"
      ]
      [
        "ordre" => 10
        "nom" => "1. The Nearness of You"
      ]
      [
        "ordre" => 11
        "nom" => "2. Improvisation"
      ]
      [
        "ordre" => 12
        "nom" => "3. Little Girl Blue - take 2"
      ]
      [
        "ordre" => 13
        "nom" => "4. Easy Living"
      ]
      [
        "ordre" => 14
        "nom" => "Side D : "
      ]
      [
        "ordre" => 15
        "nom" => "1. Whispering"
      ]
      [
        "ordre" => 16
        "nom" => "2. Polka Dots and Moonbeams"
      ]
      [
        "ordre" => 17
        "nom" => "3. Untitled N° 2 - Take 1"
      ]
      [
        "ordre" => 18
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2248 …}
    -label: Proxies\__CG__\App\Entity\Label {#2176 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2257 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2250 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2252 …}
    -enregistreLe: DateTime @1508875797 {#2235
      date: 2017-10-24 20:09:57.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765982524 {#2236
      date: 2025-12-17 14:42:04.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2254 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-stan-getz-quartet-at-zardi-s-1956-vol-1-the-lost-recordings-4060"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2455 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3970
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2455 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3971 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#4019 …}
  +isValidated: false
  +validatedFields: []
}