Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2588
  -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 {#2435 …}
}

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

App\Twig\Components\ListePanier {#2665
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2668 …}
  -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 {#2667 …}
  -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 {#2435 …}
  -formView: Symfony\Component\Form\FormView {#2704 …}
  -form: Symfony\Component\Form\Form {#2854 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1821
    -id: 3053
    -nom: "Heart Shaped World - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans l’atmosphère envoûtante de Heart Shaped World de Chris Isaak. Porté par le mythique "Wicked Game", cet album mêle mélancolie et sensualité dans un son à la fois rétro et intemporel."
    -description: """
      Sorti en 1989, "Heart Shaped World" est l’album qui révèle pleinement Chris Isaak au grand public. Entre rock, rockabilly et ambiances dream pop, il développe une identité sonore immédiatement reconnaissable, guitares réverbérées, rythmiques épurées et voix habitée.\r\n
      \r\n
      Porté par le succès planétaire de "Wicked Game", l’album s’impose comme une œuvre à la fois intime et cinématographique. Chaque morceau explore des thèmes universels, le désir, la solitude, l’amour impossible, dans une atmosphère nocturne et élégante.\r\n
      \r\n
      La guitare aérienne de James Calvin Wilsey joue un rôle central, créant un paysage sonore hypnotique qui enveloppe l’auditeur. L’ensemble donne un disque intemporel, à la croisée des influences vintage et d’une sensibilité moderne.\r\n
      \r\n
      - Chris Isaak’s Heart Shaped World Is a Mood Masterpiece : Double-Platinum Album Features the Smash “Wicked Game”, Brilliant Singing, and Extraordinary Guitar Tones\r\n
      \r\n
      - Experience the Brooding 1989 Album in Definitive Sound : Mobile Fidelity’s UltraDisc 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Includes the Bonus Track “Diddley Daddy” !\r\n
      \r\n
      - 1/2” 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game”, the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3000 numbered copies, and featuring the bonus track “Diddley Daddy”, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing impeccably controlled, tense, brooding, steamy, smoldering, haunted situated amidst stripped-down backdrops that allow every note to fully bloom and decay. \r\n
      \r\n
      While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc. \r\n
      \r\n
      The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.\r\n
      \r\n
      Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off. \r\n
      \r\n
      Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes. \r\n
      \r\n
      Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.\r\n
      \r\n
      That approach bolsters the title track, which suggests calm yet moves on ominous currents its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed”, sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint. \r\n
      \r\n
      Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway”. On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect. \r\n
      \r\n
      “Trouble going 'round”, Isaak croons right as the album begins. “Trouble going down”. Damn straight.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Chris Isaak (guitar, vocals), James Calvin Wilsey (lead guitar), Rowland Salley (bass), Kenney Dale Johnson (drums), John Shanks (guitar, keyboards), Jeff Watson (guitar), Greg Leisz (pedal steel guitar)."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=jd-qI62gNJM&list=OLAK5uy_mCikd-mLC4SYxsssIh394kKCcHtfs-vpo"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL MFSL 45UD1S 2-075"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Heart Shaped World"
      ]
      [
        "ordre" => 2
        "nom" => "2. I'm Not Waiting"
      ]
      [
        "ordre" => 3
        "nom" => "3. Don't Make Me Dream About You"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Kings Of The Highway"
      ]
      [
        "ordre" => 6
        "nom" => "2. Wicked Game "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Blue Spanish Sky"
      ]
      [
        "ordre" => 9
        "nom" => "2. Wrong To Love You"
      ]
      [
        "ordre" => 10
        "nom" => "3. Forever Young"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. Nothing's Changed"
      ]
      [
        "ordre" => 13
        "nom" => "2. In The Heat Of The Jungle"
      ]
      [
        "ordre" => 14
        "nom" => "3. Diddley Daddy"
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
      [
        "ordre" => 17
        "nom" => ""
      ]
      [
        "ordre" => 18
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1453 …}
    -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 @1775497125 {#1876
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775497125 {#1869
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-heart-shaped-world-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-mfsl-45ud1s-2-075"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3128
  -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 {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#1821
    -id: 3053
    -nom: "Heart Shaped World - Box Set (2 LP) 45 RPM UltraDisc One-Step"
    -informationComplementaire: "Plongez dans l’atmosphère envoûtante de Heart Shaped World de Chris Isaak. Porté par le mythique "Wicked Game", cet album mêle mélancolie et sensualité dans un son à la fois rétro et intemporel."
    -description: """
      Sorti en 1989, "Heart Shaped World" est l’album qui révèle pleinement Chris Isaak au grand public. Entre rock, rockabilly et ambiances dream pop, il développe une identité sonore immédiatement reconnaissable, guitares réverbérées, rythmiques épurées et voix habitée.\r\n
      \r\n
      Porté par le succès planétaire de "Wicked Game", l’album s’impose comme une œuvre à la fois intime et cinématographique. Chaque morceau explore des thèmes universels, le désir, la solitude, l’amour impossible, dans une atmosphère nocturne et élégante.\r\n
      \r\n
      La guitare aérienne de James Calvin Wilsey joue un rôle central, créant un paysage sonore hypnotique qui enveloppe l’auditeur. L’ensemble donne un disque intemporel, à la croisée des influences vintage et d’une sensibilité moderne.\r\n
      \r\n
      - Chris Isaak’s Heart Shaped World Is a Mood Masterpiece : Double-Platinum Album Features the Smash “Wicked Game”, Brilliant Singing, and Extraordinary Guitar Tones\r\n
      \r\n
      - Experience the Brooding 1989 Album in Definitive Sound : Mobile Fidelity’s UltraDisc 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 3000 Numbered Copies and Includes the Bonus Track “Diddley Daddy” !\r\n
      \r\n
      - 1/2” 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game”, the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3000 numbered copies, and featuring the bonus track “Diddley Daddy”, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing impeccably controlled, tense, brooding, steamy, smoldering, haunted situated amidst stripped-down backdrops that allow every note to fully bloom and decay. \r\n
      \r\n
      While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc. \r\n
      \r\n
      The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.\r\n
      \r\n
      Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off. \r\n
      \r\n
      Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes. \r\n
      \r\n
      Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.\r\n
      \r\n
      That approach bolsters the title track, which suggests calm yet moves on ominous currents its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed”, sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint. \r\n
      \r\n
      Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway”. On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect. \r\n
      \r\n
      “Trouble going 'round”, Isaak croons right as the album begins. “Trouble going down”. Damn straight.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Chris Isaak (guitar, vocals), James Calvin Wilsey (lead guitar), Rowland Salley (bass), Kenney Dale Johnson (drums), John Shanks (guitar, keyboards), Jeff Watson (guitar), Greg Leisz (pedal steel guitar)."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=jd-qI62gNJM&list=OLAK5uy_mCikd-mLC4SYxsssIh394kKCcHtfs-vpo"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL MFSL 45UD1S 2-075"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Heart Shaped World"
      ]
      [
        "ordre" => 2
        "nom" => "2. I'm Not Waiting"
      ]
      [
        "ordre" => 3
        "nom" => "3. Don't Make Me Dream About You"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Kings Of The Highway"
      ]
      [
        "ordre" => 6
        "nom" => "2. Wicked Game "
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Blue Spanish Sky"
      ]
      [
        "ordre" => 9
        "nom" => "2. Wrong To Love You"
      ]
      [
        "ordre" => 10
        "nom" => "3. Forever Young"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. Nothing's Changed"
      ]
      [
        "ordre" => 13
        "nom" => "2. In The Heat Of The Jungle"
      ]
      [
        "ordre" => 14
        "nom" => "3. Diddley Daddy"
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
      [
        "ordre" => 17
        "nom" => ""
      ]
      [
        "ordre" => 18
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1453 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
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    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1775497125 {#1876
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1775497125 {#1869
      date: 2026-04-06 17:38:45.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-heart-shaped-world-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-mfsl-45ud1s-2-075"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2045
    -id: 2911
    -nom: "Send In The Clowns"
    -informationComplementaire: "Plongez dans l’univers envoûtant de ‘’Send In The Clowns’’, une parenthèse musicale où la voix légendaire de Sarah Vaughan sublime chaque chanson avec émotion et délicatesse. Un album intemporel, à la fois touchant et élégant."
    -description: """
      L’album "Send In The Clowns" de Sarah Vaughan est une œuvre élégante et introspective qui met en lumière toute la maturité artistique de la chanteuse. Sorti au début des années 1980, cet enregistrement révèle une Sarah Vaughan au sommet de son art, portée par une voix d’une richesse et d’une maîtrise exceptionnelles.\r\n
      \r\n
      À travers une sélection de standards et de ballades, dont la célèbre chanson-titre issue de la comédie musicale A Little Night Music, Sarah Vaughan explore des émotions profondes : "nostalgie, amour, solitude et résilience". Les arrangements, sobres et raffinés, laissent toute la place à son interprétation nuancée, où chaque note semble racontée plutôt que simplement chantée.\r\n
      \r\n
      Cet album incarne une période plus intime de sa carrière, où la virtuosité vocale se met entièrement au service de l’émotion.\r\n
      \r\n
      Musicians : \r\n
      Sarah Vaughan (vocals), Andy Simpkins (double bass), George Gaffney  (piano), Freddie Green (guitar), Harold Jones  (drums), The Count Basie Orchestra horn & section players (Bobby Plater, Danny Turner (alto saxophone), Dixon, Kenny Hing (tenor saxophone), Johnny Williams (baritone saxophone), Sonny Cohn, Willie Cook, Frank Szabo, Bob Summers, Dale Carley (trumpet), Mitchell “Bootie” Wood; Dennis Wilson; Grover Mitchell (trombone), Bill Hughes (bass trombone).\r\n
      \r\n
      - Sarah Vaughan "Send In The Clowns" 180 gram vinyl !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original analog tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Housed in a Stoughton Printing tip-on jacket !\r\n
      \r\n
      Sarah Vaughan and her working trio team with the "no Count" Basie band for this 1981 collection their first studio meeting in 20 years ! They create a magical album that evokes the days when singer and orchestra shared the stage at the original Birdland. The program looks back even further in the Divine One's career, with the inclusion of her early hit "If You Could See Me Now," while also featuring one of her last signature songs in the title track. The entire program, arranged with flair by Sammy Nestico and Allyn Ferguson, is a tour de force that finds Vaughan letting all stops out in a setting that matches her sublime vocals.\r\n
      \r\n
      Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a handsome Stoughton Printing tip-on jacket.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Sarah Vaughan (vocals), Andy Simpkins (double bass), George Gaffney  (piano), Freddie Green (guitar), Harold Jones  (drums)..."
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
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    -extraitYoutube: "https://www.youtube.com/watch?v=2PI_xb6jSD4&list=RD2PI_xb6jSD4&start_radio=1"
    -referenceProduit: "Analogue Productions (Pablo) AAPJ 196"
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        "nom" => "1. Send In The Clowns"
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        "nom" => "5. From This Moment On"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3242
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    -id: 2911
    -nom: "Send In The Clowns"
    -informationComplementaire: "Plongez dans l’univers envoûtant de ‘’Send In The Clowns’’, une parenthèse musicale où la voix légendaire de Sarah Vaughan sublime chaque chanson avec émotion et délicatesse. Un album intemporel, à la fois touchant et élégant."
    -description: """
      L’album "Send In The Clowns" de Sarah Vaughan est une œuvre élégante et introspective qui met en lumière toute la maturité artistique de la chanteuse. Sorti au début des années 1980, cet enregistrement révèle une Sarah Vaughan au sommet de son art, portée par une voix d’une richesse et d’une maîtrise exceptionnelles.\r\n
      \r\n
      À travers une sélection de standards et de ballades, dont la célèbre chanson-titre issue de la comédie musicale A Little Night Music, Sarah Vaughan explore des émotions profondes : "nostalgie, amour, solitude et résilience". Les arrangements, sobres et raffinés, laissent toute la place à son interprétation nuancée, où chaque note semble racontée plutôt que simplement chantée.\r\n
      \r\n
      Cet album incarne une période plus intime de sa carrière, où la virtuosité vocale se met entièrement au service de l’émotion.\r\n
      \r\n
      Musicians : \r\n
      Sarah Vaughan (vocals), Andy Simpkins (double bass), George Gaffney  (piano), Freddie Green (guitar), Harold Jones  (drums), The Count Basie Orchestra horn & section players (Bobby Plater, Danny Turner (alto saxophone), Dixon, Kenny Hing (tenor saxophone), Johnny Williams (baritone saxophone), Sonny Cohn, Willie Cook, Frank Szabo, Bob Summers, Dale Carley (trumpet), Mitchell “Bootie” Wood; Dennis Wilson; Grover Mitchell (trombone), Bill Hughes (bass trombone).\r\n
      \r\n
      - Sarah Vaughan "Send In The Clowns" 180 gram vinyl !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original analog tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Housed in a Stoughton Printing tip-on jacket !\r\n
      \r\n
      Sarah Vaughan and her working trio team with the "no Count" Basie band for this 1981 collection their first studio meeting in 20 years ! They create a magical album that evokes the days when singer and orchestra shared the stage at the original Birdland. The program looks back even further in the Divine One's career, with the inclusion of her early hit "If You Could See Me Now," while also featuring one of her last signature songs in the title track. The entire program, arranged with flair by Sammy Nestico and Allyn Ferguson, is a tour de force that finds Vaughan letting all stops out in a setting that matches her sublime vocals.\r\n
      \r\n
      Mastered by Matthew Lutthans at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings for superior sound quality, and housed in a handsome Stoughton Printing tip-on jacket.
      """
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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        "nom" => "5. From This Moment On"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
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[
  "produit" => App\Entity\Produit {#2064
    -id: 2547
    -nom: "Taru"
    -informationComplementaire: null
    -description: """
      - Lee Morgan "Taru" 180 gram LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      - Deluxe tip-on jacket !\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
      Recorded in 1955 for producer Tom Wilson's short-lived Boston-based label Transition Records, Byrd's Eye View was trumpeter Donald Byrd's first issued recording as a leader. The date presented Byrd at the helm of what was then the current lineup of The Jazz Messengers with tenor saxophonist Hank Mobley, pianist Horace Silver, bassist Doug Watkins, and drummer Art Blakey. Local Boston area trumpeter Joe Gordon joins the band for some friendly brass sparring with Byrd on several numbers, further adding to the album's jovial air of a blowing session.\r\n
      \r\n
      Everyone is in fine form on this five-song set with Side A consisting of an extended stroll through Watkins' laid-back original "Doug's Blues" followed by some inspired trading between Byrd and Gordon on "El Sino". A beautiful rendition of the ballad "Everything Happens To Me" and two swinging Mobley pieces comprise Side B, bringing this highly-enjoyable date to a close.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Lee Morgan (trumpet), Reggie Workman (bass), John Hicks (piano), George Benson (guitar), Bennie Maupin (tenor saxophone), Billy Higgins (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
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    -extraitYoutube: "https://www.youtube.com/watch?v=B-XHjSUYvO4&list=PLkP5lX8SHpvBN0E0d-lRXw7HBRdJtKdr7"
    -referenceProduit: "Blue Note Tone Poet Series 1352"
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        "nom" => "3. Dee Lawd"
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        "nom" => "1. Get Yourself Together"
      ]
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        "nom" => "2. Taru, What's Wrong With You ?"
      ]
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        "nom" => "3. Durem"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2066 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3293
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2064
    -id: 2547
    -nom: "Taru"
    -informationComplementaire: null
    -description: """
      - Lee Morgan "Taru" 180 gram LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      - Deluxe tip-on jacket !\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
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      \r\n
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      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Lee Morgan (trumpet), Reggie Workman (bass), John Hicks (piano), George Benson (guitar), Bennie Maupin (tenor saxophone), Billy Higgins (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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      date: 2026-02-11 07:28:48.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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[
  "produit" => App\Entity\Produit {#2085
    -id: 2945
    -nom: "A Dynamic New Sound - Guitar/Organ/Drums"
    -informationComplementaire: "AVAILABILITY : 28/02/2026 (subject Analogue Productions)"
    -description: """
      - The Wes Montgomery Trio "A Dynamic New Sound : Guitar/Organ/Drums" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      The Wes Montgomery Trio "A Dynamic New Sound : Guitar/Organ/Drums", was the album that said : "Hello world, Wes has arrived and he brought friends !".\r\n
      \r\n
      Before Full House brought the fire, The Wes Montgomery Trio brought the vibe. Released in 1959, this was Montgomery's debut on Riverside Records and let's just say, he didn't exactly tiptoe onto the scene. He kicked the door in with thumb-picking swagger, octave magic, and tone so warm it could toast bread.\r\n
      \r\n
      So, what's the deal with this album ?\r\n
      \r\n
      It's right there in the subtitle : Guitar. Organ. Drums. That's it. No bass, no brass, no safety net. Just Wes on guitar, the criminally underrated Melvin Rhyne on Hammond B-3 organ (talk about groove!), and Paul Parker on drums keeping it tight and tasteful. The result ? A sound so lean and soulful, it practically invented the jazz organ trio aesthetic we know and love today. Wes' tone? Velvet meets voltage. Melvin's organ work ? Church on Sunday meets smoky after-hours club. Paul's drumming? Like a good bartender never flashy, but always exactly what you need.\r\n
      \r\n
      This was a bold move : no bass, no piano, just pure stripped-down swing and it worked. Why ? Because these guys listened to each other. They locked in and gave Wes the space to shine. You can hear the joy in the playing, the energy of three guys who knew they were onto something.\r\n
      \r\n
      Jazz fans didn't just nod politely they flipped. Critics called it fresh, hip, and boundary-pushing. Montgomery's style, which fused bluesy soulfulness with dazzling technical control, immediately caught ears. This wasn't just a good debut it was a statement. And it sold, helping launch Wes into the jazz stratosphere.\r\n
      \r\n
      We've given this timeless album the full Analogue Productions treatment: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.\r\n
      \r\n
      This classic album belongs in your jazz collection because it symbolizes the moment the legend began. It's raw, it's real, and it's ridiculously cool. If jazz history were a superhero movie, The Wes Montgomery Trio would be the thrilling origin story. Plus, it grooves hard enough to make your neighbors forgive you for playing it at full volume (again).\r\n
      \r\n
      Go ahead make room on the shelf. This one earns it.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1802 …}
    -musicienOrchestre: "Wes Montgomery (guitar), Melvin Rhyne (Hammond organ B3), Paul Parker (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=2XKl84X0U_8&list=RD2XKl84X0U_8&start_radio=1"
    -referenceProduit: "Analogue Productions AAPJ 213-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. 'Round Midnight"
      ]
      [
        "ordre" => 2
        "nom" => "2. Yesterdays"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. The End Of A Love Affair"
      ]
      [
        "ordre" => 5
        "nom" => "2. Whisper Not"
      ]
      [
        "ordre" => 6
        "nom" => "3. Ecorah"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Satin Doll"
      ]
      [
        "ordre" => 9
        "nom" => "2. Missile Blues"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Too Late Now"
      ]
      [
        "ordre" => 12
        "nom" => "2. Jingles"
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2087 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3344
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2085
    -id: 2945
    -nom: "A Dynamic New Sound - Guitar/Organ/Drums"
    -informationComplementaire: "AVAILABILITY : 28/02/2026 (subject Analogue Productions)"
    -description: """
      - The Wes Montgomery Trio "A Dynamic New Sound : Guitar/Organ/Drums" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      The Wes Montgomery Trio "A Dynamic New Sound : Guitar/Organ/Drums", was the album that said : "Hello world, Wes has arrived and he brought friends !".\r\n
      \r\n
      Before Full House brought the fire, The Wes Montgomery Trio brought the vibe. Released in 1959, this was Montgomery's debut on Riverside Records and let's just say, he didn't exactly tiptoe onto the scene. He kicked the door in with thumb-picking swagger, octave magic, and tone so warm it could toast bread.\r\n
      \r\n
      So, what's the deal with this album ?\r\n
      \r\n
      It's right there in the subtitle : Guitar. Organ. Drums. That's it. No bass, no brass, no safety net. Just Wes on guitar, the criminally underrated Melvin Rhyne on Hammond B-3 organ (talk about groove!), and Paul Parker on drums keeping it tight and tasteful. The result ? A sound so lean and soulful, it practically invented the jazz organ trio aesthetic we know and love today. Wes' tone? Velvet meets voltage. Melvin's organ work ? Church on Sunday meets smoky after-hours club. Paul's drumming? Like a good bartender never flashy, but always exactly what you need.\r\n
      \r\n
      This was a bold move : no bass, no piano, just pure stripped-down swing and it worked. Why ? Because these guys listened to each other. They locked in and gave Wes the space to shine. You can hear the joy in the playing, the energy of three guys who knew they were onto something.\r\n
      \r\n
      Jazz fans didn't just nod politely they flipped. Critics called it fresh, hip, and boundary-pushing. Montgomery's style, which fused bluesy soulfulness with dazzling technical control, immediately caught ears. This wasn't just a good debut it was a statement. And it sold, helping launch Wes into the jazz stratosphere.\r\n
      \r\n
      We've given this timeless album the full Analogue Productions treatment: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.\r\n
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      \r\n
      Go ahead make room on the shelf. This one earns it.
      """
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    -referenceProduit: "Analogue Productions AAPJ 213-45"
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        "nom" => "2. Yesterdays"
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        "nom" => "Side B : "
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        "nom" => "1. The End Of A Love Affair"
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        "nom" => "2. Whisper Not"
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        "nom" => "3. Ecorah"
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        "nom" => "1. Satin Doll"
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        "nom" => "2. Missile Blues"
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        "nom" => "1. Too Late Now"
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        "nom" => "2. Jingles"
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2087 …}
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[
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    -id: 2643
    -nom: "Tracy Chapman: 35th Anniversary Edition"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Tracy Chapman (acoustic & electric guitar, vocals), Larry Klein (bass), Jack Holder (dulcimer), Jack Holder (electric guitar), David LaFlamme (electric violon), Jack Holder (guitar), Steve Kaplan (harmonica), Bob Marlette, Steve Kaplan (keyboards), Jack Holder (organ), Jack Holder (piano), Jack Holder (sitar), Ed Black (steel guitar), Paulinho Da Costa (percussion), Denny Fongheiser (drums).\r\n
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      """
    -prixVente: "38.00"
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3395
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    -id: 2643
    -nom: "Tracy Chapman: 35th Anniversary Edition"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
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      \r\n
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      """
    -prixVente: "38.00"
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=Q2wneBVssPc"
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    -slug: "vinyles-tracy-chapman-35th-anniversary-edition-rhino-records-0774"
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[
  "produit" => App\Entity\Produit {#2125
    -id: 2657
    -nom: "On View At The Five Spot Cafe - The Complete Masters (3 LP)"
    -informationComplementaire: null
    -description: """
      - Kenny Burrell with Art Blakey "On View At The Five Spot Cafe - The Complete Masters", (3 LP) 180 gram !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\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
      Guitarist Kenny Burrell had already achieved rising star status with several stellar Blue Note albums to his name when he entered the storied NYC jazz club The Five Spot Café on August 25, 1959 to record On View At The Five Spot Café. The band Burrell assembled for the gig was stacked with top talent: Art Blakey on drums, Tina Brooks on tenor saxophone, Roland Hanna and Bobby Timmons on piano, and Ben Tucker on bass. The mood was relaxed and soulful, but the music was red hot and the grooves were deep on that steamy summer evening of hard bop bliss.\r\n
      \r\n
      The newly expanded (3 LP) Tone Poet Vinyl Edition of On View At The Five Spot Café - The Complete Masters gives the listener the best seat in the house and marks the first time Burrell's complete recorded performances from that magical evening have been made available in any format including six previously unissued tracks. Produced for release by Joe Harley, the vinyl is all-analog and cut directly from Rudy Van Gelder's original master tapes by Kevin Gray. Pressed on 180-gram vinyl at RTI, the three LPs come packaged in a deluxe tip-on trifold jacket which includes a booklet with never-before-seen photos by Francis Wolff; an insightful essay by Syd Schwartz; and a new interview with Burrell himself reflecting on the album and the times with Blue Note President Don Was.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1905 …}
    -musicienOrchestre: "Kenny Burrell (guitar), Tina Brooks (tenor saxophone), Roland Hanna, Bobby Timmons (piano), Ben Tucker (bass), Art Blakey (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 3
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    -extraitYoutube: "https://www.youtube.com/watch?v=ZBS3QpfYMSE"
    -referenceProduit: "Blue Note Tone Poet Series 84021"
    -titreMorceau: [
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        "nom" => "1. Birk's Works"
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        "ordre" => 2
        "nom" => "2. Hallelujah"
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        "ordre" => 3
        "nom" => "Side B : "
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        "ordre" => 4
        "nom" => "1. Lady Be Good"
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        "ordre" => 5
        "nom" => "2. Lover Man"
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        "ordre" => 6
        "nom" => "3. 36-23-36"
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        "nom" => "Side C : "
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        "nom" => "1. Swingin'"
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        "nom" => "Side D : "
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        "ordre" => 12
        "nom" => "1. The Next Time You See Me, Things Won't Be The Same"
      ]
      [
        "ordre" => 13
        "nom" => "2. The Take Off"
      ]
      [
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        "nom" => "Side E : "
      ]
      [
        "ordre" => 15
        "nom" => "1. Birks Works"
      ]
      [
        "ordre" => 16
        "nom" => "2. Lady Be Good"
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      [
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        "nom" => "1. Love Walked In"
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      [
        "ordre" => 19
        "nom" => "2. 36-23-36 - The Theme"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2127 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3446
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    -nom: "On View At The Five Spot Cafe - The Complete Masters (3 LP)"
    -informationComplementaire: null
    -description: """
      - Kenny Burrell with Art Blakey "On View At The Five Spot Cafe - The Complete Masters", (3 LP) 180 gram !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\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
      Guitarist Kenny Burrell had already achieved rising star status with several stellar Blue Note albums to his name when he entered the storied NYC jazz club The Five Spot Café on August 25, 1959 to record On View At The Five Spot Café. The band Burrell assembled for the gig was stacked with top talent: Art Blakey on drums, Tina Brooks on tenor saxophone, Roland Hanna and Bobby Timmons on piano, and Ben Tucker on bass. The mood was relaxed and soulful, but the music was red hot and the grooves were deep on that steamy summer evening of hard bop bliss.\r\n
      \r\n
      The newly expanded (3 LP) Tone Poet Vinyl Edition of On View At The Five Spot Café - The Complete Masters gives the listener the best seat in the house and marks the first time Burrell's complete recorded performances from that magical evening have been made available in any format including six previously unissued tracks. Produced for release by Joe Harley, the vinyl is all-analog and cut directly from Rudy Van Gelder's original master tapes by Kevin Gray. Pressed on 180-gram vinyl at RTI, the three LPs come packaged in a deluxe tip-on trifold jacket which includes a booklet with never-before-seen photos by Francis Wolff; an insightful essay by Syd Schwartz; and a new interview with Burrell himself reflecting on the album and the times with Blue Note President Don Was.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1905 …}
    -musicienOrchestre: "Kenny Burrell (guitar), Tina Brooks (tenor saxophone), Roland Hanna, Bobby Timmons (piano), Ben Tucker (bass), Art Blakey (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 3
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=ZBS3QpfYMSE"
    -referenceProduit: "Blue Note Tone Poet Series 84021"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Birk's Works"
      ]
      [
        "ordre" => 2
        "nom" => "2. Hallelujah"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. Lady Be Good"
      ]
      [
        "ordre" => 5
        "nom" => "2. Lover Man"
      ]
      [
        "ordre" => 6
        "nom" => "3. 36-23-36"
      ]
      [
        "ordre" => 7
        "nom" => "Side C : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Swingin'"
      ]
      [
        "ordre" => 9
        "nom" => "2. If You Could See Me Now"
      ]
      [
        "ordre" => 10
        "nom" => "3. Beef Stew Blues"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. The Next Time You See Me, Things Won't Be The Same"
      ]
      [
        "ordre" => 13
        "nom" => "2. The Take Off"
      ]
      [
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        "nom" => "Side E : "
      ]
      [
        "ordre" => 15
        "nom" => "1. Birks Works"
      ]
      [
        "ordre" => 16
        "nom" => "2. Lady Be Good"
      ]
      [
        "ordre" => 17
        "nom" => "Side F : "
      ]
      [
        "ordre" => 18
        "nom" => "1. Love Walked In"
      ]
      [
        "ordre" => 19
        "nom" => "2. 36-23-36 - The Theme"
      ]
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[
  "produit" => App\Entity\Produit {#2143
    -id: 2536
    -nom: "At Folsom Prison"
    -informationComplementaire: null
    -description: """
      - The 1968 album that made Johnny Cash a music legend !\r\n
      - 180 gram double LP, 45 RPM !\r\n
      - 1/4" / 15 ips analog master to DSD 256 to analog console to lathe !\r\n
      - Double LP set plays arresting immediacy, spaciousness, and directness !\r\n
      \r\n
      Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution's forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He'd played there two years prior. But this time was different.\r\n
      \r\n
      Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.\r\n
      \r\n
      Mastered on MoFi's renowned mastering system at its California studio and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set of At Folsom Prison veritably places you in the cafeteria with the hootin' and hollerin' prisoners with which Cash felt a mutual chemistry, sympathy, and spirit. A through-line to the no-frills rawness that helps make this landmark record among the most genuine documents ever committed to tape, this audiophile reissue presents what transpired that winter day with a fullness, directness, spaciousness, and dynamic absent prior editions.\r\n
      \r\n
      You can hear it echo off the walls of the room; pulse through the Tennessee Three's itchy, acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash's knockout singing. The bedrock foundation of all his music, the singer's baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him and the extent he was living the narratives.\r\n
      \r\n
      Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions mental, emotional, physical, geographical, legal, social the inmates confronted on a daily basis. Beginning with the explicit messages of the opening "Folsom Prison Blues", Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That's how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.\r\n
      \r\n
      Listen to the sorrow, regret, pity, and loneliness of Merle Travis' "Dark as the Dungeon", Cash pulling syllables until they threaten to break and inhabiting the mood of bleak phrases such as "pleasures are few" and "the sun never shines". Witness the isolation, dejection, and sadness punctuating the walking-blues "I Still Miss Someone", matched in gravity by a solemn reading of "The Long Black Veil" a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of "Send a Picture of Mother" and plainspoken version of Harlan Howard's "The Wall", detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.\r\n
      \r\n
      In chronicling temptations, mistakes, mortality, punishment, and life "inside" — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant "At Folsom Prison" also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of "Cocaine Blues", taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of "25 Minutes to Go"; quicksilver accents and resigned acceptance of "I Got Stripes"; train-whistle blare and twangy locomotion of "Folsom Prison Blues" all fight the law only to see the law win.\r\n
      \r\n
      Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day's first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black's soon-to-be-wife, June Carter. The couple's fiery duet on "Jackson" scorches; their combination of surrender and fortitude "Give My Love to Rose" puts us in the dying protagonist's shoes.\r\n
      \r\n
      And with the closing "Greystone Chapel", famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he'd return for the remainder of his illustrious career.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Johnny Cash (guitar, vocals), Luther Perkins (electric guitar), Carl Perkins (electric guitar, vocals), Marshall Grant (bass), June Carter Cash, The Statler Brothers (vocals), The Carter Family (guitar, vocals), Randall Martin, W.S. Holland (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=GpZ-2HDJzFw"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-543"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Folsom Prison Blues"
      ]
      [
        "ordre" => 2
        "nom" => "2. Dark As The Dungeon"
      ]
      [
        "ordre" => 3
        "nom" => "3. I Still Miss Someone"
      ]
      [
        "ordre" => 4
        "nom" => "4. Cocaine Blues"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. 25 Minutes To Go"
      ]
      [
        "ordre" => 7
        "nom" => "2. Orange Blossom Special"
      ]
      [
        "ordre" => 8
        "nom" => "3. The Long Black Veil"
      ]
      [
        "ordre" => 9
        "nom" => "Side C :"
      ]
      [
        "ordre" => 10
        "nom" => "1. Send A Picture Of Mother"
      ]
      [
        "ordre" => 11
        "nom" => "2. The Wall"
      ]
      [
        "ordre" => 12
        "nom" => "3. Dirty Old Eggsuckin' Dog"
      ]
      [
        "ordre" => 13
        "nom" => "4. Flushed From The Bathroom Of Your Heart"
      ]
      [
        "ordre" => 14
        "nom" => "5. Jackson - with June Carter"
      ]
      [
        "ordre" => 15
        "nom" => "Side D : "
      ]
      [
        "ordre" => 16
        "nom" => "1. Give My Love To Rose - with June Carter"
      ]
      [
        "ordre" => 17
        "nom" => "2. I Got Stripes"
      ]
      [
        "ordre" => 18
        "nom" => "3. Green, Green Grass Of Home"
      ]
      [
        "ordre" => 19
        "nom" => "4. Greystone Chapel"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2145 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3497
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  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2143
    -id: 2536
    -nom: "At Folsom Prison"
    -informationComplementaire: null
    -description: """
      - The 1968 album that made Johnny Cash a music legend !\r\n
      - 180 gram double LP, 45 RPM !\r\n
      - 1/4" / 15 ips analog master to DSD 256 to analog console to lathe !\r\n
      - Double LP set plays arresting immediacy, spaciousness, and directness !\r\n
      \r\n
      Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution's forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He'd played there two years prior. But this time was different.\r\n
      \r\n
      Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.\r\n
      \r\n
      Mastered on MoFi's renowned mastering system at its California studio and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 45 RPM (2 LP) set of At Folsom Prison veritably places you in the cafeteria with the hootin' and hollerin' prisoners with which Cash felt a mutual chemistry, sympathy, and spirit. A through-line to the no-frills rawness that helps make this landmark record among the most genuine documents ever committed to tape, this audiophile reissue presents what transpired that winter day with a fullness, directness, spaciousness, and dynamic absent prior editions.\r\n
      \r\n
      You can hear it echo off the walls of the room; pulse through the Tennessee Three's itchy, acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash's knockout singing. The bedrock foundation of all his music, the singer's baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him and the extent he was living the narratives.\r\n
      \r\n
      Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions mental, emotional, physical, geographical, legal, social the inmates confronted on a daily basis. Beginning with the explicit messages of the opening "Folsom Prison Blues", Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That's how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.\r\n
      \r\n
      Listen to the sorrow, regret, pity, and loneliness of Merle Travis' "Dark as the Dungeon", Cash pulling syllables until they threaten to break and inhabiting the mood of bleak phrases such as "pleasures are few" and "the sun never shines". Witness the isolation, dejection, and sadness punctuating the walking-blues "I Still Miss Someone", matched in gravity by a solemn reading of "The Long Black Veil" a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of "Send a Picture of Mother" and plainspoken version of Harlan Howard's "The Wall", detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.\r\n
      \r\n
      In chronicling temptations, mistakes, mortality, punishment, and life "inside" — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant "At Folsom Prison" also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of "Cocaine Blues", taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of "25 Minutes to Go"; quicksilver accents and resigned acceptance of "I Got Stripes"; train-whistle blare and twangy locomotion of "Folsom Prison Blues" all fight the law only to see the law win.\r\n
      \r\n
      Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day's first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black's soon-to-be-wife, June Carter. The couple's fiery duet on "Jackson" scorches; their combination of surrender and fortitude "Give My Love to Rose" puts us in the dying protagonist's shoes.\r\n
      \r\n
      And with the closing "Greystone Chapel", famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he'd return for the remainder of his illustrious career.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Johnny Cash (guitar, vocals), Luther Perkins (electric guitar), Carl Perkins (electric guitar, vocals), Marshall Grant (bass), June Carter Cash, The Statler Brothers (vocals), The Carter Family (guitar, vocals), Randall Martin, W.S. Holland (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=GpZ-2HDJzFw"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-543"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
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        "ordre" => 1
        "nom" => "1. Folsom Prison Blues"
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        "ordre" => 2
        "nom" => "2. Dark As The Dungeon"
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      [
        "ordre" => 3
        "nom" => "3. I Still Miss Someone"
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      [
        "ordre" => 4
        "nom" => "4. Cocaine Blues"
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      [
        "ordre" => 5
        "nom" => "Side B : "
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      [
        "ordre" => 6
        "nom" => "1. 25 Minutes To Go"
      ]
      [
        "ordre" => 7
        "nom" => "2. Orange Blossom Special"
      ]
      [
        "ordre" => 8
        "nom" => "3. The Long Black Veil"
      ]
      [
        "ordre" => 9
        "nom" => "Side C :"
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        "ordre" => 10
        "nom" => "1. Send A Picture Of Mother"
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      [
        "ordre" => 11
        "nom" => "2. The Wall"
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        "nom" => "3. Dirty Old Eggsuckin' Dog"
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        "nom" => "5. Jackson - with June Carter"
      ]
      [
        "ordre" => 15
        "nom" => "Side D : "
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      [
        "ordre" => 16
        "nom" => "1. Give My Love To Rose - with June Carter"
      ]
      [
        "ordre" => 17
        "nom" => "2. I Got Stripes"
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      [
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        "nom" => "3. Green, Green Grass Of Home"
      ]
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        "nom" => "4. Greystone Chapel"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2145 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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[
  "produit" => App\Entity\Produit {#2159
    -id: 2428
    -nom: "The Healer"
    -informationComplementaire: null
    -description: """
      - John Lee Hooker's The Healer from Analogue Productions !\r\n
      - 180 gram 45 RPM double LP release !\r\n
      - Lacquers cut by Bernie Grundman !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      The Healer is a critically acclaimed album by the legendary blues musician John Lee Hooker. Released in 1989, it stands as a testament to Hooker's profound influence on the genre and his ability to evolve his sound while staying true to his roots. The album showcases his distinctive guitar style, gritty vocals, and masterful storytelling, creating an immersive and emotionally charged musical experience.\r\n
      \r\n
      The Healer features an impressive array of guest artists, each bringing their unique talents to the table. Renowned musicians such as Carlos Santana, Bonnie Raitt, Robert Cray, Canned Heat, and Los Lobos join forces with Hooker, creating a rich tapestry of blues, rock, and soul.\r\n
      \r\n
      On the title track Hooker's deep, resonant voice combined with Santana's searing guitar work creates an unforgettable blues anthem that speaks to the power of music as a healing force. The lyrics are introspective, introspective, and poignant, reflecting on the struggles of life and the solace found in the blues.\r\n
      \r\n
      Throughout the album, Hooker explores a range of themes, from love and loss to societal issues and personal introspection. Tracks like "I'm in the Mood" and "Baby Lee" exude a raw sensuality, showcasing Hooker's ability to infuse his music with passion and desire. Meanwhile, songs like "Cry Baby" and "The Healing Game" delve into deeper emotional territory, capturing the pain and resilience of the human spirit.\r\n
      \r\n
      Hooker was 73 years of age when The Healer came out and earned his first of many future Grammy accolades, winning Best Traditional Blues Recording for "I'm In The Mood". This edition features lacquers cut by Bernie Grundman, and pressing on 180 gram vinyl at Quality Record Pressings, for superior sound.\r\n
      \r\n
      With its exceptional musicianship, thought-provoking lyrics, and powerful collaborations, The Healer remains a standout album in John Lee Hooker's discography.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "John Lee Hooker (vocals, guitar),?Carlos Santana & The Santana Band (guitar, tymbales, congas, drums), Bonnie Raitt (vocal, slide guitar), Robert Cray (guitar), George Thorogood (guitar), Charlie Musselwhite, (harmonica)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=lE4P8r8FENY"
    -referenceProduit: "Analogue Productions AAPB 148-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
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      [
        "ordre" => 1
        "nom" => "1. The Healer "
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        "nom" => "2. No Substitute"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2161 …}
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    -modifierLe: DateTime @1769792656 {#2157
      date: 2026-01-30 17:04:16.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -slug: "vinyles-the-healer-analogue-productions-aapb-148-45"
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App\Twig\Components\GestionPanierFavoriComponents {#3548
  -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 {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2159
    -id: 2428
    -nom: "The Healer"
    -informationComplementaire: null
    -description: """
      - John Lee Hooker's The Healer from Analogue Productions !\r\n
      - 180 gram 45 RPM double LP release !\r\n
      - Lacquers cut by Bernie Grundman !\r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      The Healer is a critically acclaimed album by the legendary blues musician John Lee Hooker. Released in 1989, it stands as a testament to Hooker's profound influence on the genre and his ability to evolve his sound while staying true to his roots. The album showcases his distinctive guitar style, gritty vocals, and masterful storytelling, creating an immersive and emotionally charged musical experience.\r\n
      \r\n
      The Healer features an impressive array of guest artists, each bringing their unique talents to the table. Renowned musicians such as Carlos Santana, Bonnie Raitt, Robert Cray, Canned Heat, and Los Lobos join forces with Hooker, creating a rich tapestry of blues, rock, and soul.\r\n
      \r\n
      On the title track Hooker's deep, resonant voice combined with Santana's searing guitar work creates an unforgettable blues anthem that speaks to the power of music as a healing force. The lyrics are introspective, introspective, and poignant, reflecting on the struggles of life and the solace found in the blues.\r\n
      \r\n
      Throughout the album, Hooker explores a range of themes, from love and loss to societal issues and personal introspection. Tracks like "I'm in the Mood" and "Baby Lee" exude a raw sensuality, showcasing Hooker's ability to infuse his music with passion and desire. Meanwhile, songs like "Cry Baby" and "The Healing Game" delve into deeper emotional territory, capturing the pain and resilience of the human spirit.\r\n
      \r\n
      Hooker was 73 years of age when The Healer came out and earned his first of many future Grammy accolades, winning Best Traditional Blues Recording for "I'm In The Mood". This edition features lacquers cut by Bernie Grundman, and pressing on 180 gram vinyl at Quality Record Pressings, for superior sound.\r\n
      \r\n
      With its exceptional musicianship, thought-provoking lyrics, and powerful collaborations, The Healer remains a standout album in John Lee Hooker's discography.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "John Lee Hooker (vocals, guitar),?Carlos Santana & The Santana Band (guitar, tymbales, congas, drums), Bonnie Raitt (vocal, slide guitar), Robert Cray (guitar), George Thorogood (guitar), Charlie Musselwhite, (harmonica)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=lE4P8r8FENY"
    -referenceProduit: "Analogue Productions AAPB 148-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
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      [
        "ordre" => 1
        "nom" => "1. The Healer "
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        "nom" => "Side B :"
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        "nom" => "1. Baby Lee "
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        "nom" => "2. Cuttin' Out "
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        "ordre" => 6
        "nom" => "5. Think Twice Before You Go "
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      [
        "ordre" => 7
        "nom" => "Side C : "
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        "ordre" => 8
        "nom" => "1. Sally Mae "
      ]
      [
        "ordre" => 9
        "nom" => "2. That's Alright "
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      [
        "ordre" => 10
        "nom" => "3. Rockin' Chair "
      ]
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        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "1. My Dream "
      ]
      [
        "ordre" => 13
        "nom" => "2. No Substitute"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2161 …}
    -label: Proxies\__CG__\App\Entity\Label {#2090 …}
    -style: App\Entity\Style {#1436 …}
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[
  "produit" => App\Entity\Produit {#2175
    -id: 1227
    -nom: "Kick"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - 6 x platinum-selling album includes "New Sensation", "Never Tear Us Apart", "Devil Inside", and the N° 1 hit Need You Tonight" !\r\n
      - 180 gram 45 RPM double LP release !\r\n
      - Mastered by Ryan K. Smith from an EQ'd Dolby tape copy !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      "...there's an immense, gutsy weight and power to this. Michael Hutchence's voice on the Analogue Productions version is far more in a natural, ambient kind of space ... it's soft, and warm and airy and seductive. ... but this is not in any way, shape or form implying that this soft and fuzzy around the edges, or smoothed over ... it absolutely isn't. I think this is supremely judged by Ryan Smith. ... the bass is really deep, really weighty, there's a phenomenal kind of kick, and power and drive." - Dave Denyer, Youtube video\r\n
      \r\n
      "You have such wonderful air between all those instruments. You have a lot of attack in this record ... it opens it up so brilliantly without ... in a nutshell, this reissue makes this brilliant record an unbelievable record". - Michael Ludwigs, 45 RPM Audiophile, YouTube video\r\n
      \r\n
      Kick, the sixth and best-selling 1987 studio album by Australian band INXS, has the unmistakable sound personified by its four U.S. Top 10 singles, "New Sensation", "Never Tear Us Apart", "Devil Inside" and "Need You Tonight", - which reached the top of the U.S. Billboard singles charts.\r\n
      \r\n
      Between 1980 and 1984, INXS released four studio albums and had toured their native country Australia extensively. With Kick, producer Chris Thomas fused the funk and soul of their previous album The Swing with the mainstream rock of Listen Like Thieves. In an interview with MusicRadar, Andrew Farriss stated, "The melding of funk and rock was always in our heads. We were very excited about the idea of overlaying two types of songs and genres together".\r\n
      \r\n
      Kick showcased a diverse range of musical styles, blending rock, pop, funk, and dance elements. This versatility appealed to a wide audience, making the album accessible to fans of different genres. It's four catchy singles became radio staples and were accompanied by stylish music videos, helping propel INXS to international stardom.\r\n
      \r\n
      Incorporating elements such as electronic percussion and synthesizers gave Kick a modern sound, helping it stand out, together with Michael Hutchence's charismatic and sultry vocals that created a strong emotional connection.\r\n
      \r\n
      All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from an EQ'd Dolby tape copy by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180 gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Kirk Pengilly (guitar, saxophone, vocals), Tim Farriss (guitar),  Andrew Farriss (guitar, keyboards, harmonica), Garry Gary Beers (bass),  Michael Hutchence (vocals), Jon Farriss (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=ROyk9PPBMTQ"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) AAPA 032-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Guns in the Sky"
      ]
      [
        "ordre" => 2
        "nom" => "2. New Sensation"
      ]
      [
        "ordre" => 3
        "nom" => "3. Devil Inside"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Need You Tonight"
      ]
      [
        "ordre" => 6
        "nom" => "2. Mediate"
      ]
      [
        "ordre" => 7
        "nom" => "3. The Loved One"
      ]
      [
        "ordre" => 8
        "nom" => "Side C : "
      ]
      [
        "ordre" => 9
        "nom" => "1. Wild Life"
      ]
      [
        "ordre" => 10
        "nom" => "2. Never Tear Us Apart"
      ]
      [
        "ordre" => 11
        "nom" => "3. Mystify"
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Kick"
      ]
      [
        "ordre" => 14
        "nom" => "2. Calling All Nations"
      ]
      [
        "ordre" => 15
        "nom" => "3. Tiny Daggers"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2177 …}
    -label: Proxies\__CG__\App\Entity\Label {#2180 …}
    -style: App\Entity\Style {#1452 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2189 …}
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    -enregistreLe: DateTime @1507966453 {#2172
      date: 2017-10-14 07:34:13.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769358584 {#2173
      date: 2026-01-25 16:29:44.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2186 …}
    -disponible: null
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    -slug: "vinyles-kick-analogue-productions-atlantic-75-series-aapa-032-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3599
  -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 {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2175
    -id: 1227
    -nom: "Kick"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - 6 x platinum-selling album includes "New Sensation", "Never Tear Us Apart", "Devil Inside", and the N° 1 hit Need You Tonight" !\r\n
      - 180 gram 45 RPM double LP release !\r\n
      - Mastered by Ryan K. Smith from an EQ'd Dolby tape copy !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      "...there's an immense, gutsy weight and power to this. Michael Hutchence's voice on the Analogue Productions version is far more in a natural, ambient kind of space ... it's soft, and warm and airy and seductive. ... but this is not in any way, shape or form implying that this soft and fuzzy around the edges, or smoothed over ... it absolutely isn't. I think this is supremely judged by Ryan Smith. ... the bass is really deep, really weighty, there's a phenomenal kind of kick, and power and drive." - Dave Denyer, Youtube video\r\n
      \r\n
      "You have such wonderful air between all those instruments. You have a lot of attack in this record ... it opens it up so brilliantly without ... in a nutshell, this reissue makes this brilliant record an unbelievable record". - Michael Ludwigs, 45 RPM Audiophile, YouTube video\r\n
      \r\n
      Kick, the sixth and best-selling 1987 studio album by Australian band INXS, has the unmistakable sound personified by its four U.S. Top 10 singles, "New Sensation", "Never Tear Us Apart", "Devil Inside" and "Need You Tonight", - which reached the top of the U.S. Billboard singles charts.\r\n
      \r\n
      Between 1980 and 1984, INXS released four studio albums and had toured their native country Australia extensively. With Kick, producer Chris Thomas fused the funk and soul of their previous album The Swing with the mainstream rock of Listen Like Thieves. In an interview with MusicRadar, Andrew Farriss stated, "The melding of funk and rock was always in our heads. We were very excited about the idea of overlaying two types of songs and genres together".\r\n
      \r\n
      Kick showcased a diverse range of musical styles, blending rock, pop, funk, and dance elements. This versatility appealed to a wide audience, making the album accessible to fans of different genres. It's four catchy singles became radio staples and were accompanied by stylish music videos, helping propel INXS to international stardom.\r\n
      \r\n
      Incorporating elements such as electronic percussion and synthesizers gave Kick a modern sound, helping it stand out, together with Michael Hutchence's charismatic and sultry vocals that created a strong emotional connection.\r\n
      \r\n
      All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from an EQ'd Dolby tape copy by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180 gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Kirk Pengilly (guitar, saxophone, vocals), Tim Farriss (guitar),  Andrew Farriss (guitar, keyboards, harmonica), Garry Gary Beers (bass),  Michael Hutchence (vocals), Jon Farriss (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=ROyk9PPBMTQ"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) AAPA 032-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
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      [
        "ordre" => 1
        "nom" => "1. Guns in the Sky"
      ]
      [
        "ordre" => 2
        "nom" => "2. New Sensation"
      ]
      [
        "ordre" => 3
        "nom" => "3. Devil Inside"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Need You Tonight"
      ]
      [
        "ordre" => 6
        "nom" => "2. Mediate"
      ]
      [
        "ordre" => 7
        "nom" => "3. The Loved One"
      ]
      [
        "ordre" => 8
        "nom" => "Side C : "
      ]
      [
        "ordre" => 9
        "nom" => "1. Wild Life"
      ]
      [
        "ordre" => 10
        "nom" => "2. Never Tear Us Apart"
      ]
      [
        "ordre" => 11
        "nom" => "3. Mystify"
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Kick"
      ]
      [
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        "nom" => "2. Calling All Nations"
      ]
      [
        "ordre" => 15
        "nom" => "3. Tiny Daggers"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2177 …}
    -label: Proxies\__CG__\App\Entity\Label {#2180 …}
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    -modifierLe: DateTime @1769358584 {#2173
      date: 2026-01-25 16:29:44.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2186 …}
    -disponible: null
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    -slug: "vinyles-kick-analogue-productions-atlantic-75-series-aapa-032-45"
  }
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2194
    -id: 2535
    -nom: "Come Away With Me  (20th Anniversary Remaster)"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Norah Jones (piano, electric piano, vocals), Adam Levy, Jesse Harris, Kevin Breit, Tony Scherr (acoustic guitar), Adam Levy, Bill Frisell, Jesse Harris, Kevin Breit (electric guitar), Lee Alexander (bass), Adam Rogers, Kevin Breit (guitar), Sam Yahel (organ Hammond B3), Rob Burger (organ Pump), Tony Scherr (slide guitar), Rob Burger (accordion), Jenny Scheinman (violin), Brian Blade (percussion), Brian Blade, Dan Rieser, Kenny Wollesen (drums).\r\n
      \r\n
      - 20th Anniversary Edition Come Away With Me !\r\n
      - Includes remastered 180 gram original album !\r\n
      \r\n
      Norah Jones' seminal debut album, Come Away With Me, became a global phenomenon reaching N° 1 in 20 countries, selling nearly 30 million copies, and sweeping the 2003 Grammy Awards with eight wins including Album of the Year, Record of the Year, Song of the Year, and Best New Artist. The remastered 20th Anniversary Edition captures the emergence of a singular talent on this now-classic album.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Norah Jones (piano, electric piano, vocals), Adam Levy, Jesse Harris, Kevin Breit, Tony Scherr (acoustic guitar), Adam Levy, Bill Frisell, Jesse Harris, Kevin Breit (electric guitar), Lee Alexander (bass), Adam Rogers, Kevin Breit (guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=9e5qNUd6gBA"
    -referenceProduit: "Blue Note Records 2001"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
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        "ordre" => 1
        "nom" => "1. Don’t Know Why"
      ]
      [
        "ordre" => 2
        "nom" => "2. Seven Years"
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      [
        "ordre" => 3
        "nom" => "3. Cold Cold Heart"
      ]
      [
        "ordre" => 4
        "nom" => "4. Feelin’ The Same Way"
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      [
        "ordre" => 5
        "nom" => "5. Come Away With Me"
      ]
      [
        "ordre" => 6
        "nom" => "6. Shoot The Moon"
      ]
      [
        "ordre" => 7
        "nom" => "7. Turn Me On"
      ]
      [
        "ordre" => 8
        "nom" => "Side B : "
      ]
      [
        "ordre" => 9
        "nom" => "1. Lonestar"
      ]
      [
        "ordre" => 10
        "nom" => "2. I’ve Got To See You Again"
      ]
      [
        "ordre" => 11
        "nom" => "3. Painter Song"
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      [
        "ordre" => 12
        "nom" => "4. One Flight Down"
      ]
      [
        "ordre" => 13
        "nom" => "5. Nightingale"
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        "ordre" => 14
        "nom" => "6. The Long Day Is Over"
      ]
      [
        "ordre" => 15
        "nom" => "7. The Nearness Of You"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2196 …}
    -label: Proxies\__CG__\App\Entity\Label {#2199 …}
    -style: App\Entity\Style {#1461 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2208 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2201 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2203 …}
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    }
    -modifierLe: DateTime @1769331850 {#2192
      date: 2026-01-25 09:04:10.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2205 …}
    -disponible: null
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    -slug: "vinyles-come-away-with-me-20th-anniversary-remaster-blue-note-records-2001"
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App\Twig\Components\GestionPanierFavoriComponents {#3650
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2194
    -id: 2535
    -nom: "Come Away With Me  (20th Anniversary Remaster)"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Norah Jones (piano, electric piano, vocals), Adam Levy, Jesse Harris, Kevin Breit, Tony Scherr (acoustic guitar), Adam Levy, Bill Frisell, Jesse Harris, Kevin Breit (electric guitar), Lee Alexander (bass), Adam Rogers, Kevin Breit (guitar), Sam Yahel (organ Hammond B3), Rob Burger (organ Pump), Tony Scherr (slide guitar), Rob Burger (accordion), Jenny Scheinman (violin), Brian Blade (percussion), Brian Blade, Dan Rieser, Kenny Wollesen (drums).\r\n
      \r\n
      - 20th Anniversary Edition Come Away With Me !\r\n
      - Includes remastered 180 gram original album !\r\n
      \r\n
      Norah Jones' seminal debut album, Come Away With Me, became a global phenomenon reaching N° 1 in 20 countries, selling nearly 30 million copies, and sweeping the 2003 Grammy Awards with eight wins including Album of the Year, Record of the Year, Song of the Year, and Best New Artist. The remastered 20th Anniversary Edition captures the emergence of a singular talent on this now-classic album.
      """
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    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Norah Jones (piano, electric piano, vocals), Adam Levy, Jesse Harris, Kevin Breit, Tony Scherr (acoustic guitar), Adam Levy, Bill Frisell, Jesse Harris, Kevin Breit (electric guitar), Lee Alexander (bass), Adam Rogers, Kevin Breit (guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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    -referenceProduit: "Blue Note Records 2001"
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        "nom" => "2. I’ve Got To See You Again"
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        "nom" => "3. Painter Song"
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        "nom" => "4. One Flight Down"
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        "nom" => "5. Nightingale"
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        "nom" => "7. The Nearness Of You"
      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2196 …}
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    -disponible: null
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}

[
  "produit" => App\Entity\Produit {#2215
    -id: 2658
    -nom: "Third Season"
    -informationComplementaire: null
    -description: """
      - Hank Mobley "Third Season" 180 gram LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      - Deluxe tip-on jacket !\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
      Recorded in 1967 but not released until 1980 as part of the LT Series, Hank Mobley's Third Season was a typically high-caliber late-60s hard bop outing by the tenor saxophonist with a heavy focus on his own original compositions. Mobley had expanded his palette the year before on A Slice of the Top, an octet date featuring arrangements by Duke Pearson, but Third Season felt like a return to a looser, small group feel despite the fact that it still featured a 7 piece band.\r\n
      \r\n
      Joining Mobley here are alto saxophonist James Spaulding, trumpeter Lee Morgan, guitarist Sonny Greenwich, pianist Cedar Walton, bassist Walter Booker, and drummer Billy Higgins. The six-song set includes Morgan's blues "The Steppin' Stone", but otherwise presents a diverse collection of Mobley's originals including the hard-charging opener "An Aperitif", laid-back swinger "Don't Cry, Just Sigh", breezy "Boss Bossa", gospel-tinged boogaloo "Give Me That Feelin'", and the intricate title track.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Hank Mobley (tenor saxophone), James Spaulding (alto saxophone), Lee Morgan (trumpet), Sonny Greenwich (guitar),; Cedar Walton (piano), Walter Booker (bass), Billy Higgins (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: true
    -extraitYoutube: "https://www.youtube.com/watch?v=qiUANS_Zzpg"
    -referenceProduit: "Blue Note Tone Poet Series 81081"
    -titreMorceau: [
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        "nom" => "2. Boss Bossa"
      ]
      [
        "ordre" => 7
        "nom" => "3. Give Me That Feelin'"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2217 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2221 …}
    -enregistreLe: DateTime @1741210592 {#2211
      date: 2025-03-05 21:36:32.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769181657 {#2210
      date: 2026-01-23 15:20:57.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2223 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-third-season-blue-note-tone-poet-series-81081"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3701
  -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 {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2215
    -id: 2658
    -nom: "Third Season"
    -informationComplementaire: null
    -description: """
      - Hank Mobley "Third Season" 180 gram LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      - Deluxe tip-on jacket !\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
      Recorded in 1967 but not released until 1980 as part of the LT Series, Hank Mobley's Third Season was a typically high-caliber late-60s hard bop outing by the tenor saxophonist with a heavy focus on his own original compositions. Mobley had expanded his palette the year before on A Slice of the Top, an octet date featuring arrangements by Duke Pearson, but Third Season felt like a return to a looser, small group feel despite the fact that it still featured a 7 piece band.\r\n
      \r\n
      Joining Mobley here are alto saxophonist James Spaulding, trumpeter Lee Morgan, guitarist Sonny Greenwich, pianist Cedar Walton, bassist Walter Booker, and drummer Billy Higgins. The six-song set includes Morgan's blues "The Steppin' Stone", but otherwise presents a diverse collection of Mobley's originals including the hard-charging opener "An Aperitif", laid-back swinger "Don't Cry, Just Sigh", breezy "Boss Bossa", gospel-tinged boogaloo "Give Me That Feelin'", and the intricate title track.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Hank Mobley (tenor saxophone), James Spaulding (alto saxophone), Lee Morgan (trumpet), Sonny Greenwich (guitar),; Cedar Walton (piano), Walter Booker (bass), Billy Higgins (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
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    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=qiUANS_Zzpg"
    -referenceProduit: "Blue Note Tone Poet Series 81081"
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      ]
      [
        "ordre" => 7
        "nom" => "3. Give Me That Feelin'"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2217 …}
    -label: Proxies\__CG__\App\Entity\Label {#2069 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2226 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2219 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2221 …}
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      date: 2025-03-05 21:36:32.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769181657 {#2210
      date: 2026-01-23 15:20:57.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2223 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-third-season-blue-note-tone-poet-series-81081"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

[
  "produit" => App\Entity\Produit {#2233
    -id: 2585
    -nom: "A Slice of the Top"
    -informationComplementaire: null
    -description: """
      - 180 gram LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      - Deluxe tip-on jacket !\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
      Tenor saxophonist Hank Mobley had already been building a formidable Blue Note catalog for more than a decade when he conceived of his unique album A Slice of the Top, which was recorded in 1966 but not first released until 1979 as part of the LT Series. Inspired by Miles Davis' Birth of the Cool, Mobley collaborated with Duke Pearson who arranged four Mobley originals and the pop standard "There's a Lull In My Life" for an octet that added Kiane Zawadi's euphonium and Howard Johnson's tuba to a group consisting of James Spaulding on alto saxophone and flute, Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums. Behold Mobley's lyrical flights on standout tunes including "Hank's Other Bag", "A Touch of Blue", and "A Slice of the Top".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Hank Mobley (tenor saxophone), James Spaulding -(alto saxophone), Lee Morgan (trumpet), Kiane Zawadi (euphonium), Howard Johnson (tuba), McCoy Tyner (piano), Bob Cranshaw (bass), Billy Higgins (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: true
    -extraitYoutube: "https://www.youtube.com/watch?v=7_5VVj_iAmE"
    -referenceProduit: "Blue Note Tone Poet Series 33582"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Hank's Other Bag"
      ]
      [
        "ordre" => 2
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      [
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      [
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        "nom" => "1. A Touch Of Blue"
      ]
      [
        "ordre" => 6
        "nom" => "2. A Slice Of The Top"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2217 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2236 …}
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    -modifierLe: DateTime @1769181100 {#2228
      date: 2026-01-23 15:11:40.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2238 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-a-slice-of-the-top-blue-note-tone-poet-series-33582"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3754
  -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 {#2667 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2233
    -id: 2585
    -nom: "A Slice of the Top"
    -informationComplementaire: null
    -description: """
      - 180 gram LP !\r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      - Plated and pressed at RTI !\r\n
      - Deluxe tip-on jacket !\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
      Tenor saxophonist Hank Mobley had already been building a formidable Blue Note catalog for more than a decade when he conceived of his unique album A Slice of the Top, which was recorded in 1966 but not first released until 1979 as part of the LT Series. Inspired by Miles Davis' Birth of the Cool, Mobley collaborated with Duke Pearson who arranged four Mobley originals and the pop standard "There's a Lull In My Life" for an octet that added Kiane Zawadi's euphonium and Howard Johnson's tuba to a group consisting of James Spaulding on alto saxophone and flute, Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums. Behold Mobley's lyrical flights on standout tunes including "Hank's Other Bag", "A Touch of Blue", and "A Slice of the Top".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Hank Mobley (tenor saxophone), James Spaulding -(alto saxophone), Lee Morgan (trumpet), Kiane Zawadi (euphonium), Howard Johnson (tuba), McCoy Tyner (piano), Bob Cranshaw (bass), Billy Higgins (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: true
    -extraitYoutube: "https://www.youtube.com/watch?v=7_5VVj_iAmE"
    -referenceProduit: "Blue Note Tone Poet Series 33582"
    -titreMorceau: [
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      ]
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      ]
      [
        "ordre" => 3
        "nom" => "3. Cute 'N Pretty"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. A Touch Of Blue"
      ]
      [
        "ordre" => 6
        "nom" => "2. A Slice Of The Top"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2217 …}
    -label: Proxies\__CG__\App\Entity\Label {#2069 …}
    -style: App\Entity\Style {#1449 …}
    -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 @1730278002 {#2229
      date: 2024-10-30 08:46:42.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769181100 {#2228
      date: 2026-01-23 15:11:40.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2238 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-a-slice-of-the-top-blue-note-tone-poet-series-33582"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3950
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2435 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3951 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3999 …}
  +isValidated: false
  +validatedFields: []
}