Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2560
  -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 {#2407 …}
}

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

App\Twig\Components\ListePanier {#2637
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2640 …}
  -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 {#2639 …}
  -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 {#2407 …}
  -formView: Symfony\Component\Form\FormView {#2676 …}
  -form: Symfony\Component\Form\Form {#2826 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1821
    -id: 1676
    -nom: "Dakar"
    -informationComplementaire: ""
    -description: "In the spring of 1957, John Coltrane had gone through two years of artistic growth so concentrated it was astonishing even in the jazz world, where compressed musical development is far from unknown. As the other horn in the Miles Davis Quintet, Coltrane had moved from virtual obscurity to acclaim as the tenor saxophone innovator of the decade. Although major stylistic departures were to come, Coltrane was at a peak of the probing lyricism and strength of his middle period. With the interestingly contrasted baritone saxophonist Cecil Payne and Pepper Adams, and a rhythm section of great smoothness and swing, Dakar is a gem in the Coltrane discography."
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1859 …}
    -musicienOrchestre: "John Coltrane (tenor saxophone), Cecil Payne, Pepper Adams (baritone saxophone), Doug Watkins (bass), Mal Waldron (piano), Art Taylor (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1116 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=igQtZBfzez8"
    -referenceProduit: "Original Jazz Classics 0393"
    -titreMorceau: [
      [
        "nom" => "1. Dakar"
        "ordre" => 1
      ]
      [
        "nom" => "1. Velvet Scene"
        "ordre" => 5
      ]
      [
        "nom" => "2. Mary's Blues"
        "ordre" => 2
      ]
      [
        "nom" => "2. Witches Pit"
        "ordre" => 6
      ]
      [
        "nom" => "3. Cat Walk"
        "ordre" => 7
      ]
      [
        "nom" => "3. Route 4"
        "ordre" => 3
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1558160501 {#1876
      date: 2019-05-18 06:21:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1667117984 {#1869
      date: 2022-10-30 08:19:44.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-dakar-original-jazz-classics-0393"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3100
  -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 {#2639 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#1821
    -id: 1676
    -nom: "Dakar"
    -informationComplementaire: ""
    -description: "In the spring of 1957, John Coltrane had gone through two years of artistic growth so concentrated it was astonishing even in the jazz world, where compressed musical development is far from unknown. As the other horn in the Miles Davis Quintet, Coltrane had moved from virtual obscurity to acclaim as the tenor saxophone innovator of the decade. Although major stylistic departures were to come, Coltrane was at a peak of the probing lyricism and strength of his middle period. With the interestingly contrasted baritone saxophonist Cecil Payne and Pepper Adams, and a rhythm section of great smoothness and swing, Dakar is a gem in the Coltrane discography."
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1859 …}
    -musicienOrchestre: "John Coltrane (tenor saxophone), Cecil Payne, Pepper Adams (baritone saxophone), Doug Watkins (bass), Mal Waldron (piano), Art Taylor (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1116 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=igQtZBfzez8"
    -referenceProduit: "Original Jazz Classics 0393"
    -titreMorceau: [
      [
        "nom" => "1. Dakar"
        "ordre" => 1
      ]
      [
        "nom" => "1. Velvet Scene"
        "ordre" => 5
      ]
      [
        "nom" => "2. Mary's Blues"
        "ordre" => 2
      ]
      [
        "nom" => "2. Witches Pit"
        "ordre" => 6
      ]
      [
        "nom" => "3. Cat Walk"
        "ordre" => 7
      ]
      [
        "nom" => "3. Route 4"
        "ordre" => 3
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1558160501 {#1876
      date: 2019-05-18 06:21:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1667117984 {#1869
      date: 2022-10-30 08:19:44.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-dakar-original-jazz-classics-0393"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2407 …}
}

[
  "produit" => App\Entity\Produit {#2045
    -id: 2306
    -nom: "Re: Imagined II"
    -informationComplementaire: ""
    -description: """
      Blue Note Re:imagined returns with a 16 track compilation featuring fresh takes on music from the illustrious Blue Note Records vaults recorded by a heavyweight lineup of the UK jazz, soul, and R&B scene's most hotly tipped rising stars. Arriving off the back of the widespread international success of the first volume, which topped jazz charts around the globe, Blue Note Re:imagined II once again infuses the spirit of the new UK jazz generation into the legendary label's iconic catalog, balancing the genre's tradition with its future and reflecting the melting pot of talent and diversity within the current scene.\r\n
      \r\n
      The first track to be released is South London vocalist Ego Ella May's reimagining of visionary drummer Chico Hamilton's "The Morning Side of Love", which first appeared on Hamilton's 1975 Blue Note album Peregrinations. Her version mirrors the understated, laid-back groove of the original while showcasing Ella May's arresting vocals.\r\n
      \r\n
      "For more than eight decades the artists of Blue Note Records have continually pushed the envelope of contemporary music", said Blue Note President Don Was. "Blue Note Re : imagined II once again honors that legacy by letting the UK's most creative young artists reinvent the treasures of the Blue Note catalog through their own lens".\r\n
      \r\n
      Additional tracks on the album will include funk-pop duo Franc Moody's version of Donald Byrd's "Cristo Redentor", fast-emerging vocalist Cherise's take on Norah Jones' "Sunrise", Maya Delilah covering Neil Young's "Harvest Moon", which was recorded by Cassandra Wilson on her 1995 Blue Note album New Moon Daughter, Birmingham-born pianist Reuben James' reimagining of Wayne Shorter's ballad "Infant Eyes", London tuba player and Sons of Kemet member Theon Cross with a version of Thelonious Monk's composition "Epistrophy," and nine-piece Afro-jazz outfit Nubiyan Twist's fresh spin on Donald Byrd's "Through the Noise (Chant 2)".\r\n
      \r\n
      Blue Note is celebrated almost as much for its visionary album art as for its legendary recordings. Designer for the Blue Note Re:imagined campaign Jay Vaz said, "The Blue Note Re:imagined identity explores an abstract graphic notation score, aiming to represent the exciting energy and diverse range of artists that the new wave of jazz offers. The LP cover pays homage to a selection of legendary Reid Miles covers (in particular, Jackie McLean It's Time) that I felt perfectly executed the energy of this compilation".
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1859 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=BFkHFqvQt8U"
    -referenceProduit: "Blue Note Records 8001"
    -titreMorceau: [
      [
        "nom" => " (1975) "
        "ordre" => 10
      ]
      [
        "nom" => " Grant Green Green Street (1961) "
        "ordre" => 12
      ]
      [
        "nom" => "(1995) "
        "ordre" => 18
      ]
      [
        "nom" => "1. Nubiyan Twist “Through The Noise (Chant No.2)” – From Donald Byrd A New"
        "ordre" => 7
      ]
      [
        "nom" => "1. Reuben James “Infant Eyes” – From Wayne Shorter Speak No Evil (1964) "
        "ordre" => 23
      ]
      [
        "nom" => "1. Theon Cross “Epistrophy” – From Thelonious Monk Genius Of Modern Music,"
        "ordre" => 15
      ]
      [
        "nom" => "1. Yazz Ahmed “It” – From Chick Corea Is (1969) "
        "ordre" => 1
      ]
      [
        "nom" => "2. Binker Golding “Fort Worth” – From Joe Lovano From The Soul (1991) "
        "ordre" => 24
      ]
      [
        "nom" => "2. Conor Albert “You Make Me Feel So Good”– From Bobbi Humphrey"
        "ordre" => 2
      ]
      [
        "nom" => "2. Ego Ella May “The Morning Side Of Love” – From Chico Hamilton Pereginations"
        "ordre" => 9
      ]
      [
        "nom" => "2. Maya Delilah “Harvest Moon” – From Cassandra Wilson New Moon Daughter"
        "ordre" => 17
      ]
      [
        "nom" => "3. Cherise “Sunrise” – From Norah Jones Feels Like Home (2004) "
        "ordre" => 25
      ]
      [
        "nom" => "3. Kay Young “Feel Like Making Love” – From Marlena Shaw Who Is This Bitch,"
        "ordre" => 19
      ]
      [
        "nom" => "3. Oscar Jerome & Oscar #Worldpeace “(Why You So) Green With Envy” – From"
        "ordre" => 11
      ]
      [
        "nom" => "3. Parthenope “Don’t Know Why” – From Norah Jones Come Away With Me (2002) "
        "ordre" => 4
      ]
      [
        "nom" => "4. Daniel Casimir ft. Ria Moran “Lost” – From Wayne Shorter The Soothsayer (1965) "
        "ordre" => 13
      ]
      [
        "nom" => "4. Franc Moody “Cristo Redentor”– From Donald Byrd A New Perspective (1963)"
        "ordre" => 26
      ]
      [
        "nom" => "4. Swindle “Miss Kane” – From Donald Byrd Street Lady (1973) "
        "ordre" => 5
      ]
      [
        "nom" => "4. Venna & Marco Bernardis “Where Are We Going” – From Donald Byrd"
        "ordre" => 21
      ]
      [
        "nom" => "Anyway? (1974) "
        "ordre" => 20
      ]
      [
        "nom" => "Fancy Dancer (1975) "
        "ordre" => 3
      ]
      [
        "nom" => "Perspective (1963) "
        "ordre" => 8
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "Side C : "
        "ordre" => 14
      ]
      [
        "nom" => "Side D : Black Byrd (1972) "
        "ordre" => 22
      ]
      [
        "nom" => "Vol. 1 (1948) "
        "ordre" => 16
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
    -label: Proxies\__CG__\App\Entity\Label {#2050 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2059 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2052 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2054 …}
    -enregistreLe: DateTime @1666331879 {#2042
      date: 2022-10-21 05:57:59.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1666332651 {#2043
      date: 2022-10-21 06:10:51.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2056 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-re-imagined-ii-blue-note-records-8001"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3214
  -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 {#2639 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2045
    -id: 2306
    -nom: "Re: Imagined II"
    -informationComplementaire: ""
    -description: """
      Blue Note Re:imagined returns with a 16 track compilation featuring fresh takes on music from the illustrious Blue Note Records vaults recorded by a heavyweight lineup of the UK jazz, soul, and R&B scene's most hotly tipped rising stars. Arriving off the back of the widespread international success of the first volume, which topped jazz charts around the globe, Blue Note Re:imagined II once again infuses the spirit of the new UK jazz generation into the legendary label's iconic catalog, balancing the genre's tradition with its future and reflecting the melting pot of talent and diversity within the current scene.\r\n
      \r\n
      The first track to be released is South London vocalist Ego Ella May's reimagining of visionary drummer Chico Hamilton's "The Morning Side of Love", which first appeared on Hamilton's 1975 Blue Note album Peregrinations. Her version mirrors the understated, laid-back groove of the original while showcasing Ella May's arresting vocals.\r\n
      \r\n
      "For more than eight decades the artists of Blue Note Records have continually pushed the envelope of contemporary music", said Blue Note President Don Was. "Blue Note Re : imagined II once again honors that legacy by letting the UK's most creative young artists reinvent the treasures of the Blue Note catalog through their own lens".\r\n
      \r\n
      Additional tracks on the album will include funk-pop duo Franc Moody's version of Donald Byrd's "Cristo Redentor", fast-emerging vocalist Cherise's take on Norah Jones' "Sunrise", Maya Delilah covering Neil Young's "Harvest Moon", which was recorded by Cassandra Wilson on her 1995 Blue Note album New Moon Daughter, Birmingham-born pianist Reuben James' reimagining of Wayne Shorter's ballad "Infant Eyes", London tuba player and Sons of Kemet member Theon Cross with a version of Thelonious Monk's composition "Epistrophy," and nine-piece Afro-jazz outfit Nubiyan Twist's fresh spin on Donald Byrd's "Through the Noise (Chant 2)".\r\n
      \r\n
      Blue Note is celebrated almost as much for its visionary album art as for its legendary recordings. Designer for the Blue Note Re:imagined campaign Jay Vaz said, "The Blue Note Re:imagined identity explores an abstract graphic notation score, aiming to represent the exciting energy and diverse range of artists that the new wave of jazz offers. The LP cover pays homage to a selection of legendary Reid Miles covers (in particular, Jackie McLean It's Time) that I felt perfectly executed the energy of this compilation".
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1859 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=BFkHFqvQt8U"
    -referenceProduit: "Blue Note Records 8001"
    -titreMorceau: [
      [
        "nom" => " (1975) "
        "ordre" => 10
      ]
      [
        "nom" => " Grant Green Green Street (1961) "
        "ordre" => 12
      ]
      [
        "nom" => "(1995) "
        "ordre" => 18
      ]
      [
        "nom" => "1. Nubiyan Twist “Through The Noise (Chant No.2)” – From Donald Byrd A New"
        "ordre" => 7
      ]
      [
        "nom" => "1. Reuben James “Infant Eyes” – From Wayne Shorter Speak No Evil (1964) "
        "ordre" => 23
      ]
      [
        "nom" => "1. Theon Cross “Epistrophy” – From Thelonious Monk Genius Of Modern Music,"
        "ordre" => 15
      ]
      [
        "nom" => "1. Yazz Ahmed “It” – From Chick Corea Is (1969) "
        "ordre" => 1
      ]
      [
        "nom" => "2. Binker Golding “Fort Worth” – From Joe Lovano From The Soul (1991) "
        "ordre" => 24
      ]
      [
        "nom" => "2. Conor Albert “You Make Me Feel So Good”– From Bobbi Humphrey"
        "ordre" => 2
      ]
      [
        "nom" => "2. Ego Ella May “The Morning Side Of Love” – From Chico Hamilton Pereginations"
        "ordre" => 9
      ]
      [
        "nom" => "2. Maya Delilah “Harvest Moon” – From Cassandra Wilson New Moon Daughter"
        "ordre" => 17
      ]
      [
        "nom" => "3. Cherise “Sunrise” – From Norah Jones Feels Like Home (2004) "
        "ordre" => 25
      ]
      [
        "nom" => "3. Kay Young “Feel Like Making Love” – From Marlena Shaw Who Is This Bitch,"
        "ordre" => 19
      ]
      [
        "nom" => "3. Oscar Jerome & Oscar #Worldpeace “(Why You So) Green With Envy” – From"
        "ordre" => 11
      ]
      [
        "nom" => "3. Parthenope “Don’t Know Why” – From Norah Jones Come Away With Me (2002) "
        "ordre" => 4
      ]
      [
        "nom" => "4. Daniel Casimir ft. Ria Moran “Lost” – From Wayne Shorter The Soothsayer (1965) "
        "ordre" => 13
      ]
      [
        "nom" => "4. Franc Moody “Cristo Redentor”– From Donald Byrd A New Perspective (1963)"
        "ordre" => 26
      ]
      [
        "nom" => "4. Swindle “Miss Kane” – From Donald Byrd Street Lady (1973) "
        "ordre" => 5
      ]
      [
        "nom" => "4. Venna & Marco Bernardis “Where Are We Going” – From Donald Byrd"
        "ordre" => 21
      ]
      [
        "nom" => "Anyway? (1974) "
        "ordre" => 20
      ]
      [
        "nom" => "Fancy Dancer (1975) "
        "ordre" => 3
      ]
      [
        "nom" => "Perspective (1963) "
        "ordre" => 8
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "Side C : "
        "ordre" => 14
      ]
      [
        "nom" => "Side D : Black Byrd (1972) "
        "ordre" => 22
      ]
      [
        "nom" => "Vol. 1 (1948) "
        "ordre" => 16
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
    -label: Proxies\__CG__\App\Entity\Label {#2050 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2059 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2052 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2054 …}
    -enregistreLe: DateTime @1666331879 {#2042
      date: 2022-10-21 05:57:59.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1666332651 {#2043
      date: 2022-10-21 06:10:51.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2056 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-re-imagined-ii-blue-note-records-8001"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2407 …}
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[
  "produit" => App\Entity\Produit {#2064
    -id: 876
    -nom: "E.S.P. - (2 LP) 45 RPM - Numbered Limited Edition"
    -informationComplementaire: ""
    -description: """
      Landmark 1965 Recording Splits Divide Between Accessible Hard-Bop and Cutting-Edge Improvisation : Miles Davis' E.S.P. a Paragon of Cohesion, Chemistry, Interplay.\r\n
      \r\n
      Pressed at RTI, Mobile Fidelity's Reference-Caliber 45 RPM Vinyl 2LP Set Presents the Music In Intimate, Transformational, Lifelike Sound.\r\n
      \r\n
      First Album Recorded by Davis' Classic Second Quintet: E.S.P. Teems With Brilliant Intensity, Energy, Emotion, Steadiness, Tension, and Interplay.\r\n
      \r\n
      A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.\r\n
      \r\n
      Pressed at RTI, Mobile Fidelity's 180 gram 45 RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.\r\n
      \r\n
      For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.\r\n
      \r\n
      As he did with John Coltrane a year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.\r\n
      \r\n
      Interlocking lines drive "Little One", alternating rhythms pulse through the funky "Eighty-One", melodies soar on the balladic "Iris", the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1859 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (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: false
    -extraitYoutube: "https://www.youtube.com/watch?v=faW5IXgkMBQ"
    -referenceProduit: "MFSL 2-451"
    -titreMorceau: [
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        "nom" => "1. Agitation"
        "ordre" => 7
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      [
        "nom" => "1. E.S.P."
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      [
        "nom" => "1. Little One"
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      [
        "nom" => "2. R.J."
        "ordre" => 5
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 6
      ]
      [
        "nom" => "Side D : "
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2066 …}
    -label: Proxies\__CG__\App\Entity\Label {#2069 …}
    -style: App\Entity\Style {#1449 …}
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    }
    -modifierLe: DateTime @1664519468 {#2062
      date: 2022-09-30 06:31:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-e-s-p-2-lp-45-rpm-numbered-limited-edition-mfsl-2-451"
  }
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]

App\Twig\Components\GestionPanierFavoriComponents {#3265
  -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 {#2639 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2064
    -id: 876
    -nom: "E.S.P. - (2 LP) 45 RPM - Numbered Limited Edition"
    -informationComplementaire: ""
    -description: """
      Landmark 1965 Recording Splits Divide Between Accessible Hard-Bop and Cutting-Edge Improvisation : Miles Davis' E.S.P. a Paragon of Cohesion, Chemistry, Interplay.\r\n
      \r\n
      Pressed at RTI, Mobile Fidelity's Reference-Caliber 45 RPM Vinyl 2LP Set Presents the Music In Intimate, Transformational, Lifelike Sound.\r\n
      \r\n
      First Album Recorded by Davis' Classic Second Quintet: E.S.P. Teems With Brilliant Intensity, Energy, Emotion, Steadiness, Tension, and Interplay.\r\n
      \r\n
      A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.\r\n
      \r\n
      Pressed at RTI, Mobile Fidelity's 180 gram 45 RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.\r\n
      \r\n
      For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.\r\n
      \r\n
      As he did with John Coltrane a year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.\r\n
      \r\n
      Interlocking lines drive "Little One", alternating rhythms pulse through the funky "Eighty-One", melodies soar on the balladic "Iris", the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1859 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (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: false
    -extraitYoutube: "https://www.youtube.com/watch?v=faW5IXgkMBQ"
    -referenceProduit: "MFSL 2-451"
    -titreMorceau: [
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        "nom" => "1. Agitation"
        "ordre" => 7
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      [
        "nom" => "1. E.S.P."
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      [
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      ]
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      [
        "nom" => "2. R.J."
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      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 6
      ]
      [
        "nom" => "Side D : "
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2066 …}
    -label: Proxies\__CG__\App\Entity\Label {#2069 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2078 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2071 …}
    -typeMasterTape: null
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    -adresseInternetTest: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2073 …}
    -enregistreLe: DateTime @1456125900 {#2061
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    }
    -modifierLe: DateTime @1664519468 {#2062
      date: 2022-09-30 06:31:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-e-s-p-2-lp-45-rpm-numbered-limited-edition-mfsl-2-451"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2407 …}
}

[
  "produit" => App\Entity\Produit {#2083
    -id: 2254
    -nom: "Blue Train (Mono)"
    -informationComplementaire: ""
    -description: """
      - Vinyl Record 180 gram !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      \r\n
      - Plated and pressed at RTI !\r\n
      \r\n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\r\n
      \r\n
      John Coltrane's groundbreaking Blue Train will be released in two special editions on September 16 as part of Blue Note's acclaimed Tone Poet Audiophile Vinyl Reissue Series.\r\n
      \r\n
      A mono pressing of the original album on 180 gram vinyl will be presented in a deluxe gatefold tip-on jacket.\r\n
      \r\n
      "Few studio experiences I've had can compare with the thrill of listening to the original master tapes-mono, stereo and alternate takes-of Blue Train", says Harley. "I consider these two new versions the definitive editions of this masterpiece performance by John Coltrane".\r\n
      \r\n
      Blue Train came at a pivotal moment in Coltrane's career. Earlier in 1957, the saxophonist had hit bottom when his heroin addiction caused him to be fired from the Miles Davis Quintet. But after kicking his habit, Coltrane returned with a fervor inspired by an extended summer residency with Thelonious Monk at the Five Spot Café.\r\n
      \r\n
      By the end of the year, Coltrane had been rehired by Davis and had produced his first masterwork, an album that even he was deeply proud of. As Kahn recounts in his essay : "Blue Train was a recording that Coltrane, ever self-critical and modest, held in high regard. In 1960, while on tour with Miles Davis for the last time, a Swedish deejay asked Coltrane what he favored from his catalog and he immediately responded : ‘Oh, I like Blue Train myself. It's a good band on there, you know. It was a good recording'".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1859 …}
    -musicienOrchestre: "John Coltrane (tenor saxophone),? Lee Morgan (trumpet),? Curtis Fuller (trombone), Kenny Drew (piano),? Paul Chambers (bass),? Philly Joe Jones (drums)?"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zbkLmwLzU6g"
    -referenceProduit: "Blue Note Tone Poet Series BN 1577"
    -titreMorceau: [
      [
        "nom" => "1. Blue Train"
        "ordre" => 1
      ]
      [
        "nom" => "1. Moment’s Notice "
        "ordre" => 3
      ]
      [
        "nom" => "2. Locomotion "
        "ordre" => 4
      ]
      [
        "nom" => "3. I’m Old Fashioned "
        "ordre" => 5
      ]
      [
        "nom" => "4. Lazy Bird"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
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      [
        "nom" => "Side B : "
        "ordre" => 2
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#2085 …}
    -style: App\Entity\Style {#1449 …}
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    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2089 …}
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    }
    -modifierLe: DateTime @1664518948 {#2081
      date: 2022-09-30 06:22:28.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2091 …}
    -disponible: null
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    -slug: "vinyles-blue-train-mono-blue-note-tone-poet-series-bn-1577"
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App\Twig\Components\GestionPanierFavoriComponents {#3318
  -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 {#2639 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2083
    -id: 2254
    -nom: "Blue Train (Mono)"
    -informationComplementaire: ""
    -description: """
      - Vinyl Record 180 gram !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      \r\n
      - Plated and pressed at RTI !\r\n
      \r\n
      The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.\r\n
      \r\n
      John Coltrane's groundbreaking Blue Train will be released in two special editions on September 16 as part of Blue Note's acclaimed Tone Poet Audiophile Vinyl Reissue Series.\r\n
      \r\n
      A mono pressing of the original album on 180 gram vinyl will be presented in a deluxe gatefold tip-on jacket.\r\n
      \r\n
      "Few studio experiences I've had can compare with the thrill of listening to the original master tapes-mono, stereo and alternate takes-of Blue Train", says Harley. "I consider these two new versions the definitive editions of this masterpiece performance by John Coltrane".\r\n
      \r\n
      Blue Train came at a pivotal moment in Coltrane's career. Earlier in 1957, the saxophonist had hit bottom when his heroin addiction caused him to be fired from the Miles Davis Quintet. But after kicking his habit, Coltrane returned with a fervor inspired by an extended summer residency with Thelonious Monk at the Five Spot Café.\r\n
      \r\n
      By the end of the year, Coltrane had been rehired by Davis and had produced his first masterwork, an album that even he was deeply proud of. As Kahn recounts in his essay : "Blue Train was a recording that Coltrane, ever self-critical and modest, held in high regard. In 1960, while on tour with Miles Davis for the last time, a Swedish deejay asked Coltrane what he favored from his catalog and he immediately responded : ‘Oh, I like Blue Train myself. It's a good band on there, you know. It was a good recording'".
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1859 …}
    -musicienOrchestre: "John Coltrane (tenor saxophone),? Lee Morgan (trumpet),? Curtis Fuller (trombone), Kenny Drew (piano),? Paul Chambers (bass),? Philly Joe Jones (drums)?"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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    -limitedEdition: true
    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=zbkLmwLzU6g"
    -referenceProduit: "Blue Note Tone Poet Series BN 1577"
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        "ordre" => 6
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        "ordre" => 2
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
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    }
    -modifierLe: DateTime @1664518948 {#2081
      date: 2022-09-30 06:22:28.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2091 …}
    -disponible: null
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    -slug: "vinyles-blue-train-mono-blue-note-tone-poet-series-bn-1577"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2407 …}
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[
  "produit" => App\Entity\Produit {#2101
    -id: 2292
    -nom: "Oh Yeah"
    -informationComplementaire: ""
    -description: """
      Commenting on this album in 1962, Billboard magazine wrote: "He seems to be everywhere, everywhere that is but on his usual instrument".\r\n
      \r\n
      Charles Mingus, one of the most impressive musicians in the history of jazz, doesn't play a single note on the bass here for a change, but leads the band from his (blues) piano the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass).\r\n
      \r\n
      Oh Yeah is definitely Mingus's most powerful and passionate album. He calls on two hot, intensive saxophonists Roland Kirk and Booker Ervin as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it's not free jazz, remaining as it does grounded in blues and gospel. "Hog Callin' Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form.\r\n
      \r\n
      Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humor is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words : "Don't let 'em drop it! Stop it! Be-bop it !"\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : November 1961 at Atlantic Studios, New York City, by Tom Dowd and Phil Iehle\r\n
      Production : Nesuhi Ertegun
      """
    -prixVente: "34.50"
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    -nom: "Oh Yeah"
    -informationComplementaire: ""
    -description: """
      Commenting on this album in 1962, Billboard magazine wrote: "He seems to be everywhere, everywhere that is but on his usual instrument".\r\n
      \r\n
      Charles Mingus, one of the most impressive musicians in the history of jazz, doesn't play a single note on the bass here for a change, but leads the band from his (blues) piano the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass).\r\n
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      Oh Yeah is definitely Mingus's most powerful and passionate album. He calls on two hot, intensive saxophonists Roland Kirk and Booker Ervin as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it's not free jazz, remaining as it does grounded in blues and gospel. "Hog Callin' Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form.\r\n
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      Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humor is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words : "Don't let 'em drop it! Stop it! Be-bop it !"\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
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      Recording : November 1961 at Atlantic Studios, New York City, by Tom Dowd and Phil Iehle\r\n
      Production : Nesuhi Ertegun
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    -nom: "The Complete Commodore Jazz Recordings Volume I (Box Set 23 LP + 64 page booklet)"
    -informationComplementaire: "RARE : Box Set (23 LP) 1990 - Limited Edition / indissociable des volumes II et III"
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      """
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[
  "produit" => App\Entity\Produit {#2136
    -id: 495
    -nom: "The Complete Commodore Jazz Recordings Volume III (Box Set 20 LP + 48 page booklet)"
    -informationComplementaire: "RARE : Box Set (20 LP) 1990 - Limited Edition 2500 Copies / indissociable des volumes I et II"
    -description: """
      Various Artists : The Complete Commodore Jazz Recordings Volume III (1990) - 20 LP Box Set + 48 page booklet – Mosaic Records, Limited and Numbered Edition 2500 copies\r\n
      \r\n
      LP 1 : Bud Freeman And His Gang, Chu Berry & His Jazz Ensemble, Bunk Johnson, Billie Holiday\r\n
      LP 2 : Red Norvo And His Orchestra\r\n
      LP 3 : Bill Coleman, Gene Krupa Trio, Stuff Smith Trio, Teddy Wilson\r\n
      LP 4 : Teddy Wilson, Don Byas And Slam Stewart, George Zack, Jonah Jones, \r\n
      LP 5 : Jonah Jones, Wild Bill Davison, Wild Bill Davison And His Commodores\r\n
      LP 6 : Wild Bill Davison And His Commodores, Eddie Edwards And His Original Dixieland Jazz Band\r\n
      LP 7 : Eddie Edwards And His Original Dixieland Jazz Band,\r\n
      Wild Bill Davison And His Commodores\r\n
      LP 8 : George Bruns And His Jazz Band, Eddie Edwards And His Original Dixieland Jazz Band With Tony Sbarbaro\r\n
      LP 9 : Eddie Edwards And His Original Dixieland Jazz Band With Tony Sbarbaro, George Bruns And His Jazz Band\r\n
      LP 10 : Mel Powell & His Orchestra, Mel Powell, Bob Wilber And His Wild Cats\r\n
      LP 11 : Bob Wilber And His Wild Cats, Ralph Sutton, Sidney Bechet And His New Orleans Feetwarmers\r\n
      LP 12 : Sidney Bechet And His New Orleans Feetwarmers, Johnny Wiggs And His New Orleans Band\r\n
      LP 13 : Johnny Wiggs And His New Orleans Band\r\n
      LP 14 : Willie ‘’The Lion’’ Smith\r\n
      LP 15 : Ralph Sutton, Ralph Sutton Quartet With Edmond Hall, Frank Wess Quintet\r\n
      LP 16 : Frank Wess Quintet, Ralph Sutton, Ralph Sutton Quartet With Edmond Hall\r\n
      LP 17 : Frank Wess Sextet\r\n
      LP 18 : Ralph Sutton Quartet With Vic Dickenson, Peck Kelley\r\n
      LP 19 : Peck Kelley\r\n
      LP 20 : Peck Kelley\r\n
      \r\n
      The third and final Mosaic box set that reissues all of the valuable recordings from Milt Gabler's Commodore label is the smallest of these reissues, a mere 20 LP set. All three of the volumes (which total 66 albums) are wonderful but since they were originally limited-edition releases (just 2500 copies apiece) and have quickly gone out-of-print, they will be difficult to locate and expensive to acquire; buy them anyway if you have any interest in small-group swing and Chicago dixieland. Volume III starts out with some recently discovery alternate takes by Bud Freeman, Chu Berry, Bunk Johnson and Billie Holiday from 1938-44 before concentrating mostly on the 1945-46 period. There are sessions led by Red Norvo, Bill Coleman, Gene Krupa, Stuff Smith, Teddy Wilson and the duo of Don Byas and Slam Stewart (all of those are from a legendary 1945 Town Hall concert) plus dates headed by George Zack, Jonah Jones, Wild Bill Davison, Eddie Edwards, George Brunies and Mel Powell; in addition there are later sets by Bob Wilber, Ralph Sutton, Sidney Bechet, Johnny Wiggs, Willie the Lion Smith, Frank Wess and Peck Kelley. One exhausts superlatives when discussing this remarkable project.
      """
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    -extraitYoutube: "https://www.youtube.com/watch?v=lkzCLg3MxAA"
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    -nom: "The Complete Commodore Jazz Recordings Volume III (Box Set 20 LP + 48 page booklet)"
    -informationComplementaire: "RARE : Box Set (20 LP) 1990 - Limited Edition 2500 Copies / indissociable des volumes I et II"
    -description: """
      Various Artists : The Complete Commodore Jazz Recordings Volume III (1990) - 20 LP Box Set + 48 page booklet – Mosaic Records, Limited and Numbered Edition 2500 copies\r\n
      \r\n
      LP 1 : Bud Freeman And His Gang, Chu Berry & His Jazz Ensemble, Bunk Johnson, Billie Holiday\r\n
      LP 2 : Red Norvo And His Orchestra\r\n
      LP 3 : Bill Coleman, Gene Krupa Trio, Stuff Smith Trio, Teddy Wilson\r\n
      LP 4 : Teddy Wilson, Don Byas And Slam Stewart, George Zack, Jonah Jones, \r\n
      LP 5 : Jonah Jones, Wild Bill Davison, Wild Bill Davison And His Commodores\r\n
      LP 6 : Wild Bill Davison And His Commodores, Eddie Edwards And His Original Dixieland Jazz Band\r\n
      LP 7 : Eddie Edwards And His Original Dixieland Jazz Band,\r\n
      Wild Bill Davison And His Commodores\r\n
      LP 8 : George Bruns And His Jazz Band, Eddie Edwards And His Original Dixieland Jazz Band With Tony Sbarbaro\r\n
      LP 9 : Eddie Edwards And His Original Dixieland Jazz Band With Tony Sbarbaro, George Bruns And His Jazz Band\r\n
      LP 10 : Mel Powell & His Orchestra, Mel Powell, Bob Wilber And His Wild Cats\r\n
      LP 11 : Bob Wilber And His Wild Cats, Ralph Sutton, Sidney Bechet And His New Orleans Feetwarmers\r\n
      LP 12 : Sidney Bechet And His New Orleans Feetwarmers, Johnny Wiggs And His New Orleans Band\r\n
      LP 13 : Johnny Wiggs And His New Orleans Band\r\n
      LP 14 : Willie ‘’The Lion’’ Smith\r\n
      LP 15 : Ralph Sutton, Ralph Sutton Quartet With Edmond Hall, Frank Wess Quintet\r\n
      LP 16 : Frank Wess Quintet, Ralph Sutton, Ralph Sutton Quartet With Edmond Hall\r\n
      LP 17 : Frank Wess Sextet\r\n
      LP 18 : Ralph Sutton Quartet With Vic Dickenson, Peck Kelley\r\n
      LP 19 : Peck Kelley\r\n
      LP 20 : Peck Kelley\r\n
      \r\n
      The third and final Mosaic box set that reissues all of the valuable recordings from Milt Gabler's Commodore label is the smallest of these reissues, a mere 20 LP set. All three of the volumes (which total 66 albums) are wonderful but since they were originally limited-edition releases (just 2500 copies apiece) and have quickly gone out-of-print, they will be difficult to locate and expensive to acquire; buy them anyway if you have any interest in small-group swing and Chicago dixieland. Volume III starts out with some recently discovery alternate takes by Bud Freeman, Chu Berry, Bunk Johnson and Billie Holiday from 1938-44 before concentrating mostly on the 1945-46 period. There are sessions led by Red Norvo, Bill Coleman, Gene Krupa, Stuff Smith, Teddy Wilson and the duo of Don Byas and Slam Stewart (all of those are from a legendary 1945 Town Hall concert) plus dates headed by George Zack, Jonah Jones, Wild Bill Davison, Eddie Edwards, George Brunies and Mel Powell; in addition there are later sets by Bob Wilber, Ralph Sutton, Sidney Bechet, Johnny Wiggs, Willie the Lion Smith, Frank Wess and Peck Kelley. One exhausts superlatives when discussing this remarkable project.
      """
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[
  "produit" => App\Entity\Produit {#2149
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    -informationComplementaire: ""
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      Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion : Exotic Suite-Like Album Beautiful, Intense, Adventurous !\r\n
      \r\n
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    -nom: "Filles de Kilimanjaro"
    -informationComplementaire: ""
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      Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion : Exotic Suite-Like Album Beautiful, Intense, Adventurous !\r\n
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[
  "produit" => App\Entity\Produit {#2162
    -id: 1088
    -nom: "Aretha's Gold "
    -informationComplementaire: ""
    -description: """
      Aretha Franklin Aretha's Gold on Numbered Limited Edition 180 gram 45 RPM 2 LP from Mobile Fidelity !\r\n
      \r\n
      Mastered From Original Master Tapes & Pressed at RTI !\r\n
      \r\n
      Astonishing Collection of The Queen of Soul's Greatest Songs for Atlantic Records: Aretha's Gold Includes Nine Top Ten Hits : "Respect", "Chain of Fools", and "Think" Among Them.\r\n
      \r\n
      Aretha Franklin made her Hall of Fame reputation at Atlantic Records between 1967-1968. This astonishing two-year period witnessed the singer score nine Top 10 hits and define soul music, a era chronicled on Aretha's Gold. Pairing with producer Jerry Wexler and a flawless Muscle Shoals studio band, Franklin unleashed bolder sides of her artistry kept under wraps during her tenure at Columbia. The rest is history – a history that, until now, has never been in heard in true audiophile sound. And if there's any voice you want to experience to the most realistic extent, it's that of the vocalist Rolling Stone crowned the Greatest Singer of All Time.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram 45 RPM 2 LP of Aretha's Gold presents Franklin's most seminal early Atlantic songs with reference-standard sonics. Finally, hear the full range of the Queen of Soul's depth, reach, and expressiveness. Complementing her timeless classics with tremendous dynamics, restored balances, and stunning clarity, this collectable analog set sheds new light on Franklin's power and technique, honesty and confidence, enunciation and directness.\r\n
      \r\n
      Hear why Franklin is even better than you likely think or remember. You just haven't been able to hear the Detroit native on a format that mirrors exactly what went down in the studios when she recorded songs that, to this day, remain the bar by which all other singers are measured. The same goes for Franklin's backing band, known as the Swampers, whose instrumental savvy, feel, and textures are so unique, the group is credited with creating its own style : The Muscle Shoals Sound. On this vinyl edition of Aretha's Gold, experience every picked guitar note, brushed snare, and fluid bass line. Seldom has a band and vocalist ever made a more formidable, memorable, and emotional combination.\r\n
      \r\n
      The evidence plays out across these 14 songs, each a soul landmark, each unforgettable thanks to Franklin's impassioned performances and empowering attitude. The Sweet Impressions (Franklin's backing vocalists) and sweeping string arrangements bolster the foundation, but the material belongs to Franklin. A veritable hit parade, the track listing on Aretha's Gold reads like a dictionary of soul.\r\n
      \r\n
      "I Never Loved a Man (The Way I Loved You)", "Respect", "(You Make Me Feel Like) A Natural Woman", "Chain of Fools", "Since You've Been Gone (Sweet Sweet Baby)", "Think", "The House That Jack Built", "I Say a Little Prayer", "Baby I Love You" : All Top 10 hits. Plus five more tunes, including a riveting cover of Sam Cooke's "You Send Me", that charted.\r\n
      \r\n
      You know the songs by heart. You know the voice by memory. But you've never quite known them so intimately. Aretha's Gold on Mobile Fidelity gives the Queen the royal treatment she deserves.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Aretha Franklin (piano, vocals)"
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    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=5nlGnclNsr0"
    -referenceProduit: "MFSL 2-479"
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        "nom" => "1. Baby I Love You"
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        "nom" => "1. I Never Loved A Man (The Way I Love You)"
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        "ordre" => 10
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        "ordre" => 7
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        "nom" => "2. Do Right Woman-Do Right Man"
        "ordre" => 2
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        "ordre" => 16
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        "ordre" => 3
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        "ordre" => 17
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        "nom" => "4. Dr. Feelgood"
        "ordre" => 4
      ]
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        "ordre" => 13
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      [
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App\Twig\Components\GestionPanierFavoriComponents {#3559
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2639 …}
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    -id: 1088
    -nom: "Aretha's Gold "
    -informationComplementaire: ""
    -description: """
      Aretha Franklin Aretha's Gold on Numbered Limited Edition 180 gram 45 RPM 2 LP from Mobile Fidelity !\r\n
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      Mastered From Original Master Tapes & Pressed at RTI !\r\n
      \r\n
      Astonishing Collection of The Queen of Soul's Greatest Songs for Atlantic Records: Aretha's Gold Includes Nine Top Ten Hits : "Respect", "Chain of Fools", and "Think" Among Them.\r\n
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      Aretha Franklin made her Hall of Fame reputation at Atlantic Records between 1967-1968. This astonishing two-year period witnessed the singer score nine Top 10 hits and define soul music, a era chronicled on Aretha's Gold. Pairing with producer Jerry Wexler and a flawless Muscle Shoals studio band, Franklin unleashed bolder sides of her artistry kept under wraps during her tenure at Columbia. The rest is history – a history that, until now, has never been in heard in true audiophile sound. And if there's any voice you want to experience to the most realistic extent, it's that of the vocalist Rolling Stone crowned the Greatest Singer of All Time.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram 45 RPM 2 LP of Aretha's Gold presents Franklin's most seminal early Atlantic songs with reference-standard sonics. Finally, hear the full range of the Queen of Soul's depth, reach, and expressiveness. Complementing her timeless classics with tremendous dynamics, restored balances, and stunning clarity, this collectable analog set sheds new light on Franklin's power and technique, honesty and confidence, enunciation and directness.\r\n
      \r\n
      Hear why Franklin is even better than you likely think or remember. You just haven't been able to hear the Detroit native on a format that mirrors exactly what went down in the studios when she recorded songs that, to this day, remain the bar by which all other singers are measured. The same goes for Franklin's backing band, known as the Swampers, whose instrumental savvy, feel, and textures are so unique, the group is credited with creating its own style : The Muscle Shoals Sound. On this vinyl edition of Aretha's Gold, experience every picked guitar note, brushed snare, and fluid bass line. Seldom has a band and vocalist ever made a more formidable, memorable, and emotional combination.\r\n
      \r\n
      The evidence plays out across these 14 songs, each a soul landmark, each unforgettable thanks to Franklin's impassioned performances and empowering attitude. The Sweet Impressions (Franklin's backing vocalists) and sweeping string arrangements bolster the foundation, but the material belongs to Franklin. A veritable hit parade, the track listing on Aretha's Gold reads like a dictionary of soul.\r\n
      \r\n
      "I Never Loved a Man (The Way I Loved You)", "Respect", "(You Make Me Feel Like) A Natural Woman", "Chain of Fools", "Since You've Been Gone (Sweet Sweet Baby)", "Think", "The House That Jack Built", "I Say a Little Prayer", "Baby I Love You" : All Top 10 hits. Plus five more tunes, including a riveting cover of Sam Cooke's "You Send Me", that charted.\r\n
      \r\n
      You know the songs by heart. You know the voice by memory. But you've never quite known them so intimately. Aretha's Gold on Mobile Fidelity gives the Queen the royal treatment she deserves.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
    -musicienOrchestre: "Aretha Franklin (piano, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=5nlGnclNsr0"
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        "nom" => "1. Baby I Love You"
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        "nom" => "1. Since You've Been Gone (Sweet Sweet Baby)"
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        "nom" => "2. (You Make Me Feel Like) A Natural Woman"
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        "nom" => "2. Ain't No Way"
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[
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    -nom: "The Complete Birth Of The Cool"
    -informationComplementaire: ""
    -description: """
      These pivotal, way-ahead-of-their-time 1949-1950 nonet recordings (with Gerry Mulligan, Lee Konitz, Gil Evans et al) remain jazz classics.\r\n
      \r\n
      "Birth of the Cool is the first important leader date from Miles Davis, one of jazz's most seminal figures and farsighted practitioners. Having made his reputation in large measure from playing with bop giant Charlie Parker, Davis confounded expectations when he embraced the "cool" arranging style of Gil Evans, an arranger for Claude Thornhill's band. Evans, who was employing unique voicings by adding French horns and tuba to Thornhill's instrumentations, also emphasized a diminished use of vibrato in both reeds and brass, producing a drier, "cool" sound.\r\n
      \r\n
      "Two of Evans's arrangements, "Boplicity" and "Moon Dreams", appear on the album. Also involved are baritone saxophonist Gerry Mulligan, who contributed such outstanding tunes as "Jeru" and "Venus de Milo", and Modern Jazz Quartet pianist John Lewis. The result is a date that has withstood the tests of time, fashion, and Davis's own extraordinary growth as a performer". - Amazon.com\r\n
      """
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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      [
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App\Twig\Components\GestionPanierFavoriComponents {#3612
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    -id: 1623
    -nom: "The Complete Birth Of The Cool"
    -informationComplementaire: ""
    -description: """
      These pivotal, way-ahead-of-their-time 1949-1950 nonet recordings (with Gerry Mulligan, Lee Konitz, Gil Evans et al) remain jazz classics.\r\n
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    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1857 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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[
  "produit" => App\Entity\Produit {#2191
    -id: 512
    -nom: "Seven Steps To Heaven"
    -informationComplementaire: ""
    -description: """
      "...The Analogue Productions sound is visceral and crisp in the best sense, and the quiet pressings ensure that no musical detail is even mildly obscured... with these 45 RPM LPs, if your system is up to the task, you'll hear boundless high-frequency reach and lavish dynamic nuance and harmonic delicacy". - Marc Mickelson, The Audio Beat, December 2010\r\n
      \r\n
      In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic "Seven Steps To Heaven", "Joshua" and slow passionate versions of "Basin Street Blues" and "Baby Won't You Please Come Home".\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1859 …}
    -musicienOrchestre: "Miles Davis (trumpet), George Coleman (tenor saxophone), Herbie Hancock, Victor Feldman (piano), Ron Carter (bass), Frank Butler, Anthony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3660
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    -id: 512
    -nom: "Seven Steps To Heaven"
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    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1121 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=Hhfe1SUe2-A"
    -referenceProduit: "Analogue Productions AAPJ 8851-45"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2066 …}
    -label: Proxies\__CG__\App\Entity\Label {#2193 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2202 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2195 …}
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    -modifierLe: DateTime @1661150060 {#2189
      date: 2022-08-22 06:34:20.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2199 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-seven-steps-to-heaven-analogue-productions-aapj-8851-45"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2407 …}
}

[
  "produit" => App\Entity\Produit {#2207
    -id: 724
    -nom: "Sorcerer (2LP) - 45 RPM"
    -informationComplementaire: ""
    -description: """
      Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis legendary second quintet and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity definitive 45 RPM pressing.\r\n
      \r\n
      Mastered from the original master tapes and pressed on 180 g 45 RM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism.\r\n
      \r\n
      This is a reference standard reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer. \r\n
      \r\n
      Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad « Pee Wee », an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter and Williams mirroring one another’s moves with guile and purpose. The opening « Prince of Darkness » showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.\r\n
      \r\n
      A lasting example of Davis visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing « Nothing Like You » a brief tribute to Davis eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough, the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1905 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (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: false
    -extraitYoutube: "https://www.youtube.com/watch?v=7QBjJh_GyGE"
    -referenceProduit: "MF 0435-45"
    -titreMorceau: [
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        "ordre" => 7
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      [
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        "ordre" => 4
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      [
        "nom" => "1. Prince of Darkness"
        "ordre" => 1
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      [
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        "ordre" => 9
      ]
      [
        "nom" => "2. Nothing Like You"
        "ordre" => 10
      ]
      [
        "nom" => "2. Pee Wee"
        "ordre" => 2
      ]
      [
        "nom" => "2. The Sorcerer"
        "ordre" => 5
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
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      [
        "nom" => "Side C : "
        "ordre" => 6
      ]
      [
        "nom" => "Side D : "
        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2066 …}
    -label: Proxies\__CG__\App\Entity\Label {#2069 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2215 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2208 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2210 …}
    -enregistreLe: DateTime @1416554769 {#2204
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    }
    -modifierLe: DateTime @1661148902 {#2205
      date: 2022-08-22 06:15:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2212 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-sorcerer-2lp-45-rpm-mf-0435-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3708
  -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 {#2639 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2207
    -id: 724
    -nom: "Sorcerer (2LP) - 45 RPM"
    -informationComplementaire: ""
    -description: """
      Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis legendary second quintet and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity definitive 45 RPM pressing.\r\n
      \r\n
      Mastered from the original master tapes and pressed on 180 g 45 RM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism.\r\n
      \r\n
      This is a reference standard reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer. \r\n
      \r\n
      Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad « Pee Wee », an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter and Williams mirroring one another’s moves with guile and purpose. The opening « Prince of Darkness » showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.\r\n
      \r\n
      A lasting example of Davis visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing « Nothing Like You » a brief tribute to Davis eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough, the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1905 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (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: false
    -extraitYoutube: "https://www.youtube.com/watch?v=7QBjJh_GyGE"
    -referenceProduit: "MF 0435-45"
    -titreMorceau: [
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        "ordre" => 7
      ]
      [
        "nom" => "1. Masqualero"
        "ordre" => 4
      ]
      [
        "nom" => "1. Prince of Darkness"
        "ordre" => 1
      ]
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        "ordre" => 9
      ]
      [
        "nom" => "2. Nothing Like You"
        "ordre" => 10
      ]
      [
        "nom" => "2. Pee Wee"
        "ordre" => 2
      ]
      [
        "nom" => "2. The Sorcerer"
        "ordre" => 5
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 6
      ]
      [
        "nom" => "Side D : "
        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2066 …}
    -label: Proxies\__CG__\App\Entity\Label {#2069 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2215 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2208 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2210 …}
    -enregistreLe: DateTime @1416554769 {#2204
      date: 2014-11-21 07:26:09.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1661148902 {#2205
      date: 2022-08-22 06:15:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2212 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-sorcerer-2lp-45-rpm-mf-0435-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2407 …}
}