Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2523
  -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 {#2370 …}
}

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

App\Twig\Components\ListePanier {#2600
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2603 …}
  -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 {#2602 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2370 …}
  -formView: Symfony\Component\Form\FormView {#2639 …}
  -form: Symfony\Component\Form\Form {#2789 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 784
    -nom: "Miles in the Sky (2 LP) 45 RPM"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - FINAL EFFORT WITH CLASSIC SECOND QUINTET FINDS DAVIS LOOKING TO THE PAST AND THE FUTURE !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.\r\n
      \r\n
      The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.\r\n
      \r\n
      Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.\r\n
      \r\n
      Similarly, so do "Country Boy" and "Black Comedy". In his original review for jazz authority DownBeat, Larry Kart observes : "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on "Country Boy" recalls a fragment from his "Summertime" solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on ‘Black Comedy,' his most straightahead solo here, the orderly pattern of the past is displaced and fragmented".\r\n
      \r\n
      Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.\r\n
      \r\n
      \r\n
       \r\n
      \r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), George Benson (electric guitar), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=uT_Zo5uIuTM"
    -referenceProduit: "MFSL 2-437"
    -titreMorceau: [
      [
        "nom" => "1. Black Comedy"
        "ordre" => 5
      ]
      [
        "nom" => "1. Country Son"
        "ordre" => 7
      ]
      [
        "nom" => "1. Paraphernalia"
        "ordre" => 3
      ]
      [
        "nom" => "1. Stuff"
        "ordre" => 1
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 2
      ]
      [
        "nom" => "Side C :"
        "ordre" => 4
      ]
      [
        "nom" => "Side D : "
        "ordre" => 6
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1432797080 {#1896
      date: 2015-05-28 07:11:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1678177161 {#1889
      date: 2023-03-07 08:19:21.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-miles-in-the-sky-2-lp-45-rpm-mfsl-2-437"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3076
  -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 {#2602 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 784
    -nom: "Miles in the Sky (2 LP) 45 RPM"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - FINAL EFFORT WITH CLASSIC SECOND QUINTET FINDS DAVIS LOOKING TO THE PAST AND THE FUTURE !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.\r\n
      \r\n
      The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.\r\n
      \r\n
      Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.\r\n
      \r\n
      Similarly, so do "Country Boy" and "Black Comedy". In his original review for jazz authority DownBeat, Larry Kart observes : "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on "Country Boy" recalls a fragment from his "Summertime" solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on ‘Black Comedy,' his most straightahead solo here, the orderly pattern of the past is displaced and fragmented".\r\n
      \r\n
      Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.\r\n
      \r\n
      \r\n
       \r\n
      \r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), George Benson (electric guitar), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=uT_Zo5uIuTM"
    -referenceProduit: "MFSL 2-437"
    -titreMorceau: [
      [
        "nom" => "1. Black Comedy"
        "ordre" => 5
      ]
      [
        "nom" => "1. Country Son"
        "ordre" => 7
      ]
      [
        "nom" => "1. Paraphernalia"
        "ordre" => 3
      ]
      [
        "nom" => "1. Stuff"
        "ordre" => 1
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 2
      ]
      [
        "nom" => "Side C :"
        "ordre" => 4
      ]
      [
        "nom" => "Side D : "
        "ordre" => 6
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1432797080 {#1896
      date: 2015-05-28 07:11:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1678177161 {#1889
      date: 2023-03-07 08:19:21.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-miles-in-the-sky-2-lp-45-rpm-mfsl-2-437"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2370 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 1642
    -nom: "Nefertiti - (2 LP) 45 RPM"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - STEEPED IN INQUISITIVE INTERPLAY AND SUBCONSCIOUS IMPRESSIONISM !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Nefertit will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's edition bring listeners to closer to the creative passions than ever before.\r\n
      \r\n
      As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section shines as a textbook example of such chemistry and unity.\r\n
      \r\n
      Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot", Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.\r\n
      \r\n
      Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.\r\n
      \r\n
      \r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Iu0IfC_IUaA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-436 "
    -titreMorceau: [
      [
        "nom" => "1. Hand Jive"
        "ordre" => 4
      ]
      [
        "nom" => "1. Madness"
        "ordre" => 6
      ]
      [
        "nom" => "1. Nefertiti"
        "ordre" => 1
      ]
      [
        "nom" => "1. Riot"
        "ordre" => 8
      ]
      [
        "nom" => "2. Fall"
        "ordre" => 2
      ]
      [
        "nom" => "2. Pinocchio"
        "ordre" => 9
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 5
      ]
      [
        "nom" => "Side D : "
        "ordre" => 7
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2043 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2036 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2038 …}
    -enregistreLe: DateTime @1556450040 {#2032
      date: 2019-04-28 11:14:00.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1678093068 {#2033
      date: 2023-03-06 08:57:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2040 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-nefertiti-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-436"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3167
  -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 {#2602 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 1642
    -nom: "Nefertiti - (2 LP) 45 RPM"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - STEEPED IN INQUISITIVE INTERPLAY AND SUBCONSCIOUS IMPRESSIONISM !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Nefertit will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's edition bring listeners to closer to the creative passions than ever before.\r\n
      \r\n
      As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section shines as a textbook example of such chemistry and unity.\r\n
      \r\n
      Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot", Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.\r\n
      \r\n
      Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.\r\n
      \r\n
      \r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Iu0IfC_IUaA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-436 "
    -titreMorceau: [
      [
        "nom" => "1. Hand Jive"
        "ordre" => 4
      ]
      [
        "nom" => "1. Madness"
        "ordre" => 6
      ]
      [
        "nom" => "1. Nefertiti"
        "ordre" => 1
      ]
      [
        "nom" => "1. Riot"
        "ordre" => 8
      ]
      [
        "nom" => "2. Fall"
        "ordre" => 2
      ]
      [
        "nom" => "2. Pinocchio"
        "ordre" => 9
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 5
      ]
      [
        "nom" => "Side D : "
        "ordre" => 7
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2043 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2036 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2038 …}
    -enregistreLe: DateTime @1556450040 {#2032
      date: 2019-04-28 11:14:00.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1678093068 {#2033
      date: 2023-03-06 08:57:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2040 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-nefertiti-2-lp-45-rpm-mobile-fidelity-sound-lab-mfsl-2-436"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2370 …}
}

[
  "produit" => App\Entity\Produit {#2048
    -id: 599
    -nom: "My Funny Valentine"
    -informationComplementaire: "Reedition 2023"
    -description: """
      - DEEP EMOTIONS, SPONTANEOUS BRILLIANCE, SENSITIVE BEAUTY, AND SUBLIME POIGNANCY !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.\r\n
      \r\n
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      \r\n
      Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.\r\n
      \r\n
      Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet". But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.\r\n
      \r\n
      \r\n
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App\Twig\Components\GestionPanierFavoriComponents {#3215
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2602 …}
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    -id: 599
    -nom: "My Funny Valentine"
    -informationComplementaire: "Reedition 2023"
    -description: """
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      \r\n
      - 1/4" / 15 IPS analog copy to DSD 64 to analog console to lathe !\r\n
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      Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.\r\n
      \r\n
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      Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.\r\n
      \r\n
      Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet". But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.\r\n
      \r\n
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[
  "produit" => App\Entity\Produit {#2061
    -id: 2077
    -nom: "Sketches of Spain"
    -informationComplementaire: "Re-edition"
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba), James Buffington (fender Rhodes, french Horn), Eddie Caine (flugelhorn, flute), Paul Chambers (bass), Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet), Harold Feldman (clarinet, flute, oboe), Dick Hixon, Frank Rehak (trombone), Elvin Jones, Jose Mangual (percussion), Jack Knitzer (bassoon), Romeo Penque (oboe), Janet Putnam (harp), Jimmy cobb (drums).\r\n
      \r\n
      - DAVIS' FINAL AND MOST IMPRESSIVE PAIRING WITH ARRANGER GIL EVANS YIELDS WATERSHED INNOVATIONS !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminary's career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.\r\n
      \r\n
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      \r\n
      With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.\r\n
      \r\n
      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis' Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.
      """
    -prixVente: "60.00"
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -artiste: App\Entity\Artiste {#1063 …}
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    -informationComplementaire: "Re-edition"
    -description: """
      Musicians : \r\n
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      \r\n
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      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis' Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.
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[
  "produit" => App\Entity\Produit {#2074
    -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 {#1879 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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        "nom" => "1. Little One"
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        "nom" => "Side A : "
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        "nom" => "Side C : "
        "ordre" => 6
      ]
      [
        "nom" => "Side D : "
        "ordre" => 9
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2082 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2077 …}
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    }
    -modifierLe: DateTime @1664519468 {#2072
      date: 2022-09-30 06:31:08.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2079 …}
    -disponible: null
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    -slug: "vinyles-e-s-p-2-lp-45-rpm-numbered-limited-edition-mfsl-2-451"
  }
  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3311
  -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 {#2602 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2074
    -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.
      """
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -setBoxMusic: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=faW5IXgkMBQ"
    -referenceProduit: "MFSL 2-451"
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        "nom" => "2. R.J."
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "Side C : "
        "ordre" => 6
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      [
        "nom" => "Side D : "
        "ordre" => 9
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2082 …}
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    }
    -modifierLe: DateTime @1664519468 {#2072
      date: 2022-09-30 06:31:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2079 …}
    -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
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2370 …}
}

[
  "produit" => App\Entity\Produit {#2087
    -id: 676
    -nom: "Filles de Kilimanjaro"
    -informationComplementaire: ""
    -description: """
      Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion : Exotic Suite-Like Album Beautiful, Intense, Adventurous !\r\n
      \r\n
      Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45 RPM 2 LP set.\r\n
      \r\n
      Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.\r\n
      \r\n
      The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun". Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.\r\n
      \r\n
      Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.\r\n
      \r\n
      More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music". With the jazz world still trying to wrap its collective mind around its genius, it still does.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Chick Corea, Herbie Hancock (piano, electric piano), Dave Holland, Ron Carter (bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=noUs3NfC07o"
    -referenceProduit: "MF 0438"
    -titreMorceau: [
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        "nom" => "1. Filles De Kilimanjaro (Girls Of Kilimanjaro)"
        "ordre" => 6
      ]
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        "nom" => "1. Frelon Brun (Brown Hornet)"
        "ordre" => 1
      ]
      [
        "nom" => "1. Mademoiselle Mabry (Miss Mabry)"
        "ordre" => 8
      ]
      [
        "nom" => "1. Petits Machins (Little Stuff)"
        "ordre" => 4
      ]
      [
        "nom" => "2. Tout De Suite"
        "ordre" => 2
      ]
      [
        "nom" => "Side Four : "
        "ordre" => 7
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        "nom" => "Side One :"
        "ordre" => 0
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        "nom" => "Side Three : "
        "ordre" => 5
      ]
      [
        "nom" => "Side Two :"
        "ordre" => 3
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2095 …}
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    -enregistreLe: DateTime @1397377318 {#2084
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    }
    -modifierLe: DateTime @1662103208 {#2085
      date: 2022-09-02 07:20:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2092 …}
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    -slug: "vinyles-filles-de-kilimanjaro-mf-0438"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3359
  -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 {#2602 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2087
    -id: 676
    -nom: "Filles de Kilimanjaro"
    -informationComplementaire: ""
    -description: """
      Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion : Exotic Suite-Like Album Beautiful, Intense, Adventurous !\r\n
      \r\n
      Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45 RPM 2 LP set.\r\n
      \r\n
      Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.\r\n
      \r\n
      The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun". Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.\r\n
      \r\n
      Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.\r\n
      \r\n
      More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music". With the jazz world still trying to wrap its collective mind around its genius, it still does.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Chick Corea, Herbie Hancock (piano, electric piano), Dave Holland, Ron Carter (bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=noUs3NfC07o"
    -referenceProduit: "MF 0438"
    -titreMorceau: [
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        "nom" => "1. Filles De Kilimanjaro (Girls Of Kilimanjaro)"
        "ordre" => 6
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        "nom" => "1. Frelon Brun (Brown Hornet)"
        "ordre" => 1
      ]
      [
        "nom" => "1. Mademoiselle Mabry (Miss Mabry)"
        "ordre" => 8
      ]
      [
        "nom" => "1. Petits Machins (Little Stuff)"
        "ordre" => 4
      ]
      [
        "nom" => "2. Tout De Suite"
        "ordre" => 2
      ]
      [
        "nom" => "Side Four : "
        "ordre" => 7
      ]
      [
        "nom" => "Side One :"
        "ordre" => 0
      ]
      [
        "nom" => "Side Three : "
        "ordre" => 5
      ]
      [
        "nom" => "Side Two :"
        "ordre" => 3
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2095 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2088 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2090 …}
    -enregistreLe: DateTime @1397377318 {#2084
      date: 2014-04-13 08:21:58.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1662103208 {#2085
      date: 2022-09-02 07:20:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2092 …}
    -disponible: null
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    -slug: "vinyles-filles-de-kilimanjaro-mf-0438"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2370 …}
}

[
  "produit" => App\Entity\Produit {#2100
    -id: 1623
    -nom: "The Complete Birth Of The Cool"
    -informationComplementaire: ""
    -description: """
      These pivotal, way-ahead-of-their-time 1949-1950 nonet recordings (with Gerry Mulligan, Lee Konitz, Gil Evans et al) remain jazz classics.\r\n
      \r\n
      "Birth of the Cool is the first important leader date from Miles Davis, one of jazz's most seminal figures and farsighted practitioners. Having made his reputation in large measure from playing with bop giant Charlie Parker, Davis confounded expectations when he embraced the "cool" arranging style of Gil Evans, an arranger for Claude Thornhill's band. Evans, who was employing unique voicings by adding French horns and tuba to Thornhill's instrumentations, also emphasized a diminished use of vibrato in both reeds and brass, producing a drier, "cool" sound.\r\n
      \r\n
      "Two of Evans's arrangements, "Boplicity" and "Moon Dreams", appear on the album. Also involved are baritone saxophonist Gerry Mulligan, who contributed such outstanding tunes as "Jeru" and "Venus de Milo", and Modern Jazz Quartet pianist John Lewis. The result is a date that has withstood the tests of time, fashion, and Davis's own extraordinary growth as a performer". - Amazon.com\r\n
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Miles Davis (trumpet), Kai Winding (trombone), Gerry Mulligan (baritone sax), Junior Collins (french horn), John Barber (tuba), Lee Konitz (alto sax), Al Haig (piano), Joe Shulman (bass), Max Roach (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=4WjU4eXYWg4"
    -referenceProduit: "Blue Note Records 46801"
    -titreMorceau: [
      [
        "nom" => "1. Birth Of The Cool Theme"
        "ordre" => 17
      ]
      [
        "nom" => "1. Godchild"
        "ordre" => 9
      ]
      [
        "nom" => "1. Moon Dreams"
        "ordre" => 25
      ]
      [
        "nom" => "1. Move"
        "ordre" => 2
      ]
      [
        "nom" => "2. Boplicity"
        "ordre" => 10
      ]
      [
        "nom" => "2. Budo (Hallucination)"
        "ordre" => 26
      ]
      [
        "nom" => "2. Jeru"
        "ordre" => 3
      ]
      [
        "nom" => "2. Symphony Sid Announces The Band"
        "ordre" => 18
      ]
      [
        "nom" => "3. Darn That Dream"
        "ordre" => 27
      ]
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        "nom" => "3. Moon Dreams"
        "ordre" => 4
      ]
      [
        "nom" => "3. Move"
        "ordre" => 19
      ]
      [
        "nom" => "3. Rocker"
        "ordre" => 11
      ]
      [
        "nom" => "4. Israel"
        "ordre" => 12
      ]
      [
        "nom" => "4. Move"
        "ordre" => 28
      ]
      [
        "nom" => "4. Venus De Milo"
        "ordre" => 5
      ]
      [
        "nom" => "4. Why Do I Love You"
        "ordre" => 20
      ]
      [
        "nom" => "5. Budo (Hallucinations)"
        "ordre" => 6
      ]
      [
        "nom" => "5. Godchild"
        "ordre" => 21
      ]
      [
        "nom" => "5. Moon Dreams"
        "ordre" => 29
      ]
      [
        "nom" => "5. Rouge"
        "ordre" => 13
      ]
      [
        "nom" => "6. Budo (Hallucinations)"
        "ordre" => 30
      ]
      [
        "nom" => "6. Darn That Dream"
        "ordre" => 14
      ]
      [
        "nom" => "6. Deception"
        "ordre" => 7
      ]
      [
        "nom" => "6. Symphony Sid Introduction"
        "ordre" => 22
      ]
      [
        "nom" => "7. S’il Vous Plait"
        "ordre" => 23
      ]
      [
        "nom" => "LP 1 : THE STUDIO SESSIONS"
        "ordre" => 0
      ]
      [
        "nom" => "LP 2 : THE LIVE SESSIONS"
        "ordre" => 15
      ]
      [
        "nom" => "Side A : "
        "ordre" => 16
      ]
      [
        "nom" => "Side A :"
        "ordre" => 1
      ]
      [
        "nom" => "Side B : "
        "ordre" => 24
      ]
      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2102 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3407
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        "nom" => "LP 1 : THE STUDIO SESSIONS"
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[
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      "...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
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    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
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        "ordre" => 8
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    -artiste: App\Entity\Artiste {#1063 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3455
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  +produit: App\Entity\Produit {#2116
    -id: 512
    -nom: "Seven Steps To Heaven"
    -informationComplementaire: ""
    -description: """
      "...The Analogue Productions sound is visceral and crisp in the best sense, and the quiet pressings ensure that no musical detail is even mildly obscured... with these 45 RPM LPs, if your system is up to the task, you'll hear boundless high-frequency reach and lavish dynamic nuance and harmonic delicacy". - Marc Mickelson, The Audio Beat, December 2010\r\n
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      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
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    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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[
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    -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
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      \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
      """
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=7QBjJh_GyGE"
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App\Twig\Components\GestionPanierFavoriComponents {#3503
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2602 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -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
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      \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
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    -referenceProduit: "MF 0435-45"
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      [
        "nom" => "Side A : "
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      ]
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        "ordre" => 8
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
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    }
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2145
    -id: 1475
    -nom: "Porgy and Bess"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba), Phil Bodner, Jerome Richardson, Romeo Penque (flute, alto flute & clarinet), Cannonball Adderley (alto saxophone), Danny Bank  (alto flute, bass flute & bass clarinet), Paul Chambers (bass), \r\n
      Philly Joe Jones, Jimmy Cobb (drums), Gil Evans (arranger & conductor).\r\n
      \r\n
      Miles Davis and Gil Evans’ "Porgy and Bess" Is a Landmark of Arrangement, Performance, and Emotion : 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal Playing. \r\n
      \r\n
      180 gram 45 RPM 2 LP Set Features Reference-Level Tonality, Depth, and Openness.\r\n
      \r\n
      If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. And that's saying nothing of the soulful playing legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of this definitive analog edition.\r\n
      \r\n
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      \r\n
      While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect": tone. Based not on chords but on scales and feeling, "Porgy and Bess" teems with emotions and possibilities characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song", Davis' improvisational flights on "It Ain't Necessarily So", or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability.\r\n
      \r\n
      Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of "Porgy and Bess" remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington / Billy Strayhorn and Frank Sinatra / Nelson Riddle.\r\n
      \r\n
      Defined by Davis biographer Jack Chambers as "a new score, with its own integrity, order, and action", "Porgy and Bess" has been identified by nearly every major outlet and expert as a must-have album. Davis' phrasing alone cements the effort with a genius quality. As Brian Cook and Richard Morton explain in The Penguin Guide to Jazz : "‘Prayer' is an astounding tour de force, harmonically suspended, and with Miles' most extraordinarily recorded solo to date punctuated by agonized screams and shouts, whether of affirmation or suffering it isn't easy to judge. Miles was not in good physical condition during the making of the record, which perhaps explains the twisting intensity, the bent notes and slurs which seem to express some inner pain". Then there's the immortal rendition of "Summertime", the epitome of calm, understatement, and beauty.\r\n
      \r\n
      At once sweet and spiritual, sure and steady, graceful and exuberant, happy and poignant, Porgy and Bess is a phenomenal jazz dance that has never been equaled and likely, never will. Hear it as Davis, Evans, and company intended.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=EPj22GjTUzw"
    -referenceProduit: "MFSL 2-45485"
    -titreMorceau: [
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        "nom" => "1. Gone, Gone, Gone"
        "ordre" => 5
      ]
      [
        "nom" => "1. It Ain't Necessarily So"
        "ordre" => 13
      ]
      [
        "nom" => "1. Prayer (Oh Doctor Jesus)"
        "ordre" => 9
      ]
      [
        "nom" => "1. The Buzzard Song"
        "ordre" => 1
      ]
      [
        "nom" => "2. Bess, You is My Woman Now"
        "ordre" => 2
      ]
      [
        "nom" => "2. Fisherman, Strawberry and Devil Crab"
        "ordre" => 10
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      [
        "nom" => "2. Here Come de Honey man"
        "ordre" => 14
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      [
        "nom" => "2. Summertime"
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      [
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        "nom" => "3. I Wants To Stay Here (a.k.a. I Loves You, Porgy)"
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      [
        "nom" => "3. Oh Bess, Where's My Bess ?"
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      ]
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      [
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    ]
    -artiste: App\Entity\Artiste {#1063 …}
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    -id: 1475
    -nom: "Porgy and Bess"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba), Phil Bodner, Jerome Richardson, Romeo Penque (flute, alto flute & clarinet), Cannonball Adderley (alto saxophone), Danny Bank  (alto flute, bass flute & bass clarinet), Paul Chambers (bass), \r\n
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      \r\n
      Miles Davis and Gil Evans’ "Porgy and Bess" Is a Landmark of Arrangement, Performance, and Emotion : 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal Playing. \r\n
      \r\n
      180 gram 45 RPM 2 LP Set Features Reference-Level Tonality, Depth, and Openness.\r\n
      \r\n
      If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. And that's saying nothing of the soulful playing legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of this definitive analog edition.\r\n
      \r\n
      Mastered from the original tapes, pressed at RTI, and strictly limited to 4000 numbered copies, "Porgy and Bess" attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180 gram 45 RPM 2 LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics.\r\n
      \r\n
      While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect": tone. Based not on chords but on scales and feeling, "Porgy and Bess" teems with emotions and possibilities characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song", Davis' improvisational flights on "It Ain't Necessarily So", or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability.\r\n
      \r\n
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      \r\n
      Defined by Davis biographer Jack Chambers as "a new score, with its own integrity, order, and action", "Porgy and Bess" has been identified by nearly every major outlet and expert as a must-have album. Davis' phrasing alone cements the effort with a genius quality. As Brian Cook and Richard Morton explain in The Penguin Guide to Jazz : "‘Prayer' is an astounding tour de force, harmonically suspended, and with Miles' most extraordinarily recorded solo to date punctuated by agonized screams and shouts, whether of affirmation or suffering it isn't easy to judge. Miles was not in good physical condition during the making of the record, which perhaps explains the twisting intensity, the bent notes and slurs which seem to express some inner pain". Then there's the immortal rendition of "Summertime", the epitome of calm, understatement, and beauty.\r\n
      \r\n
      At once sweet and spiritual, sure and steady, graceful and exuberant, happy and poignant, Porgy and Bess is a phenomenal jazz dance that has never been equaled and likely, never will. Hear it as Davis, Evans, and company intended.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=EPj22GjTUzw"
    -referenceProduit: "MFSL 2-45485"
    -titreMorceau: [
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        "nom" => "1. Gone, Gone, Gone"
        "ordre" => 5
      ]
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        "nom" => "1. It Ain't Necessarily So"
        "ordre" => 13
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        "ordre" => 9
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        "nom" => "1. The Buzzard Song"
        "ordre" => 1
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        "nom" => "2. Bess, You is My Woman Now"
        "ordre" => 2
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        "ordre" => 10
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        "nom" => "3. Oh Bess, Where's My Bess ?"
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        "ordre" => 12
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    ]
    -artiste: App\Entity\Artiste {#1063 …}
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[
  "produit" => App\Entity\Produit {#2158
    -id: 1128
    -nom: "Someday My Prince Will Come"
    -informationComplementaire: ""
    -description: """
      Mastered from the original analog tape by Ryan K. Smith at Sterling Sound !\n
      \n
      Plated and pressed at Quality Record Pressings !\n
      \n
      "... 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\n
      \n
      "... The most detailed, dynamic, and transparent version of this music that I have ever heard. All of the emotion of Davis' horn comes through in ballads, such as the title cut, and details such as the squeak of a chair or the spit on the sax's reed are revealed with an increased clarity". - My Vinyl Review, July 26, 2010\n
      \n
      A beautiful addition to the Davis canon. Recorded over the course of three days in April 1961, Someday My Prince Will Come showcases Miles' second great rhythm section, here at the absolute peak of their telepathic interplay. Wynton Kelly, Paul Chambers and Jimmy Cobb were as tight a unit as any ever formed, grooving so successfully that they went on to leave Miles and form the Wynton Kelly trio. Someday My Prince Will Come also includes some positively blistering solos from guest John Coltrane in his final recording with Miles. And Hank Mobley offers up some beautiful bluesy solos.\n
      \n
      This is a beautifully redone album, originally released in 1961.  Mastered by Ryan K. Smith at Sterling Sound, the pressing is on 200 gram vinyl by Quality Record Pressings, comes in a heavyweight tip-on jacket from Stoughton Printing. Excellent !\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Miles Davis (trumpet), John Coltrane, Hank Mobley (tenor saxophone), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=hmsNIAKp2oU"
    -referenceProduit: "AAPJ 8456"
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        "nom" => "1. Drad Dog"
        "ordre" => 5
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        "ordre" => 0
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    -artiste: App\Entity\Artiste {#1063 …}
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  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2158
    -id: 1128
    -nom: "Someday My Prince Will Come"
    -informationComplementaire: ""
    -description: """
      Mastered from the original analog tape by Ryan K. Smith at Sterling Sound !\n
      \n
      Plated and pressed at Quality Record Pressings !\n
      \n
      "... 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\n
      \n
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      \n
      A beautiful addition to the Davis canon. Recorded over the course of three days in April 1961, Someday My Prince Will Come showcases Miles' second great rhythm section, here at the absolute peak of their telepathic interplay. Wynton Kelly, Paul Chambers and Jimmy Cobb were as tight a unit as any ever formed, grooving so successfully that they went on to leave Miles and form the Wynton Kelly trio. Someday My Prince Will Come also includes some positively blistering solos from guest John Coltrane in his final recording with Miles. And Hank Mobley offers up some beautiful bluesy solos.\n
      \n
      This is a beautifully redone album, originally released in 1961.  Mastered by Ryan K. Smith at Sterling Sound, the pressing is on 200 gram vinyl by Quality Record Pressings, comes in a heavyweight tip-on jacket from Stoughton Printing. Excellent !\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Miles Davis (trumpet), John Coltrane, Hank Mobley (tenor saxophone), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=hmsNIAKp2oU"
    -referenceProduit: "AAPJ 8456"
    -titreMorceau: [
      [
        "nom" => "1. Drad Dog"
        "ordre" => 5
      ]
      [
        "nom" => "1. Someday My Prince Will Come"
        "ordre" => 1
      ]
      [
        "nom" => "2. Old Folks"
        "ordre" => 2
      ]
      [
        "nom" => "2. Teo"
        "ordre" => 6
      ]
      [
        "nom" => "3. I Thought About You"
        "ordre" => 7
      ]
      [
        "nom" => "3. Pfrancing"
        "ordre" => 3
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2118 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2166 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2159 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2161 …}
    -enregistreLe: DateTime @1487231651 {#2155
      date: 2017-02-16 07:54:11.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1639648675 {#2156
      date: 2021-12-16 09:57:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2163 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-someday-my-prince-will-come-aapj-8456"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2370 …}
}

[
  "produit" => App\Entity\Produit {#2171
    -id: 1129
    -nom: "Seven Steps To Heaven"
    -informationComplementaire: ""
    -description: """
      Mastered from the original analog tape by Ryan K. Smith at Sterling Sound !\n
      \n
      Plated and pressed at Quality Record Pressings !\n
      \n
      "... 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\n
      \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".\n
      \n
      A fantastic-sounding album. Mastered by Ryan K. Smith at Sterling Sound, and pressed on 200 gram vinyl by the best in the business, Quality Record Pressings. An old-style tip-on jacket by Stoughton Printing makes this one a jewel for your LP collection.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -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 {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=msW13gUZRVk"
    -referenceProduit: "AAPJ 8851"
    -titreMorceau: [
      [
        "nom" => "1. Basin Street Blues"
        "ordre" => 1
      ]
      [
        "nom" => "1. So Near, So Far"
        "ordre" => 5
      ]
      [
        "nom" => "2. Baby Won't You Please Come Home"
        "ordre" => 6
      ]
      [
        "nom" => "2. Seven Steps To Heaven"
        "ordre" => 2
      ]
      [
        "nom" => "3. I Fall In Love Too Easily"
        "ordre" => 3
      ]
      [
        "nom" => "3. Joshua"
        "ordre" => 7
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2118 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2179 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2172 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2174 …}
    -enregistreLe: DateTime @1487232324 {#2168
      date: 2017-02-16 08:05:24.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1639648626 {#2169
      date: 2021-12-16 09:57:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2176 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-seven-steps-to-heaven-aapj-8851"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3647
  -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 {#2602 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2171
    -id: 1129
    -nom: "Seven Steps To Heaven"
    -informationComplementaire: ""
    -description: """
      Mastered from the original analog tape by Ryan K. Smith at Sterling Sound !\n
      \n
      Plated and pressed at Quality Record Pressings !\n
      \n
      "... 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\n
      \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".\n
      \n
      A fantastic-sounding album. Mastered by Ryan K. Smith at Sterling Sound, and pressed on 200 gram vinyl by the best in the business, Quality Record Pressings. An old-style tip-on jacket by Stoughton Printing makes this one a jewel for your LP collection.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -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 {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=msW13gUZRVk"
    -referenceProduit: "AAPJ 8851"
    -titreMorceau: [
      [
        "nom" => "1. Basin Street Blues"
        "ordre" => 1
      ]
      [
        "nom" => "1. So Near, So Far"
        "ordre" => 5
      ]
      [
        "nom" => "2. Baby Won't You Please Come Home"
        "ordre" => 6
      ]
      [
        "nom" => "2. Seven Steps To Heaven"
        "ordre" => 2
      ]
      [
        "nom" => "3. I Fall In Love Too Easily"
        "ordre" => 3
      ]
      [
        "nom" => "3. Joshua"
        "ordre" => 7
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2118 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2179 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2172 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2174 …}
    -enregistreLe: DateTime @1487232324 {#2168
      date: 2017-02-16 08:05:24.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1639648626 {#2169
      date: 2021-12-16 09:57:06.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2176 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-seven-steps-to-heaven-aapj-8851"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2370 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3844
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2370 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3845 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3893 …}
  +isValidated: false
  +validatedFields: []
}