Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2529
  -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 {#2376 …}
}

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

App\Twig\Components\ListePanier {#2606
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2609 …}
  -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 {#2608 …}
  -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 {#2376 …}
  -formView: Symfony\Component\Form\FormView {#2645 …}
  -form: Symfony\Component\Form\Form {#2795 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 2583
    -nom: "Dark Magus - Live At Carnegie Hall"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Miles Davis (electric trumpet, Yamaha organ), Dave Liebman (flute, soprano & tenor saxophone), Azar Lawrence (tenor saxophone), Reggie Lucas, Pete Cosey, Dominique Gaumont (electric guitar), Michael Henderson (electric bass), James Mtume (percussion), Al Foster (drums).\r\n
      \r\n
      - DARK MAGUS ANTICIPATES DEVELOPMENTS IN JUNGLE, NOISE, AND DRUM ‘N’ BASS MUSIC : FUNKY, FREE-FORM MILES DAVIS ALBUM IS AN EXHILARATING JAZZ-ROCK TRIP\r\n
      \r\n
      - On Domestic Vinyl for the First Time: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM (2 LP) Set Presents Performances with Absorbing Detail\r\n
      and Color !\r\n
      \r\n
      - 1/4” / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.\r\n
      \r\n
      Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl and on a definitive-sounding pressing at that.\r\n
      \r\n
      Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.\r\n
      \r\n
      This collectible reissue presents the improvisational magic that unfolded onstage the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.\r\n
      \r\n
      The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend and penchant for bold, unorthodox moves.\r\n
      \r\n
      Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.\r\n
      \r\n
      For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs titled after Swahili numerals are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.\r\n
      \r\n
      Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.\r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (electric trumpet, Yamaha organ), Dave Liebman (flute, soprano & tenor saxophone), Azar Lawrence (tenor saxophone), Reggie Lucas, Pete Cosey, Dominique Gaumont (electric guitar), Michael Henderson (electric bass), James Mtume (percussion)..."
    -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=DK_fvDfSHtk"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-566"
    -titreMorceau: [
      [
        "nom" => "1. Dark Magus - Moja"
        "ordre" => 1
      ]
      [
        "nom" => "2. Dark Magus - Wili "
        "ordre" => 3
      ]
      [
        "nom" => "3. Dark Magus - Tatu "
        "ordre" => 5
      ]
      [
        "nom" => "4. Dark Magus - Nne"
        "ordre" => 7
      ]
      [
        "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 @1730188905 {#1896
      date: 2024-10-29 08:01:45.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1742506308 {#1889
      date: 2025-03-20 21:31:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-dark-magus-live-at-carnegie-hall-mobile-fidelity-sound-lab-mfsl-2-566"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3082
  -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 {#2608 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 2583
    -nom: "Dark Magus - Live At Carnegie Hall"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Miles Davis (electric trumpet, Yamaha organ), Dave Liebman (flute, soprano & tenor saxophone), Azar Lawrence (tenor saxophone), Reggie Lucas, Pete Cosey, Dominique Gaumont (electric guitar), Michael Henderson (electric bass), James Mtume (percussion), Al Foster (drums).\r\n
      \r\n
      - DARK MAGUS ANTICIPATES DEVELOPMENTS IN JUNGLE, NOISE, AND DRUM ‘N’ BASS MUSIC : FUNKY, FREE-FORM MILES DAVIS ALBUM IS AN EXHILARATING JAZZ-ROCK TRIP\r\n
      \r\n
      - On Domestic Vinyl for the First Time: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM (2 LP) Set Presents Performances with Absorbing Detail\r\n
      and Color !\r\n
      \r\n
      - 1/4” / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.\r\n
      \r\n
      Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl and on a definitive-sounding pressing at that.\r\n
      \r\n
      Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.\r\n
      \r\n
      This collectible reissue presents the improvisational magic that unfolded onstage the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.\r\n
      \r\n
      The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend and penchant for bold, unorthodox moves.\r\n
      \r\n
      Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.\r\n
      \r\n
      For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs titled after Swahili numerals are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.\r\n
      \r\n
      Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.\r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (electric trumpet, Yamaha organ), Dave Liebman (flute, soprano & tenor saxophone), Azar Lawrence (tenor saxophone), Reggie Lucas, Pete Cosey, Dominique Gaumont (electric guitar), Michael Henderson (electric bass), James Mtume (percussion)..."
    -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=DK_fvDfSHtk"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-566"
    -titreMorceau: [
      [
        "nom" => "1. Dark Magus - Moja"
        "ordre" => 1
      ]
      [
        "nom" => "2. Dark Magus - Wili "
        "ordre" => 3
      ]
      [
        "nom" => "3. Dark Magus - Tatu "
        "ordre" => 5
      ]
      [
        "nom" => "4. Dark Magus - Nne"
        "ordre" => 7
      ]
      [
        "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 @1730188905 {#1896
      date: 2024-10-29 08:01:45.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1742506308 {#1889
      date: 2025-03-20 21:31:48.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-dark-magus-live-at-carnegie-hall-mobile-fidelity-sound-lab-mfsl-2-566"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2376 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 679
    -nom: "Milestones"
    -informationComplementaire: "Re-edition"
    -description: """
      - Miles Davis' Only Studio Album with His Original Sextet : Milestones Features John Coltrane and Cannonball Adderley !\r\n
      \r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM (1 LP) Presents 1958 Benchmark in Riveting Mono Sound !\r\n
      \r\n
      - 1/4" / 15 IPS analog mono master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous 'Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.\r\n
      \r\n
      Part of Mobile Fidelity's Miles Davis catalog restoration series, Milestones has been restored to mono for the first time as to expose the record's standing as one of the all-time great jazz efforts.Mastered from the original master tapes and pressed at RTI, this unsurpassed 180 gram mono LP edition grants each musician their own space in a well-defined, broadened soundstage. Colors, shapes, and dimensions appear in the manner they do when beheld from behind a studio-control room's window.\r\n
      \r\n
      Davis' burnished trumpet? Rendered in three-dimensional perspective, coaxing his mates out to play with unburdened zest and commotion. Coltrane's trademark saxophone ? Witness it in life-size proportion, his solos working in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the 88 keys as he hits full stride, the chords and fills slithering around skeletal frameworks.\r\n
      \r\n
      If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis' (and later, his contemporaries') improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliner's argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether it's the bravado "No Jackle", featuring a hot-foot pace and bebop strains, or "Sid's Ahead", which continues the album's blues theme while tossing around edgy harmonics and inside-out structures.\r\n
      \r\n
      Then there's "Straight, No Chaser", the absolutely definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's lobed borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and eye towards the future. A milestone if there ever was. And now, in resplendent mono.\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet, piano), Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (double bass), Philly Joe Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=k94zDsJ-JMU"
    -referenceProduit: "MFSL 1-374"
    -titreMorceau: [
      [
        "nom" => "1. Dr. Jackle"
        "ordre" => 1
      ]
      [
        "nom" => "1. Milestones"
        "ordre" => 5
      ]
      [
        "nom" => "2. Billy Boy"
        "ordre" => 6
      ]
      [
        "nom" => "2. Sid’s Ahead"
        "ordre" => 2
      ]
      [
        "nom" => "3. Straight, No Chaser"
        "ordre" => 7
      ]
      [
        "nom" => "3. Two Bass Hit"
        "ordre" => 3
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
    ]
    -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 @1398892032 {#2032
      date: 2014-04-30 21:07:12.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1741641214 {#2033
      date: 2025-03-10 21:13:34.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2040 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-milestones-mfsl-1-374"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3173
  -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 {#2608 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 679
    -nom: "Milestones"
    -informationComplementaire: "Re-edition"
    -description: """
      - Miles Davis' Only Studio Album with His Original Sextet : Milestones Features John Coltrane and Cannonball Adderley !\r\n
      \r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM (1 LP) Presents 1958 Benchmark in Riveting Mono Sound !\r\n
      \r\n
      - 1/4" / 15 IPS analog mono master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis created just one studio album with his original sextet. He made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, the trumpeter not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Due to its sandwiched position between the more famous 'Round About Midnight and epochal Kind of Blue, Milestones remains, for too many music lovers, an overlooked classic.\r\n
      \r\n
      Part of Mobile Fidelity's Miles Davis catalog restoration series, Milestones has been restored to mono for the first time as to expose the record's standing as one of the all-time great jazz efforts.Mastered from the original master tapes and pressed at RTI, this unsurpassed 180 gram mono LP edition grants each musician their own space in a well-defined, broadened soundstage. Colors, shapes, and dimensions appear in the manner they do when beheld from behind a studio-control room's window.\r\n
      \r\n
      Davis' burnished trumpet? Rendered in three-dimensional perspective, coaxing his mates out to play with unburdened zest and commotion. Coltrane's trademark saxophone ? Witness it in life-size proportion, his solos working in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the 88 keys as he hits full stride, the chords and fills slithering around skeletal frameworks.\r\n
      \r\n
      If anything, Milestones is as famous for its title track as the players that produced it. The launching pad for many of Davis' (and later, his contemporaries') improvisational flights, the singular piece invites the tessellated explorations Coltrane would forever chase as well as the headliner's argyle solo work, who broaches territories that far exceed what he had done with his bop-rooted past. Every song is a highlight, whether it's the bravado "No Jackle", featuring a hot-foot pace and bebop strains, or "Sid's Ahead", which continues the album's blues theme while tossing around edgy harmonics and inside-out structures.\r\n
      \r\n
      Then there's "Straight, No Chaser", the absolutely definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's lobed borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and eye towards the future. A milestone if there ever was. And now, in resplendent mono.\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet, piano), Cannonball Adderley (alto saxophone), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (double bass), Philly Joe Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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        "nom" => "2. Sid’s Ahead"
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        "nom" => "3. Straight, No Chaser"
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      ]
      [
        "nom" => "3. Two Bass Hit"
        "ordre" => 3
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
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    }
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      date: 2025-03-10 21:13:34.0 UTC (+00:00)
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    -disponible: null
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    -slug: "vinyles-milestones-mfsl-1-374"
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[
  "produit" => App\Entity\Produit {#2048
    -id: 2656
    -nom: "Birth Of The Blue"
    -informationComplementaire: ""
    -description: """
      Miles Davis — Birth of the Blue\r\n
      \r\n
      Smash prequel to what many consider the greatest jazz record ever!\r\n
      \r\n
      - Four more songs from the pioneering ensemble that produced Miles Davis' Kind of Blue !\r\n
      \r\n
      - Modal jazz precursor laid groundwork for future jazz innovation !\r\n
      \r\n
      - 180 gram vinyl !\r\n
      \r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from a new 30 ips quarter-inch stereo master tape transferred from the original 3 track session tapes !\r\n
      \r\n
      - Plated and pressed at Quality Record Pressings for flawless production and superior fidelity !\r\n
      \r\n
      - Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish !\r\n
      \r\n
      "This session recorded within the confines of Columbia’s 30th Street Studio in New York City on May 26, 1958 captures the sextet in a free-flowing, exploratory mode, akin to a spontaneous blowing session... Our ratings for 'Birth of the Blue' are 10 for the Music (as comparison, 'Kind of Blue' is a stone-cold 11), and 10 for the Sound. We suggest you indulge in the 'Birth of the Blue' LP for its loose-knit renditions of American songbook classics. Savor the breathtaking solos that showcase one of the greatest jazz ensembles ever assembled, their artistry in full bloom". - Music = 10/11; Sound = 10/11 - Ken Micallef, AnalogPlanet.com, Jan. 17, 2025. Read the entire review here.\r\n
      \r\n
      "This session deserves to stand alone and not be mixed up with a bunch of other stuff... The goal here was to give you the spread as seen in the 30th street studio when the recording was produced as the musicians stood before the microphones. The sound is 'you are there' superb as the 30th street studio most always delivered and of course hearing this group play for the first time 'as one' is exhilarating, especially having the tracks correctly assembled on a single LP". \r\n
      - Music = 10/11; Sound = 10/11 - Michael Fremer, TrackingAngle.com. Read the entire review here.\r\n
      \r\n
      "It's stunning. It's absolutely beautiful music... honestly, if you think of it as a companion piece, a prequel that's exactly what it is... the fact that it sounds most like the 45 RPM UHQR, and bear in mind this costs $40, ...it's got to be one of the bargains of the century". - Dave Denyer, YouTube video\r\n
      \r\n
      "Just to hear this group, like probably what you would hear at a concert that's a revelation in itself in high fidelity, with really, really great sonics... Much better than any of the (other compilations).... this gets the thumbs up from me". - Ken Micallef, Jazz Vinyl Audiophile, YouTube video\r\n
      \r\n
      Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever!\r\n
      \r\n
      Through the years, these four remarkable performances all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Prssings, has deservedly given these tracks a stellar stand-alone release for jazz fans to savor!\r\n
      \r\n
      The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.\r\n
      \r\n
      Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously.\r\n
      \r\n
      Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-its-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard.\r\n
      \r\n
      For this release, we started with the original 3 track recording session tapes that were mixed down to a brand-new 30 ips quarter-inch stereo master tape by senior mastering engineer Vic Anesini at Battery Studios. From that stereo master tape, Matthew Lutthans at The Mastering Lab cut the lacquers at 33 1/3 RPM utilizing the legendary Doug Sax's custom all-tube system and cutting lathe. The lacquers were plated and pressed on 180-gram vinyl at Quality Record Pressings. Lastly, the Stoughton Printing tip-on gatefold jacket with a deluxe scuff-resistant matte finish is the highest quality available. The artwork has an incredible spot-on look to a 1959 Columbia records release !\r\n
      \r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), John Coltrane (tenor saxophone), Cannonball Adderley (alto saxophone), Paul Chambers (bass), Bill Evans (piano), James Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=f4MyDJMH3TM"
    -referenceProduit: "Analogue Productions AAPJ 0172"
    -titreMorceau: [
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        "ordre" => 0
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      [
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        "ordre" => 3
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    ]
    -artiste: App\Entity\Artiste {#1063 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -id: 2656
    -nom: "Birth Of The Blue"
    -informationComplementaire: ""
    -description: """
      Miles Davis — Birth of the Blue\r\n
      \r\n
      Smash prequel to what many consider the greatest jazz record ever!\r\n
      \r\n
      - Four more songs from the pioneering ensemble that produced Miles Davis' Kind of Blue !\r\n
      \r\n
      - Modal jazz precursor laid groundwork for future jazz innovation !\r\n
      \r\n
      - 180 gram vinyl !\r\n
      \r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from a new 30 ips quarter-inch stereo master tape transferred from the original 3 track session tapes !\r\n
      \r\n
      - Plated and pressed at Quality Record Pressings for flawless production and superior fidelity !\r\n
      \r\n
      - Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish !\r\n
      \r\n
      "This session recorded within the confines of Columbia’s 30th Street Studio in New York City on May 26, 1958 captures the sextet in a free-flowing, exploratory mode, akin to a spontaneous blowing session... Our ratings for 'Birth of the Blue' are 10 for the Music (as comparison, 'Kind of Blue' is a stone-cold 11), and 10 for the Sound. We suggest you indulge in the 'Birth of the Blue' LP for its loose-knit renditions of American songbook classics. Savor the breathtaking solos that showcase one of the greatest jazz ensembles ever assembled, their artistry in full bloom". - Music = 10/11; Sound = 10/11 - Ken Micallef, AnalogPlanet.com, Jan. 17, 2025. Read the entire review here.\r\n
      \r\n
      "This session deserves to stand alone and not be mixed up with a bunch of other stuff... The goal here was to give you the spread as seen in the 30th street studio when the recording was produced as the musicians stood before the microphones. The sound is 'you are there' superb as the 30th street studio most always delivered and of course hearing this group play for the first time 'as one' is exhilarating, especially having the tracks correctly assembled on a single LP". \r\n
      - Music = 10/11; Sound = 10/11 - Michael Fremer, TrackingAngle.com. Read the entire review here.\r\n
      \r\n
      "It's stunning. It's absolutely beautiful music... honestly, if you think of it as a companion piece, a prequel that's exactly what it is... the fact that it sounds most like the 45 RPM UHQR, and bear in mind this costs $40, ...it's got to be one of the bargains of the century". - Dave Denyer, YouTube video\r\n
      \r\n
      "Just to hear this group, like probably what you would hear at a concert that's a revelation in itself in high fidelity, with really, really great sonics... Much better than any of the (other compilations).... this gets the thumbs up from me". - Ken Micallef, Jazz Vinyl Audiophile, YouTube video\r\n
      \r\n
      Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever!\r\n
      \r\n
      Through the years, these four remarkable performances all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Prssings, has deservedly given these tracks a stellar stand-alone release for jazz fans to savor!\r\n
      \r\n
      The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.\r\n
      \r\n
      Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously.\r\n
      \r\n
      Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-its-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard.\r\n
      \r\n
      For this release, we started with the original 3 track recording session tapes that were mixed down to a brand-new 30 ips quarter-inch stereo master tape by senior mastering engineer Vic Anesini at Battery Studios. From that stereo master tape, Matthew Lutthans at The Mastering Lab cut the lacquers at 33 1/3 RPM utilizing the legendary Doug Sax's custom all-tube system and cutting lathe. The lacquers were plated and pressed on 180-gram vinyl at Quality Record Pressings. Lastly, the Stoughton Printing tip-on gatefold jacket with a deluxe scuff-resistant matte finish is the highest quality available. The artwork has an incredible spot-on look to a 1959 Columbia records release !\r\n
      \r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), John Coltrane (tenor saxophone), Cannonball Adderley (alto saxophone), Paul Chambers (bass), Bill Evans (piano), James Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=f4MyDJMH3TM"
    -referenceProduit: "Analogue Productions AAPJ 0172"
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        "ordre" => 0
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        "ordre" => 3
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    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2050 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2064
    -id: 2602
    -nom: "Miles '54 - The Prestige Recordings"
    -informationComplementaire: ""
    -description: """
      - 180 gram 4 LP Box Set !\r\n
      \r\n
      - Miles Davis "Miles '54 - The Prestige Recordings !"\r\n
      \r\n
      Released to celebrate the 70th Anniversary of these recordings, Miles '54 - The Prestige Recordings brings together 20 tracks recorded by the trumpet legend in 1954, across 4 LPs. Including cuts from albums released that year the collection features Sonny Rollins, Charles Mingus, Horace Silver, Art Blakey, Thelonious Monk and more. Included are new liner notes by Grammy Award-winning music historian Ashley Kahn and session notes by Grammy winner Dan Morgenstern, with mastering by Paul Blakemore.
      """
    -prixVente: "149.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 4
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=uDwuM3qI0WE"
    -referenceProduit: "Concord Craft Recordings 2491"
    -titreMorceau: [
      [
        "nom" => "1. Airegin"
        "ordre" => 13
      ]
      [
        "nom" => "1. Bags' Groove (Take 2)"
        "ordre" => 21
      ]
      [
        "nom" => "1. Blue 'N' Boogie"
        "ordre" => 10
      ]
      [
        "nom" => "1. Doxy"
        "ordre" => 18
      ]
      [
        "nom" => "1. Four"
        "ordre" => 1
      ]
      [
        "nom" => "1. Swing Spring"
        "ordre" => 24
      ]
      [
        "nom" => "1. The Man I Love (Take 1)"
        "ordre" => 26
      ]
      [
        "nom" => "1. You Don't Know What Love Is"
        "ordre" => 6
      ]
      [
        "nom" => "2. Bags' Groove (Take 1)"
        "ordre" => 19
      ]
      [
        "nom" => "2. Bemsha Swing"
        "ordre" => 22
      ]
      [
        "nom" => "2. Love Me or Leave Me"
        "ordre" => 7
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        "nom" => "2. Old Devil"
        "ordre" => 2
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      [
        "nom" => "2. Oleo"
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      ]
      [
        "nom" => "2. The Man I Love (Take 2)"
        "ordre" => 27
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      [
        "nom" => "2. Walkin'"
        "ordre" => 11
      ]
      [
        "nom" => "3. Blue"
        "ordre" => 3
      ]
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        "nom" => "3. But Not for Me (Take 1)"
        "ordre" => 15
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      [
        "nom" => "3. I'll Remember April"
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      [
        "nom" => "Side G : "
        "ordre" => 23
      ]
      [
        "nom" => "Side H : "
        "ordre" => 25
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
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    -id: 2602
    -nom: "Miles '54 - The Prestige Recordings"
    -informationComplementaire: ""
    -description: """
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      \r\n
      - Miles Davis "Miles '54 - The Prestige Recordings !"\r\n
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      """
    -prixVente: "149.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 4
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=uDwuM3qI0WE"
    -referenceProduit: "Concord Craft Recordings 2491"
    -titreMorceau: [
      [
        "nom" => "1. Airegin"
        "ordre" => 13
      ]
      [
        "nom" => "1. Bags' Groove (Take 2)"
        "ordre" => 21
      ]
      [
        "nom" => "1. Blue 'N' Boogie"
        "ordre" => 10
      ]
      [
        "nom" => "1. Doxy"
        "ordre" => 18
      ]
      [
        "nom" => "1. Four"
        "ordre" => 1
      ]
      [
        "nom" => "1. Swing Spring"
        "ordre" => 24
      ]
      [
        "nom" => "1. The Man I Love (Take 1)"
        "ordre" => 26
      ]
      [
        "nom" => "1. You Don't Know What Love Is"
        "ordre" => 6
      ]
      [
        "nom" => "2. Bags' Groove (Take 1)"
        "ordre" => 19
      ]
      [
        "nom" => "2. Bemsha Swing"
        "ordre" => 22
      ]
      [
        "nom" => "2. Love Me or Leave Me"
        "ordre" => 7
      ]
      [
        "nom" => "2. Old Devil"
        "ordre" => 2
      ]
      [
        "nom" => "2. Oleo"
        "ordre" => 14
      ]
      [
        "nom" => "2. The Man I Love (Take 2)"
        "ordre" => 27
      ]
      [
        "nom" => "2. Walkin'"
        "ordre" => 11
      ]
      [
        "nom" => "3. Blue"
        "ordre" => 3
      ]
      [
        "nom" => "3. But Not for Me (Take 1)"
        "ordre" => 15
      ]
      [
        "nom" => "3. I'll Remember April"
        "ordre" => 8
      ]
      [
        "nom" => "4. But Not for Me (Take 2)"
        "ordre" => 16
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      [
        "nom" => "4. Solar"
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      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
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      [
        "nom" => "Side C : "
        "ordre" => 9
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      [
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        "ordre" => 12
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      [
        "nom" => "Side E : "
        "ordre" => 17
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      [
        "nom" => "Side F : "
        "ordre" => 20
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      [
        "nom" => "Side G : "
        "ordre" => 23
      ]
      [
        "nom" => "Side H : "
        "ordre" => 25
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
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[
  "produit" => App\Entity\Produit {#2080
    -id: 2582
    -nom: "Sorcerer - MoFi SuperVinyl"
    -informationComplementaire: ""
    -description: """
      - THE THIRD OF FIVE ALBUMS FROM MILES DAVIS’ SECOND GREAT QUINTET: MOOD, INFLECTION, NUANCE, AND EXPRESSIONISM TAKE CENTER STAGE ON SORCERER !\r\n
      \r\n
      - Sourced from the Original Master Tapes and Pressed at Fidelity Record Pressing on MoFi SuperVinyl: Mobile Fidelity 180 gram 33 RPM SuperVinyl LP Plays with Reference Dynamics, Transparency, and Presence !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums by Miles Davis’ legendary Second Great 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 effort mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP.\r\n
      \r\n
      Sourced from the original master tapes and pressed at Fidelity Record Pressing, this numbered-edition audiophile edition of Sorcerer joins the ranks of 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. Credit goes to MoFi’s engineers as well as the label’s groundbreaking SuperVinyl profile that features the lowest-possible noise floor as well as sublime transparency, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      By any measure, this is a reference reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter’s 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’s piano runs 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
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: ""
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV1-519"
    -titreMorceau: [
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        "ordre" => 6
      ]
      [
        "nom" => "1. Prince of Darkness"
        "ordre" => 1
      ]
      [
        "nom" => "2. Pee Wee"
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      ]
      [
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        "ordre" => 3
      ]
      [
        "nom" => "3. Nothing Like You"
        "ordre" => 8
      ]
      [
        "nom" => "4. The Sorcerer"
        "ordre" => 4
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2088 …}
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    }
    -modifierLe: DateTime @1732090555 {#2078
      date: 2024-11-20 08:15:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2085 …}
    -disponible: null
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    -slug: "vinyles-sorcerer-mofi-supervinyl-mobile-fidelity-sound-lab-mfsv1-519"
  }
  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3317
  -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 {#2608 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2080
    -id: 2582
    -nom: "Sorcerer - MoFi SuperVinyl"
    -informationComplementaire: ""
    -description: """
      - THE THIRD OF FIVE ALBUMS FROM MILES DAVIS’ SECOND GREAT QUINTET: MOOD, INFLECTION, NUANCE, AND EXPRESSIONISM TAKE CENTER STAGE ON SORCERER !\r\n
      \r\n
      - Sourced from the Original Master Tapes and Pressed at Fidelity Record Pressing on MoFi SuperVinyl: Mobile Fidelity 180 gram 33 RPM SuperVinyl LP Plays with Reference Dynamics, Transparency, and Presence !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums by Miles Davis’ legendary Second Great 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 effort mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP.\r\n
      \r\n
      Sourced from the original master tapes and pressed at Fidelity Record Pressing, this numbered-edition audiophile edition of Sorcerer joins the ranks of 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. Credit goes to MoFi’s engineers as well as the label’s groundbreaking SuperVinyl profile that features the lowest-possible noise floor as well as sublime transparency, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      By any measure, this is a reference reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter’s 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’s piano runs 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
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: ""
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV1-519"
    -titreMorceau: [
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        "ordre" => 6
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      [
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        "ordre" => 1
      ]
      [
        "nom" => "2. Pee Wee"
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      [
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      [
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      [
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        "ordre" => 8
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      [
        "nom" => "4. The Sorcerer"
        "ordre" => 4
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
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      date: 2024-11-20 08:15:55.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2376 …}
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[
  "produit" => App\Entity\Produit {#2093
    -id: 2274
    -nom: "Kind of Blue  (33 1/3 RPM Clarity Vinyl)"
    -informationComplementaire: ""
    -description: """
      - Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl !\r\n
      \r\n
      - Definitive handmade limited run reissue Ultra High Quality Record !\r\n
      \r\n
      - 33 1/3 RPM LP release limited to 25000 copies !\r\n
      \r\n
      - Best-selling album in jazz history; mastered directly from the original 3 Track master tapes by Bernie Grundman !\r\n
      \r\n
      - Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press !\r\n
      \r\n
      - Purest possible pressing and most visually stunning presentation and packaging !\r\n
      \r\n
      - Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history !\r\n
      \r\n
      "...this one is speed-corrected, so you can think of it as the one to own... the booklet that accompanies this edition is so comprehensive that, should you have the patience, you might want to read it from cover to cover before letting your stylus settle into the groove. It just might prepare you for what you are about to hear, which is to my ears so far above reproach that it has joined a minuscule list of albums I would have to classify as 'perfect'." - Ken Kessler, The Vinyl Adventure. Read Kessler's entire review here.\r\n
      \r\n
      "You really do feel like you're in the recording studio with the band; the realism of the room is that stark. I've heard the UHQR called the "apex release", and can confirm this to be true. It is, simply put, a stunning record." - Eric Pye, ecoustics.com. Read Pye's entire review here.\r\n
      \r\n
      "The result (drum rolls) is the best-sounding Kind of Blue ever, superior in every way to all previous pressings, including the original. The pressing is superquiet, allowing the slightest of details to pop out from the black backdrop. Cobb's drumkit is spooky real. I've heard this album, in one version or another, hundreds of times, and there are fine touches in Cobb's snare swooshes and cymbal taps accents on accents, rhythms within rhythms that I've never heard before. Chamber's bass lines are stunningly clear: the notes he's playing, the pluck of the strings, the glow of the wood. There are also new layers of detail in Miles' mouthpiece manipulations, Evans's pedal work, and the sheer beauty of Coltrane's and Adderley's saxophones... the chase is eternal. This reissue holds the brass ring, for now". - Fred Kaplan, Stereophile, August 2021\r\n
      \r\n
      "Quite clearly and obviously this new UHQR Kind of Blue sourced from Bernie Grundman's (1997) 'live' mix from the 3-track master, directly to lacquer sounds best compared to two early '6-Eyes', Classic's own double 180 gram set and that label's single-sided 45rpm set, and Mobile Fidelity's double 45 boxed edition, to which I compared the UHQR.\r\n
      \r\n
      "Even the quietest original pressing creates a pleasing romantic blur over a soft bed of noise but compared to this issue the overall picture is distant and hazy (though the romanticized version still pulls). The UHQR offers the blackest, quietest backgrounds and unparalleled transparency, but more critically, the modified Finebuilt hand press produces unprecedented transient precision and instrumental focus and resolves low level details that will deliver surprises to even the most blasé KOB veteran, one of whom visited and exclaimed 'I've never heard that before.' This pressing allows you to see further into the mix and transports you back in time and into the 30th Street studios. I don't care what version you now have you've never heard Kind of Blue quite like this". — Music = 11/11; Sound = 11/11 Michael Fremer, AnalogPlanet.com, May 17, 2021. Read the whole review here.\r\n
      \r\n
      "Until now The Classic Records Clarity Vinyl Flat Profile version of Kind of Blue was the closest to the sound on the three track session master from which it was cut. The Analogue Productions UHQR pressing from the same metal parts has taken it up a notch and gotten us even closer to the sound on those 1/2" analog session master tapes! Buy two so you have one for a backup or to give someone the gift of music!" - Michael Hobson, founder of Classic Records\r\n
      \r\n
      Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording a five-track masterpiece of melancholy mood and melody.\r\n
      \r\n
      It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader".\r\n
      \r\n
      Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.\r\n
      \r\n
      The 200 gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.\r\n
      \r\n
      Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick", Davis complained in a 1958 interview for The Jazz Review. "...There will be fewer chords but infinite possibilities as to what to do with them". Kind of Blue is, in a sense, all melody and atmosphere.\r\n
      \r\n
      None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\r\n
      \r\n
      Miles remained proud of the album, performing at least two of its tracks "So What" and "All Blues" for years after, until his musical path took him in a different direction.\r\n
      \r\n
      History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\r\n
      \r\n
      A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3 track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What", "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp.This issue was finally addressed with the Classic Records reissue in 1995. This UHQR was pressed from the same parts that Bernie Grundman cut directly from the original 3-track masters for Classic in '95.\r\n
      \r\n
      Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.
      """
    -prixVente: "149.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Paul Chambers (double bass), Bill Evan, Wynton Kelly (piano), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ylXk1LBvIqU"
    -referenceProduit: "Analogue Productions AUHQR 004"
    -titreMorceau: [
      [
        "nom" => "1. All Blues"
        "ordre" => 5
      ]
      [
        "nom" => "1. So What"
        "ordre" => 1
      ]
      [
        "nom" => "2. Flamenco Sketches"
        "ordre" => 6
      ]
      [
        "nom" => "2. Freddie Freeloader "
        "ordre" => 2
      ]
      [
        "nom" => "3. Blue In Green"
        "ordre" => 3
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2050 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2101 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2094 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2096 …}
    -enregistreLe: DateTime @1663141782 {#2090
      date: 2022-09-14 07:49:42.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1728394552 {#2091
      date: 2024-10-08 13:35:52.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2098 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-kind-of-blue-33-1-3-rpm-clarity-vinyl-analogue-productions-auhqr-004"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3365
  -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 {#2608 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2093
    -id: 2274
    -nom: "Kind of Blue  (33 1/3 RPM Clarity Vinyl)"
    -informationComplementaire: ""
    -description: """
      - Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl !\r\n
      \r\n
      - Definitive handmade limited run reissue Ultra High Quality Record !\r\n
      \r\n
      - 33 1/3 RPM LP release limited to 25000 copies !\r\n
      \r\n
      - Best-selling album in jazz history; mastered directly from the original 3 Track master tapes by Bernie Grundman !\r\n
      \r\n
      - Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press !\r\n
      \r\n
      - Purest possible pressing and most visually stunning presentation and packaging !\r\n
      \r\n
      - Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history !\r\n
      \r\n
      "...this one is speed-corrected, so you can think of it as the one to own... the booklet that accompanies this edition is so comprehensive that, should you have the patience, you might want to read it from cover to cover before letting your stylus settle into the groove. It just might prepare you for what you are about to hear, which is to my ears so far above reproach that it has joined a minuscule list of albums I would have to classify as 'perfect'." - Ken Kessler, The Vinyl Adventure. Read Kessler's entire review here.\r\n
      \r\n
      "You really do feel like you're in the recording studio with the band; the realism of the room is that stark. I've heard the UHQR called the "apex release", and can confirm this to be true. It is, simply put, a stunning record." - Eric Pye, ecoustics.com. Read Pye's entire review here.\r\n
      \r\n
      "The result (drum rolls) is the best-sounding Kind of Blue ever, superior in every way to all previous pressings, including the original. The pressing is superquiet, allowing the slightest of details to pop out from the black backdrop. Cobb's drumkit is spooky real. I've heard this album, in one version or another, hundreds of times, and there are fine touches in Cobb's snare swooshes and cymbal taps accents on accents, rhythms within rhythms that I've never heard before. Chamber's bass lines are stunningly clear: the notes he's playing, the pluck of the strings, the glow of the wood. There are also new layers of detail in Miles' mouthpiece manipulations, Evans's pedal work, and the sheer beauty of Coltrane's and Adderley's saxophones... the chase is eternal. This reissue holds the brass ring, for now". - Fred Kaplan, Stereophile, August 2021\r\n
      \r\n
      "Quite clearly and obviously this new UHQR Kind of Blue sourced from Bernie Grundman's (1997) 'live' mix from the 3-track master, directly to lacquer sounds best compared to two early '6-Eyes', Classic's own double 180 gram set and that label's single-sided 45rpm set, and Mobile Fidelity's double 45 boxed edition, to which I compared the UHQR.\r\n
      \r\n
      "Even the quietest original pressing creates a pleasing romantic blur over a soft bed of noise but compared to this issue the overall picture is distant and hazy (though the romanticized version still pulls). The UHQR offers the blackest, quietest backgrounds and unparalleled transparency, but more critically, the modified Finebuilt hand press produces unprecedented transient precision and instrumental focus and resolves low level details that will deliver surprises to even the most blasé KOB veteran, one of whom visited and exclaimed 'I've never heard that before.' This pressing allows you to see further into the mix and transports you back in time and into the 30th Street studios. I don't care what version you now have you've never heard Kind of Blue quite like this". — Music = 11/11; Sound = 11/11 Michael Fremer, AnalogPlanet.com, May 17, 2021. Read the whole review here.\r\n
      \r\n
      "Until now The Classic Records Clarity Vinyl Flat Profile version of Kind of Blue was the closest to the sound on the three track session master from which it was cut. The Analogue Productions UHQR pressing from the same metal parts has taken it up a notch and gotten us even closer to the sound on those 1/2" analog session master tapes! Buy two so you have one for a backup or to give someone the gift of music!" - Michael Hobson, founder of Classic Records\r\n
      \r\n
      Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording a five-track masterpiece of melancholy mood and melody.\r\n
      \r\n
      It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader".\r\n
      \r\n
      Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.\r\n
      \r\n
      The 200 gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.\r\n
      \r\n
      Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick", Davis complained in a 1958 interview for The Jazz Review. "...There will be fewer chords but infinite possibilities as to what to do with them". Kind of Blue is, in a sense, all melody and atmosphere.\r\n
      \r\n
      None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\r\n
      \r\n
      Miles remained proud of the album, performing at least two of its tracks "So What" and "All Blues" for years after, until his musical path took him in a different direction.\r\n
      \r\n
      History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\r\n
      \r\n
      A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3 track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What", "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp.This issue was finally addressed with the Classic Records reissue in 1995. This UHQR was pressed from the same parts that Bernie Grundman cut directly from the original 3-track masters for Classic in '95.\r\n
      \r\n
      Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.
      """
    -prixVente: "149.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Paul Chambers (double bass), Bill Evan, Wynton Kelly (piano), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1138 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ylXk1LBvIqU"
    -referenceProduit: "Analogue Productions AUHQR 004"
    -titreMorceau: [
      [
        "nom" => "1. All Blues"
        "ordre" => 5
      ]
      [
        "nom" => "1. So What"
        "ordre" => 1
      ]
      [
        "nom" => "2. Flamenco Sketches"
        "ordre" => 6
      ]
      [
        "nom" => "2. Freddie Freeloader "
        "ordre" => 2
      ]
      [
        "nom" => "3. Blue In Green"
        "ordre" => 3
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2050 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2101 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2094 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2096 …}
    -enregistreLe: DateTime @1663141782 {#2090
      date: 2022-09-14 07:49:42.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1728394552 {#2091
      date: 2024-10-08 13:35:52.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2098 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-kind-of-blue-33-1-3-rpm-clarity-vinyl-analogue-productions-auhqr-004"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2376 …}
}

[
  "produit" => App\Entity\Produit {#2106
    -id: 2564
    -nom: "On The Corner - (Limited Numbered Edition Super Vinyl)"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet), David Liebman (soprano saxophone), Carlos Garnett (soprano & tenor saxophone), Herbie Hancock, Harold Williams, Chick Corea (electric piano, organ, piano, synthesizer), David Creamer, John McLaughlin (guitar), Mtume (percussion, bells), Collin Walcott (sitar), Badal Roy (tabla), Michael Henderson (electric bass), Bennie Maupin (bass clarinet), Paul Buckmaster (cello), Don Alias (congas, shaker), Billy Hart (drums, percussion, cowbell), Jack DeJohnette (drums).\r\n
      \r\n
      - 180 gram MoFi SuperVinyl 33 1/3 LP !\r\n
      \r\n
      - 1/4" / 15 ips analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      - Sourced from the original master tape !\r\n
      \r\n
      - Exotic, bold, streetwise, futuristic !\r\n
      \r\n
      - On The Corner embraces Miles Davis' "Jungle Sound" with percussive foundations, trance loops, and transformational arrangements !\r\n
      \r\n
      Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches the likes of which fill Davis' boldest and most controversial undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.\r\n
      \r\n
      Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180 gram 33 1/3 RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin", as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would've loved MoFi's groundbreaking SuperVinyl profile that features the lowest-possible analog noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      New degrees of spaciousness and airiness equally important to the musique concrete arrangements give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production and the trumpeter's cutting-edge aural collages in definitive fashion.\r\n
      \r\n
      Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties - Chick Corea and Herbie Hancock prominently figure he also relies on an all-star cast of sidemen for concentrated soloing and additional support.\r\n
      \r\n
      With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.\r\n
      \r\n
      Exotic, intrepid, and filled with Davis' "jungle sound", On the Corner remains daringly hip more than four decades later.
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), David Liebman (soprano saxophone), Carlos Garnett (soprano & tenor saxophone), Herbie Hancock, Harold Williams, Chick Corea (electric piano, organ, piano, synthesizer)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=AIqXprCArdo"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-518"
    -titreMorceau: [
      [
        "nom" => "/ Vote for Miles"
        "ordre" => 2
      ]
      [
        "nom" => "1. On the Corner / New York Girl / Thinkin’ One Thing and Doin’ Another"
        "ordre" => 1
      ]
      [
        "nom" => "2. Black Satin"
        "ordre" => 3
      ]
      [
        "nom" => "3. One and One"
        "ordre" => 5
      ]
      [
        "nom" => "4. Helen Butte/Mr. Freedom X"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2114 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2107 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2109 …}
    -enregistreLe: DateTime @1727758840 {#2103
      date: 2024-10-01 05:00:40.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1727778893 {#2104
      date: 2024-10-01 10:34:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2111 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-on-the-corner-limited-numbered-edition-super-vinyl-mobile-fidelity-sound-lab-mfsl-1-518"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3413
  -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 {#2608 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2106
    -id: 2564
    -nom: "On The Corner - (Limited Numbered Edition Super Vinyl)"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet), David Liebman (soprano saxophone), Carlos Garnett (soprano & tenor saxophone), Herbie Hancock, Harold Williams, Chick Corea (electric piano, organ, piano, synthesizer), David Creamer, John McLaughlin (guitar), Mtume (percussion, bells), Collin Walcott (sitar), Badal Roy (tabla), Michael Henderson (electric bass), Bennie Maupin (bass clarinet), Paul Buckmaster (cello), Don Alias (congas, shaker), Billy Hart (drums, percussion, cowbell), Jack DeJohnette (drums).\r\n
      \r\n
      - 180 gram MoFi SuperVinyl 33 1/3 LP !\r\n
      \r\n
      - 1/4" / 15 ips analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      - Sourced from the original master tape !\r\n
      \r\n
      - Exotic, bold, streetwise, futuristic !\r\n
      \r\n
      - On The Corner embraces Miles Davis' "Jungle Sound" with percussive foundations, trance loops, and transformational arrangements !\r\n
      \r\n
      Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches the likes of which fill Davis' boldest and most controversial undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.\r\n
      \r\n
      Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180 gram 33 1/3 RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin", as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would've loved MoFi's groundbreaking SuperVinyl profile that features the lowest-possible analog noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.\r\n
      \r\n
      New degrees of spaciousness and airiness equally important to the musique concrete arrangements give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production and the trumpeter's cutting-edge aural collages in definitive fashion.\r\n
      \r\n
      Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties - Chick Corea and Herbie Hancock prominently figure he also relies on an all-star cast of sidemen for concentrated soloing and additional support.\r\n
      \r\n
      With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.\r\n
      \r\n
      Exotic, intrepid, and filled with Davis' "jungle sound", On the Corner remains daringly hip more than four decades later.
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), David Liebman (soprano saxophone), Carlos Garnett (soprano & tenor saxophone), Herbie Hancock, Harold Williams, Chick Corea (electric piano, organ, piano, synthesizer)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=AIqXprCArdo"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-518"
    -titreMorceau: [
      [
        "nom" => "/ Vote for Miles"
        "ordre" => 2
      ]
      [
        "nom" => "1. On the Corner / New York Girl / Thinkin’ One Thing and Doin’ Another"
        "ordre" => 1
      ]
      [
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[
  "produit" => App\Entity\Produit {#2119
    -id: 2421
    -nom: "Round About Midnight - (Limited Numbered Edition Super Vinyl)"
    -informationComplementaire: ""
    -description: """
      COLUMBIA RECORDS DEBUT HIGHLIGHTS DIVERSE PALETTE AND FAMED QUINTET\r\n
      \r\n
      1/4" / 15 IPS analog master to DSD 64 to analog console to lathe\r\n
      \r\n
      Hipness Personified : Miles Davis' Columbia Records Debut, 'Round About Midnight Blows Cool and Hot Jazz with Famed Quintet\r\n
      \r\n
      Lifelike Presence and Immediacy: Sourced from the Original Master Tapes, Mobile Fidelity's 180 gram Vinyl LP Presents Music in Direct Mono Sound\r\n
      \r\n
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      \r\n
      Sourced from the original master tapes, Mobile Fidelity's numbered-edition 180 gram vinyl LP traces the individual paths each musician takes in contributing to the whole, whether it's pianist Red Garland's left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.\r\n
      \r\n
      Few jazz records claim the significance boasted by ‘Round About Midnight.  The album's creation and the assembly of Davis' quintet, which also includes Paul Chambers and Philly Joe Jones – stems from the headliner's rousing rendition of the title-inspired track, "'Round Midnight," a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasn't the composer's only surprise.\r\n
      \r\n
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      \r\n
      Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, ‘Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and sip a cognac. This is Miles and Co. at their best. And hipness personified. \r\n
      \r\n
      "This is by far the best digital rendition of this music, and has a wonderful analogue sound found in the best of the Mobile Fidelity reissues. Essential in both [SACD and LP] formats". – Hi-Fi+
      """
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    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (double bass), Philly Joe Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=w6PfwriXJbs"
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        "nom" => "3. All of You"
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      [
        "nom" => "3. Dear Old Stockholm"
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        "nom" => "Side A : "
        "ordre" => 0
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      [
        "nom" => "Side B : "
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    -artiste: App\Entity\Artiste {#1063 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3461
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2608 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 2421
    -nom: "Round About Midnight - (Limited Numbered Edition Super Vinyl)"
    -informationComplementaire: ""
    -description: """
      COLUMBIA RECORDS DEBUT HIGHLIGHTS DIVERSE PALETTE AND FAMED QUINTET\r\n
      \r\n
      1/4" / 15 IPS analog master to DSD 64 to analog console to lathe\r\n
      \r\n
      Hipness Personified : Miles Davis' Columbia Records Debut, 'Round About Midnight Blows Cool and Hot Jazz with Famed Quintet\r\n
      \r\n
      Lifelike Presence and Immediacy: Sourced from the Original Master Tapes, Mobile Fidelity's 180 gram Vinyl LP Presents Music in Direct Mono Sound\r\n
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      \r\n
      Sourced from the original master tapes, Mobile Fidelity's numbered-edition 180 gram vinyl LP traces the individual paths each musician takes in contributing to the whole, whether it's pianist Red Garland's left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.\r\n
      \r\n
      Few jazz records claim the significance boasted by ‘Round About Midnight.  The album's creation and the assembly of Davis' quintet, which also includes Paul Chambers and Philly Joe Jones – stems from the headliner's rousing rendition of the title-inspired track, "'Round Midnight," a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasn't the composer's only surprise.\r\n
      \r\n
      'Round About Midnight thrives due to diversity and consistency, a rare combination epitomized by the first-rate selection and astonishing performance of pensive ballads, bebop classics, pop standards, and folk pieces. Witness the counterpoint exchanges during "Ah-Leu-Cha" and its Dixieland shades. Soak up the progressive drama and swinging tempos on "All of You" and "Bye Bye Blackbird." Delight in the mélange of latticed textures and schematic moods throughout the sequence, here presented in gorgeous fidelity, zeroing in on Davis' warm, plush, rich, and close-up trumpet timbres and how, by playing his instrument right near the microphone, he infuses the arrangements with the sort of daring intimacy embraced by two lovers. \r\n
      \r\n
      Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, ‘Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and sip a cognac. This is Miles and Co. at their best. And hipness personified. \r\n
      \r\n
      "This is by far the best digital rendition of this music, and has a wonderful analogue sound found in the best of the Mobile Fidelity reissues. Essential in both [SACD and LP] formats". – Hi-Fi+
      """
    -prixVente: "89.50"
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    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=w6PfwriXJbs"
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    -artiste: App\Entity\Artiste {#1063 …}
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[
  "produit" => App\Entity\Produit {#2132
    -id: 2401
    -nom: "Volume 1"
    -informationComplementaire: ""
    -description: """
      The legendary trumpeter Miles Davis was still near the beginning of his storied career when he cut the three sessions that comprise his Blue Note recordings in 1952, 1953, and 1954. In the late 1940s, Miles had been a member of Charlie Parker's quintet and Dizzy Gillespie's big band, as well as cutting select sides as a leader including the influential Birth of the Cool sessions for Capitol Records.\r\n
      \r\n
      Miles' star was still rising at the time he hooked up with Alfred Lion and Blue Note, but he was clearly on his path towards becoming one of the greatest bandleaders in jazz. Initially released across three 10" LPs Young Man With A Horn, Vol. 2, and Vol. 3 the music captured on these Blue Note sides contains all the hallmarks of his early style from blazing bebop to beautiful ballads. When Blue Note transitioned to the 12" LP in 1955, Lion compiled Miles' recordings onto two volumes as the inaugural releases of the 1500 Series.\r\n
      \r\n
      Volume 1 (Blue Note 1501) presents tracks from the 1952 and 1953 sextet sessions featuring two stellar line-ups with included trombonist J.J. Johnson, saxophonists Jackie McLean and Jimmy Heath, pianist Gi Coggins, bassists Oscar Pettiford and Percy Heath, and drummers Kenny Clarke and Art Blakey.\r\n
      \r\n
      This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original masters, and pressed on 180 gram vinyl at Optimal.\r\n
      \r\n
       
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=HJEfofdhwpc"
    -referenceProduit: "Blue Note Records 1501"
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        "nom" => "1. Dear Old Stockholm "
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        "ordre" => 2
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        "ordre" => 3
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        "ordre" => 11
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      [
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        "nom" => "5. How Deep Is The Ocean "
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        "ordre" => 0
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      [
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      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
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    -modifierLe: DateTime @1712785294 {#2130
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    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3509
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2608 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2132
    -id: 2401
    -nom: "Volume 1"
    -informationComplementaire: ""
    -description: """
      The legendary trumpeter Miles Davis was still near the beginning of his storied career when he cut the three sessions that comprise his Blue Note recordings in 1952, 1953, and 1954. In the late 1940s, Miles had been a member of Charlie Parker's quintet and Dizzy Gillespie's big band, as well as cutting select sides as a leader including the influential Birth of the Cool sessions for Capitol Records.\r\n
      \r\n
      Miles' star was still rising at the time he hooked up with Alfred Lion and Blue Note, but he was clearly on his path towards becoming one of the greatest bandleaders in jazz. Initially released across three 10" LPs Young Man With A Horn, Vol. 2, and Vol. 3 the music captured on these Blue Note sides contains all the hallmarks of his early style from blazing bebop to beautiful ballads. When Blue Note transitioned to the 12" LP in 1955, Lion compiled Miles' recordings onto two volumes as the inaugural releases of the 1500 Series.\r\n
      \r\n
      Volume 1 (Blue Note 1501) presents tracks from the 1952 and 1953 sextet sessions featuring two stellar line-ups with included trombonist J.J. Johnson, saxophonists Jackie McLean and Jimmy Heath, pianist Gi Coggins, bassists Oscar Pettiford and Percy Heath, and drummers Kenny Clarke and Art Blakey.\r\n
      \r\n
      This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original masters, and pressed on 180 gram vinyl at Optimal.\r\n
      \r\n
       
      """
    -prixVente: "34.50"
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    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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        "nom" => "Side A : "
        "ordre" => 0
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      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
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    -style: App\Entity\Style {#1468 …}
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      date: 2024-04-10 21:41:34.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2140 …}
    -disponible: null
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    -slug: "vinyles-volume-1-blue-note-records-1501"
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[
  "produit" => App\Entity\Produit {#2148
    -id: 2276
    -nom: "In a Silent Way"
    -informationComplementaire: "Awaiting Repress"
    -description: """
      - FEATURES JOHN MCLAUGHLIN, CHICK COREA, HERBIE HANCOCK, JOE ZAWINUL, WAYNE SHORTER, DAVE HOLLAND, AND TONY WILLIAMS !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe ! \r\n
      \r\n
      Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who lineup that sends the music into an ethereal stratosphere.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of "jazz", ˜rock", and "ambience", following a loose theory Davis dubbed "New Directions".\r\n
      \r\n
      Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.\r\n
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      If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the group's members. The lineup is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.\r\n
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      \r\n
      Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.\r\n
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App\Twig\Components\GestionPanierFavoriComponents {#3557
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2608 …}
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    -id: 2276
    -nom: "In a Silent Way"
    -informationComplementaire: "Awaiting Repress"
    -description: """
      - FEATURES JOHN MCLAUGHLIN, CHICK COREA, HERBIE HANCOCK, JOE ZAWINUL, WAYNE SHORTER, DAVE HOLLAND, AND TONY WILLIAMS !\r\n
      \r\n
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[
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    -artiste: App\Entity\Artiste {#1063 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3605
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    -description: "Après plusieurs groupes intermédiaires (qui présentait des géants tels que Hank Mobley, Wynton Kelly, Victor Feldman, et George Coleman), Miles Davis a composé lentement son second grand quintet sur la période 1963-1964 et rassemblé  des musiciens tels que Wayne Shorter, Herbie Hancock, Ron Carter et Tony Williams (qui était âgé de 17 ans lorsqu’il a rejoint Miles Davis). Quand Miles Davis a assemblé Wayne Shorter, Herbie Hancock, Ron Carter et Tony Williams, il y avait un groupe à cheval sur les deux traditions du jazz et les challenges qui les attendaient. En 1965, l’album « E.S.P. » a été le premier enregistrement studio qui a capturé le jeu et le potentiel créatif que le groupe était en train de développer. Les cinq membres du quintette semblaient communiquer par télépathie, inspirant le titre « E.S.P. » (perception extra-sensorielle). Comportant le morceau de blues diablement génial « Eighty One » (en fait écrit par Ron Carter, mais probablement arrangé dans le studio par Miles Davis), sur lequel les rythmes binaires et tertiaires sont alternés (écoutez les improvisations et vous comprendrez). Bien que le concept mélodique de « Agitation » a souvent été utilisé pour ouvrir les concerts jusqu'en 1969, il a montré la manière et les options de « So What » et « Flamenco Sketches » pour trouver un nouveau débouché, six ans après Kind Of Blue. Mais le retour à l'inspiration des chefs-d'œuvre de 1959, est principalement attribuable à la composition de ses jeunes compagnons, qui étaient responsables de la composition de six des sept chansons sur l'album. Surtout remarquer le jeu brillant de Wayne Shorter avec Miles à la clôture du morceau « Mood », la ballade envoûtante écrite par le bassiste Ron Carter. C’est la première réédition audiophile de l’album « E.S.P. » de Miles Davis par Impex Records, remastérisé par Chris Bellman chez Bernie Grundman Mastering à partir des bandes masters originales. Cet album est strictement réédité à 3000 exemplaires numérotés. "
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      date: 2023-03-28 20:10:25.0 UTC (+00:00)
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[
  "produit" => App\Entity\Produit {#2177
    -id: 273
    -nom: "Bitches Brew"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet),  Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Electric Piano – Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
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      \r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than five decades after its original release, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made in any genre. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail on Mobile Fidelity's definitive 180 Gram 33 RPM 2 LP set.\r\n
      \r\n
      Sourced from the original master tapes and pressed on 180g vinyl at RTI, this numbered-edition version of Bitches Brew joins the audiophile ranks of other essential Miles Davis sets reissued by Mobile Fidelity. Having established new possibilities for studio-recording techniques, the record can now be experienced to maximum degree by way of a pressing that widens and deepens the soundstage, opens up separation between instruments, and broadens the dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. On this reissue, these creations take shape with utmost realism. Compositions stretch across black backgrounds and paint abstract canvasses on par with those of Axis: Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      And "verve" defines Bitches Brew. Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard." Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that thrusts rhythms into central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures with quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love". The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remain Bitches Brew.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-439"
    -titreMorceau: [
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        "nom" => "1. Bitches Brew"
        "ordre" => 3
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        "nom" => "1. Miles Runs The Voodoo Down"
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      ]
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      ]
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        "nom" => "1. Spanish Key"
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      ]
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        "nom" => "Side C : "
        "ordre" => 4
      ]
      [
        "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 {#2185 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2178 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2180 …}
    -enregistreLe: DateTime @1278690554 {#2174
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    -modifierLe: DateTime @1678177457 {#2175
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2182 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-bitches-brew-mobile-fidelity-sound-lab-mfsl-2-439"
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3653
  -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 {#2608 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2177
    -id: 273
    -nom: "Bitches Brew"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet),  Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Electric Piano – Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
      "LISTEN TO THIS" : 180 Gram 2 LP SET PLAYS WITH DEFINITIVE DETAIL, DYNAMICS, AND TONALITY !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than five decades after its original release, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made in any genre. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail on Mobile Fidelity's definitive 180 Gram 33 RPM 2 LP set.\r\n
      \r\n
      Sourced from the original master tapes and pressed on 180g vinyl at RTI, this numbered-edition version of Bitches Brew joins the audiophile ranks of other essential Miles Davis sets reissued by Mobile Fidelity. Having established new possibilities for studio-recording techniques, the record can now be experienced to maximum degree by way of a pressing that widens and deepens the soundstage, opens up separation between instruments, and broadens the dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. On this reissue, these creations take shape with utmost realism. Compositions stretch across black backgrounds and paint abstract canvasses on par with those of Axis: Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      And "verve" defines Bitches Brew. Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard." Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that thrusts rhythms into central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures with quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love". The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remain Bitches Brew.
      """
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    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -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=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-439"
    -titreMorceau: [
      [
        "nom" => "1. Bitches Brew"
        "ordre" => 3
      ]
      [
        "nom" => "1. Miles Runs The Voodoo Down"
        "ordre" => 8
      ]
      [
        "nom" => "1. Pharaoh's Dance"
        "ordre" => 1
      ]
      [
        "nom" => "1. Spanish Key"
        "ordre" => 5
      ]
      [
        "nom" => "2. John McLaughlin"
        "ordre" => 6
      ]
      [
        "nom" => "2. Sanctuary"
        "ordre" => 9
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 2
      ]
      [
        "nom" => "Side C : "
        "ordre" => 4
      ]
      [
        "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 {#2185 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2178 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2180 …}
    -enregistreLe: DateTime @1278690554 {#2174
      date: 2010-07-09 15:49:14.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1678177457 {#2175
      date: 2023-03-07 08:24:17.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2182 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-bitches-brew-mobile-fidelity-sound-lab-mfsl-2-439"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2376 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3850
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2376 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3851 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3899 …}
  +isValidated: false
  +validatedFields: []
}